bellhoss, photo courtesy the artists and taken at JCPenney
Bellhoss is an indie rock band from Denver, Colorado that began in 2017 as the solo act of Becky Otárola that grew to a full band within a couple of years. The songwriter came up in Southern California immersed in folk and bluegrass and underground music of the 90s and 2000s. Otárola moved to Denver in the first half of the 2010s and in the early days of the project she played open mics at Syntax Physic Opera and as perhaps a natural progression from there fell in with the local indie scene and as the band developed so did the songwriting and by the time of the release of the 2019 EP Geraniums bellhoss its sound had taken on aspects of slowcore with delicately rendered melodies and a warmth of expression reminiscent of Waxahatchee and Jay Som. With the release of the 2024 EP A Rose, a Thorn, bellhoss revealed a knack for blending vulnerable and thoughtfully observant songwriting with luminous dream pop and a bit of musical edge. 2024 also sees Otárola organizing the inaugural SarahFest, an all ages music festival designed to give a platform to female and female-fronted bands along Colorado’s Front Range taking place at The Mercury Cafe on Saturday, June 15.
Listen to our interview with Otárola on Bandcamp and follow bellhoss at the links below. Also linked is the ticket link for SarahFest.
SarahFest featuring Bellhoss, The Milk Blossoms, Luna Nuñez, Dream of Time, Gartener, Summer Bedhead, Tammy Shine, Nina De Freitas and Demigod (DJ set) at Mercury Cafe, June 15, 2024, all ages $20 6PM.
Death was one of the foundational bands in the metal subgenre sharing its own moniker. Along with Possessed and Necrophagia, all of which started in 1983, Death created an extreme form of guitar-driven music that combined speed with a heaviness and aggression that served well its often horrific subject matter. Its debut full-length Scream Bloody Gore (1987) set a high bar for the genre with convoluted guitar work courtesy the band’s de facto leader and sole consistent member until his 2001 untimely passing Chuck Schuldiner. Its horror cinema themes and intensity wasn’t for every metal fan of the time but the influence of the record on what would come in its wake in extreme metal and the genre of death metal itself is undeniable. Subsequent albums built upon the technical aspects of the music and its lyrics moved on from horror themes and by the time of 1990’s Spiritual Healing the lyrics engaged in social commentary and horrors of the real world and its own breed of monstrous human behavior. Across its subsequent albums the songwriting blossomed in technical complexity and focus in lyrical themes in expressing poetic personal perspectives. Tragically Schuldiner passed in 2001 of a brain tumor but the legacy of Death lives on in its obvious and deep influence on modern heavy metal. Drummer Gene Hoglan was acontributor to the albums Individual Thought Patterns (1993) and Symbolic (1995) and one of the driving forces behind Death To All, a project paying tribute to the creative achievements of the band and its primary songwriter, Chuck Schuldiner.
Caterwaul is a music festival that showcases of paragons of the weird, loosely defined, in underground music. The organizers of the event have been steeped in left field music going back decades as musicians, bookers, record label employees, running labels and otherwise active participants throughout the ecology of the subculture. Since 2022 Caterwaul has hosted a finely curated and small scale event across two venues so that attendees can realistically catch every act if they so choose. This has meant lineups featuring the likes of Chat Pile, Multicult, Kal Marks, Big Business, Tunic, The Grasshopper Lies Heavy, Moon Pussy, Animal Bite, A Deer A Horse, Big’n, Heet Deth and Cherubs. All of which represent not just representative of a spectrum of the best of underground weird music but also active participants in their local, national and international communities in keeping non-mainstream music not just a vital, viable but rewarding milieu in which to operate. Organizers Conan Neutron (Conan Neutron & the Secret Friends), Rainer Fronz (Learning Curve Records) and Melanie Thomas have all helped to establish and maintain the connections that make the festival possible but going through to its third year in 2024 when the event runs Friday, May 24 through Monday, May 27 at Mortimer’s and Palmer’s in Minneapolis, Minnesota. This year’s festival will include performances by Brainiac, Oxbow, Flooding, Whores., Part Chimp, J. Robbins Band, Couch Slut, Gaswar, Thrones, Ganser, Almanac Man, Quits, CNTS and powertakeOFF. For more information, the full schedule and to buy tickets please visit caterwaul.org.
Listen to our interview with Conan Neutron and Rainer Fronz on Bandcamp.
