“Not Sweet Enough,” the latest track from Lesibu Grand, is a journey both audibly and visually. I don’t mean the song takes you on a journey as much as the Atlanta band does, offering multiple reimaginings of the song that all serve to emphasize the same point: from the grungier, contemporary original version of the song to the new Punk Cellist remix and accompanying Victorian-inspired video (both of which premiere on Audiofemme today), the oppression and mistreatment of women is an age-old problem.
These collaborative remixes are nothing new to the band, having recently released a snappy Pls Pls remix of single “Hot Glue Gun.” As far as “Not Sweet Enough” goes, they originally wrote the song in response to draconian abortion laws drafted by the Georgia state legislature. “We thought it was perfect timing to speak out against that whole mindset,” explains frontwoman Tyler-Simone Molton. Their original take was more aligned with the band’s audible punk aesthetic, but they soon discovered a cello cover of the song on social media by Berklee College of Music student Ian Legge, who has been posting string versions of his favorite punk songs to YouTube over the past year as The Punk Cellist (he also takes requests via Patreon). Lesibu Grand reached out to him to collaborate, and from there this remix was born.
“The idea of doing it in a different genre and taking it kind of old school, but it’s still relating to a problem that’s very relevant today, is [an intentional] juxtaposition,” Molton says. The genre-spanning across centuries, from pop punk to a more classical style, is a means to drive home the agelessness of the problem itself.
The video follows the same path. The original is a corn-syrup-soaked romp akin to Celebrity Deathmatch or Robot Chicken. Molton shapeshifts from her real physical body to a Barbie version of herself, imagery so fraught with societal expectations of women that the metaphor borders on satirical. She ruthlessly kills all the (action figure) men – “Obviously we’re not going around slaughtering men,” she says – that stand in her way.
In the updated concept, she’s dressed in Victorian garb, almost like a character in an opera. “I’m supposed to embody a very proper, well brought up young woman who’s looking at the content of the video,” she explains. In a meta sort of way, watching the video is meant to radicalize her long in the past, and the realization that she “has this oppressive angst that she wants to get out” awakens.
In a recent interview with Afropunk, Molton said, “We call out the lawmakers, specifically in Georgia where we live, and warn them of our resistance – although they write state law and want to use it to control our bodies, women and their allies can organize, speak our minds, energize popular opinion which is still pro-choice, and ‘bring them doom’ by voting them out of office.”
Until then, she’ll keep revamping the fiery songs she directs at them so that they are constantly reminded of what’s coming for them.
Pip the Pansy may change everything you know about pop music.
There’s only one day left in the decade, y’all. Like it or not, 2020 is almost here. Whether you’re ready to send it out with a bang or trying desperately to figure out where the last twenty years went, there’s no denying: the time has flown, and we’re on the cusp of a brand new decade.
Time to put some serious thought into those New Year/New Decade Resolutions, huh?
While you’re working on those resolutions — or just trying to detox after a month of nonstop Christmas music — PLAYING ATLANTA is here to offer a break from the jingling and jangling and remind you that not all music insists that it is, in fact, the most wonderful time of the year.
Full of sultry melodies, blazing rock ’n roll, and enough swampy Southern soul to call forth the dearly departed of Capricorn, FAME, and Stax, PLAYING ATLANTA has been a joy and an ongoing surprise to write. Over the last year, we’ve explored loss, self-love, and life’s long roads, traveled to Colorado with Sam Burchfield, and brought it all the way back home to witness the soul-stirring rock power of The Pinx.
All of that in a year, too. Who knows what the new decade will sound like.
And now, without further ado, PLAYING ATLANTA’s Top 10 of 2019:
Atlanta indie-rock group Lesibu Grand, founded by lead singer Tyler-Simone Molton and bassist John Renaud, blends sharp vocals with a Debbie Harry nonchalance, zesty synth, and new-wave-meets-hip-hop prowess to craft a debut EP that sounds like anything but. Weaving introspective lyrics between tracks like “Miranda,” which tells the story of a loveless suburban marriage launched into out-of-this-world adventures following an alien invasion, The Legend of Miranda is a zingy debut by a band who has already made a name for themselves.
The Pinx rock… and roll, and boogie-woogie all night long, especially in their latest music video, “Mercy!” Shot in the ballroom of a haunted hotel, The Pinx disturb a few guests and draw listeners out of the mundane with each single, music video, and concert.
