tenderizor invites you to touch the sword

behold-- tenderizor's grisly wail from the albuquerque abaddon.  lucky us, we get a preview of the title track from their soon-to-be-released album, "touch the sword," and it bleeds, and it shrieks, and it slashes at all that is sacred.  that is to say, damn, it feels really fucking good.  touch it.  touch the sword.

tenderizor is about as close to a supergroup that can be scratched out of the dirt around here, including kris kerby (sabertooth cavity) on drums, steve hammond (leeches of lore) screaming his mutherfucking lungs out, brothers mike and pat day (both fando) on lead guitars, and pillar of the arts underworld, raven chacon (dog shit taco, black guys, KILT, and many more), also on lead guitar.  the cover art is by 505 favorite son, mike giant.

tenderizor will cap off a quick tour around the west with the official album release (tour dates below). you can order the album from the record label, sicksicksick distro.  "touch the sword," in all its 12 inches of glory, drops on saturday, march 26th, at burt's tiki lounge.  go.


tenderizor west coast touroar:
3.10.11   flagstaff, az   the big house
3.11.11   reno, nv  the road house
3.12.11   portland, or  plan b
3.13.11  portland, or  reed college
3.14.11   arcata, ca  the alibi
3.15.11   oakland, ca  the stork club
3.16.11   la, ca   f-haus
3.17.11   san diego, ca  (somewhere)
3.18.11   phoenix, az    tribe house
3.19.11   tucson, az  (somewhere)
3.26.11   albuquerque, nm   burt's tiki lounge

sabertooth cavity releases "en lak ech"

for christopher clark 

reposted from alibi 

V.20 No.6 | February 10 - 16, 2011
This Week's Music

Sabertooth Cavity

New Mexico band releases noise freak-out En Lak Ech

By Samara Alpern

Don’t limit it by calling it music, man. Jazz derangements, electronic debris and heaving melts of guitar are just part of it. What Sabertooth Cavity offers up with its first album, En Lak Ech, is a little more meta. Or a little more Dada. However you want to take it.

En Lak Ech album art

“It’s not just music,” says multimedia artist and Sabertooth guitarist Mat Galindo. “It’s art.”
Sheathed in silk-screened burlap, the album is being released on Saturday, Feb. 12, at the Small Engine, an art space Galindo co-owns.

You can think of Sabertooth Cavity’s work as a reflection of the cities it comes from. “It’s about a whole environment,” says Jef Cameron, who plays flute and saxophone. “How it looks, how it smells. ... It’s about the chaos of Albuquerque.”

It’s also a little bit about Carlsbad, where most of the band grew up. Sabertooth didn’t get together until 2006 when Jef Cameron, Mat Galindo, his cousin Henry Galindo (guitar and vocals) and Rene Aguilera (bass) connected in Albuquerque. Kris Kerby, who plays drums and joined the band in 2007, is from southern New Mexico town of Loving (and he’s got love for Loving—the town’s name is tattooed, thug-life style, across his belly).

As heterodox as Sabertooth Cavity is, the band is pure homegrown New Mexico, both in what they produce and who they are.

“The local scene is rife with influences for us,” Mat Galindo says. “It’s more [about] local people producing, the creative community doing it for themselves. “

Among the local influences is the godfather of New Mexico experimental, Raven Chacon (Tenderizor, Death Convention Singers, Black Guys). He’s also a co-owner of Small Engine, and he’s co-releasing En Lak Ech on his own label, Sicksicksick Distro.

“Raven talks about how music from here is sparse, like the desert,” Cameron says. “That’s definitely true in some of our music.”

And the experimental wave has its influence as well.

“There are no rules,” says Henry Galindo, whose surrealistic vocals add melody and sometimes a little abstract poetry, but rarely anything like straight verse.

“We admire anyone out there who is experimenting with new things, opening new doors, creating something completely original and entertaining,” Kerby says.

And, of course, Mat Galindo will barely grant that what Sabertooth Cavity does is music. “It’s our own type of language,” he says.

it wasn't the dream of golden cities

“It Wasn’t the Dream of Golden Cities” by Postcommodity

reposted from The End of Being

Blood is leaking from the mouth of a dead mule deer.  The arts collective Postcommodity calls this Indian Time.

P’oe iwe navi ûnp’oe dînmuu (My Blood is in the Water)

In Santa Fe, it’s Indian Market, and it’s also the 400^th anniversary of the city’s settlement by the Spanish.  Right now, Santa Fe is doubled in size as older, tanned tourists in shorts and couture cowboy hats throng the mazes of Native American vendors selling pottery, silver, and turquoise.  This year’s arts fair is expected to draw 80,000 visitors and generate $100 million in sales.

 

Meanwhile, behind the high walls of the IAIA Museum of Contemporary Native Arts courtyard, the deer carcass dangles by its hind legs from a high, rough-hewn, four post tower.  The structure marks the time with blood that wells at the tip of the deer’s tongue and falls, in steady intervals, onto a drum.  The echo of each drop is enhanced into stereo thunder.

 “It’s important that the materials are from the spot and that the instrument can sound like what it is,” says Postcommodity artist Raven Chacon (Navajo), a composer and experimental noise musician in Albuquerque, New Mexico.   “We use it to find meaning in the history of the spot it’s directly over.”