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 email@example.com 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.
Vaudeville Open Mic
By Devin D. O'Leary
Cabaret Audacity presents a Vaudeville Open Mic at Sidewinders Bar Cabaret Theater. This brand new monthly showcase will take place every third Wednesday of 2017. Dancers, singers, comedians, musicians, performance artists, jugglers, magicians, sideshow acts, burlesque performers and more are invited to hone their talents and debut brand new material on stage at VOM. Shows are hosted by Julian Addams-Wolf and other members of Cabaret Audacity, including Eddi Fication and Arcane. A suggested donation of $5 gets you in the door beginning at 7:30pm. This is a 21+ event.
Rugby is a Drag • Truly Scrumptious Coxx
By Robin Babb
This Saturday, Jan. 21, drag your ass to Sidewinders by 9pm for the fundraiser, Rubgy is a Drag, presented by Brujos Rugby and Casa Q. That’s right, the strapping young Brujos Rugby Team players will be performing in drag for a one-night-only event with guest MC Truly Scrumptious Coxx—you don’t want to miss this one. Remember to bring singles to shower upon your favorite performers. Funds go towards The Brujos and Casa Q, the only safe transitional house for LGBTQ+ youths in New Mexico. Tickets are $10. Ages 21+.
Courtesy Epic Records
Chevelle • alternative • Black Map • Dinosaur Pile-Up • rock
By August March
Chevelle, an indie band from the Midwest, portrays their hard sound—expressed with exasperated vocals, a muscular rhythms and chunky guitar riffs that repeatedly drift off into tangential melodies—as an artful thing, comparable to '90s peers like Tool. And they do sound like Tool—if their latest single “Door to Door Cannibals” is any indication—when that band was at its peak at the end of the last millennium. Whether this particular vernacular is still credible in a rocanrol world that is rapidly evolving away from rocanrol remains to be seen, yet Chevelle does provide solid affirmation that such beefy sounds are still commercially, if not aesthetically viable. Currently a familial unit comprised of brothers Pete and Sam Loeffler as well as their brother-in-law Dean Bernardini, Chevelle continues to use themes of darkness and domination to draw radio-friendly audiences worldwide. Burqueños can get a taste of their rockingly reserved rampage when the trio visit our town on Tuesday, Jan. 24. Black Map and Dinosaur Pile-Up open this 13+ show at the El Rey that costs between $25-$45.
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