Featuring the lead vocals and guitar work of Adam McIntyre, lead guitarist and vocalist Chance McColl, bassist Charles Wiles, and drummer Cayce Buttrey, The Pinx takes rock back to its roots and reminds us all of the true meaning of rock ‘n roll: to break down barriers and get everyone dancing.
Actress, filmmaker, indie label co-founder, and singer-songwriter Victoria Blade wear a lot of hats, but she wears them with an incomparably jaunty ease. The Brooklynite-via-Chicago-turned-Atlantian has an uncanny ability to craft an EP that listens more like a diary, chronicling the life and love of a creative nomad. Equal parts studied and effortless, good-natured and introspective, Blade blends lo-fi folk with the sweet sensibility of indie pop, resulting in the breath of fresh air that is Lo-Fi Love Songs.
Athens-based, New-York-born, Ecuadorian-and-Nicaraguan singer-songwriter Sarah Zúñiga brings an intimate sensibility to her unique brand of alternative folk, blending sharp observation with the textured poeticism of traditional Spanish folk music. When we last checked in with her, she had released her latest single, “Heart of Mine,” gearing up for a few highly anticipated winter releases.
The stop-you-in-your-tracks single was followed by a two-song EP featuring Fish, What Is Love To You, and the single “I Like Knowing You’re Around,” but there’s something about the deeply personal “Heart of Mine” that I love. Tackling the weighty, often indescribable effect anxiety has on the heart, “Heart of Mine” features Zúñiga’s unique vocal styling and showcases her ability as a songwriter and musician.
Sam Burchfield’s wanderlust-inducing, Appalachian-folk inspired single “Colorado” was the perfect track to usher in autumn (and I’m still listening to it now!). Based in Atlanta but born and raised in the foothills of the Blue Ridge Mountains, Burchfield returned to his roots and crafted a stunning ode to the natural world – and the breathtaking beauty of Colorado – with this track.
Atlanta’s chillest electro-pop artist and producer Seersha – aka Kara Revnes – spent two years crafting her latest release, but it was definitely worth the wait. Her seemingly effortless ability to create ambient soundscapes that are equally driving and oh-so-chill is unrivaled, but it was her onstage presence that drew me in from the start. Calm, subdued, and self-assured on stage, she takes that easy confidence with her into the studio, imbuing each song she writes and produces with her own indelible style.
Blues-rock quartet Death Mama is one of the newest – and loudest – players in the rock scene. Committed to a shroud of mystery that envelops the slinky, smoldering sound, the foursome has already made a name for themselves in the Atlanta area. Following the release of two singles, the group dropped their debut album, High Strangeness, featuring seven tracks as jolting as the band’s name.
Atlanta sextet Sarah and the Safe Word had me hooked before I ever heard their music. Their one-line bio – “Jay Gatsby died, we played the funeral.” – wraps the group in their own brand of the operatic, twisted rock ‘n’ roll ethos. Crafting stories that range from a demon-powered car race in “Formula 666” to the swashbuckling battle on the open sea in “Dead Girls Tell No Tales,” the group manages to create a world that’s as outrageous as it is inclusive, a place for anyone and everyone to join in and enjoy the dark, swinging sounds of the 1920s.
Melodic and unassuming, Cicada Rhythm has a way of subtly blending the sweet simplicity of ’60s and ’70s folk music with the hustle and bustle of 21st century life between the slide of fingers on acoustic guitar strings, the swell of a stand-up bass, and crisp harmonic vocals. Featuring bassist Andrea DeMarcus and guitarist Dave Kirslis, Cicada Rhythm has the most down-home sound of any group I’ve heard this year, perfectly showcased in their take of Simon & Garfunkle’s “Cecilia,” the latest installment in their Stuck in My Head cover series.
Combining haunting piano melodies with fuzzy synth and driving rhythms – and the occasional flute solo – Pip the Pansy dispels every notion I ever had about pop music and replaces it with a lilting, quirky melodicism. Uniquely creative, she has a way of entrancing listeners with the effortlessness of a Greek siren, weaving a hazy dreamworld of myth, magic, and melody.
With a powerful live show and a brand new EP, Love Legends, Pt. 1, Pip the Pansy is proof of the magic of reinvention, a perfect send off into a brand new decade.
Keep on rocking, Atlanta – wishing you the happiest of days and a wonderful new year.
Playing Atlanta readers, you’re in for something special this week! Atlanta indie-rock group Lesibu Grand is officially the first fresh find of the fall, and I have a feeling you’ll be just as excited about them as I am.
