Friday, December 28, 2012


The Mindy Set reunion & CD release
of god and science
Sin Serenade
Friday December 28
Low Spirits Bar & Stage
2823 2nd Street NW
Albuquerque, NM
8pm doors

Chinese Love Beads reunion
The Pantease
Black Wolf Howl
Friday December 28
Tricky Falls
209 S. El Paso St.
El Paso, TX
doors 8pm

Two of my favorite bands reunite on the same night and I’m out of town with the fam. What did I do to deserve such a lump of coal in my musical stocking?!

Tonight will be six years (and twenty days but who’s counting) since The Mindy Set played their final show at Burt’s Tiki Lounge. There was barely a dry eye in the house that night, off or on stage. It was truly the most emotional farewell show most of us Mindy fans had ever witnessed. Me, I’m still pissed off that the Mindy Set was never showered with lucrative recording contracts. Was it better after all to leave with quiet dignity rather than as the next big thing hyped on the cover of Magnet? I don’t know but I’d like to have seen it nonetheless because the band deserved much more than it got.

Call them neo-psych or American Britpop, whatever, but there was no mistaking the influence of UK bands like Ride or The Charlatans (or if you’ were really deep into the pudding, Coast or Mantaray). Joshua Williams laid out the prettiest basslines you could ever hope to hear. If  you weren’t  paying  attention, it would’ve  been easy to overlook the gorgeous subtlety of his work that perfectly complemented Matt Dickens’ elegant guitars. And I say “guitars” rather than “guitar” because Matt’s style and echo/fx settings made him sound as if duet-ing with himself, like playing in a room full of audible mirrors.

Sadly two key members will not be present. Master stickman Noelan Ramirez will sit in for drummer Jill McArthur and although she’s irreplaceable you couldn’t find anyone better suited than he. Michael Tinley played some of the loveliest and most unobtrusive guitar I’ve ever heard, both lead and melody at the same time. From what I understand, no one will be playing in his stead tonight and that’s as it should be.

One of the fiercest punkrock n’ roll outfits of the late ‘90s Southwest was The Chinese Love Beads. Based here for a short time, their real tierra was El Paso and Ciudad Juarez. Fast, furious and grimy, the ‘Beads rocked like chinga and are expected to pull out the stops tonight at their first show in over a decade. Singer/bassist Ernesto Ybarra is better known today as DJ Rootzrocka and guitarist Pauli B. is Pablo Novelas who fronted Albuquerque’s The Dirty Novels until a few years ago. I’m betting few ‘burqueños will be cruising down to Chuco for the unexpected reunion but I hope at least some of you will represent. 

Thursday, April 19, 2012


Sage Harrington CD release show
w/Squash Blossom Boys
Saturday April 21, 2012
 Il Vicino Canteen
2381 Aztec Rd. NE
7 pm
no cover

Sage Harrington discusses her music.
And Refrigerator Lights.

Americana is the new punk rock. Like the early eighties when any yob with a snarl and electric guitar called themselves punk, anyone today that has a thrift store banjo and namedrops The Carter family thinks they are folk musicians, deserving of serious listening and dollar per song downloads. Wrong.

Why are so many of those old punk outfits unlistenable? The same reason that many new Americana acts are also unlistenable: they really aren’t very good.

Decades ago, front porch pickers didn’t have to be all that great to carry on the folk  tradition. Folks songs were of and by the people. The musicians that “made it” on WSA-FM’s Old Barn Dance radio show or cut 78 rpm sides for RCA Victor were the ones that captured the public’s attention with accomplished performances and appealing onstage personalities.

Sage Harrington fits the latter just fine. She’s comfortable on Caoineadh-type Irish laments sung ar sean nós (unaccompanied ) or playfully picking a ukulele with any number of Squash Blossom Boys behind her.

photo by Claude Stephenson

After a recent show, I posed some questions to Harrington, starting with what her instruments.

Which instruments do you play and how long have you played each?

