Articles by Adam Valeiras
Pourin’ One Out: Four Promising Atlanta Bands That Called It Quits in 2017
…and four that thankfully didn’t.
Real Estate, “In Mind”
Like previous Real Estate records, “In Mind” washes over the listener, pleasantly blending into the background.
Savannah Stopover Music Festival 2016: An Old Town Hosts New Talent
Featuring a massive billing of developing names in humble venues, the Georgia festival presented a low-key option for those looking for an alternative to SXSW—or a pit stop for those on their way to it.
LIVE: Car Seat Headrest Pull in to Atlanta (12/10/2015)
Up-and-coming Matador signee Will Toledo and his band go cruising through the ATL.
Protomartyr, “The Agent Intellect”
Protomartyr’s third album, “The Agent Intellect,” does a superb job evoking its title, the origin of which stems from a classical and medieval philosophy regarding the concept of active reasoning—it’s the conscious mental action of converting potential or passive thought into something human.
Here We Go Magic, “Be Small”
What stings about “Be Small,” though, is that its incredibly catchy and glossy sound suggests an emotional quality that the album at times lacks.
Shaky Knees 2015: My Beer Is Warm, But It’s Still Cooler Than the Sun
One of the best lineups of the season came together last week in Atlanta.
Passion Pit, “Kindred”
With “Kindred,” Michael Angelakos has crafted ten sun-splashed songs just in time for summer, but he’s lost some of Passion Pit’s musicality along the way.
Shlohmo, “Dark Red”
Henry Laufer—a.k.a. Shlohmo—has crafted a somewhat pessimistic image for himself through his lyricless (and often reclusive and angsty) production.
Vetiver, “Complete Strangers”
Since the early 2000s, Vetiver has existed more as a moniker for songwriter Andy Cabic than an established Bay Area band.
Twin Shadow, “Eclipse”
With this latest full-length, Lewis attempts to create an album more confessional than “Confess,” “Eclipse”’s immediate predecessor.
Beech Creeps, “Beech Creeps”
“Beech Creeps” plays like a live album in both production and structure, as if the songs were loosely composed and then spontaneously expounded upon within the studio.
Merchandise, “After the End”
On After the End, the songs are more concise and grounded in form, but beyond that, the band’s working punk formula doesn’t seem far altered.