Best Shows in Denver 3/12/20 – 3/18/20

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Robyn Hitchcock performs at Swallow Hill on March 13, photo by Emma Swift

Due to the Coronavirus-related cancellations we will include the shows we already had planned for coverage but indicate that they are cancelled as appropriate and as that information is available.

Thursday | March 12

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Thundercat circa 2017, photo by Tom Murphy

What: Thundercat w/Guapdad 4000
When: Thursday, 3.12, 7 p.m.
Where: Ogden Theatre
Why: Stephen Lee Bruner, aka Thundercat, has been the go-to bass playing genius in the hip-hop world and beyond for over a decade including performing on albums by Kendrick Lamar, Erykah Badu, Kamasi Washington and Flying Lotus. His own music is equally distinguished for its surreal creativity.

What: Harry Tuft and Brad Corrigan (of Dispatch)
When: Thursday, 3.12, 6:30 p.m.
Where: Swallow Hill Quinlan Cafe
Why: Harry Tuft was instrumental in cultivating and fostering the folk music scene in Denver through first the Denver Folklore Center and then through Swallow Hill. He is also one of the great interpreters of that music and a talented artist in his own right and this intimate show will be a good setting to catch him in action.

What: Dwight Yoakam w/Tennessee Jet
When: Thursday, 3.12, 7 p.m.
Where: Mission Ballroom

What: Joe Sampson w/Ben Kronberg and Adam Baumeister
When: Thursday, 3.12, 8 p.m.
Where: Hi-Dive

Friday | March 13

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Mayhem, photo by Tom Murphy

What: Cancelled The Decibel Magazine Tour: Mayhem and Abbath w/Gatecreeper and Idle Hands
When: Friday, 3.13, 6 p.m.
Where: Ogden Theatre
Why: Mayhem is the legendary/notorious black metal band from Norway whose early history was the subject of the 2019 biopic Lords of Chaos. But the current band is equal parts occult rock theater and crushing black metal of devastating power.

What: Robyn Hitchcock
When: Friday, 3.13, 7 p.m.
Where: Daniels Hall at Swallow Hill
Why: Robyn Hitchcock first came to public attention as a member of post-punk band Soft Boys in the early 80s but later in the decade through to today he has established himself as one of the most consistently creative, thoughtful and wryly humorous songwriters of the modern era. With an eclectic songwriting style that weaves in elements of jangle rock (which he helped to pioneer) and psychedelia, Hitchcock’s observational story songs articulate vividly snapshots of the core human zeitgeist of the moment through his lens of an Englishman who has remained open to the world.

Why: Concert for Indigent Defense/Death Penalty Repeal Party: Tokyo Rodeo, Cyclo Sonic and The Slacks
When: Friday, 3.13, 9 p.m.
Where: Skylark Lounge
Why: Tokyo Rodeo is a rock band that by not tying its songwriting to a trendy aesthetic or some classic style has been able to cultivate its own voice in writing songs that delve into the personally meaningful in the musical language of a rock and roll universality. Cyclo-Sonic is a Denver punk super group with former members of Rok Tots, The Fluid, Frantix and The Choosey Mothers. But pedigree is not enough. Fortunately Cyclo-Sonic’s unvarnished rock theater and strong songwriting recommends itself.

What: Snakes w/Colfax Speed Queen and No Gossip in Braille
When: Friday, 3.13, 8 p.m.
Where: Hi-Dive
Why: Snakes is a band that includes George Cessna as well as Brian Buck of High Plains Honky and Kim Baxter of several bands including Gun Street Ghost. Sharing the stage for this inaugural show is psychedelic garage rock powerhouse Colfax Speed Queen and the radically vulnerable post-punk stylings of No Gossip in Braille.

Saturday | March 14

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Ned Garthe Explosion circa 2014, photo by Tom Murphy

What: Ladies Night, Ned Garthe Explosion, Slugger, Despair Jordan
When: Saturday, 3.14, 8 p.m.
Where: Hi-Dive
Why: Ned Garthe Explosion could have a career as a comedy band but its songwriting is too strong and clever for being a mere novelty act. Its nearly unhinged psychedelic rock is always surprisingly compelling. Slugger somehow managed to emerge over the last few years influenced by 70s rock and psychedelic garage rock without sounding like a rehash of a rehash, instead, vital and visceral.

