Party in the Park 2014

Posted on by Jasmin Nash

Party in the Park took over Centennial Olympic Park this Saturday, May 17th to a huge crowd of flower headband adorned teens, hipster parents with well-dressed hipster children and drunken college students alike. The weather had cleared up perfectly, amidst horrid rumors of yet another rained out outdoor Atlanta event.

Aside from an already impressive lineup featuring the likes of Girl Talk, MGMT, The Joy Formidable, Minus the Bear and Stokeswood, Party in the Park featured a food village including vendors from Chick-fil-A and Papa Johns and an exclusive tent by the Party in the Park sponsors, the one of a kind Desperados tequila flavored beer.

The Desperados Tent, conveniently located in an ideal concert viewing space, was open strictly to those over 21 years old and featured a graffiti artist and various acts throughout the night – including sword swallowers, acrobatic dancers, and hula-hoopers in full body makeup.

Desperados, the new beer by Heineken, is blended with tequila barrel-aged lager. This mixture tones down the bitterness typically associated with beer and adds a smooth, sweet flavor because of its spirits influence. Desperados is perfect for a night out with its unique style, taste and dynamic packaging.

The crowd was enjoying themselves laying in the grass, in the Desperados tent or just arriving during Stokeswood high energy, easy-listening set that suited the mood instilled by the beautiful weather and environment of Atlanta’s day long festival in the park.

Desperados in hand, I joined the crowd seated on the grass and waited for Minus the Bear to take the stage. The crowd welcomed the Seattle, Washington natives with loud cheers. Starting their set off with “Summer Angel” off their 2010 album, Omni, Minus the Bear brought loud energy and a twangy guitar sound to re-energize the crowd. Mid-guitar change, Jake Snider welcomes the crowd and tells us how excited he is to be back in Atlanta—with a few references to the legality of pot in Washington with answering whoops and cheers thrown in—and proceeds to play a crowd favorite off of their 2005 album, Menos El Oso, “The Fix.”

Dave Knudson brought an amazing energy whenever he took center stage with an equally incredible response from the crowd, especially during his guitar solo in “The Fix.”

Minus the Bear ended their set with “Pachuca Sunrise,” which Jake Snider delivered beautifully.

Hailing from North Wales, The Joy Formidable was next to take the stage. With Ritzy Bryan as lead vocals and guitar and Rhydian Dafydd as bass and backup vocals, the two create a powerful force of energy and put on a fervent performance. Matthew James Thomas intense drum-banging added to the loud punch the band brought on. Overall, the Joy Formidable put on a powerful punch, playing crowd favorites like “Maw Maw Song” and “Whirring” and got me even more pumped to see one of my favorites, MGMT.

MGMT’s performance was everything I expected it to be – trippy visuals, a seemingly half-lucid Andrew Vanwyngarden and a performance that was exuded then filtered through a kaleidoscope of whimsical talent. Whether you were standing in the middle of the crowd in right by the stage or lying on the hill faraway watching MGMT’s performance as the sun set, both experiences would have been equally blissful.

By the time “Kids” came on, I had gotten to the lying down part of the show. When the first few notes were played though and recognition swept the crowd, everyone around me ran towards the crowd because of how infectious the energy was.

One of my favorite parts of MGMT’s performance only lasted a few seconds, but its simplicity and beauty was mind blowing. While some of the band members were changing out their instruments, Vanwyngarden began strumming the chords on an acoustic guitar to Carole King’s “You’ve Got a Dream” and sang a few lines of the timeless song.

Last to take the stage was Gregg Michael Gillis, better known as Girl Talk –and I say that loosely, because Girl Talk as well as about 50 festival-goers all took the stage together. Girl Talk was hidden behind two inflatable sneakers and a huge table, but his energy was explosive as the stage was filled with guys and girls dancing. The entire crowd was dancing and jumping along to the entire set – his first in three years.

Aside from the rambunctious, and sometimes inappropriate, ramblings of the hype man, British Nick, Party in the Park was one of the first outdoor Atlanta event in a while to deliver on all fronts – good drinks, an excited crowd, beautiful weather and amazing music all day.

