Friday, May 21, 2010

Glen Iris is playing on Friday, June 4th

Glen Iris is headlining the Drunken Unicorn on Friday, June 4th.



Formed in 2008 in the Reynoldstown hood just a few blocks from the infamous Citgo station where one of the members once stopped a man from rubbing lotion on his sports car. Also, not far from a Church's that was shut down for selling crack cocaine across the counter. Bric-o-brac hard, fast/slow post-psyche/punk with different narrators and rattlesnake riffs that the next-door dogs seem not too busy to hate.

Glen Iris on Myspace

Beard featuring Jason Dove of Plexorjet fame is performing second.



A beard is the collection of hair that grows on the chin, cheeks, neck, and the upper lip, typically of men. Usually, only males going through puberty or post-pubescent males are able to grow beards. However, women with hirsutism may develop a beard. When differentiating between upper and lower facial hair, a beard specifically refers to the facial hair on the lower part of a man’s chin (excluding the moustache, which refers to hair above the upper lip and around it). The study of beards is called pogonology.

In the course of history, men with facial hair have been ascribed various attributes such as wisdom and knowledge, sexual virility, masculinity, or high social status; and, conversely, filthiness, crudeness, or an eccentric disposition. In many cultures, beards are associated with nature and outdoorsmen.
Ancient and classical world

The highest ranking Ancient Egyptians grew hair on their chins which was often dyed or hennaed (reddish brown) and sometimes plaited with interwoven gold thread. A metal false beard, or postiche, which was a sign of sovereignty, was worn by queens, kings and sometimes cows. This was held in place by a ribbon tied over the head and attached to a gold chin strap, a fashion existing from about 3000 to 1580 BC.

Mesopotamian civilizations (Sumerian, Assyrians, Babylonians, Chaldeans and Medians) devoted great care to oiling and dressing their beards, using tongs and curling irons to create elaborate ringlets and tiered patterns.

The Persians were fond of long beards. In Olearius’ Travels, a King of Persia commands his steward’s head to be cut off, and on its being brought to him, remarks, “what a pity it was, that a man possessing such fine mustachios, should have been executed”, but he adds, “Ah! it was your own fault.”

Ancient India

In ancient India, the beard was allowed to grow long, a symbol of dignity and of wisdom (cf. sadhu). The nations in the east generally treated their beards with great care and veneration, and the punishment for licentiousness and adultery was to have the beard of the offending parties publicly cut off. They had such a sacred regard for the preservation of their beards that a man might pledge it for the payment of a debt.

Ancient Greece

The ancient Greeks regarded the beard as a badge or sign of virility which it was a disgrace to be without; in the Homeric epics it had almost sanctified significance, so that a common form of entreaty was to touch the beard of the person addressed. It was only shaven as a sign of mourning, though in this case it was instead often left untrimmed. A smooth face was regarded as a sign of effeminacy. The Spartans punished cowards by shaving off a portion of their beards. From the earliest times, however, the shaving of the upper lip was not uncommon. Greek beards were also frequently curled with tongs.

Ancient Macedon

In the time of Alexander the Great the custom of smooth shaving was introduced. Reportedly, Alexander ordered his soldiers to be clean shaven, fearing that their beards would serve as handles for their enemies to grab and to hold the soldier as he was killed. The practice of shaving spread from the Macedonians, whose kings are represented on coins, etc. with smooth faces, throughout the whole known world of the Macedonian Empire. Laws were passed against it, without effect, at Rhodes and Byzantium; and even Aristotle, we are told, conformed to the new custom, unlike the other philosophers, who retained the beard as a badge of their profession. A man with a beard after the Macedonian period implied a philosopher, and we have many allusions to this custom of the later philosophers in such proverbs as: “The beard does not make the sage.”

