In an office hidden in the twists and turns of Benildus, the walls are covered with posters, awards and articles. They include an autographed poster of Whitney Houston, a Gold Record commemorating a million copies sold by Regina Belle and several promotional posters of performances from around the globe. It takes a while to notice, but every single one is addressed to or features Horace Young, the new chairman of the Contemporary Music Program. “My parents weren’t musicians but they believed it was essential, they knew its worth,” Young says about his beginnings. “My two elder sisters played the piano so I got to take classes too. I cheated at practicing. I memorized the melody from the way my sisters played and watched the way their fingers moved on the keys. I didn’t know it then but this was a clear sign of having a high aptitude. Now I am able to tell a kid to get involved in music because I can see the signs I experienced myself.” Young had different plans for his future, though, hoping to become a sports journalist as a springboard into writing. He ended up playing the saxophone on a whim and turning it into a career. This return to music led him to collaborate with numerous acclaimed artists such as B.B. King and Nancy Williams. In 1993 he conducted the National Symphony of South Africa; the first person of African descent to do so. “I started as an adult musician not being able to read music,” Young says. “I learned to celebrate my limitations in being able to overcome them.” His role conducting the National Symphony of South Africa was broadcasted on national television. As a teacher, Young encourages the exploration of various skills and jobs in the...

The Firstie: A metal show. I’m an easy-going guy who buries his anger deep down, like any other red-blooded American. So metal’s aggressively angry sound, even in the love songs, just comes across as shrill. My roommate, who listens to metal religiously, has tried to convince me of its technical musicianship, but I often respond with my father’s retort to rap: “It all sounds the same.” This sickens me. The Band: Sleeptaker. Stemming from a jam session at Warehouse 21 between junior SFUAD student and guitarist Alex Monasterio and Santa Fe resident Connor Mejias-Meriani, Monasterio went home, wrote a a few riffs and the band was born. Soon after former SFUAD students Noah Trainor (bass) and Eric Martin (vocals) joined, followed by Michael Rael (guitar), a childhood aquientence Monasterio. Since their first gig in February, Sleeptaker has performed 10 shows. The Aid: 40 oz of Mickey’s Malt Liquor, consumed purely out of fear. The Show: I walked into a dank, dimly lit basement, known as the “Pig Pit,” and immediately regretted my decision. By the time Sleeptaker took the stage, there were approximately 30 people crammed, sweaty, ready to rage. Once the show began though, all my reservations went out the grimey window. It was no longer about the music. It was the energy. “You can play all your parts perfectly,” said Trainor. “But if you’re boring to watch, it’s boring.” The show was not boring, and if I had to give one reason why, it would have to be the mosh pit. Moshing is a predominantly Caucasion form of dancing that involves participants slamming violently into each other. Not to hurt anyone, it’s not about that, but just a pure distillation of anger and release. As soon as the drop (a musical term referring...

Since 2001, High Mayhem Emerging Arts has provided a space for what it describes on its website as “creative tinkerers who challenge our notions of aesthetics in music and art.” Though its mission will continue through one iteration or another, the group will be moving on from its long-standing space at 2811 Siler Lane. Steve Paxton, the chair of the contemporary music program, will perform during one of the space’s final concerts in its annual Fall Series. In an interview with Paxton, he shares insights into his upcoming performance as well as some of his thoughts on the tenets of High Mayhem’s philosophy as a community. Paxton’s piece samples music from artists ranging from Frank Sinatra toFrank Zappa in an interwoven sound collage. He intends the piece as a sort of “ofrenda,” a spiritual offering to the voices of musicians who have passed away. The mix of styles, which blend the worlds of pop and more classically-influenced music, is intended as a chance to “step outside of the history of music,” Paxton says. During the sound installation, Paxton will include a performance art element. He demonstrates how he will unravel and pass along a large roll of paper through the audience, writing the names of the memorialized artists and speaking them out loud. He says he intends for the audience to join in the naming of the dead, allowing his performance to become a part of the community mindset of the space. Regarding influence, Paxton cites John Cage saying he feels the intention of the piece is to “set up a process and observe the results… without manipulating the results.” While the philosophical and intellectual qualities of experimental music are important, Paxton says he also hopes the emotional content of his work resonates with...

