WEDNESDAY MAY 23, 2018
529 & Speakeasy Promotions & Dude City Present:
Bambara
Bataille | A Drug Called Tradition | Uniform (ATL) | Foghorn
Bambara
Bataille
The Wolves Amongst the Flower, the new EP from noise/post-punk group Bataille, channels the philosophy of Georges Bataille, the French intellectual for whom the band is named. The writer, who was influenced by such figures as Nietzche, Hegel and Marquis de Sade, is known today for his works on mysticism, eroticism, nihilism and transgression. On Wolves, these themes exist in the strictly nonconformist aesthetic that Bataille presents – eccentric, rebellious and just rude.
This is abrasive stuff, as one may expect, but it’s too bleak to be truly confrontational. Rather, it’s disconcerting. “How Innocent,” the EP’s first proper track, may be the most accessible song here, but that’s not saying much — it starts from a typical noise rock/hardcore structure, but then extrapolates with layers of harsh noise. The vocals, like on much of the record, are incomprehensible, and vocalist John Hannah regurgitates them in a detached, sardonic manner. “Grave of Vampires” squeals out of the gate in harsh “anti-punk” fashion (as Bataille themselves describe their sound), before the band interjects with some odd feedback in the foreground. It is — and I mean this in the best way possible — vomit-inducing. Music that produces such visceral reactions in the listener should be celebrated. The 7-minute noise track which closes the record, “I Live Because I Am Free to Die,” exemplifies the concept of limit-experience, which Michel Foucault described as “the point of life which lies as close as possible to the impossibility of living, which lies at the limit or the extreme.” It is, as Bataille suggested, the experience from which the subject can tear away from itself, and this is clear in the masochistic art on display here. Indeed, the cover of the Wolves cassette features two images, both of a young woman: in the first, it appears as if she has been stabbed (and is missing a leg, to boot), and in the second, it now appears as if she did the stabbing herself – or is, at the very least, pulling the knife out.
It should be noted that the band recently underwent a name shortening, from Georges Bataille Battle Cry to simply Bataille. Not being overly familiar with Mr. Bataille’s works, I can only assume that the battle cry of which the band speaks is tied to their slogan of “Loudly ring out revolt and despair.” Even now, the band explains their aesthetic as the following: “This is not punk rock. This is theology.” Pretentious? Perhaps. But only if you’re not on their wavelength. On Wolves, Bataille’s house is in disarray, and they’ve subjected to us to their madness and self-loathing.
The Wolves Amongst the Flower, the new EP from noise/post-punk group Bataille, channels the philosophy of Georges Bataille, the French intellectual for whom the band is named. The writer, who was influenced by such figures as Nietzche, Hegel and Marquis de Sade, is known today for his works on mysticism, eroticism, nihilism and transgression. On Wolves, these themes exist in the strictly nonconformist aesthetic that Bataille presents – eccentric, rebellious and just rude.
This is abrasive stuff, as one may expect, but it’s too bleak to be truly confrontational. Rather, it’s disconcerting. “How Innocent,” the EP’s first proper track, may be the most accessible song here, but that’s not saying much — it starts from a typical noise rock/hardcore structure, but then extrapolates with layers of harsh noise. The vocals, like on much of the record, are incomprehensible, and vocalist John Hannah regurgitates them in a detached, sardonic manner. “Grave of Vampires” squeals out of the gate in harsh “anti-punk” fashion (as Bataille themselves describe their sound), before the band interjects with some odd feedback in the foreground. It is — and I mean this in the best way possible — vomit-inducing. Music that produces such visceral reactions in the listener should be celebrated. The 7-minute noise track which closes the record, “I Live Because I Am Free to Die,” exemplifies the concept of limit-experience, which Michel Foucault described as “the point of life which lies as close as possible to the impossibility of living, which lies at the limit or the extreme.” It is, as Bataille suggested, the experience from which the subject can tear away from itself, and this is clear in the masochistic art on display here. Indeed, the cover of the Wolves cassette features two images, both of a young woman: in the first, it appears as if she has been stabbed (and is missing a leg, to boot), and in the second, it now appears as if she did the stabbing herself – or is, at the very least, pulling the knife out.
