If B-movie star Bruce Campbell had his own late night talk show, Calabrese would be the house band (and I’d totally watch that over Fallon’s Tonight Show). The Italian-American brothers Calabrese funnel their fascination with horror flicks, comic books and the occult into straightforward punk rock that’s sometimes called Gothabilly, and more generally known as horror rock. Calabrese seems perfectly content to be pigeon-holed—though their musical talent hints at broader potential—with album titles like 13 Halloweens, The Traveling Vampire Show, Dayglo Necros and their latest, 2013’s Born with a Scorpion’s Touch. Like Campbell, they seem at once to be in on the joke and to embrace it fully, one early song’s lyrics were entirely comprised of 1950s “creepshow” film taglines. And for a band that sings almost exclusively about vampires, motorcycles, zombies and vigilante justice, they’re weirdly wholesome. Typically, my first reaction to the lyrics “I’ll smash in your teeth and your mouth will explode,” isn’t “aw, how sweet!” $10-$12, 8pm (doors) Thursday, The Korova, 107 E Martin, ticketfly.com. —Callie Enlow
Victoria Celestine CD Release
For a 17 year-old, Texas-born French singer-songwriter Victoria Celestine has already racked up some impressive credits. Back in 2010, Celestine caught the attention of producer Gordon Raphael (the Strokes, Regina Spektor), who later worked with her on seven acoustic tracks. While still 14, Celestine mixed elements of country, pop and folk on her debut From the Outside. Reviewing the album for the Current, Enrique Lopetegui applauded the pianist/guitarist’s songwriting chops, likening her voice to “Norah Jones on chamomile tea.” (Raphael commented on the review: “I totally think she is a super talent, and as musically ambitious as anyone I have met!”). The following year she was named Best Female Teen Artist at the Indie Music Channel Awards in Hollywood. In celebration of her sophomore effort Back Home in San Antone, Celestine performs at Sam’s with a full band featuring Juanito Castillo, Randy Reinhart and Ron Knuth. Zydeco Blanco plays the after-party. $6, 8:30pm Thursday, Sam’s Burger Joint, 330 E Grayson, (210) 223-2830, samsburgerjoint.com. —Bryan Rindfuss
Thu 3/13-Sun 16
Although he might not be pulling his dick out nearly as much today as he did during his years as a star on the MTV series Jackass in the early aughts, comedian Steve-O is still putting himself out there more than ever. Now a consistent presence on the stand-up circuit, the man best known for stapling things to his balls and shooting fireworks out of his ass is expanding his repertoire, although he admits it’s still “every bit as shocking” as when he was horsing around with Johnny Knoxville and friends. San Antonians can experience Steve-O’s comedy revolution when he hits the Rivercenter Comedy Club this week. For the lowdown on what to expect from his stand-up routine, what he thinks of hecklers and how he’s changed since sobering up six years ago, check out the Current’s interview with Steve-O here. $22.50, 8:30pm Thursday, 8:30pm & 10:30pm Friday-Saturday, 8:30pm Sun, Rivercenter Comedy Club, 849 E Commerce, (210) 229-1420, rivercentercomedyclub.com. —Kiko Martinez
Thu 3/13 - Sun 3/16
Tejano Music Awards Fan Fair
In anticipation of the Tejano Music Awards later this year, the SA-based nonprofit Texas Talent Musicians Association (TTMA) is hosting a four-day, family-friendly fiesta expected to attract 95,000 (!) music lovers to historic Market Square. In addition to non-stop Tejano on five stages from 130-plus national, regional and local acts (including Solido, Stephanie Lynn, Shelly Lares, Grupo Siggno, Elida Reyna y Avante, Los Desperadoz, Stefani Montiel, Los Palominos, Gary Hobbs, Sunny Sauceda, Ricky Valenz, Lucky Joe, Sunny Ozuna, TexManiacs, La Conquista, Erick y Grupo Massore and Stereo Kumbia by DJ Kane and Ricky Rick), the free event features traditional food and drinks, a variety of vendors and merchandise tables, plus “surprise guest performances” and autograph sessions with “El Gato Negro” Ruben Ramos, Juaquin Cura, Sesi, Linda Escobar and Jay Perez. Free, noon-10:30pm Thursday-Sunday, Market Square, 514 W Commerce, (210) 207-8600, tejanomusicawards.com. —BR
Contemporary Art Month Happenings
“They Said We Looked Suspicious”
Reportedly inspired by a fragment of the classic Willie Nelson tune “Me And Paul,” FL!GHT’s founding director Justin Parr and senior creative co-conspirator Ed Saavedra’s one-night-only experience “They Said We Looked Suspicious” expands creatively on something King Leopold of Belgium once told his niece about artists: “[T]hey are acquainted with all classes of society, and for that very reason dangerous
” Photography, videography and audio recording are encouraged but all devices (especially phones) must remain silent. Free, 7-10pm Friday; Clamp Light Artist Studios & Gallery, 706 Fredericksburg, San Antonio, contemporaryartmonth.com. —BR
“La Tensión Extendida”
