Category: News
Review: Hotel Fiction: ‘Soft Focus’
Hotel Fiction’s debut album Soft Focus is finally out today. Written and recorded over the past two years, Soft Focus is a complete introduction to the potential Hotel Fiction brings to the table as musicians, writers, and creatives. It’s rare that a musical act steps forward with such a complete vision and polished presence, but Hotel Fiction has done just that and more – it’s no wonder they keep climbing.
Since the release of “Astronaut Kids,” the duo has been hard at work gaining a following within and outside of Athens with five follow-up singles and multiple supporting tours. (Their first song has now garnered over a million plays on Spotify; they’ve also landed on two playlists curated by Spotify with their last single “Daydrifter.”) Now, in addition to their full-length album, they have an impressive line-up of show dates for the fall, including some dates opening for Adam Melchor.
If you’ve seen the band perform live, it quickly becomes apparent that Jade, Jessica, and their band ensemble (which continues to expand) possess unique chemistry on stage and have the skills and experience to deliver their vision to its full artistic capacity. These same qualities that make them so fun to watch live translate extremely well throughout this record. With a clear understanding of what makes a good record and what makes a great record, they create their own multiverse throughout each song with hidden musical elements, overarching themes, and small little details that tie everything together. The rhymes and the melodies throughout are so well-crafted and the production so refined, you’ll keep hitting repeat.
Soft Focus is a collection of coming-of-age songs set in the current zeitgeist. Hotel Fiction knows what it feels like to grow into adulthood in a time of ecological collapse, political unrest, social isolation, and the shattered illusions of “you can be whatever you want to be.” “Soft Focus” — the title track — is an incredible tribute to each of these and is surely the thesis of the whole album. It both understands that sometimes life is a shitshow and “the world is on fire,” but reassures you that as long as you keep things in perspective (or… soft focus, rather), you’ll be just fine. Both lyrically and sonically, the song transforms from longing for simpler times into the vibrant, messy present.
The album’s closer, “17,” is an emotional ode to missing the times you’ll never get back. It’s about leaving behind childhood. But also, about that moment when the floor gave out from under all of us and the things we loved so much (like dancing in our favorite clothes) were no longer an option. The bittersweet nostalgia of it all is ever so present here. By being themselves and telling their own stories, Hotel Fiction does what every band hopes to do which is connect with their listeners and make them feel less alone.
Soft Focus is available for streaming now on all platforms.
If you want to experience the magic in person, head to the 40 Watt tonight to catch Hotel Fiction, CLOUDLAND, and Daddy’s Beemer perform.
Not in Athens? Catch them on tour!
- 08/28 — Gainesville, FL
- 08/29 — Lee, SC (Hypefest)
- 09/09 — Asheville, NC
- 09/10 — Atlanta, GA
- 09/11 — Nashville, TN
- 09/16 — Richmond, VA
- 09/17 — Abingdon, VA
- 09/24 — Athens, GA (Athfest)
- 09/25 — Sevierville, TN
- 10/12 — Cleveland, OH
- 10/13 — Cincinnati, OH
- 10/14 — Indianapolis, IN
- 10/15 — Chicago, IL
- 10/16 — Appleton, WI
Review: Hotel Fiction: “Daydrifter”
Athens-based duo Hotel Fiction released their latest single ‘Daydrifter’ last Friday. Like every other song in their catalog, this one was also produced by Tommy Trautwein of We Bought a Zoo Records. Best friends Jade Long and Jessica Thompson are determined to bring a fresh sound to the table with every new track they put out; “Daydrifter” is no exception.
The beginning of “Daydrifter” starts off with bird songs, which was coincidentally–or maybe intentionally?– how their last single “Think Twice” ended. The song instantly sounds like a campfire tune from the bright strum of the guitar to the smooth rhymes of each phrase. Although sonically different than their previous singles, Daydrifter returns to the psychedelic lyrics and imagery that made listeners fall in love with Jade and Jessica in the first place. In their first single, “Astronaut Kids,” Hotel Fiction wanted urgently to escape the growing pains of being 20 by becoming “an astronaut who sails the sea.” And now, two years later, things have come (almost) full. As shapeshifters in “Daydrifter,” the two pronounce that they are ‘sun sailors,’ watching the sky burn. In a similar vein, Hotel Fiction desired to go to the moon and take off into the sky in “Astronaut Kids.” Now, they are still far off in the atmosphere but in a more self-assured tone. This time they are the moon craters, watching the earth turn.
The pair (or rather the trio because I have a hunch that Tommy frequently plays an important role here) have previously shown just how much they enjoy changing their sound midway through a song, either by adding something new or by taking something away. For example, in “Think Twice,” when the first segment of the song ends, they add in a minute and half long instrumental that crescendos and then floats back down. Or like in “Ghost Train,” during the bridge, when the strings drop away momentarily and all you hear is piano chords, an echoey harmony, and Jade’s vocals with a new vocal effect. And on and on… A similar shift is seen in this song. The second half adds in dreamy slides, a little twinkle in the background, and even a whole new narrative in the lyrics. Just like previous songs, the subtle tone change here works beautifully, enough to make a listener want to keep listening (and coming back).
