V.24 No.29 | 07/16/2015
Mainlining the Melvins
By Robert Maestas [ Tue Jul 21 2015 11:20 AM ]
Step by step, I wonder into Launchpad (618 Central SW), each foot coming closer and closer to what seems to be a natural unison. I'm late as usual, but the wave of approaching sound sends my brain into an anticipatory flutter. The clamorous BOOM of drums begin to flow into the veins of the ground, straight through my arteries and directly into my heart like I'm mainlining each crash and thump as burning metal into my veins. As the last foot reaches it's destination, I realize exactly what I've stumbled into. It takes a moment, an isolated, but rewarding moment, to realize I'm in a pit of sonic obliteration.
As I look towards the stage, I see three figures, covered from head to toe in scarlet – almost silhouettes – taking the idea of sound to an increasingly devastating level. An explosion is occurring, right before my very eyes, in the form of a human named Terri Gender-Bender. She sways and screams, she strums her guitar like an accelerating hot rod burning off the flesh of god; she rocks! Along with Terri, Jamie Aaron Aux handles bass and Chris Common plays the sticks. It's a finale, a consequence of my tardiness, but it's all I needed to hear, to understand. It's an aural bomb and I'm riding each sonic boom with full cooperation, all the way into the apocalypse.
The band quakes in unison to a litany of head bangs and devil horns, offering sacrifice like appeasement for the immensity before them.
As the last note bends itself into forced cooperation and the feedback of the amps release all the demons everyone was holding in that night, Le Butcherettes finish their set and receive a loud cheer from the crowd. I watch them walk away into the dimly lit background of the alley. I stand in absolute amazement of what I just heard. It's hard to believe that great rock n roll, in it's true trail-blazing form, still exists on planet earth. But I witnessed it first hand, in the form of Le Butcherettes.
The noise dies down and I hit the wall like gravity intends me to. Observing the crowd, I feel a certain camaraderie. The show attracts a variety of black-haired lion manes and sweat soaked battle jackets with scars of experience you couldn't count on one hand. But no matter what the musical affiliation or statement of fashion, we are all there for the same reason. A reason that binds our brains and hearts into motion, anticipating the unadulterated and refined crunch of what is to come. As I begin to delve into the analytic recesses of my mind, I hear the music halt, and a cough-like noise begins to fill the building. It's a sound loop, a repeating exertion of human reflex, as if clearing a palette. I recognize it as the cough from Black Sabbath's “Sweet Leaf” – the song begins to play as I see a robed man take the stage.
Two more men, with sticks and bass, take their rightful places on stage. What appears to be the eye of Horus – patterned into gold on the robed mans black cloak – stares into the crowd, as if to observe the worthy and destroy the undeserving. Aleister Crowley comes to mind, a powerful charisma surrounds the stage. Then a sound, distant at first, grows into a overwhelming cloud of distorted catastrophe. The deep CRUNCH of the first chord sprays black all over my red veins and I know exactly where I am. I know exactly what this is. This is the FUCKING MELVINS!
Buzz Osbourne displays a concentrated focus, Dale Crover begins his smash into oblivion one ball- blasting beat at a time. Jeff Pinkus raises his shivering metal bass into the air, guiding the increasingly kinetic headbanging in the crowd. The crowd thickens near the stage, and and the transformation process begins. First it's a few, then more and finally many begin to scream, sweat and convulse in awkward and intense unison. We continue, forming a sludge as we come together in our love for the brutalization of eardrums and bodies. The sludge grows thicker and thicker, and from each chord comes a melting wave of music that forces our nervous systems to disconnect from our heads – shaking those motherfucking skulls like we're trying to rattle a pick out from the body of an acoustic guitar.
My feet shake and my head bangs. They don't stop for one blinding moment, not even when Buzz Osbourne breaks the sonic wall for a cover of the Butthole Surfers “Moving to Florida.” As Osbourne shouts “And I'm gonna build me the Atomic...” we all scream “BOMB!” in anticipation. He waits, and whispers “bomb”, breaking back into the bass-blasting segments of the song, and demonstrating a masterful understanding of the music surrounding him.
Osbourne shreds, Crover blasts, Pinkus pounds and the show winds down to the last song. Jumping from the shadows like the blast of a supernova, Terri-Gender-Bender enters, immediately breaking into what seems to be an interpretative dance to summon the spirits of punk and metal. She aids the Melvins in building the climax of the show. With one last blast of soul and energy, the show ends with Osbourne saluting the crowd like the commander in-chief of sonic crunch.
They all leave their instruments on, generating deafening feedback to drop us all down from the musical high that had been keeping us up for hours. Dale Crover is the last to leave. Like the proverbial bridesmaid catching the bouquet on her best friend's wedding day, I jump into the air to catch the drumstick he throws to the crowd.
I didn't catch it and fumbled with it as it flew to the ground. But I fought for it and came out victorious with a new souvenir of one of the best shows I've been to in a really, really long time. As the band leaves and the crowd dissipates, I walk straight towards to the door, drumstick clutched in hand.