Manuel Rocha Iturbide is a sound artist, theorist and composer from Mexico City, whose exhibition “La Tensión Extendida” alights at a pop-up warehouse space on March 14, thanks to newly established residency Casa Chuck and Michele Monseau’s Three Walls Gallery. Iturbide’s sound installations and compositions as a solo artist and collaborator have been performed and exhibited internationally, including at the Biennale of Sydney, Colección Júmex (Mexico City, Mexico), and Surge Gallery (Tokyo, Japan). “La Tensión Extendida” (Eng. “The Extended Tension,” in case it isn’t obvious) will feature several pieces, including a wall text, 4:33, a John Cage shout-out which deals with songs of a duration of four minutes and 33 seconds, and offers visitors printed takeaway text. But the main event of “La Tensión Extendida” will transform the cavernous warehouse space into an interactive musical instrument, complete with a working electric guitar suspended by strings the viewer/participants can pluck. “They’re hooked up to an amp, so viewers will be able to hear the sound fill the space,” Monseau says. “[‘La Tensión Extendida’] is an interesting take on sound art that people haven’t seen in San Antonio, where they become sound artists, themselves.” In Iturbide’s words: “The electric guitar, suspended between heaven and earth, is waiting to be born. It encounters burning action within infinite non-action. The strings are rays that escape the inert object. It is an object containing an unresolved tension between the occult and the exposed, between the hidden and the revealed. Its opposing forces live in constant tension.” Monseau conceived of the CAM show with Mexico City-based curator/critic/lecturer Barbara Perea, who curates the exhibition, during Perea’s residence at Casa Chuck back in 2012. It’s part of a San Antonio-Mexico City exhibition exchange; this spring, Monseau will curate a show of five Texas artists in Mexico. Free, 7-10pm Friday, The Warehouse, 1119 S St. Mary’s (behind the Monterey), (210) 219-1562, contemporaryartmonth.com. On view by appointment through March 31. —Sarah Fisch
“Quiet Zone (Train in Vain)”
Since 2009, the City of San Antonio’s Department of Public Works has granted “Quiet Zone” status to various sections of railroad where “train crews do not routinely sound the horn at railroad crossings.” Given the proper safety improvements are implemented—such as crossing closures, one-way conversions, signs and pavement markings—the establishment of a new “QZ” can take up to two years. An allusion to Sala Diaz’s location within one of these hushed corridors, the one-night-only Contemporary Art Month happening “Quiet Zone” is billed as “an exhibition that will pass by like a train in the night.” Held in conjunction with Mexico City-based Manuel Rocha Iturbide’s interactive offering “La Tensión Extendida,” the homegrown group show features the digital video ghosttrain by Michele Monseau, Riley Robinson’s mixed-media work Freedom Train (above) and a sound piece from Justin Boyd. According to Monseau, the trio’s collaborative “rumination on our ever-present, lovely Southside trains” is not likely to be all that quiet. Free, 7-10pm Friday, Sala Diaz, 517 Stieren, (210) 852-4492, contemporaryartmonth.com. —BR
SA Current Large-Scale Mural Unveiling & Celebration
In conjunction with Contemporary Art Month, the San Antonio Current will unveil a large-scale mural painted by local artists David “Shek” Vega and Nik Soupe. The unveiling celebration features music, onsite screen-printing and refreshments provided by Blue Moon. Free, 4-6pm Saturday, San Antonio Current, 915 Dallas, (210) 227-0044, sacurrent.com.
If repeated attempts to convince a pop-centric friend to dig scream-centric music have ended in frustration and failure, try offering Deafheaven as one last glimmer of heavy redemption. With Sunbather, the Bay Area black metal outfit pumped out a genre-distorting, surefooted sophomore effort, its dynamism a perfect introduction to hardcore. The album’s seven tracks span an impressive 70-plus minutes, an odd but tasteful coupling of blast beats, screeching vocals and long, post-rock guitar melodies that disintegrate into exquisite, extended piano pieces. Founded in 2010 by vocalist George Clarke and guitarist Kerry McCoy, Deafheaven released the debut Roads to Judah the next year on Deathwish records. Even then, the songwriting pair possessed a knack for expansive, emotional numbers that lull audiences into a subdued trance, then jolt back on a dime into headbanging excess. Along with prog-metal icons Between the Buried and Me, Saturday evening’s lineup promises a worthy alternative to the most brutal of SXSW showcases happening up I-35. $17, doors at 6pm, The White Rabbit, 2410 N St. Mary’s, (210) 737-2221, twinproductions.frontgatetickets.com. —Matt Stieb
Burger Records Hangover Fest
Fullerton, Calif.’s Burger Records, one of the pioneers of the modern cassette tape revival (which is awesome, by the way—buy a tape deck) and whose discography ranges from Thurston Moore and Dave Grohl to our own hometown heroes the Rich Hands (above), has amassed enough great garage, psych, lo-fi and punk bands for their second annual Burger Records Hangover Fest to keep denim-jacketed underage kids binge-drinking until mid-June under regular circumstances. To wrap up their week full of events in Austin, the young but legendary label is curating two stages with more than 25 bands right here in our big little city. Read more about the bands at sacurrent.com. While a large handful of the groups on the lineup are from the West Coast, especially Orange County and the Bay Area, a few, like Huntsville, Ala.’s Nightmare Boyzzz and Austin’s Holy Wave prove that you don’t need the radioactive waters of the Pacific to have fun splashing around and getting drenched in warm, sticky waves of spring reverb.
