Thursday February 23rd | Doors at 8pm
w/ Lindy Vision, Tear Pressure, Eph Sharpe
The trio of Sean Galloway, Angelica Tavella, and Vince Gutierrez came together in Los Angeles after more than a decade in and around the Bay Area working on musical collaborations in various bands, on tour, over the Internet, teaching at youth music schools, and performing in drag musicals. The band has since added Los Angeles-based drummer Jessica Lankford, who joined them on the road for their recent West Coast tour supporting the release of “Total Fucker”.
In the making of “Total Fucker”, producer Jeff Saltzman (Department of Eagles, The Killers, Blondie), worked closely with the band to a achieve a balance between the sadistic twisting of oscillator knobs, overdriven vintage amplifiers, and plastic bagged microphones. The band finds it’s sound in the collective experiences of the trio; arching guitar lines, gritty synths, and raw drums and bass. Galloway and Tavella mix their distinctive voices together to create lush vocal harmonies that launch into wild choruses, a’la a Jeff Buckley and Annie Clark fronted Smashing Pumpkins.
Friday February 17th | Doors at 8pm
w/ Mikey Fisher & Selektah Philos
Come follow we into the depths of underground bass music with the first annual BENEATH BABYLON.. This edition brings you AMIT(uk) credited with creating his own sub genre within bass music now known as “half step” or “half time” drum and bass, one of the most innovative styles to come from within underground bass music for the past decade.
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AMIT is a UK based live Music Artist, Composer and Producer. He has released two critically acclaimed albums Neverending (2006) and 9 Times (2011) and over thirty slates of vinyl including ‘Killer Driller’, ‘Roots’ and ‘Acid Trip’.
AMIT has been hailed as one of the most distinctive and original voices within the electronic music industry. He is credited with creating a new and innovative sub genre within electronic music, influencing a generation of new music artists. He was the first music artist within Electronica to begin creating music at his signature ‘half-step’ at 174bpm. A whole range of fellow artists quickly followed suit but AMIT is widely acknowledged as having been the pioneer. His work has been placed in the top 5 ‘Best Single’ and ‘Best Producer’ categories on the BBC Radio listener polls.
His music is very much influenced by Dub and in particularly artists such as King Tubby and Lee ‘Scratch’ Perry. His music is also heavily influenced by Asian and Middle Eastern sounds, as well as Reggae, Dub, Electro, and Techno. AMIT has performed extensively at clubs and festivals across all continents.
In 2007 AMIT worked with legendary bass producer Bill Laswell on a project entitled ‘Inamorata’ that involved musicians across the globe including Iggy Pop, Mike Patton and Toshinori Kondo (released on the Sony Red label). AMIT has also composed music for several award winning film and theatre projects including Rent and Stain (London Film Festival official selection) and The Woods (Mill Valley Film Festival California Official Selection). AMIT has also supported bands such as Sonic Youth (State X Festival in Holland).
In 2009 while a participant in the Powerlab Scheme run by B3 Media in association with Film4 and the National Theatre, AMIT developed Electronic Orchestra, a ground breaking concept which saw AMIT musically ‘translate’ one of his tracks (with the help of Massive Attack’s Neil Davidge) entitled ‘MK Ultra’ from its previous existence as a piece of electronic music into a conventional score which can be played by an orchestra. ‘MK Ultra’ appeared on AMIT’s album ‘9 Times’ and is the first in a series of ‘translations’. ‘Electronic Orchestra’ is indicative of AMIT’s continuing desire to experiment with the boundaries of musical genres.