The campus of St. John’s College may seem tucked away in isolation in one of the hillier parts of Santa Fe, but with the recent opening of a student-run coffee shop and concert venue, the distance between its student body and SFUAD’s may begin to feel a bit shorter. Dubbed “The Cave,” calling to mind Plato’s famous allegory, a space has been established by St. John’s students for their schoolmates to congregate and caffeinate. In addition, the coffee shop plays the role of both an art gallery and concert venue thanks to students’ visions. In a phone interview with Theo Krantz, a junior at the school and sole booking contact for musicians and other performers, he shared his thoughts on the possibilities The Cave holds for better integrating St. John’s and SFUAD students. Krantz himself has experienced this integration of artistic communities by playing a show in SFUAD’s O’Shaughnessy Performance Space with his band High Diver. He said, “I do love the Benildus Hall space,” later adding that the experience made him feel that getting St. John’s students to attend more SFUAD events, and vice versa, would be good for both student bodies. “I would love to have the two communities be much more entwined than they are,” Krantz said. The first event held at The Cave seemed to reflect that as several SFUAD students attended and played the concert (including the author of this article’s band Sex Headaches). The show lineup also included Thieves & Gypsies – whose lineup includes CMP alum Adam Cook – and CatNip Tea. Krantz said he was enthusiastic about the event and felt positive about the interactions between both groups of students, saying he felt the SFUAD attendees were “really respectful and nice.” When asked why he felt...

The incongruities in the music world are often what make it so fascinating to follow. The common complaint that “everything has been done before” rings increasingly less true as smaller boutique labels and bands capable of easy self-distribution harbor a broad field of forward-thinking bands and the strange outliers of countless mutated genres. This is why a thrash metal release can still excite and challenge in 2014. Oozing Wound’s new album Earth Suck is not simply a retread of sounds by a bunch of guys who never threw out their Master of Puppets tees. With the debut of its sophomore album it is clear that the band has reached a new level of confidence. While Oozing Wound’s debut album Retrash had a driving pulse and a furious center, there were just as many ideas that felt as disposable as the plastic cups its party vibe seemed to evoke. Even simply judging from the surreal, destructive and muscular album art of Earth Suck—sans any identifying text—the suggestion is that the band is taking a more powerful stance. The results are as crushing as the several-fisted force suggested on the cover. There is a leanness to the sound of these songs, heavily owing to the high treble frequencies throughout. While drummer Kyle Reynolds’ drums bring a palpable rumble throughout, bassist Kevin Cribbin’s playing remains in a similarly high register as Zack Weil’s buzzing guitar. This is not the often fatter heavy sound of most modern metal bands and the feeling of hearing a power-trio awash in the tinny echo of garage-like acoustics brings a weird charm to what could otherwise threaten to fall into the hammy sound of a more tribute-minded act. With tracks like “Genuine Creeper,” however, the formula of traditional thrash tropes is subverted...

“This is a really great way to put off your homework for Monday,” said Greg Bortnichak as he poised his fingers across the fretboard of his cello. Bortnichak makes up one half of Teach Me Equals along with Erin Murphy, a duo from Florida that brought their blend of classical instrumentation and modern experimental rock flourishes to the O’Shaughnessy Performance Space last Sunday, Oct. 5. Bortnichak’s quip hit home for most of the gathered crowd of students as laughter brought in the next song of squelching electronic loops and the roar of the band’s hypnotic, distorted tones. Before his set, Bortnichak spoke enthusiastically about SFUAD’s music program facilities, claiming amazement at the students’ easy access to performance and practice spaces, as well as recording facilities. Testament to this point is the ability for students to put on shows on a Sunday night, and several students took advantage of that luxury. The space filled up quickly as openers Venus and the Lion took the stage, and it was quickly apparent that these students were there to move to the music, not simply stand as idle observers. After releasing its debut EP Absinthe last February, the SFUAD-student band Venus and the Lion have been working on new material. These songs expand on a foundation of groovy, classic rock-tinged sound established on its freshman effort. These elements have been expanded into longer, more complex arrangements that still manage not to stray from the band’s ability to tap into a crowd’s lust for dance-ready rhythms. The audience was along for the band’s ride, taking in newer material with vocal enthusiasm, although there was a noticeable spike in cheers as the band tore into its best-known single “T. Rex,” whose bluesy stomp threw the crowd into a sudden blissed-out...