Sunday | March 15

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Ásgeir, photo by Anna Maggý

What: Bolonium, Damn Selene and Gort Vs. Goom
When: Sunday, 3.15, 7 p.m.
Where: Hi-Dive
Why: Bolonium is part weirdo pop band and game show including a section involving audience participation. Damn Selene’s mixes underground hip-hop, darkwave, noise and industrial music. Gort Vs. Goom is like if the Minutemen fully embraced prog rock and Blue Oyster Cult.

What: POSTPONED Ásgeir
When: Sunday, 3.15, 7 p.m.
Where: Bluebird Theater
Why: Ásgeir is an Icelandic songwriter whose blend of folk with electronic production has garnered him a bit of an audience in his home country and abroad. His falsetto combines a sense of intimacy and transcendence couched in transporting tones and grounding musical textures. Currently the artist is touring in support of his latest album Bury the Moon.

Monday | March 16

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Wax Lead, photo by Kristi Fox Fräzier

What: Cancelled Wax Lead, Vio\ator, Voices Under the Mirror and Voight
When: Monday, 3.16, 7:30 p.m.
Where: Seventh Circle Music Collective
Why: Minneapolis-based post-punk band Wax Lead brews its catharsis from lushly brooding female vocals and bass-driven minimalism and a willingness to pointedly tackle social and political issues. Also on the bill is the great, Denver-based industrial post-punk band Voight and one of the few good local EBM acts Voices Under the Mirror and its emotionally rich vocals and songwriting.

What: CANCELLED Destroyer w/Nap Eyes
When: Monday, 3.16, 7 p.m.
Where: Bluebird Theater

Tuesday | March 17

Kronos photographed in San Francisco, CA March 26, 2013©Jay Blakesberg
Kronos Quartet, photo by Jay Blakesberg

What: CANCELLED or POSTPONED Kronos Quartet
When: Tuesday, 3.17, 7:30 p.m.
Where: Newman Center
Why: Kronos Quartet has helped to make classical music cool and relevant since its founding in Seattle in 1973 through creative interpretation of foundational works and the contemporary avant-garde. The Quartet has also been known to indulge in fascinating covers of music in genres beyond its presumed wheelhouse as well as working with noted artists like Laurie Anderson and Pat Metheny.

What: POSTPONED Elohim
When: Tuesday, 3.17, 7 p.m.
Where: Bluebird Theater

What: Bear Hands and Irontom
When: Tuesday, 3.17, 7 p.m.
Where: Globe Hall

Wednesday | March 18

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Jonathan Wilson, photo by Louis Rodiger

What: CANCELLED Jonathan Wilson w/Other Worlds
When: Wednesday, 3.18, 7 p.m.
Where: Bluebird Theater
Why: Songwriter, multi-instrumentalist and producer Jonathan Wilson (Erykah Badu, Father John Misty, Laura Marling etc.) brings a lot of skill, experience and talent to bear on his new album Dixie Blur which he didn’t record at his studio in Los Angeles, where he has produced plenty of high quality material, but in Nashville to be closer to his Southern roots as a musician who grew up in North Carolina. Whether setting matters much in an ultimate sense, the record and lead single “Oh Girl” is informed by a warmth and sensitivity that elevates songs that are already noteworthy for their diverse dynamics and broad palette of emotional coloring.

The Great Dictators’ Video For “Killing Fields” Showcases How Life Goes On Even When it Feels Like the End Times Are Upon Us

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The Great Dictators, photo courtesy the artists

The juxtaposition of black and white cultural artifacts of media yesteryear with rich, distorted synths and electronic beats in The Great Dictators’ video for “Killing Fields” is surprisingly effective in creating an otherworldly space to explore themes of modern anxieties. Humanity has been through periods of that seemed like the end of history or at least of the world as we have, collectively, known it. And all through those times people have had to live their lives and not put everything on hold even as they tangle with the possibility of their way of life coming to an end and the march of historical events right into their lives. The lived experience is not in chapters you can conveniently analyze from a temporal distance. Honorius seeing the Visigoths march into Rome, Paul von Hindenburg appointing Adolf Hitler Chancellor of Germany, the days leading up to the fall of Saigon and countless other points in human history when people made fateful decisions, faced their own destruction or the end of their civilization had mundane stuff they had to deal with. The Great Dictators aren’t saying at all that it’s all going to be okay, even though the upbeat rhythm and brooding pace has some nice pop hooks. They are showing solidarity with the mundanity of even the most dramatic periods in our history like the one we face now and to suggest that many of us, if not most of us, will make it through and have to pick up the pieces as best we can. Watch the video for “Killing Fields” on YouTube, follow The Great Dictators at the links below and look out for the band’s new full length One Eye Opener due out April 17 via Celebration Records.