Hotel Fiction’s album comes out next month. And maybe you can catch them in your city during their Fall 2021 tour. “Daydrifter” is available to stream on all platforms.
REVIEW: Mary Margaret Cozart: ‘Emerald City’
There have been times over the past year that I’ve felt like a parked car in the middle of the interstate. The world keeps moving forward, just as fast as before, but I’m stagnant. It’s a feeling I think is common among young adults during the pandemic. Their metamorphosis from child to adult was interrupted to return to childhood bedrooms, yet we are expected to come out of this time unaffected. Mary Margaret Cozart’s debut EP, Emerald City intimately explores this arrested development.
An Atlanta native, Cozart came to Athens, Georgia to study classical guitar and music business at the University of Georgia. Like the rest of us, when UGA’s campus shut down due to the COVID-19 pandemic Cozart retreated home. It was here, in the confines of her childhood bedroom that Cozart came full circle, writing songs in the same place she had begun years earlier. Emerald City, Cozart’s debut five-track EP was released today, now available for purchase on Bandcamp and streaming platforms. The EP is intended to “address facets of the pandemic crisis and draw parallels to the Wizard of Oz.”
To be frank, the parallels to the Wizard of Oz are vague at best. Listening to the tracks searching for parallels to the film left me with a headache and questioning my position as a Judy Garland stan. However, once I dropped the search for deeper meaning I found it almost immediately.
Wake up, silly boy, you can’t hide away forever
You know what you’ve got to do
I know you’ve struck out maybe more than the next
But that’s no reason not to pick up where you left.
If I’m a parked car on the interstate, “Like You Should” speaks to the cacophony of honking horns demanding I move. Cozart’s melodic voice seems to address the listener directly, offering both understanding and encouragement to find the strength to reclaim our lives after this forced hiatus.
Fans of Madison Cunningham, Sara Watkins and Faye Webster can find understanding in Cozart’s silvery voice and skilled guitar as we come to terms with who we are and how we’ve changed over the course of the last year. As someone who relies on artists to convey the feelings I am incapable to name, I look forward to seeing what deeply personal, yet universal message Cozart captures next.
Courting: ‘Grand National’
If there’s anyone who hasn’t lost complete touch over the ever-fleeting artistry of social commentary rock, it would undoubtedly have to be the Brits. Championing the genre as what might be a post-post-punk reaction to the spawn of angsty British lyricism, Courting have recently released a 4-track debut EP that delivers a wonderfully refined twist to contemporary British rock in a way we haven’t seen for quite a while. In recent years, fast-paced, talk-singing punk bands like IDLES, Shame, Black Midi, and Black Country, New Road, have come to dominate the British indie and underground rock scene, paving the way for a new-age niche punk genre, lyrically packed with political criticisms and socially charged objections to the systems we’ve found ourselves uncomfortably embedded into. Courting’s mission with their music more than adequately follows suit from this distinct style, however within an arguably more derisive– cheeky, even–lyrical framework.
Rhythmically sound and anticipatory in its build of angst, Grand National covers an impressive scope of socially perceptive topics. At the forefront of the band’s social revelations, however, is blunt in the name: the Grand National is a prominent horse racing event that takes place annually in Liverpool, England (their city of origin). This obvious expression of contempt for events like the British Grand National perfectly matches the overriding theme of the EP’s lyrical sentiment. Singer Sean Murphy O’Neill’s abrasive chants resonate with me as a collective frustration that many young revolutionaries–as well as casual social observers–increasingly share: something about feeling ridiculously unattuned to some of the similarly abuse-ridden practices as horse-racing. Themes that appear throughout Grand National’s musical dialogue are society’s persistent devotion to practices of capitalism, mundane yet obnoxious displays of wealth, along with the generally exploitative nature of pop culture, music, and art. Sarcasm, humour, and wit encompass the EP’s thematic makeup, accompanied by deliveries of very valid criticisms and catchy, gritty guitar riffs. The EP begins with an outright objection of British national norms and values, found abundantly in Grand National, weeds through scattered ideas surrounding casual elitism present in various British social arenas, and resolves on justified jabs at the confusing yet enduring influences of Kanye West and Ed Sheeran. In fact, that’s kind of all that “PopShop!” is about. The song delves into the dire state of popular music and musicians: an unceasing cycle of often problematic pop icons dominating charts, and producing the same disposable yet generically profitable sounds. Furthermore, “Popshop!” chants on about other long-standing issues of the music industry, such as the age-old theme of selling out to corporate ownership and labels’ soul-sucking tactics of artist exploitation.
