May 9, 2018 | doors at 8:30pm
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Triple Ds presents:
PLS PLS | JesusHoney
  • $10
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The Life and Times
If you were forced to guess what a band sounds like based solely upon the bands
they’ve toured with, but without actually having heard them—as we’re all forced to at
one time or another—you’d be pinning the tail on the proverbial donkey with The Life
and Times. Seemingly odd tour pairings with bands like the Johnny-Cash-flavored Murder
By Death, indie folkster William Elliot Whitmore, ultra-heavy sonic juggernauts Pelican,
Japanese atmospherists Mono and the urgent rockists Sparta and Engine Down have all
made for smart mixed bills and paid dividends in many new fans for them.
Live, the bright light and intense heat put off by the three lights The Life and Times bring
on tour with them have not only given each of them exquisite tans on one arm, they
provide a visual representation of what is happening on stage. As the blinding white
lights bounce off their guitars and cymbals and around the room, the resulting lights and
shadows are apt metaphors for the sound of three people creating mountains of sound
and blissful mood.
Allen Epley (gtr/vocs), Eric Abert (bass/moog) and Chris Metcalf (drums/cymbals) have
added to the disrepair of interstates across the US throughout the ‘90s as members of
Shiner, Ring Cicada and Stella Link, respectively, and have seen fads and styles fade at
about the same rate as cheap jeans. The Magician EP (Stiff Slack), their fourth overall
release, is a fad-free snapshot of a band that’s constantly morphing from a dragon, to a
butterfly, to blinding white light, to a bird, to Godzilla, and back again, often within the
space of just one song.
Writing recently for The Magician, the band couldn’t help but notice the ease with which
each song was crafted. The obvious difference between these songs and those found
on their critically well-received debut CD Suburban Hymns (DeSoto) in 2005 was that they
had found their M.O., their raison d’etre, or whatever you want to call it, and it has
produced a streamlined style that is also constantly, but effortlessly evolving.
A song like “Hush” gives the impression of what a Kevin Shields wet-dream might sound
like with its rolling, overdriven sonic tidal-waves topped with Epleys’ powdery sweet
vocal. “I Know You Are” begins with a simple 7 note theme that Doug Martsch might’ve
written before it spins into a cauldron of whirling colors. Aberts’ Roger Waters inspired
bass lines on “Killing Them Softly” and “Ave Maria” reveal their more Floydian tendencies,
while “The Sound of the Ground” offers a simple guitar melody repeated ad nauseum
until its’ zenith is ultimately realized. These solar vs lunar atmospherics are always
balanced by Metcalfs’ Bonzo-sized beats, of course.
June of 2006 saw the release of an eponymous split 10”/CD and subsequent two week
tour of Spain, both of which included the fine Barcelona-based band Nueva Vulcano
(ex-Aina). Now, the fine Japanese label Stiff Slack Records, (Mercury Program, 31 Knots,
Shiner, Mates of State) had offered up a home for The Magician at a time when Kim
Colettas’ DeSoto Records had entered a self-imposed long-term slumber. Plus, it gives
them a chance to knock back a few Sapporo tallboys from vending machines while on
a headlining tour of Japan in October 2006.
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.

JesusHoney is a rock band with Dave Railey (American Dream), Justin Gray (The Goldest),
Robbie Nelson (Cadillac Jones) derived from 90's-esque brit-pop, post punk indie, and southern rock.

Songs of long lost loves, pain, the celebration of the now and getting on with things.

Dynamic murder ballad-ish rock n roll