SATURDAY JAN 05, 2019
529 & Irrelevant Music Presents:
Floral Print
100 Watt Horse
Mamalarky | Jesse Nighswonger | Palm Sunday
Floral Print
After first meeting on a whim over Facebook, what started out as a chance occurrence between drummer Paul DeMerritt-Verrone and singer/guitarist Nathan Springer (Narrator) sprouted into a continually exciting and unpredictable collaboration. The pair first started practicing and performing around Atlanta, GA in late 2014, and quickly started honing their penchant for dizzying song structures and erratic rhythms grounded in pop sensibilities. Their debut EP ‘woo’, recorded with bassist George Pettis (100 Watt Horse) and producer Graham Tavel, showcased floral print’s vibrant pastiche of psych-pop, early emo, ambient, and deconstructionist rock. Following ‘woo’, the duo (rounded out by a rotating cast of bassists) embarked on numerous tours throughout the East coast and Midwest, making friends and tightening up their sonic communication skills. In summer 2016, floral print linked up again with Tavel to start recording their debut full-length, entitled ‘mirror stages’, at Broad Street Visitor’s Center in Downtown Atlanta. The tracks on ‘mirror stages’ display a marked change in tone from ‘woo’, as glimmers of noise, distorted melancholy, and manic energy imbued their sound with more nuance and stylistic aberrations. Following the recording of ‘mirror stages’, floral print rounded out its lineup with the addition of Josh, Paris, and Lily as the band charts a new course for future tours and releases."
After first meeting on a whim over Facebook, what started out as a chance occurrence between drummer Paul DeMerritt-Verrone and singer/guitarist Nathan Springer (Narrator) sprouted into a continually exciting and unpredictable collaboration. The pair first started practicing and performing around Atlanta, GA in late 2014, and quickly started honing their penchant for dizzying song structures and erratic rhythms grounded in pop sensibilities. Their debut EP ‘woo’, recorded with bassist George Pettis (100 Watt Horse) and producer Graham Tavel, showcased floral print’s vibrant pastiche of psych-pop, early emo, ambient, and deconstructionist rock. Following ‘woo’, the duo (rounded out by a rotating cast of bassists) embarked on numerous tours throughout the East coast and Midwest, making friends and tightening up their sonic communication skills. In summer 2016, floral print linked up again with Tavel to start recording their debut full-length, entitled ‘mirror stages’, at Broad Street Visitor’s Center in Downtown Atlanta. The tracks on ‘mirror stages’ display a marked change in tone from ‘woo’, as glimmers of noise, distorted melancholy, and manic energy imbued their sound with more nuance and stylistic aberrations. Following the recording of ‘mirror stages’, floral print rounded out its lineup with the addition of Josh, Paris, and Lily as the band charts a new course for future tours and releases."
100 Watt Horse
100 Watt Horse is a folk and country infused garage-pop outfit founded in Atlanta aroundabout 2012 and currently based in sunny Tallahassee, FL. Headed up by writer and multi-instrumentalist George Pettis and rounded out by producer Graham Tavel, the project has had myriad lineups and taken many forms since its inception: duo, trio, full band, etc. 100 Watt Horse has released two full length LPs, a live album, and three EPs while touring extensively all around the U.S and in Ireland. At the moment, George is touring occasionally as a solo act and is busy in the studio with Graham recording a follow-up to 2020’s “Dog is Good” full length (released via Philly-based Sleeper Records). With influences ranging from Elliot Smith to Arthur Russell to Brandi Carlile, Pettis writes emotionally charged melody-driven songs that are equally at home in a living room and a smoky dive bar.
100 Watt Horse is a folk and country infused garage-pop outfit founded in Atlanta aroundabout 2012 and currently based in sunny Tallahassee, FL. Headed up by writer and multi-instrumentalist George Pettis and rounded out by producer Graham Tavel, the project has had myriad lineups and taken many forms since its inception: duo, trio, full band, etc. 100 Watt Horse has released two full length LPs, a live album, and three EPs while touring extensively all around the U.S and in Ireland. At the moment, George is touring occasionally as a solo act and is busy in the studio with Graham recording a follow-up to 2020’s “Dog is Good” full length (released via Philly-based Sleeper Records). With influences ranging from Elliot Smith to Arthur Russell to Brandi Carlile, Pettis writes emotionally charged melody-driven songs that are equally at home in a living room and a smoky dive bar.
Mamalarky
“Mamalarky’s tenderly tangled indie rock has the internal logic of ridiculous jokes shared
between band members after spending weeks on the road together. In 2020, the young Atlanta-
based quartet had more than enough time in each other’s company to develop an idiosyncratic
musical language. The sum of friendships and collaborations dating back to their teenage years,
the band’s debut album (Fire Talk 2020) melds flashy instrumental moves with head-sticking
hooks and lovesick lyrics welcoming anyone into their private world. While Mamalarky are
ostensibly an indie-pop group, they stand out from the laid-back melancholy moods of
contemporaries with complex instrumental interplay that inspires lean-forward listening.” - Jesse
Locke for Pitchfork
“Mamalarky’s tenderly tangled indie rock has the internal logic of ridiculous jokes shared
between band members after spending weeks on the road together. In 2020, the young Atlanta-
based quartet had more than enough time in each other’s company to develop an idiosyncratic
musical language. The sum of friendships and collaborations dating back to their teenage years,
the band’s debut album (Fire Talk 2020) melds flashy instrumental moves with head-sticking
hooks and lovesick lyrics welcoming anyone into their private world. While Mamalarky are
ostensibly an indie-pop group, they stand out from the laid-back melancholy moods of
contemporaries with complex instrumental interplay that inspires lean-forward listening.” - Jesse
Locke for Pitchfork