I stroll to the parking lot, attempting to regain my serious loss of hearing, I reflect on the show. So many other people have seen this band, and they have played a myriad of cities and venues. But I now have my own triumphal moment. In the back of my mind, I know – with the utmost pride and certainty – that even if it's just a fragment of the bands long prolific history, I got rocked the fuck out by the Melvins.
V.23 No.40 | 10/2/2014
Indie/Electro/Punk Music Festival
Outsider Art Thrives in Shiprock
Indie/electro/punk fest as Native soundtrack
By August March
August March delivers deets on the 4th annual Indie/Electro/Punk Music Festival happening this weekend in Shiprock, N.M.
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.22 No.21 | 5/23/2013
Folk Art, Punk Approach
By Erik Gamlem
Bridgette Bullock’s in-your-face embroidery livens up the walls at a local DIY venue.
V.22 No.6 | 2/7/2013
Labor of love
By Samantha Anne Carrillo [ Fri Feb 8 2013 3:40 PM ]
Staff writer Mark Lopez explores the history of the love song and modern variations on the theme in The Mystic Myth of the Love Song. Peruse lovey-dovey A/V below, and share the love by posting your favorite modern or classic love song as a comment.
The Mystic Myth of the Love Song
By Mark Lopez
Staff writer Mark Lopez makes a study of modern and vintage love songs in this Love Issue feature.
V.22 No.2 | 1/10/2013
Low Culture, genre-palooza and popular music
By Samantha Anne Carrillo [ Fri Jan 11 2013 1:15 PM ]
This week’s Music to Your Ears dishes up the 411 on shows in genres ranging from poppy garage-punk to doomcream R&B to indie rock to folk. Listen to tracks from featured acts below. Synchro Studio • Low Culture • Pregnant, Again • Harbors • Downplay Music • Sat Jan 12 • 7:30 pm • $6 • ALL-AGES!
Music to Your Ears
By Samantha Anne Carrillo
Whether you’re hankering for poppy garage-punk, doomcream R&B, folk or Southern rock, Music to Your Ears has you covered.
V.21 No.51 | 12/20/2012
Flyer on the Wall: Meet the Monster
By Samantha Anne Carrillo [ Fri Dec 21 2012 12:00 PM ]
This week’s Flyer on the Wall juxtaposes soothing colors with a terrifying creature to promote Lovecraftian metal group Shoggoth’s full theatrical debut at Sister (407 Central NW). The Mayan calendar is ending, but Shoggoth plans to ring in the new era right. Mesa, Ariz. punk act Hate Everything and longtime Burque rowdy rock group Black Maria also perform. Check out a couple of Lovecraftian Christmas carols below. Sister • Shoggoth • Hate Everything • Black Maria • Fri Dec 21 • 9 pm • $5 • 21+ • sisterthebar.com
Flyer on the Wall
Meet the Monster
Terrific old ones lurk beneath the softly hued veneer of this week’s Flyer on the Wall.
V.21 No.48 | 11/29/2012
Brent David Colbert
Uke-punk thrashes Burque
By Samantha Anne Carrillo [ Fri Nov 30 2012 1:31 PM ]
Jessica Davis is a woman on a mission: to lay down righteous riffs on her e-uke and explore America. Learn more about her solo project, S.L.F.M., in SLC Songstress Punks Up the Uke. Listen to the two latest S.L.F.M. samplers below. Synchro Studio • S.L.F.M. • Austin Morrell and the Alchemists • Tapered • The Imperial Rooster • Sat Dec 1 • 8 pm • $7 • ALL-AGES!
Brent David Colbert
SLC Songstress Punks Up the Uke
Jessica Davis on code and categories
By Samantha Anne Carrillo
We gabbed with uke-thrash soloist Jessica Davis, a.k.a. S.L.F.M., about touring, acronyms, secrets and uncertainty.
V.21 No.3 | 1/19/2012
Monica Alisa Padilla
Albuquerque Is for Lovers
But not the kind you’d imagine
By Captain America
Although The Deadtown Lovers says it sounds like “empty storefronts and warehouses,” the music is intelligent, insistent, buzzy garage punk with a hint of pop.
V.20 No.49 | 12/8/2011
Wounded Lion IVXLCDM · She & Him A Very She & Him Christmas · Bleached "Searching Through the Past / Electric Chair" 7-inch
Our thoughts on Wounded Lion, She & Him, and Bleached
V.20 No.47 | 11/24/2011
Eric Williams ericwphoto.com
God Save the Queensland Grapes
Four Aussie wines with attitude
By Joseph Baca
A punk rock Shiraz or a misfit blend is just the thing to inject a little insolence into your evening, but these aren’t just novelty wines.
Cracker • alternative rock • Camper Van Beethoven at Launchpad
How to Please a Pecker at Self Serve
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