Jon Ives has said that “Between The Times” feels to him like the end credits of a movie or video game. And the way the song evolves and resolves feels like the conclusion of something for certain. Especially when the gently swirling synths come in, sweeping into the song like cool ocean breeze, clearing out the unresolved issues and bringing a clarity to the next section of the song that sounds more certain than the reflective tone of the first third of the song. The tonal pitch on the synth in the final third of the song used more sparingly earlier puts you in a frame of mind of concluding your current life’s adventure, to accepting closure of feelings you were processing maybe for years but which seem clear to you know and ready to put to rest. It is a song that welcomes you to where you’ve been wanting to end up but where your conscious mind was blocking you from accepting until now. Listen to “Between The Times” on Spotify and follow Jon Ives at the links below.
“Indecision” by Amberhill begins, oddly enough, on a note of raw musical enthusiasm before falling back into a melancholic introspection. But throughout the intricate, math-y guitar work threads the song with the fragile emotions and nervous energy one would expect of a song about a love long desired but never fully acted upon—the sort of subject matter of many an emo song. The upswinging arpeggios and emotional exuberance and countermelodies, though, set “Indecision” beyond the purview of emo throwback. The musicianship is technically proficient but the performances heartfelt, the delicacy of feeling in the lyrics are informed by an emotional nuance that speaks to an understanding of the human heart that goes beyond the black and white feelings of adolescence. There is a care and a warmth to the romantic tones of the Joshua Lau’s singing and the rush and dissolution of mood evolve with the dynamism of the tides reflects the songwriter’s intimate familiarity with the ways one’s feelings evolve over time and the way strong feelings dilates your experiential time. The synth work in the song in particular enhances the whimsical, daydreaming quality of the sparkling guitar giving the track a sonic depth that isn’t always there with music written in a similar or adjacent style. “Indecision” is the lead track on the project’s forthcoming album Motion & Bloom but for now you can listen to the song on Spotify and follow Amberhill on the band’s Spotify artist account.
Tess Posner wrote “New Angels” as a response to her witnessing a man being killed but not covered by the local news. But the song is also inspired by what seems to be a never ending series of catastrophic events in the world of late including the 2018 Camp Fire in Northern California that devastated huge swaths of the forest and sent smoke into the air affecting the environment and living creates far beyond the borders of the state. Posner’s dynamic vocals range from the close and personal to the soaring and in her words we hear the ways in which despair can be instilled in us but also how we can resist giving in to that psychological paralysis that makes even worse consequences inevitable. Posner offers no shallow and pat answers or the insipid hopes and prayers pabulum. She evokes her own reaction to events and how she tries to transform despair into hope and action in spite of the pain and struggle hinting that maybe we all need to be the world’s new angels in the ways that we can in order to turn things around. Listen to “New Angels” on Soundcloud and follow Posner at the links provided.
Plucked violin and mysterious vocals that arrive with a brief melodic fanfare open Alicia Enstrom’s “Half Moon” letting us know we’re entering otherworldly territory. Enstrom’s compositional structure is unusual in that she dispenses with the verse chorus verse structure of a pop song entirely especially in the middle of the song where the sonic fog effervesces and her voice wanders through luminous white noise and abstract, melodic tones, enshrouded by rising, crystalline notes as though shedding the expectation of everyday, mundane reality and lifting off to her own psychological space and not defined by convention and she takes us, the listener, along on that journey and invites us on one of our own showing how its not so very difficult to step out of the contexts that have hemmed you in and shaped your psychology in ways maybe you don’t fully understand until you step away from the world you think you know for a moment and can see yourself for who you are. The song is part of Enstrom’s Monstrosity EP due out September 6, 2019. Listen to “Half Moon” and watch the video on YouTube and follow Alicia Enstrom on her Spotify account.
The Qualia really capture what it feels like to look good on the outside but falling apart on the inside on “Dress to Kill.” The first part of the song is cast in jangle-y guitar sounds and a borderline menacing cadence. But a little over halfway through the tone is more ethereal and melodic, the vocals more soaring as the subject of the song can’t contain the geyser of anxiety any longer, the pressure of keeping up appearances discarded completely. The touch of synth melody and echoing guitar is reminiscent of the simple but evocative way The The used to use similar elements to mix earnest instrumentals with the electronic. In the end the song addresses how maybe in our most exposed moments about which we should be most embarrassed might be the only times in life we’re fully free to be who we are even if others are repulsed by our reality and we end up isolated from “respectable” company. In the closing moments of the song it feels like The Qualia is saying it’s worth it for those moments of honesty and personal liberation from the manufactured constraints of hypocritical polite society. Listen to “Dress to Kill” on Soundcloud and follow The Qualia at the links below.
