Bex Marshall is a blues musician from the UK who started making a name for herself internationally with the release of her 2008 debut album Kitchen Table. But by then Bex was already a veteran having worked as a croupier at 18 and traveling around the world working gaming tables on cruise lines and illegal poker games in Amsterdam. She spent a good deal of time in Australia and often hitch hiking on cattle trains and otherwise added to her life experiences for her songwriting. Marshall started playing guitar at 11 and since then has honed her craft and her prowess as a blues musician is obvious from her records and her fiery live performances with a commanding voice that got her invited to serve as the “Janis” by Sam Andrews, the original guitarist of Big Brother and the Holding Company, on their 2014 European Tour. Marshall’s musicianship and songwriting while rooted in the blues transcends the category with the creativity of her craft and one of her main inspirations is the late, great, rock and R&B singer Tina Turner. Until now, Marshall’s most recent album was 2012’s The House of Mercy. A rigorous touring schedule, the 2017 loss of her husband and executive producer Barry Marshall-Everitt and of course the 2020 pandemic and its fallout stretched the timelines for many artists. But on March 1, 2024, Marshall will release her new record Fortuna via Dixie Frog. The new album is a showcase for Marshall’s passionate performances and masterful musicianship as well as her keen ear for imaginative arrangements in a musical style that can sometimes seem fairly narrowly traditional.
Listen to our interview with Bex Marshall on Bandcamp and follow her at the links below including the pre-save link for the new album.
Tigercub is a rock band from Brighton, England that formed in 2011 by vocalist and guitarist Jamie Stephen Hall and drummer James Allix who met a university and joined by bassist Jimi Wheelright in 2012. From its earliest releases the trio has demonstrated a knack for crafting commanding hard rock with a cinematic sensibility that it has consistently evolved into a body of work that has expanded its range and variety of expression across now three albums including arguably its most fully realized work to date with 2023’s The Perfume of Decay. The group’s 2021 album As Blue as Indigo delved deep into themes of anxiety, depression, mortality and loss. The latest release found the band exploring the use of found tapes that Hall had been collecting from old Dictaphone machines found in thrift stores as a layer of atmosphere that served as almost a sonic canvass upon which its hard rocking sound could find a subtle context. It’s a subtle effect but for the keen listener there’s a certain something to the music on the record that lends it an emotional impact like a well chosen setting and time of year can add something unmistakable and compelling to a film.
For the new album some of the themes of the previous offering linger as emotional fallout and reflecting the kinds of experiences we all go through when we’ve been through a particularly traumatic period and have to return to going through the usual daily experiences with a different emotional lens having been changed by grief and existential turmoil. For the new record the group seems to have taken in the influence of early shoegaze and Can in terms of working out the underlying moods and atmospherics and challenging themselves to produce something another level of creative ambition with its arrangements. You can hear the impact of Queens of the Stone Age in its fluid use of heavy guitar and rhythms but in its perhaps not as obvious ear for the aesthetics of electronic music and in the structure of where the sounds sit in the mix one might compare Tigercub to Failure whose own fusion of hard rock, post-punk and the influence of cinematic sound design has yielded its own career of noteworthy records.
Tigercub is currently on tour with alternative rock legends Porno for Pyros for what is apparently it’s farewell shows and you can catch them at The Fillmore Auditorium in Denver, Colorado on Thursday, February 22, 2024, doors 7 p.m., show 8 p.m.. Listen to our interview with Jamie Stephen Hall on Bandcamp and follow Tigercub at the links below.
Friday | 02.02 What:Honey Blazer w/The Blue Rider, Ryan Wong Band and Soulfax DJs When: 8 Where: Hi-Dive Why: This will be an evening of bands who have drawn upon some of the essence of the songwriting prowess and musicianship of 70s era rock where psychedelia and Americana blurred some lines. Honey Blazer’s 2022 album Lookin Up revealed a knack for channeling that lush and chill Laurel Canyon country rock and weirded it up some with layers of atmosphere and texture expressed as entrancing pop songs. The Blue Rider’s vibe is more like unhinged garage rock in that 60s mode but driven in part by analog synth weirdness. Ryan Wong Band sounds like Wong himself went on a retreat and took in the entire catalog of 70s country and injected it with some of the cosmic strangeness of Townes Van Zandt.
Yard Art, photo courtesy the artists
Saturday | 02.03 What: The Disassociation of Aaron Dooley, Yard Art and Psilocyborne When: 9 Where: Roxy on Broadway Why: Aaron Dooley is perhaps better known for his membership in Denver shoegaze greats Totem Pocket. But in 2023 he put out an album called The International Disassociation of: Aaron Dooley that is like a combination of prog rock, psychedelia and free jazz so this is going to be something a little different. Yard Art’s own alchemy of progressive rock, psych and freak folk will fit in with the night. The name Psilocyborne kind of tells you what that band might be about.
