     
---PASTE MAGAZINE ATLANTA--- On the way to the Earl on the night of the 31st, the creepy musical swells provided by Album 88's ambient show eerily coincided with the branching lightning bolts shooting, forking across the clouds above East Atlanta. Inside the venue, the pre-show scene was similar: The low lighting in the Earl's back room revealed a glowing red on the walls and a muffled flurry of browns and grays everywhere else. People traversed the wide floor, ambling back and forth like so many slowed down flashes of electricity in the sky outside.
Local trio Can Can, whose The Holy Kiss EP was released in January, would do nothing to dilute the evening's atmosphere of teetering chaos. Immediately before their set they pulled up and turned on three blinding, expandable pillar floodlights on the stage, leaving us all blinking like deer in their in their headlights. The threesome is dynamic. The careening punk emanating from their one drum kit, one guitar and screaming vocals sounds like it was produced by an army silhouetted against the light.
Can Can could be my new favorite band. I jotted down a note, "somewhere between Andrew W.K., The B-52's, and former local band Love Drunks" before I realized the male singer was indeed Patrick A., formerly of the Love Drunks.
---DEGENERATE PRESS---
My only other note for their performance - "F*** yeah." I was having too much fun to bother taking notes. Patrick jumps around like crazy, the female singer/guitarist stays in time with the drums, and the whole thing feels like it could spin out of control at any moment.
---CREATIVE LOAFING---
Atlanta trio Can Can celebrates the release party of its brand new full-length, All Hell, on Stickfigure Records. The group crafts a slick and somewhat spastic art-punk lurch.
---EXCLAIM.CA---
Can Can play dirty garage punk, focusing on a minimalist approach to their songs. The stripped-down sound created by the drums/guitar/vocal approach lends itself to the rawness of the band's sound, but a creative use of pan on the mixing board and raucous drumming are used to give the record a more dynamic feel than the bare bones approach often allows. The vocals of Patrick A. hiss, bubble and swagger through the 11 tracks while Mary Frances Collins' back-up singing creates a spooky, ethereal atmosphere. Combine the driving music with spiritual (but not preachy) lyrical content and you've got a winner on your hands. Songs like "Widowmaker" demonstrate a combination of calculated rhythms and an intimate knowledge of past rock'n'roll greats that is pervasive throughout All Hell. (Stickfigure) By Ty Trumbull | 
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