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w/ Awful Records Artists Lui Diamonds and Lord Narf
APRIL 1st in Nashville
Doors 8, Show 9
$10 — Tickets available NOW
If you have only heard his viral hit "Look at Wrist," you might be temped to lump FATHER in with other Atlanta purveyors of fine, original trap music — Young Thug, Rich Homie Quan, iLoveMakonnen, Future, etc — and you wouldn't be wrong, but you wouldn't be right either. While these artists are striking matches that keep the fireplace lit, Father and his Awful Records crew are burning the whole damn house down. Atlanta's hip hop scene is notorious for a lot of reasons — its stream of consciousness lyricism, its aesthetic risk-taking in an industry that rewards sticking to formula, its acceptance of its own strangeness, its drug culture, the sheer volume of incredible rappers that emerge from it, the fact that tastes are made, the agenda is set, the recipes are written HERE, and, of course, the fact that new artists — emerging artists — are a dime a dozen and all veering for the same spotlight. Not Father. He's built his own spotlight, and he's built it big enough to also shine on his talented crew. Father's game is minimalism and sensuality. Because of the former, you could listen all day. Because of the latter, you want to.
Each verse Father spits is equal parts honesty and irony, and he has a knack for making the simplest hooks stick with you like a first kiss. Whether that kiss leads to love, lust, confusion, or chaos, we're glad to live in a world where Father and his warped Awful Records cult fight “basic” with "banger."
Father joins us in support of his new record, I’m A Piece Of Shit (March 25) for his debut performance in our Blue Room on April 1st. He will be joined by two other members of his Awful Records collective, Lui Diamonds & Lord Narf. You don't get to be a citizen of the South unless you're down with Atlanta hip hop, and you don't get to be down with Atlanta hip hop unless you know Awful Records, so get your tickets, and don't come whining to us when you don't know what's up.
We’re officially SHOOK. Are you?
What would Austin in March be without a little choogle? Our trusty Rolling Record Store will be making the journey deep into the heart of Texas just in time for SXSW Music festivities and will be parked at a new location each day, Thursday-Sunday. We'll be sure to have a stash of limited records at each stop, and while we want to leave at least a little to the imaginative mind dancing around in that skull of yours, let's just say that throughout the weekend, you'll have the chance to get your hands on yellow vinyl TAMLA reissues, and tri-colors for three of our favorite recent releases, Margo Price's "Hurtin (on the Bottle)," Sunseeker's "Georgia Dust," and Video's "New Immortals." We won't tell you which stop has what, but we doubt you'll be disappointed with our selection at any of the following appearances...
THURSDAY 11-8: Billy Reid Shindig @ Weather Up
FRIDAY 11:30-8: Luck Reunion @ Willie's Ranch
SATURDAY 10-12ish: Waterloo Records
SUNDAY 1-8: Uncle Doug's Chili Dog Fest @ The Side Bar
Of course, along with limited records, with each new year brings new exclusive merchandise, and this year is no exception. The big yellow truck will be your one-stop shop for all the exclusive merch you've come to accept, plus new bandanas, stickers, backpack totes, raglan t's, lighters, and neckerchiefs.
We will also have new buttons, pins, camp mugs, water bottles, composition books, and slipmats, which will be available not only from the RRS, but also online and in-stores... because we don't want those of you who can't make it to the lone star state to feel entirely left out. To sweeten the deal for those not in Texas, we will also be running a sale online and in-stores Wednesday through Sunday featuring 25% off ALL BAND MERCH. Want a Margo tote, a Timmy patch, a Dead Weather slipmat? This is your week to stock up.
Margo Price has shared the opening track from her debut LP Midwest Farmer's Daughter (out March 25th) as an instant-grat download on iTunes and Amazon, and as a single on Spotify. "Hands of Time" is a bleeding country anthem that doubles as album centerpiece and biographical mission statement. Stream it below:
Midwest Farmer's Daughter was recorded at Sun Studios in Memphis, with Price pawning her wedding ring and selling her car to pay for the sessions. Next week she'll perform at NPR Music's SXSW showcase, billed next to Vince Staples and Anderson Paak, along with 5 other performances throughout the weekend. See her full schedule below:
In addition, yesterday morning the New York Times ran a massive '25 Songs That Tell Us Where Music Is Going' package, including Price's "Hurtin' (On The Bottle)" alongside songs by everyone from Rihanna, Coldplay, Run the Jewels, Kendrick + more. Read the incredibly compelling feature here.
