Show of the Month

The Other Sound Festival
The Drunken Unicorn, The EARL, Lenny’s, Ultrababyfat
Atlanta, GA
September 7-9

This year marked the second annual Other Sound Festival, a festival presented by a collective of Atlanta labels that includes Eskimo Kiss Records, Goodnight Records, ISP (Industrial Strength Promotions) and Two Sheds Music. The lineup featured 17 acts in different venues across Atlanta over a three-day period.
Athens indie-pop orchestra Venice Is Sinking soothed the first day’s crowd with weeping violin, gentle keyboard and soft vocals. Atlanta’s Hot Young Priest turned up the energy levels, bringing Daniel Winn’s rumbling bass lines reminiscent of early ‘90s alternative rock and Mary Byrne’s distinct vocals and rock guitar.

Atlanta folk rockers No River City lyrically depicted stories with acoustic country guitar and occasionally a little slide guitar. Atlanta’s Spectralux rounded out the day’s genre smorgasbord. A fog machine filled the room as the group played dance-friendly pop/rock that was more electro than rock. Peter Roets’ echoing vocals created an ambient mood to match the colorful light show.

Upon the start of day two, Athens trio Engineering announced they were splitting up and moving to New York to pursue separate endeavors. The quality of their rock set made the band’s impending demise all the more regrettable. Like Franz Ferdinand without the British accents, Engineering’s music featured hi-hat-happy drums, a funky bass line and sharp guitar chords.

The Preakness from Atlanta began slowly, but eventually progressed to a livelier indie pop style. The headliner of the night was a bit of a reunion for Atlanta’s femme-driven pop/punk outfit Ultrababyfat, who hadn’t played together in four years. Their new album, No, Ringo, No!, was recorded in 2002, but it was never released because the label folded. Now picked up by Two Sheds Records, the band doesn’t have any plans on touring to promote the album since frontwoman Shonali Bhowmik (Tigers & Monkeys) lives in New York. With Jeff Holt (The Silent Kids, The Georgia Fireflies) on bass and backing vocals, Jody Bilinski on drums, and Michelle DuBois (Luigi) sharing guitar and singing duties, this group is a reminder of Atlanta’s rock lineage; from the ashes of one great band emerges two more.

The final day of the festival began with Atlanta rock/dub group Elevado’s experimental sounds. Guitarist Cain Wong played spacey guitar riffs to accompany lead singer Justin Sias’ echoing vocals and ranging bass. Don Dudenhoeffer stood in the back, creating beats on his laptop and sampler while Eric Holder accompanied by playing standing drums, trumpet and accordion.
Atlanta’s The Blue Hour performed as a duo, with DJ iPod Nano providing prerecorded beats while guitarist Keith Vogelsong provided soft vocals and Tracy Clark perkily played bass and sang some. Fellow Atlantans Slushco played a climactic indie pop dance set before the festival came to a close with a performance by its punkest band, SIDS.

A band that rejects the confinements of the stage, Sudden Infant Death Syndrome always performs on the floor, surrounded by the audience, and tonight was no exception. Deerhunter bassist Josh Fauver started off each song with preprogrammed beats from a keyboard before wailing away at the drums. Erin Carmichael rocked the bass, and Adam Stroupe provided dramatic vocals and wandered about the room. And just as fast as they started, without acknowledging the audience, they finished with the drop of a microphone, the loosening of a drum kit and the unplugging of a bass cord.

-Review & photo by Alex Adan

Open Mic Madness 2006
Smith’s Olde Bar
Atlanta, GA
August 21-26

Once again, another huge week for music got under way as Open Mic Madness kicked off at Smith’s Olde Bar on August 21. Over 120 acts competed in the fifth rendition of the contest. Just off Piedmont and Monroe, bands and singer/songwriters played their hearts out in a single elimination tournament.
Each act and songwriter built drama and excitement as each night aged like fine wine towards early next morning. The winner of the week received a CD package, a recording gig at Nickel and Dime Studios and, of course, a memorable cruise on the Rock Boat off the coast of Miami.