soundcloud.com/the-great-dictators
open.spotify.com/artist/5lLz1TtyX6e2LlUdbbAsJH
youtube.com/user/TheGreatDictators/videos
twitter.com/great_dictators
facebook.com/thegreatdictators
instagram.com/thegreatdictators

Mingo’s “Morphogenetic Field” is a Sonic Approximation of a Journey Through a Space Fold

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Mingo Myristica cover

There is a sense of floating through a long, gray, luminous tunnel toward an unknown destination in Mingo’s “Morphogenetic Field.” When the percussion comes in it sounds as though it has traveled through water some distance like an echo. The harmonic tones running through the piece drift and fade like rosettes of light through which you pass on the journey. Toward the end of the song these tones unite for a long fade out with the low end becoming more prominent. One imagines experience a slowed down process of being transformed from matter into energy and beamed across space or to parallel dimension and feeling the gradual transfer and remanifestation into physical existence at the end. Or the sensation of traveling through a space fold with one of the Spacing Guild Navigators from the Dune universe and the surreal actuality of bearing witness to such an event firsthand. It gives one pause to consider the many ways we experience technology and how it must seem, echoing Isaac Asimov, like indistinguishable from magic for most of our actual knowledge of its workings. Listen to “Morphogenetic Field” on Spotify and follow ambient/experimental electronic artist Mingo at the links below.

soundcloud.com/mingo-sphere
youtube.com/user/sonarwebnet
twitter.com/mingosfear
instagram.com/mingosphere

Mazeppa’s Video for “The Way In” is a Psychedelic Journey From Academic Curiosity to Mystical Awareness

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Mazeppa, photo courtesy the artists

The video for Mazeppa’s single “The Way In” shows us a woman searching through old stacks of books as the band issues forth layers of drone accented by a Motorik beat and ritualistic vocals. The woman finds herself leaving the shelves of books through an opening into a forest brimming with warm motes of light to meet with two figures wearing vaguely earth goddess robes and painted symbols. They help her discard the raiments of modernity to reveal her new wardrobe as an initiate of an expanded mystical awareness. She dances at a fire while the band, made up to by mystics in their own right, plays for the gathered seekers, the visual sense warping with the bends in tone and ebb and flow of sounds and rhythm. At the end the members of Mazeppa are seen with eyes glowing from the collective illumination that took place and to which you have been invited as well. Musically it’s in the realm of psychedelic rock but one that seems to time travel for influence and borrowing elements of the aforementioned Krautrock and more than the Motorik beats, the modulated distortion into droning atmospherics in hypnotic repetition as one might hear in the records of Spacemen 3 and the mystical bent and ritualistic compositional aspect of Sky Cries Mary. But Mazeppa here doesn’t sound throwback as the sound itself suggests an immediacy and focus on the moment from the beginning of the song to the end. Watch the video for “The Way In” on YouTube, follow Mazeppa at the links below and look out for the band’s full length album due out in 2020.

itunes.apple.com/us/album/storm/1460681099
soundcloud.com/user-222685140
open.spotify.com/artist/6mC7wWLh5lMPJDjFFaBdYs
youtube.com/channel/UCDvEt7UN4sSojx_UKyqiVpw
mazeppa.bandcamp.com
facebook.com/MazeppaBand

Locate S, 1 Gets Real About Mental Health Issues on “Personalia”

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Locate S, 1, photo courtesy the artist

