THURSDAY
May 21, 2020 | doors at 8:30pm
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Triple Ds presents:
MATHIS HUNTER BAND
DOT.S
Newberry Jam
  • $10
  • $10
  • ADVANCE
  • DAY OF SHOW
Mathis Hunter Band
Mathis Hunter is a true rock ‘n’ roll journeyman — an Atlanta music renaissance man to some, a Southern rocker of the highest mystical order to others. Somewhere between the post-punk funk of his former band the Selmanaires, and the full tilt boogie of Noot d’ Noot, Hunter reconnected with his roots. On his sophomore solo LP, Countryman, the multi-instrumentalist twists a melange of psychedelic classic rock excursions into the phantasmagoria of the idlewild South. Songs such as “Ley Lines,” “Aquamarine,” and “The Swirl” are built around lush Gibson Firebird, Fender Rhodes, and strange synthesizer arrangements that take shape as the first full flowering of Hunter’s drive toward pop grandeur.

Hunter’s 2010 solo debut, Soft Opening, featured his first forays into heavily layered soundscapes culled from equal parts Summer of Love-era Traffic and the Rolling Stones with ‘90s British rock ala Primal Scream and Storm in Heaven era Verve. Countryman raises the stakes as Hunter steps out as a solo artist once again, with contributions from Frosted Orange/Purkinje Shift drummer Lee Corum, pedal steel, slide guitar, and piano from members of Sailing To Denver, and keyboards from longtime collaborator Rich Morris.

With so many Anglophile influences converging here, there still is something inherently Southern that comes home to roost on Countryman’s title track; a song bound by a looseness and rhythmic fusion that reveals a more exotic side of the South. Glimpses of polychromatic dream sequences scattered throughout take shape as blue-eyed cosmic funk and soul colliding headfirst with Krautrock rhythms and visceral guitar textures. There’s no doubt when all of these elements are amplified, Hunter’s roots form a swelling, and quintessential guitar-oriented space Southern rock opus.
Dot.s
Dot.s is an endeavor to take "dance music" far from where it comfortably rests in its current, popular state. We venture to challenge the status of an art form that began as something primal and turned into something calculated and boring and kinda depressing. Drums, bass, and synthesizers rest in the center of our five-piece arrangement, followed by whatever auxiliary instrumentation feels cozy on top of that. We hope to give you something that is as fun and refreshing as our collective ideology: that sounds can prove-ably change the way people act, and should, thus, be made with obsessive care.

"There might not be a name or genre for what Dot.s are doing with their music, but Jellyfiss seems to do the same thing a Talking Heads album would do: advance dance music to a place that feels more organic, more exciting, and, ultimately, more lasting than most music from the genre. Dot.s create music with a clear personality, which is something not only lacking in dance music, but most music in general." -Sean Zearfoss, Immersive Atlanta

"Press play on "Down Goes the Elephant," the latest, 12-minute opus from electronic pop outfit Dot.s, and a virtual universe unfolds, complete with fugue-like changing parts, and a roller coaster ride of emotional states. The song is a semi-operatic departure that finds the group reaching new highs in both composition and collaborative synergy. The Atlanta Philharmonic warms up the intro, setting the mood and establishing a palette for a colorful and propulsive departure for Dot.s. While there are similarities to the music heard throughout previous efforts Jellyfiss and We Swim, "DGTE" comes together on a grand scale in terms of both concept, arrangements, lyrics, and even its artwork." -Chad Radford, Creative Loafing

"Recorded with Damon Moon at Standard Electric Recorders Co., 'Rose Lens' unfurls in steady waves, each atmospheric pulse and burbling groove striding confidently into the next. Yet, despite its swaggering self-assurance, the track finds the band working in a darker mood than in the past, confronted by the dread of isolation, fallible memories, and the silent voices that keep us awake at night. Still, the vibe here is more meditative than dreary, more coming to terms than a statement of disillusion. Throughout it all, the methodical beat and throbbing ambience thrust inexorably forward, shrouding any thoughts of gloom in a shimmering haze of brooding electropop. Life is still full of wonder, after all, even if it isn’t always pretty." -Guillermo Castro, Immersive Atlanta
NEWBERRY JAM
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