The only instrument you'll hear me playing on "Maybe" is the ukulele, and that's a relatively new addition to my ever-growing family of instruments. I've been playing my little concert uke for a couple years now. I don't play fiddle on the CD-that's Ezra Bussmann-but that's something I've really been focusing on lately, learning a lot of Bluegrass and Irish tunes from friends by ear. The fiddle is so much fun and so much of a challenge. I feel like such a beginner at it, mostly because I am after only about two years of playing, but I really feel like a beginner at pretty much everything in music. That probably has something to do with how much I've jumped around from instrument to instrument. Now that I think about it, I actually wrote the songs on "Maybe" on four different instruments. I wrote the song "Maybe" on piano, "Show Me, Please," and "You Have Weird Hair" on the guitar, "You Are a Terrible Person" on bass, of all things, and "Big Goat, Little Goat," on the uke.

So, now I feel like I'm bragging, but I promise I'm not just trying to show off. Some of this is just that I moved to Albuquerque two years ago, and I didn't bring a piano or a bass with me. I would totally love to be playing piano and bass every day, it's just that I don't have those here. I have a fiddle and a uke. I also have a guitar and an accordion, but I haven't been able to focus on those because I've been playing the fiddle so much. There's just so much to learn! There is definitely something to be said for completely immersing yourself in one thing and that's something that I'm apparently incapable of doing.

Do you come from a musical family? Are there any Harringtons from the old country that were musicians?

Yeah, my parents are musicians, and my grandparents, too. Since I've become so interested in Irish music I asked my family over Christmas about our Irish heritage, and I guess my grandfather's grandmother imigrated to the U.S. from Ireland. I would love to know what songs she sang, if any. I have this impression that everybody in Ireland back in those days sang or played fiddle or whatnot as a part of their daily life and I'd like to know if that's a correct impression.

Also, my parents met while my dad was being a rock star in Austin by night and trimming trees by day. A couple choice dad-band names: "Bronx Irish Catholics" and "Very Tall Children."

Do you recall the first record you owned that was your choice and not just one for kids? 
Yes! Well, sort of: I remember two. I believe the first CD I actually bought on my own was either a Martina McBride "Greatest Hits" or Don McLean's "American Pie." I don't really know what that says about me. The Martina McBride explanation is this: I grew up in Ohio, and for some reason my Mom and sister and I were really into Top 40-style country for a while when my sister and I were kids. The only reason I think that's strange is that my Mom was never into country music before my sister and I reached the age of eleven or so, and then it was like the thing we were all into. The Don McLean explanation? I was in ballet and jazz dance as a kid, and we would have recitals every year. One year the advanced jazz class, which I was too young to have been in, did their choreography to "American Pie" and I became completely obsessed. They were beautiful, the older girls, with their huge swirling skirts in red, white, and blue.

Back to this country thing: I guess all of that country radio must have had some sort of influence on me, but if you were to ask me which artists were really, really important during my formative years my answer would be very different. What I'd really like to be telling you about is Alison Krauss, Ella Fitzgerald, The Beatles. I can't tell you how many times my family listened to those songs. I just can't even find words to describe how dreamy and nostalgic I'm getting. All the same, the one pop-country band I will never deny loving with my entire fourteen-year-old soul is Rascal Flatts. I still have a deep, abiding love for early, early Rascal Flatts music. They are Ohio boys. I am an Ohio girl. We are of the same earth. Plus, they do really awesome three-part harmonies on their first CD. My mom was the one who learned about them and fell in love with them a little, at which point I fell in love with them a lot.

Have you played in any other projects besides what you’re doing now? Any screaming punk rock roots?

There are definitely no screaming punk roots. I'm trying to think of the most badass thing I've been involved with. So, when I started singing at the age of sixteen, I was involved with this nine-person vocal jazz ensemble called "State of the Art." This was all happening at a community college in Fremont, Ohio. So, for one show we did Ease on Down the Road, which is from The Wiz. It's a funky musical retelling of The Wizard of Oz that was written in the 70s. And when I say "funky" I don't mean "weird," I mean Funk. Like, Da Funk. But in broadway musical form, of course.

Squash Blossom Boy Dustin Orbesen understands Americana as evidenced by his clean flatpick guitar work and vocal harmonies with you, two facets of folk music often overlooked by the new crop of “y’allternative” bands.