The Stargazer Lilies: ‘We Are the Dreamers’

Posted on by Alexis Tiedemann

The Lilium ‘Stargazer’, or the Stargazer lily, is an oriental lily characterized by its vibrant pink color and very fragrant aroma. And as far as The Stargazer Lilies are concerned, it seems to be the musical equivalent of the poppies from the Wizard of Oz; once under their influence, you don’t feel like doing much of anything but laying staring at the sky, wafting gently along as if in a dream.

Previously of Soundpool, John Kep and Kim Field have left the faster tempo of their previous shoegaze tunes behind them while stripping and slowing down the sound to create The Stargazer Lilies, self-described as “butterfly wings, slowly beating guitars enveloping the listener, ethereal breathy female vocals floating on a melody, rocked out bossa nova beats and bad ass bass throwing down the rhythm.”

The We Are the Dreamers album cover is made up of lilies and leaves, with a misty, hazy gossamer filter. I spent a good amount of the time I was listening to the vinyl gazing at the cover itself. Inside is a similarly flowery page in bright pastels and organic hues overlaid with the whimsical and pensive song lyrics that make up the album. The record itself is a rich pastel-pink with the signature lilies in the center.

“We Are the Dreamers” starts the album off at a leisurely pace with an ambling melody and hypnotic vocals, singing “with stardust in our eyes, the clouds are at our feet, we are the dreamers, wide open are the skies.” The tune is soporific, as is the majority of the album, and feels like taking a trip to the land of the Elves in Middle Earth (hoping everyone gets my Lord of the Rings reference.)

“Del Rey Mar” continues the dream sequence of the album with a psychedelic, more acoustic number reminiscent of the 60s or Xanax daydream in a field of lilies.

The album doesn’t have much in the way of variety and is more like one long dream sequence than anything, with the exception of the slightly more upbeat “Light of Day,” which sees a slightly faster tempo and slightly heavier guitar.

Don’t make plans to be active while listening to “We Are the Dreamers;” you’ll more than likely end up laying on your couch thinking of some field somewhere in some hazy utopian forest clearing. It’s optimistic and introspective, and definitely soothing. Its angelic vibe rocks like a lullaby, gently soothing and warmly embracing the soul with some talented guitar work thrown in. Honestly, while it may not be the catchy music you get ready to on a Saturday night, it’s the perfect jam for a Sunday morning hangover.

“We Are the Dreamers” was released in late 2013 via Graveface Records, and you can catch it at your local vinyl store.

White Blush: ‘Loves Park’ EP

Posted on by Nikki Smith

Carol Rhyu’s independent project, White Blush, continues to grow and is well worth the listen this summer while you welcome warm winds and cool sheets. White Blush’s most recent EP, Loves Park, is one you’ll want to know sooner than later for its sheer simplicity and natural beauty. Rest and relaxation accompanies this EP.

Loves Park opens with “Wish,” featuring Rhyu’s signature airy voice and synthesizers. The ambient sounds are intensified by soft whispers and are untainted by harsh effects. Among the liveliest pieces are “Summer,” “Neptune,” and “Mysterieux.”  The quickest way to get my attention and my hidden dance secrets is with a light 80’s synthesizer, prevalent in “Summer.” I can easily imagine “Summer” playing at a swanky nightclub somewhere – not sure how the dancing would look, but I would try it.

“Neptune” exhibits a somewhat ominous sound with reverb guitar effects and rhythmic bass sounds that mimic drumbeats. Finally, “Mysterieux” ends the EP with Rhyu’s captivating synths. There was something familiar about “Mysterieux” when I listened to it, as if I had come across it on Stereomood months ago. It is always when I hear a song the second time that my ears naturally decide if they like it or not, and “Mysterieux” was accepted, its origin a literal mystery.

Loves Park will most likely be making an appearance on my playlist as I drive home from work during these summer afternoons. Loves Park radiates and encourages meditation and thoughtfulness essential for the long, hot summer to come.

Modest Mouse at The Norva

Posted on by Brandt Hart
No, this is not from The Norva. Yes, we are cheating and using a picture from a different show (Shaky Knees 2014). Photo by Chris Hunkele.

I’ve been standing in the crowd for going on an hour now. Empty stage. Empty Beer cups and a steadily emptying wallet (f*ck you, six-dollar Miller Lites.) Years of pent up nostalgic attachment to Modest Mouse’s music has me restless. Nervous even. Seeing a favorite band for the first time is similar to meeting a hero- there’s always that nagging fear that they’ll disappoint you. Then the lights drop and the crowd ignites. I scan the discography in my head for the perfect opener- hell, anything would be amazing. It’s Modest Mouse.