In April 2012, AMIT released an EP on EXIT Records including the widely acclaimed ‘Stay With Me’, ‘You Look Better Dead’, ‘Manic Minor’ and ‘Kritical’. The project saw AMIT reuniting with Irish/Indian vocalist RANI who previously featured on several tracks on ‘9 Times’. This fruitful collaborative relationship was further cemented by new releases for Metalheadz in October 2012 featuring ‘Killer Driller’ and ‘Colour Blind’ and for the pioneering electronic label Tempa, which featured ‘Acid Trip’ and ‘Don’t Forget Your Roots’ and were released in March 2013
Alcest was founded in the year 2000 by songwriter and multi-instrumentalist Neige (aka. Stéphane Paut) and later joined by drummer Winterhalter (Jean Deflandre) in 2009. Labeled as post metal/shoegaze or “blackgaze”, Alcest were the pioneers within this genre, crafting a unique sound based on musical opposites from their very first EP “Le Secret” (2005), and thru their full length releases “Souvenirs D’Un Autre Monde” (2007), “Écailles De Lune” (2010) and “Les Voyages De L’Ame” (2012). In 2014 their fourth album “Shelter” was released, marking the band’s departure from the more metal sound, in favor of dream-pop aesthetics, surprising and somewhat challenging their fan base. In retrospective, the album opened new doors for Alcest, bringing them an audience from different horizons and a positive sense of unpredictability as musicians.
Over the years, Alcest influenced a lot of other artists and gained a significant popularity around the world, leading them to do several tours all over Europe, North America, South America, Asia and Australia.
“Kodama” (2016), the upcoming fifth album by Alcest marks the French duo’s ferocious return to the epic and contrasted style of its early works while continuing the band’s relentless pursuit for fresh ideas. Combining poetic elements with darker ones, that were not present in Alcest’s earlier works, “Kodama” manifests as an intense album, featuring a more organic, punchy sound and showcasing impulses from an array of different places.
Originally triggered by Hayao Miyazaki’s anime film “Princess Mononoke”, “Kodama” picks up on the fate of its protagonist and, at its core, deals with the sensation of not belonging; of living in between worlds, be it city and nature, the physical and spiritual one. By giving the album a cultural, stylistic and compositional narrative, Neige and Winterhalter keep “Kodama” from just being the latest improvement on the Alcest sound and instead make the album a most rare and exciting thing: a vital, relevant record from a front runner that not only upholds the band’s trailblazing legacy, but actually makes you want to see where they go next.
On No One Deserves Happiness, The Body’s Chip King and Lee Buford set out to make “the grossest pop album of all time.” The album themes of despair and isolation are delivered by the unlikely pairing of the Body’s signature heaviness and 80s dance tracks. The Body can emote pain like no other band, and their ability to move between the often strict confines of the metal world and the electronic music sphere is on full display throughout No One Deserves Happiness, an album that eludes categorization. More than any of their genre-defying peers, The Body does it without softening their disparate influences towards a middle ground, but instead through a beautiful combining of extremes. No One Deserves Happiness is an album that defies definition and expectations, standing utterly alone.
Buford and King are outliers at their core, observing the world as if apart from it. They strive for music without a category. They embody many contrasts. They are open and playful as well as thoughtful and disciplined. Live, they deliver punishing volume and scale with their spare duo set up, expanding their sound through a complex set of effects on both guitar and drums. For records, they approach things entirely differently and expand their group in the studio to include Seth Manchester and Keith Souza from Machines with Magnets (their long-time studio), as well as Chrissy Wolpert of The Assembly of Light Choir. The list of instruments used on No One Deserves Happiness is an unexpected collection that includes 808 drum machine, a cello and a trombone. The band employs instruments in their unprocessed state for the simple beauty of the sound, and then in equal measure push them to their most extreme (for example, the sounds at the end of “The Fall and the Guilt” are created by a guitar and a cello). Because they create an entirely singular sound, The Body is in high demand for collaborations with artists across the musical spectrum, from The Bug to Full of Hell to The Haxan Cloak and beyond. They build albums that are as lush and dense as a rain forest and as unforgiving.
Creepers is a band from the San Francisco Bay Area that formed in 2010. Originally consisting of Shiv Mehra (Deafheaven) on guitar and vocals and Daniel Tracy (Deafheaven) on drums, the duo performed around the Bay playing their own brand of surreal psychedelic rock. Eventually, they recruited guitarist Chris Natividad (Golden Drugs, Useless Eaters) and bassist Varun Mehra to complete the lineup. Their first LP “Lush” was released on All Black Recording Company in 2014.