Swans are the influential, experimental rock band formed in New York City in 1982 as one of the standout acts of the no wave scene. Fronted by singer, songwriter and multi-instrumentalist Michael Gira, the group’s ever-evolving lineup and sound has helped pioneer and in many ways define aspects of noise rock, industrial music, post-punk and in later eras of the band post-rock. Its earliest records were brutal affairs of a stark beauty and unsettling intensity. By the last half of the 80s singer and keyboardist Jarboe had joined the band and its music began to increasingly incorporate a musical intricacy, melodic ambiance and emotionally nuanced delicacy that became a regular feature of the songwriting. And for years the constant members of the band were Gira, Jarboe, and longtime guitarist Norman Westberg. Swans might have come to an end on a high note following the tour for the sprawling epic of the masterful 1996 album Soundtracks For the Blind. But in 2010 Swans reconvened and began another great arc of songwriting with songs that had an even more orchestral aesthetic than in the past and a series of albums that have delved into themes of existential terror, mortality, death and the search for meaning later in life in a world seemingly on the brink of unraveling. The latest Swans record, 2023’s The Beggar, finds Gira and his collaborators manifesting some of the songwriter’s most personal statements in songs that experiment even more deeply into modes of expression that disregard conventional notions of song structure and length in favor of experiential truth.
Swans is currently on tour in support of The Beggar for its first full North American tour since 2019 (band member Kristof Hahn Is the opening act) with a stop at the Gothic Theatre in Englewood, Colorado on Tuesday November 7, 2024 (7pm doors/8pm show). We recently had a chance to interview Gira via email about the music, his interactions with the public and the works of other artists and the new album.
Tom Murphy: In your social media presence you frequently share films, other works of visual art, music and literature that you’ve been taking in that has had an impact on you. Do you find yourself drawn to particular works that you encountered earlier in your life that resonate especially strong with you now and why so?
Michael Gira: I share as little as possible about Swans and myself on our social media accounts. I only post about Swans when it’s pertinent to a new release or a tour etc. I find the medium appalling and disgusting, but I recognize it’s one of the few ways we have of letting people who are interested know when there’s something happening with the music they might like to know about. In the meantime, I post about visual artists or writers or music that I find compelling. More specifically to your question, on a personal level I often find myself returning the art of Francis Bacon, the writing of Jorge Luis Borges, and the music of Nico.
What newer artists and work have you found especially fascinating and even inspirational of late and why does it resonate with you so strongly?
The music of Maria W. Horn is fantastic and I recommend it highly, as well as her work with the singer Sara Parkman (as Funeral Folk).
As a writer of music and literature do you find encountering and absorbing the creative work of others an essential part of your process?
No. It’s enough of a struggle to make something that seems worthwhile without thinking about other people’s work.
Swans albums, especially those since reconvening, seem like quite a production. Do you approach writing and recording them in a method similar to a film director in assembling the talent and collaborators to realize them and then perform them live?
No matter how strongly I vow to keep things simple, each album inevitably burgeons into a cascade of chaos and conflicting forces and then ultimately the creative act is figuring out how to find order in the mess I’ve made for myself.
The Beggar feels like a bit of a different record for Swans. Its tensions, pastoral daydreamy sounds and spirit of unease in certain songs feels like its coming from a different place. Like a musical Ecce Homo. Were there personal insights that have come to you recently in your life that helped to shape the songs you wrote for the album?
The music and the words grow organically somewhere inside my experience and I shape them as dispassionately as I can into a form that seems compelling and irreducible. I don’t think about content much, per se, though I presume it’s there.
You have lived on both coasts of the USA and abroad but are now based out of New Mexico. Has living in The Land of Enchantment had an influence on your creative work?
Not at all, no. I’m never home anyway.
You have said that when you were finally able to work on The Beggar that it was like “he moment in The Wizard of Oz when the film changes from Black and White to Color” and now you’re feeling optimistic. What do you think accounts for what might seem like a shift in outlook for you?
I’ve realized that I feel most alive when I’m doing what I was put on earth to do, which is to make music as best I can. The period of isolation during the pandemic was a prolonged suffocation. I’m sure it was the same for many people.
The artwork for The Beggar includes images of a heart and lungs. What is the significance of that imagery for the record?
These are the internal organs that I have found to be most crucial, personally.
Perhaps you’ve discussed this elsewhere but the sleeves/CD covers for many of the current editions of Swans albums available seem to be printed on paper that looks unbleached. What about that look and texture do you think suits your music and its presentation?