Between their contemplations over lawn culture being kind of odd and unnecessary, and their more critical takes on social media’s tight grip over our priorities and perception of reality–Courting have devised an astonishingly catchy, and tastefully punk, first EP. With only a few songs out before Grand National, it serves as an exciting introduction to the musical potential of Courting, a group of four nonconformist Brits clearly committed to their authenticity, and more importantly, to never selling out.
Check out the EP on all major streaming platforms and Bandcamp, link below.
Bonnaroo 2018: The Best and the Worst
We came, we saw, we roo’d. Over the Bonnaroo weekend we witnessed, listened, and tasted everything from the magical and amazing to the “could have been better,” to the just plain no. We’ve compiled a list of what we found to be some of the best and worst of Roo this year.
First up, our favorites…
Eminem
Criticisms aside, Eminem’s Bonnaroo performance may just be one of the best produced performances we have ever seen in awhile. While his performance was nearly identical to that of previous dates – looking at you Boston Calling – we did walk in with no expectations. Slim Shady musically delivered above and beyond what any old school fan would have wanted. From the “My Name Is,” “The Real Slim Shady,” and “Without Me” throwbacks, to the accompanying orchestra, the stunning duets with Skylar Grey, and to the overall production detail, Eminem’s 2018 Bonnaroo performance is high on our list.
Sheryl Crow
Her songs may date past the birth years of some Bonnaroovians, but her late afternoon performance proved that Sheryl Crow is still relevant and she’s still got it. The What Stage field was in sing-a-long mode for her entire set, even surprising Crow herself. How could it not be a little surprising when you have millennial males singing every lyric and holding up signs that say “Bros for Crow.”
The Norm
Once upon a time The Norm got their way into Bonnaroo by parking cars. This year The Norm got into Bonnaroo by actually playing the fest. Step-brothers Bryan and Ryan were the Georgia winners of Miller Lite’s “Road to Roo.” In the local battle of the bands competition, The Norm were ultimately victorious and earned their spot on the stage of the New Music On Tap Lounge Brewed by Miller Lite in the middle of Centeroo.
The Revivalists
David Shaw is a true showman. The energy he brings to every set radiates into the crowd. Even during a sunset set, a time at Roo where most are tired from the already long day and trying to prepare for the long night ahead, his stage presence was reviving. The Revivalists opened with “It Was a Sin” turning The Which stage field into a energizing sing-a-long. More fan favorites followed and Shaw’s complete ownership of that stage and crowd helped get us ampt for the rest of our night on The Farm.
Kalliope
All hail the real return of Kalliope. The gypsy wagon themed stage was the spot to keep the party going until sunrise every night of Roo. Special late night and sunrise sets came from Kaskade, Space Jesus, and our two favorites Shiba San and CloZee. If you want to lose track of time at Bonnaroo, Kalliope was the spot. After seeing some of the biggest names in the electronic world it didn’t take long to be immersed in their world until the birds began chirping and the sun began to rise.
What So Not
Last year we were introduced to what quickly became our favorite Bonnaroo stage, The Other. While we didn’t find ourselves at The Other quite as much as last year, we did happen to catch some great sets there, including What So Not. What So Not is an electronic music project by Australian record producer Emoh Instead (Chris Emerson), and formerly a duo with record producer Flume. In a tweet shortly after his Roo performance, What So Not tweeted:
Playing bonnaroo is something we’ve been planning for almost 4yrs. Last night my time came & everything fell into place like magic. I couldn’t even see where the crowd ended & the hype & energy you all gave was unparalleled
Doughnuts
We’ve talked about these doughnuts before, and we’re going to talk about them again. If you want to truly put something life changing into your mouth, you will go and find Peachey’s Baking Company (formerly the Amish Baking Co.), and you will buy one doughnut (actually you’ll buy more after the first one) and one pretzel. Then you will eat these fresh, hot, made on-site delicacies together to get your sweet and salty fix. Truly just a doughnut and pretzel couldn’t be as “life changing” as we hype them up to be…but they are. Trust us.
Now onto what could have been better…
Slander
Maybe Slander just wasn’t for us. Or maybe it’s just that they aren’t that good. I’m sure almost 482,000 Facebook fans would tell us otherwise, but when you first come out to a Linkin Park remix, add in some screaming into the mic about being from L.A. and that they came to “fucking party with us,” it’s that kind of set that just makes you say absolutely not, pick up your stuff, and move on to something more substantial. To the Slander fans out there, we tried with an open mind, but they’re all yours.
Tom Petty SuperJam
We’re torn on this one. The Superjam is a longstanding Bonnaroo and this year’s SuperJam was truly stacked with once-in-a-lifetime collaborative performance. Musical directors Patrick Hallahan of My Morning Jacket and Craig Pfunder of VHS or Beta lead the celebration of the music of Tom Petty & The Heartbreakers. Paramore’s Hayley Williams, Sheryl Crow, Sylvan Esso’s Amelia Meath, Bon Iver’s Justin Vernon, Rayland Baxter and his father Bucky Baxter, all took the stage to bring life to some Petty classics. The set highlighted the greatest hits and manifested crowd sing-a-longs, but it was lackluster and the collaborations felt forced.