In 2016, Andrew Oswald (Recorded Fell Voices, Ash Borer, Black Spiritual, +more) replaced Varun Mehra on bass and Ross Peacock (Mwahaha, Clipd Beaks) was added on synths and electronics. They are currently working on a release slated for 2017.
“Wayne Hancock has more Hank Sr. in him than either I or Hank Williams Jr. He is the real deal.” – Hank III
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“Hancock, who tosses out a roots mix of old country, roadhouse blues, western dance swing, boogie bop, and straight-up rockabilly, takes what was once old and makes it seem like it’s always been and always will be.”—allmusic.com
“The country music scene could do with a lot more characters like Wayne, who push the music’s limits while staying truer to its roots than any well-known names associated with the genre today.” – Slug Magazine
Since his stunning debut, Thunderstorms and Neon Signs in 1995, Wayne “The Train” Hancock has been the undisputed king of Juke Joint Swing–that alchemist’s dream of honky-tonk, western swing, blues, Texas rockabilly and big band. Always an anomaly among his country music peers, Wayne’s uncompromising interpretation of the music he loves is in fact what defines him: steeped in traditional but never “retro;” bare bones but bone shaking; hardcore but with a swing. Like the comfortable crackle of a Wurlitzer 45 jukebox, Wayne is the embodiment of genuine, house rocking, hillbilly boogie.
Wayne makes music fit for any road houseanywhere. With his unmistakable voice, The Train’s reckless honky-tonk can move the dead. If you see him live (and he is ALWAYS touring), you’ll surely work up some sweat stains on that snazzy Rayon shirt you’re wearing. If you buy his records, you’ll be rolling up your carpets, spreading sawdust on the hardwood, and dancing until the downstairs neighbors are banging their brooms on the ceiling. Call him a throwback if you want, Wayne just wants to ENTERTAIN you, and what’s wrong with that?
Wayne’s disdain for the slick swill that passes for real deal country is well known. Like he’s fond of saying: “Man, I’m like a stab wound in the fabric of country music in Nashville. See that bloodstain slowly spreading? That’s me.”
Little known fact: Wayne is the only Bloodshot artist to have had their CD taken aboard a space shuttle flight.
“A rare breed of traditionalist, one who imbues his retro obsessions with such high energy and passions that his songs never feel like the museum pieces he’s trying desperately to preserve.” —AllMusic.com
Leftover Soul is a vinyl only soul night happening in Albuquerque! DJ Leftovers spins the best soul records he can get his hands on and you shake your booty in return. This thanksgiving eve, before you stuff your belly full o’ turkey get a big helping of soul!
SOUL TRAIN DANCE OFF AT MIDNIGHT WITH FANTASTIC SOUL PRIZES FOR THE WINNERS! (donated by Slolow Vinyl Records)
Special thanks to James Swagerty for designing the special poster for our 3 yr anniversary and to Slolow Vinyl Records for donating the sweet soul 45s as prizes for our dance competition.
Night Beats play pure psychedelic R&B music that spikes the punch and drowns your third eye in sonic waves of colour. Theirs is a bastard blues, contorted and distorted into new shapes for 21st century wastoids — once tasted never forgotten. This is music to melt your sorry little minds.
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Make no mistake: their new album Who Sold My Generation sounds like it has been created against a backdrop of burning Stars and Stripes flags and with the whiff of napalm hanging in the air — an alternative universe where ‘Helter Skelter’ is the national anthem and Charlie Manson is still on the loose. Acid-test heaviness is Night Beats’ currency, but this is no out-right nostalgia trip either. Instead of Nixon and Vietnam, Night Beats have their own epoch of God and guns and bombs and drones to rail against…or flee from. Besides, bad vibrations, blues jams and id-shattering explorations are timeless pursuits – why shouldn’t today’s young generation be allowed to take a ride down the slippery spiral that sits within the centre of each of us?