Fainting Dreams, photo from Bandcamp
Saturday | 02.03 What:Flesh Tape and Fainting Dreams album release w/Dry Ice When: 8 Where: The Skylark Lounge Why: This is a dual album release show from Flesh Tape and shoegaze/dream pop/emo group Fainting Dreams. The latter dropped its latest release Those Left Untouched By the Light on January 12 but this is the official unveiling of the album. Anyone that saw the band early in 2023 or in 2022 saw the more dream pop side of the songwriting from Elle Reynolds but recent performances have been more in the vein of tribal noise rock with expansive guitar atmospherics for something refreshingly original that fans of Kansas City noise rockers Flooding will truly appreciate.
Twin Tribes, photo from Bandcamp
Wednesday and Thursday | 02.07 and 02.08 What: Twin Tribes w/Urban Heat and Vandal Moon When: 7:30/8 and 7 Where:Fox Theatre (02.07) and Oriental Theater (02.08) Why: Twin Tribes is one of the most prominent darkwave/post-punk artists in America at the moment. Hailing from Brownsville, Texas, the duo’s richly synth-driven music offers not just tales of the usual rock and roll subjects but informed by the occult and esoteric subject matter that blurs the line between the supernatural, the romantic and a style of science fiction that incorporates elements of Gothic literature. Currently touring in support of its 2024 album Pendulum. Austin’s Urban Heat’s style of post-punk is more steeped in EBM but graced with frontman Jonathan Horstman’s commanding baritone vocals. Vandal Moon is a darkwave band from Santa Cruz, California whose sound seems rooted in a coldwave version of early 80s synth pop with some clear influence from Depeche Mode and Duran Duran.
Chance Peña, photo by Shervin Lainez
Thursday | 02.08 What: Chance Peña w/Hayd When: 7 Where: Lost Lake Why: Rising folk pop artist Chance Peña is a bit of a music industry veteran at age 22 having worked in making music for film and TV as well as contributing to the work of other artists as with John Legend’s “Conversations in the Dark” from his 2020 album Bigger Love. Peña’s latest EP Lovers to Strangers (2023) with lead single “In My Room” dropped in the summer but has major fall energy with its melancholic yet emotionally effusive and vulnerable melodies and tales of life as a thoughtful young person in this very challenging and conflicted period in our culture.
Cold War Kids, photo by Sean Flynn
Friday and Saturday | 02.09 and 02.10 What: Cold War Kids 20 Years Tour w/HOVVDY When: 8 Where: Gothic Theatre Why: Cold War Kids is celebrating its 20 years together as a band with this tour in the wake of the release of its tenth, self-titled, album in 2023. After a trilogy of albums called New Age Norms (1-3 respectively) from 2019-2021 and its topical subject matter examining developments in society and culture with the group’s typically blues-and-soul-infused indie rock flair, the new album feels more like a set of power pop songs but with the same uplifting energy and thoughtful lyrics that has garnered the band its sizable following. Also on board for this tour is Austin-based indie pop group HOVVDY whose own self-titled album is set for release on April 26, 2024. The duo of Charlie Martin and Will Taylor are no strangers of utilizing electronic elements and aesthetics into its sound and performances but the advance singles from the new album sound like the guys have been listening more to some hip-hop production and incorporated beat-making into their songwriting in a way that just expands its evocative range and nuance of composition. It’s a creative development that frankly sets the group apart from many of its would-be brethren in indie music generally especially in the particular way they have utilized the new sound palette. Should be interesting to see how they pull it off live.
HOVVDY, photo by Pooneh GhanaThe Kills, photo from Bandcamp
Saturday | 02.10 What: The Kills w/The Paranoyds When: 8 Where: The Summit Music Hall Why: The Kills have reliably produced hard rocking music of great imagination and creative production since its earliest days and the live shows always never skimping on the passionate performances. The duo’s new album God Games (2023) is yet another flavor of the group’s alchemy of rock and electronic music with some of its more gloriously moody and sonically enveloping pieces of its career. The Paranoyds from Los Angeles has been one of the more interesting punk-adjacent post-punk bands of recent years with its noisy guitar rock and mutant synth freakouts sounding like a band that could have been on both Kill Rock Stars and GSL Records.
Dressy Bessy in 2022, photo by Tom Murphy
Saturday | 02.10 What: Dressy Bessy w/Barbara, The Raton 3 and Bad Boy Bug When: 8 Where: Hi-Dive Why: Dressy Bessy are the reigning legends of Denver indiepop with roots back to its formation in the 90s including then current and former members of The Apples in Stereo and Sissy Fuzz. These days the group is as vital as ever with live shows that are as joyously unhinged in the best tradition of great rock and roll but with catchy hooks and heartfelt lyrics. The Raton 3 is a band that includes Deborah Iyall who some may remember as the lead singer of New Wave legends Romeo Void perhaps best remembered for the iconic single “Never Say Never.” Raton 3 is more like psychedelic indiepop with a tender spirit and the kind of frayed edges you wish you heard more in pop music generally.
