Sunday, March 25th | Doors at 7pm
Triathalon are a suave five-member band making some very sexy, slow R&B jams for fans of Mild High Club, Jerry Paper, Bane’s World & Surfer Blood. Adam Intrator (guitar, vocals), Hunter Jayne (guitar, keys), Chad Chilton (drums), and Lucas Carpenter (bass) have been together since 2013 making beautifully slowed-down R&B tracks mixed with a hint of surf rock, creating a sound that gives all the feels.
Inner Wave just recently released their 3 years in the making album ‘Underwater Pipe Dreams’ and have been selling out shows at LA venues: The Constellation Room at the Observatory, and The Smell. Inner Wave is set to play alongside King Krule, Kali Uchis, CUCO and more in 2018Get Tickets
Sunday, March 11th | Doors at 7pm
Opening with a dark, conga-infused drum break, lead-off track ‘Velvet For Sale’ establishes a moody, distinctly mysterious feel. If Half Free (Remy’s 2015 4AD offering) trafficked in dusty, sample-based textures, Poem represents an inversion of that instrumental formula; the non-sampled rhythms are themselves eminently sample-able. The newfound grooviness speaks to a central element of the new album’s collaborative spirit. All tracks save for two were performed by The Cosmic Range, an accomplished instrumental collective from Toronto, Remy’s adoptive hometown. Assembled by Matthew Dunn in 2014, The Cosmic Range is composed of some of Canada’s most accomplished improvisers, and includes longtime U.S. Girls producer / foil Maximilian ‘Twig’ Turnbull. The Range–whose eclectic combination of improvised psych, jazz, and propulsive dance music was first recorded on their 2016 New Latitudes debut (Idée Fixe)–is put to work here on a song cycle that is typically diverse for a U.S. Girls album. Remy is not content merely to establish a new sonic palette on successive albums. Instead she approaches each song as its own encapsulation, with the effect that her oeuvre is essentially genre-agnostic. On Poem, the buffet of sounds comprises a dizzying variety: disco, employed as a protest vernacular (‘Mad As Hell’), as well as an unrelenting assault (‘Time’); Remy’s beat-driven impulse, extended via The Cosmic Range’s vamping on hip hop producer Onakabazien’s produced loops (‘Incidental Boogie’ & ‘Pearly Gates’); moody, slow-burning funk, on the Twig co-writes (‘Velvet For Sale’ & ‘L-Over’); and forming the emotional core of the album, two earnest synth anthems, written in collaboration with D.C. based instrumentalist, Rich Morel (‘Rosebud’ & ‘Poem’).Get Tickets
As hectic as the stylistic detours may sound on paper, Remy and mixer / co-producer Steve Chahley will a consistent aesthetic into being, however multi-dimensional. With a voice as assured and engaged as Remy’s, track to track, one sees that genre-partisanship, in the contemporary music landscape, represents an irrelevantly conservative approach. The artist is intent on liberation both sonically and lyrically.
Poem features dark meditations reflecting charged atmospheres that directly precede and follow acts of violence. Many of the songs are character studies of women grappling with power; how to gain and exert it spiritually, as well as desperate strategies to mitigate its infliction. In ‘Pearly Gates’ a woman ingeniously decides to seduce St. Peter to assure heavenly entrance, to mixed effect, while in ‘Incidental Boogie’, a battered woman muses ironically that her partner’s abuse leaves so little physical evidence she can continue to show up at her job. Almost all of Remy’s lyrics seem to interrogate notions of morality, and the universal consequence of its deferment. As has so long been suggested in the artist’s work, action and inaction both have broad civic consequences. There is no escaping that the personal is entrenched in a political dimension and an acknowledgement of that may be the only liberator.
In an era of heightened turmoil, artists contend with a crossroads decision on cultural content, and how we engage with it as individuals. There is no shortage of media that lends distraction and offers a balm of comforting fantasy. For those, on the other hand, craving a thoughtful and probing inquiry into the iniquity of power, In A Poem Unlimited poses a substantial question; can you dance while you think?
Saturday, March 3rd | Doors at 7pm
Dead Meadow combine 70s hard rock and 60s psychedelic rock with far out and sometimes mystically minded lyrical themes occasionally even hinting at the obscure genius H. P. Lovecraft and other far out writers of the bizarre and weird.