For all who participated, the week meant a lot to their careers, perhaps catapulting many to higher heights. It also gave musicians a chance to unlock their messages, unleashing their energy to capacity audiences attentive and hungry to hear new talent.

Now, the action. The first four rounds were fought in heavyweight style, in a fury of passion and drama, at breakneck speeds. As the final three rounds unfolded Saturday at roughly 9:30 p.m., the musical fireworks helped ignite listeners. Each passing song was more clear and melodic, as Coy Bowles and the Fellowship delivered a gem of high energy, full of soul and blues. The group’s use of dynamics was phenomenal, while the romance of Lexistreet, complete with their cool jazz/Latin rhythms, was just enough to help them advance.

Sanjay Kothari continued to amaze with a haunting and beautiful melody, surpassing Joel Rush. Chaz, with his vocal dexterity, realized what it took to wrap up a song like a gift, most heartfelt in meaning, delivering it successfully and winning over the crowd. He was the male solo voice of the week, yet the enthusiasm and chops of The Lost Boys stole the show. Perhaps the most anticipated match-up of the week was between veterans Groovestain and the powerful Dead Confederate. The rock passion of the latter blew away their opponent and brought a sense of urgency and liveliness to the night, a promise that more amazing music was to come.

The final four faced off as follows: Dead Confederate and Lexistreet, The Lost Boys and Sanjay Kothari. Kothari cried a tearjerker, the ballad “Anna,” with the artistry of a true poet. Yet again, to perhaps great odds, the kilted Lost Boys stole the thunder from this spirited songwriter and advanced to the final.
Dead Confederate again displayed alternative/southern grunge rock as Lexistreet gracefully bowed out. In the end, it was Dead Confederate who was proudly crowned 2006 Open Mic Madness champion. Till next year!

-Shawn M. Haney

Club Awesome
The EARL
Atlanta, GA
August 30

What makes geek rock? Is it the black-framed glasses or the corny jokes on stage? Is it the desire to be like Weezer or the song lyrics about robots? Whatever it is, it’s evident in the Atlanta four-piece Club Awesome.
Errol Crane’s nerdy, almost whiny vocals distinguish the group and are accompanied by Blair Gainous on bass, Rick Kemp on guitar and keyboard and Lance Warner on drums.
At some times sounding a bit like The Coral, Club Awesome had bouncy bass, rhythmically steady drums, catchy guitar licks, and they even added some synth keyboard on a few songs.
It’s obvious that this is a jovial gang of four. At the show they advertised the “Embarrassing Photo Contest” currently running on their MySpace page and encouraged people to catch them at their worst. They’ve also turned many of their gigs into pool parties this past summer, bringing a three-foot pool and offering half off the door price for those dressed in proper swim attire.
Although the band has yet to release a full-length album or official EP, after the show they gave away 4-track demo CDs recorded at Brian Slusher’s (from Slushco) Dreamboat Studios and featuring added keyboards by Slusher and extra vocals from Daniel Upton of The Orphins. Guitarist Rick Kemp provided the cover illustration. Frontman Errol Crane also dabbles into the visual arts with his art collective Golden Blizzard, verifying that Club Awesome are some artsy jokers that know how to show everyone a good time.