Ancient Rome

Shaving seems to have not been known to the Romans during their early history (under the Kings of Rome and the early Republic). Pliny tells us that P. Ticinius was the first who brought a barber to Rome, which was in the 454th year from the founding of the city (that is, around 299 BC). Scipio Africanus was apparently the first among the Romans who shaved his beard. However, after that point, shaving seems to have caught on very quickly, and soon almost all Roman men were clean-shaven; being clean-shaven became a sign of being Roman and not Greek. Only in the later times of the Republic did the Roman youth begin shaving their beards only partially, trimming it into an ornamental form; other young men oiled their chins in hopes of forcing premature growth of a beard.

Still, beards remained rare among the Romans throughout the Late Republic and the early Principate. In a general way, in Rome at this time, a long beard was considered a mark of slovenliness and squalor. The censors L. Veturius and P. Licinius compelled M. Livius, who had been banished, on his restoration to the city, to be shaved, and to lay aside his dirty appearance, and then, but not until then, to come into the Senate. The first occasion of shaving was regarded as the beginning of manhood, and the day on which this took place was celebrated as a festival. Usually, this was done when the young Roman assumed the toga virilis. Augustus did it in his twenty-fourth year, Caligula in his twentieth. The hair cut off on such occasions was consecrated to a god. Thus Nero put his into a golden box set with pearls, and dedicated it to Jupiter Capitolinus.[11] The Romans, unlike the Greeks, let their beards grow in time of mourning; so did Augustus for the death of Julius Caesar. Other occasions of mourning on which the beard was allowed to grow were, appearance as a reus, condemnation, or some public calamity. On the other hand, men of the country areas around Rome in the time of Varro seem not to have shaved except when they came to market every eighth day, so that their usual appearance was most likely a short stubble.

In the second century AD the Emperor Hadrian, according to Dion Cassius, was the first of all the Caesars to grow a beard; Plutarch says that he did it to hide scars on his face. This was a period in Rome of widespread imitation of Greek culture, and many other men grew beards in imitation of Hadrian and the Greek fashion. Until the time of Constantine the Great the emperors appear in busts and coins with beards; but Constantine and his successors to the end of the sixth century, with the exception of Julian, are represented as beardless.
Celts and Germanic tribes

Late Hellenistic sculptures of Celts portray them with long hair and mustaches but beardless.

Tacitus states that among the Catti, a Germanic tribe (perhaps the Chatten), a young man was not allowed to shave or cut his hair until he had slain an enemy. The Lombards derived their fame from the great length of their beards (Longobards – Long Beards – Langbärte). When Otho the Great said anything serious, he swore by his beard, which covered his breast.

Beard website

Gold Standard are opening the show.



George Asimakos (Blame Game, Chopper), Chris Ware (Blame Game, Thy Mighty Contract) and Lee Corum (some soviet station, lay down mains) combine for an unholy trinity of math rock greatness. Starting where blame game ended gold standard blaze through songs that will definitely make fans of blame game wanting more of what gold standard has to offer.

Gold Standard on Myspace

$5, 21+

Thursday, May 20, 2010

Thursday, June 3rd is the Third Year Anniversary of Fuck Yesss.

Le Castle Vania returns to the Drunken Unicorn with the Third Year Anniversary of Fuck Yesss on Thursday, June 3rd



"Dylan Eiland, better known as Le Castle Vania, is a product of the mid-decade electro-house scene -- or blog-house -- which produced superstars like Justice, MSTRKRFT and Steve Aoki. While many proclaimed the genre was here to stay, it didn't last. Instead, it evolved and quickly replaced by nu-disco, progressive house and dubstep, while others looked more toward a return to form of simplistic indie dance rock, electro and electroclash.

So where does that leave Le Castle Vania?

The Atlanta-based DJ/producer hasn't complete shunned his electro-house past, but he's definitely moved a bit away from it. He's stayed relevant by remixing his contemporaries like The Virgins as well as producing his own tracks and DJing all over the world. He also started a side project with LA DJ Blake Miller called Lies in Disguise." - Miami New Times

Le Castle Vania website

RRRump will be performing a set as well.



RRRump on Myspace

There will be other artists performing DJ sets as well.