Midwife, photo by Tom Murphy
Wednesday | 02.14 What: Midwife w/American Culture, Cherished and Water on the Thirsty Ground When: 7 Where: Hi-Dive Why: Midwife’s ambient folkloric shoegaze that she dubs “heaven metal” is awash in a tenderly cosmic insight into human frailty and vulnerabilities that manifest as deeply atmospheric songs that hit like direct doses of emotional catharsis and transcendence. American Culture is an evolving rock band whose roots in indiepop and punk lands in always interesting and unique places so it’s never quite fit into some trendy subgenre insipidity. Cherished is like if a raw emo band fused with a shoegaze band that came out of punk but with more focused chops. Water on the Thirsty Ground might be different now but it’s experimental, industrial-inflected, noisy glitchcore has to be taken on its own terms of its own unfiltered emotional exuberance.
Yo La Tengo, photo by Cheryl Dunn
Friday and Saturday | 02.16 and 02.17 What: Yo La Tengo When: 7 Where: Boulder Theater (02.16) and Washington’s (02.17) Why: Yo La Tengo delivered one of the best records of its career with 2023’s This Stupid World in which it pushes the boundaries of its pop aesthetic and further into its knack for epic, expansive noise rock. The veteran band has always steered its own course and carved out a unique place as a foundational indie rock band whose sounds have waxed into the realms of Krautrock, space rock, noise, jazz, warmly rendered shoegaze and folk pop with a consistently evocative creativity and imaginative sonics. Live the group has also been pretty reliable as being able to manifest its most delicate songcraft and its roaring burns of rock theater.
Sarah Jarosz, photo by Shervin Lainez
Friday and Saturday | 02.16 and 02.17 What: Sarah Jarosz w/The Ballroom Thieves When: 7 Where: The Gothic Theatre (02.16) and Boulder Theater (02.17) Why: Sarah Jarosz released her new album Polaroid Lovers on January 26, 2024. The now Nashville-based, Austin, Texas born singer-songwriter garnered a sizable following with her more Americana flavored songwriting and delicately expressive vocals and lushly pastoral aesthetic. Her songs have always seemed to be informed by poetically observant lyrics that are vividly rendered emotional experiences and expressed in ways that are refreshingly free of clichés. The new record finds Jarosz building upon her mastery of the use of space and minimalism in her songs with deeper forays into electric sounds and soundscapes without sacrificing the aspects of her songs that feel intimate and brimming with great personal insight.
Tuesday | 02.20 What:Pigs Pigs Pigs Pigs Pigs Pigs Pigs w/Space in Time and Cheap Perfume When: 7 Where: Hi-Dive Why: The band aka Pigs x 7 is a psychedelic doom band from the UK whose musical momentum is almost the opposite of what one most often associates with the current equivalent of stoner rock. Like a weird fusion of Neurosis and Sleep and with a quality that makes you think maybe people in the band were in hardcore groups prior to this. Its latest album Land of Sleeper blends sonic aggression with warped atmospheres and a cathartic treatment of existential dread. Space in Time is the long-running boogie rock/psych doom band from Denver who seem like the idea opening act for this show. Cheap Perfume is the political punk band from Colorado Springs whose joyful takedowns of misogyny and right wing ideology as it manifests in the culture are thrilling because they are creatively and poignantly on point.
Reverend Kristin Michael Hayter, photo from Bandcamp
Wednesday | 02.21 What: Reverend Kristin Michael Hayter When: 7 Where: The Bluebird Theater Why: After Kristin Hayter shelved the arresting avant-garde/classical/noise project Lingua Ignota after a lengthy tour in 2023, the artist had announced a new musical direction with Reverend Kristin Michael Hayter and an album SAVED! Which dropped in October of the same year. It’s a collection of songs that document Hayter’s, according to the blurb on the Bandcamp listing, “earnest attempt achieve salvation through the tenets of charismatic Christianity, focusing on the Pentecostal-Holiness Movement, which dictate that one’s closeness to God is demonstrated through transcendental personal experience.” So it’s a similar experience as what Hayter seemed to be doing with Lingua Ignota and with similar musical methods and sounds but fusing her original music with traditional hymns. Given Hayter’s unique performance style and emotional commitment to the concept as a vehicle for personal transformation it will likely be quite the thing to witness.
