CLUB AWESOME
Monday, June 8, 2009 at 10:16PM CLUB AWESOME
Rick Kemp, Errol Crane, Mikey Holliday, Erik Armenia, Blair Gainous, Lance Warner
Club Awesome is as close to a "Hall & Oates meets Cheap Trick with special guests New Order and the Replacements SUPERGROUP" as you can come. Playing clubs around Atlanta for about 3 years, the 'Club is poised to release their first full length album this fall.
Club Awesome plays an amalgamation of Post-Punk, Dance Rock, and above all- Powerpop.
Lyrics that include themes such as the "future" and "robotics" somehow develop hand in hand with those discussing "feeling" things as well as "Sun-dresses."
Club Awesome is like jell-o- try to get a firm grasp on it, and it slides right though with a sickening sloppy, sticky sound. They are like fried eggs, if you try to nail them on the wall they look like old lady boobies, then fall right off. What i'm getting at here is, dont try to ascribe a name to Club Awesome- well, accept "Club Awesome" or maybe "Clurrb ERRRSUM"- because its like trying to play lawn darts in the fog that rolls in off the Scottish moores- someone is going to get killed, and probably a Scottsman. Just sit back and relax, no actually, stand up and gyrate. Because there is no substitute for "doot doot doot" and no way that you can keep them skinny arms at your side or even in the "hipster boredom-filled arm-cross" that is so popular with your kids today.
For your sake, come out to a show, buy a t-shirt and shot glass, maybe pick up some stickers. Because, look- its an investment because when the 'Club is huge in Japan and Germany, that memorabilia is going to be like GOLD.
I love you.
Ron Mexico
Clapping is great. Singing along is great. Call-and-response vocals is great. Staccato dueling guitar chords is great. Counting (as in "1,2,3,4!", or even up to 14, the number of times to pump an air rifle) is great. Sad words for happy music is great. Disco drumbeats is great. But Shins-y country style also is great. Keyboards are always great. Dancing is great. Additionally, costume changes, sparklers, dry ice, large stage props, and light shows are great.
We started in 2004. We wanted to be a country-music Smiths cover band. We kind of sucked. Some people thought we were geek-rock, and some people thought we were punk, which was probably because we were doing it wrong. We threw out all our songs and wrote new ones. We put out a suggestion box at shows. "Stop standing around like fucking corpses." (Okay.) "More keyboard parts!" (Okay.) "Play 'Whyte Tygre' twice, because it's THAT GOOD." (Okay.) (Thanks.)
We started getting better. Now people were saying we sounded like Joe Jackson, which was probably just we were playing the notes right. We won a battle of the bands. We won studio time, which we forgot to use. Instead, we recorded an EP with our friend Brian Slusher from Slushco, which we forgot to release.
We opened for Asobi Seksu, The Paper Chase and Oppenheimer. Et cetera. Suddenly, we bought an aboveground pool and demanded that it go up when we played shows. Vainglorious, maybe, but it worked. The real-live-producer Nev Walker found us and offered to record our first record, and at the same time we found a use for one of our EP recordings, on a seven-inch shared with Tokyo Sex Destruction. We became magickal, and used our powers to fight evil.