The title track of Locate S, 1’s upcoming full length album Personalia is an upbeat exploration of the wave of darkness that has seemingly filtered through the culture and the consciousness of so many of us in the past several years. With the strong bass line, bright synths and melodious vocals Christina Schneider, singer and main songwriter behind the project, gives us some poetic nuggets of personal despair and self-deprecation like “I can’t see myself in anything” and “Curse another crowd that doesn’t get it. Maybe something’s wrong with me. Maybe I’m just dumb.” Anyone with sensitivity has probably felt that first line and anyone in a “local” band in a city where you’re not playing a trendy style of music, which is to say most artists, has felt the second set of lyrics. You get to the point where you wonder what’s the point. And Schneider nearly did quit, perhaps more than music, as hinted at in the lines “Almost killed myself so I went home / I just cannot take these local shows.” Maybe not to be taken literally but the picture Schneider paints of the mood of late is one that honors the dark places your mind goes when it all seems like you’re hitting your head against the wall for years and for what? Whether that’s with music or just trying to get by in life. But somewhere in the song Schneider reconnects with the small things that make it seem worth it: “Plug in tonight when I get to my room / pretend I’m someone that I could believe in” and “I’ve shorted out but if I play long enough I’ll become the person that I wanna be again.” In singing that Schneider isn’t just saying it’s all going to work out or that hope and “manifesting” is going to make it happen but rather that some self-belief will help make it all seem worthwhile to you even if it isn’t celebrated by masses of people. The song’s fusion of gritty rock with ethereal soundscapes and Schneider’s melodious voice is a refreshingly effective take on a subject that is often avoided in a world of pop where people mention mental health issues but don’t dive deep enough into the core of those anxieties without getting lost there. Personalia, named after a poem by Mary Ruefle, is out on April 3 on Captured Tracks. But for now watch the video for the song on YouTube and follow Locate S, 1 (on tour with of Montreal in Spring 2020) on Facebook, linked below.

Sophomore album Personalia out April 3 on Captured Tracks

facebook.com/christina.schneider.locates1

Siv Jakobsen’s “Fear the Fear” is a Vulnerable and Honest Meditation on Weathering the Personal Storm of Anxiety and Insecurities

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Siv Jakobsen, photo courtesy the artist

On her single “Fear the Fear,” Siv Jakobsen bares the tension between the anxiety and fear that rattle her psyche and their twin ability to fuel the subject matter of her songwriting. She sings “Shake it off, I can’t, I won’t. ‘Cause what would I write about if I don’t fear the fear inside my bones” and evokes another layer of anxiety regarding losing the personal demons that she fears define what seems like an important, and even core, aspect of her identity. In the music video she dons a head lamp, like a personal beacon of hope, and walks through the darkness of that moment looking fearful and nervous but moving forward as wind-like drones swirl in the background, her strong yet delicate vocals provide a focus in the song as though talking herself through the times when that colossus of nerves threatens to overwhelm her. Anyone that has been through that battle themselves can hear their own struggle with no permanent resolution on the horizon in Jakobsen’s song and while the song offers no shallow, pat answers in its gentle guitar melodies and the soothing vocals there is the unspoken will to be calm and patient with oneself until the wave of self-eroding emotional energy passes. Watch the video for “Fear the Fear” on YouTube, follow Siv Jakobsen at the links provided and look out for the songwriter’s new full-length A Temporary Soothing, due out April 24 on U OK?

soundcloud.com/sivmusic
twitter.com/sivmusic
facebook.com/listentosiv
instagram.com/sivjakobsen

The Qualia Feels and Channels the Pain of the Flux in Your Everyday Life on “Like Bricks”

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The Qualia, photo courtesy the artists

At the beginning of The Qualia’s song “Like Bricks,” the staccato guitar line accented by bass with percussion counterpoint is like the introduction of a stream of consciousness timeline. But the story about how life throws unexpected events in your path, often in your face, hitting just as the title suggests. The dynamic unfolding of the song allows all the instruments and the vocals to shine together even though they seem to be going in different directions that somehow still compliment each other. It gives a sense of paradoxically focused disorientation. Maybe because even in the face of multiple challenges in your life you have to at least pretend to be keeping it together while you figure out your bearings to get through. Musically it’s reminiscent of an unusual mixture of Joe Jackson, Supertramp and The Dismemberment Plan as it has that tinge of soul that informs the music of all of those artists. That and a sense of something mysterious on the horizon threatening to crash into your life. “Like Bricks” takes you through some turns but in the end it’s comforting in the way that something or someone can be when you’re hearing your own struggles echoed in someone else’s words and music. Listen to “Like Bricks” on Bandcamp and follow The Qualia at the links provided.