Provoker, photo from Bandcamp
Wednesday | 02.21 What: Provoker w/Riki and Candy Apple When: 7 Where: Larimer Lounge Why: Provoker is a post-punk band based in Los Angeles with roots in the musical scores of horror cinema with brooding and low-end robust synth, driving bass lines and soulful vocals. A lot of current post-punk has a spindly lo-fi sound and Provoker is in sharp contrast to that with lush production and a refreshingly richness of tone. Opening the show is the noisy post-punk/post-hardcore trio Candy Apple and Riki. The latter is hopefully due for a new album this year but either way her moody synth pop is like a musical time travel journey to a time and place that doesn’t exist where the 1980s didn’t end and bands could pick up where Depeche Mode left off with Speak & Spell and picked up a bit of Kim Wilde and baked it into modern minimal dance pop.
Weathered Statues, photo by Tom Murphy
Thursday | 02.22 What:Circling Over w/Weathered Statues, Summer of Peril and Mood Swing Misery When: 7 Where: HQ Why: Circling Over is a dark post-rock band from Denver in that heavy shoegaze vein. Weathered Statues is probably the best death rock band in Denver at the moment with poignantly evocative vocals and dense yet dynamic rhythms that set it apart from the often sonically thin music rampant in modern post-punk. Summer of Peril calls itself “grungegaze” but its musical output so far sounds like that end of emo that wasn’t trying to adhere too closely to the punk roots and went for pure emotional expression through crafting vulnerable, atmospheric sounds to process melancholic moods.
Tigercub, photo by Andreia Lemos
Thursday | 02.22 What: Porno for Pyros farewell tour w/Tigercub When: 7 Where: The Fillmore Auditorium Why: Porno for Pyros is an alternative rock band that formed following the 1991 dissolution of Jane’s Addiction when frontman Perry Farrell and drummer Stephen Perkins brought on board Peter DiStefano and Martyn LeNoble for a group with similar sensibilities and knack for unconventional melodies and sophisticated rhythms. The songs that would emerge on the band’s 1993 debut album were more chill and experimental in sound palette than Farrell and Perkins had employed with Jane’s and more psychedelic but maintained a sense of otherworldly mystique that surrounded the music and image of their previous band. The group remained active until 1998 and has had reunion performances since then in the 2000s and 2020s (before the pandemic botched an initial attempt at a reunion and release of new material to support). In 2023 founding bassist Martyn LeNoble announced his amicable departure from the band with his supportive words for the as yet unreleased music aside from the “Agua” single but former member, and punk legend, Mike Watt (Minutemen, fIREHOSE, Dos, mssv, Stooges etc.) agreed to return for this final run of live shows assuming the band doesn’t decided to do performances in support of what one hopes is a final release of the recordings done with LeNoble.
Tigercub is a rock band from Brighton, England that formed in 2011 by vocalist and guitarist Jamie Stephen Hall and drummer James Allix who met a university and joined by bassist Jimi Wheelright in 2012. From its earliest releases the trio has demonstrated a knack for crafting commanding hard rock with a cinematic sensibility that it has consistently evolved into a body of work that has expanded its range and variety of expression across now three albums including arguably its most fully realized work to date with 2023’s The Perfume of Decay. The group’s 2021 album As Blue as Indigo delved deep into themes of anxiety, depression, mortality and loss. The latest release found the band exploring the use of found tapes that Hall had been collecting from old Dictaphone machines found in thrift stores as a layer of atmosphere that served as almost a sonic canvass upon which its hard rocking sound could find a subtle context. It’s a subtle effect but for the keen listener there’s a certain something to the music on the record that lends it an emotional impact like a well chosen setting and time of year can add something unmistakable and compelling to a film.
For the new album some of the themes of the previous offering linger as emotional fallout and reflecting the kinds of experiences we all go through when we’ve been through a particularly traumatic period and have to return to going through the usual daily experiences with a different emotional lens having been changed by grief and existential turmoil. For the new record the group seems to have taken in the influence of early shoegaze and Can in terms of working out the underlying moods and atmospherics and challenging themselves to produce something another level of creative ambition with its arrangements. You can hear the impact of Queens of the Stone Age in its fluid use of heavy guitar and rhythms but in its perhaps not as obvious ear for the aesthetics of electronic music and in the structure of where the sounds sit in the mix one might compare Tigercub to Failure whose own fusion of hard rock, post-punk and the influence of cinematic sound design has yielded its own career of noteworthy records. Listen to our interview with Hall for the Queen City Sounds Podcast.
Thursday | 02.22 What: Spectral Voice album release w/Mephitic Corpse and Street Tombs When: 7 Where: The Bluebird Theater Why: Denver-based death metal/doom band Spectral Voice is celebrating the release of its new record Spargamos with a these days rare performance in town at The Bluebird. The new album expands on the group’s claustrophobic, dark, atmospheric, grinding and caustic sprawl. It hasn’t sounded like some black metal aficionados recording in their bedroom or garage in awhile and that might put off purists but now its darkly cosmic sound just hits with an enveloping spirit of desolated awe in the face of the possibilities of existence beyond our mortal ken. Spooky but never corny.
