simianthinker

Kim Gordon at the Ogden Theatre 7/23/26

Kim Gordon and her band came on stage with little fanfare but with the expected effortless cool and poise. Everyone in the band contributed to the rich electronic soundscapes that ran throughout the show and everyone played a more standard rock instrument as well with a drummer (Madi Voigt), a bassist (Emily Retsas) and guitar duties with Gordon and Sarah Register. Immediately it felt like we were hearing something born out of the various interests and creative leanings across Gordon’s career as an artist and pushing past immediate expectations of some kind of No Wave noise rock. It was more like a thorough fusion of various styles of hip-hop, industrial aesthetics and stretching notions of what role guitar plays in songwriting. Like real time sampling in moments with rock instruments dropped into a track. The percussion was a combination of programming/sequencing and live drums played with an ear for the various beat styles that have emerged in the past two or three decades: trap, Dilla-isms, drill. The effect was cinematic and emotionally-charged with Gordon’s nearly spoken word vocals accenting the rhythm with her own lines of spare poetry as though she was replicating a production method with own performance.

The band played all of the new record, Play Me (2026) seemingly in order as well as a few songs from The Collective (2024) and No Home Record (2019). But it all felt like a vivid yet hazy dream with Gordon singing songs that felt like they were a commentary on the current era and zeitgeist in a way that was creative like stream-of-consciousness poetry or free verse and free association on a theme. The social commentary was pointed and cathartic with the production lending the music a textural and cinematic quality so the experiencing of witnessing it live had a tactile aspect that was riveting and seemingly personal because Gordon’s words framed the ideas of tech oligarch and the dream of a world after the fall of the imperial program that has been burning through the world with an accelerated spirit of consuming destruction an attainable goal. The caustic menace of “Sub Con” and “Square Jaw” got into your head like hope through validating one’s anger and desire for liberation from the various tools of late capitalist repression. Both songs and “Post Empire” were a string of songs that seemed to draw heavily on hip-hop production and sounds of the past decade and a half but with a little different sound palette and informed by Gordon’s insight into the ills of the horrific aspects of current human civilization.

Hard to imagine Gordon isn’t affected deeply by this music and the words performing them on a tour and yet it has to feel good to get these thoughts and feelings out there and sharing them with people who may not be as focused in their expression when everything can feel overwhelming and you just have to show up to your job or jobs just to survive. But the show did feel like an expression of human solidarity for the collective, ambient anxiety and horror of what feels like the worst timeline of recent years. With the update of “Bye Bye” as “ByeBye25” as a kind of exclamation point on the album it was obvious that Gordon’s new album showcased her masterful wordplay perhaps influenced by the hip-hop artists that have inspired her for decades. Beginning to end the songs sounded like the chaos, fragmentation and collapse of the American experiment but also like a hope for something better to replace the old world order. It made this era feel survivable.

Setlist from JamBase.com

PLAY ME
GIRL WITH A LOOK
NO HANDS
BLACK OUT
DIRTY TECH
NOT TODAY
BUSY BEE
SQUARE JAW
SUBCON
POST EMPIRE
NAIL BITER
BYE BYE
Trophies
It’s Dark Inside
Psychedelic Orgasm
Paprika Pony
Cookie Butter
Encore
Cigarette

Mark Weatherley’s Ever-Evolving Downtempo Single “Petrichor” is Like the Soothing Soundtrack to Transitional Seasons

Mark Weatherley, photo courtesy the artist

The beats in Mark Weatherley’s “Petrichor” shouldn’t work. The breakbeats start and stop, seem to change directions, pick back up and yet it all fits together like a moving puzzle with the harmonic and melodic motes of sound arranged so that the song constantly has an evolving and effervescent atmosphere. Like the direct experience of late spring weather when the environment hasn’t seemingly decided how it’s going to be except moment to moment. Weatherley captures as best a person can these micro-changes in mood and texture and fit that into the format of a song. There are no immediate touchstones but in the multitude of moments employed in the song one can hear peeps of late-90s Moby, sampled organic percussion and layers of luminous haunted sounds that drift through but soothe rather than startle. And then the song is over. What sets it apart from a good deal of electronic music is that the repetition never fully feels like it because Weatherley’s arrangements are so detailed and ever-shifting without feeling jarring and at worst merely disorienting in a way that feels comfortable. Listen to “Petrichor” on Spotify and follow Mark Weatherley at the links provided.