Founded by lead singer Tyler-Simone Molton and bassist John Renaud in 2017, the group has since expanded to five members as they prepare for the release of their debut record, featuring guitarist Brian Turner, drummer Lee Wiggins, and Chris Case on keys. Combining sharp vocal melodies with the perfect splash of zesty synth, the group channels new-wave influences like Blondie or the B-52s with a poetic hip-hop prowess and enough funk to keep fans movin’ and groovin’ all night long.
I got the chance to talk with the group’s founding members days before the release of their self-recorded debut LP, The Legend of Miranda. Read on for all the details, then kick back and crank up the volume on your new favorite band.
AF: How did the two of you get into music? Did you grow up in musical households?
TSM: I did not grow up with parents who were particularly musical; however, I was always surrounded by music. Whether it be a Saturday afternoon doing chores or road trips to visit family members or just hanging around the house, music always surrounded us. I was also encouraged to play an instrument by both of my parents, which I did (violin) from age 11, so that introduced me to music in a more technical way.
JR: My experience was similar to Tyler-Simone’s. Neither parent played an instrument or sang, but we had music around the house and always on road trips. My folks liked the Beatles, Beach Boys, Johnny Cash, and the Eagles, so I was brought up on classic ’60s and ’70s rock. I’ve been told that my grandfather Felix Renaud was a natural musician who played piano, banjo, ukulele, and harmonica without any training. I also have no training, and so I feel I got any musical talent from him.
AF: Tyler-Simone, you grew up in Atlanta and loved the local superstars like Outkast and Erykah Badu; how did the hip-hop scene influence you in the early days, and how did you go on to combine that with other influences? What do you think you draw from your favorite bands, and how do you use it to create the magic that is Lesibu Grand?
TSM: I think that [one of] the two biggest takeaways that I got from my love of hip-hop is the depth of the lyrics. Hip-Hop can be very poetic and I feel like I use some poetic devices when writing. Secondly, I pay attention heavily to nice bass lines and drum beats. I think that comes from my hip-hop influencers as well.
Regarding the new-wave style’s influence, we love the tight, punchy vocal melodies that typify the best in the genre, like Blondie and the B-52s. Also, the prominent use of synthesizers, making them equal with the more traditional rock guitar. That adds a glitzy shimmer to a recording and can really elevate a song. Of course, new-wave and hip-hop grew up together in late ’70s NYC, so they’re not really all that far apart in some ways. With punk bands like The Ramones and The Clash, it’s the energy and emotional directness that influence us. Punk pushes both of these elements way up from what they typically were beforehand, and we like to create in those zones.
AF: John, you moved down from New England with Ace of Heart Records’ alt-rock band Crab Daddy and ended up in Atlanta. You’ve got quite a background in alt-rock and funk; what do you draw from those influences to create the synth-drenched indie-pop sound of Lesibu Grand?
JR: Crab Daddy was my first serious musical project and I learned tons from that experience, including the basics of music theory, the joys and frustrations of songwriting, and how to deliver a solid energetic performance even to a nearly empty room. Much of what I learned music-wise, I got from Crab Daddy’s singer, songwriter, and guitarist, Matthew Chenoweth, who still performs often in the Atlanta area. So, the influence there is deep, and probably comes through everything I’ve done musically since.
When that band wound down in the mid-90s, I got more into jazz and funk, eventually forming the instrumental jazz-funk band, Cadillac Jones. With that project, I really focused my attention on creating funky and/or melodic bass lines. And while I would not call Lesibu Grand a funk band, I still seek to establish – and then build up – a strong groove with a memorable bass part.
AF: How did the two of you meet? Was it an instant connection? What made you realize “Oh, we’ve got something here”?
TSM: We met a few times very casually at Turner, where my mother and John worked together. We did not connect musically until we ran into each other at a Pains of Being Pure at Heart show at The Earl. From then on it did seem like an instant connection. We quickly became best friends, and through our positive, supportive, creative relationship we’ve been able to write non-stop.
Writing songs with someone else can be very challenging. For example, you end up sharing parts to songs you’re not really happy with yet, or you may want to change some aspect of what your partner created without insulting them. Doing this requires a lot of comfort and trust, and I feel we have that. I’m not saying we never clash over songwriting, ‘cause sometimes we do, but it’s usually fleeting and then we get right back to doing our best to make our songs work.
