Albuquerque Live Music

Night Beats

Monday November 21st | Doors at 7pm
w/ Get Action

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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.

NOBUNNY

Wednesday November 9th | Doors at 7pm
w/ Get Action

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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

Sunday November 6th | Doors at 8pm
w/ Paint Fumes

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screen-shot-2016-10-10-at-11-36-15-amThe 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!

Fred & Toody of Dead Moon

Thursday October 26th | Doors at 8pm

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screen-shot-2016-10-03-at-11-33-09-amClackamas, 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.

EPMD

Saturday July 26th | Doors at 8pm
Strictly Business 30 Year Anniversary
Raashan Ahmad of Crown City Rockers
DJ Ohm

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Hailing from Long Island, NY, EPMD’s first album, Strictly Business, appeared in 1988 and featured the underground hit “Strictly Business,” which sampled Eric Clapton’s version of Bob Marley’s “I Shot the Sheriff.” Many critics cite this first album as the group’s most influential. The group’s brand of funk-fueled sample-heavy hip-hop proved to be a major force in the genre. Unlike old school hip hop, which was originally based on disco hits but eventually became more electronic, EPMD based its music mainly on lifting funk and rock breaks for samples and helped to popularize their usage, along with Marley Marl and Public Enemy. “You’re a Customer” combined snippets of Steve Miller’s “Fly Like an Eagle,” Kool & the Gang’s “Jungle Boogie, the bass line from ZZ Top’s “Cheap Sunglasses” and drum beat (Roger Linn LM-2 machine). “Jane,” about a romantic rendezvous gone bad, would be revisited on no less than five sequels; a first for hip-hop, and, perhaps, rock and roll as well. “You Gots to Chill” used 1980s funk band Zapp’s “More Bounce to the Ounce,” which has become one of the most enduring sample sources for hip-hop. EPMD later appeared on the single “Everybody (Get Up)” by Zapp frontman Roger Troutman on his last solo album, Bridging The Gap, in 1991. “I’m Housin'” was covered some 12 years later by Rage Against the Machine. Managed early on by Russell Simmons’ RUSH Management, the group toured with such hip-hop luminaries as Run-DMC, Public Enemy, and DJ Jazzy Jeff & the Fresh Prince.

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Nothing

Saturday June 25th | Doors at 8pm
with Culture Abuse, and Wrong

After getting his start as the brains behind the late 90s/early 2000s hardcore/punk act Horror Show, Domenic Palermo founded NOTHING in 2011 with the release of the demo Poshlost. Following the release of Poshlost, Palermo met Brandon Setta, who would bring lush, rich soundscapes and a fresh approach to Palermo’s vision for NOTHING and to the band’s next two EPs, Suns And Lovers (Big Love, 2011) and Downward Years To Come (A389, 2012). NOTHING then signed to Relapse for their debut 2014 full-length Guilty Of Everything. The album, which was inspired by the events surrounding a prison sentence Palermo served from 2002-2004, found widespread critical acclaim from publications such as Rolling Stone, NPR, Stereogum, Spin, Noisey, and many others. Guilty’s reception also enabled the band to tour Europe and North America extensively, including performances at festivals including Osheaga, Roadburn, Firefly, Budweiser Made In America, and SXSW. 


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Following a tumultuous series of events that left the band personally and professionally distraught, NOTHING experienced a drastic change in mindset, which is clearly apparent in the band’s new record Tired Of Tomorrow. Tired Of Tomorrow was recorded over the course of a month at Studio 4 with Will Yip (Title Fight, Superheaven, Touche Amore, etc) this past October, and is the band’s most heartfelt work today. Borrowing from personal memoir and external works alike, NOTHING have worked the deepest influences of their youth & maturation into a package that’s ultimately at its most relevant in the present day. Tired Of Tomorrow is a brooding yet mellow release, inspired as much by 90s rock as it is by the darkness of NOTHING’s past.