You and he have some nice harmonies, an integral part of the folk tradition that’s too often overlooked in the “Americana” revival. How easy (or difficult) is it to find someone that you can harmonize with as opposed to just, sort of, singing together?

I think the most important thing is just finding someone you're willing to work with, someone you like. The thing about singing with Dustin is that he's the lead singer of the Squash Blossom Boys, which is a rockin' bluegrass band. And, before they were a rocking bluegrass band, they were a rocking metal band, then a rocking reggae band. So his vocal style as the lead singer of his band is kind of raucous, kind of wild, kind of whiskey-soaked. That's why Albuquerque loves the Squashies. The focus I have is more on pretty melodies and vocal tone. The perspective is just different. So when we sing together it's kind of like we have to readjust and realize what it is we're trying to do. Dustin settles down a little bit and I've been noticing in my own voice, especially recently, that somehow there's some twang in there when it needs to be.

I'm not so sure about "finding" people to sing with. Maybe it's just that outside of a school context I haven't had much experience singing with people. Dustin's the one I've actually worked with most. The duo I have with Dustin-it's really the first band I've been in. Going back to what you asked before, I was never in a screaming punk rock band. I was homeschooled as a kid, and started going to community college at the age of fifteen. So, in some ways I may have been kind of isolated, but I was involved in pep band, concert band, and a bunch of different choirs. Very Suzie High School type of stuff, although I didn't go to high school, ironically enough.

When Celtic music is mentioned these days , it brings to mind women gliding around the stage in chiffon and too much makeup for PBS specials . Its notable that although you’re a fiddler  you sing traditional songs, unaccompanied. Was that a conscious choice or is it a function of the song style which--- from what I’ve seen--- appear to be mostly laments ?

There are a couple reasons I sing Irish songs a cappella. The first is that I've heard some of them performed that way, so I feel like it's okay for me to do it that way, too. The second reason I sing Irish songs unaccompanied is much more mundane and practical. I don't have an Irish band. Dustin is an amazing bluegrass musician, but that doesn't mean he can automatically switch to playing in an Irish style, nor does that mean that I can, either. As for me? I should learn the bouzouki or the bodhrán or just more Irish fiddle, pick up a few more musicians and start me up an Irish band.
Here are some Irish singers I've fallen in love with recently. There's Nell Ní Chróinín, who's twenty-three, or something, and just won a bunch of "Singer of the Year" awards. She's got a couple of YouTube videos. See "An Lacha Bacha" for a song about a lame duck, and "Na Táilliúirí" for a pub song about a pub fight. There's also Muireann Nic Amhlaoibh, the lead singer of Danú, who does "An Seanduine," a song about a young woman marrying an old man. Hopefully there's not too much chiffon or lamenting there for you.

Tell us a bit about the recording process of your new CD Maybe. Did you do many takes or many dubs? How long did it take to lay down the actual tracks?

So, we went up to Frogville Studio in Santa Fe and recorded all the tracks with the band in one session, I think it took about four hours or so for that first session. We couldn't squeeze all the songs in on that one day, so Dustin and I went back a couple days later so I could record some of the songs that I do solo, and he could lay his dobro track over what we had already recorded. Because, as amazing as he is, he still hasn't mastered playing the guitar and the dobro at the same time.

We did a few takes of each song, some more than others, but there aren't any over-dubs or anything like that. We played the songs and that was it. There are definitely areas I would have liked to have done over again, but with the way that we recorded it, all of us standing there in a circle, all the mics open and catching everything, playing the songs live, that just wasn't possible.

Anything else you’d like to add?

Fun fact: I have my bachelor's degree in English Language and Literature, and, yes, I'm totally bragging now, I graduated summa cum laude. I don't know if that explains anything.

 I don't know if I should make the distinction between what I do as "Ms. Sage and Her Dusty Britches," and what I do as "Sage Harrington." I wrote all the songs on this CD, and some of them do have a bluegrassy flavor because I basically hijacked half the Squash Blossom Boys and made them play my songs. At the same time, though, they are the fun indie-folk songs that come from a heavily-Regina-Spektor -influenced place. Here's a line I use in my bio: It's like Regina Spektor's music, if Regina Spektor wrote about things like refrigerator lights and washing cheese graters in a timely fashion. So, I guess we could call my CD indiegrass. Let's call it indiegrass.


this appeared in a much edited form here: 

Thursday, April 5, 2012


All That Glitters Is Not Dick.