In the music video for “Sorceress,” the band Desert Sharks looks like a cool, Goth street gang with more than a passing familiarity with the occult. But the music is like a fuzzy, more garage rock Dum Dum Girls—the anthemic dynamics and tight vocal harmonies. The song is a celebration of recognizing and using one’s powers whether musical or personal in other ways with the symbol of the “sorceress” as the kind of magical, subconscious power we all wield in life if we choose to run toward and cultivate rather than away from the non-linear, dark side of our consciousness. In the video various people are “awakened” to their possibilities through a kind of magic touch and prematurely aged but in possession of supernatural powers. Maybe it wasn’t meant as anti-ageist but an interesting detail nevertheless as the newly old are brought under the spell and into the circle of the mystical punk rock gang. That this kind of message comes through the auspices of a song reminiscent of an ultra-catchy Ramones-esque surf punk song is a major bonus. Watch the video on YouTube and follow Desert Sharks at the links below.
In writing “Strange Bodies” for his solo project Parliament Cat, Douglas Guerra seems to have had in mind some kind of rock opera and we get a peek into some late chapter of the drama. The lead character, a kind of anti-hero is taking stock of the action up to now. “Where did you place your excitable ways?” is the opening line before going into a story of the pursuit of a one night stand. The lonely piano line and chilling synth washes imbue the narrative with a dark and creepy quality to match the chorus of “strange bodies” which sounds more like a strange rationalization than fact. Like the mantra of someone who thinks that being intimate with another human means you can really be strangers and that both parties will walk away without any lingering emotional connections. It’s that disconnect and the articulation thereof that gives the track an eerie quality beyond the brooding atmosphere. It makes you wonder what brought both people to this place like we’re seeing one slice of a multi-perspective movie and in fact only one aspect of the narrators life. Guerra says the song is “A dark ballad that illustrates a forbidden one night stand” so the lurid underbelly to the tale is established. And as a song that suggests much more to the story, it works on its own but makes you want to hear more. Listen to the song on YouTube and follow Parliament Cat at the links provided.
What you’re about to read shouldn’t make sense but listening to Jazz Funeral’s “The Fruit” brought to mind the video for Bonnie Tyler’s “Total Eclipse of the Heart.” The pacing, the visual mood of the video. Like an alternative soundtrack to the 80s pop classic. Except that Toronto’s Jazz Funeral, musically, is more like Floodland period The Sisters of Mercy, like “Colours” and “Neverland.” The brooding melody and distorted synths, the low bass drone, the flares of tone that linger and flicker away. But Jazz Funeral’s sonic character is a little brighter while the subject matter of the song hits at the more personal and mythological. Words of the narrator’s “body breaking all the time” and of “noises heard down the block” and of escape by necessity or inclination. With the lyrics “what’s it worth to you, you know you don’t really get to choose the fruit” one can take away many things in the context of the rest of the song but one interpretation is the critical pedagogy view of education in that we go through life thinking we know what we want and what we need but we’ve all been conditioned and often our desires are shaped by outside forces internalized and until we become aware of this fact and learn to deconstruct these seemingly instinctual sides of our personality for what they are we will never be in control of our own lives from base impulses of desire and our aspirations when our dreams and psyche have been colonized and warped to serve a purpose that might even be detrimental to us and has been driving our entire lives in ways we wouldn’t choose to if we were fully conscious of what’s been going on in our heads. Do we really want what we think we want and why do we want those things? “The Fruit” dares to question such a fundamental side of our personalities. The song can also be enjoyed as simply a powerful and engrossing neo-darkwave track about fractious relationships but its composition and lyrics suggest a depth, intellect and soul searching that is rare in popular music. The group recently released its new EP The Fruit. Listen to “The Fruit” on Soundcloud and follow Jazz Funeral at any of the links below.