Last year’s Fest was at the Ten Eleven, but with its success, the event has outgrown our favorite dive bar and moved to the Korova, where the two stages can accommodate the massive number of bands this year. And hey, the Korova’s notoriously bad reverb- and echo-filled room might actually seem appropriate at this show, considering the genre. $8-$10, 1pm Sunday, The Korova, 107 E Martin, ticketfly.com. —James Woodard
Click here to read James Woodard's full story on Hangover Fest.
First things first, don’t blame Ana Tijoux for her slightly spotty English. Blame me for not speaking Spanish or French, the two languages Tijoux employs fluently in life and in her notable hip-hop career.
The Chilean rapper, who grew up in political exile in France, will add another chapter to her story on March 18, when her latest album, Vengo, is released. But before that drops, she’ll give SA audiences a taste of it during a March 16 performance here, marking her return to the Pearl’s Échale series. Previously, she played Échale in May 2012.
“San Antonio has always been a city that opened the door for us,” said Tijoux during a Skype interview from Chile. “I remember the energy [of the 2012 show],” she said, “people were very warm.”
Indeed, that first time around the free show’s crowd included a good amount of people unfamiliar with her work, but by the end the entire audience was demanding encores. That’s likely because Tijoux specializes in hip-hop with accessible, jazzy undertones (think the Roots, who have collaborated with Tijoux) and a husky delivery of socially conscious lyrics. Her first solo effort, 1977, put her on the international radar in 2009, and her 2012 follow-up, the Grammy-nominated La Bala, was a sonically powerful and lyrically fierce effort to bring attention to social unrest in Chile.
lyrically a logical continuation of the last album,” said Tijoux. The new album’s single of the same name focuses on the untold history of indigenous people (Tijoux has ancestral ties to the Mapuche Native American community in Chile) and rests on an Andean flute loop. She’ll bring a live band with her to the Pearl.
“What we were thinking was to take some music from our continent and make some kind of mixture,” said Tijoux. “In that sense, we’ve been putting original instruments from here and
how should I say it
making a conversation between two worlds, the North and the South,” she said, using a common term in international relations for historically colonizer countries (the North) versus historically colonized countries (the South).
Another underrepresented voice in hip-hop of concern to Tijoux is women. The mother of two avoids being portrayed as “sexy,” something rare both among female emcees and Latina pop stars, preferring casual, comfortable clothes onstage and in photo shoots rather than skimpy outfits and high-maintenance looks. When told that’s garnered positive support from American feminists, she’s surprised.
“Oh wow. That’s amazing news
I think I’ve been the most stupid and ignorant person in the world about feminism,” she said. “I think it has to do a lot with our education. I don’t remember any class where I learned about feminism,” So, she’s been educating herself lately.
“I insist we live in a very, very machist [macho or patriarchal] society
” she continued. “I think it’s got to do also with how woman is show[n] in our society. You just need to walk two blocks anywhere in the world .... All the publicity’s got to do with the body of the woman, and how this body has been sold like meat. We are meat. That’s the way society sees us.”
With more women like Tijoux tackling male-dominated genres, however, her message, like her music, is hopeful. “If the music is beautiful and touch[s] some people,” said Tijoux, “you’ll be successful.”
This week, NPR is streaming the whole album here. It's worth a listen or 100.
Échale Latino Music Estyles featuring Ana Tijoux, Federico Aubele and Natalia Clavier
Free, 5pm Sunday, Pearl Amphitheater, 100 E Grayson, pearlechale.com.
The members of Small Black have scoffed at the cringe-worthy label “chillwave” but the band still gets lumped in with likeminded Washed Out, Neon Indian and Ariel Pink as a prime example of the woozy electronic sub-genre the Kansas City alt-weekly The Pitch once illustrated with a painting of unicorns emerging from the sea. Launched in 2008 as the bedroom-recording project of vocalists/keyboardists Josh Hayden Kolenik and Ryan Heyner, and later rounded out with bassist/guitarist Juan Pieczanski and percussionist Jeff Curtin, the quartet sharpened the hazy focus of its 2010 debut New Chain with the hypnotic 2013 gem Limits of Desire. Marked by dream-pop stylings, echoey vocals and lovesick lyrics, the album delivers a danceable brand of ’80s-era melancholy that would mesh well with OMD and Tears for Fears on a John Hughes movie soundtrack. With support from local singer-songwriter Chris Maddin’s FILMSTRIPS. $10-$12, 9pm, 502 Bar, 502 Embassy Oaks, (210) 257-8125, 502bar.com. —BR