Wednesday, November 22nd | Doors at 8pm
4 Year Anniversary
Leftover Soul is a vinyl only soul night happening in Albuquerque and on Thanksgiving eve it will celebrate 4 years of soul music in downtown 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 pleasureNO COVER
Saturday, November 18th | Doors at 8pm
Nobody cared about their old heads, because the new ones work just fine now, don’t they?…. they have the same size mouth and eyes.
The song “Old Heads” is a sci-fi space anthem to technology that constantly replaces itself, proving both necessary and unnecessary at the same time. It’s also a jangly pop gem, a trip through the fantastical that is ultimately warm and relatable. This remarkable coexistence is one of many achievements of Chad VanGaalen’s Light Information, his sixth record on Sub Pop, due September 8th.Get Tickets
For an album that’s about “not feeling comfortable with really anything,” as VanGaalen says, Light Information is nonetheless a vivid, welcoming journey through future worlds and relentless memories. The rich soundscapes and sometimes jarring imagery (“I’ll be the host body, yes, for the parasitic demons. They can eat me from the inside out, I already hear them chewing.”) could only come from the mind of a creative polymath–an accomplished visual artist, animator, director, and producer, VanGaalen has scored television shows, designed puppet characters for Adult Swim, directed videos for Shabazz Palaces, Strand of Oaks, METZ, Dan Deacon, and The Head and the Heart, and produced records for Women, Alvvays, and others.
While alienation has always been a theme of VanGaalen’s music, Light Information draws on a new kind of wisdom–and anxiety–gained as he watches his kids growing up. “Being a parent has given me a sort of alternate perspective, worrying about exposure to a new type of consciousness that’s happening through the internet,” he says. “I didn’t have that growing up, and I’m maybe trying to preserve a little bit of that selfishly for my kids.”
As always, VanGaalen wrote, played, and produced all of the music on Light Information (save Ryan Bourne’s bass part on “Mystery Elementals” and vocals on “Static Shape” from his young daughters Ezzy and Pip), and designed the cover art. The product of six years’ work, going back even before 2014’s Shrink Dust, Light Information emerged from the experimental instruments that fill VanGaalen’s Calgary garage studio. Among them is a beloved Korg 770 monosynth, which VanGaalen coveted for years before fixing one up and devoting a lot of recent energy to recording “duets” with it. One of these, “Prep Piano and 770,” is the lone instrumental on Light Information, more atmosphere and chord bursts than the rest of the album’s hooky rock narrative.
“If I was going to go out and buy a record, I would probably want it to sound only like that,” says VanGaalen. “That one’s for me.”
Throughout the dark-wave reverb of Light Information are stories of paranoia, disembodiment, and isolation–but there’s also playfulness, empathy, and intimacy. “I sit and do a drawing, a portrait of my dad,” sings VanGaalen on “Broken Bell.” “I should really visit him before he is dead. Cuz we are getting old. Our cells just won’t divide like they told us. But I’m not really good at this kind of thing.”
But VanGaalen is good at a lot of things–and he’s trying to pursue them for the right reasons. “I’m just trying to get over the weight of feeling like I have to be making something of my time constantly,” he says. “Especially with kids, you get these small breaks where you get to make stuff, and now I try to say ‘you know what, I’m going to make something for me.’”
And if he could make anything for himself, it would be without constraint. “I would love to build a living structure from scratch,” he says. “I’ve slowly been ripping my studio apart and building additions, but you’re always kind of down to this box. I’d love to explore more open forms of architecture, with an endless supply of materials to use, even garbage. Building codes keep us in these boxes–You can’t just build a giant hand made out of wood that’s the size of a house to live in. But we really should be able to do that.”
