Music to Your Ears
By Jessica Cassyle Carr
Attention: Because our precognitive powers and general omnipotence here at the Alibi is not yet well-honed, be advised that anyone with good local music news, information, photos, miscellaneous (anything!) should send the goods to firstname.lastname@example.org for consideration. Also be advised that we make no promises. Deadlines are Thursday afternoon the week prior to the date of publication. More specifically, we would like local bands to send us flyers (as often as you like) for a new flyer-of-the-week section. Ideally flyers will have at least one of the following qualities: artistically adept, humorous, unusual or just strange. Deadlines are Thursday afternoon the week prior to the issue you'd like to appear in.
with The Derelicts, The Rum Fits and The Rowdy Boys
By Laura Marrich
Wednesday, July 27; The Launchpad (all-ages): At its core, punk is a genre defined by adolescence. More specifically, it's defined by that radioactive existential meltdown that, like a clockwork time bomb, goes hand in hand with growing up. But it's been close to 30 years since bands like Sham 69 crawled out from the gutters of South London and spat up their first "Who am I? Who are you?" Now all the young dudes are old punks with car payments and maybe a few grandkids. And they are, for the most part, pretty pessimistic about the future of the genre. "Punk's dead," right? I hope to hell it's not! And it certainly won't be anytime soon if The Briggs have anything to say about it. Built by two young brothers from Los Angeles, The Briggs make smart street punk that's as loud as it is proud. Their latest EP, Leaving the Ways (Side One Dummy Records) oscillates between Oi anthems and hardcore throw downs—what you might expect from a band that shares a label with The Casualties, 7 Seconds and Flogging Molly. What you didn't see coming, though, was how these songs maintain all the familiarity of a pub sing-along without feeling rehashed. There's a fresh edge somewhere in there, although I can't quite put my finger on it. Whatever it is, it's in the grand old style and they do it well. Not bad for a band that's just four years young.
The Ebb and Flow
with FOMA and Babelshack
By Laura Marrich
Tuesday, July 26; Burt's Tiki Lounge (21 and over): When I first heard San Francisco's The Ebb and Flow I thought, now here is a band that travels well. As in, I'd like to take this album on a long car trip, possibly at night, through the Arizona desert. Maybe it's because their first full-length album is called Time to Echolocate and depicts bats in flight on the front cover. After all, bats are nocturnal creatures that fly long distances through the desert. But I don't think it's as simple as all that. There's something far less tangible in there, and it keeps propelling me down the same phantom mental freeway. Take the first track off of Time to Echolocate, "Sonorous." It glides for nearly 10 minutes; first plodding, skipping then running, then on to a full gallop through a forest of moogs and organ, guitar, strings and jazzy drum change-ups. The band itself travels light, with only three members to split between two vocal parts and a tight, diverse instrumentation that somehow manages to sound simple and loose. It's like a trompe l'oeil of the ear. Which I guess makes sense in the whole bat-scheme of things, because that's exactly what sonar and echolocation is all about—using sound for sight. Give them a listen and see where it takes you.
By Jessica Cassyle Carr
Holopaw (Sub Pop)
In a tense and panicked mood last week, this album, with its powerful calming effects, saved me from giving myself an ulcer. Sweet and melodic, these Floridians create the perfect mood music that reminds me of something I can't quite put my finger on. Perhaps the confusion can be explained by the overall alt.country feel tinged with subtly weird '70s synth sounds. Or maybe it's the album art that, I don't know, just makes me think of Care Bears.
By Jessica Cassyle Carr
The Alibi sat down at the computer last week and had a very compelling cyber-interview with former Albuquerquean Chris Brief of the Seattle band The Briefs.
Yule Logs and Jingle Balls • Holly Rebelle • Mena Domina • burlesque
By Devin D. O'Leary
Gilded Cage Burlesk and Varieté is definitely getting on Santa's Naughty list with Yule Logs and Jingle Balls: A Very Risqué, Very Glittery, Very Burlesque Ode to the Holidays. Burlesque dancers, sideshow performers, drag acts and more join forces to celebrate this most sparkly of holidays in grand style…
Big Holiday Bash • First Annual Toy Drive • Native Remedies • rap • 2 Evil • Seenloc • Illnickell & Badshit
By Megan Reneau
Envision a happy Christmas morning: Kids waking up across the world and running with wide eyes to a collection of presents just for them. Here's the catch: Some kids can't have that. Not just the presents, but even just being home could be impossible. Pleasantly Offensive Productions is hosting the Big Holiday Bash: First Annual Toy Drive at The Jam Spot this Saturday, Dec. 17. Native Remedies, 2 Evil, Seenloc, IllNickell & Badshit, Acetone Boogie & Izzo, Big Jubes and many more local musicians will be performing to raise funds for kids who can't make it home because they're in the hospital. This all-ages show begins at 7:30pm, and entry is free with a donation of a toy.
Pinball Tournament • arcade games • Food Drive
By Maggie Grimason
As my friends in Rudest Priest say, “I may not get the high score, but then again I might/ I just wanna play a little pinball tonight.” And this Sunday, Dec. 18, it doesn't really matter if you get the high score, everybody wins because at this Pinball Tournament—sponsored by and held at Sister—is also a food drive. All pinball machines on site will be set to free to play from 4pm onward, so get there early and warm up your fingers. There's a $10 buy-in for the tournament, and while non-perishable food donations aren't required, I'm just going to say this: Don't be an asshole. You're not going to eat that canned corn.
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