Mark Weatherley on Facebook

Mark Weatherley on Instagram

Josaleigh Pollett’s Lushly Meditative “Cherry” is an Existential Dream Folk Song About Re-Examining Identity

Josaleigh Pollett sounds like she’s drifting through an environment as much as a song on “Cherry.” The languid pace and intimate yet deep mood is reminiscent of Strange Mercy-period St. Vincent. The gentle strums of guitar like rhythm and texture with layers of synth giving atmospheric definition to the song as Pollett’s voice seems to tell a story of people who have a lot of history together and thus have been through many of the same struggles and travails of shared experiences but things have gotten to the point where in spite of these long-held bonds some things feel like they’re no longer the ties that bind and coming to terms with being weary of old ways and habits of living and of mind. Yet not throwing away the memories and their significance for the kind of person you are now even if you’ve outgrown what felt so critically important at an earlier part of your life. The song sticks with you and like the lingering thoughts from deep within that never fully leave your psyche it leaves a strong impression well after the song is over. Listen to “Cherry” on Bandcamp and follow Josaleigh Pollett at the links below. The new album If I Let It Quiet is out now on vinyl, digital download and streaming. Pollett is alo currently on tour in the American west through August 14th with a performance at D3 arts in Denver, Colorado.

Josaleigh Pollett LinkTr.ee

Josaleigh Pollett on Facebook

Josaleigh Pollett on TikTok

Josaleigh Pollett on Instagram

Best Shows in Denver and Beyond August 2026

Pearl & The Oysters, image from Bandcamp

Saturday | 08.01
What: Pearl & The Oysters w/Green Typewriters and Pleasure Prince
When: 8
Where: Hi-Dive
Why: Pearl & The Oysters is based out of Los Angeles these days via the Gainesville, Florida scene but has its origins when the duo of Juliette Pearl Davis and Joachim Polack met in high school in Paris. Polack earned a master’s degree in muscology with a focus on Brazilian popular music. And you hear that flavor in this band’s output which sounds like a retrofuturist pop band with some jazz informing its compositions and Tropicália flavor but really its own thing with some obvious heavy influence by classic 60s and 70s pop and psychedelia. But its production is lush and from record to record it would be impossible to pigeonhole an exact style including its most recent record Monkey Mind (2026). So it’s only appropriate the art pop psychedelic prog weirdos Green Typewriters and virtuosos of soulful synth pop Pleasure Prince are sharing the bill and thus no downside.

Saturday | 08.01
What: babybaby4ever, Sonic Chick, Mon Cher and PEPPERSACK
When: 7:30
Where: Squirm Gallery
Why: babybaby4ever will bring her tonally immersive indie synth pop to places well beyond Denver following this tour kick-off show and win over audiences far and wide. For the occasion you’ll get to see lo-fi synth-infused dream pop project Mon Cher, darkwave dance duo PEPPERSACK and the lo-fi, Half-Japanese-esque emo band Sonic Chick—fans of K Records bands of the 90s will definitely find much to like about the latter and its new record All Star Hits.

Let the Dead Eat the Dead, photo by Tom Murphy

Saturday | 08.01
What: Let the Dead Eat the Dead, Part Weapon and The Picture Tour
When: 8
Where: The Skylark Lounge Bobcat Club
Why: Let the Dead Eat the Dead is the new project that rose up from the remnants of Bad Luck City. Similar dark Americana and poetry with wit, intensity and an unpretentious earnestness that one would come to expect from the musicians involved including ex-members of Random Victim, Red Cloud, Slim Cessna’s Auto Club and Snake Rattle Rattle Snake. Part Weapon will being its fusion of noisy post-punk and industrial sounds and The Picture Tour will fill the room with deeply atmospheric, melancholic moods and late night drive intensity circa early Nicolas Winding Refn cinema.

Monday | 08.03
What: TV Star w/Angel Band, Pink Lady Monster and Pulse
When: 7
Where: Seventh Circle Music Collective
Why: TV Star from Seattle recently released its new album Music For Heads which can have multiple meanings but for fans of the kind of crossover of shoegaze, C86 pop and pastoral Americana its exactly in your wheelhouse. Delicate and intricate guitar melodies and layered textural sounds with winsome vocals make the band’s new record and its Unrest-esque sound a repeat listen. Opening of course are purveyors of perfect indie pop Angel Band and Pink Lady Monster, the neo-No Wave art pop geniuses from Denver.

