Deep into a second decade of making music, Deerhoof continues to introduce avant anachronisms to the world of pop music. Ostensibly based in the Bay Area, Deerhoof’s music evokes specific San Francisco sound memories: crashing waves under the Golden Gate; the high-pitched squeal and hiss of the N Judah train; a mission junkie’s shuffle. Straying from the geographic origin that lends an aural palette to its songs, the band is spread throughout the country with drummer Greg Saunier living in New York, singer/bassist Satomi Matsuzaki “floating,” guitarist Ed Rodriguez in Portland and guitarist John Dieterich in Albuquerque.

A balance of painterly and graphic techniques are lent to gloomy blacks, whites and grayscale in what appears to be a bird-laden landscape print. Raven Chacon, Cristóbal Martínez, Kade L. Twist and Nathan Young make up the interdisciplinary American Indian arts collective Postcommodity. On Friday, June 10, they'll be doing a noise show at the Santa Fe Art Institute's Tipton Hall. The show begins at 6 p.m. Admission is $10 general, $5 for students/seniors/members. (Jessica Cassyle Carr)

More and more, our remote, wild Western burg is proving to be an oasis of music and art that explores new frontiers. Nay, you say? Here’s evidence: Albuquerque Experimental is a two-day festival composed of 25 performances. The lineup is largely local with notable out-of-town troubadours sprinkled throughout (NYC psych pioneer Silver Apples; John Dieterich of Deerhoof, who’s performing with New Mexico’s own Raven Chacon). This event, masterminded by KUNM music host Peter Mezensky, will take place at The Kosmos (1715 Fifth Street NW) on Friday, Oct. 15, at 7 p.m. and on Saturday, Oct. 16, at 3 p.m. Two-day passes go for $20, while single passes are $10 on Friday and $15 on Saturday. For a full lineup and more information, go to albuquerqueexperimental.com. (Jessica Cassyle Carr)

In life there are certain truths: What goes up must come down, all's fair in love and war, a stitch in time saves nine and one who makes a synthesizer out of a cougar pelt is wicked awesome. Musician, teacher and installation artist Raven Chacon is familiar with the latter, having made just that as part of a Winnipeg-based project by his interdisciplinary American Indian arts collective, Postcommodity. When the piece is pet, the pelt synth purrs, and when it’s twisted it raars. The group also fashioned an antler cello and antler harp, and made a drum from a boar bladder and a coffee can. The instruments, says Chacon, are meant to be played by a futuristic tribe representing the last of its culture.