Black Unicorn is a new Albuquerque band featuring members of Supergiant.Get Tickets
Wednesday, February 21st | Doors at 7pm
Conan are as heavy as interplanetary thunder amplified through the roaring black hole anus of Azathoth. Remember that sentence, for it is writ large in virgin blood on the walls of the forgotten temple of Bol-Krastor, deep in the steaming forests of forgotten Lemuria. Conan, a monumentally brutal three piece (in the grand tradition of all the hallowed three pieces through time) hold a sinew-tight line and an iron-grip command over the uber-synchronised powerchord changes and tempo-shifts of the anti-holy trio of bass, drums and guitar. Two weary yet defiant men have the task of vocalising wretched thoughts over the turgid weight of Conan’s metalized bombast. They bear it well, for the task is immense. Hear the roar of battle. Smell the stench of split blood. A thousand heads piled high like a grim mound of suffering – a blasphemy to nature. Hail Conan!
joined by The Ditch And The Delta (SLC)
“..doom that incorporates many different influences such as noise music and progressive metal. One may hear early Melvins or Eyehategod one minute and the next hear Intronaut or even Pure era Godflesh sounds coming from their headphones.” -Hellbound
Monday, February 19th | Doors at 7pm
The final words sung on the sixth album by WHY? are an apt place to begin: “Hold on, what’s going on?” Because while there’s much familiar about the oddly named Moh Lhean—mastermind Yoni Wolf’s sour-sweet croon, his deadpan poet’s drawl and ear for stunningly fluid psych-pop-folk-whatever arrangement—a great deal has changed in the four years that’ve passed since 2012’s Mumps, Etc., an LP that honed the band’s orchestral precision and self-deprecating swagger to a fine point. It’s significant that this is the first fully home-recorded WHY? album since the project’s 2003 debut. Made mostly in Wolf’s studio and co-produced by his brother Josiah, the result is obsessive, of course, but also intimate, and flush with warmth and looseness. But the biggest transformation is a bit subtler. After years of eying his world, in part, with a cynical squint, Wolf here learns a new mode. While Moh Lhean never stoops to outright optimism, it chronicles our hero finding peace in the unknowing, trading the wry smirk for a holy shrug, and looking past corporeal pain for something more cosmic and, rest assured, equally weird.
Friday, January 19th | Starts at 5pm
Join us for the next Ska tap takeover! Ska Brewing will be showcasing some of their new brews and giving away pint glasses and other swag! Come have a taste of any (or all) of these great new beers! Sour Apple Gose Pink Vapor Stew (“wild ale” / sour) The Ska Face: bourbon barrel-aged Barley Wine True Blonde Bad Hop Contract (Double IPA)
Come for the Ska, stay for the Soul.
Leftover Soul starts at 9pm the same night of the Ska Tap Takeover. 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. Plus “Soul Train” episodes are projected for your viewing pleasure. NO COVER!
Sunday, December 31st | 11am to 3pm
Downtempo Jazzy Brunch Vibes
w/ All Vinyl DJ Set By EshOne
Chicken & Waffles ($8) – (GF) chicken wings served over a homemade waffle with house sauce and pure maple syrup
Ricotta Pancakes ($7) – (VG, GF) three homemade pancakes layered with lemon curd, topped with Greek yogurt whipped cream, finished with strawberry coulis and blueberries
Brunch Burger ($10) – 1/4 lb. sausage and beef patty on English muffin with grilled jalapeno, cheddar, bacon, lettuce, tomato, and a fried egg. Served with tater tots
Full Spanglish ($10) – (GF) breakfast platter with bacon, sausage links, two eggs, red or green chile, beans, green chile hash, grilled tomato, grilled jalapeno, and a flour tortilla (tortilla not gluten free)
Avocado Toasts ($7) – (VG, GF) two slices of toast with avocado. One with cheddar, salsa, onion and cilantro; the other with balsamic dressed greens, radish and goat cheese
Huevos Rancheros ($8) – (VG, GF) fried corn tortillas topped with borracho beans, green chile potato hash, red or green chile, cheddar, lettuce, tomato and two fried eggs
Breakfast Burrito ($7) – (VG) eggs, cheddar, and our green chile hash rolled into a flour tortilla and smothered in your choice of red or green chile (Add bacon or sausage $2)
Daily Local Pastry ($5) – Bootstrap Baking. limited quantities