I like for the work to be tactile, a palpable physical object.
Live you seem to perform longer pieces of music like “The Seer” and “Bring The Sun Toussaint L’Overture” (which is a choice historical reference). Might we see “The Beggar Love (Three)” on this tour? What is the appeal for you of performing these longer compositions on tour?
Live, the music grows and grows and grows over the course of a tour. The opening piece of our current set has now morphed into something like an hour and 20 minutes. Don’t ask me why this happens. We follow the music; it leads us. We’re inside it and it controls us, I guess would be the best way of putting it.
Young Rising Sons are an alternative pop band that formed in Brooklyn in 2010. Bassist Julian Dimagiba and drummer Steve Patrick grew up in Red Bank, New Jersey playing music and caught singer Andy Tongren performing an acoustic set at a New York Cit bar and struck by his skills talked with him later about joining their fledgling band. The new group spent a few years with different names while writing songs and settling on the name Young Rising Sons. In 2013 the group signed with Dirty Canvas Music and their 2014 debut single “High” became a bit of a global viral hit leading to the band signing with Interscope that same year. For the following two years the quartet toured opening for the likes of Halsey, Weezer, The 1975 and The Neighbourhood. Although Young Rising Sons delivered three EPs with Interscope as with many other worthy artists that didn’t translate to the commercial performance expected by a major label. In 2017 the band parted ways with Interscope and a year later announced a hiatus that lasted a couple of years. Since reconvening the outfit has been regularly releasing singles and in 2022 it dropped its debut full length Still Point In a Turning World. Tongren’s soulful and passionate vocals and the tight pop songcraft of the band has remained intact. Its body of work including its new single “(Un)Happy Hour” reveals a sensitivity to the complexity and fragility of human life and the importance of accepting the high points and the low to experience to make it through an oftentimes challenging existence with dignity and a sense of fulfillment.
Je est un Autre is a solo project from Dylan Desmond who is perhaps most well known as half of cosmic doom band Bell Witch. Borrowing the name, which means “I is another,” from poet Arthur Rimbaud’s declaration on the nature of being, Desmond has crafted a set of six songs for the project’s debut album Flatworm Mysticism (released March 1, 2024 ) that embody an evocative style of soundscaping and composition reminiscent of the soundtracks to the existential science fiction and adventure noir films of the 70s and 80s like Aguirre, the Wrath of God, Stalker, Sorcerer and Blade Runner and more contemporary manifestations of similar creative impulses like the films of Robert Eggers, Alex Garland and Rose Glass. Desmond had some opportunity to exercise these creative skills when Bell Witch launched its Patreon in 2021 and he beagan writing original pieces to be paired with sections from influential films. But he set aside the bass he usually plays in Bell Witch and took on synths as the vehicle of expression. The album has titles that suggests ideas from obscure science and esoteric knowledge with sounds that perfectly embody those resonances.
Listen to our interview with Dylan Desmond on Bandcamp and follow Je est un Autre and Desmond’s other projects at the links below.
Orange Peel Moses has been a figure in the Colorado music scene going back over a decade. He first came to prominence in the 2000s for his collaborations with production duo Friends in Stereo garnering critical and popular acclaim for a string of singles that bridged a gap between pop, indie rock and electronic dance music. Around that same time the Orange Peel Moses also entered into a long career as a singing telegram artist whose performances have appeared on television. He is also a stilt performer who has been onstage with LMFAO and Will.i.am at Ultra Music Festival in Miami as well as the Electric Daisy Carnival. He has also done impersonations of various characters like Hunter S. Thompson, The Grinch, Jack Skellington and The White Rabbit from Alice in Wonderland. You might not be able to track down a conventional physical release of any Orange Peel Moses music because he’s mainly been focused on occasional singles as original releases including his new song “Under the Eclipse.” The song was written by OPM who also performs lead vocals but the rest of the music was brought to life by collaborators like engineer, producer and musician El Javi, Erik Deutsch on piano (Leftover Salmon, The Black Crowes, Dixie Chicks etc.), percussionist Zay Alejandro Rios and backing vocals by Lex Alvis. All mixed and mastered by Andy McEwen at Crucible Recording in Eldorado Springs, Colorado. The song is about a man who is looking for a partner with whom to make a “magical eclipse baby with him during a total solar eclipse.” In the lushly colorful music video we see live musical performances tof OPM test-driving the song in front of audiences mixed with frolicking in clubs and scenes of the narrator of the story living out his dream. Musically it’s a charming and humorous blend of piano driven, folk-inflected indie rock and gentle psychedelia reminiscent of early 70s Cat Stevens. In the wake of the release of the single Orange Peel Moses will perform during the Texas Eclipse event at Reveille Park Range Friday April 5, 2024 through Tuesday, April, 9, 2024 in the path of totality. Following that on April 19 at Archipelago Clubs for “Singaversary: 20 Years of Singing Grams” to mark a major anniversary of his career.
