September 2, 2015 | doors at 8:30pm
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Triple Ds presents:
Del Venicci | Red Sea
  • $8
  • $8
Faun and a Pan Flute
Faun and a Pan Flute is a collectively-led experimental nonet from Atlanta, GA. In playing highly original, highly collaborative compositions, the group summons and explores music that juxtaposes controlled rhythmic complexity and harsh texture with lush harmonic beauty and expressive melodies. Faun presents music deeply structured yet breathing with space and freedom, exhibiting their engaged and unique method of composition, undertaken with labor and devotion. Such an outlet succeeds in capturing and expressing the focused, sprawling, restless musical energy of its nine members.
Faun and a Pan Flute has had the privilege of sharing stages with such myriad acts as: Kamasi Washington, Lonnie Holley, Marshall Allen (Sun Ra Arkestra), Greg Fox (Zs), Battle Trance, Kebbi Williams, Lightning Bolt, Guerilla Toss, Horse Lords, Snarky Puppy, Sam Prekop (The Sea and Cake), Lee Ranaldo (Sonic Youth), Little Tybee, and Adron.
Faun and a Pan Flute is:
Adam Babar / Guitar
Danny Bailey / Fretless Bass
Daniel Betts / Drums
Chris Childs / Marimba
David Gray / Guitar
John Gregg / Percussion
Julian Hinshaw / Tuba
Ben Shirley / Cello
Peter Webb / Alto Saxophone
Moon Honey
A Moon Honey show is not just a collection of dense, dizzying sonic splendor, but a visceral experience that saturates every sense. A guitar solo spins into a soaring vocal arpeggio only to slam down to earth with a thud. Moon Honey’s music is like a bomb going off inside a Fabergé egg—an accurate depiction of the new single “Boy Magic” crowned “The sonic equivalent of sunshine” by Noisey/VICE.

Moon Honey has a penchant for epic songcraft, a practice culminating in the critically acclaimed 2013 album Hand-Painted Dream Photographs, mixed by Greg Saunier of Deerhoof. The New York Times’ Jon Parales described Hand-Painted as, “Whirlwind virtuosity, extremes of delicacy and impact, melodies that leap all over the place, suite-like structures, cryptic lyrics based on literary conceits.” Bob Boilen of NPR’s All Songs Considered called it, “Cotton candy dipped in peyote.”

Guitarist Andrew Martin and vocalist Jessica Ramsey hail from the swamps of Baton Rouge, Louisiana. New Orleans’ bohemian streak, in particular, inspire the band, but they transcend the trappings of such an influence. After a number of cross-country tours, Moon Honey relocated to Los Angeles and immediately began an expedition with a new band (Logan Baudean on drums and Anders LaSource on keyboard/synth bass), including an official NPR Top 100 SXSW showcase, Treefort performance and an in-studio KEXP session. An album is on the rise, but most of all, they continue to climb that scaffold to the moon, seeking a taste of the celestial sweetness their music evokes.
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.
Red Sea
Since their initial egregious life choices, the therefore musically unskilled and intrinsically inept group has been attempting to craft a worthy bricolage