Calm. (circa 2016), photo by Tom Murphy
Thursday | 02.22 What:Gig for Gaza w/Time/Calm., Church Fire, Stay Tuned, Team Nonexistent and Damn Selene When: 6:30 Where: The Marquis Theater Why: Probably everyone you know to the left of center and at this point even people who think of themselves in the political center in America have been critical of the response of Israel to the October 7, 2023 attacks of Hamas. Dropping more bombs in a shorter period of time on a much smaller land than America did in all of the Iraq War with the supposed aim of rooting out an organization that is often cited as a terrorist organization in the West seems like a genocidal war crime to anyone that isn’t buying into warhawk propaganda. When an election hasn’t been allowed since 2007 and the majority of the population of Gaza and the West Bank in general wasn’t born at that time or an even vaster number at most children it seems obvious that holding them accountable in such a barbaric fashion for the acts of a political party acting rashly in response to horrible conditions imposed on their people should be condemned and de-funded by the rest of the world. Until then independent methods of aiding the people of Gaza have been organized including this event. When world leaders especially those in the USA work to end this conflict and others around the world maybe these sorts of events don’t need to happen to raise funds and highlight atrocities. Fortunately all the acts on this bill are worth seeing beyond any political activism.
Sweeping Promises, photo by Shawn Brackbill
Saturday | 02.24 What:Sweeping Promises w/Colfax Speed Queen and Angel Band When: 8 Where: Hi-Dive Why: A time not so long ago Lawrence, Kansas was known for great, underground indie rock if you were plugged into the DIY circuit. But like all college towns phases of who is around and active changes as the demographics change. So to hear about Sweeping Promises releasing their sophomore album Good Living Is Coming For You on both Feelt It and SubPop came as a bit of a surprise. The duo of Lira Mondal and Caufield Schnug got their start in bands together n the late 2000s while at Hendrix College in Conway, Arkansas and then being involved in the Boston underground scene forming, according to Grant Sharples in a July 2023 profile on the band in Pitchfork, Sweeping Promises in 2019 after trying out different styles of music as Silkies, Dee-Parts and Mini-Dresses. In 2021 the group found a place in Lawrence near University of Kansas where Schnug has set up a studio and already recorded numerous bands. The new record is reminiscent of the kind of thing you might have heard on Kill Rock Stars or K Records in the 90s or out of Athens, GA in the 80s and 90s with punk rock spirit, pop accessibility and lo-fi charm. So if you missed the band when it was in town in September 2023 this is your chance to rectify that as well as catch local psych garage greats Colfax Speed Queen and Angel Band.
Militarie Gun, photo from Bandcamp
Monday | 02.26 What:Militarie Gun w/Pool Kids, Spiritual Cramp and Roman Candle When: 6 Where: The Marquis Theater Why: Los Angeles-based post-punk band Militarie Gun has garnered a bit of cachet for itself with its exuberant live shows and music that taps post-hardcore and noise rock roots for its own melodic manifestation of the synthesis of those influences. In 2023 the group released the anthemic Life Under the Gun and toured extensively in support of the album and now with another swing through Denver in the wake of the release of its new EP Life Under the Sun which is much more minimal versions of songs from the aforementioned record and not so obviously grounded in punk with lush atmospheres and contributions from Bully, Mannequin Pussy and Manchester Orchestra.
Small Black in 2010 at Rhinoceropolis, photo by Tom Murphy
Tuesday | 02.27 What:Small Black w/NITE When: 7 Where: Meow Wolf Convergence Station Why: Small Black were pioneers of the chillwave sound, although it never embraced the genre tag because its own music was more in line with experimental, DIY electronic weirdos like Pictureplane and drawing inspiration from early synthpop which was making up its style as it went and incorporating noise and generating its own aesthetics, when it formed in the late 2000s and its 2010 debut album New Chain a classic of the genre. But that music was surpassed in development and sophistication by its 2013 record Limits of Desire which got a double vinyl deluxe reissue for its 10 year anniversary in 2023. For this tour you’ll probably get a bit of those older flavors of its music as well as its even more lush and R&B inflected newer material.