There’s a fire going outside and people huddle together, laughing and otherwise going on excitedly about “have you heard this band? And this band?” There’s even a trampoline, one of those big ones. Inside, past the front door that never seems to be locked, a band sets up in a large warehouse space. The energy is buzzing, people are smiling and, best of all, there’s no cover at the door. This is all a very regular sight for Radical Abacus, a warehouse in one of Santa Fe’s more business-oriented areas that has become one of the city’s more prominent independent performance venues in the past few years. Contemporary Music Program major Angelo Harmsworth, who recently became one of Radical Abacus’ residents, has been increasing his involvement in booking shows for local musicians as well as touring acts from around the US. “Nicholas Chiarella [former SFUAD Studio Arts administrative assistant/contributing faculty] was responsible for the current incarnation of the space…,” Harmsworth said in an e-mail interview, “He made the space available to the local and larger DIY community for art shows, little happenings, and concerts.” Following that legacy, Harmsworth’s role is simply that of a host/curator; he and his housemates do not take money for hosting these shows. Donations are often requested to be given to touring bands, mostly for gas money, but other than that the focus is on music. This model differs greatly from that of a more traditional venue, such as a bar that features live music. This use of non-traditional performance spaces has become a more frequently seen phenomenon in Santa Fe as well as cities across the country as a larger DIY-based musical community grows. Why do some gravitate toward DIY over a bar or another more established business? Harmsworth...

SFUAD music student Christian Castellanos, aka Keyboard Chris, discusses how he discovered Djing, what his style is, and how he approaches writing his music by building around the drop.

Every year, Contemporary Music Program students participate in classes that teach music from all over the world. These ensembles vary from African Drum to Balkan/Middle East to Rock and Funk and so many more. These classes offer students the chance to learn music from around the world and the opportunity to play with other musicians. At the end of each semester, the CMP hold concerts as a way for the students in these ensembles to show what they’ve learned over the course of the semester. “Being in ensembles is training for being a working musician later,” says Leticia Gonzales. “Musicians have to learn to work with other musicians in a way that reflects the work of career musicians. Being in ensembles with our peers helps us learn to navigate that.” The end-of-the-year concert series kicked off May 7 with performances from students in Tom Adler’s Acoustic Americana Ensemble and Fred Simpson’s African Drum Ensemble, followed by a performance by Steve Paxton’s University Chorus in the O’Shaughnessy Performance Space in Benildus Hall. “I chose Acoustic Americana because I play banjo and it just feels right. The most important thing I have learned is just the importance of being humble when it is needed and a lot about playing with others,” says Sam Armstrong-Zickefoose about his experience with the ensemble. The CMP ensemble concert series continues through May 12 with the next performance by the Balkan/Middle East Ensemble on May 10 at 8 p.m. in the O’Shaughnessy Performance Space in Benildus Hall.   The other concerts are:  Sunday, May 11 5 p.m. Gamelan Ensemble The Bandshell on the quad 8 p.m. Jazz & Afro-Cuban Ensembles & University Chorus O’Shaughnessy Performance Space Benildus Hall   Monday, May 12 8 p.m. Rock & Funk/ R&B Ensembles O’Shaughnessy Performance...

Contemporary Music Program student John Church discusses his path toward and goals with music.

SFUAD Contemporary Music Program (CMP) Chair Steve Paxton talks about music, the CMP department and its students in this audio-visual story. Music by Ruder and the Shockwaves.

On the evening of March 26, Radical Abacus showcased the talents of electronic soundscape artists Geological Creep, Gossimer, and SFUAD’s own Angelo Harmsworth.

Jackalope Magazine’s series of interviews with student musicians continues with an interview with Conor Handolson, the drummer of the student band Skinflints and Scoundrels. Handolson is a drummer, guitarist and vocalist in the Contemporary Music Program.

Pablo Panés is a 23-year-old journalism and communication student from Cádiz, Andalucía, Spain. The music influence he had as a child in his house and his music talent made him into a TV child star. Now, years later, Panés is creating a new image for himself and his music.

Jackalope continues its Q & A series with SFUAD student musicians, with solo electronic musician Dylan Tenorio.

Venus and the Lion drummer Colton William Liberatore talks about his experiences on and off the stage in this audio-visual piece.

Spirit of Uganda Artistic Director Peter Kasule welcomed the audience to Uganda during the Feb. 15 at Greer Garson Theater. Indeed, the performance transfixed the audience.

Dweezil Zappa, son of the legendary Frank Zappa, performed at the Greer Garson Theatre this Feb. 12 in front of a sold-out crowd.