It should be noted that the band recently underwent a name shortening, from Georges Bataille Battle Cry to simply Bataille. Not being overly familiar with Mr. Bataille’s works, I can only assume that the battle cry of which the band speaks is tied to their slogan of “Loudly ring out revolt and despair.” Even now, the band explains their aesthetic as the following: “This is not punk rock. This is theology.” Pretentious? Perhaps. But only if you’re not on their wavelength. On Wolves, Bataille’s house is in disarray, and they’ve subjected to us to their madness and self-loathing.
A Drug Called Tradition
In late 2014, after the dissolution of Atlanta heavy psych stalwarts Abby Gogo, singer/guitarist Bon Allinson began working on a batch of songs more heavily influenced by his upbringing in Alabama and by the musical traditions of the South. He brought these songs to drummer Puma Navarro (Abby Gogo) and bassist Asha Lakra (Tikka) and A Drug Called Tradition was born. As the trio’s sound developed, influences ranging from the laid back vibe of Kurt Vile to the guitar stylings of Dinosaur Jr. and Sonic Youth, could be heard alongside echoes of the Krautrock of Can and the prog psych of early Pink Floyd.
ADCT made their Atlanta debut in December 2014, opening for Matt Hollywood of The Brian Jonestown Massacre. After playing local shows for the next few months, the trio cut a three song demo to tape with Spencer Garn (Ruby Velle and the Soulphonics) at Diamond Street Studios. The band then joined up with Spirits and the Melchizedek Children for a tour around the southeast.
In December 2015, ADCT will head to Dial Back Sound in Water Valley, Mississippi to record a full length album for Cornelius Chapel Records with Matt Patton (Drive-By Truckers) and Tim Kerr (Big Boys).
In late 2014, after the dissolution of Atlanta heavy psych stalwarts Abby Gogo, singer/guitarist Bon Allinson began working on a batch of songs more heavily influenced by his upbringing in Alabama and by the musical traditions of the South. He brought these songs to drummer Puma Navarro (Abby Gogo) and bassist Asha Lakra (Tikka) and A Drug Called Tradition was born. As the trio’s sound developed, influences ranging from the laid back vibe of Kurt Vile to the guitar stylings of Dinosaur Jr. and Sonic Youth, could be heard alongside echoes of the Krautrock of Can and the prog psych of early Pink Floyd.
ADCT made their Atlanta debut in December 2014, opening for Matt Hollywood of The Brian Jonestown Massacre. After playing local shows for the next few months, the trio cut a three song demo to tape with Spencer Garn (Ruby Velle and the Soulphonics) at Diamond Street Studios. The band then joined up with Spirits and the Melchizedek Children for a tour around the southeast.
In December 2015, ADCT will head to Dial Back Sound in Water Valley, Mississippi to record a full length album for Cornelius Chapel Records with Matt Patton (Drive-By Truckers) and Tim Kerr (Big Boys).
Uniform (ATL)
"Uniform’s brand of raw punk would work, both sonically and lyrically, as the soundtrack to a dystopian world, like the one described in "Algorithm Man." Bringing this alternate reality to life is two-thirds of Wymyn’s Prysyn, Josh Feigert (vocals, guitar) and Bobby Michaud (drums), as well as bassist Matt Gibson Hatcher (Cheap Art, Slugga), and Bobby’s brother, guitarist David Michaud (Dasher, Stepdad SS). The band's first demo cassette was recently issued by Feigert’s State Laugher label."
"Uniform’s brand of raw punk would work, both sonically and lyrically, as the soundtrack to a dystopian world, like the one described in "Algorithm Man." Bringing this alternate reality to life is two-thirds of Wymyn’s Prysyn, Josh Feigert (vocals, guitar) and Bobby Michaud (drums), as well as bassist Matt Gibson Hatcher (Cheap Art, Slugga), and Bobby’s brother, guitarist David Michaud (Dasher, Stepdad SS). The band's first demo cassette was recently issued by Feigert’s State Laugher label."