Phonebooks (Colin Ward and Stephan Herrera L-R) circa 2010 at Rhinoceropolis. CRFW Benefit at Rhinoceropolis on August 29, photo by Tom Murphy
Thursday | August 29
Cop Circles circa 2013, photo by Tom Murphy
What:DJ Fresh Kill, Earth Control Pill, Cop Circles and H-Lite When: Thursday, 08.29, 8 p.m. Where: Rhinoceropolis Why: This is a benefit show for the CRFW Fund which supports the body of work of the late Colin Ward and which “assists artists via grants and other means of support.” Ward would have turned 29 on this August 29 and the artists on the bill were friends and creative comrades of the artist and musician. A lot of high energy electronic dance music from DJ Fresh Kill and H-Lite, conceptual No Wave afrobeat post-disco from Cop Circles and the chill soundscaping of Earth Control Pill.
What:The Sugar Hill Gang w/Furious 5 and White Fudge & The Antagonist When: Thursday, 08.29, 7 p.m. Where: The Oriental Theater Why: For a lot of people The Sugar Hill Gang was the first rap band. But hip-hop pre-dated that by some years beginning with the soundsystem parties thrown by DJ Kool Herc. The Sugar Hill Gang was probably the earliest, commercially successful rap group with its 1979 hit song “Rapper’s Delight.” Also on this bill is the Furious 5 who, with Grandmaster Flash, had been a pioneering hip-hop crew before The Sugar Hill Gang hit the charts. So this is a bit like getting to see some of the earliest days of hip-hop as we know it in one show.
Friday | August 30
Paw Paw circa 2013, photo by Tom Murphy
What:Meek, Future Scars, Kali Krone, Madelyn Burns When: Friday, 08.30, 8 p.m. Where: Rhinoceropolis Why: Meek mixes live drums with 31G and-esque processed vocals and electronic beats for a result that’s somewhere between noise and industrial. But really not like much except for maybe, maybe, solo USAISAMONSTER minus guitar. Santa Fe’s Future Scars is pretty much impossible to pigeonhole except to say it’s a rock or a pop band but it has the cutting, hard hitting guitar drive of metal, the delicacy and texture of the most tender indie rock, the soaring vocals of some torch song pop and post-punk rhythmic drive. And that’s for one song. Other times, meditative, heavy drone with introspective melodies like Emma Ruth Rundle. Kali Krone’s dreamy slowcore seems about perfect for the swelter cool off. Madelyn Burns’ spooky singer-songwriter should appeal to fans of early Grouper.
What:Mutual Benefit w/Paw Paw and Card Catalog When: Friday, 08.30, 8 p.m. Where: Lost Lake Why: Mutual Benefit’s moody, soundscape-y pop songs are like getting a glimpse into someone’s having processed some deep thinking and distilled it to the poetic essence of those collective feelings. Loosely in the realm of Americana but with some great sound collage in the songwriting. Paw Paw is the project of former Woodsman drummer Eston Lathrop. Sort of ambient, sort of organic electronic pop, experimental solo guitar and synth songs to transport you to another, better place for a half an hour or so.
What:Nuancer LP release w/SSIIGGHH, Dr3aMC@$T, Larians and Andy AI When: Friday, 08.30, 8 p.m. Where: Hi-Dive Why: Daniel DiMarchi is the genius bass player in the great dream pop band Tyto Alba and great indie rock band Oxeye Daisy. But part of what makes him a great bass player is his true ear for tonality and composition which he brings to his experimental electronic pop project Nuancer and this is the release show of I Hardly Know Her. Also on the bill is a rare show from Larians, the solo project of former Male Blonding guitarist/singer Noah Simons. Though a guitarist, Simons has long had an interest in left field and forward thinking electronic music like Burial and Larians is the manifestation of that interest. And tonight Larians releases the first EP Looming Boy. If Nicolas Jaar made trap it might sound something like that.
What:I Hate It Here, Causer, $addy, Eraserhead Fuckers and Kid Mask When: Friday, 08.30, 8:30 p.m. Where: Thought//Forms Gallery Why: The noise/heavy processed dance ambient/industrial show of the week. Granted the only one but heavy hitters like noise rapper Eraserhead Fuckers, hypnogogic environment sculptor Kid Mask and post-Goth ambient noise genius $addy alone make this a noteworthy lineup.
Saturday | August 31
The Velveteers, photo by VOSSLING
What:The Velveteers UK tour kickoff w/Boot Gun, The Kinky Fingers and Bitter Suns When: Saturday, 08.31, 7 p.m. Where: Bluebird Theater Why: The Velveteers is a rock and roll trio from Denver whose live show is surprisingly powerful, forceful and grippingly emotional. The group is headed to the UK for a tour and this is the kickoff show with some of Denver’s other great, local, non-subgenre-specific rock bands including The Kinky Fingers who may be in the garage psych vein but its songwriting so tight and poignant it’s strikingly original.