Tuesday November 14th | Doors at 7pm
***Helms Alee has cancelled their performance due to van trouble***
“We don’t feel comfortable calling Dear a return to our slow and heavy style,” says Tokyo’s amplifier worshiping experimental metal institution Boris. “We’ve been heavy since day one.” And it’s true. From the droning thunder of their Absolutego debut and through the cinematic crescendo of albums like Flood, the bombastic licks of the Heavy Rocks records, the punk rage of Vein, the bottom-dwelling psychedelia of Akuma no Uta and Pink, and the grimy thump of Attention Please and New Album, Boris has always attempted to search out new ways to level listeners with their sound. On the 25th year of their existence, the trio delivers Dear, an album they describe as “heavenly—far beyond heavy.”Get Tickets
Though Boris has traversed a broad swath of sonic territories, they have always been consistent in their embracing of excess, pushing their myriad of approaches and stylistic forays to points of intoxicating absurdity. But a time came in the early years of their third decade where the band wondered if there were any new horizons for the band to explore. Consequently, it was decided that the band would begin jamming on material for what was planned to be a record that served as a formal goodbye to fans. In a strange twist of fate, being unencumbered by expectations and having an open-ended approach to the writing process reinvigorated Boris. The renewed vitality yielded an album that fortifies their monolithic wall of sound while also allowing the individual band members to explore the nuances and intricacies of minimalist riffs played at maximum volume.
Album opener “D.O.W.N. –Domination of Waiting Noise-“ sets the tone for the record’s glacial pace and seismic rumble with vast swaths of sustained chords underscoring oscillator pulses and Takeshi’s soaring vocals. Songs like “DEADSONG”, “Kagero”, and “The Power” take the glacial doom of their early records and broaden the expanses of empty space to allow the chirp of amplifier tubes, the groan of strained speaker cabinets, and the sizzle of cranked distortion to transform their dirges into macrocosms of textures. It was a premeditated strategy, with the band deliberately scaling down on instrumentation in order to allow more color, detail, and tension to emanate from their protracted riffage. The galloping chugs and acidic guitar leads of “Absolutego” provide the most rock-oriented moment of the album, even though the song’s crushing timbre is cataclysmic even by the most down-tuned and heavily doped stoner rock standards. Brief moments of respite from the dimed amplifiers can be found on songs like “Beyond” and “Memento Mori”, where the band juxtaposes their deluges of fuzz with hints of ethereal dream pop.
Songwriting for Dear initially yielded three albums’ worth of material by the end of 2015, but as the band was slated to spend a large chunk of 2016 on their “Performing Pink” worldwide tour, they decided to hold off on releasing any new material. The tour further rekindled their passion, and when the band returned home they wrote several more songs and scaled the three records down to one. “At the very first moment, this album began as some kind of potential farewell note of Boris. However, it became a sincere letter to fans and listeners… you know, like ‘Dear so-and-so, this is the new album from Boris’ or something like that. We feel so grateful we can release this album in our 25th anniversary year.” Adding to that sentiment, Sargent House is grateful to release Boris Dear to the world on July 14, 2017 on CD, 2xLP, and digital formats.
Monday November 13th | Doors at 7pm
with The Wild Ones
Tennis continue their extensive North American tour in celebration of their fourth full-length album, Yours Conditionally. After a cross country tour in the Spring/Summer supporting artists including Spoon, The Shins and Father John Misty the band is primed to head out on a Fall Headline tour crisscrossing the United States; their largest to date.Get Tickets
Yours Conditionally — out now on Mutually Detrimental via Thirty Tigers and available at all record stores as well as via iTunes and Spotify — continues to receive praise from NPR’s “Weekend Edition,” Interview Magazine, W, New York Magazine and many more.
The new record was composed both on land and at sea during a five-month sailing trip through the Sea of Cortez. Upon returning, Tennis’ husband-and-wife team of Patrick Riley and Alaina Moore self-produced the record in a small cabin in Fraser, CO. It was mixed by Spoon’s Jim Eno at Public HiFi.