With a name like Glitter Dick, a band isn’t likely to get much commercial airplay. However as Albuquerque’s newest glam-trash group, “Glitter Dick”  is, uh, on everyone’s lips. Figuratively speaking of course. We planned to meet early on St. Patrick’s eve, converse over a few drinks and beat it from downtown before Albuquerque’s Finest took issue with all the faux-Irish revelers clogging the streets. The plan was sort of accomplished although our dialogue rapidly degenerated into  unsavory topics such as losing one’s virginity at 23 and necrophilia (which fortunately turned out to be unrelated).

One might wonder what life experience makes three men appear in public slathered in glitter and mascara while one woman takes the stage pantless. As usual, it’s the people with normal backgrounds you really have to watch out for.

Frontman Kendall Killjoy begged his mom for piano lessons in the first grade but after hearing The Jackson Five cover of Bobby Day's Rockin’ Robin switched to guitar. After playing in several high school thrash bands he now only sings because, “I want to be able to jump around and not worry about making mistakes.” Speaking of which, I made the observation that his strategy for Glitter Dick appears to be acting outrageous enough (splashing beer everywhere, stripping various articles of clothing, handing out penis-shaped cookies, hanging from the club’s lights) to be bounced from every venue in town. His reply ? “If you haven’t been banned at least once you’re not in a real rock and roll band.”

Oddly enough some of Killjoy’s old “punk” cohorts don’t quite approve of his latest incarnation which leads one to believe those kids don’t know their history i.e. the antics of pre-punk bands like The Stooges and The New York Dolls from which Glitter Dick takes its cue. With GD guitar player Magnum P. Nye, Killjoy’s previous outfit was Ass Cobra in the style of Norwegian “deathpunk” band Turbonegro. Also a precocious piano student, Nye was later the self-described  “house bassist”   for local metalcore/crust bands such as None Of The Above, 666 and Stabbed in Back.

As luck would have it, drummer Suzi de Sade is also a Turbonegro fan. That – and her expertise in applying makeup on the boys – clinched her entry into the band. Her past musical highlights include playing flute in the Pojoaque High School Marching Band  and napping in the now defunct Line Camp while her hippie parents watched hippie bands.  A year ago she caught an afternoon flight to into Albuquerque from Los Angeles to drum at a midnight show for The TeenageWerewolves, a gig which was her premiere with that Cramps tribute band. Compared to L.A. where she lived for a few years, De Sade prefers Albuquerque “because people are much more open and actually dance.”

Bass player Dee Dee Ramen (aka Kenta Henmi) phoned in from the Cheap Trick show but since barely a word he said could be heard, we quickly hung up on him. From there, my prepared questions were brushed aside. The members of Glitter Dick asked and answered their own.

Killjoy: “ My musical ambition? To get drunk every practice to make sure we stagnate.”

De Sade: “ I want to get big enough to have roadies so we never have to set up early ever again. And to get laid more.”  
Nye: “ I want to play in a Turbonegro cover band.”

Killjoy: “I want a band to cover us!”
Nye: “Terri Schiavo Dance Party already did.”

Killjoy: “ Oh right. Simmer Dick!”

Nye: “ I want to start a band , like, if Ted Nugent got it on with Greg Ginn.”

Killjoy: “ I want to piss off the hardcore guys.”

De Sade: “And get laid more.”

And so on.
Just as Glitter Dick trashed this interview, expect the band to visually and sonically trash everything at this (and every) show. Just don’t take it too seriously. Except for the rock and roll.     