This episode of Queen City Sounds Podcast is a kind of reverse interview or rather an interview Eddie Durkin of DIY Venues Incorporated conducted with me, Tom Murphy, about how I got into the DIY music world and ideas, issues, concepts around DIY as well as some of the most memorable shows I’ve seen at DIY spaces. My own involvement in DIY music and art as most people know it began when I was in my late 20s and going to see a bunch of bands I had gotten into after most of a lifetime of not going to see live music and when you’re not just into mainstream music that leads you at some point into seeing bands that are part of the real underground. And so in October 1998 I went to go see Sleater-Kinney for their first tour through Colorado and my first time seeing a show in Boulder at the Fox Theatre. Opening were two bands comprised of mostly or entirely of women. One was The Pauline Heresy (two members of which went on to be in the great post-punk/post-hardcore band Sin Desires Marie) and Rainbow Sugar, a hip-hop/alternative rock band who I would go on to see often for a few years leading me to my first experiences with DIY adjacent spaces, dive bars for shows and of course the first DIY space I would visit in Monkey Mania Vol. 2 located in the now more upscale Baker neighborhood. This interview goes into some detail about that story and others. Durkin is a member of the rock band Lazarus Horse and has a long running history with the DIY music and art world himself going back to his teenage years and he started the DIY Venues Incorporated blog to document the experiences of members of his community. Portions of this interview and a second part will appear at a later date on the DIY Venues Incorporated blog.
Listen to the interview on Bandcamp and follow DIY Venues Incorporated at the links below.
Brian Polk has been a fixture of Denver’s local music and literature scene since the 90s. From early punk bands to current projects like the politically-charged art punk bands Joy Subtraction and Elegant Everyone to the deeply personal and sharply humorous, long-running ‘zine The Yellow Rake, the defunct but culturally significant magazine Suspect Press and his fiction (including novels Turning Failure Into Ideology (2007) and Placement of Character (2017)) , Polk has brought a level of craft and intellect to the local scene that frankly we could stand to see more of around the Mile High City. In 2023 Polk released his latest book a bit of a memoir of his time going to see music and becoming involved in the punk subculture called A Lifetime of Ephemera: 25 Years in Punk Told Through Ticket Stubs, Flyers & Memorabilia. It’s an engaging document of Polk’s becoming immersed in punk as related through anecdotes about live show’s he has attended with ticket stubs as they were available, flyers and other memorabilia linking the shared memories to a physical link to the event itself. It was an inherently great idea for a memoir and Polk simply put the work in and present it in a highly accessible manner with insightful commentary about the significance of punk in his life even beyond the music and a subculture in which he could become involved at young age. Perhaps especially significant is Polk’s documentation of the local music scene and venues and the experience of being in a place like Denver and of a time that isn’t otherwise well covered in any other source in one place. In some ways it picks up where Bob Rob Medina’s important 2019 book Colorado Crew: Denvoid Part 2 – A Collection of Tales & Images from The Colorado Punk Scene 1988-1996, his sequel to the also crucial 2015 book Denvoid and the Cowtown Punks: A Collection of Stories From the ’80s Denver Punk Scene. Polk connects the line from that era of the local punk scene to the current era, filling in a critical gap in the narrative of Denver’s underground music scene in a form and style that’s accessible and illuminating.
Lunar Tunes is the the collaborative musical project from Felix Fast4ward (also Felix Ayodele) and Grant Blakeslee (MYTHirst and Skyfloor). The two musicians have been a staple of the local experimental music scene with music that blurs the boundaries between dance music, ambient, indie rock, folk and hip-hop. In both their individual projects and this collaboration, Felix and Grant utilize a spectrum of electronic instruments and those more analog for a hybrid style of performance and production that yielded a half dozen songs on the recent Pieces of Advice EP that are like the more playful and uplifting end of IDM. In moments songs hit like what chillwave might have evolved into had its primary songwriters been more steeped in jazz and avant-electronica. The songs are emotional expansive with even the hint of heaviness eased out of melodies and tonal choices that might be melancholic in the hands of other songwriters. The attention to percussion, rhythm and textural elements is impressive and reminiscent of more experimental hip-hop producers and IDM sound architects alike. Altogether it’s a testament to how the two musicians complement each other well with their individual sensibilities and musical skill sets. It’s an eclectic yet unified and coherent aesthetic of forward thinking, dance adjacent electronic music that is a hallmark to a monthly event Alphabeat Soup that Blakeslee helps curate the second Thursday of the month at The Black Box in Denver, Colorado.
Listen to our interview with Lunar Tunes on Bandcamp and follow the Felix Fast4ward and Grant Blakeslee at the links below. Also linked is the YouTube playlist for Pieces of Advice.
Fire Motel is the songwriting project of multi-instrumentalist and singer Ilya Litoshik. The latter was born in Belarus but his family moved to upstate New York in 1991 when he was a young child. During a stint in the music program at a college in Schenectady, New York his parents moved to Round Rock, Texas and Litoshik ended up dropping out of school but before then a friend that had moved to Denver told him that the city had an up and coming music scene. Spending some time in Round Rock and finding nothing to keep him there the fledgling songwriter with $400 to his name relocated to the Mile High City around 2008. And though he spent his earliest days in Denver crashing on couches and sleeping in basements, Litoshik also fell in with a group of creatives including an art collective called The WPA Collective where he met Bryon Parker and other musicians who were making the Denver underground vibrant at that time.