Monday | 08.03
What: Cat Power: Anniversary of The Greatest Tour
When: 6:30
Where: Chautauqua Auditorium
Why: Cat Power released her album The Greatest in 2006 to great acclaim. Recorded in Memphis, TN, the album included contributions from the late, great Mabon “Teenie” Hodges renowned for his contributions as guitarist and songwriter on several of Al Green’s hits as well as other notable artists in the realm of soul and R&B. And other greats of soul music including bassist Leroy Hodges. The record contains some of Chan Marshall’s most intimate songs in a career of intimate songwriting and there is a warmth and affection in much of the searching and heartbreak and at times resolution found across the album’s twelve tracks. This is a rare opportunity to catch these songs live in a venue as uniquely beautiful and rustic as the Chautauqua Auditorium.

Friday | 08.07
What: Tomahawk w/Melvins
When: 6:30
Where: Ogden Theatre
Why: Tomahawk is the experimental metal band comprised of Mike Patton (Mr. Bungle, Faith No More etc), Duane Denison (The Jesus Lizard et. al.), John Stanier (Helmet) and Trevor Dunn (Mr. Bungle, Secret Chiefs among others). Considering the people in the band how metal is it and really more experimental, art rock noise rock with Patton’s versatile and powerful vocals. Opening is Melvins who reliably put on a powerful performance of heavy music of great nuance and imagination and with every tour they try to do something different and other than touring with Tomahawk in this format it would be worth showing up to find out what Melvins have in store.

Saturday | 08.08
What: The Jayhawks
When: 7
Where: Chautauqua Auditorium
Why: The Jayhawks are unarguably one of the most influential Americana bands of the past four decades plus since forming in Minneapolis in 1984. They were early pioneers of what came to be called alternative country. Its 1992 album Hollywood Town Hall is a landmark record for the style and refreshingly out of step with the trendy sounds to emerge from early alternative rock. The group went on hiatus in 2005 while its members pursued other creative endeavors. Briefly reuniting again from 2009-2012 The Jayhawks have once again been an active band since 2014 with a new album Sanctuary Park due out August 28, 2026 with the eclectic yet coherent sound that has marked the best of The Jayhawks’ later work integrating some deeper atmospheric melodies and uplifting rhythms into the songwriting. Of all the venues along the front range Chautauqua was basically built for experiencing this kind of music.

Tuesday | 08.11
What: Sugar w/J. Robbins
When: 7
Where: Mission Ballroom
Why: After the collapse of punk legends Hüsker Dü, guitarist and singer Bob Mould released two acclaimed solo albums and came to recruit David Barbe (formerly of the great Athens, GA post-punk band Bar-B-Que Killers) and Malcolm Travis (who had been in early Boston New Wave band Human Sexual Response) to work with in the near future. The band they would dub Sugar became in its own right one of the more popular and influential of the early 90s alternativ rock bands. With a song pace that wasn’t as headlong as Mould’s previous band was known and more developed melodies the group’s debut album Copper Blue (1992) was instantly at hit with college and the nascent alternative rock radio. Mould had learned a lot from Nirvana who he influenced in terms of pop songcraft with spirited performances and he was finally able to somewhat capitalize on the sound his songwriting and guitar style had directly impacted. Sugar only released two albums and an EP before splitting in 1995 but all of those releases contain some of the finest music Mould has worked on to date. When the grop announced it was back together and playing live shows again it was arguably simultaneously one of the least expected and most anticipated reunions of recent years. And if you’ve seen Mould’s band recently you know it’s not going to be subpar.

To Be Continued…

SPYCAMERA’s “Hey You” Fuses Synth Pop and Dissonant Art Pop to Express a Sense of Connection in a Disconnected World

“Hey You” sounds like SPYCAMERA took strands of Tubeway Army, early Radiohead and in general the song and its music video are reminiscent of that corner of the 90s when record labels were still trying to find the next big thing and would greenlight albums from bands that seemed or actually were outside the mainstream yet had a sense of melody and songwriting. Except that SPYCAMERA looks like a rivethead and an enigmatic garage rocker formed a band and held on to a sense of the mysterious and creatively eccentric. In the music video we’re informed this is “Room 5” of a forthcoming album called 12 Rooms suggesting each song is its own world and flavor but so far the band is revealing it has a knack for an unusual hook like Everclear influenced more by New Wave and alternative rock than punk. The words in the song seem to be sentiments of holding on to the only things and people that make disordered world make sense even when sometimes it hurts. Watch the video for “Hey You” on YouTube and follow SPYCAMERA at the links provided.