-Alex Adan

Drive Invasion 2006
The Starlight Six Drive-In
Atlanta, GA
September 2-3

Hot rods, live music, B-movies, tattoos and alcohol made for a comfortably southern Labor Day weekend at Drive Invasion 2006, despite the occasional scattered showers. Defining themselves as swamp-rockers, North Carolina’s Southern Culture on the Skids headlined the first day. The group, which has been rocking out for 20 years strong, embraces white trash America with songs about cicadas, trailers, booze, cars and southern food. During their song “Eight Piece Box,” they handed girls fried chicken as they came on stage to dance. After a few bites most chicken went flying into the crowd and some was flung back. It all seemed quite appropriate since lead singer/guitarist Rick Miller has Colonel Sanders-esque glasses and a white chin strip.
When he asked if anyone had any moonshine, someone threw a water bottle on stage and bassist Mary Duff proceeded to smell and sip the mysterious homemade concoction, causing her to make faces through the next two songs. This particular evening she looked a bit like Peg Bundy with her big red wig that she checked with a compact and readjusted between songs.

Atlanta funk/jazz ensemble Cadillac Jones jammed out, playing songs from their new album, The Big Takedown, which is a soundtrack to a fake ’70s action movie. Their set was lyric-less apart from the occasional counting shouts in unison.

The performance by Anna Kramer’s group marked a temporary return for bassist Shannon Mulvaney, who was taking a break from cancer treatment. First tackling the upright bass before tearing away at the electric, Mulvaney was in full spirit with his head-thrashing and yells. His mutton-chopped comrade Adam Renshaw drummed and provided shouts to back little miss Kramer, who sang like an angel and played guitar like she sold her soul to the devil. Starting with a six-string electric, then moving on to the 12-string, Kramer set the bar for the weekend.

Atlanta’s music scene has a void in the genre of surf, and El Capitan is just the band to fill it. Now if they’d only play out more than just around Drive Invasion time. With crisp guitars that make you want to get a wood-paneled station wagon and drive to the beach and speedy drums that might forebode a wipeout, El Capitan provided a refreshing instrumental breeze on the ears.

-Review & photo by Alex Adan

Russian Spy Camera
Tasty World
Athens, GA
September 8

One of Athens’ best-kept secrets, Russian Spy Camera brought its irresistible brand of eclectic power pop and indie rock to Tasty World as part of the Ice Cream Socialist’s CD-release party. In addition to recording a follow-up to this year’s acclaimed debut album, You Are a Vulture, the guys have added newcomer McGregor Buttons on piano and bass. The band’s new sound certainly won over first-timers as well as pleasing hardcore fans even though Tasty World wasn’t packed to its usual capacity. The energy onstage was difficult to escape as White and Turner amped up the crowd with old favorites like “To Slip through the Cracks” and “Teasers with Tasers.”

Though most of the songs provided a wonderfully exuberant dance feel, the lyrics encompassed subject matter that shies away from the conventional. You’ll find no sad songs about lost love or unhappy childhoods. White’s lyrics touch upon more outlandish topics like Twilight Zone episodes or Curanderismo, a blend of Hispanic healing techniques involving herbs, sweats, diet and magic. As White says, “If I’m going to spend my time making albums and playing music, I want to at least be writing about crazy stuff that others either have never written about or stuff that others haven’t written enough about. Love and hate and politics are just some things that will always be ongoing.” It’s not hard to hear the influences of bands such as Talking Heads, Elephant Six Collective and The Clash on the band’s lyrics and sound. Russian Spy Camera even draws comparisons to early Gang of Four and Broken Social Scene with its dissonant melodies layered over methodic drum combos.

With the addition of Buttons, the onstage sound definitely felt meatier while managing to maintain the upbeat carnival-like atmosphere. White’s onstage presence was that of a true showman — dancing wildly about the stage and conversing openly with audience members — while Turner’s kitsch-y mechanical style of drumming put more than a twitch in a few hips on the dance floor. The crowd was also privy to two new songs by the band, which were just as well received if not more. The only complaint made about the show was the fact that it clocked in at just over half an hour, which was a disappointment to those in the crowd expecting more songs from the album. However the band closed with a bang (“Svengali, What’s the Caper”) and not a single person stood still as Russian Spy Camera thrashed about until the very last chord was played.

