British band, Bastille, released their third studio album on Friday, June 14. This is the band’s first venture into concept albums. Exploring the themes of escape, “Doom Days” narrates what may happen when things might not be going as well as they could be.
Beginning with “Quarter Past Midnight,” and ending with “Joy,” the album follows the path of a night out at a party while the world outside is in turmoil. Each of the 11 tracks represents a time during the night, going from 12:15 a.m. with ‘Quarter Past Midnight’ to 8:34 a.m. with ‘“Joy’.”
Though each song is intertwined with one another through the main narration, the musical styles vary greatly, going from a somber ballad in “Divide” to the gospel choir assisted euphoric sound of “Joy.” Some songs feature the simple sounds of a plucked guitar, while others feature lead vocalist Dan Smith’s self harmonization. Some even have an ‘80s style synthesizer.
With medical marijuana being legal in our state for over a decade and recreational legalization on the horizon, marijuana's effect on popular culture is nearly inescapable. Whether you're a medical patient, or have to escape to our northern border of Colorado to celebrate, I sincerely hope you get to enjoy a lovely day, regardless of whether or not its accompanied by cannabis. These songs feature a mix of explicit cannabis references, our favorite stoners, and sounds that will help keep the vibe right on your 4/20. Here are some blazed beats for your hazy holiday.
Kero Kero Bonito is one of those bands you come to know even less about the more you listen to their music. The image they create from each song becomes shattered on the next, and so on and so on.
The indie pop trio from London recently brought their eccentric, and often bizarre, live show to Sister Bar in Albuquerque on April 8, redefining their signature fusion of indie rock, J-pop and other genres.
Sister was nearly-packed as the show began (surprising for a Monday night show), with many of those in attendance donning extravagant costumes and multi-colored hair.
Any review of Kero Kero Bonito would be incomplete without the voice and face of the group, lead singer Sarah Bonito. While already a charismatic vocalist, the energy she exuded on the stage served as the linchpin of the entire performance.
There's no doubt that female rappers are coming up front and center, and this week showcases 2019 releases from some of raps loudest voices. In the spirit of showcasing as many women as possible, most of the songs on this list are collaborations. This goes without being said, but in the true spirit of girl-centered collaboration, these songs are perfect for blasting with your girl friends before a night out.
For the last 45 years, George Thorogood and the Destroyers have brought their unique blend of blues and rock to concert halls across America. Last Friday night was no exception, the band packed Route 66 from the front to the back with eager fans ready to hang onto every note.
The murmur of the growing crowd became louder as the clock approached 8 p.m., with anticipation hanging in the air. As the lights dimmed the murmur exploded into a raucous applause as each member of the band took the stage. Jeff Simon took his seat behind the drums, as bassist Bill Blough, guitarist Jim Suhler and saxophonist Buddy Leach spread out across the stage. George Thorogood took his place as the center piece, the spotlight gleaming down on him as the first song began.
The Outpost, one of the venues dedicated to jazz music in Albuquerque, hosted Antonio Sánchez & Migration's sold-out show; they presented their new album Lines in The Sand, an album that, in the words of Sánchez, “is dedicated to immigrants.”
Sánchez also won a Grammy for Best Score Soundtrack For Visual Media for “Birdman” (2015), a film by Alejandro González Iñarritu.
“I’m a proud immigrant, a proud Mexican and a proud American that feels torn by the injustices that are being perpetrated against so many innocent people in search of a better life," Sánchez said. "This album is dedicated to them and their journey."
First formed by guitarist, Eddie Reyes in 1999, Adam Lazzara, John Nolan, Shaun Cooper and Mark O'Connell of Taking Back Sunday are celebrating their 20-year anniversary as a band with a nation-wide tour. The band is stopping at Albuquerque's Sunshine Theater on April 3 to celebrate with their Albuquerque fans.
20 years ago, when the band first connected, they weren't signed to a record label and were just breaking into the scene, something that guitarist and co-lead vocalist, John Nolan, said he looked at as a step toward to a career playing music.
"Realistically at that point I figured it wouldn't last that long, and hopefully though, it would lead to the next thing that would take me further," Nolan said.
Music in 2019 has seen plenty of new and familiar faces challenging the norms that genre conventions can bring. Here's a list of some of those trailblazing artists and the new material they have released.
“I” by Lil Skies
Kimetrius Foose, more popularly known as Lil Skies released his debut album, and first project of 2019, late last month. Shelby, named after his mother, opens up with “I” as Skies delivers a reminiscent punch, drawing on the pain and struggle that his last relationship left him with. The track is produced by CuBeatz, Otx Hello and Danny Wolf and the visual was dreamt up by music video master, Cole Bennett of Lyrical Lemonade.
From right here in Albuquerque comes Polyhedra, a melodic death-core band who released a self-titled EP in the beginning of March. The five-track album explores a plethora of sounds, testing the dichotomy between the ordered chaos of metal and the peacefulness of guitar ballads. Each song is a journey within itself, moving from fast paced blast beats and technical progressions, to slower melodic fills and hypnotic guitar riffs.
The album begins with the song “Infernus Machina," the instruments featured in the song progressively building throughout the intro. Clean guitar melts with the drums, moving into distortion before quickly transitioning into structured disorder by introducing the varying tones of screaming vocals. The guitar and drums are in sync with one another, no matter the change in tempo, a testament to the chemistry of the band.
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