The Athfest 2017 Club Crawl - Mosaic
The Districts, Neighbor Lady, Quiet Hounds, The Booty Boyz, Muuy Biien (on the Rooftop), Material Girls (on the Rooftop), Midnight Snack (on the Rooftop)
Sat · June 24, 2017
Doors: 8:00 pm / Show: 9:00 pm
This event is 18 and over
$10 tickets available at the door for those that do not have wristbands.
With more acts to be announced.http://www.georgiatheatre.com/event/1476673/
Mosaic began as Andrew Huang (guitar, vocals) and Kamron Munch (Bass, vocals). The two had been performing as an acoustic/folk duo around the Athens and Atlanta area. Together they released a solo project album called "Hiding Places" in the spring of 2014 under Andrew's self-titled project, Andrew Huang Music. As their arrangements grew they began to require added instrumentation and vocals. Thus, in the winter of 2014, Mosaic was born.
The band played their first official show as Mosaic right in their hometown, opening for Nashville folk band Judah & The Lion as the group ended their tour in Athens. They have made appearances with acts such as Steve Moakler, Cody Fry, Hope Country, Sam Burchfield, Chief Scout, Hosts and Josh Savage while also headlining shows in the Athens area, selling out The World Famous and filling other popular local spots like Hendershots, The Foundry, and the 40Watt Club. And as much as they've performed on stages, they have also shared their music at Sofar Sounds and Pop-Up Charleston, mobile venues that bring audiences face to face to artists in a more intimate and homey setting.
True to the name, the band Mosaic is a collection of unique pieces, crafted carefully to create a cohesion of sound and meaning. Their art draws inspiration from indie-rock, folk, and the lyrical richness of singer-songwriter. The colorfulness and light reflected through their music aims to bridge the gap between humanness and holiness, past failures and future hopes, brokenness and wholeness. Their interwoven art and faith produces an entity that is full of hope, yet it encompasses the grittiness of human nature. Mosaic values creating music that is true to themselves, hoping that their songs to be thought-provoking and representative of a deep-seated vision, love, and purpose.
In the spring of 2015, Mosaic recorded their first EP "Read Not the Times." After spending the majority of the winter rehearsing, arranging and writing, they were finally ready to put some of their songs in the red. They joined forces with local engineer Paul Reeves at Domus Sound. With the help of skilled instrumentalists Vince Guagliardo (drums) and Richard Sherrington (keys, organ), they were able to finish this collection of five songs before June.
“Read Not the Times” wrestles with themes such as: shame, hope, perseverance, love, nostalgia, all of which work together to knit the fabric of the human story. Frontman Andrew Huang states, “each of our stories are a beautiful mix of joy, grief and everything in between. It is my hope that through this music we may find the courage to find purpose in even the darkest of seasons. There is so much hope in the simple statement that we are never alone.”
The total electric charge of Popular Manipulations is just the latest evolution for the impressively young quartet, whose founding members -- vocalist/guitarist Rob Grote, bassist Connor Jacobus, and drummer Braden Lawrence -- have known each other since attending grade school together in the Pennsylvania town of Lititz. After deciding to form a band in high school, the Districts gigged hard in the tri-state area, releasing a slew of promising material (including the rootsy 2012 debut Telephone) before catching the eye of venerable indie Fat Possum. 2015's A Flourish and a Spoil found the band refining their embryonic sound with veteran producer John Congleton (St. Vincent, Kurt Vile) -- and looking back on that release, there are glimmers of Popular Manipulations in chrysalis form to be found on it, hints of the fence-swinging anthemic sound they'd soon make wholly their own.
After touring behind A Flourish and a Spoil, Grote began "playing with different ideas" in his own songwriting by making demos at a prolific pace. "We knew that we wanted to change some things musically, so we were trying to come up with as many songs as possible to narrow the direction we wanted to take the material," he states. In total, they ended up with 50 song ideas, and so they were off to LA in May of 2016 with new guitarist Pat Cassidy in tow to log more recording time with Congleton, with four of Popular Manipulations' songs coming out of the sessions.