 Support your local clink!
A musician receives rewards both passionate and artistic but monetary ones are few and far between. A small portion of every dollar you pay for a download, CD or cover charge  ends up in the pockets of the people that actually make the music you enjoy. That undersized percentage must go towards instruments and repairs, amps and power cords, strings and picks, sticks and drum heads, gas for the van, rental fees for practice space and recording costs and that’s not counting rent, food and daycare. A local show may cost you five  or ten bucks and you think , well, that band’s getting a pretty good deal for  forty-five minutes work. But that three quarters of an hour takes many more of creative time: writing, honing, fine tuning and practice, practice, practice.
When the chips are down its time for you--the music fan--  to step up. I’ve only been following the ‘Burque music scene since 1995 but can’t tell you how often I’ve marveled at the fine guitar work of Amy Clinkscales. Many times she answered a last minute call to fill in at a gig or add her smooth Neil Young meets Mick Ronson lead guitar to a flagging band. An abbreviated list of groups she’s played with over the past decade and a half: The Stumpjumpers, The Skirts, A Band Named Sue, Ash Wensday, Blame It On Rachel, The Jenny Clinkscales Band,  Greek The God, The Hopefuls, Gamelan Encantada and Mother Death Queen.
Despite an extremely serious (and costly) medical condition that was recently diagnosed, Amy is keeping her commitment on Friday April 6th and playing with her hard rocking band Mother Death Queen. Also on the bill is the powerhouse pop Red Light Cameras, the trashy Glitter Dick, the unabashed punk rawk Icky & The Yuks, the delightful indie Pancakes! and the roaring Demons. In reaction to the hard news, all the bands and the host venue The Launchpad are donating the night’s take to her. Come out and support Amy and all her friends that are supporting her. After all, she’s supported our music scene all these years by being an integral part of it.

Red Light Cameras
Glitter Dick
Icky and the Yuks
Mother Death Queen
Friday April 6, 2012
618 Central SW
7pm doors

this originally appeared in slightly different format in the Weekly Alibi

Wednesday, February 8, 2012


The Glass Menageries reflect us all.

“And what is the use of a book,” thought Alice,
“without pictures or conversations?”
--Charles Carroll, Alice in Wonderland

Good literature is a conversation: between the author and the characters or the author and the subject but best is one that draws readers into a conversation with themselves. Comprised of literary and thoughtful folk, The Glass Menageries (Tennessee Williams, anyone?) invite you to converse while you sway to inspired dreampop that paints divine mind pictures.

Some tracks from debut EP Edge of a Knife are inspired by favorite authors. Most notably, “Only Ones” takes lyrics verbatim from Vladimir Nabokov’s Lolita and narrator/protagonist Humbert Humbert. “We even used some of his French,” laughs Gena Lawson (vocals, keyboard, guitar) whose day job as a schoolteacher opens tween minds to new thoughts and, yes, conversation. Like good literature --and echoing the delicate yet revealing nature of mirrors and the risk of seven years bad luck residing therein-- “Fingerstring” encourages one to step beyond self-imposed limits.

photo by Mark Castillo

A couple of years ago en route to the feminist art and music Titwrench festival, Lawson met Mauro Kemmerer (vocals, keyboards and guitar). They recognized many similarities in their musical tastes (Cocteau Twins, The Cure, Brian Eno) and vowed to work together. Kemmerer, according to her mother,  has been singing since she was seven months old. Being in Catholic school choir, she says, “taught me how to listen to other people and myself as a whole.”  A skilled multitasker, Kemmerer also fronts Animals In The Dark, is one of The Five Star Motelles and solos as Lady Uranium.

Her brother Brahm Woody (bass) also sang choir. Inspired by their dad’s extensive record collection he listened intently to everything from Pink Floyd to the Cats soundtrack while providing percussion on a mac n’ cheese box. “There’s a generosity to his playing” says Lawson that allows expansion and contraction of the other band members’ parts while keeping a solid but fluid bottom end.

Erudite drummer Christian M. Newman (ex-Unit 7 Drain and too many other bands to count over the past decade and a half) is also an accomplished classical pianist although he’ll modestly claim he’s merely a student. That training, he explains, “gave me an opportunity to see space between the notes” as an important creative tool.

Lawson and Kemmerer share lyric writing duties that complement one another as superbly as their charming voices mesh. Songs are presented to the group and each write their own parts, sometimes resulting , says Lawson, in  “Vocal lines that don’t always go along with the melody,” but fit neatly nonetheless.

Add some unusual t
ime signatures and the result is songs that range from poppy to brooding and back again. The pair’s harmony vocals sound like indie-hymns from cloistered evening vespers sung to the deity of your choice.