Bonus:
Dear Bonnaroo, bring back more porta potties. We don’t need to go into any details, as you can imagine. Just a request to make possibly the worst thing seen (and smelled) at Roo this year, better.
Contributions from Savannah Chachas
Sun Seeker Tour Diary + Interview: Shaky Knees 2017
[tps_header]
Full. Chill. Mode. Three words that could describe Sun Seeker’s afternoon Shaky Knees set, our hang with these guys, their time enjoying the fest, and (last but not least) their music. Alex Benick (Vocals/Guitar), Asher Horton (Bass), Ben Parks (Drums), and Rodrigo Avenda (Keyboard) took some time to have a chat with us about what they have coming up this summer. Read all the details below and check out Sun Seeker’s Tour Diary from when they took one of our disposable cameras for a wild behind the scenes ride.
Vinyl Mag: Hey guys, so this is your first time at Shaky Knees?
Sun Seeker: It is! We love it. And to me it’s the best festival lineup of the summer.
VM: We definitely can agree on that. You guys just played today and had an awesome afternoon set. Is there anyone in particular you’re looking forward to seeing?
SS: We really enjoyed Courtney Barnett, David Byrne, Fleet Foxes yesterday. We’re excited about Parquet Courts, War on Drugs, we like Alvvays a lot. There’s just so much to remember…Also Post Animal tonight late night.
VM: I know you are about to start working on a new album…
SS: We are recording it in our hometown. I don’t know all the details I can share at this moment, but we can say that yes we are starting to record this summer.
VM: Do you have any other summer plans?
SS: That is all we’re really wanting to do and focus on that. We have some scattered festivals but it’s really that. We’ve been demoing a lot, Alex has been composing songs, and we have all been getting together a lot to write parts and figuring stuff out. That’s a really good head space for us to be in so we’re just going to be focusing for awhile.
VM: Well, we are looking forward to hearing what comes next from you guys. When it comes to your sound as a band, I’ve read quite a few times your music being called “Cosmic Americanna.” I did recently also read that you never stated that your music be labeled as such. So, in three words or less how would you describe your music to someone who has never heard it before?
SS: Chill, pretty, music. I’ll use music as one of the words to avoid any sort of confusion. It is music. Or at least what we know to be. You can get really conceptual about it. It could be spoken word.
Self aware earnestness.
We came for the whole weekend to just play the day. We are in full chill mode. Just like our music: Full. Chill. Mode.
Click through to see Sun Seeker’s disposable camera tour diary below!
[/tps_header]
Daddy’s Dogs, our pre-game huddle.
Artists to Watch: Hangout 2018
It’s about that time of year where we find ourselves on the beaches of Gulf Shores soaking in every minute of Hangout. This year’s festival, once again, boasts a varietal lineup. From heavy hitters Kendrick Lamar and The Killers to the up and coming, this beach party has a little bit of everything for everyone. Here’s a shoutout to a few artists we’ve been keeping an eye on and look forward to seeing this weekend at Hangout ’18.
ALEX LAHEY
The 24-year-old Australian musician takes her rise up the ranks from music student to ‘an artist with one of the most highly anticipated debut albums of 2017. A founding member of avant poppers Animaux, multi-instrumentalist Lahey has now gone solo and pared down her sound, embracing a simple, home-spun story-telling style that’s often underlined by her second love, the fuzz pedal.
BAHAMAS
Afie Jurvanen is Bahamas. And (self stated) his new album Earthtones is his best yet. In his own words, Jurvanen shares that his latest work is a very positive album about having a joie de vivre for the joys of life.
GRETA VAN FLEET
No that isn’t quite Led Zeppelin you’re hearing. With an eerily close resemblance to those English rockers, Greta Van Fleet has been making it known that rock-n-roll is alive and well. With inspiration drawn from the likes of Cream, the Yardbirds, The Who and other 60s British favorites, this young and ambitious rock quartet (three of which are brothers) are quickly on their way to achieve greatness and creativity far reaching beyond their ages. Greta Van Fleet’s debut EP Black Smoke Rising, sees the band straddling the line between timeless and future, sounding at once like many things you’ve heard before and also something you’ve never heard before. Their sound is anthemic, loud, and captivating – you don’t want to miss them on Sunday at Hangout.
