Prism Bitch Destroys Sister
Regional rockers from Boise and Santa also kill it
Music to Your Ears
The Kids are All Right--An article in last week's Journal confirmed that the city is purchasing the Ice House building for use as an all-ages, teen-run music center, similar to Warehouse 21 in Santa Fe. The 30,000-square-foot space sits at 506 First Street NW. It's within spitting distance of the Cell Theatre, Wool Warehouse and MLK/Roma bridge, making it an ideal hub for all-ages music events in the Downtown area.
Flyer on the Wall
Kiss the frosting-covered lips of Bang! Bang!, Oktober People, Romeo Goes to Hell and August Spies this Friday, June 2, at Atomic Cantina (21-and-over). Mmm ... cakey. (LM)
with The Shine Cherries and The Inner Parlor
It's no easy task to follow Billy Zoom (original guitarist for the premier Los Angeles punk band X), but that’s just what Tony Gilkyson did from 1987 to 1996. His outstanding work was always on the twangier numbers (read: the John Doe material) so it’s no surprise that his solo work is deep country, whether a gentle prairie breeze or barreling down a prairie highway.
Sleep Till North
Musical insanity with method to its madness
It’s not that prog-rock outfit Sleep Till North doesn’t have a plan. It’s that deviating from that plan is a necessity for each of the band’s four members.
Angel City Outcasts
with Whiskey Rebels, The Derelicts, Trans-gender Manblender
Wednesday, June 7, Launchpad (all-ages, 7 p.m.); $8 in advance, $10 at the door: They're Angel City Outcasts—not politicos.
All One, the latest from Brazilian guitarist/arranger/composer Oscar Castro-Neves, includes a “grooming” credit, and OCN sure looks good. Nor is there a hair out of place in the 14 tracks that take us on a musical tour of OCN’s diverse influences—from the predictable Jobim to Chopin and Monk. His bossa-inflected guitar conjures a good-natured vibe and adds a pop sheen over a tight, jazzy ensemble, with stellar performances from violinist Charlie Bisharat and guest vocalist Luciana Souza. Overall, however, the music feels overcareful and lightweight, though the Chopin prelude and Jobim’s “Double Rainbow” are exceptionally rendered.