On their third album – and first for Heavenly Recordings — Night Beats perhaps most recall their Texan forefathers and psyche-rock originators 13th Floor Elevators at their ‘69 peak, just before The Man busted young Roky Erickson and dragged him to the psyche ward for barbaric doses of shock treatment. These boys represent the best of the Lone Star State’s flipside – that vast dusty hinterland of the soul where it’s easy to drift off the map and reinvent yourself as part of the long lineage of creative cowboys who prefer psychotropics to rodeo riding, guitars rather than firearms.
“Old cowboy culture is alive and well in Texas,” says frontman Danny Lee Blackwell. “I grew up with Texan mythology all around us, so as a band its instilled in our blood. My Dad didn’t wrangle steers but he did pick cotton when he was young. But then cities like Austin and Dallas, where we spent most of our time growing up, have a real sense of musical history that runs deep, so we feed off legacy that too.”
From the Elevators and The Red Krayola on to pre-ZZ Top band The Moving Sidewalks, Butthole Surfers and The Black Angels – whose record label Reverb Appreciation Society have released Night Beats — and a clutch of other early cult bands besides (Bubble Puppy, Shiva’s Headband and the Golden Dawn, anyone?), Texas has always been a prime breeding ground for such outlaw music. “The Elevators were one of the reasons I decided to become a singer and form the group,” says Blackwell. “I loved their attempt to play R ‘n’ B music, but from a distinctly Texan approach. I’d say they have profoundly influenced the group, but it’s now our job to take it to another level in a new age.”
It took a cross-country relocation to instigate their formation. Night Beats were born when frontman Danny Lee Blackwell upped stick from Dallas to Seattle, Washington and was soon joined by childhood friend James Traeger. “James got me a copy of Ginsberg’s Howl when I was around 15 and it changed everything,” remembers Blackwell of his old friend. “We grew up together and once he moved up to Seattle we did everything together there too. I wanted to try out a different place, a new city, where no one knew my music and there wasn’t anything remotely similar going on. Coming from Dallas, Austin seemed like the obvious choice but I needed something more. Seattle was at one time the home to people we love like Ray Charles, Jimi Hendrix and Quincy Jones so I didn’t feel too disconnected.”
The two existed initially as a guitar and drums duo, named in honour of Sam Cooke’s 1963 album Night Beat, before fellow Jakob Bowden Dallas resident joined on bass after a stint in Austin. Filtering a collective love of pioneering artists as disparate as Buddy Holly, Fela Kuti, Etta James, James Brown and Leonard Cohen, Night Beats dropped a clutch of singles, split-singles, cassette release and two albums – their self-titled debut in 2011 followed by Sonic Bloom in 2013 – as well as featuring on all manner of compilation albums that document the cutting edge of the head-bending, modern counter-cultural US underground.
Night Beats hit the road too, touring extensively with Roky Erickson, The Zombies, The Jesus and Mary Chain, The Strange Boys, Black Lips, The Growlers and The Black Angels in North America, Europe, Israel, South Africa and Australia.
Recorded on old two-inch tape in Echo Park, Los Angeles at the home of producer Nic Jodoin and featuring co-production and guess bass playing from Robert Levon Been of Black Rebel Motorcycle Club, new album Who Sold My Generation goes beyond merely being a retreading of well-worn garage / R&B path. Instead it offers a contemporary take on the psychedelic experience, a heady set of hoodoo voodoo songs. Mordant and corrosive opener ‘Celebration #1’ sets the tone with its wailing guitar jams and Messiah-like monologue, while ‘No Cops’ makes like the imaginary soundtrack to an orgiastic party somewhere in the LA hills as the summer of love gave way to an era of greed and paranoia. ‘Sunday Mourning’ is the sound of blood dripping on the twitching remains of a generation’s super ego and with a rockabilly strut, ‘Egypt Berry’ chases the White Rabbit down into a cosmic underworld while shaking its burning tail feathers
With new Who Sold My Generation, Night Beats have not only painted it black, they’ve torched the fucker and driven it off the cliff, crashing and burning into the arid canyon below.