Early praise for Margo and Midwest Farmer's Daughter:
"To listen to a song for the first time, by a performer you don’t know, and feel uncomplicated joy, with awe laced through it, is a rare and wonderful thing. That’s how I felt when I first heard Margo Price." - New Yorker
"Effortlessly badass" - Stereogum 'Band To Watch'
"Country's Next Star" - Fader
"A potential classic" - Pitchfork
"Margo Price will stop Music Row dead in its tracks." - NPR Music
Our story begins in the palm treed hamlet of Colonialtown, Florida in 2011, where a nameless band spent their lazy evenings playing Derry Weaver songs for a gang of weed dealers called the Golden Pelicans, who, at the time enjoyed a monopoly in this Orlando suburb. When the Pelicans surrendered in a turf war with rival dealers The Earls, they lost their moniker, and their house musicians (why yes, the anonymous Gamblers cover band!) lifted it as their very own and ditched their surfer stylings for full on musical vengeance on behalf of their namesake — minimally theatrical, maximally impactful, self-described "hard punk."
One might get the impression from this tale that the gents of Golden Pelicans are lazy... opportunistic even! One would be dead WRONG. Besides their 100% success rate in making every girl and boy who listens to their classics like "Jump in a Lake" or "Pissing in a Puddle of Puke" feel positively despised, the band also runs its own label, Total Punk Records, and they also have poured their (dead) hearts and (doomed) souls into the TOTAL FUCK OFF Festival for three years running. Rumor has it this year will be the last, but we doubt that means they'll be back to Moon Dawgin' anytime soon.
Golden Pelicans will take over TMR (and we won't get in their way) March 25th, alongside three equally ill-tempered openers, most notably Goner Records darkling darlings and one of Memphis' most necessary, NOTS. NOTS are unrelenting bass lines, stormy apocalyptic guitar, nagging feedback, ever-present synths, and a top-of-their-lungs, pay-the-hell-attention, baseball-bat-to-your-windshield sort of vox that's as progressive as it is primitive. Heaps of praise point to DNA or The Petticoats and, sure, but that belies one point: they're a force to be SEEN just not through a SCREEN.
Two local bands will start the evening... Watcher at 7pm in the Blue Room with a special pre-show in-store performance by Cat Flaps at 5:30 in the storefront. Tickets available now.
Saturday, March 26th
Doors/Patio Grill Out 7pm, Show 8pm
$15: Tickets available NOW
We have a theory: It's impossible not to like Autolux. Because Carla Azar. Because of the soundtrack-of-the-otts symphony of their first two records. Because of their upcoming release PUSSY'S DEAD, which, judging by what we've heard, sounds more like the future than the score of TRON. Because two of the band's members met while composing the music for a Nobel-prize winner's play. Because Danger Mouse's 30th Century Records is their new label home (and we love us some Danger Mouse.) Because this. And this. And this.
Check out "Soft Scene," the first single off Autolux's new record, out April 1st, and get your tickets for their Blue Room performance, scheduled for Saturday March 26th and set to be recorded direct-to-acetate and released as — what's sure to be — one of our best live records to date as fast as humanly possible.
As a central figure of the bustling European modern art movement of the early 20th century, German-born Hans Richter left an enduring legacy in the realms of graphic design, surrealism, and abstract expressionism. And yet - despite being among the first to apply these techniques to the discipline of filmmaking - to the casual cineaste, his name may not reverberate with the gravity of many of his contemporaries (think Maya Deren, Jean Cocteau, Luis Buñuel.) Nevertheless, after emigrating to the US in the early 1940's, Richter directed a landmark of surrealist narrative cinema, DREAMS THAT MONEY CAN BUY - finally, a worthy American counterpart to tentpoles of the European avant-garde like UN CHIEN ANDELOU and BLOOD OF A POET. The hallucinatory narrative, concerning a man who sells dreams to meet the demands of a hastily signed lease, is the product of collaboration among a veritable honor-role of early-century creative minds: Marcel Duchamp, Max Ernst, Man Ray, John Cage to name a few...it was even produced by Peggy Guggenheim. As a testament to the film's enduring impact, look no further than to David Lynch, who often cites DREAMS THAT MONEY CAN BUY as one of the most acute influences on his work. Hip hop figurehead Drake even name-checked the film in 2011, lifting the title for a track promoting his Take Care album.
Join us in the Third Man Records Blue Room on March 17th, as The Light And Sound Machine presents a mini-retrospective of Richter's films on rarely-exhibited 16mm prints. In addition to DREAMS THAT MONEY CAN BUY, the night will begin with a suite of Richter's early silent shorts, accompanied by a live score performed by Nashville's pre-eminant psychedelic ensemble, The Paperhead.