Is there anything worse than the deflation of not knowing the opening song at a concert of one of your favorite bands? I’m forfeiting some of my indie-cred here, but I had never heard “The Whale Song” before. No bother. The unfamiliar introduction granted me more time to absorb my surroundings.

The NorVa in Norfolk, Virginia exudes a post-apocalyptic vibe. A warehouse style venue with rigid edges and an upper level where those who couldn’t wedge themselves into the mob below crane their necks over the railings and rain down beer foam. The acoustics are of the deafening sort- where you could yell the most embarrassing things to your friends, and they would never hear you.

For the majority of the crowd, the show officially began with song number two. “3rd Planet.” There’s just something incredible about being immersed within an entire audience unafraid to belt out every lyric, no matter how ridiculous they sound doing it. Though I couldn’t hear a thing over the amplifiers ricocheting electric guitar off of hundreds of skulls, I’d like to imagine we sounded good. Or, at the very least, in key.

Frontman Isaac Brock wasn’t technically a frontman at all. He led the band from stage left. Modest, right? How fitting. “Trailer Trash” was next. A scary reflection on a white-trash childhood in a trailer park, smothered with fears of inadequacy and feelings of regret. All of those negative emotions exploding into a musical fireball that engulfed the crowd in hot lights and piercing guitar.

Around the time when the floor transitioned from slightly sticky to Defcon 5 shoe magnetism (more alcoholic precipitation from the second level), the band eased into “Custom Concern.” Slower, sadder tunes don’t necessarily translate well into live settings. Such additions to the setlist run the high risk of filling bathroom stalls and bar tabs. But something about waking up at noon, finding your shoes and being pissed off about having to go to work registered with the crowd. The collective voice of general admission overtook Brock’s vocals: “Gotta go to work, gotta go to work, gotta have a job.”

The appearance of a banjo evoked requests from the audience of songs featuring the familiar twang of five strings. Blaring horns launched “This Devil’s Workday,” and even at the expense of a sack full of puppies set out to freeze, the crowd consumed the tune with vigor. Existentialist anthem “Bukowski” was next, followed by a time machine back to high school in the form of “Ocean Breathes Salty.” I have to admit, I’ve never heard hundreds of voices unify in such hilariously amazing falsetto before (You missed! You missed!)

It’s hard for a band not to break out the song that showed them the door to critical acclaim, so naturally “Float On” made a welcomed appearance. And why not? It’s a damn fun song to sing along to, even if half the time you’re impersonating the guitar melody. Post-song finally brought us some interaction with Brock, which was mostly incomprehensible babble, cursing, something about his new haircut and a plea for somebody from the audience to toss up a hair tie. A headband descended from the second level allowing Brock to “look like Keith Richards for a few songs.”

One last time, the banjo came out of the wood-work for the heaviest song of the evening, “Satin in a Coffin.” There were some structural trimmers in the buildings during that one. If you hadn’t lost your voice or your mind by that point, you were obligated to.

Encore breaks amuse me. Everyone knows the band is coming back out for a second serving, but the unwritten law of concert-going still binds the crowd to yell their asses off until they fire the amps back up.

This encore break was less of a break and more of an extended interlude- what one fan referred to as the “longest bong hit in human history.” Even after 10 minutes, the audience never faded. They earned a gem of an encore for their efforts. The pulsing bass line of “Tiny Cities Made of Ashes” energized the flesh mob swimming on the floor. “Shit in your Cut” into “Fire it Up.” And after some banter between band mates, some suggestions from the upper balcony, and a “f*ck it,” from Brock, Modest Mouse sent the crowd home with a beautifully mutated combination of “Styrofoam Boots” and “Wild Pack of Family Dogs.”

What would be the opposite of phoning it in? Kicking down our doors and shoving a cursive written note down our throats? That’s what happened then. 20 years later, and Modest Mouse is still the independent music standard that infant bands shoot for. If they’re playing near you, go see them. You won’t be disappointed. These are just my modest opinions and, like kittens, I’m givin’ them away.

