June 3, 2020 | doors at 7:30pm
Sharing is Caring
Triple Ds presents:
  • $18
  • $20
Shiner formed in 1992 first as Orchid and then soon into Shiner after adding drummer Tim Dow and signing with Flower Booking and DeSoto Records, owned by Kim Coletta and Bill Barbot of Jawbox. With the addition of Paul Malinowski on bass, Jason Gerken on drums and Josh Newton on guitar and noises, the band began a creative high and a busy touring schedule for years, with their final album in 2001 The Egg a critical success.

Countless tours of the US, Europe and Japan, and 4 full-length albums gave them a fiercely loyal set of diehards. Comparisons with their contemporaries of HUM, Jawbox, Failure, and Swervedriver are unavoidable, but Shiner carved a path of their own with a dedication to song-craft and musicianship while often wrapped in darkly sugared hooks. Shiner broke up in 2002 but not before a very special farewell show at the Madrid Theater in KC in front of a couple of thousand friends.

The years between saw them starting families and forming or joining bands like The Life and Times, Every Time I Die and reunions with Molly McGuire. Each of the members remained firmly in "the biz" in various ways as recording engineers, guitar techs, session players and in the BlueManGroup band.

Shiner reformed in 2012 unofficially to rerelease their last record The Egg on vinyl and played 5 shows in New York, LA, KC and Chicago to sold-out crowds, many of which had never seen the band years earlier.

in 2018 Shiner decided to either shit or get off the pot and make some new music. They gathered together at Earth Analog in Tolono IL to write in a lab setting to work out ideas they’d been emailing back and forth. After a few sessions over a year and a half, they emerged with 8 solid songs after sifting through the detritus.

The songs are not so much an answer to The Egg as some properly timed follow up might, but instead stand on their own after 15-year hiatus. It's the sound of a 4 piece band with each player finding his place in a book as though he just left the room an hour earlier and picked up on the next paragraph upon return.

Jason Gerken is still a drummer's drummer and his heavy right foot is tied to Paul Malinowski's distorted-symphony bass. Guitarists Allen Epley and Josh Newton hew left and right in the mix and worked in lockstep counterpoint throughout the proceedings and leave room for the vocals to enter the mix without overtaking, and instead working as a whole within the strings and skins. The result is called Schadenfreude, the newest full-length offering from Shiner and scheduled for release on May 8, 2020.
Dan Dixon has been a staple of the independent Atltanta music scene for a decade plus. A revered producer who mans the helm at The Factory Recording Studio in his hometown, Dixon is perhaps most recognized for his prowess as a songwriter with PLS PLS and his previous band, Dropsonic.

PLS PLS (pronounced Please Please) was originally started as a moniker for releasing Dixon’s 80’s-tinged dance rock project, which he began conceptualizing as his previous band, Dropsonic, was winding down. The project took shape quickly, and in just a few months later PLS PLS had released EP EP, a five-song collection of heady, electronic-laced future anthems.

Progressive yet danceable, Dixon managed to write an album of sing-alongs in EP EP without losing the intricacies that are key to thoughtful songwriting. It is the type of record that allows a listener to notice something different each time they play a track, and Atlanta’s creative community quickly took notice of just how rare an EP it was. Soon after its release, PLS PLS found themselves playing high profile gigs with Archers of Loaf, Snowden and awolnation among others. Magnolia Pictures also picked up on the record, featuring both “Here Comes The Wolves” and “60’s Love Song” in their horror sensation V/H/S (in theaters October 5th). Meanwhile the 80s kitsch of the “Cocaine” video, the track for which features Elijah Jones of The Constellations, was circulating around the Internet, accruing over 123,000 views on YouTube. Overall, by indie standards EP EP was both an artistic and commercial success.

As special as EP EP was, it merely sets the table for PLS PLS’s first full-length LP LP. The album unfolds in much the same way a syllabus for a class on the past 45 years of progressive rock music might. Present throughout its ten tracks are odes to the 60’s Wall of Sound, 70’s art-punk, 80’s New-Wave and 90’s era electronic rock. Hints of more modern electronic rock bands such as Kasabian or Radiohead can even be caught at various parts of the album. Overall, the dark textures and rhythmically adventurous arrangements of LP LP culminate in a brilliantly retro album full of post-future electro-rock anthems.

Having lived with PLS PLS for about a year, Dixon possessed a much clearer picture of the direction he wanted PLS PLS to go as a band while recording LP LP. This vision is evident in the decisiveness and creative growth you find in the way the record was written. While Dixon maintains PLS PLS as a personal creative outlet (writing, recording and producing LP LP himself), the other members of the band did have a hand in certain parts of the album. Drummer Derek Murphy played on the whole record, and Andre Griffin (keys), Mike Boutte (guitar) and Dave Chase (bass) all contributed parts to LP LP. Their contributions are most notable on the first single “On/Off/On” and the track “Necking in Cars”, which happen to be the last two songs written for the record.

LP LP is already a highly anticipated release, as the band’s performance of “Exes” at the Atlanta Film Festival’s ‘Sound & Visual Experience’ was one of the most talked about aspects of the entire event. Still, it will take the general public being able to hear just how deep of a record LP LP is before it really sinks in how great of an album it is.