FRIDAY FEB 10, 2017
All The Saints
The path of All The Saints is one of a band that has almost deliberately hid in plain view. The story is simple: three Alabama kids raised on a diet of Crimson Tide football and loud “college rock” move to the big city of Atlanta in the early aughts. From here they were noticed by stalwart label Touch & Go and hold the distinction of being the final band being “signed” to the label before Corey decided to stop daily operations. The next decade showed a band not just improving what they do, but instead almost expanding their performances to cinematic war zones. For a three piece, you’d close your eyes and think a battalion of marauders were just around the bend. For those who relished their gigs, their live performances became infrequent occurrences.
ATS, Henry and Jason sat down to discuss what has become the band’s third full length Look Like You’re Going Somewhere. Recorded over three days in the Maze Studios over in Cabbagetown, ATS plowed through tracking and overdubs. Over the following months, the record was finished and boy howdy, did they turn in a ringer. In parts sounding like Spacemen 3, The Jesus Lizard, Sonic Youth and Sleep all rolled into one, Look Like You’re Going Somewhere is the record that ATS was destined to make. And now you, dear listener, get to soak in the closest simulacrum to the band’s unstoppable live performances. Sit down, pay attention, and soak it up.
The path of All The Saints is one of a band that has almost deliberately hid in plain view. The story is simple: three Alabama kids raised on a diet of Crimson Tide football and loud “college rock” move to the big city of Atlanta in the early aughts. From here they were noticed by stalwart label Touch & Go and hold the distinction of being the final band being “signed” to the label before Corey decided to stop daily operations. The next decade showed a band not just improving what they do, but instead almost expanding their performances to cinematic war zones. For a three piece, you’d close your eyes and think a battalion of marauders were just around the bend. For those who relished their gigs, their live performances became infrequent occurrences.
ATS, Henry and Jason sat down to discuss what has become the band’s third full length Look Like You’re Going Somewhere. Recorded over three days in the Maze Studios over in Cabbagetown, ATS plowed through tracking and overdubs. Over the following months, the record was finished and boy howdy, did they turn in a ringer. In parts sounding like Spacemen 3, The Jesus Lizard, Sonic Youth and Sleep all rolled into one, Look Like You’re Going Somewhere is the record that ATS was destined to make. And now you, dear listener, get to soak in the closest simulacrum to the band’s unstoppable live performances. Sit down, pay attention, and soak it up.
Thousandaire
Pyramid Club
In music, darkness often devours itself. Those who nosedive down into synthpop’s more perverted forms — industrial, coldwave, darkwave, and all subgenres in between — tend to sacrifice themselves for the sake of the shadows. But that’s precisely what draws devotees in, both the machinists and their audience. The deconstruction of humanity into objective parts, autonomous beats, vocals smeared into alien sneers — these were the tools that proto-industrial types like Cabaret Voltaire and Throbbing Gristle employed to separate themselves from the punk rock ego, the explosion of self. Even in that light, Pyramid Club aren’t just followers of this self-negating cult. Indeed, both members of the clandestine duo have helmed their own projects — Chris Daresta with the cold techno of Anticipation, Matt Weiner with the chrome-clad but buoyant TWINS — and together they run DKA Records, international purveyors of murk. So while “Stay Behind” oozes with all the subversive sludge that devotees to the dark might expect, the Pyramid Club machine burbles and pulses in an uncommonly Technicolor display. The suave gear shift in the middle affirms the expert engineering at work here; Daresta and Weiner may be taking cues from their muses, but they’re clearly spiraling down a tunnel of their own design. -Immersive Atlanta
In music, darkness often devours itself. Those who nosedive down into synthpop’s more perverted forms — industrial, coldwave, darkwave, and all subgenres in between — tend to sacrifice themselves for the sake of the shadows. But that’s precisely what draws devotees in, both the machinists and their audience. The deconstruction of humanity into objective parts, autonomous beats, vocals smeared into alien sneers — these were the tools that proto-industrial types like Cabaret Voltaire and Throbbing Gristle employed to separate themselves from the punk rock ego, the explosion of self. Even in that light, Pyramid Club aren’t just followers of this self-negating cult. Indeed, both members of the clandestine duo have helmed their own projects — Chris Daresta with the cold techno of Anticipation, Matt Weiner with the chrome-clad but buoyant TWINS — and together they run DKA Records, international purveyors of murk. So while “Stay Behind” oozes with all the subversive sludge that devotees to the dark might expect, the Pyramid Club machine burbles and pulses in an uncommonly Technicolor display. The suave gear shift in the middle affirms the expert engineering at work here; Daresta and Weiner may be taking cues from their muses, but they’re clearly spiraling down a tunnel of their own design. -Immersive Atlanta