Cherub: ‘Year of the Caprese’

Posted on by Nina Guzman

I don’t know what it is, but I’ve noticed a huge wave of bands (usually all white) with major 90’s R&B influences popping up all over the place. From HAIM to Daft Punk, this resurgence has become the new trend in dance music, and Cherub is no exception. They’re new album, Year of the Caprese, out today, is drenched with 80’s and 90’s nostalgia.  It’s hard to listen to it without picturing scrunchies and neon swim suits.

Hailing from Nashville, TN, Cherub’s two-member line up consisting of Jordan Kelley and Jason Huber gained recognition with their dance club hit, “Doses and Mimosas” and through word of mouth about their uproarious live performances which earned them a slot in major music festivals like Lollapalooza, South by Southwest and Bonnaroo. They’re electro-pop funk sound promises a party, but they’re album sounds more like something on your pre-party playlist. A gateway drug, but far from the hard stuff that will get you waking up in a Mexican hospital with no shoes.

Year of the Caprese, to me, sounds like atmosphere dance music, or chill grind wave, if that’s even a thing. But if it’s not, then at least Cherub can say they paved the way for something other than another excuse for frat guys to start going to music festivals. While the beginning beats and synth-pop influences hook you into the song, it never climaxes, the beat never drops, the full out dancing never starts. It just stays leveled throughout the entire song – really throughout the entire album.

Seeing how they got their notoriety from their live performances, I can see how songs like “Disco Shit” and “<3” could be much livelier and more beat-driven on a live stage with hundreds of people singing along. But I doubt I will ever find out since backward hat-wearing guys grinding girls in crop tops brings back horrible middle school dance memories of my South Florida youth.

Check out their outrageous video for “Doses and Mimosas” released today!

Tour Dates:

May 29 – Las Vegas, NV; Our Big Concert presented by X107.5

May 30 – San Diego, CA; X-Fest presented by San Diego 91X

May 31 – Los Angeles, CA; KROQ Weenie Roast

June 1 – San Francisco, CA; Live 105 BFD

June 7-8 – Ozark, AR; Wakarusa

June 12 – Manchester, TN; Bonnaroo

June 21 – Denver, CO – Westword Music Showcase

June 22 – Dover, DE; Firefly Music Festival

June 26-29 – Rothbury, MI; Electric Forest Festival

June 28-29 – Pilton, UK; Glastonbury

July 18 – Salacgriva, Latvia; Positivus Festival

July 19 – Bern, Switzerland; Gurtenfestival

August 1-3 – Montreal, Canada; Osheaga Festival

August 15 -17 – Somerset, WI; Summer Set Music & Camping Festival

September 6-7 – St Louis, MO; LouFest

The Wonder Revolution: ‘WOW’

Posted on by Alexis Tiedemann

Rocks, trees and other organics are the driving force behind The Wonder Revolution’s new LP WOW, and the genre of “wondermusic” it strives to create. Whimsical sounds and capricious melodies are the heart of the album, blended together in a seemingly made-up-on-the-spot way, winding along like an abandoned mountain road.

The album, which features a musical relationship between revered Kansas guitarist David Lord and Les Easterby of The World Palindrome, is set to be released May 27 via Air House Records and seeks to “inspire wonder” with its tunes. In an interview with Impose, Lord revealed, “the creation process is a type of wonder experience formed with a similar mindset as when I explore the forest, gaze at the sky or am able to do anything and be in the moment, with some distance from mental chatter.” The album certainly reflects these inspirations and feels very much like a musical accompaniment for a night sky or summer sunrise.

Clear, honest vocals and acoustic guitar melodies are speckled with the sounds of birds chirping, children playing and nature itself on a record that wisps lazily along like a leisurely summer breeze. With no distinct beat or regular meter, the adventitious melodies are sometimes like lullabies, on such tracks as “Breathing With a Butterfly” and “Tree Woman,” but pick up slightly on more upbeat tracks like “Pixie Mountain” and “Cloud Wonder Sky (Outside In).” However, the music never moves too swiftly, retaining its languid pace throughout the record.

Lord’s guitar skills are an overwhelming force on the album, showcasing his dexterity and creativity. On “Wonder Lensed,” his unique combination of unusual tuning and classical playing style produces a casual, dreamy sound that is complimented by vocals reminiscent of Bon Iver’s on For Emma, Forever Ago. Abandoning standard song structure, “Wonder Lensed” feels like a passing thought or fleeting feeling.