Irish Coffee ($8) – ZENDO moka sidamo, whiskey, sugar cube, heavy cream
Ho Chi Minh Coffee ($8) – DEEP SPACE COFFEE cold brew, condensed sweetened coconut milk, bourbon
Monday, December 11th | Doors at 7pm
with Bad Gateway / Echoes of Fallen
Gatecreeper was formed in September of 2013 with members originating from both Tucson and Phoenix, Arizona. After a debut 4-song EP a series of splits, the band signed to Relapse Records which resulted in the release of their debut full-length Sonoran Depravation on October 7th 2016. The band has since toured with Nails, Pallbearer, Code Orange, Skeletonwitch and more. Gatecreeper play crusty, doom-soaked death metal at its most infectious and uncompromising, with a massive sound that calls to mind the classic Swedish buzz-saw attack of Dismember and Grave mixed with the impeccable groove of Obituary and Bolt Thrower.Get Tickets
Friday, December 8th | Doors at 8pm
Album Release Party
As unpredictable, fearless, and entertaining as their namesake, Le Chat Lunatique purveys an addictive genre they call “filthy, mangy jazz,” a signature sound that makes you want to smoke and drink too much—if only you could get off the dance floor. Le jazz hot of Django Reinhardt and Stéphane Grappelli is their north star, but they use that beacon to navigate through a wide range of genres, blending Western swing, classical, reggae, d00-wop, and “anything else we damn well please” into strikingly original compositions and audaciously reworked standards alike.
Le Chat Lunatique is Muni Kulasinghe’s theatrical vocals, his violin skittering across the music like beads of water on a hot skillet—inspired as much by a legless Polish gypsy he encountered on his vagabond travels as by the great Grappelli. It’s the axe of guitarist John Sandlin, the classicist who fell under the sway of Reinhardt, felling bar after bar of music with ferocious dexterity. It’s the slap-happy bass and slyly sweet vocals of Jared Putnam, the sinisterly innocent one whose dark past embraces both death metal and Western swing. It’s Greg.
The group began prowling the nightspots of Albuquerque -that secret haven of hot jazz – back in 2005, spontaneously impregnating the ears of unsuspecting audience members, who found themselves unable to stop listening or dancing or making merry. From their earliest gigs, Le Chat Lunatique has offered swinging originals with ear-snagging hooks and stories to tell—well-constructed little gems that propagate earworms for ongoing pleasure. Devilishly clever lyrics offer insight into l’amour (“falling in love is like eating tacos”), a louche paean to a doting millionairess (“Buy me a Cadillac, buy me a yacht / Buy me everything that I haven’t got”), minatory observations on fate (“the bus of God will run you
over”), and the inevitable bitterness of a broken heart (“Miss Lady . . . please do me the courtesy of drinking in some other gin joint”).
The band’s repertoire also features original arrangements of tunes that stretch from kindergarten favorites (“Frère Jacques”) to pop hits (“Straight Up”) to swing anthems (“Minnie the Moocher”) to Reinhardt classics (“Blue Drag”). Every single tune is more than covered—it’s completely “Le-Chat-ified.” First, it’s dunked in the group’s collective musical subconscious, and then they play the hell out of it. Take, for example, Sandlin’s inspired gypsy jazz arrangement of Eric Satie’s Gnossienne No. 1 – over a reggae rhythm (say what?). Then there’s the medieval liturgical intro to “House of the Rising Sun,” which ultimately descends into transcendent desperation.
Riding the popularity of their acclaimed first CD, Demonic Lovely, which featured all original tunes, and their follow-up collection of covers, Under the Covers (Vol.1), Le Chat Lunatique has been inducing musical mania in an ever-widening circle—from the South by Southwest Festival in Austin, Texas, to the clubs of England, to the boards of the national theater in Novi Sad, Serbia, where they performed their commissioned score for Lucidity Suitcase Intercontinental’s ground breaking theatrical production Flamingo/Winnebago. In their home state of New Mexico, they’ve won award after award annually for best band, best jazz act, and best song.
Their irreverent humor, their intensity, and their expert musicianship will soon win them your acclamation as the best time you’ve ever had in public with your clothes on.
Get a copy of the new album with entry!