$5 for 21+, $7 for < 21, 18+ - Doors @ 11 PM

Wednesday, May 19, 2010

Tuesday June 2nd is The Life & Times

The Life & Times is performing on Tuesday, June 2nd @ the Drunken Unicorn.



Since The Life and Times formed, oh, roughly 1,825 days ago and began disarming audiences and critics with unbelievably loud yet relentlessly beautiful music, the main constant for the band has been how uncategorizable they've remained. Sure, they're a "rock band", but one that skirts the boundaries of this word in each song, tipping their collective cap to the giants that loom in each melody.

Yes, they're still moody, spacey, sonically overwhelming, symphonic and always grandiose. But threading these traits together is the same obsessive attention to detail from singer Allen Epley, drummer Chris Metcalf and bassist Eric Abert that was the calling card of Suburban Hymns (DeSoto) and each subsequent release. The music made for their 2nd full length release Tragic Boogie (Arena Rock) reflects a process that's even more detail-obsessed than earlier efforts.

Quoth Allen Epley (gtr/vocs/etc), "We wanted to make the kind of record that a big-name band with a lot of money might make, except we don't have any money. But we said what the hell and decided to do it anyway by going in debt and built our own studio and recorded it in my basement". The result is a record with layered intricacies that rewards repeated listenings. It's also one that heavily scratches that rock itch, ahem, but doesn't drown you in Gee Whiz Factor bullshit.

The time granted by recording without being under the pro-studio-money clock was liberating. Some songs were recorded multiple times, trying different tempos and nuances. Songs like the title track 'Tragic Boogie' reflect an ethos of what they call "pre-post-production", where the idea is to try to "anticipate how we might manipulate the song in post on pro-tools, and then actually perform it that way as we were recording it, and not rely on post to create the effect". After recording , the bulk of tunes were mixed by Jason Livermore (Rise Against, Shiner) at The Blasting Room with the band and their fine-tooth combs in hand.

And though they have made a record for the ages, the live show is the proof. Blisteringly loud, unbelievably lush and brilliantly lit with white light, the sound created by these 3 gentlemen belies their numbers. The muscular 26" kickdrum thump of songs like 'Fall of the Angry Clowns' is not just heard live but felt in the belly. 'Let It Eat' recalls Blonde Redhead in 5th gear at 125mph, anchored by Eric Aberts' headbob-inducing bassline by the time we reach the chorus.

Where '07s The Magician EP (StiffSlack) echoed slivers of Floyd, My Bloody Valentine and Slowdive, Tragic Boogie finds them wearing multiple masks within one song, or even one verse. The majesty of 'Que Sera Sera' reflects an ethos of grandiosity of The Flaming Lips, while songs like 'Old Souls' and 'Catching Crumbs' owe a debt of gratitude to Doves and Interpol. And an instrumental with a name like 'Pain Don't Hurt' is proof that, while they are moody and melancholy, they refuse to take themselves too seriously.

Tragic Boogie, like the best albums made with unending attention to detail and looking to scale grand heights, never gets bogged down by the frippery. What really hits the listener are 12 foundation-changing rock songs that have been woven together with love and that slippery agent, time.

The Life & Times website

This Will Destroy You is performing second.



"Texas post rock band This Will Destroy You formed in 2005. Members Chris King (guitars), Jeremy Galindo (guitars), Raymond Brown (bass), and drummer Andrew Miller came together under the notion of pursuing a purely instrumental project, and recorded their demo -- which would end up being released as was -- shortly after getting together. The EP, entitled Young Mountain, was critically well received, and the band inked a deal with Magic Bullet Records. 2007 found This Will Destroy You back in the studio working on their January 2008 released full length, This Will Destroy You." - Chris True

This Will Destroy You website

It's Elephants are the opener.



With a few pop-stoner guitar riffs, some witty bass lines, a spot-on set of skins, one piano, several horns, and a lap slide guitar, It's Elephant's will blow your mind. Literally. (Okay, maybe not literally.)

