King Khan And The Shrines

King Khan And The Shrines

It has been a lengthy hiatus, but we have finally finished our
latest “masterpiece” and named it after an incredible
indigenous-rights movement that is happening right now called Idle No

I was born and raised in Montreal and spent a lot of time on the
Kahnawake Mohawk Indian reservation. Much of my juvenile delinquent
training came from years of tripping out there with my best friends.

I began the Shrines in 1999 with the blessings from my brothers in The
Spaceshits, right after we disbanded. The dream was to make something
reminiscent of Sun Ra, James Brown, and Otis Redding with a hint of
The Velvet Underground, Love, The Monks and about a million other
influences that riddled my LSD-soaked brain at the tender age of 22.

The Shrines was my pirate ship and we sailed many a turbulent sea,
spreading our music “like peanut butter” all over the world. We
celebrated our cult “underground” status and became the kings we are
through word of mouth and by making an “aural eyegasm” that has often
been called the “wildest show on earth.”

Idle No More is probably the most refined piece of music we have made
to date. The songs are about the state of the world we live in today.

“Born to Die” is an apocalyptic ode to the heinous war machine that to
this day ruins our lives.

“Bite My Tongue” is about the unsung heroes who are forced to live in
utter poverty but who have made all the revolutions possible and are
being silenced as you read this. Look up “The Invaders” from Memphis
and you will see what I am talking about.

“Thorn in Her Pride” is a girl-power anthem and a celebration of the
goddesses who help raise the children of the revolution.

“Luckiest Man” is about me and how lucky I was to receive the proper
mental care I needed during a very steep and lengthy plummet into

“Better Luck Next Time” is velvety pop to soothe the ears.

“Darkness” is about the ugly beasts that must be tamed inside of us
all. It was also my attempt to do something as real as Nina Simone.

“Pray for Lil” is an ode to my wife, who continually saves my life and
makes me a complete human being, human doing, and human going.

“Bad Boy” is a requiem for Bobby Ubangi, who was and still is Atlanta’s Finest.

“So Wild” is a double requiem for two other Jays I have lost over the
last few years, Jay Reatard and Jay “Berserker” Montour. RIP.

“Yes I Can’t” is a little ironic number named after Obama’s attempt at
changing the police state.

“I Got Made” is a Joe Pesci trip heavily inspired by the Cosa Nostra.

And last, but not least, is “Of Madness I Dream,” a mirror image of
what is happening to the world as we speak.

Originally, I was going to call the album Of Madness I Dream, but then
I became very enthused about the amazing work of the Idle No More
movement. Everyone I asked had never heard of it, so I contacted the
leaders of the movement and, with their permission, decided to rename
the album Idle No More in hopes that it would increase the world’s
awareness of this miracle that is taking place for the indigenous
peoples of the world. If you are not familiar with Idle No More, look
it up and GET INVOLVED!

It took a long time to make, but we are very proud and pleased to
bring you this album. I hope that the future will brighten up every
time it is played. Ultimately, John and Yoko were absolutely right:

Peace and Love,

King Bama Lama Khan Emperor of RnB




The Coathangers were a band before they were musicians. The Atlanta
quartet started out as an excuse to hang out and play parties. Their
jokey attitude ran deep, right down to their name--a self-admittedly
crude abortion reference for an all-girl group. The whole
knowing-how-to-play-an-instrument thing was just a minor hurdle in
their musical mission. And to their credit, The Coathangers stormed
onto the scene, regardless of the handicap, as a completely
unaffected, unpretentious, deliciously sloppy, and totally infectious
rock band. What they lacked in formal training they made up for in an
innate understanding of how to craft a hook and propel a song forward
on sheer charisma. It was impossible not to like them.

Despite the casualness of The Coathangers approach to making music,
that devil-may-care attitude and rowdy house-show vibe resonated with
folks across the globe. The band released two albums and toured the
states with bands like The Thermals, Mika Miko, These Arms Are Snakes,
and Young Widows. Five years later, that reckless energy from their
half-serious roots is every bit as vibrant and rambunctious on their
latest album, Larceny & Old Lace. But this time around we're hearing a
band that's honed their trade and incorporated more stylistic
variations. It's also the band's first experience in a proper studio;
the album was recorded with Ed Rawls at The Living Room in Atlanta,
Georgia. The result is a record that feels like The Coathangers we've
always known and loved, but sounds like a band taking their trade more
seriously. Where their past recordings were a mash-up of garage rock's
rough and loose instrumentation and no-wave's abrasive tonalities,
Larceny & Old Lace showcases a broader song-writing range. "Go Away"
taps into a '60s girl-group sound. "Call to Nothing" employs the
paint-peeling guitars, dance beats, and slightly ominous melodies of
the early post-punk pioneers. "Well Alright" is reminiscent of Rolling
Stones' bawdy R&B strut. "Tabbacco Road" is perhaps the biggest leap
for the band, completely eschewing their rabble-rousing strategy in
favor of penning a pensive and somber ballad. Are we seeing a kinder,
gentler Coathangers?

"Never!" is the response from drummer Rusty Coathanger. "We're
definitely in a different place creatively and personally. This album
has songs that go deeper than on [sophmore album] Scramble, much more
serious for us... say whaaaaa?!" Old fans needn't worry though—lead
single "Hurricane" is still a glorious, gritty garage rocker and
"Johnny" is still a brilliantly noisy no-wave tune. The Coathangers
are merely stretching their boundaries, as you'd expect any other act
on their third album to do. "We wanted to try and write different
styles of songs and push ourselves to really create something familiar
but still unique," says Rusty. "Because everyone is into so many
different types of music, you get a hodgepodge kind of sound. However
different the songs we feel its still a cohesive album, as far as
every song sounding distinctly like a Coathanger's song."

With this broadened artistic horizon, refinement of technique, and Ed
Rawls' production allowing every instrument to shine without
detracting from the band's natural grit, The Coathangers' latest
offering is easily their best record to date. Larceny & Old Lace will
be released June 7, 2011 on Suicide Squeeze Records. Join the party.

$13.00 - $15.00


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