April 28 -
April 29, 2017
Sharing is Caring
Triple Ds and Douchemaster present:
APRIL 28 & 29 @ The EARL and 529 in glorious East Atlanta Village!


529 Day 1
529 Day2

This is for the full pass for all four shows. Each night show will cost $25 and each day show will cost $10.

Redd Kross(CA)
The Gories(Detroit)
Timmy's Organism
Terry & Louie
Greg Cartwright + Gentleman Jesse
Night Birds (NJ)
The Cowboys(IN)
Poison Rites (CO)
Craig Brown Band
The Cheifs (Official)(LA/ATL)
Hyena (ATL)
Vincas (Athens/ATL)
Uniform (ATL)
Watcher (nashville)
Death Stuff (ATL)
Unknown Sender (NYC)
Art School Jocks (ATL)
Glare (ATL)

FRIDAY April 28, 2017
doors open at
Timmy's Organism | Greg Cartwright + Gentleman Jesse | Heavy Lids | Poison Rites | Vincas
SATURDAY April 29, 2017
doors open at
Terry & Louie | The Cowboys | RMBLR | Craig Brown Band | Uniform
The Gories
The emergence of the Gories heralded a new Golden Age of Detroit rock beginning in the late '80s; a renaissance of noise and rustbelt rock that lasts through to today. Formed in 1986 by three Detroit natives -- Mick Collins, Peg O'Neill, and Dan Kroha (none of whom previously knew how to play an instrument) -- the Gories took their name from a band of the same name that appeared in the Gidget series of the late '50s/early '60s. Comprised of two guitarists and a drummer (i.e., no bass), the Gories concocted a primal, raw yet soulful blend of garage punk, culling a wealth of inspiration and cover material from Bo Diddley, Howlin' Wolf, and John Lee Hooker. The three-piece also paid homage to the Keggs and Nick & the Jaguars, two other bassless bands from Detroit.
The Gories began their recorded career in 1987 with two tracks on the Wanghead compilation It Came from the Garage II, the same compilation that featured Nine Pound Hammer (who would go on to become Nashville Pussy). Len Punch, the owner of Wanghead, recorded and released their first album, Houserockin', in 1989. According to legend, these first Gories recordings were executed in a tin shack. For their second album, Alex Chilton of Big Star joined them as producer, recording I Know You Fine, But How You Doin' for the French label New Rose. Throughout this entire period, the band continued to release various 7" singles, including a cover of Spinal Tap's "Give Me Some Money" for the Sub Pop Singles Club. In 1992, Crypt released Outta Here, their third album and what would be their last for some time to come.

Following an especially tumultuous European tour, the Gories broke up unceremoniously. Mick Collins continued to perform in Blacktop, King Sound Quartet, the Screws, and the Dirtbombs, and contributed to Andre Williams' Silky and The Black Godfather and Speedball Baby's Uptight. Dan Kroha spent some time in Rocket 455, the gender-bending bassless trio the Demolition Doll Rods, and Danny and the Darleens, as well as playing solo and making multiple cameo appearances. Peg O'Neill recorded a few tracks with '68 Comeback and played for a time with New Orleans act the Darkest Hours.

In 2009, the Gories reunited to play a handful of shows with their former sister band, the Oblivians, who were also re-forming after a lengthy hiatus. Shows in Detroit, Memphis, and throughout Europe that summer led to more sporadic Gories shows in the years that followed, bringing the band out of a decidedly disbanded phase into a state of semi-activity. In late 2013 a live album entitled The Shaw Tapes surfaced, comprised of gritty audio from a sparsely attended 1988 gig at a rented storefront outside of Detroit. The live album was released on Third Man Records, label of the White Stripes' Jack White, an outspoken fan of the Gories and someone whose music was deeply influenced by the band.
Timmy's Organism
Fronting some of the most original, compelling and unpredictable bands (not only in Detroit, but the world) for over two decades, Tim Lampinen’s work with the Epileptix, Clone Defects, and Human Eye has always held a rapturous cult following. Yet his work with his current trio, Timmy’s Organism, presents Lampinen (aka Timmy Vulgar) along with bassist Jeff Giant and drummer Blake Hill, ready for their close-up. With Heartless Heathen the group touches on their artistic and spiritual forbears of Captain Beefheart and Destroy All Monsters, while amply ramping up the slop culture rapture of classic punk 'n' roll like Chrome, Crime, and the Damned as well as contemporaries like Thee Oh Sees. There’s a reason why Lampinen won a $25,000 Kresge Grant for his work with his bands…he creates music that borders on art, live shows that border on theater. It’s high time the rest of the world takes notice. Are you ready?
You would think that because only about 60 miles separate the cities of Athens and Atlanta, Georgia that maybe the same sphere of influence would affect both. In the past decade, Atlanta has seen the growth of a creatively sustainable music scene, and we sort of forgot about our neighbors up the road. There is no shortage of great bars, restaurants and clubs in Athens, but it's been a little while since an Athens band made me want to jump in my car and make the trip. Vincas have given me that much needed excuse. Blood Bleeds is a monster of a record. They are playing dark and heavy songs that at once will draw Birthday Party and Gun Club comparisons. I'd bet they have some later Scientists records in their collections too as there is a discernible element of swampishness weaving itself throughout the record. It's sexy in a super-bitter dark chocolate kind of way and has a pounding cohesiveness throughout. Vincas demonstrate total control from start to finish, and it's pretty clear that they didn't just stumble onto a style of music like this. We truly hope the folks over in Athens realize what they've got on their hands.