For a premiere outing, Edge of a Knife is quietly stunning, owing much to Christian’s Unit 7 bandmate and longtime pal Harry Redus-Brown (Light Horse Dark Rider) who recorded and mixed at his Real Squirrels Studio. Carlos Jose Rafael Garcia (who performs as Carlos The Tall) mastered the final disc.

For a mere seven bucks, you’ll hear The Glass Menageries on the Launchpad’s extensive sound system which  often brings a hidden power to bands underserved by smaller venues. Expect just that tonight. A free CD and four other acts on the bill  just sweetens the deal.

The Glass Menageries
Small Game
8pm Friday February 17, 2012
Launchpad  618 Central SW Albuquerque NM
$7 cover includes CD

this originally appeared in a slightly differnt form in The Weekly Alibi:

Thursday, January 19, 2012



  Dance. Think. Chew gum at the same time.

Three things about The Deadtown Lovers  that make them cool:

1)      The Lovers have their own theme song, just like The Monkees.
            Or The Demolition Doll Rods.

2)      For last Halloween’s Night of the Living Cover Bands show-- instead of the obvious and tired Ramones, Misfits and Johnny Cash tributes-- the Lovers covered Wire. Who the hell even knows who Wire is these days? That night it was apparently only me and a couple of guys from Full Speed Veronica.

3)      When they were UNM sophomores Soni Reducer (guitar, keyboard) and Deadtown Lincoln (bass) adopted a recovering hippie older than them by about fifteen years and hipped him to the best in punk and powerpop, old and new.

 photo by Monica Alissa Padilla

Okay that last is actually a disclaimer since the old guy was (is) me. Since I liked their tastes then it’s no wonder I like their band now. In 2000, Soni played with the whammy glammy The Phase while Lincoln did time with the elusive garage/trash band The Wheelers. Now the pair have joined forces with Mary Alayne (drums) who in her UNM days played alto sax for goofball third-wave ska outfit 3 Ball Combo and Rudi Thornburgh (keys, guitar) of electro-techno Clocklife and (with wife Soni) Ypsilanti, Michigan’s Pop-Bubblegum Favorite.

 I cornered The Lovers to see what makes this band self-describe themselves as the sound of “empty storefronts and warehouses.”  That’s apt as far as the old “No Future” punk outlook but this foursome’s stance is more like yeah, so what are you gonna do about it? The Deadtown Lovers’ answer is intelligent and insistent music, buzzy garage punk with a hint of pop.
 With thoughtful and invocative lyrics, all four share harmonies and rotate lead vocals because according to Mary, “One singer is boring.” Rudi’s inventive and unobtrusive “leads” swirl gracefully like counterpoint melodies behind the mainframe of the song.

Soni’s chops at her guitar a la Johnny Ramone and The Damned’s Captain Sensible rolled into one. Lincoln thumps the bass and pens punchy songs like his role model Dee Dee Ramone.

 “Lincoln writes good stuff that we all whittle down to its essence.” says Soni of the band’s fully collaborative efforts. Compelling originals are complimented by carefully chosen (read: somewhat obscure) covers of The Ramones or The Buzzcocks.

 Speaking of which, Lincoln adds  “It hasn’t really worked but originally we wanted to sound like The Buzzcocks” while Rudi waggishly counters “When we play, people dance for half a set then get confused.”  That confusion could stem from the fact that punk with intelligence long ago fell by the wayside in favor of a more popular (but misguided) intentionally offensive attitude . Eschewing that, The Deadtown Lovers have chosen to make music for dancing and thinking.

 Also on the bill are Red Light Cameras who are lately hitting their stride, moving from an earlier uneven approach to a harder indie sound that matches singer Amanda Machon’s powerhouse voice. Reminiscent of a quirkier The Start, tonight’s headliner is the post-powerpop The Melismatics. This tour is in support of the Minneapolis band’s fifth CD, released on January 10. Mania! features more electro-beats and synthesizers than previous outings as well as improved intricacy in vocal harmonies by guitar player Ryan Smith and lead singer Pony.

Sunday January 22, 2011
Launchpad, 618 Central SW, Albuquerque NM
8pm $5

this appeared in slightly different format in