NOTHING is:

Domenic Palermo, 
Brandon Setta, 
Kyle Kimball

Funk Thing

Friday June 17th | Doors at 8pm | $5
Skeme Richards, Rock Steady Crew (Philly)
Renato aka RIM, Diggin’ Ain’t Easy (LA)
SUG-TVC (Albuquerque)

13239939_1114091925280712_8634846446769357399_nDigging and spinning genres across the board from Hip Hop, Funk & Soul classics to Disco, Nu Disco and beyond, Skeme keeps things classy and continuously strives to separate himself from the pack. Skeme is known within a large circle of Funk & Soul 45 aficionados, DJs, vinyl purists, record labels and promoters as a heavyweight collector.

Blockhead

Friday June 10th | Doors at 7pm
Bells & Whistles Tour

James Anthony “Tony” Simon, better known by his stage name Blockhead, is an American hip hop producer based in Manhattan, New York.

Aside from his solo efforts released on the Ninja Tune label, Blockhead is most associated with producing for Aesop Rock, a rapper for the indie hip hop labels Definitive Jux and Rhymesayers. He is also a member of the comedy hip hop group Party Fun Action Committee and has previously worked with rappers Cage, Hangar 18, Open Mike Eagle and Murs. According to him, his stage name comes from the shape of his head: “While it’s not square, it’s pretty close.”

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blockhead 2 hmtSimon was born and raised in Manhattan. He is the son of the late Sidney Simon, a well-known sculptor in New York City, and Renee Adriance, a social worker. He has one brother and five half siblings. From a young age, he loved hip hop—both the lyrical and musical aspects. In his early teens, he and his friends made a group called the Overground where Simon first started making music. As an aspiring MC, he enrolled in Boston University in 1994. He only remained at Boston University for one year, but in that year Simon’s real music career began when he first met and starting working with Aesop Rock who was also a student at BU. At this point Simon put aside his ambition to be a MC and focused on producing music.

TOKiMONSTA

Friday June 3rd | Doors at 8pm
Fovere Club Tour

Los Angeles native, TOKiMONSTA (Jennifer Lee) is known for her unique take on electronic,hip hop, and dance music. Her classical upbringing and eclectic taste in music has allowed her to create vast textural soundscapes—a reverberation that fuses vintage sensibilities with progressive inclinations. Since 2010, she has released 2 full albums, 2 EPs, 2 vinyl only singles through Ultra Records (US), Sony (Korea), Brainfeeder/Ninja Tune (US/UK), Art Union (Japan), Black Acre (UK), Ramp (UK), and All City (Ireland).

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Her music has been recognized by the very best in tastemaker and mainstream media. TOKiMONSTA has been featured on various worldwide radio programs such as: BBC Radio1 (UK), NPR (USA), BBC World Service (UK), J Wave (JP), Studio Brussels (BE), Radio Nova (FR), KCRW (LA) to name a few. Subsequently, DJ Mag, Pitchfork, The Guardian, XLR8R, Paper, LA Times, Dazed and Confused, SPIN, Wax Poetics, MTV, VIBE, Billboard, Rolling Stone, Sound and Recording and more have covered her. She has been ranked by LA weekly as LA’s best female DJ (noting her versatility as a producer). Additionally, Resident Adviser featured her for their “Breaking Through” series, which focuses on the next break through artist. Not only has she caught ears of many as a different dimension of Los Angeles-based music, TOKiMONSTA is notably the first female to join Flying Lotus’ crew/label BRAINFEEDER, which is on the forefront of LA music scene.

Recognition of her music has given her the opportunity to tour the world. In a never-ending effort to stay on top of technological and musical advances, she uses cutting edge technology with pieces of musical and multimedia gear. She participated in the prestigious Red Bull Music Academy in London in 2010. In the summer of 2012, she was apart of the Full Flex Express tour, the first electronic music themed train tour that traveled across Canada with Skrillex, Diplo, Pretty Lights, and Grimes. She performed on the very first SS Coachella–Golden Voices’ first ocean cruise festival. Some notable past performances were at Coachella, Sonar Barcelona, DEMF, WMC, Electric Zoo, SXSW, Camp Bisco, Decibel Festival. 2014 will include festival plays at Sonar Barcelona (2nd time), Glastonbury, Roskilde, Sasquatch, with more to be announced.

