HAPPY BIRTHDAY: Rabbit Hole Studios is now five years old, and a hearty congratulation goes out to all concerned. The artist performance and community space will host a free night of karaoke and skating—roller, inline, hoverboards and scooters are specifically mentioned as items that can be accommodated—on Saturday, Aug. 13. Equipment may also be rented from Rabbit Hole for $10. This event runs from 7 p.m.–12 a.m. Food and beverages are to be provided, and the space will also hold a free raffle for 30 hours of rehearsal and recording space time as a way of saying thanks to musicians who have supported it over the years. Speaking of support, if you enjoy the things Rabbit Hole does and appreciate its commitment to service, you might consider throwing some weight behind your words with a membership to the space. There are multiple price points for patronage, each with a particular set of benefits, and they range from a mere five bucks a month to “OK, rich folks, pony up!” levels. Find out more about Rabbit Hole Studios via facebook.com/whiterabbitproductionsllc and rabbitholestudios.org. That second URL features everything you need to know about Rabbit Hole, and also info on becoming a member.
CALENDAR TIME: Normally I try to avoid mentioning upcoming shows until they’re right on top of us, because it generally does no good to mention something only to have folks forget it in a few days. That said, tickets are moving so quickly for Kenosha Kid’s much anticipated release show for its triple LP October Book that a second show is now booked. The first show is scheduled for Friday, Sept. 2 at The Lewis Room at Tweed Recording with openers Night Palace and Cicada Rhythm. Chances are good this one will be totally sold out by the time you read this. The newly added show happens the next night at the same place, but with opener Adron instead of Night Palace. Advance tickets are $20 and may be acquired via kenoshakid.com/adron-kid-rhythm.
MR. AND MS. PAC MAN AND THEIR INVITED GUESTS: Echo Bass Records turned up the heat again this week with a new release from Killa Cabbi. It’s titled Pixelated Reminder and runs eight tracks long. This release is unique for both Cabbi and Echo Bass in that it’s entirely instrumental and composed of chip tunes/eight-bit compositions. Basically, old video game technology that we’ve previously seen only a few other local artists explore, and none in recent history. The undeniably buoyancy of this style carries the tunes along just fine, if albeit somewhat faceless. The record takes a temporary darker turn on “Aboleth Battle” and “Stelth Bomber” (sic) but picks back up at its end. Check this out over at echobassrecords.bandcamp.com.
OLD, SWEET SONGS: The Hargrett Rare Book and Manuscript Library and The Richard B. Russell Jr. Special Collections Libraries Building (Whew! What a mouthful…) will host an opening for the exhibit “Georgia on My Mind: Finding Belonging In Music History” Thursday, Aug. 18 at 6 p.m. The exhibit “explores some of the genres, spaces, and performers that have helped to define music in the state over time.” To this end, featured artists include R.E.M., Ray Charles, Outkast, Bill Anderson and many others. Attendees are invited to dress in band merchandise if desired. Live music will happen courtesy of jazz pianist James Weidman, guitarists Skip Taylor and John Culwell and the perpetually compelling and talented hip-hop artist Cassie Chantel. Please note that this event is free and open to the public, but RSVPs are required, and I’ve zero idea what the capacity of this building is, even though it’s quite large, so you may want to jump on this. Please send RSVP requests to Leandra Nessel via LNessel@uga.edu or by calling 706-542-3879.
QUIET OBSERVER: So there’s this guy named Simon Hunt whom I know absolutely zero about except he did one short album 11 years ago and only just this month released some new material that just came across my desk. He does, however, mention that these newly released tracks “were developed sporadically over the last 10 years.” At any rate, the new set is titled The Hiatus, which seems appropriate. Hunt’s music is evocative of a whole slew of nearly-New Age composers, but with a decidedly pop edge. The whole record is thoroughly enjoyable, cleverly constructed and sequenced, and—for my money—absolutely shines on tracks like “browsing,” the main riff of which is repeated on “Albie on a good day.” Find this and enjoy at simonhunt.bandcamp.com.
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