The path of All The Saints is one of a band that has almost deliberately hid in plain view. The story is simple: three Alabama kids raised on a diet of Crimson Tide football and loud “college rock” move to the big city of Atlanta in the early aughts. From here they were noticed by stalwart label Touch & Go and hold the distinction of being the final band being “signed” to the label before Corey decided to shudder daily operations. The next decade showed a band not just improving what they do, but instead almost expanding their performances to cinematic war zones. For a three piece, you’d close your eyes and think a battalion of marauders were just around the bend. For those who relished their gigs, their live performances became infrequent occurrences. Then in a moment of weed inspired clarity, Chunklet decided to step in and suggest to the band recording a full length with producer Jason Kingsland. Jason is noted for recording artists such as Deerhunter and Band of Horses amongst a lot of other reputable acts.
In the living room to Chunklet CEO Henry Owings’ house, ATS, Henry and Jason sat down to discuss what has become the band’s third full length Look Like You’re Going Somewhere. Recorded over three days in the Maze Studios over in Cabbagetown, ATS plowed through tracking and overdubs. Over the following months, the record was finished and boy howdy, did they turn in a ringer. In parts sounding like Spacemen 3, The Jesus Lizard, Sonic Youth and Sleep all rolled into one, Look Like You’re Going Somewhere is the record that ATS was destined to make. And now you, dear listener, get to soak in the closest simulacrum to the band’s unstoppable live performances. Sit down, pay attention, and soak it up.
“All The Saints’ long awaited third record captures them still ruthlessly loud and tonally expansive, their sour dirge-gaze sound still glopped together in-tact. Their return is syrupy slow and hypnotically nuanced, a vortex into impenetrable sound that sprawls and smolders. Lead single “Creak” brings us back into the shadows and dark recesses of All The Saints’ sound with a slow driving rhythm that opens to washes of tension riddled guitar chords, bent and glistening in every direction. As the verses start to unwind and snake through the tall grass, the guitar noise peels aways and the sinister groove is left to sink hopes and accent the howls into doom-influenced shoegaze carnage. It’s a friendly reminder of why All The Saints, in all their reclusive tendencies, remain on the Southeast’s finest” – Post-Trash on the new single “Creak”