Now based in Denver, Moore and Riley began writing music together as a way to document the history of their time living aboard a sailboat. The result was their first release, Cape Dory. Moore and Riley followed Cape Dory with Young and Old, which The New Yorker described as “winsome as it is ebullient” and debuted #1 on Billboard’s Heatseeker Chart and #1 on CMJ Top 200, where it remained for three straight weeks. The album also debuted on Soundscan’s “New Artist Chart” at #1, remaining there for nine consecutive weeks. Their newest record comes on the heels of the group’s most recent release, 2014’s Ritual in Repeat, which received rave reviews from The New York Times, NPR’s “All Things Considered” and “Fresh Air,” TIME, Vogue, Pitchfork, The FADER, Entertainment Weekly and many more. The band has performed on “The Late Show with David Letterman,” “The Tonight Show with Jay Leno,” “Conan” and “Last Call with Carson Daly.”
Friday November 10th | Doors at 8pm
with Eldon / The Rev / Ana M.
Mark Farina is a disc jockey and musician, known for his Chicago house, acid jazz and downtempo works. Notable releases include Mood and the Mushroom Jazz series, and recently known also from house compilations El Divinio.$20 At The Door
Thursday November 9th | Doors at 8pm
Blockhead, is an American hip hop record producer and disc jockey from Manhattan, New York.
Aside from his solo efforts released on the Ninja Tune label, Blockhead is most associated with producing tracks for Aesop Rock. He has been a member of the groups such as Party Fun Action Committee and The Mighty Jones.Get Tickets
Saturday October 21st | Doors at 8pm
with Street Eaters / Cat Teeth
Screaming Females had such a clear goal for their new album that it became almost a mantra: they wanted songs that were concise, crisp and melodic. That’s exactly what the New Jersey punk trio delivers on Rose Mountain, their sixth LP, due in February on Don Giovanni Records.
Celebrating 10 years playing together, this tour is sure to be a top shelf display of rock n’ roll prowess.Get Tickets
Wednesday October 18th | Doors at 8pm
Thurston Moore moved to NYC at eighteen in 1976 to play punk. He started Sonic Youth in 1980. Since then Thurston Moore has been at the forefront of the alternative rock scene since that particular sobriquet was first used to signify any music that challenged and defied the mainstream standard. With Sonic Youth, Moore turned on an entire generation to the value of experimentation in rock n roll – from its inspiration on a nascent Nirvana, to Sonic Youth’s own Daydream Nation album being chosen by the US Library of Congress for historical preservation in the National Recording Registry in 2006. Thurston records and performs in a cavalcade of disciplines ranging from free improvisation to acoustic composition to black/white metal/noise disruption. He has worked with Yoko Ono, John Zorn, David Toop, Cecil Taylor, Faust, Glenn Branca and many others. His residency at the Louvre in Paris included collaborations with Irmin Schmidt of CAN. Alongside his various activities in the musical world, he is involved with publishing and poetry, and teaches writing at Naropa University, Boulder CO, a school founded by Allen Ginsberg and Anne Waldman in 1974. Thurston also teaches music at The Rhythmic Music Conservatory (Rytmisk Musikkonservatorium) in Copenhagen.Get Tickets
Presently he performs and records solo, with various ensembles and in his own band, The Thurston Moore Group (with mbv’s Deb Googe, Steve Shelley & James Sedwards). In 2014, the band released The Best Day which critics described as “optimistic and sun-drenched in beauty” and “[has] experimental attitude dovetailed with instantly accessible pop melodies.” The Best Day was a record defined by positivity and radical love.
The Thurston Moore Group’s new full-length album, Rock n Roll Consciousness was recorded in The Church studios in London with producer Paul Epworth. The songs are expansive, anthemic and exploratory with lyrics that investigate and herald the love between angels, goddess mysticism and a belief in healing through new birth. Ranging from opener “Exalted”, an unfolding and emotional journey in homage to sacred energy and exaltation, to “Cusp” a charging, propulsive piece with a feeling of Sonic Youth mixing in with My Bloody Valentine. “Turn On” is a pop-sonic poem to holy love both intimate and kosmiche to the contemplative mystery of life-defining time travel in “Smoke of Dreams”. The record concludes with “Aphrodite”, a strange and heavy no-wave rocker in salutation to the idol of love, beauty, pleasure, and procreation.