SPYCAMERA on Instagram

Annie Elise’s Shoegaze-y Synth Pop Single “everything” is Like Being Caught Up in the Euphoria of a New Love

Annie Elise’s production choices on “everything” from the vocal processing and the layering of bright and hazy synth sounds in a drifting rhythm serve a sense of feeling being caught up in the emotional moment. The way the vocals switch from a warping and fluidly pitch shifting in the beginning so there is a touch of hyperpop sensibility without being of that aesthetic. The song expresses a charming sense of infatuation and melancholy mood at the feeling that you might be too much, too caught up in your own psychology to be adequate for the moment with a new relationship but feeling so strongly about it all that you’re not willing to give up even if things feel a little overwhelming because it clearly matters so much as a larger part of one’s life. The song bursts with emotions and then settles into a tranquil fadeout without wasting a moment of time and conveying so much in a mere two minutes twenty seconds. Fans of Jockstrap and Caroline Polacek will appreciate what this songwriter has been up to lately. Listen to “everything” on Spotify and follow Annie Elise at the links below.

annieelisemusic.com

Annie Elise on Twitter

Annie Elise on Facebook

Annie Elise on TikTok

Annie Elise on Instagram

Annie Elise on YouTube

applied communications’ Retro Synth Pop Single “return of jafar” is a Song Suggesting We Re-Examine What We Think Are Our Dreams

applied communications, photo courtesy the artist

There is something surreal and relatable about applied communications in the video for “return of jafar.” It looks like something made on an iMac in the 90s, appropriate given the cinematic reference of the title with its own resonances for the themes of the song as well. Throughout the song Max Wood relates what sounds like the inversion of the usual nostalgia of youth like someone who is deeply skeptical of the concept in the face of lived reality. But he whimsically delivers lines that are dryly amusing yet insightful like a music resonant with the sensibilities of a Daniel Clowes comic. The line “I have this vision I can’t see/It’s always driving me/To something I don’t believe” and the bit about the “jazz interlude” reveals a level of sardonic wit that isn’t heard in much music. With the song ending with the repeated line “return of jafar” fits the rhythm of what we’ve been hearing but also a sly nod to hey this thing you think you’ve always wanted out of life, is it really what it’s cracked up to be or do you maybe take what you think your aspirations might be a little less to heart and be willing to do things differently. Nothing about the song is too on the nose and that’s part of the appeal behind it sounding like a bizarre alternative soundtrack to a lost computer and New Age self-help informercial. Watch the video for “return of jafar” on YouTube and follow applied communications at the links below. The new album applied communications bites the big one released September 25, 2026 via Rare Noodles in collaboration with Bar/None Records.

applied communications on Instagram

Queen City Sounds Podcast S6E9: Sam Zalkin

Sam Zalkin is a photographer and musician from Denver. If you’re not from Denver, you might not know who he is but if you’ve been paying attention to the underground scene in the Mile High City you may have run across his photographic work documenting bands playing places like Squirm Gallery, Seventh Circle Music Collective, D3, Hi-Dive, The Marquis Theater and elsewhere. He was born in Houston, Texas but moved to Denver around age five when his father moved to town for a job at Children’s Hospital. In seventh grade Zalkin was encouraged by his school counselor to apply to go to Denver School of the Arts where he would attend through high school graduation in 2026. He was a film student who got into photography when he got access to a camera in his early-to-mid-teens and early in his tenure at DSA he met a friend who introduced him to K Records and Kill Rock Stars bands which lead him to a different world of music than what his parents were into. Zalkin wrote a piece about David Lynch for school and his teacher Amy McGrath told him her daughter was friends with someone opening for Midwife at the Bluebird Theater in 2024 and that lead Zalkin to an internship and then employment at Wax Trax records and being around the likes of the members of Pink Lady Monster, Cherry Spit and going to Squirm gallery for the first time and encountering Ryan Wong and his musical projects. Rapidly Sam became a fixture in the local scene shooting shows and bringing a uniquely creative vision to the visual presentation of the bands in post-processing and honing his photography skills. His work has graced the artwork for east coast-based experimental rock band Neptune’s album Play Some Music (2026) and he has done short documentaries on Denver musician and long-time Wax Trax employee Doug Mioducki (title Common American Crow, Mioducki has been in bands Felt Pilotes, Koala, North Americans, Sparkles, CP-208, Quits etc) as well as Squirm Gallery (titled Something Real). Now Zalkin is off to attend school at Maryland Institute College of Art in Baltimore where he will likely further pursue his work in film and photography but he will always be a key contributor to documenting the Denver scene the past couple of years plus.

Listen to our interview with Sam Zalkin on Bandcamp and see his band Apple Blossom at D3 Arts at 3:45 on Saturday, July 25, 2026 as part of the Blucifer Fest Satellite event.