soundcloud.com/thequalia
open.spotify.com/artist/5J077J4BRkCAww4nEVPmti
youtube.com/thequaliany
thequalia.bandcamp.com
twitter.com/thequalia
facebook.com/thequalia
instagram.com/thequalia

Best Shows in Denver 3/5/20 – 3/11/20

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Lower Dens performs at Globe Hall on March 6, photo by Yassine El Mansouri

Thursday | March 5

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PUP, photo by Vanessa Heins

What: PUP w/Screaming Females, The Drew Thompson Foundation
When: Thursday, 3.5, 7 p.m.
Where: Ogden Theatre
Why: PUP started out as one of the new wave of pop punk bands but the inherent psychological insight of its early albums blossomed most fully on its unusually thought-provoking 2019 album Morbid Stuff.

What: Paul DeHaven album release Echoes and Overtones w/Lake Mary/Chaz Prymek
When: Thursday, 3.5, 8 p.m.
Where: Ubisubibi Room
Why: Paul DeHaven (formerly of Paper Bird) is releasing his latest album Echoes and Overtones tonight at an intimate show at Ubisububi Room in the basement of The Thin Man. Time time out DeHaven assembled songs from a large batch of material and found a tonal and thematic resonance among his more mellow compositions and brought in old live favorites “Souvenir American Gun” and “I Love You Love Me” to round out an album of pastoral, vivid stories tied to specific times, seasons and places in DeHaven’s life.

Friday | March 6

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Down Time, photo by Tom Murphy

What: Lower Dens w/:3LON
When: Friday, 3.6, 8 p.m.
Where: Globe Hall
Why: Lower Dens once again gave us a vibrant, evocative electronic art pop album with 2019’s The Competition in which the band uses creativity as a vehicle for exploring the pain and confusion of the current era of history with human civilization at a perilous crossroads between environmental apocalypse and fascism and a path toward a more compassionate and sane future.

What: Down Time – Hurts Being Alive release w/Bluebook and Bellhoss
When: Friday, 3.6, 8 p.m.
Where: Lost Lake
Why: A sonically diverse billing with three of the best bands out of Denver’s indie rock underground will perform this night with Down Time releasing its latest album Hurts Being Alive.

What: Day of Jubilee: Marcus Church and Sliver
When: Friday, 3.6, 5 p.m.
Where: The People’s Building
Why: Rescheduled from February – Marcus Church is a Denver-based power pop trio. Its gently jangle-y and fuzzy melodies sound like singer/guitarist Dustin Habel spent a whole lot of time obsessively listening to only records produced by Mitch Easter and the complete discographies of Teenage Fanclub and Big Star. That also means there’s a tender earnestness to the songwriting imbued with an uncommon tenderness and humanity. Sliver bypassed the 90s grunge nostalgia wave of recent years by making no bones about its musical roots in its hard driving, explosively emotional guitar rock. Mudhoney influence aside, its aesthetic is most informed by both the self-effacing, sensitive, introspective side of Pacific Northwest noise punk and the wiry, politically conscious end of DC hardcore.

What: Murder By Death w/Amigo the Devil
When: Friday, 3.6, 7 p.m.
Where: Ogden Theatre

What: Church Fire, R A R E B Y R D $, Kid Mask, Scary Psychological, Motherfucker Theresa and Buttstuff
When: Friday, 3.6, 8 p.m.
Where: Rhinoceropolis

What: Kool Keith w/DJ A-L opheliasdenver.com/e/kool-keith-85677324183
When: Friday, 3.6, 8:30 p.m.
Where: Ophelia’s Electric Soapbox

What: Cult of Luna w/Emma Ruth Rundle and Intronaut
When: Friday, 3.6, 7 p.m.
Where: Summit Music Hall

Saturday | March 7

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Best Coast, photo by Eddie Chacon

What: Best Coast w/Mannequin Pussy
When: Saturday, 3.7, 8 p.m.
Where: Ogden Theatre
Why: Best Coast is touring in support of its 2020 album Always Tomorrow, its first in five years following a period in which singer Bethany Cosentino felt creatively tapped out and the record is about coming back from that space of feeling trapped inside your own anxieties and emotional exhaustion.