NONAME
Chicago rapper and poet Noname (formerly Noname Gypsy) brings an observant eye and quiet patience to a soulful R&B-meets-hip-hop style influenced by Lauryn Hill, Andre 3000, and Buddy Guy. Born Fatimah Warner in Chicago’s Bronzeville neighborhood, Noname frequented open-mike nights and slam poetry competitions when she wasn’t volunteering with the local YOUMedia arts program. Befriending fellow Chicagoan Chance the Rapper proved fortuitous: she appeared on “Lost” from Chance’s Acid Rap mixtape in 2013, helping her gain a wider audience. Before her debut, she contributed to Mont Jake’s Shadow EP and “Finish Line/Drown” on Chance’s 2016 hit Coloring Book. Three years in the making, her first album, Telefone, arrived in the summer of 2016. The coming-of-age blend of soul vocals, atmospheric textures, and Noname’s spoken-word featured production by Chance associate Cam O’bi, Phoelix, Saba, Monte Booker, and Them People.
SHALLOU
Maryland-born producer shallou catapulted from relative obscurity to prominence by way of his debut All Becomes Okay EP (2017). Since 2014 Joe Boston has been writing/producing bright yet melancholy electro pop under the name shallou. With his new Souls EP out last month, shallou explores the cycle of love through summery yet solemn vibes, focusing on two people as they come together and break apart again.
SUNFLOWER BEAN
With a guitar core, classic rock-inspired roots, Brooklyn’s indie rock trio Sunflower Bean has earned much deserved attention over the past few years for their alternately rock-edge and dreamy sound. The band was formed in early 2013 by Nick Kivlen (guitar/vocals) and Jacob Faber (drums) while they were still in high school. Julia Cumming’s (bass/vocals) addition later in August 2013 would further expand and complete the band’s lineup. The release of Twentytwo in Blue this past March showcases how far the band has come since playing together in their high school days, but also how the band is still evolving and creating their sound.
TANK AND THE BANGAS
Their name is familiar and it’s familiar for a very good reason. We were first introduced to Tank And The Bangas in early 2017 when video of their victorious performance at NPR’s headquarters (after their unanimous win of this year’s Tiny Desk Contest) went viral. Rummaging through their sound like a thrift store hippie, you’ll find the Bangas to provoke a musical reference of Rhythmic Soul and Spoken word among other genres such as Rock, Gospel, Funk, and Folk. Combining the various musical technique among the Bangas, coupled with the instilling play on lyrics from the lead vocalist; Tank and The Bangas have quilted a unique sound that singles them as one of the most distinctive groups to come out of New Orleans.
Scene Spotlight: Athens Hip Hop
ATHENS, GA—The town renowned for cultivating R.E.M. and the B-52’s has long been a haven for indie rockers; the rent is cheap, the locals are always buzzing around concert venues, and starting a band is so easy that virtually everyone and their mother is in one. Over the decades, the outfits at the forefront of the scene have rotated from R.E.M. and Pylon in the ‘80s to Widespread Panic in the ‘90s, The Whigs in the ‘00s and Of Montreal and Reptar in the ‘10s. While relatively few Athens bands have achieved widespread commercial success, being revered locally cements them into the culture and reflects broader trends in the worldwide music industry, which raises an interesting question – where is the hip-hop?
Undeniably the most relevant and popular music genre of the past decade (corroborated by even the Pulitzer Prize Board, who for the first time eschewed a classical or jazz artist for the Pulitzer prize for music to award Kendrick Lamar for DAMN.), hip-hop had long seemed absent from the small town that loves to boast of its thriving music scene. Perhaps most perplexing is Athens’s hour-or-so proximity from Atlanta, the culturally rich metro where over half the population is African-American and where some of the biggest names in rap call home. On the surface, Athens appears to spawn white rock bands like rabbits spawn other rabbits, but behind-the-scenes (and more recently, in the spotlight) is a tight-knit, passionate, and grinding community of hip-hop artists who are redefining the music scene in Athens. I spoke to some of them to get the low-down.
On March 25, Athens presented its sixth annual Hip Hop Awards, honoring artists like Caulfield for best male hip hop artist and Seline Haze for best female hip hop artist, StackBoy Twaun for best producer, and Fly Visionz for videographer of the year. Among the award recipients is promoter Sam Lipkin, who won mover and shaker of the year as well as best event promoter in connection with her blog Volumes Hip Hop. The awards are based on community votes, which substantiates Sam’s place at the heart of the hip-hop scene. She tells me she got started in January 2017 wanting to do more than be a fangirl for her many rapper friends; “Kevin Boyd [AKA Son Zoo] told me the fall before I started the magazine that that’s the one thing we don’t have is exposure. There’s not a lot of hip hop exposure in the main magazines.” So she decided to create a blog that would give Athens hip hop the dedication and exposure it deserved, and in January it went full digital, including interviews, cultural pieces, and event listings. Javae Chapman, local artist known for his poetic, lo-fi style of hip-hop (you can listen to his brand new release here), says “Athens doesn’t even have a hip-hop radio station, so the only way to experience any hip-hop is to either create it yourself, or come out to a local show.”