-Charley Lee

The Bridges / Rosemont Family Reunion / Modern Skirts
Smith’s Olde Bar
Atlanta, GA
September 9

Three vocally gifted bands took the stage for this Saturday evening show at Smith’s Olde Bar. The Bridges, a five-piece band based out of Oxford, AL, opened up the show. Made up of four siblings and a lead vocalist/songwriter (four female and one male), The Bridges have an easily accessible pop-folk sound built from strong three-part harmonies and confident drum work. With plans to soon head into the studio to record their debut, The Bridges come across as a very “young” band in many senses of the word. They write simple, catchy songs that deal predominately with love and relationships. The band’s sound is initially enchanting, although they somewhat fail to capitalize on this aspect, instead relying heavily on simple, clean changes in vocal pitch and delivery to retain the listener’s interest. The majority of their songs fade out to vocals, and while this tactic works well enough, a little more variety would be welcome. It will be interesting to see how the band grows and evolves to incorporate a wider range of sounds and musical ideas as its members become more experienced, on stage and in the studio.

Having the unenviable task of following a band fronted by four young women, another family band, Rosemont Family Reunion, took the stage next. They had a much more folk-rock, Dylan-influenced sound. Combining smooth, graceful female vocals with rough, even grating, male vocals (a la The Mendoza Line), Rosemont Family Reunion had a much more purposeful, confident stage presence. This fact did not exactly translate to a more interested crowd, however, as their music seemed to fail to capture the audience’s attention for more than a few minutes at a time. Jason Rosemont’s voice sounded much more coarse and uneven in person than it does on the band’s recordings. The music sounded great, as each member seemed dialed in and confident in his or her ability. At times it seemed as if the band was playing in the family garage, not giving much thought at all to the audience before them. With a sound ranging from bluesy rock anthems such as “Stomp” to the more acoustic and vocally driven “Olive,” Rosemont Family Reunion displayed a wide range of material. Hopefully during their next stop in Atlanta, they will find listeners more willing to invest their time and attention into finding out just how much this band has to offer.

Modern Skirts closed out the night with their increasingly confident brand of harmonic, piano-based pop. The band members seemed to be in their element at an intimate venue such as Smith’s, showing an apparent command over their sound and the audience. Modern Skirts made sure that everyone went home happy after getting the chance to see three great young Southeastern bands coming into their own.

-Micah McLain

Cadillac Jones / Infradig
Rhythm & Brews
Chattanooga, TN
September 8



It started with a floppy-hat-wearing concertgoer bowing his head and raising his hand limply in the air. He stood against the stage, front and center, oblivious to all senses but hearing. Cadillac Jones’ saxophone and trombone rode sporadically over the top of the band’s bass, guitar, and drum foundation, and the dance floor remained monopolized by the same person as hesitant spectators lined the walls. Despite the lack of crowd reaction, the seven boys of Cadillac Jones laid down thick, straightforward grooves with solid instrumentation and smiles.
Following a set list that relied on simple rhythms and popping bass lines, the group’s keyboardist and DJ were finally given a chance to shine. These two auxiliary musicians added some great melodies and a measure of random noise that the other songs lacked. Their off-kilter song was by far the best part of Cadillac Jones’ set. Unfortunately, it was also the last.

A few minutes later, generic house music pulsed through the speakers as Infradig meandered onto the stage. Instruments were tuned and rearranged. A buzz of anticipation floated through the venue. Then, with the house music still thumping, the four-piece began tinkering around. Slowly, steadily, the ditty developed into a strange and swarming opus. Nearly 20 minutes later, after Infradig had ripped and dipped through two — maybe three — tracks, the Chattanooga natives took their first break to greet the crowd.