The student band that calls themselves The Laser Cats is made up of four SFUAD Contemporary Music majors. Daniel Mench-Thurlow plays the upright bass, Kyle Driscoll plays the guitar, Matt Ruder also plays guitar, Sam Armstrong-Zickefoose plays the banjo and Konor Hunter-Crump plays the violin. Jackalope Magazine had the opportunity to talk to the band members about their music.   Jackalope Magazine: How did you get into music? Sam Armstrong-Zickefoose: My family is in a bluegrass band, all of my uncles and most of my cousins, which is 20 or 30 musicians total. We’ve always been playing bluegrass and my uncle plays banjo, so I picked one up.   JM: How did your band get together? Matt Ruder: Well, when we were freshman Sam got asked to provide music for a creative writing thing so he asked me and Kyle to help him out. It was just going to be for that one time. We needed a name, and Kyle was wearing a shirt with a cat shooting lasers from its eyes, so we said we’d call ourselves the Acoustic Laser Cat Jazz Trio. But then we added Konor and changed it to just The Laser Cats and about a year later added Dan.   JM: What are the best and worst things about being in a band? MR: The best part is that it feels like family. You can be friends with someone but it just becomes deeper when you’re in a band with them. Kyle Driscoll: The only bad thing I would say is that sometimes it’s time consuming and that we all want to do The Laser Cats plus so many other things.   JM: What type of band are you? MR: Gypsy Jazz, which all started back with the gypsies...

In the first of a series of interviews with student bands at the Santa Fe University of Art and Design, Jackalope Magazine talked with the musicians from Venus and the Lion.

The African Drum Ensemble lead by Fred Simpson transported the audience in the O’Shaughnessy Performance Space.

        In the third of a series of Q&A sessions with SFUAD students, Jackalope Magazine speaks with Contemporary Music Program Sophomore Sam Zickefoose, who illuminates the joy of banjo, Laser Cats and Gypsy Jazz. Jackalope Magazine: What instruments do you play? Sam Zickefoose: My main instrument is banjo, but I play some guitar and mandolin, and a little bit of bass. JM: What got you into banjo? SZ: My uncle played banjo and my family kind of had a blue grass band a while ago, so I grew up with it. JM: What about bluegrass still draws you? SZ: Well, there’s a lot of energy and it’s really a reactive type of music, kind of like jazz. It’s always changing, it’s not set; you can be playing the same songs a hundred times and it will be different every time. JM: What brought you to SFUAD? SZ: To be honest, I was looking for schools that had banjo programs or teachers. There was one here, one in Texas and Berkeley and that was about it. And I ended up here. (laughs) JM: Is there a teacher who plays banjo that has mentored you in any way? SZ: Yeah, Tom Adler plays banjo. He plays clawhammer and is also a guitarist and singer. But I’ve worked with a lot of the teachers and they’ve been really open to relating their concepts to banjo, like Ross [Hamlin], Polly [Ferber] and Scott [Jarrett]. JM: Have you been learning things in general that you could apply to the banjo? SZ: All of our theory classes are really applicable to a lot of different styles of music and writing music in general. In Balkan Ensemble, we learn the theory of the music…and learn new techniques. Even if we don’t use them for Balkan music, we can transfer them...

There is no sound. It is the CD release party of Rumelia, Santa Fe’s Balkan music group, and there is no sound. The members of Santa Fe University of Art and Design’s Balkan Music Ensemble, who have been invited as guests to this event, loiter on the Railyard Performance Center’s makeshift stage of rugs and platforms on the hardwood dance floor. “How are we?” asks Polly Tapia Ferber, the director of the ensemble. “Are we good?” The audience is restless and ready, but a shout from the sound techies makes it clear that they are going to have to wait for just “one more second.” “Well,” says Polly, “We’ve been here for hours trying to make sure this wouldn’t happen, but…” She wanders off in search of technical solutions for the lack of sound coming from the ensembles’ microphones. Rumelia’s Nicolle Jenson, a College of Santa Fe alum, comes to the stage to announce that, “it’s a good thing we have a few tricks up our sleeve!” The group of three female artists joins her to perform two pieces a cappella. The women are performing this evening to celebrate the release of their CD ‘Lost and Found,’ but it is clear that they hardly need their instruments and a recording studio to capture the odd-time signatures and tonalities of the Balkan region of Eastern Europe. Using nothing but their lungs as instruments, they weave their voices together and immediately capture the audience’s revered attention. When they finish Polly is still scurrying back and forth across the stage checking wires in an attempt to make everything come together. On stage, just a handful of members of the ensemble lounge with their instruments. The sound problem will be figured out eventually, but this is Santa Fe,...