Micajah Ryan, who has worked with the likes of Bob Dylan and Guns N’ Roses, engineered the album, creating an encompassing sound that fills empty spaces with the sounds of life itself. Lord attributes everything he knows about recording to Ryan, and his heavy influence on the album is apparent.

WOW feels like a lackadaisical stroll through a fairy-inhabited wood, with no destination in mind. There’s not a lot of variety in the sound, but it’s intoxicating. If you’re not careful, it may lull you into a world of dreams and wonders, somewhere outside in the forest, wavering between sleep and consciousness.

Street Style Profile: Tito Carlo Piero Mazzetta

Posted on by Aubrey Mascali

Tito Carlo Piero Mazzetta is an aspiring Atlanta-based DJ whose personal style is truly unique. Coming from an artistic family with an international background, he has a laid back and confident air about him that shows through and makes him truly magnetic. Today we talk to him about what influences his style, the ways that music brings people together and the direction of Dance and Electro from his perspective. Make sure to scroll down for Tito’s special Vinyl Mag edition playlist, and be sure to check out the link to his Soundcloud for some originals by the man himself.

How would you describe your personal style?  What or who influences and inspires you and the way you approach dress?

I would say my personal style is eclectic and somewhat eccentric.  I know how to be formal but when I am dressing casually I like to a unique style that subtly sticks out.  I love graphic tees with crazy graphics on it. For example, I have this one with a picture of the statue of Perseus holding up Medusa’s head. I try to mix urban and sophisticated styles when one talks about the whole range of my wardrobe.

Can you tell us a little bit about your music making background and process? 

I had some piano lessons when I was younger and would always fiddle around on the various electric keyboards that my dad would give. I have been making electronic music since 2006. I was so obsessed with learning how to make music that I would just fidget on my computer for hours figuring the ins and outs of the rudimentary Garageband. I took an electronic music course in high school to further my knowledge and give me a good understanding of other more sophisticated software such as Logic. I currently use Ableton 9 live to create my music.  The music creation process starts with playing around and making a melody or a bass line or a drumbeat from scratch and then I just build and add layers on top of that. It’s a very progressive and experimental process. I try to not use samples. If I do it would be for a vocal bit. I feel like music creation in its essence is very therapeutic.

Do you feel like your time living and traveling abroad has impacted or informed your taste in general and in music?

I would absolutely say that my time traveling and visiting friends/family abroad has impacted my music taste. It is the whole reason why I have such an obsession with all the different types of electronic music. I remember when I was around 14 and I was in Italy  and I started actually getting interested in music and partying. I would hear this kind of music that I would never hear in the States. I would think to myself “What kind of music is that?” “Who is that artist?” . I love the way this makes me feel and how it makes large groups of other people feel. The vibes that encompassed the people around me when listening to this music was magical to me. At that point in time it started me on my never ending journey of music discovery. I started becoming hyper-obsessed with underground electronic music. I went on a journey through jungle, happy hardcore, liquid and 2-step drum & bass, techno, indie-dance, nu-disco,  funky house, jackin house, acid house, hard house, breaks etc. I just kept hearing new stuff which would make me want to know and fathom everything about that genre and its corresponding sub genres. I started DJing as a way to show my deep obsession and appreciation with this kind of music. I got my first turntables in around 2007, and to this day I follow 200+ labels and dissect 50-200 tracks a day digging for new music for my next set whichever direction I decide to go in. Whatever vibe the crowd or setting I’m in is giving off- I have something to go with it. But I always stick to the underground.  When I create my DJ set it is like telling a story from scratch. Every set I make I have 95% new or unused tracks I want my listeners experience to be special and unique with me. I want them to have to have a powerful experience and an amazing time dancing and grooving to tracks that they will only hear from me and nobody else that they go and see.  Whether its soulful and melodic, or hard and techy, I always have a different story I can tell. To sum things up, It all started from the experiences I had spending my summers in Italy, and traveling around different parts of Europe.

How do you feel about the current state of Electro and Dance music as a genre in the United States- Do you think this genre is meant to stay an underground or niche movement, or do you believe it can be appreciated by a larger American audience? 