This four piece doesn't allow their ambitions to get in the way of their unbridled enthusiasm for making full, heady, and downright lovable music.

Band members include Brent Jay (The Letters Organize), Garrett Range (The Letters Organize), and Justin Shotwell (Charlie Hustle). Jay and Range left The Letters Organize, a band that Dave Grohl once named as one of his favorite up-and-coming bands, after a seven year run and a international tour with The Offspring, and formed It's Elephant's out of its ashes.

It's Elephants on Myspace

$8 in ADV, $10 DOS - 18+

Advance tickets available @ Ticket Alternative, Criminal Records,
Decatur CD, Fantasyland Records and the following CD Warehouse locations: Buford, Duluth, Kennesaw, Lawrenceville and Roswell.

Sunday, May 16, 2010

Blue Eyed Goodbyes make their Drunken Unicorn debut on Saturday, May 29th

The Blue Eyed Goodbyes are performing on Saturday, May 29th



The Blue Eyed Goodbyes’ songs are a tour of heartfelt heartbreak. Front woman, Kathryn Humphrey, weaves captivating narratives, with a soulful and truly unique voice, that illustrate the odd beauty in recognizing one’s losses. These narratives are steeped in well-crafted metaphors that describe lovers and traditions long since lost, yet she recounts them with a straightforward honesty that is rarely witnessed. The Blue Eyed Goodbyes’ songs can best be described as southern gothic. The sound is derived from a variety of stylistic influences that are paired with the endemic darkness inherent to southern life. Kathryn began this band in the spring of 2009 and assembled a number of seasoned musicians who kindly graced her with their musical presence. The current lineup consists of drummer/backing vocalist Eric Young, bassist Steve McPeeks, lead guitarist Joseph Lazzari, and lead vocalist/rhythm guitarist Kathryn Humphrey.

The Blue Eyed Goodbyes on Myspace

Mary O Harrison is performing second.



Mary O. Harrison is a singer/songwriter in Atlanta, GA. Her first solo record, which she made with the help of Jason NeSmith at Bel Air Studio in Athens and many others, was released this year by Two Sheds Music. Mary O. plays most live shows with her band, aka the tiny tears - McGregor Button, Tracy Clark, and Govind Dixit.

Mary O Harrison

Lindsay Appel is the opener.



Lindsay Appel is me, Lindsay Appel (vocals-keys-guitar), and four splendid fellows, Mario Colangelo (Tiger!Tiger!) on drums, Steve McPeeks (Fiend Without a Face) on upright bass, Shane Pringle (Tag Team, Grinder Nova) on saxophone, and Matt Chenoweth (The Goldest, Tag Team) on lead guitar.

After spending a few years gallivanting around the north & south east following artistic whims, I've taken up residence in Atlanta, GA. I played solo around town until March 2008, when the band got a'rolling.

As far as sound goes, my blend seems to be rather hard for folks to pin down. In my mind, it's a sultry mix of rock/blues/pop, with a healthy dose of shimmer and *spark*, throw in a dash of cinematic flair + a whole lot of sassafras, and on some sort of primitive level of definition, that equals the music that I write. When the charming likes of Mario-Steve-Shane-Matt are added in, the songs motivate foot tappers and hip shakers, I get to stomp around on bigger stages, and the whole shebang gravitates closer to the perpetual music video parade march I've got playing in my head. All in all, a splendid good time!

Lindsay Appel website

$5, 21+

Saturday, May 15, 2010

The Madeira is performing at the Drunken Unicorn on Friday, May 28th

The Madeira



The Madeira plays surf music born of screaming wind over the sand dunes of the Sahara Desert, deafening echoes of waves pounding the Gibraltar Rock, joyous late-night gypsy dances in the small towns of Andalucia, and exotic cacophony of the Marrakesh town square. It is the surf music of the millennia-old Mediterranean mysteries.

The Madeira on Myspace

The Mystery Men are performing second.



The Mystery Men on Myspace

The Surge are opening.



The Surge on Myspace

$7, 21+