January 16, 2015 | doors at 9:00pm
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Triple Ds presents:
Del Venicci | Omni | Sen Artie Mondello
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At long last, SUBSONICS have descended again upon the denizens of the steamy rock’n’roll jungle with their first album in seven years, "In the Black Spot" (Slovenly Recordings 702-112)! The Subsonics have been called the "Best band in Atlanta" by fellow Georgians BLACK LIPS and for good reason: previous works by this beatnik, noir-punk careen machine have left indelible marks, or black spots if you will, on the psyche of big-bam-boom-shang-a-lang rockers the world over during their nearly two-decade tenure. This new album brings more of singer Clay Reed's petulant, masculine-feminine vocals and surreal lyricism, shaken up with his signature garroted guitar, Buffi Aguero’s inventive, incessantly churning drumming, and Rob Delbueno's (Man, or Astroman?) rolling basement bass. On this latest spin, previously unwritten, yet eerily familiar, melodies ("Lime-Lime" and "Miracle Worker") echo in the catacombs of America's soul and ring throughout with a childish enthusiasm, like a funky delinquent's budget bubblegum album. What we really have here is an obsessive, detached drop-in to an after-hours opium den, where Super-8 movies are projected onto a soiled sheet, and the soundtrack is undeniably Subsonics.
Del Venicci
Del Venicci is an amalgamation of art, sex, pop, glam, haze, and the mutual Italian heritage shared by key members Grace Bellury (Lille) and Ross Politi (Carnivores).

The duo began work together in late 2012 after Politi offered to record and produce a work in progress by Bellury. Bellury’s lush, ethereal voice and keen sense of songcraft seemed to be the perfect counterpart to Politi’s noisy, goth rock inspired guitar work. This seemingly one off collaboration soon evolved into a plan for an ambitious musical endeavor. Bellury and Politi began to expand their repertoire and their first EP, “Haunted Hall” quickly took shape. The collection of songs on “Haunted Hall” are a sonic whirlwind of dark seductive pop melodies, psychedelia, noise, and post-punk akin to some of 4AD Records’ hazy and moody ’80’s output.

Del Venicci’s music also has a certain Italo-centric mythos that is rooted in Bellury and Politi’s strong Italian backgrounds. Both Politi and Bellury share the fact that each of their grandmothers were celebrated Italian opera singers. Politi’s father (who is first generation Italo-American) grew up singing doo-wop on street corners in the Italian neighborhoods of Brooklyn during the 1950’s. Politi’s father would also go on to perform professionally with certain incarnations of acts such as the Del Vikings, Chaperones, and Mello Kings. According to family lore, Bellury’s great grandfather was mysteriously involved with the mafia and was forced to flee Italy after things turned sour. The lyrics for “Teenage Swingers” loosely chronicle his misadventures.

Bellury and Politi decided a concrete rhythm section would be beneficial for a more substantial sound on stage and recruited long time friends Jonathan Merenivitch (Janelle Monae, Dog Bite, Bosco) on bass and Tyler Walters (The Clap) on drums. While in different projects, all four of the Atlanta music scene veterans have shared the stage with groups such as Franz Ferdinand, The Dresden Dolls, Prince, Atlas Sound, Ty Segall, Thee Oh Sees and the Black Lips.

As the writing process became more prolific, the four piece decided to push the concept of Del Venicci farther. Being influenced by the likes of Warhol’s Factory scene, the group set out to expand their vision by inviting artists from different mediums, such as film and performance art, to take part in what would become the world of Del Venicci.

A video for each track on “Haunted Hall” was carefully crafted by local Atlanta film makers and performers to further expand Del Venicci’s penchant for the artistically subtle, beautifully morose, and hauntingly sexy. When watched in succession, the videos allow the viewer/listener to become better acquainted with the unique mood and aesthetic of Del Venicci.
Omni - the band, not the hotel - are from the former home of the Braves: Atlanta. Playing lo-fi pop that channels the spectre of the late ‘70s and early ‘80s, Omni brings you back to an era where any sane person was reeling from the unfulfilled promise of the Space Age and Age of Aquarius bleeding into the looming threat of "Morning in America.” Omni distills the buzz and grit that snakes through the best of Television, Devo, and Pylon into surprisingly danceable, hook-laden slabs of raw, angular, sonic bliss. It’s still the summer of '78, and pushing the roots of rock & roll to its limits remains in vogue. "Deluxe" serves as a fresh reminder that rock music can work outside of blues rooted, formulaic progressions without playing it safe behind a wall of effects. Arty enough to impress record enthusiasts, yet melodically attractive enough to transcend to those who’ve never asked: “’Sister Midnight’ or ‘Red Money’?”

Their debut album "Deluxe" is out now via Trouble In Mind Records.
Sen Artie Mondello