Listen to our interview with Orange Peel Moses on Bandcamp, watch the music video for “Under the Eclipse” below and follow the artist at the links provided.
Dust City Opera is a rock band from Albuquerque, New Mexico whose sound interweaves orchestral Americana, dark psychedelia and art pop into cinematic and literary songs filled with evocative tales of “sadness, madness and mayhem.” But within the group’s rich body of work there is a surreal sense of humor and humanity that reveals an empathy for the human condition and the characters and situations depicted in which listeners can identify aspects of their own experiences navigating our often physically and emotionally perilous world. Since it’s 2018 foundation, pick any of Dust City Opera’s albums from its 2019 debut album Heaven to 2022’s horror and science fiction themed Alien Summer record to the 2024 EP Cold Hands (released March 8 via Rexius Records) and you’ll hear imaginatively eclectic arrangements and vivid narratives from a band that seems fully realized even as it’s still relatively early in its career. There is a theatrical sensibility to the music that translates to the band’s live performances that fans of the likes of DeVotchKa and Beirut will appreciate.
Listen to our interview with Dust City Opera on Bandcamp and follow Dust City Opera at the links below. Dust City Opera is now on tour starting April 4, 2024 throughout Colorado and the midwest including a stop in Denver at Swallow Hill on Saturday, April 6 with Avourneen, doors 7pm, show 8pm. THIS SHOW HAS BEEN RESCHEDULED FOR SEPTEMBER 7, 2024.
Andrés Cepeda is one of the most well known musical artists out of his home country of Columbia. A musician since an early age, Cepeda studied music in college and became the lead singer in Latin pop-rock group Poligamia throughout the 90s before pursuing a solo career by the end of that decade. Cepeda’s musical range and depth has garnered him both critical accolades and commercial success in Colombia with his 2001 album El Carpintero going quadruple platinum. He is a four-time winner of the Latin Grammys and his 2023 album Décimo Cuarto attained Gold certification. His emotionally rich and nuanced vocals and musicianship has made the artist a popular figure at home in a similar status as Shakira and Carlos Vives and he has been a judge on La Voz, the Colombian edition of The Voice for twelve seasons. In April 2024, Cepeda will embark on a North American tour of 19 dates including Carnegie Hall in NYC. Calling the string of dates the Tengo Ganas tour, Cepeda and his band will focus more on the pop, rock and electronic side of his songwriting than the more traditional and Balada style with which his name is often immediately associated.
Chew is a band from Atlanta, Georgia whose music defies simple categorization. Until late 2023 Chew had been a trio is now a duo comprised of Brett Reagan who plays sampler, synth bass and guitar while running strobe lights and Sarah Wilson who plays drums and bass lines with a drum sample pad. The project has toured the US and Canada extensively with three European tours under its belt. Because the outfit’s music is so unorthodox it’s music spans and often in the same song the realms of psychedelic and noise rock, ambient, noise, industrial and electronic dance music. Fans of the likes of fellow travelers of eclectic weirdness like Guerilla Toss, Black Moth Super Rainbow and The Spirit of the Beehive will find an immediate connection with the music Chew has been crafting since its inception. Its 2022 album Horses resonates with recent releases by Jockstrap and Sextile without the inspiration of either to feed into its stream of inspiration and influences. In addition to the music Chew’s surreal album covers and inspired song titles suggest more than a passing familiarity with esoteric knowledge and other obscure and niche realms of knowledge as well as a knack for clever wordplay. It all adds up to an uncommon depth of creative development that rewards anyone taking in the music and its presentation beyond the surface level.
Listen to our interview with Brett Reagan of Chew on Bandcamp and follow Chew at the links provided Chew performs at The Skylark Lounge on Monday, March 25, 2024 with local noise rock phenoms Moon Pussy and legendary industrial dance trio Church Fire. Doors 7:30 p.m..
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