That’s one way that the Athens music scene has evolved – venues have become much more accepting of hip hop than they have been in the past. According to Sam, “I think the city has seen that hip hop is profitable to them. Maybe in the past there was a strong reaction against it because of some stereotypes but also I just don’t think they saw the worth of it.” Now, hip hop in Athens is becoming more mainstream, with Sam noting that “there are a lot more daytime events instead of hiding hip hop away at nighttime.” Amel Alyamani, Athens coordinator for music blog Hand Me The Aux, reported that the last show they put on sold out the Caledonia Lounge, a predominantly indie rock venue, saying “it was incredible how many supporters came out for the Athens artists.”
Despite challenges of visibility, artists have been achieving goals and making waves in Athens and beyond – Caulfield, the innovative, self-described “garage rap” hip hop collective comprised of Curtison Jones, DJ Luke Highwalker, and Scott Sutton, opened for Ugly God at the Georgia Theatre last fall and more recently, for Bone Thugs-n-Harmony at Terminal West in Atlanta. DK and Seline Haze, a local couple who are both independent up-and-coming rappers, “have probably done the most out-of-town shows that I’ve seen,” says Sam, but you can catch them in Athens on May 12th at Flicker Bar. Linqua Franqa, local hip hop star who has heavily impressed with her debut self-titled album, was praised in the New York Times for her SXSW performance, and is headlining Athfest this summer. Kxng Blanco, an 18-year-old Clarke Central High School student and promising newcomer in the scene, received media attention when he performed his song “Dear AmeriKKKa” at a Black History Month assembly and received an in-school suspension for it being deemed offensive. Alongside the rise of hip hop’s visibility in the town is a push by members of the scene to make a political difference in the community. Tommy Valentine, a former rapper and longtime pillar of the scene, is running for District 9 county commissioner while Mariah Parker AKA Linqua Franqa is running for District 2 county commissioner, both of whom have received ardent endorsements from various hip-hop artists in Athens.
The tight-knit community that defines and bolsters musicians in Athens doesn’t exclude its hip-hop artists; even in an overwhelmingly cut-throat, competitive genre, Sam tells me “there’s a lot more willingness to raise each other up in the community. Maybe it used to be more just a culture and now it’s truly a community.” Everyone I talked to agrees – SeanC, local rapper who dropped a remix of Nas’s “Life’s a Bitch” and Flight Facilities “Crave” late last year, recalled a moment at a Caulfield show when he felt truly accepted in the scene: “Not a lot at the event knew me at the time, and when Caulfield stepped off, some of the crowd left before my set. I vividly remember his DJ, Brian, Luke Highwalker grabbing me by the shoulder and saying, ‘that’s not how we do it around here.’ He walked outside, and grabbed the whole crowd, and brought them back. After him and Caulfield hyped the crowd he said, ‘You’re one of us now, and we rock with everyone’s shows.’” There is an adrenalized energy rumbling through the hip-hop scene in Athens, Georgia, and in the words of one of their own, SeanC, “it feels like it’s only a matter of time before someone blows up, and whoever it is, it’s well deserved,” and anyone who is familiar with these artists couldn’t agree more.
Meet The Next Generation of Athens, GA Music Scene
Boasting R.E.M., the B-52’s, and the Drive-By Truckers, it’s no secret that the Athens, GA music scene has a rich history. The Music Business Program housed within the University of Georgia—just steps from downtown Athens—is continuing this tradition, now raising much of the next generation of this local scene.
“We try to take people from a standpoint from ‘Who am I?’ to ‘Who I am,'” said David Barbe, director of the program and successful musician in his own right. Much of this development culminates in the final project of the program, a music business microcosm in which each student assumes a role in music business such as artist manager or publicist.
Many students choose to take on the role of artist, and thus are required to release music—with cover art—and promote the release. This year’s projects paint a hopeful picture for the already well-established Athens scene, with 17 new releases from local bands and artists.
“So far, I would think that it’s arguably the best ones we’ve ever had. There are more of them, they are more varied in style, and the quality of the real standouts is really a level up. It’s been the most musically diverse,” said Barbe. “We expect rock bands and we expect rappers, but we’ve got Annie Leeth‘s tripped out electric violin project, we have Eric Dowler‘s album of World War I era songs, and there’s satirical rap… It’s been all over the map, which is great.”
Some of these artists, just weeks after release, are already clocking over a thousand streams and seeing revenue from downloads—an impressive feat for what started as a class project. Check out the following up-and-coming artists from the Athens scene:
Conner Brooke Dryden has the vocal chops to fit in the current country music scene without having to succumb to the over-produced country pop plague that seems to be overtaking the genre. Her single “Something Beautiful” is straightforward in instrumentation and honestly doesn’t need much else—Dryden’s clean vocals are the star of the show, as they should be. Check out the single on all major streaming platforms.