I think that EDM as they call it these days is growing exponentially throughout the United States. New York, Miami, LA, Chicago, Detroit have always been associated with great places to hear amazing DJs in the electronic music world.  Techno was actually created in Detroit and is the grandfather of a lot of the genres that you hear today. I think that what you hear in the commercial clubs of today is no longer underground and is already appreciated by larger audiences. Take a look at the main stage at Tommorowworld. It was packed to the max with all EDM DJs. Playing the same tracks over and over. EDM is just the tip of the iceberg when it comes to electronic music.  I don’t want to sound pretentious but the people that come to see real underground music usually have a more sophisticated taste in electronic music. They have a deeper understanding of the vibes. They have been on that journey and are now deep into underground.  I have never met someone that goes backwards once they get the feel of an underground dance party. Whether it’s a hard techno warehouse party or a sophisticated invite only pool party atop a 5 star hotel.  There is an underground vibe for everyone. It’s all a matter of whether people want to go on that journey of self-discovery or not to uncover partying at its quintessence.  It is a place where DJ’s take the chance in the tracks they play, and do so as an art of self-expression rather than a soulless form of playing top 40 charts.

Well said, but lastly and most importantly- if you went the Daft Punk route and decided to perform with a mask or costume- we want to know, what would your altar ego/mask be? 

Hmm I don’t know about this one. I think if I had to wear a piece of apparel it would be some 1940’s WW2 Airplane pilot Goggles.

 

*Check out the playlist that Tito made for us below!

Listen: Cherub: ‘Year of the Caprese’

Posted on by Vinyl Mag

Our boys from Cherub have graciously given everyone an early listen to their major label debut Year Of the Caprese exclusively on Spotify, and we’re spreading the word!

The album, featuring everyone’s favorite party anthem “Doses & Mimosas,” is set for release on May 27 via Columbia Records. Pre-order the album on iTunes or via Amazon.

Tour Dates:

May 24 – Chillicothe, IL; Summer Camp Festival

May 29 – Las Vegas, NV; Our Big Concert presented by X107.5

May 30 – San Diego, CA; X-Fest presented by San Diego 91X

May 31 – Los Angeles, CA; KROQ Weenie Roast

June 1 – San Francisco, CA; Live 105 BFD

June 7-8 – Ozark, AR; Wakarusa

June 12 – Manchester, TN; Bonnaroo

June 21 – Denver, CO – Westword Music Showcase

June 22 – Dover, DE; Firefly Music Festival

June 26-29 – Rothbury, MI; Electric Forest Festival

June 28-29 – Pilton, UK; Glastonbury

July 18 – Salacgriva, Latvia; Positivus Festival

July 19 – Bern, Switzerland; Gurtenfestival

August 1-3 – Montreal, Canada; Osheaga Festival

August 15 -17 – Somerset, WI; Summer Set Music & Camping Festival

September 6-7 – St Louis, MO; LouFest

Shaky Knees 2014: The Music Festival Atlanta’s Been Waiting For

Posted on by Emily McBride and Chris Hunkele
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If you live anywhere close to close to Atlanta, you should have been at Shaky Knees Music Fest this past weekend.  In just two years, Shaky Knees has solidified its position towards the top of Atlanta’s music landscape.

The lineup is incredible (you’ve got Modest Mouse, The Gaslight Anthem, Cage the Elephant, Blood Red Shoes, The Hold Steady, The National, Spoon, The Replacements, Cold War Kids…getting tired, and you get the picture. Awesome bands), and the location is unbeatable – three full days in Atlantic Station, right next to shopping (you know, if you didn’t come in your fest best, and you need to run up and grab something with fringe at H&M) and tons of restaurants if the food truck line is too long (it always is).

Shaky Knees was a rain-soaked, over-crowded roaring success, and it’s safe to say that it will only grow from here.

Highlights: Day One

First, let’s just say it – parking sucked.  It took about 45 minutes driving around the Atlantic Station parking deck to find a spot.  Plus, $20 per day.  Boo.

Though we unfortunately missed our hometown heroes, The Whigs, we did manage to grab an interview with the band about their Shaky Knees experience.  Read on!

Checking in was painless – all in all, it took maybe 10 mins. The box office was located right there at the gate, making it easy to get in and out with little to no confusion – a rarity at a large music event.  It blows when you get up to the gate only to find out that the press check-in is a mile away, in the middle of nowhere, and you have to answer three riddles from a sphinx before you can get your bloody “media” credentials.