Over the next several years Litoshik became involved in various projects including Adam Adam with Parker and Corey English. But perhaps the most enduring and popular of Litoshik’s bands until recently was Turvy Organ which ran through much of the 2010s and perhaps prophetically released its final single “Cold Water” on March 13, 2020 as the pandemic lockdowns ended live music and in many cases bands during the course of the subsequent year and a half. In the core of that band’s songwriting you can hear the strains of what Litoshik would do with his next project Fire Motel. Fans of Modest Mouse, Deathcab For Cutie and The National might have found something to really dig into with the excellent Turvy Organ. Early Fire Motel felt more stripped down than that but of course with sophisticated songs and Litoshik’s earnest and unpretentious performance style. However, in the years leading up to the pandemic and certainly after venues started opening again something had changed drastically in Denver in ways that have made it challenging for bands and anyone related to the music industry to develop and thrive. Litoshik felt this deeply and painfully so thinking about places where he might be able to flourish more fully so he moved to New York City in the spring of 2023 to connect with the creative energy of that city where there is always something going on and where a creative community has found a place to grow and be supported by what NYC has to offer in terms of opportunities and cultural infrastructure for decades.
Prior to his move, Litoshik had been working on his next set of songs for release and finally completed the recording and production of The World an Opera for release on October 1, 2023. Litoshik wrote the album, recorded it in his New York residence, mixed the songs and did the other production with mastering by Carmine Francis. Contributing vocals on the album is Alli Walz. You can hear echos of Litoshik’s various influences in the music but the new record combines the more analog musicianship with a kind of sound design and electronic production element for a sound that is deeply evocative and firmly establishes the songwriter as an artist who knows how to articulate a sense of wonder and poetically express the source of our modern anxieties while offering insightful portraits of life that anyone that has been living in the USA in recent years would recognize.
This isn’t a definitive list of the best music that came out in 2023 but just a selection of some of the best that seemed to stand out for Brian Tallman and myself (Tom Murphy). I already chimed in heavily on my Birdy column and will eventually publish my extended year end best albums list in the coming weeks. Tallman is someone I met when I would work out of coffee shops when I was still freelancing for Westword and getting Queen City Sounds and Art off the ground and he seemed very aware of newer music for someone close to my age and had seen plenty of shows going back to the 80s and worked at record store in NYC in the 90s and 2000s. We both went to college in Illinois around the same time, him at Northwestern in Chicago and me at Knox College in rural Galesburg and have a shared cultural background in underground and popular music. We began work on a podcast in 2022 that hasn’t yet seen the light of day discussing music scenes and albums and shows so I thought this year to ask him about a top list of albums and songs for 2023 and shows because he’s been living in other parts of the country and traveling to see shows across America and I’ve been only seeing shows in Colorado but as an active music journalist I’ve been able to see more than most people. Oh yeah, the Sex Swing record is a live album but its versions of previously released material is fantastic. Hopefully you find something of interest in our discussion and maybe discover artists you might not otherwise have known about or whose work you have heard of but have yet to explore. Listen to the discussion on Bandcamp and below I will include playlists for the albums, songs and music by artists at the shows covered.
Weathered Statues is a post-punk band from Denver whose sound is more in the deathrock vein with clear roots in punk with an edge in its overall sound. The quartet got its start in the mid-2010s when singer Jennie Mather’s previous band Cloak of Organs dissolved and she, original guitarist Jason Heller and then (and current) drummer Andrew Warner reconvened as Weathered Statues, borrowing the name from the 1982 T.S.O.L. EP. The group played its first shows by spring of 2017 and was immediately striking for not really fitting in with the ascendant darkwave scene but very much in the post-punk vein of dark tones and an exceptional rhythm section. The following year the band released its debut LP Borderlands via Finnish label Svart Records and toured Finland and Europe in the wake of that release. But within a year or two Heller dropped out of the band, Andrew Warner took a bit of a hiatus during which Clusterfux guitarist Justin Lent filled in on drums before taking over on guitar when Warner returned to the fold and syncing perfectly with Bryan Flanagan’s creative and powerful bass lines.
