Interstate brings back the Cosmic-American Country with special guests The Wheel Knockers and FLAP in tow.
Interstate perform original, West Coast / Cosmic American-influenced Country music with a few classics thrown in for good measure. With influences like Gram Parsons, Neil Young, Buck Owens and countless classic country artists, Interstate features male / female duets and classic instrumentation that includes pedal steel, violin, piano, electric and acoustic guitars, drums, and bass.
Ramon Wals (vox, guitar)
Susannah Wallace (vox, fiddle)
Brian Kucinski (vox, piano)
Andy Kilinsky (Pedal Steel)
Gary Kurz (guitar)
Hutch Renaud (bass)
Robbie Nelson (drums)
Formed in Atlanta in 2009, The Wheel Knockers play Indie Rock with a dash of Alt Country inspiration. When their last project flamed out, bandmates Jet Powers and John McRae (of surf / garage n'er-do-wells El Capitan & Thee Scallywags) decided to continue their musical collaboration with a new “alt country" influenced band... or something close to it.
After linking up with vocalist Chip Waller and drummer Bob Berry (Soul Proprietors), the quartet began rehearsing in Atlanta in the summer of 2009. Tallahassee transplant and Intoxicators / Disasternauts guitarist Gary Evans joined the group in the fall of 2009 as the missing piece of the puzzle and The Wheel Knockers were officially born. Playing music that is probably best described as Indie Rock (influences include The Jayhawks, Old '97's and The Lemonheads), their sound continues to evolve in complexity and scope. The Wheel Knockers just recorded their first EP entitled “Last Train Out.” Their live performances add another dimension to a sound that is decidedly diverse and always energetic.
FLAP is not your father's or grandfather's guitar duet. Self-described as "jazz-math-grass compositions," the term fairly and succinctly describes the eleven tracks on their new album World of Visions. The playing is mostly unplugged with the occasional switch to electric for a change of mood. Sometimes the guitars are augmented by unusual electronic accents, such as 8-bit beats and homemade noise cassettes. Using finger-picking skills honed by decades of obsessive exploration at the outer limits of their instruments, Hopkins and Miller favor the difficult, complex and tricky over the familiar and predictable. Technical wizardry and a contortionist's flair for the dramatic permeate the proceedings, but never at the expense of a captivating groove or intrinsic swing. A single song can incorporate furiously fret-shredding melodic runs complemented by lushly staged harmonic changes, all infused with elements drawn from sources as disparate as Django Reinhardt, Metallica, Doc Watson, Fred McDowell, Bach, and Segovia.
— Doug DeLoach, Creative Loafing Atlanta