"We have a lot of overlapping tastes and preferences for how things are made," Grote gushes about working with the notably reliable studio wizard -- but acceding all credit to Congleton (who also handled the record's mixdown) would be shortchanging the Districts themselves, who went on to self-produce the remainder of the record in Philadelphia with engineer Keith Abrams. "Something we took from working with Congleton was ideas on arranging songs," Grote explains, and they certainly learned a lot: Popular Manipulations is a raucous and impressively thick-sounding album, overflowing with toothy melodies that pack a serious punch.
The distinctly intense sound of Popular Manipulations -- charging guitars, thunderous drumming, and Grote's searing vocals -- was brought on by a few cited influences, from shoegaze's aggressive swirl to the Velvet Underground's impeccable drone-rock sound. There's a distinctly Canadian flavor to this brand of indie rock, too; Spencer Krug's anthemic, lushly inscrutable work in Wolf Parade and his defunct Sunset Rubdown side project comes to mind, as does 2000s Toronto barnburners the Diableros' overlooked 2006 gem You Can't Break the Strings in Our Olympic Hearts.
But don't mistake easy comparisons for a lack of originality: on Popular Manipulations, the District are in a lane entirely their own, exploring lyrical themes of isolation and abandonment in a way that ups the music's already highly charged emotional quotient. "Capable" finds Grote turning his focus to the ruinous aftermath of divorce, and "Before I Wake" is, in his words, "About coming to terms with being isolated or alone -- even though we have a whole group of voices singing the whole time." Grote explains that even the title of the record touches on these universal concerns: "It hints at how people use each other, for good or bad, and the personal ways you manipulate yourself and other people in day-to-day interactions."
For such weighty thematic material, though, Popular Manipulations is purely life-affirming rock music, bursting with energy that cuts through the darkness of the world that surrounds us. "We're a much better distillation of who we wish to be as a band," Grote reflects on the journey that has led the Districts to this point. "We've figured out how to distill the things we've been trying to accomplish as a band, musically and lyrically. We've always viewed making music as something we're trying to do better the whole time." Mission accomplished.
Quiet Hounds debut was almost self-created, having been written and recorded in only two weeks time in a modest warehouse, with no blueprint or preconceived notions. The result is anthemic nostalgia, standing amused and flourishing in the heat of a humid south, playing out like a letter to a long lost love and pulling at heartstrings with every change. Longing, in style again.
The collective is one part prolific lyricist and melody writer, one part instrumental savant, one part curator of taste, music and culture and one part effortless precision of all things percussive. These creators need no credit other than the satisfaction that these songs take on lives of their own, sent into the ether to be played with the windows rolled down on warm sunny days.
All is good in the world, so long as the Quiet Hounds are left to their instrumental odds and ends - exploring the power of their own collective voice on their own quiet terms.
Muuy Biien pays homage to their influences but constantly change the focus of where this inspiration lies. They are creatively restless and already at work on a follow up album.
The band thrives on stage, where their range of styles all find cohesion in a chaotic and brooding performance.
Muuy Biien has been fortunate to share the stage with ICEAGE, Faust, Metz, Odonis Odonis, Girl Band, Magma, Cold Cave, The Spits, Black Lips, Lighting Bolt, The Coathangers, Weaves, The Soft Moon, Mothers and Chain and the Gang (Ian Svenonius).
Today Material Girls tease the internet a bit more, releasing the B-side of the record with CL’s premiere of “Tightrope.”
Though the dark vocals and signature trumpets and saxophones remain, the song reveals a jauntier and more sardonic tone. The energetic bass and spoken-word lyrics (“I ask for advice / I fuck it up twice”) evoke influences ranging from the Talking Heads to Ought. The band members spoke with CL via email about the B-side, social media ennui, the allure of the unknown, and what’s in store for Material Girls’ future.
Child’s Eyes is the third full-length from the project started by brothers Jack Victor (vocals, drums) and Mike Henry Johnson (guitar/synth) before their enrollment in college. Through the addition of classmates Peter Brownlee (bass) and Zack Kardon (guitar) - as well as old friend, Katie Richter (vocals, trumpet) - Midnight Snack have developed a varied and eclectic sound, this latest offering the most personal and introspective of their lengthy discography.
215 N. Lumpkin St
Athens, GA, 30601