FRIDAY DEC 08, 2017
PLS PLS
Dan Dixon has been a staple of the independent Atltanta music scene for a decade plus. A revered producer who mans the helm at The Factory Recording Studio in his hometown, Dixon is perhaps most recognized for his prowess as a songwriter with PLS PLS and his previous band, Dropsonic.PLS PLS (pronounced Please Please) was originally started as a moniker for releasing Dixon’s 80’s-tinged dance rock project, which he began conceptualizing as his previous band, Dropsonic, was winding down. The project took shape quickly, and in just a few months later PLS PLS had released EP EP, a five-song collection of heady, electronic-laced future anthems.
Progressive yet danceable, Dixon managed to write an album of sing-alongs in EP EP without losing the intricacies that are key to thoughtful songwriting. It is the type of record that allows a listener to notice something different each time they play a track, and Atlanta’s creative community quickly took notice of just how rare an EP it was. Soon after its release, PLS PLS found themselves playing high profile gigs with Archers of Loaf, Snowden and awolnation among others. Magnolia Pictures also picked up on the record, featuring both “Here Comes The Wolves” and “60’s Love Song” in their horror sensation V/H/S (in theaters October 5th). Meanwhile the 80s kitsch of the “Cocaine” video, the track for which features Elijah Jones of The Constellations, was circulating around the Internet, accruing over 123,000 views on YouTube. Overall, by indie standards EP EP was both an artistic and commercial success.
As special as EP EP was, it merely sets the table for PLS PLS’s first full-length LP LP. The album unfolds in much the same way a syllabus for a class on the past 45 years of progressive rock music might. Present throughout its ten tracks are odes to the 60’s Wall of Sound, 70’s art-punk, 80’s New-Wave and 90’s era electronic rock. Hints of more modern electronic rock bands such as Kasabian or Radiohead can even be caught at various parts of the album. Overall, the dark textures and rhythmically adventurous arrangements of LP LP culminate in a brilliantly retro album full of post-future electro-rock anthems.
Having lived with PLS PLS for about a year, Dixon possessed a much clearer picture of the direction he wanted PLS PLS to go as a band while recording LP LP. This vision is evident in the decisiveness and creative growth you find in the way the record was written. While Dixon maintains PLS PLS as a personal creative outlet (writing, recording and producing LP LP himself), the other members of the band did have a hand in certain parts of the album. Drummer Derek Murphy played on the whole record, and Andre Griffin (keys), Mike Boutte (guitar) and Dave Chase (bass) all contributed parts to LP LP. Their contributions are most notable on the first single “On/Off/On” and the track “Necking in Cars”, which happen to be the last two songs written for the record.
LP LP is already a highly anticipated release, as the band’s performance of “Exes” at the Atlanta Film Festival’s ‘Sound & Visual Experience’ was one of the most talked about aspects of the entire event. Still, it will take the general public being able to hear just how deep of a record LP LP is before it really sinks in how great of an album it is.
Dan Dixon has been a staple of the independent Atltanta music scene for a decade plus. A revered producer who mans the helm at The Factory Recording Studio in his hometown, Dixon is perhaps most recognized for his prowess as a songwriter with PLS PLS and his previous band, Dropsonic.PLS PLS (pronounced Please Please) was originally started as a moniker for releasing Dixon’s 80’s-tinged dance rock project, which he began conceptualizing as his previous band, Dropsonic, was winding down. The project took shape quickly, and in just a few months later PLS PLS had released EP EP, a five-song collection of heady, electronic-laced future anthems.
Progressive yet danceable, Dixon managed to write an album of sing-alongs in EP EP without losing the intricacies that are key to thoughtful songwriting. It is the type of record that allows a listener to notice something different each time they play a track, and Atlanta’s creative community quickly took notice of just how rare an EP it was. Soon after its release, PLS PLS found themselves playing high profile gigs with Archers of Loaf, Snowden and awolnation among others. Magnolia Pictures also picked up on the record, featuring both “Here Comes The Wolves” and “60’s Love Song” in their horror sensation V/H/S (in theaters October 5th). Meanwhile the 80s kitsch of the “Cocaine” video, the track for which features Elijah Jones of The Constellations, was circulating around the Internet, accruing over 123,000 views on YouTube. Overall, by indie standards EP EP was both an artistic and commercial success.
As special as EP EP was, it merely sets the table for PLS PLS’s first full-length LP LP. The album unfolds in much the same way a syllabus for a class on the past 45 years of progressive rock music might. Present throughout its ten tracks are odes to the 60’s Wall of Sound, 70’s art-punk, 80’s New-Wave and 90’s era electronic rock. Hints of more modern electronic rock bands such as Kasabian or Radiohead can even be caught at various parts of the album. Overall, the dark textures and rhythmically adventurous arrangements of LP LP culminate in a brilliantly retro album full of post-future electro-rock anthems.
Having lived with PLS PLS for about a year, Dixon possessed a much clearer picture of the direction he wanted PLS PLS to go as a band while recording LP LP. This vision is evident in the decisiveness and creative growth you find in the way the record was written. While Dixon maintains PLS PLS as a personal creative outlet (writing, recording and producing LP LP himself), the other members of the band did have a hand in certain parts of the album. Drummer Derek Murphy played on the whole record, and Andre Griffin (keys), Mike Boutte (guitar) and Dave Chase (bass) all contributed parts to LP LP. Their contributions are most notable on the first single “On/Off/On” and the track “Necking in Cars”, which happen to be the last two songs written for the record.
