atlanta music tagged interest

SCENE REPORT Atlanta’s Indie Underground Rises from the Shadows By Saxon Baird · Illustration by A. Savage · October 03, 2024

In the city of Atlanta, indie and punk tend to live in the shadows. The city is more synonymous with hip-hop, having produced such legends as Outkast and TLC, as well as current stars like Lil Baby and 21 Savage. It’s the city of Athens that has historically been the place where rock and punk thrive—home to generations of independent music like R.E.M., the B-52s, and Neutral Milk Hotel.

But lately, a new group of acts have ignited the scene, a new wave aided by small, DIY venues that began popping up in the wake of the pandemic. The Inner Space, run by longtime Atlanta visual artist Carl Janes, sits in a commercial space housed within the bankrupt Underground Atlanta mall and hosts local bands nearly every night. Entry fee is low, and shows are often announced day-of on Instagram. Across town, Factors, a clothing brand founded by Matt Lambert of No Head and Night Cleaner, offers semi-regular free shows at its Little Five Points storefront. New, semi-informal venues like these have been a life-source for the scene, complementing long-time local venues in East Atlanta Village like 529 and The Earl.

“The venues tend to have our backs,” says Jalen Jenkins, who plays in local acts Hubble, Symbiote, Bright Red Blood and many other Atlanta-based projects. “A bar will sometimes even do an 18+ show to support new acts.” Sarah Bohling, who relocated from Omaha and currently plays in No Head and Thick Paint, agrees. “There’s a good show every night. And I often like the local opener more than the touring headliners.”

But the scene also faces challenges. Rising costs of living due to waves of redevelopment across the city has resulted in galleries, venues, and artist-run spaces disappearing. “It’s a lot harder to start off as a new band and get shows,” thinks Mikey Durham, lead guitarist of Upchuck. Durham, who grew up in Atlanta, cites gentrification and rising house prices as obstacles to the scene’s growth. “There used to be a lot of house venues, and there’s a couple still around,” he says, “but back in the day you could find a flier on a Facebook page and go to a house venue and tear it up two or three times a week.”

The rising cost of living brings up another consistent debate among artists and musicians in Atlanta: The pull to move to Los Angeles or New York. It’s not uncommon to hear of someone in the scene finding Atlanta to be a small pond, and as a result considering a move to a coastal city for more exposure, cred, or simply for a career boost. Jenkins thinks this is a miscalculation. “Atlanta is just as much of a city musically as those places,” he argues. “You can still make it work here. Staying in the city strengthens the scene. It’s important to have that foundation of a city to back your music up.”

Atlanta’s urban sprawl is one unlikely factor helping to offset these challenges. A vast metropolitan area with nearly seven million residents means there are endless new opportunities to find affordable spaces. Musicians and artists frequently transform empty strip malls, motels, abandoned auto body shops or forgotten sports bars into new, temporary homes for performances, studios, and live shows—strengthening the scene’s unifying feeling.

“Everyone is very supportive and really champions each other,” says Bohling. “I hear about very little band drama. That’s refreshing.” Jenkins believes this camaraderie adds to the already unique quality of Atlanta’s indie music. “Atlanta musicians have a special perspective,” says Jenkins. “This is a place that made Playboi Carti and Mastodon. What kind of place is putting those two out at the same time? And then consider all the other great bands and artists… It’s a real testament to the city.”

Here are just a few of the artists keeping Atlanta thriving.

Sword II

Born and bred in the Atlanta DIY music scene, Sword II’s 2023 debut Spirit World Tour was recorded over two years in a basement studio during the pandemic and the BLM protests—in which the band was heavily involved. The result is a unique and unpredictable record that defies genre classification. Landing somewhere between early Sonic Youth, the glitchy Gen-Z punk of 100 gecs, and the band’s own brand of shifty songwriting and socially-charged lyrics, Spirit World Tour is in a class by itself.