Logan Brammer’s “November Night” is a nice, nostalgic track. It’s kind of calming and seems to have some Beatles influence thrown in there. I will say, this is the only track that totally got stuck in my head for like, hours after that first listen—the chorus is that catchy. Definitely didn’t mind. You can find “November Night” on bandcamp.
If you’re not the electronic-instrumental-meditation-music type, Annie Leeth’s new EP “Heard” might just convert you. It’s super ambient and vibe-y, but what really shines is that Leeth seems to seriously know what she’s doing with a violin—both technically skilled and able to get the instrument to make sounds that I’d guess many haven’t heard it make before. This isn’t run of the mill, classical studying music… it’s a whole new beast. You can find “Heard” on the major streaming platforms.
Property of Bolton have taken the classic rock band setup and done it well, with a darker sound that’s simultaneously groovy and gritty. The group’s EP, “Epicycles,” is so well done that it’s hard to believe this was done for a school project. The separate pieces of each track flow so cohesively that everything feels intentional—like the group has a solid grasp on what they’re going for and are not afraid to go for it. Check out “No Faith,” not just for the ripping lead guitar but also the line “I ain’t got no faith in the government” because, relatable. Check out the EP on bandcamp.
Josie Smith’s “June” is short and sweet. Her vocals are sweet, the premise is sweet—and it shines in this simplicity. The track is a good example of how music doesn’t have to be so heart-wrenching, so complicated to still be great. The release seems to be just a taste of what’s to come from Josie, and you can check it out on bandcamp.
Eric Dowler’s “When The Boys Come Home” is cool in that it’s hard to find anyone else, let alone a 20-something student, doing this right now. It’s clear that Dowler is dedicated to his craft as well as doing his historical subject justice. The album definitely gives an interesting insight into World War I, giving a musical perspective that one might not get from a casual education in the subject. You can find “When The Boys Come Home” on bandcamp.
Darsana’s latest indie-pop EP “Heartless,” is pretty chill, to put it simply. Definitely recommend checking out the opening track “Callouseer” and the title track “Heartless,” both of which seem like great easy-listening, on say, a lazy weekend afternoon or something along those lines. You can find “Heartless” on bandcamp.
Guest House’s latest release, “Sleep,” is intriguing. It’s not quite something to study to, because it definitely draws you in and makes you want to listen, but it would fit in well in a coffee shop setting. For some reason this felt super visual—like, listening to it actually triggered my brain to put together a full indie-movie montage. Some music just does that, I guess. Guest house makes you think, in a good way. Check it out on bandcamp.
There is a line between experimental in a cool, enjoyable-to-the-ear way and experimental just for the sake of being weird, and Sephine has found the balance. “Computerforest,” Sephine’s latest release, sounds like the kind of music your cool (but not snooty) indie acquaintance would casually throw on, spurring you to spend weeks trying to figure out how to ask who the band is without sounding lame and uncultured. The release is almost ethereal at times, until that funky sax kicks in or Anderson starts chanting. A personal favorite would be “Discothèque,” because the track is just kind of funky and definitely unexpected. You can find Sephine on bandcamp.
Rebekah Martin’s piano track “Tightrope” makes for great study music in that it has a nice melody that’s not too overpowering. There’s this near-constant buzzing, which seems intentional but regardless of if not, the juxtaposition between that and the piano totally works—the roughness of the buzzing keeps the piano from being too buttoned-up. Again, being just one single, this seems to be just a taste of what’s to come from Martin. You can find the track on her bandcamp.
Whether you’re a fan of “Xanax Culture” or seriously annoyed by it, you need Xanny P in your listening lineup. For satirical rap, it’s surprisingly well produced and the character that is “Xanny P” is hilarious (and cultured, apparently. Check out his ‘gram if you don’t believe me.) The guy is already packing out the Georgia Theatre rooftop and spreading like crazy via word of mouth. Plus, it’s #Dartyszn, ya’ll—never a better time to check him out on all major streaming platforms.
Punk rock fans, PNK is for you. I’d say he falls in more of an early Green Day vein than say, Blink, in a rip-roaring, high speed—and never slowing down—kind of way. His latest single, “Sitting on the Bathroom Floor” is gritty, high-energy, loud and a fun listen from the first note. (Also a fun fact—PNK’s Tyler Peters played a part in the production of quite a few of these releases. Three cheers for having multiple skills!) You can find PNK on all major streaming platforms.
Elrod’s self-titled EP has definite outlaw themes throughout, with an interesting mix of generally acoustic instrumentation and her almost-bluesy vocals. It’s cool in an imperfect, rock ‘n’ roll kind of way. All of the separate pieces are great, but there are definite shining points in her harmonies and the lead guitar. For some reason, I immediately thought of Cheyanne Kimball’s solo album while listening to this, but haven’t quite figured out why yet. Anyway, check Elrod’s self-titled, currently out on Soundcloud.
