Two Mixt A, Vol. 1 record release shows
Featuring the N.E.C., Grip Plyaz, the Balkans, A. Leon Craft. $10 (includes vinyl LP). 7 p.m. Thurs., May 7. Eyedrum, 290 Martin Luther King Jr. Drive. 404-522-0655. www.eyedrum.org.
Featuring Stanza, Carnivores, Mums FP, Predator. Free. 3:30 p.m. Sun., May 10. Criminal Records, 1154-A Euclid Ave. 404-215-9511. www.criminal.com.
AUDIO
The band that rolls together holds together, and the Coathangers make the perfect gang. The band’s second full-length, Scramble (Suicide Squeeze), highlights marked growth for Atlanta’s premiere lady punk banshees. When Julia Kugel (guitar/vocals), Stephanie Luke (drums/vocals), Candice Jones (keyboard/vocals) and Meredith Franco (bass/vocals) dropped their self-titled debut in 2007, they caught both heat and praise for penning such juvenile party-punk anthems as “Tonya Harding” and “Nestle in My Boobies.” Scramble finds the group in a darker, more poetic mood, but they’re still not about to get all serious on us.
— Chad Radford
We are all friends and we are a gang, all for one. We keep each other in mind and try to concentrate on what’s best for the group. Even when we write songs, egos aren’t involved. We focus on what’s best for the song rather than who wants to do a solo. That’s why we can switch up instruments between songs. None of us are emotionally attached to one thing. We listen to each other’s ideas, and I would say that makes us a good gang. But there was no blood-in/blood-out.
The main thing that happened between recording the first album and the second one is that we grew up. When we started the band, we were three years younger and in a different mind-set. Meredith was only 19 years old, and we were just more in your face, vulgar and loud. But once we started touring, we grew up and learned how to play our instruments.
When we did the first record, we literally threw it up. With Scramble, we thought, “OK, maybe we are musicians of some kind.” We took it kind of seriously, but with a pinch of salt. We deserved to take ourselves seriously and we didn’t want to write silly songs anymore. It became a matter of diluted content and burying things in metaphors. We weren’t so literal. “Nestle in My Boobies” is pretty literal, but a song like “Pussywillow” makes you say “What?” It’s not really about anything, but it is.
— Julia Kugel of the Coathangers
Mixtape Love: The Music Issue '09
Dedicated to Atlanta, a compilation of sounds and stories from some of our favorite artists
Grip Plyaz, "Fuck Dat Hipster Shit"
Basically, I grew up right there on the corner of Parkway and Ponce de Leon in the apartments that sit right across the street from the Taco Bell. So I grew up around the whole dope game. I learned that wasn’t the way to go growing up. I had to come up with a better plan. — Grip Plyaz
The Balkans, "Violent Girls"
Me and Brett were both in these little mall rat cults that hung out at Phipps and Lenox and caused trouble. We had a crew and we would hang out at the Publix by Phipps and try to get people to buy us beer and wine, and then we would go hang out in the stairwell at the mall and smoke cigarettes. — Woody Shortridge of the Balkans
Zoroaster, "White Dwarf"
We found out really quickly how the royalty checks work — they don’t! We never got a penny from our album sales. So we said, “Fuck it. Instead of handing our music over to someone else, let’s start our own label." — Dan Scanlan of Zoroaster
Mums FP, "Cause and Effect"
I feel like I’m flier than a lot of people. I may not just say it to their faces, ’cause I don’t know what kind of reaction that’s going to get out of a lot of people. So music is just where I kind of let that out. — Mums FP
Carnivores, "Shark Teeth"
I met Nathaniel and Tauseef in high school in Gainesville. Nathaniel went to a different school than me and Tauseef, but we hated everybody at both of our schools so we hung out and drank Hawaiian Punch, ate toast cheese crackers and played music. — Philip Frobos of Carnivores
A. Leon Craft, "Spaced Out"
Back then, we were just listening to booty-shake music and N.W.A. and stuff like that. Most of the music that was coming out of the South was more dance type, but when [OutKast] came out just rapping, we were like, “Aww man.” I remember I used to go to sleep listening to the ATLiens album every night in the little tape deck. — A. Leon Craft
Predator, "You"
Brannon and I have been in bands together for a long time and we’ve always wanted to write different-sounding stuff, whether it be something a little slower or maybe much faster, but it always comes out sounding punk because that’s the only kind of band we’ve ever been in, and that’s what we know how to play. — Mike Beavers of Predator
Stanza, "A. Town Love"
My first introduction to hip-hop was when my cousin had 8Ball & MJG’s Comin’ Out Hard — when they still had the [Jheri] curls on the cover. I remember sitting in front of the stereo, just looking at the stereo, listening to it. And something about it caught me — Stanza
Anna Kramer & the Lost Cause, "I Can't Take It"
"I Can't Take It" just kind of came out of me. It's a pretty straight-up rocker and I didn't have to think about it, really. It's nice when a song flows like that and you can capture a feeling in a song; the initial feeling that you had when you wanted to write it in the first place. — Anna Kramer
The Ultimate Mixtape Playlists
To celebrate CL’s annual music issue we asked a random mix of Atlanta tastemakers, critics and promoters to share their greatest playlists.