In its afterglow only the lone howl of a solitary coyote remains.
Always clad in a fuzzy (and mildly psychotic-looking) rabbit mask and often wearing little else, NOBUNNY is a one-man pop-punk onslaught whose simple, infectiously hooky tunes and lusty outlook have earned comparisons to the Ramones,Hasil Adkins, and the Cramps, and whose untamed (and sometimes bottomless) stage shows have led some to call him a cuddly version of G.G. Allin. NOBUNNY is the alter ego of Justin Champlin, who was born and raised in Tucson, Arizona, and relocated to San Francisco, California.Champlin first made a name for himself as the drummer with garage punks the Okmoniks and later co-founded the Sneaky Pinks, a two-man punk-pop party machine.
With NOBUNNY, Champlin streamlined the concept of the Sneaky Pinks by paring the consistent lineup down to just one person (or one mutant; as part of the NOBUNNY myth, Champlin claims to be the product of a liaison between a woman and a jackalope). Sometimes working solo and sometimes backed by a constantly shifting group of musicians, Champlinhas been performing as NOBUNNY since 2001, though it wasn’t until 2008 that he made his recorded debut with the album Love Visions. Primarily recorded at home with Champlin handling most of the instruments, Love Visions was released by the tiny Bubbledum Records label; it earned enthusiastic reviews in the underground music press and was reissued in 2009 by the somewhat larger 1-2-3-4 Go! Records. In 2009, NOBUNNY put out a single through Horizontal Action Records, “Give It to Me” b/w “Motorhead with Me,” and a cassette-only album, Raw Romance, on Burger Records.
NOBUNNY also kept up a busy touring schedule in the wake of Love Visions, telling reporter Eric Allen, “The road is good, because at least I know where my next meal is coming from. I find life much easier on tour. It’s not being on tour that is hard for me.” In September of 2010, NOBUNNY’s second full-length album, First Blood, was released by Goner. After a relatively quiet 2011 with no recordings released, NOBUNNY returned in 2012 with a single for Suicide Squeeze and an EP for Goner. He stuck with Goner for his third full-length blast of garage punk, 2013’s Secret Songs.
GET ACTION is like Radio Birdman and The Undertones having dinner at your mom’s house while The Who practices in the garage.
The King Khan & BBQ Show are two guys in a band, both writing, performing and singing: Arish ‘King’ Khan: guitar, vocals. His voice is the snotty one. His guitar is the lead one. Mark ‘BBQ’ Sultan: drums, guitar, vocals. His voice is the smooth one. His guitar is the rhythmic one. The drums are played live with his feet.
Bad News Boys is the band’s fourth studio album, their latest since 2009’s acclaimed Invisible Girl. The boys had previously broken up in 2010 after a taxing stretch, culminating in an invite by Lou Reed to play the Sydney Opera House. There was a public (internet) break-up and freak-out, which carried over into the week after in Asia. Words were said; brothers fought like brothers. It was the end of a stretch that had taken the band all over North America, playing festivals like Coachella, starting side projects like Almighty Defenders (with brothers Black Lips), touring the likes of Europe, Israel, Brazil, gaining legions of devoted fans internationally, and kickstarting that whole ‘doo-wop punk’ bullshit movement that still goes on today.
This is rock’n’roll. This is punk. This is early r&b. This is psych. This is doo-wop. This is garage. It’s all this and more, without trying to be anything.
A misconception of the band is that they play a bunch of instruments, which are then overdubbed to get a particular sound in the studio. The truth is that they record live. Their ‘studio’ is usually an apartment or – in the case of Bad News Boys – a basement, and they’re armed a 4-track cassette recorder and not much else. Their ethos is punk. Their mission is to revere rock’n’roll – the real stuff – enough, so that they are permitted to invoke its spirits and ghosts using magick, using their raw soul – for good or for bad – to evoke the smells and feelings that confuse and delight.