What: Dale Watson w/Chella & The Charm
When: Saturday, 3.7, 7 p.m.
Where: Oriental Theater

What: The Trujillo Company, Elektric Animals, Boot Gun, Holy Roller Baby
When: Saturday, 3.7, 8 p.m.
Where: Hi-Dive

Monday | March 9

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Victoria Lundy, photo by Tom Murphy

What: Freq Boutique 36 featuring Victoria Lundy
When: Monday, 3.9, 8 p.m.
Where: Fort Greene
Why: This is the three year anniversary of synthesizer showcase Freq Boutique that includes good food and drink as well as a synth open mic. This edition will include a performance from Theremin and synth artist Victoria Lundy whose own compositions are steeped in pop and the classical avant-garde. She has performed in various Denver bands including The Inactivists, The Goofus Device and Carbon Dioxide Orchestra.

Wednesday | March 11

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Plague Garden, photo by Tom Murphy

What: Gene Loves Jezebel w/Red Wing Black Bird and Plague Garden
When: Wednesday, 3.11, 7 p.m.
Where: Ophelia’s Electric Soap Box
Why: This is the Michael Aston version of Gene Loves Jezebel, the influential 80s post-punk/new wave band whose eclectic aesthetic and lush melodies influenced a segment of what became alternative rock in the 1990s. Opening is darkwave/shoegaze one-man act Red Wing Black Bird whose 2019 album Too Klaus For Comfort was a unique fusion of synth pop and industrial post-punk and swirling guitar. Plague Garden’s flavor of modern death rock seemingly draws inspiration from the early Cure records and Valor Kand-era Christian Death. The duo recently released the haunting and harrowing LEFT IN THE GRAVE.

What: The Wonder Years w/Free Throw, Spanish Love Songs, Pool Kids
When: Wednesday, 3.11, 6 p.m.
Where: Summit Music Hall

Bliss Carmxn’s “Powder” is a Playful Fusion of Calypso and Pop About the Process of Becoming and Accepting Life’s Ambiguities

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Bliss Carmxn, photo courtesy the artist

“Step by step and day by day I’m removing the powder,” the chorus of Bliss Carmxn’s “Powder” is about the way we use and put on various things to cope and adjust to a world that’s ever changing and leaves us seemingly always off balance but how when we recognize these habits of mind and living we have some chance of finding our equilibrium even if it’s a lifelong endeavor. It might be seen as another way of saying the path is the destination and that that consciousness of it all is where we will find our balance. The song itself embodies this in its fusion of Calypso beats and percussion with pop structure and melodies giving a balance of tonal and rhythmic elements that gives the song a way to be fresh in each iteration of the chorus. The playfulness with which it’s performed also suggests a comfort with the ambiguity that is unavoidable in life and thus a cultivated ability to roll with what comes your way. Listen to “Powder” on Spotify and follow experimental pop artist Bliss Carmxn at the links provided.

blisscarmxn.com
facebook.com/blisscarmxn
instagram.com/blisscarmxn

Esbie Fonte’s Darkly Poetic, Urban Folktale “Time Traveler” is as Inviting as it is Foreboding

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Esbie Fonte “Time Traveler” cover (cropped)

Esbie Fonte paces “Time Traveler” as though she’s walking down a corridor with images from the past several decades and giving a guided tour of where the human race has been and where it’s going. What gives it an unusual and interesting quality is how it is sometimes related from the first person like an autobiography related by someone who has been able to partake of that timeline in its tragically poetic, heartbreaking moments. Musically its somewhere in the realm of dark, lush folk in instrumentation and in free use of natural textures and rhythm. There is a vulnerable, even fragile, quality to the songwriting that is as inviting as it is foreboding. Fans of Marissa Nadler will appreciate the way Fonte’s mythical storytelling imbues it with a subconscious quality as though coming from a place of raw subjectivity. The vocals in being unconventional and quavering with the heft of emotion should resonate for those with an appreciation for Kimya Dawson’s idiosyncratic delivery of her own insightful poetry in song. Listen to “Time Traveler” on Soundcloud and follow Esbie Fonte at the links provided.

soundcloud.com/esbiefonteofficial/boulevard-1
open.spotify.com/artist/6Sh3ahSTQD6LqMh1wMaSLY
twitter.com/esbiefontemusic
facebook.com/esbiefonteofficial
instagram.com/esbiefontemusic