Queen City Sounds Podcast S6E8: Modern Leisure

Modern Leisure, photo courtesy Casey Banker

Modern Leisure is the songwriting project of singer/guitarist Casey Banker. The latter grew up in the Denver metro area and played guitar from a relatively young age before attempting college at UNC in Greeley where he ended up meeting like-minded musicians and forming his first band that played live that anyone who was part of the late 2000s Denver underground music world has heard of called The Don’ts And Be Carefuls. The group made a mark in Denver with well-developed songwriting and exuberant energy as a live band with poetic lyrics that truly channeled the experience of being young and experience all the strong feelings that come from being in your early 20s. Banker’s lyrics were clearly telling stories that felt vivid and thoughtful and the music like a post-punk band with a knack for dance rhythms and evocative melodies. The band faded out by the early 2010s and Banker joined dream pop group Shady Elders for a time until forming a project that could be a vehicle for his creative vision and Modern Leisure was formed in the mid-2010s and garnered attention for Banker’s strong songwriting and charismatic live performances. Before the end of he decade Sumner Erhard joined the band and brought his own accomplished musicianship to the band. But like many musical endeavors Modern Leisure went on hiatus with the pandemic. Banker went on to develop his DJ business as DJ Kay Bay and affiliated with the Weird Touch night when it had a residency at what is now The Roxy on Broadway. That experience gave Banker his current career as a DJ for events including weddings. But of course he had songs in the can and a new set of material he wanted to write and develop and Modern Leisure returned to life with Banker recording new songs with contributions from studio musicians and a producer Jake Supple formerly of the psychedelic rock band Plum and contributions from Will Walden of ambient/psychedelic rock band StaG. The new live edition of Modern Leisure debuted on July 2, 2026 at the Hi-Dive with a lineup that included Erhard and his Dollpile bandmate Isadora Eden proving the continued vitality of the older songs and the vibrancy of the new songs. The lead single “tied in a knot” was released on July 21, 2026 and expresses a catharsis from the oppression of the working class by the oligarchy. Expect further singles to be released throughout 2026 and a new album in 2027.

Listen to our interview with Casey Banker on Bandcamp and follow Modern Leisure at the links below. Modern Leisure will perform at Blucifer’s First Rodeo on Friday 24, 2026 at 7PM at Adrift Tiki Bar.

Modern Leisure on Bandcamp

Modern Leisure on Instagram

Queen City Sounds Podcast S6E7: Blucifer Fest

Blucifer Fest pre-show, photo courtesy Gillian Pasley and Mike Young

Blucifer’s First Rodeo is the debut edition of Blucifer Fest, a music festival focused on local artists, independent venues and businesses as well as DIY spaces and the active Denver house show scene. The festival runs from Thursday July 23, 2026 through Sunday July 26, 2026 beginning with the DIY venue shows, the small venues and businesses on Friday and Saturday and closing with the house shows on Sunday and ending with a few performances including bands from the fest’s primary organizers. Two of the main heads behind the festival are Gillian Pasley of the cosmic Americana band Caspar Milquetoast and Mike Young of the psychedelic country group Clementine Was Right. Both had extensive experience in the world of underground and DIY music before moving to Denver during and shortly after the lifting of the pandemic restrictions. Pasley came from the East Coast and went to college in Ohio having organized a festival while in high school and putting together shows as a student at Oberlin and playing in various bands prior to moving to Colorado in 2022. Young is from California but has spent time in Portland, Oregon, New Mexico and other parts of the country playing in bands and organizing shows himself before landing in Colorado in 2020. Both have become significant participants in the local music community in addition to writing music and performing in two of the local scenes most noteworthy bands. For the festival the two pooled resources and traded ideas and honestly planned and executed one of the most ambitious local music festivals in the modern history of Denver by incorporating the DIY music scene more completely as well as the house show scene not to mention the significant Baker district area that has been a home to a good deal of local music venues featuring underground artists for decades. The festival involves hosts of the venues and Pasley and Young aimed to help participants know how to do this sort of thing themselves and in effect become stakeholders in the event in a way that empowers them some too. Going to any or all nights of the festival and you could randomly pick one of the venues and see a band that represents well some corner of the music scene as well as catch some of the more celebrated relatively underground artists. The festival sold out more than a month before it happened indicating that the festival was a success before it even happened at least on that score but also the planning of not just the shows but the amenities and promotion of the event and how the organizers of Blucifer Fest have thought about so many aspects of the event and put together shows leading up to the show with aims of highlighting the local scene throughout the year. Other festivals take note and not just those in Denver.

Listen to our interview with Gillian Pasley and Mike Young on Bandcamp and for more information about the festival please visit bluciferfest.com. The festival runs from July 23-26, 2026 and is currently sold out but you might be able to find a ticket.