AF: You’ve just released your latest single, “Runnin’ Round” and your debut LP, The Legend of Miranda, drops on October 4th. Can you tell us a bit about the writing process? Do you tend to write alone, or is it more collaborative?
TSM: Our writing process is inspired by the Lennon/McCartney approach. Some songs I write the lyrics, bring them to John and he comes up with chords, and we develop it together from there. Sometimes, he writes the lyrics and I develop a musical melody. It can spark from one of the two of us but ultimately, the songs are developed with both of us vibing out on our creation. Overall, it’s squarely in the collaborative category.
AF: Can you tell us a bit about the tracks on the LP, specifically the title track, “Miranda”?
TSM: The tracks on this album are all telling their own stories about our experiences figuring out the trials in life — sorting out the dreams from reality and being able to live out some of those dreams.
As for “Miranda,” it tells that story very plainly. If you watch the video you see that the couple shown is facing a struggle in their relationship that their love has, for some reason, died out. This can be because of many factors. Much like in our real lives, relationships go through seasons of love fading and returning to us. It sometimes takes an outside force or event or, in the case of “Miranda,” an alien space invasion. We have to try to fight for what’s important to us and find our way back to our heart/true self.
There’s one line in the song, “Take me by the hand,” that is repeated to show that sometimes you need a helping hand to get back to the place where you belong. I think that teaches an important lesson that we’re all in this life together and experience the same struggles, so it’s okay to need a helping hand. You’re not alone.
AF: How does it feel to be releasing your debut record?
TSM: It feels great! Like the first of many. We are here to stay and we’re just getting started.
AF: Did you record the record in Atlanta, or did you travel for it? What was the recording process like?
TSM: This is a self-recorded LP, so, yes, it was done in Atlanta. Specifically, drums and bass were recorded together in our drummer Lee Wiggin’s home in Doraville, and guitar, keys, and vocals were done in John’s place in Edgewood. We would sometimes take MARTA between the two since they both have stations, listening to the results on headphones along the way. While in some instances we might have been able to get better sounds in a professional studio, we were still in the process of becoming a band, so it was nice not to have the pressure of a rented studio space.
AF: How have the Atlanta and Athens music scenes influenced you as a group?
JR: Atlanta and Athens carry distinct musical brands (Athens being deeply associated with indie rock, and Atlanta being a dominant hip-hop center), but having lived and played in both places, I don’t really think they’re actually all that different. There is great hip hop in Athens (check out Linqua Franqa, for example) and tons of excellent, widely appreciated indie rock in Atlanta (Deerhunter, Omni, and Black Lips come quickly to mind, but there are many others).
I tend to consider both towns to be a part of one big North Georgia music scene, with many bands having members in both places. The best part about it is a willingness to mix styles, genre, and identity. While each town is known for its most successful musical exports, the scenes are not so wedded to one genre that you can’t break out with something that looks or sounds completely different or hybrid. I think Lesibu Grand is a good example of that, but there are others as well.
AF: What’s your favorite venue in Atlanta?
TSM: There are lots of great venues in Atlanta, but if I had to pick a favorite, I’d have to say The Earl. Their stage is a good size, lights and sound system are solid, and it’s got a very rock ’n roll vibe. Despite that vibe, they book incredible musicians from all genres. Not to mention the food is bomb!
AF: Who is your favorite local group?
TSM: There are so many good ones, but I would say Ruby Velle & the Soulphonics. They are a cool, groovy band and you can’t help but dance and sing along at their shows.
JR: I’m partial to K. Michelle Dubois, formerly of Ultrababyfat and Luigi. Her solo work is really fantastic. Her last album, Harness, is spot on. Also, newcomers Rosser made a great debut album.
AF: Last one! What’s next for Lesibu Grand?
TSM: 2019 has been an incredible first year for us thus far. We recorded our first record, released two videos, and have a third video for “Runnin’ Round” on the way in a few weeks. After that, we’ll have a fourth video for “Mi Sueno,” which we are filming in the attic of a 19th century home in Kirkwood. Also, we have already started recording our second album with Dan Dixon at RCRD studios in Peoplestown, which we’ll release some time in 2020. It will be much harder rock than Legend of Miranda, and with sharp socio-political focus. It’s gonna turn heads!
Follow Lesibu Grand on Facebook, and keep an eye out for their upcoming debut record, The Legend of Miranda, out October 4th.
Ticket Giveaways
Each week Audiofemme gives away a set of tickets to our featured shows in NYC! Scroll down to enter for the following shindigs.