Since the current lineup has gelled in the last few years Weathered Statues has released the Desolation EP (2019) and played numerous shows and expanding its sound some with Mather taking on the role of keyboardist as well. The band’s music hasn’t always fit in neatly with a subscene in Denver because it isn’t a darkwave band but whose emotionally resonant songs, reminiscent of Xmal Deutschland, Christian Death and Skeletal Family, is clearly adjacent to the sounds of modern darkwave and post-punk groups but its guitar tones tend to be more robust than one often hears among many bands out of that movement and Mather’s vocals more passionate. All the members of the band have been veterans of the Denver music scene with Lent as a member of the aforementioned, long running punk outfit Clusterfux, Mather and Flanagan having been members of punk group The Nervous and Warner in numerous noteworthy rock and experimental bands over the years (including Bad Luck City, Red Cloud, Snake Rattle Rattle Snake, Dormition and currently Slim Cessna’s Auto Club) which goes some way to explaining why Weathered Statues isn’t much like its presumed peers but that storied lineage has also not instilled in the members of the band a sense of resting on its laurels or riding a trend it helped to establish. Its songwriting and commanding live shows speak to deserving that recognition on their own. Expect a new Weathered Statues album by summer or fall 2024.
Listen to our interview with Jennie Mather and Justin Lent of Weathered Statues on Bandcamp and follow the band at the links below. You can catch the outfit live on Saturday, December 30, 2023 at the Hi-Dive with Moon Pussy opening for Denver Americana legends Slim Cessna’s Auto Club and Thursday, February 22, 2024 at HQ with Circling Over, Summer of Peril and Mood Swing Misery.
Church Fire, photo by Tom Murphy, concept by Church Fire
Church Fire is a trio from Denver, Colorado that formed around 2010. It’s sound is “…equal parts industrial synth pop, hyperkinetic dance punk and dreamlike ambient 8-bit EDM doom,” or so this author wrote some time back. The project began as a duo of Shannon Webber and David Samuelson originally calling itself Sew Buttons on Ice Cream and performing shows in the local underground and DIY circuit. Samuelson had been a member of art rock bands Bangtel and Dinner With Cannibals and Webber in political noise punk trio Dangerous Nonsense (which she would continue to front until the mid-2010s). The latter and Samuelson’s previous bands were welcomed by the local, weirdo art rock scene of groups with a penchant for the mutant sounds of artists like Mr. Bungle, John Zorn, Chrome and Frank Zappa that once had a loose affiliation as the Denver Art Rock Collective before that fizzled out in the early 2010s.
In 2012 Church Fire dispensed with its odd assortments of instrumentation and focused on the more electronic songwriting with Webber’s commanding and emotionally electrifying vocals and stage presence and changed its performance moniker to its current form. The name seeming to reflect the band’s anti-authoritarian spirit and its always creative and earnest anti-patriarchal critique. Its developing sound then was more in line with what was going on in the nascent darkwave scene of which Church Fire was not a part and which didn’t have a strong showing in Denver. So the band garnered its own following in Denver aside from what one might presume to be its scene with always strikingly powerful live shows and its undeniably compelling dance beats, entrancing and transporting melodies and rare fusion of joy and righteous anger. All qualities that have remained an aspect of the band’s sound and performance style even as it has evolved.
Around the time Church Fire took on its then new name it shared bills with other acts emerging in new forms and under new names like The Milk Blossoms who had once been called Architect (in which Samuelson plays bass) and Mirror Fears, the solo project of Kate Warner, formerly of dream-pop/indie rock band Talk All Night. Webber and Samuelson grew up south of Denver and Warner grew up on the north side in a family that encouraged creative endeavors and with siblings who made a mark in music in their own right, her brother Andrew now in Slim Cessna’s Auto Club and Weathered Statues and having been in groups like Bad Luck City and Snake Rattle Rattle Snake. There seemed to be a natural affinity and stylistic compatibility between Church Fire’s music and that of Mirror Fears. Warner had played keyboards and synth in Talk All Night but for Mirror Fears she learned electronic production/composition and principles of audio engineering (in part from doing live sound and trouble-shooting gear for a local rehearsal studio and various events) further and her emotionally rich and vulnerable voice has a unique resonance that transcends any specific musical style. In the summer of 2019 Warner had joined Church Fire and put Mirror Fears on hiatus.
As a trio Samuelson took up drums with a rigorous practice regimen that honed a precision and power suitable for the band’s existing music with Webber and Warner experimenting with combining and playing off each other’s strengths as vocalists while taking the group’s songwriting in new directions and maintaining an inspiring and engaging live show. You can go to a Church Fire and be guaranteed to see a fiery performance that invites you along for a shared catharsis. To date the band has played hundreds of shows and released four full-length albums, an EP and a few singles, all worthwhile listens with memorable songs throughout.
Listen to our interview with Church Fire on Bandcamp and follow the trio at the links below. Chances are if it’s a month, Church Fire has a show or two. But the next two shows are on Saturday, December 23, 2023 at The Broadway Roxy with The Milk Blossoms, Curta and Debthedem0 at 8:30 pm doors, 9pm show and Saturday, December 30, 2023 at The Skylark Lounge with Watch Yourself Die, Voight and Horse Girl 8 doors, 9 show.
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