V.24 No.47 | 11/19/2015
Cashmere Cat wins over Burque
By Megan Reneau [ Mon Nov 23 2015 3:45 PM ]
As I settled into my cushioned corner and zipped up my jacket further in hopes of staying warm on a cold November night, Alxxs Garza started to play. The familiar green and purple lights of Stereo Bar illuminated the early patrons of the event. Alxxs played universally liked electro house, and had beautiful transitions as usual. The crowds in Stereo came and went as groups of friends passed through trying to get their last nicotine fix before retreating to El Rey to stay warm and listen to BK Beats and The 1960 Sci-Fi Era and eventually the headliner, Cashmere Cat.
Yielding to the cold, I retreated as well to the innards of El Rey and was greeted by the heavy beats and tender, uplifting chords that I associate with BK Beats’ live performances. The crowd in front of the stage was more condensed than the rest of the audience, but people were dancing all over. I went to the bar to get a beer, watching the social workings of the mass of fans from afar before diving in myself.
The venue slowly got more crowded as The 1960 Sci-Fi Era joined BK Beats on stage. The two work together seamlessly to create an intricate and energetic tropical/trap set. As more people joined the audience, more people started dancing. I figured I should make my way to the front of the crowd before it got too much for me. I followed the flow of the audience; ultimately arriving to the duo’s left. Not too long after that, their smooth and bubbly set was complete and the stage went dark.
After a few minutes of double checking that the tables were working, Cashmere Cat came onto the stage. The entire crowd applauded and cheered. He began his set with no introduction, as if he needed one, but it added to the atmosphere of humbleness that he radiated.
I’ve never seen so many people cat-themed; I think I’m going to call his fans Cutie Catz. I saw many cat-ear headbands, cat shirts, furry vests with hoods and rounded ears, and even a hooded Cheshire Cat onsie. The crowd reflected Cashmere’s lovable reserve. Distinctly different from most crowds I’ve dealt with at large venues, everyone was friendly and excited to share the experience.
I never thought I–not to mention a huge crowd of EDM and pop enthusiasts –could truly enjoy and get down to a playful vibraphone and harp synth drop. I suppose the springy beats and elastic vocals contribute; overall Cashmere’s style is gentle, which is truly an extension of him. While he may have not spoken to us, he was very active and engaging in other ways.
He was there to bring his followers joy, but not at the cost of his own. He was consistently more energetic than the crowd; when the crowd would recover after dancing to a particularly hard drop, he remained lively and bouncy. He only stopped dancing to focus on important transitions (which were flawless) and to throw kawaii peace signs at the audience.
Cashmere relied heavily on vocal samples, which makes sense, given that he’s worked with the music of some notable artists like Lana Del Rey and 2 Chainz (as remixes/edits), Wiz Khalifa, Kanye West and was a featured producer of Ariana Grande’s album My Everything. Unlike many DJs I’ve seen, Cashmere was able to truly weave the vocals through the music as transitions or as an instrument rather than for self-promotion or using them as a message to the youths in the crowd to get turnt. As a person, I found him adorable, and as a musician, I found him exceedingly excellent.
Cashmere created an environment of pure, innocent, romantic joy in his electronic dreamscape. His performance is the top tier of electronic shows. The entire crowd enjoyed the active and energetic set by Cashmere; I can only hope he enjoyed us as much as we enjoyed him.
V.24 No.45 | 11/05/2015
Are You Epic-Curious?
Thursday, Nov 12: Epic and Friends Part 5 • dance, electronic
By Megan Reneau [ Wed Nov 11 2015 4:30 PM ]
Dance your ass off to some seriously epic beats.
V.24 No.44 | 10/29/2015
courtesy of the artist
Twilight of the Decapod Crustaceans
Friday, Oct 30: Shrimp Night • Reighnbeau • Alexxs Garza • BK Beats • 1960 Sci-Fi Era
By August March [ Thu Oct 29 2015 12:30 PM ]
An opportunity to indulge your craving for deep dance music, black clothes, gloriously glowing body jewelry and maybe even a tube or two of Vicks Vapo-Rub.