At check-in, we immediately ran into Steven Yeun (Glenn from The Walking Dead).  He was super nice and let us grab a “super fast and secretive” pic with him.

After being nerds and posting some sort of “OMG LOOK WHO IT IS” Instagram photo, we got in the gates just in time to catch The Gaslight Anthem’s energetic set while receiving evil glares from patrons who were there all day and were absolutely soaked. Throughout the night, we continuously heard horror stories of rain-soaked cell phones and cameras.

Gaslight played every song you would expect to hear from them (all the greats) and played for a large and thoroughly grateful audience.  Totally teared up during “Blue Jeans and White T-Shirts” for a second.  It’s fine.

This was the first set we heard, and it set the tone for the weekend.  After that, we headed backstage to meet up with Blood Red Shoes, who we were scheduled to interview earlier in the day but decided that none of us was willing to miss The Gaslight Anthem’s set. While waiting for the interview to start, we ran into Brian Fallon, the lead singer of Gaslight (and one of the most approachable people in the business, I might add.  What a bro).

Here is a picture of us looking totally unhinged by how excited we are:

After fulfilling our dork-out fan duties, we met up with Blood Red Shoes in the rain soaked, pitch black press tent.  Read our interview here.

Highlights: Day Two

Parking was easier, only because we decided not to park at Atlantic Station. Caught Tokyo Police Club, who were every bit as energetic and enthusiastic as they’re hyped up to be. We promptly ran away from the Peachtree stage to avoid any ear assault from Dawes (sorry…just not a fan) and discovered Phox on the Boulevard Stage, which provided the perfect soundtrack to an asphalt-backed power nap. From Phox, we motored over to the Piedmont stage to check out Portugal. The Man, who we’ve waited a long long time to see. In fact, this seemed to be the most difficult decision of the weekend: Portugal. The Man or Cold War Kids.

I’m just going to sum it up – the bands that were not the headliners of the days mostly only had time to play their big hits back to back to back, with little to no room for any obscurities.  And, you know what?  At a festival, that’s perfectly fine.  Festivals are not made for all of the bands to play a full-blown set.  Festivals are sampler platters.

Conor Oberst was next, and he was just so Conor that there’s really nothing else that needs to be said.  If you’ve seen him ever, “solo” or with Bright Eyes or Desaparecidos, you know.

One of the most anticipated sets of the weekend came from The Replacements, who brought along Billie Joe Armstrong for fill-in duties. The Green Day frontman dressed the part, abandoning his signature black button up and tie for hippie hair and a bandana.  Just the cherry on top of an already brilliant show.

Jenny Lewis is perfect. That’s all.  Jenny, please sing me to sleep every night and awake every morning.

The highlight of Saturday and really the whole damn thing was Modest Mouse.  Seen first from the photo pit and then later from the VIP upper deck of the Dos Equis tent (powerful friends), the performance catered to the Modest Mouse super-fan.

Rather than playing just the radio hits, they added a handful of unexpected tracks to keep the fans on their toes. The most surprising was the encore, starting with “Satin in a Coffin” and then quickly killing the energy with “The Whale Song” before announcing, “we’re done” and walking off stage and out of our lives.  “The Whale Song”?  Really?  Felt like such a waste of an encore, as everyone was jumping around screaming and then quickly had their excitement bludgeoned by mind-numbing instrumental.  Not. An encore song.  A mid-set filler song at best.

Highlights: Day Three

Sunday brought sunshine/sunburn and demonstrated for the first time the only real downside to having a festival on city pavement. What started out as an anti-mud blessing during the rain was later a heat-reflecting curse once the sun decided to show up.

Deer Tick made everyone forget their desperate quest for shade as soon as they came on, and then they brought out their number one fan and bandwife, Vanessa Carlton, to sing a song (whaaaat?!).

We headed over to the Boulevard Stage to give The Weeks a second chance to win us over after seeing them in Athens a couple months ago. The guitar player wore a “Hammerin’ Hank” Braves jersey, but even that wasn’t enough to reconcile us to the Caleb Followill-esque frog vocals coming from leader singer, Cyle Bones. Swing and a miss.

Blitzen Trapper gave us all a taste of their America, and it tasted like warm beer and sweaty brows.  Glory.

