Former members of Deerhunter The Blame Game, and Devastator unite to form a CVLT (the V is like the U ancien rome pronounced Cult.) This 3 piece is the kind of band you love to hate. Not congruent with the scene experts who proclaim "quiet is the new loud". Living the manifesto conceived in twilight horizon observation sessions. Have you ever seen a wizard riding a motorcycle? Eagles with tusks clutching giant squid in their talons? An elephant fighting a pack of wolves? Currently training at 100 times earth's gravity, our astronomical decibel levels being honed to avoid serious damage to earthly conquerors. Total combat noise you can sing along to.
Madclout is a network of break dancers, visual artists and like minded music appreciators known throughout the US. They have sponsored many events here in Atlanta from painted vintage boombox expos to Art of Writing exhibits to B-Boy crew battles. For the WrasBenifit, Madclout will be doing a breakdance demonstration with a backdrop of funky 70’s & 80’s breakbeats.
Atlanta natives Dream Sanitation (Eye of Noot) and Bimbi "Smoofus" Thomas have playing together since the late 90's in bands such as the drug cabal masked as a psychedelic rock band Good Friday Experiment as well as fusion-experimentalists Seventy Spacebird. The two have many other studio and live credits to their names including Dream Sanitation's keyboard work with Phife Dawg, and Bimbi's percussion concussion with Atlanta dancehall kings, The Selmanaires. While most wouldn't equate these two artists prior work as "dance music", the two have always entertained the idea of putting together a project such as Noot d' Noot. The duo ventured into the realms of electronic music some forgotten Friday evening, and emerged with a killer hangover and 2006's self-released "Goofer Dust Mixtape". The reaction to "Goofer Dust" from friends, fellow musicians, and local indie record stores and labels led to the first of many Noot d' Noot live performances. Assembling the collaborators on the mixtape for the first time, including saxophonist Ben "Dr. Kinje" Davis, Afro-Cuban master drummer David Lougee, multi-instrumentalist James Joyce (Formerly of Car vs. Driver), knob-twiddlin', rythym ace Crab Louie, and master of ceremonies MC Eboli, Noot d' Noot quickly solidified a formidable live group. With a full line-up of talented musicians, a deal with Atlanta based International Hits Records, and plenty of material ready to drop, Noot d' Noot seem ready to bridge the gap between Atlanta's well-known party crunk scene, and the psychedelic rock acts rapidly making noise on the national radar.
Clan Destined (or, Clan D for short), a funk-fest of rolling, rumbling, revolving, relentlessly soulful beats with an electronic sensibility. The vibes can range from loungey and chilled-out to all out trunk-rattle. You might catch Dex singing on a chorus on “Read The Signs”, or both of them scratching in their own vocals over live keys in “The Language”. The Yin and Yang aspect holds strong, with DT being the more outspoken on the mic. You get the feeling he’s just a raw channel of verbal energy in a constant state of explosion, while AmDex weaves a cool, thoughtful spell that’s never short on a clever word. The youngest members of The VJC are poised to make their debut excursion with their album ABBRACADAMN!!!, set for a January 16, 2007 release on Domination Records/VJC Recordings. With an arsenal of visionary beat-craft and an uncanny physics at their fingertips, Clan D is on the brink of giving Atlanta yet another claim to one of the landmark pair-offs of this generation and raising the bar for the hip-hop duo. From now on, alchemy must be part of the equation.
Crate-diggers and vintage record fanatics of the 21st century, listen up! A never-released soundtrack album from an ill-fated 1970s action flick, rediscovered earlier this year. A spokesperson for media-shy jazz-funk outfit Cadillac Jones announced at a weekend press conference that the non-malicious mislabeling of the original tapes led to the soundtrack's estimated twenty seven year disappearance. Feature film The Big Takedown was reportedly shelved by an unnamed major studio when producers exceeded their budget by twice the originally allotted amount and were, by all reports, nowhere near done with the picture. The album, over an hour of instrumental tracks whose funk bass lines and percussion, balls-out brass progressions, and far-out keys and synth, take the listener back to the era of films like Shaft, The Mack, and Super Fly and groundbreaking jazz-funk acts like of Herbie Hancock, The Crusaders, and Deodato.
Musicians and friends since 1996, Jason Choate and Stephen Thomas are the Gemini-twins and twisted minds behind Kids with Codenames. Genres do not stick well to these shapeshifting artists. Throughout their decade-long career, Kw/C have dabbled in every form of musical expression from acoustic folk and gangsta rap to drum&bass and ambient electronica. With roots as promoters in the twilight of the Atlanta rave scene, Kids with Codenames quickly made a name for themselves as iconoclasts. They were the first in the ATL to take Ableton's "Live" software to the dancefloor, dropping wildly executed house and tribal mashups in crowded clubs and afterhours parties. Now they've returned to their earliest form as singer-songwriters, fusing pop sensibilities and futuristic stylings along with a production ethos of "anything and everything in between." The result of this full-circle journey through art and time is a collection of funky, soulful, and sincere tunes that burrow out a place to live inside your head. Forever. Fresh off the road from a pair of gigs at New York City's famed CMJ Festival, the Codename Kids will play their homecoming show at the WRAS Benefit.
Main Stage 10:45
Within eight months of arriving in Atlanta, Janelle Monáe had met Nate “Rocket” Wonder and Chuck Lightning of Wondaland Productions and begun work on her masterful debut album Metropolis. “Metropolis is the place I’ve been dreaming about all these years. A city inside your head. It’s an adventure the music brings alive.” Like a daring epic film, the album concerns a cybergirl’s struggle to love in the futuristic city of Metropolis. With such innovative subject matter, it is no surprise that Metropolis doesn’t sound like your average R & B record.
In fact, many of the songs sound simply otherworldly: “Violet Stars Happy Hunting” sounds like a frantic Disney song played by the Sex Pistols; the achingly beautiful, string-laden “Cindi” sounds like a moving Broadway classic crafted by Rodgers and Hammerstein; “My Favorite Nothing” mixes doo-wop sass with swirling new-wave synths, electrifying handclaps and urgent rhythm guitars; “Lettin Go” moonwalks on a bed of bubbling synthbass, Philly soul strings, and hypersoul vocals; while “Metropolis” is a soulful blue waltz through a Bladerunner-like world where cyborgs fall in love with humans at their own peril.
In the summer of 2005, Janelle Monáe performed “Dear Mr. President,” a soulful, Curtis-Mafyfield-like political burner, complete with strutting bass and blaring horns, for an audience of one: the hip hop legend and musical innovator known as Big Boi. After hearing this single song, Big Boi was an ecstatic believer. Positive that he had found the leading lady of his new Purple Ribbon label, he quickly gave the emerging talent a starring role in his new enterprise: two song placements on his compilation record Big Boi Presents…Got Purp Vol. 2, as well as the opportunity to write and record on several songs on the forthcoming Outkast album.
However, after coming from a closed studio session with Andre 3000, Janelle Monáe is surprisingly grounded and clear-eyed about the future: “I feel so blessed. I have so many people I look up too: Bjork, Outkast, Fiona Apple, Janet Jackson, Madonna…I want to take the things they’ve taught me to the stars….”
Random Rabbit is a musical organism created by Andrew Provine, Adam Herbert, and Charles Pazinets. Based heavily in improv, the music is influenced by everything we have ever heard or experienced. The music often comes to life from one sound or note gradually building up to a tapestry of organic and electronic beauty. The music adheres to no formula or one single idea. We assume shapelessness and adapt only to change.