Upchuck

Known for their explosive live energy, Upchuck has built a large following in Atlanta and beyond thanks to their tireless touring. Simply put: Upchuck doesn’t fuck around. Just check out the cover art for the “Upchuck” b/w “In Your Mind” 7-inch, which features a photo of lead singer KT’s bloodied face. While the band’s overall aesthetic reads old-school hardcore, their sound cleverly blends garage, punk, and psych-rock. They turned things up a notch in 2023 with new record, Bite the Hand that Feeds. Produced by Ty Segall, the LP was named as a top record of 2023 by none other than Henry Rollins.

No Head

Featuring Matt Lambert, the mastermind behind the moody, lo-fi sounds of Night Cleaner; Sarah Bohling, formerly of Omaha’s Icky Blossoms; Asha Lakra; and drummer Denny Bowen, No Head’s debut So Far andamp; After is a dark and moody affair. Lambert and Bohling coolly trade vocals over distorted guitars, creating walls of psychedelic shoegaze. Their shows are arguably the loudest in Atlanta. Live, their M.O. is simple: Plug in, melt faces, blow eardrums, load out.

CDSM

CDSM is a six-piece with an all-star lineup consisting of former members of Atlanta indie darlings Material Girls, Neighbor Lady, Rose Hotel and others. Over the last two years, they’ve unleashed a string of singles, along with their debut EP Hell Stairs. Their swaggering mix of synth-heavy no wave and post-punk seems custom-designed to make you sweat. It’s also the perfect embodiment of a weekend night in Atlanta: fun, weird, glam, and a bit edgy.

Mother’s Milk

Mother’s Milk, the latest project from the State Laughter label head Josh Feigert (also of GG King, Camaro Crotch, and Glittering Insects), is an infectious, sprawling, guitar-driven sci-fi fantasy project. The debut LP, “Render Void at the Gate,” was penned entirely during pandemic lockdown. Feigert’s self-described wind-and-shroom-fueled sessions near his forest home during this time are reflected in the record—and that’s a very good thing.

Strumbrush

Strumbrush’s debut LP Whirlwind lives up to its name. Released on the label Rope Bridge—run by Ryan Myers, a faithful champion of the Atlanta DIY scene—each track is a herky-jerky, whip-smart helping of hallucinogenic art-rock. The music is at once catchy and melodic, complex and beautiful, at times recalling another Athens, Georgia legend: The Olivia Tremor Control. Foster Wells is the young mastermind behind the band, and they’ve crafted a dizzying debut that demands your attention.

Vessel

Born from a pandemic jam session where friends primarily tackled The Breeders’s “Cannonball,” Vessel quickly ditched covers and started writing their own songs. The result sounds less like Kim Deal and more the B-52s, a bunch of Georgia kids trying to get a dance party started. This vibe translates perfectly to their live shows, where they’ve honed their sound opening for Omni among others. Their debut “Wrapped in Cellophane,” released on Atlanta’s Double Phantom Records, perfectly captures their dynamic live energy.

Hubble

Hubble slots easily into a new spate of bands channeling the halcyon days of late ‘90s/early ‘00s post-hardcore/emo, but adding a shimmering layer of shoegaze. Their music builds slowly, languid beginnings bleeding into a stomp of distortion. Their latest release II continues developing this sound, mixing emotive dreaminess with moments of raw power. It’s the ideal soundtrack for a late-night drive, silhouetted by the endless pines hugging the highways that criss-cross Atlanta.

Team Deathmatch

Led by the astute songwriting of Reed Winckler—who recently released a solo record via Athens imprint Primordial Void—Team Deathmatch may be a new addition to the Atlanta scene, but on their two-song single “Sprain” b/w “Brian” (released in April) they sound like a band that’s been playing together for years. Their songs slot easily next to Big Thief or Raleigh acts like Wednesday or Truth Club. Wickler’s talent shines, and recent live sets strongly indicate that their next studio effort will be a masterpiece.