V.24 No.11 | 3/12/2015
Courtesy of artist
An Interview with Dwight Loop, Pt. II
By August March
August March resumes a conversation about nuevomexicano aural history with electronic/experimental artist, DJ and promoter Dwight Loop.
V.24 No.10 | 3/5/2015
An Interview with Dwight Loop, Pt. I
By August March
Alibi correspondent August March discusses Albuquerque’s electronic/experimental aural history with artist, DJ and promoter Dwight Loop.
V.23 No.42 | 10/16/2014
Stargazing in Autumn
Transcend space and time at four cosmic concerts
By August March
Whatever you’re into—hard-rocking funk à la hometown hero, electro, experimental, dark-psych, futurist grunge or doom metal—Show Up! has your concert needs covered. Now with A/V!
V.22 No.24 | 6/13/2013
Will The Julie Ruin you for all others?
Kathleen Hanna drops Ruin release deets
By Mark Lopez [ Tue Jun 11 2013 12:39 PM ]
Who the hell is Kathleen Hanna ... other than a feminist punk poet with an affinity for zine writing workmanship? Who is this woman who dwells in the netherworld of alternative culture, plotting and demonstrating? Who is this transformative post-whatever icon who keeps pushing the waistband on the pants of pop-rock aesthetics to fit her angry, rabble-rousing agendas? Well, she's just a writer. At least that's how I've pegged her since I first started listening to Bikini Kill and Le Tigre during my formative years as a gay outcast in high school. Granted, her music scorched the silly side of a grounded movement at times. I never took her stances too seriously—at least not as seriously as those who deem themselves riot grrrls—but I always appreciated her mediums. On hearing that she’s resurrected the Julie Ruin moniker to release new material, I was psyched, and I still am.
Putting the word “The” in front of the name—thus making it The Julie Ruin, y'all—Hanna has resurrected not only a name, but an idea and a good one at that. If you haven't heard her post-Bikini Kill bedroom recordings, you should take a listen. They're not groundbreaking, but they were a solid precursor to the “Deceptacon”-era Hanna who would make her mark on the music industry. Maybe she wasn't a chart-topper, but she maintains a loyal fanbase that is keen on hearing her wild vocals inundate them with a little radical mystique—Feminist Sweepstakes, anyone? I digress … Hanna has announced that The Julie Ruin's debut album, titled Run Fast, is set to hit the streets on the 3rd of September (you know ... the day we’ll always remember). So be on the lookout for that, and while you're waiting for that illustrious morn to approach, you still have the old basement recordings of the original incarnation to tide you over. And if Le Tigre's This Island and The Julie Ruin’s first single, “Oh Come On,” are anything to go by, then you know Hanna delivers the goods when she has the proper studio treatment to rely on. Just sayin'.
V.21 No.49 | 12/6/2012
Sonic reductions of Scott Walker, Crystal Castles and The Bryan Ferry Orchestra
By Samantha Anne Carrillo [ Tue Dec 11 2012 11:28 AM ]
In this week’s Sonic Reducer, I weighed in on new albums by Scott Walker, Crystal Castles and The Bryan Ferry Orchestra. Check out videos and sound from featured acts below.
Scott Walker Bish Bosch · Crystal Castles III · The Bryan Ferry Orchestra The Jazz Age
By Samantha Anne Carrillo
This week, we listened to new albums by Scott Walker, Crystal Castles and The Bryan Ferry Orchestra.
V.19 No.52 | 12/30/2010
Best of 2010 mix for ears to hear
The better to see you with, my dear
By Kyle Silfer [ Wed Jan 5 2011 6:12 PM ]
Of course you know the old dancing-
Year in Review: Music
Drones, Dub, Kraut, Harp
Best releases of 2010 for weirdos and malcontents
By Kyle Silfer
Mad genius Whitman arms his modular synths with razor-sharp spurs and lets them fight each other to the death. Result: a tapestry of colliding sine waves beautiful in their autonomous complexity. This originally-cassette-only objet d’art is now available via iTunes.
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