Guitar Legend Dick Dale

Monday May 9th | Doors at 8pm
w/ special guest Phantom Lake

Dick Dale invented surf music in the 1950’s. Not the ’60’s as is commonly believed. He was given the title “King of the Surf Guitar” by his fellow surfers with whom he surfed with from sun-up to sun-down. He met Leo Fender the guitar and amplifier Guru and Leo asked Dale to play his newly creation, the Fender Stratocaster Electric Guitar. The minute Dale picked up the guitar, Leo Fender broke into uncontrolled laughter and disbelief, he was watching Dale play a right handed guitar upside down and backwards, Dale was playing a right handed guitar left handed and changing the chords in his head then transposing the chords to his hands to create a sound never heard before.

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w2wphe2eseyr8acji8pyLeo Fender gave the Fender Stratocaster along with a Fender Amp to Dale and told him to beat it to death and tell him what he thought of it. Dale took the guitar and started to beat it to death, and he blew up Leo Fender’s amp and blew out the speaker. Dale proceeded to blow up forty nine amps and speakers; they would actually catch on fire. Leo would say, ‘Dick, why do you have to play so loud?’ Dale would explain that he wanted to create the sound of Gene Krupa the famous jazz drummer that created the sounds of the native dancers in the jungles along with the roar of mother nature’s creature’s and the roar of the ocean.

Leo Fender kept giving Dale amps and Dale kept blowing them up! Till one night Leo and his right hand man Freddy T. went down to the Rendezvous Ballroom on the Balboa Peninsula in Balboa, California and stood in the middle of Four Thousand screaming dancing Dick Dale fans and said to Freddy, I now know what Dick Dale is trying to tell me. Back to the drawing board. A special 85 watt output transformer was made that peaked 100 watts when dale would pump up the volume of his amp, this transformer would create the sounds along with Dale’s style of playing, the kind of sounds that Dale dreamed of. BUT! they now needed a speaker that would handle the power and not burn up from the volume that would come from Dale’s guitar.

Leo, Freddy and Dale went to the James B. Lansing speaker company, and they explained that they wanted a fifteen inch speaker built to their specifications. That speaker would soon be known as the 15” JBL -D130 speaker. It made the complete package for Dale to play through and was named the Single Showman Amp. When Dale plugged his Fender Stratocaster guitar into the new Showman Amp and speaker cabinet, Dale became the first creature on earth to jump from the volume scale of a modest quiet guitar player on a scale of 4 to blasting up through the volume scale to TEN! That is when Dale became the “Father of Heavy Metal” as quoted from Guitar Player Magazine. Dale broke through the electronic barrier limitations of that era!

Dale still wanted to go further, and as the crowds increased, Dale’s volume increased, but he still wanted a bigger punch with thickness in the sound so that it would pulsate into the audience and leave them breathless. The JBL-D130 was doing its job until Dale froze it in the frame that held the speaker, the speaker cone would twist from the heavy playing from Dale and it would soon twist and stop to fluctuate back n forth.

Leo, Freddy and Dale went back to the JBL speaker company and told them to rubberize the front ridge of the speaker allowing it to push forward and backward from the signal of Dale’s guitar without cocking and twisting. The new updated version was called the JBL D-130F; the F stood for Fender.

Leo, Freddy and Dale designed a speaker cabinet and in which they installed 2 -15”-JBL-D130F’s. This caused Leo Fender to have to create a new and more powerful output transformer, they would call it the Dick Dale Transformer and it was made by the Triad Company.

This became the 100 watt output transformer that would actually peak 180 watts. Nothing like this had ever been done before in the world of guitars and amplifiers. This became known as the Dual-Showman Piggy Back Amp. This is why Dick Dale is called the Father of all the power Players in the world!