LP LP is already a highly anticipated release, as the band’s performance of “Exes” at the Atlanta Film Festival’s ‘Sound & Visual Experience’ was one of the most talked about aspects of the entire event. Still, it will take the general public being able to hear just how deep of a record LP LP is before it really sinks in how great of an album it is.
Hank and Cupcakes
Cheap Thrill brings the raw energy of Hank & Cupcakes’ live shows off the stage and onto your home stereo, with a grungier edgier record than ever before while holding onto their fierce signature off-the-walls infectious sound.
Seeing Hank & Cupcakes live, and hearing their latest album, Cheap Thrill, is like watching two of your best friends fall in love. The record truly captures the band’s sound: sensual, powerful, and highly energetic. There’s no careful choreography here, no proliferation of autotune to mold the songs into something palatable to the sterile chewed up standards of today’s Top 40 culture. The raw, unfiltered, uncensored reality of Hank & Cupcakes is what Cheap Thrill is built on. It’s a sonic revolution and it’s calling you to join in and rock out.
Hank & Cupcakes are Aliens of Extraordinary Ability… At least according to the US immigration services. Hailing from Tel Aviv to New York City in late 08’, the duo, consisting of powerhouse vocalist/drummer Cupcakes and bassist extraordinaire Hank were quickly dubbed a “must see” live act on the local scene. Attracting praise from MTV and New York Post, the buzzworthy band were signed to BMG with whom they released their 2012 ‘Aint No Love’ EP. When faced with the choice of creative compromise vs. artistic freedom, Hank & Cupcakes chose the latter, walking away from the deal to self release their debut LP ‘Naked’ in 2013, followed by ‘Cash 4 Gold’ in 2014. The two are known for their explosive live performance which has finally met it’s match in the form of the band’s forthcoming record, Cheap Thrill.
The album was recorded in a custom setup in the duo’s new Atlanta home where Brooklyn producer Van Goose, who spent a week down south, joined them, immersed in the project. Microphones were set up in & out of the house infrastructure including heating shafts, closets and different rooms all intended to create an array of sonic chambers & an ambient live record.
The striking cover art for Cheap Thrill is the fruit of a collaboration with internationally acclaimed Mexican artist Claudio Limon. Like their music, Hank & Cupcakes’ cover image comes across at first as pure energetic art but Shir explains that there’s more to it than meets the eye: “The on the album cover is deliberately gender-blurry and set in a religious-looking environment. The idea came to us while working on the record when many “religious freedom” bills discriminating against LGBT community & bills curbing women’s reproductive rights were (and still are) brought up constantly. We strongly object to this and wanted to comment on the absurdity and misuse of religion as a tool of discrimination and oppression and on the lack of equality we still see in our society.
Cheap Thrill brings the raw energy of Hank & Cupcakes’ live shows off the stage and onto your home stereo, with a grungier edgier record than ever before while holding onto their fierce signature off-the-walls infectious sound.
Seeing Hank & Cupcakes live, and hearing their latest album, Cheap Thrill, is like watching two of your best friends fall in love. The record truly captures the band’s sound: sensual, powerful, and highly energetic. There’s no careful choreography here, no proliferation of autotune to mold the songs into something palatable to the sterile chewed up standards of today’s Top 40 culture. The raw, unfiltered, uncensored reality of Hank & Cupcakes is what Cheap Thrill is built on. It’s a sonic revolution and it’s calling you to join in and rock out.
Hank & Cupcakes are Aliens of Extraordinary Ability… At least according to the US immigration services. Hailing from Tel Aviv to New York City in late 08’, the duo, consisting of powerhouse vocalist/drummer Cupcakes and bassist extraordinaire Hank were quickly dubbed a “must see” live act on the local scene. Attracting praise from MTV and New York Post, the buzzworthy band were signed to BMG with whom they released their 2012 ‘Aint No Love’ EP. When faced with the choice of creative compromise vs. artistic freedom, Hank & Cupcakes chose the latter, walking away from the deal to self release their debut LP ‘Naked’ in 2013, followed by ‘Cash 4 Gold’ in 2014. The two are known for their explosive live performance which has finally met it’s match in the form of the band’s forthcoming record, Cheap Thrill.
The album was recorded in a custom setup in the duo’s new Atlanta home where Brooklyn producer Van Goose, who spent a week down south, joined them, immersed in the project. Microphones were set up in & out of the house infrastructure including heating shafts, closets and different rooms all intended to create an array of sonic chambers & an ambient live record.
The striking cover art for Cheap Thrill is the fruit of a collaboration with internationally acclaimed Mexican artist Claudio Limon. Like their music, Hank & Cupcakes’ cover image comes across at first as pure energetic art but Shir explains that there’s more to it than meets the eye: “The on the album cover is deliberately gender-blurry and set in a religious-looking environment. The idea came to us while working on the record when many “religious freedom” bills discriminating against LGBT community & bills curbing women’s reproductive rights were (and still are) brought up constantly. We strongly object to this and wanted to comment on the absurdity and misuse of religion as a tool of discrimination and oppression and on the lack of equality we still see in our society.