Iron & Wine was packed, but the larger Peachtree stage seemed to overwhelm their brand of coffee bar music. Honestly, it was hard to hear anything unless you were lucky enough to be in the photo pit. Once the first three songs were over, and the photographers were thrown back into the general audience, the set was pretty much over for our ears. This was the most talked-through set, as everyone just gave up on trying to hear and started socializing and using the time to run to the bar for their sixth Dos Equis of the day. Iron & Wine would’ve been better suited to the Ponce de Leon Stage.

Next was The Hold Steady, who took the stage with a refreshing blast of energy. They seemed genuinely excited and surprised by the crowd support. We went from being lulled into a heavy-headed lullaby daze to raising fists and beers to the sky and hoisting a certain Editor-in-Chief up to surf the crowd all the way to the stage. It was a good note to begin closing down the weekend. We ran into the guys later on and snapped a picture after they recognized the Editor of Vinyl as the crowd surfer from earlier.

Though our festival thirst had been thoroughly quenched after our raucous mosh-session with The Hold Steady, we knew we couldn’t live with ourselves if we missed indie darlings Local Natives, so we headed back to Peachtree stage one final time to close out our weekend properly.  Be sure to check out our interview with the band about how awesome they are live and how much fun they had playing the festival.

For those who like lists, here you go…

Top 5 Shows of Shaky Knees:

1.  Modest Mouse

2. Gaslight Anthem (may be tied)

3. The Hold Steady

4. The Replacements

5. Jenny Lewis

Best Stage:

Ponce de Leon – in addition to being the most intimate stage of the festival, it had the best sound and generally the most energetic crowd.  Plus, you didn’t have to be front row to get a good view of the stage, which was a struggle at all of the other stages.

Boulevard was the most secluded stage. It felt very shoved in the corner, as if it was the “everyone else” stage for leftover bands.

Best discovery of the weekend: Houndmouth.

Best Food Truck:

No idea, because the lines were atrociously long.  But we did drool over this girl’s fries, and she said they were from The Fry Guy.  You don’t even know (unless you do).  Those fries looked incredible.

Notes:

Beer and drinks were easy to get – there was a drink station everywhere you looked. Food from a truck was not easy after 5:00, and the U-shaped layout of the Food Truck court created a impossible nightmare of unending and intertwining lines.

It seemed like Shaky Knees may have been a bit oversold. There were a few times, particularly later on in the day and at night, when it felt like we were moving through a mosh pit, when actually we were standing well off-stage. If it was personal space you were after last weekend, you weren’t going to find it. Capacity may have been a tad overestimated. The fest was almost too big for its britches this year and may find itself in the position of finding a new venue in years to come; particularly if it stays true to its roots.

All in all, Shaky Knees is a very refreshing festival to go to and attracts a lot of like-minded individuals – kudos to The People in Charge for putting together a lineup that encourages that sort of camaraderie. This is not Music Midtown 2.0, and I think everyone is grateful for that.

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Phox

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Gunakadeit: “South”

Posted on by Jasmin Nash

Natasha Kozaily’s new pop project Gunakadeit (pronounced Goo-na’-ka-date) is named after a Tlingit legend about a sea monster that brought prosperity and good luck to a village in crisis.

Natasha was raised by a Lebanese father and a native Islander mother on the small island of Grand Cayman in the Caribbean.  She studied ethnomusicology in Wales and now lives in San Diego, California.

Her choice in moniker and worldly, nomadic upbringing are all insights into Natasha’s exotic, ethereal influences and sound, evident in Gunakadeit’s new single, “South”.

“South” begins with minimal instrumentation, primarily a tickling electric guitar sound playing behind Natasha’s piercing vocals building up to a catchy drum beat.

Her swooning, melodic voice sings of a lover that has grown cold towards her. She no longer knows what to say or do where she lives now – her dreams are escaping her, and the town is dead. There is nagging voice telling her to escape, and, of course, for Natasha that means moving away to a happier, warmer place.

As the song progresses into the chorus, it becomes more electronic-pop influenced, with layered drumbeats and vocals, up-tempo cymbals and a deep bass pulse.

Gunakadeit’s first single,“South” bodes well for Natasha Kozaily, as her voice leaves a sense of mystery and intrigue, enticing us to listen to her tell more of her stories.

Sounds like: St. Vincent, Tune-Yards.

3/5