By now, the dance pit had morphed from Cadillac Jones’ single dancer to a near comical hodgepodge of people and personalities. Nappy-headed hippies gyrated alongside balding men, while college kids moved stiffly at first and more fluidly as the clock moved past midnight. Infradig was throwing an early release party for Chattanooga to celebrate their new CD, Clinical Indifference (The Psychology of Breathing), and the hometown fans were making the most of the event. To show their appreciation, the members of Infradig guided the hypnotized audience from peaceful planes to supernatural and chaotic realms. Using a keyboard, drums, guitar and bass, Infradig’s abnormal blend of music was worked into a convincing, cohesive whole. Hip-hop, jazz, funk, techno, rock ‘n’ roll and miscellaneous artistic experimentation weaved in and out for 100 minutes of instrumental bliss. Led by the expressive drummer and keyboardist and held down by the more subdued bass and guitar players, Infradig proved that smart song constructions and boggling tempos can take the place of vocals and keep you boogying for hours on end.

-Review by Daniel Brantley; photo by Nathan Bosic

First Annual Charleston Music & Heritage Festival (Chazzfest)

Family Circle Tennis Center
Daniel Island, Charleston, SC
September 16

The main stage (of four) at Chazzfest, the Daniel Island Stage, typically serves as center court in a facility more accustomed to hosting championship tennis events than a music festival featuring the likes of Al Green, Buddy Guy and Karl Denson. But here they were. Despite the unusual environs, the first annual Chazzfest was an extremely impressive production.

Up first, South Carolina-born singer/songwriter Danielle Howle took the stage solo, exploding into “Who Knows,” a rollicking feel-good tune. Howle is a precocious talent who can switch gears and styles seamlessly. She was just as comfortable delivering darkish and smoky-throated dirges as she was unleashing the ghost of Janis when wailing, “No our children won’t be scarred / They know exactly who they are” while attacking the guitar on the intense “Roses From Leroy’s,” the first cut on her most recent studio effort, Thank You Mark (Valley Entertainment).

Charleston-based power-trio Leslie look fresh out of high school and seem the type of band that may live in the room above the garage they practice in. Overwhelmed by the scrappy riffage on the T. Rex homage “The Feva” (from the band’s Bee St. Sessions), it seemed clear that the Second Annual Chazzfest should find these guys on a bigger stage in an after-dark slot. Leslie leaves no box on the rock ’n’ roll “must-do list” unchecked. Lead singer and guitarist Sadler Vaden fearlessly explored his influences and spit them back out with enough piss and vinegar that the occasional facsimile is forgiven. After all, windmill guitar antics should never be discouraged. Their set was the pleasant surprise of the fest — don’t be caught off guard when the band takes over the world (or at least the Palmetto State) with the ferocity of songs like “Sex Gospel” and “Back Door.”

One hopes Leslie caught the Drive-By Truckers’ set. The Trucker core of Patterson Hood and Mike Cooley has been performing together longer than any of the guys in Leslie have been alive. With advanced age came the ability to rock incredibly. The festival’s only two-hour time slot belonged to DBT, who responded with a set list primarily peppered with arena rock-along hits from their expansive catalog. Unfortunately, Cooley’s epic narrative “Zip City” (during which one fan admitted his man crush for the lanky guitarist) fell victim to show opener fine-tuning, as vocal mics and monitors were adjusted, but soon enough, front-of-the-house and back-of-the-house came together in perfect harmony. Despite being accompanied by pedal-steel hotshot John Neff, the band steered away from the more countrified numbers that seemed suited for bending notes and instead just plain clobbered the Carolina chapter of the Trucker Nation. Jason Isbell’s “John Henry” and Hood’s evangelical, southern punk-rock diatribe “Puttin’ People on the Moon” whipped the faithful and first-timers into a wild frenzy. The audience would not accept a “Let There Be Rock” goodnight. Chanting, “D-B-T, D-B-T…,” the crowd demanded (and received) a proper encore, which saw Neff (relieved of pedal steel duties) throwing Hood’s guitar over his shoulder, while the spittin’, sweaty hulk of a man assaulted the crowd with a fine rendition of “Buttholeville.”

-David Eduardo