The King Khan & BBQ Show is a real band. Sure, their sense of humor is dirty, often surreal and potentially subversive, but the seriousness of their passion for real rock’n’roll should never be taken lightly. They live a lifestyle of pure love for the genre, respecting and understanding its basic tenets, living as lifers, representatives of tradition they feel is important. They cut their teeth together in The Spaceshits, a lightning fast rock’n’roll band formed in 1995 (dead by 1998) and have toured and paid their dues since, sacrificing their mind, bodies, souls, friends, family – all for love.
King Khan went on to underground hero status in many projects, shocking and impressing tastemakers in need of tangible image-icons, worldwide. Mark Sultan is heralded for his incredible voice and top-tier songwriting – rarities, today. Quite simply: they need one another, like yin and yang, to make it all happen. The band has managed to continue to release top-grade material for over ten years, without bowing to business or succumbing to what’s ‘hip’, without changing. They do what they want, take it or leave it. Love ‘em or hate ‘em, but never say they can’t write a great rock’n’roll song – and back it up with one of the best, most magickal, energetic, crass and nonsensical free-form live shows going.
They care so much that they don’t give a fuck.
PAINT FUMES drew first blood together in the year 2011, sharing a mutual love of garage scuzz and brain-chain reaction, and the connection was immediate and fierce. Sounds congealed via weekly seances at the Sewercide Mansion in Charlotte, NC and relentless touring which brought their unhinged reverberations to points all across the USA. Like the lovechild of Link Wray and Cheetah Chrome, raised by Lemmy on the streets of Venus, they sweated out the fever every night in ecstatic style. By the time Slovenly Recs got around to spitting out a couple classic 45s and their debut platter Uck Life, most true heads and even those way out of the know alike had gotten the message. Deep within a blitzkrieg of treble and feedback, there were real live tunes to sink your teeth into – the stuff that’s stuck in your head when you wake up in another dimension.
In the year of the horse, the ‘Fumes swelled in ranks with Ian Rose and Ben Carr of NC synthtopian punks Natural Causes, starting twelve thrash bands and surviving on nothing but hallucinations of vegetarian chimichangas. Together this crew ruined the beaches of Europe with Los Vigilantes, converted hundreds on the all-night diesel-powered festival circuit and in the midst of it all took a vacation down to Puerto Rico and committed to tape a new full-length entitled If it ain’t Paint Fumes it ain’t worth a huff!
Clackamas, Oregon’s Dead Moon is truly one of the most independent and revered Northwest underground bands of all time. With Fred Cole on guitar and vocals, his wife Toody on bass and vocals, and the one & only Andrew Loomis on drums, Dead Moon churned out their own indescribable brand of rock & roll for nearly 20 years from 1987- 2006. During this period Dead Moon released 14 LPs & CDs and around ten 45rpm records on their DIY label Tombstone Records, and also on Music Maniac (Europe), Dog Meat (Australia), and Empty Records, Sub Pop & Sympathy for the Record Industry (USA), all the while also touring Europe, the USA & Canada, Australia and New Zealand.
Fred, a garage rock stalwart, formed Dead Moon with bassist Toody and drummer Loomis in 1987. In 1988, they released debut single “Parchment Farm,” the first of a string of home recordings on their Tombstone Records imprint. In 1990, Hans Kestaloo signed them to German label Music Maniac after being introduced by the Wipers’ Greg Sage. He also flew them over to tour Europe, where they found a significant fan base. Throughout the ’90s, Dead Moon were beloved staples of the Pacific Northwest music scene, releasing a flood of music on labels including Sub Pop, Tombstone, and eMpTy, as well as Music Maniac and Sympathy for the Record Industry. In 2006, the year they split, a documentary was released on the trio, Unknown Passage: The Dead Moon Story.
We’ve expanded our hours and are open at 11am, Monday through Sunday, to serve up our full menu for lunchtime. To celebrate these new expanded hours we have a number of exciting promotions including special daily food & drink pairings, as well as weekly lunch-time-only specials created by Chef Christopher Cook.