Friday Highway’s latest release “I Told You/Rearview” gives major early 2000s singer-songwriter throwback vibes… but at the same time, it’s also the teeny-tiniest bit reminiscent of popular Red Hot Chili Peppers hits. Anyway, it’s interesting, and definitely in a good way. I’d recommend checking out “Rearview,” as it’s well done and the bridge takes an unexpected twist that keeps you on your toes. You can find Friday Highway on most major streaming platforms.
Kaitlin Kimsey, Jake Mappes and Jesse Inglima
This trio released a killer studio series covering Elton John and Guns N’ Roses. Each of the three musicians involved are seriously talented, so it makes sense that putting them together would yield a couple of great tracks. Kimsey’s rocker belt pairs perfectly with Mappes’ keys, making me wish the group had a couple of originals to check out. You can find the studio series on Kimsey’s Youtube and Soundcloud, or check out all three musicians in local Athens band Fake Mister.
Alright, so Garet Skipper’s latest release “Lies!” does not sound like it was made by some college student for a school project. This is well done. The track almost falls in a dream-pop vein, but not in an over-hazy bad way. It’s upbeat, fun, and so perfect for summer nights. For fans of, say, LANY, this is a definite recommend—actually, this sounds on par with some of the music the aforementioned group was putting out when it first started successfully touring the country, so there’s that. It’s so… marketable. Check him out on all major streaming platforms.
Lapetz’s latest single, “Time Lines,” is super simple and straightforward in composition, but it works. The narrative he’s rapping is interesting, it flows well and the refrain is catchy—Lapetz doesn’t really need a bunch of bells and whistles to make the track interesting. In a landscape where over-produced, dolled-up tracks seem to reign supreme, this release is refreshing. To listen to the single, or his EP “Early Works,” find Lapetz on bandcamp.
Show Review: Rainbow Kitten Surprise at the Georgia Theatre
Last time Rainbow Kitten Surprise played in Athens, Georgia, they played a single show at one of Athens’ mid-sized venues: the 40 Watt. Two years later, on Tuesday, April 3, they returned to Athens with Ohio-based folk band CAAMP for a show at one of the largest and most iconic venues in Athens: the Georgia Theatre. This explosion in popularity for the band in the Athens scene shows just how rapidly the band’s fanbase is growing worldwide. Rainbow Kitten Surprise, an alternative/indie group from Boone, North Carolina, fits right into the Athens music scene, and this showed during the concert by the sheer number of times the crowd knew all the lyrics to a song. Despite their rapid growth in popularity, the band hasn’t forgotten their history with Athens. After performing a song, lead singer Sam Melo asked the crowd who attended their previous show at the 40 Watt two years ago. Melo even remembered the name of the bar that he hung out with fans at after the show.
Rainbow Kitten Surprise made their entrance by walking out to a song reminiscent of “I Wanna Be Like You” from the Jungle Book soundtrack. The lighthearted song set the scene for the band’s stage presence throughout the show. The closeness between the band members could be seen in how they all interacted and joked with each other on stage as well as in how they fed off each other’s energy during songs. This made the show feel more relaxed as the audience got a peek at the comradery between the bandmates.
The band’s newest album, How to: Friend, Love, Freefall, is due for release this Friday, April 6, so it should be no surprise that the setlist for the show contained a healthy amount of songs from the new album mixed in with classic hits from older albums. The band started off with a hit from their soon-to-be-released album called “Fever Pitch”. As the show progressed, the band performed classics like “Cocaine Jesus” and “Devil Like Me”, which the audience ate up. The band lit up when the audience would unanimously sing back all the lyrics to these classics. Sprinkled into the set were a few more unreleased songs from their upcoming album. Some of the songs included powerful spoken word verses, similar to parts in older songs like “That’s My Shit”.
A variety of themes were explored in Rainbow Kitten Surprise’s new songs as well. Before starting one of the new songs, bassist Charlie Holt called out the devastating effects of the opioid epidemic across the United States before the band launched into a song exploring the suicidal and lethal effects that drug addiction can have on someone. One of the opening lyrics of the song stuck with me: “Try not to kill myself today”. The band isn’t afraid to be blunt with lyrics, and this heightens the emotional intensity in their music.
The emotional intensity didn’t come solely from the lyrics though. Lead singer Sam Melo performed the lyrics with a variety of expressions. On more upbeat songs, he would kick and twirl around on the stage in an odd way, but this only added to the energy present on stage. While he sang, Melo’s face would contort in various expressions and he would use animated hand gestures, almost as if he was acting out the lyrics or performing a free expression dance. Melo seemed to be telling tales through the lyrics as well as through his expressions and gestures, and this drew the audience further into the show.
The band exited the stage and promptly returned for not one but two encore performances. At one point during the second encore, Melo took off his shirt during “Run” and even entered the crowd at one point during “That’s My Shit”. The band left the crowd feeling electrified, exuberant, and content with the fact that there was no better way to spend a beautiful Tuesday night in Athens.
All photos by Emma Korstanje