What:To Be Astronauts, Meet the Giant, The Center and Bad Britton When: Saturday, 08.31, 7 p.m. Where: Lost Lake Why: Hard rock band To Be Astronauts is relasing its “Thoughts and Prayers” single tonight. Hard rock is a little generic a term. So yeah, in their sound you’ll hear a bit of industrial rock, grunge and anthemic punk without being stuck on any of that. And other like-minded bands are on the bill including Meet the Giant who, despite their ethereal and moody atmospheric rock gets heavy and driving often enough that they’ll fit in here.
Sunday | September 1
Molly Burch, photo by Dailey Toliver
What:Molly Burch w/Jackie Cohen and Bellhoss When: Sunday, 09.01, 7 p.m. Where: Globe Hall Why: Molly Burch has the kind of classic pop voice that many try to imitate but few nail the cadence and tonality that she seems to do so effortlessly. Her songs are intricate and delicate but her poetic observations sharp and illuminating. Jackie Cohen taps into an earlier era of music but her sound is more like a strange strain out of ABBA and 60s girl groups. Bellhoss is in good company here with Becky Hostetler’s idiosyncratic storytelling and inventive guitar work somewhere betwixt Dinosaur Jr, Edith Frost and Joanna Newsom. Yeah, let’s go with that until a better description of this unique songwriter and performer comes to mind. Hostetler will also make all the charmingly awkward jokes on stage so you don’t have to.
What:The Wes Watkins (EP release) w/Dr3@m Ca$t and Snubluck When: Sunday, 09.01, 8 p.m. Where: Larimer Lounge Why: Wes Watkins is the brilliant trumpet player and vocalist whose talents have brought grace, cool and imagination to a broad swath of Denver music including his stint in Nathaniel Rateliff and the Night Sweats. But The Other Black, playing with poet, mystic, avant-garde hip-hop songwriter Bianca Mikahn, Wheelchair Sports Camp and others? His track record speaks for itself and tonight he’s releasing his new EP, a collection of jazz-inflected pop songs that seem to be streaming from a time in the future while sounding like it had to be recorded in the past putting Watkins out of time thus timeless, as seems appropriate for his soulful musical stylings.
Tuesday | September 3
Shonen Knife circa 2014, photo by Tom Murphy
What:Shonen Knife w/Me Like Bees and Sexy Pistils When: Tuesday, 09.03, 7 p.m. Where: The Oriental Theater Why: Shonen Knife is the legendary Japanese punk bands whose roots go back to the late 70s when not many women were playing music in Japan much less in a punk band. Its songs are often about fanciful and mythical things but its songwriting is sharp, powerful and uplifting.
What:Holy Grove (PDX), DØNE (SLC, ex-SubRosa), and Shepherd When: Tuesday, 09.03, 8 p.m. Where: Tooey’s Off Colfax Why: A kind of doom metal show including the latest project from former SubRosa drummer Andy Patterson, DØNE.
What:Ian Svenonius DJ set / Dream Wish of a Casino Soul Closing Party When: Tuesday, 09.03, 8 p.m. Where: Pon Pon Why: Philosopher, brilliant social commentator, media mogul and genius frontman (The Make-Up, Nation of Ulysses, Weird War, Chain and the Gang etc.) Ian Svenonius will hold court with one of his unique DJ sets for the closing party for the art exhibit Dream Wish of a Casino Soul.
Wednesday | September 4
SunnO))) circa 2016, photo by Tom Murphy
What:SunnO))) w/David Pajo and BIG BRAVE When: Wednesday, 09.04, 7 p.m. Where: Gothic Theatre Why: SunnO))) creates such intense, dense frequencies and slow dynamics with, assuming Atilla Csihar will be on hand, otherworldly vocals that run a broad spectrum of tonality that your brain may work differently after the show. Calling it “extreme metal” just doesn’t cut it as it’s a truly ritualistic experience and so engulfing you feel like you’ve really been through something by the end. David Pajo is the iconic guitarist of Slint, The For Carnation and a host of other bands including a short stint in the death metal group Dead Child. His solo material runs a fairly wide range of sounds and emotions and as Papa M he recently toured with Mogwai. Not to be missed. BIG BRAVE is a cathartic collision of industrial, drone metal and emotional exorcism.
What:Weird Wednesday: Gothsta, Dorian, Hypnotic Turtle Radio DJ, Cabal Art When: Wednesday, 09.04, 9 p.m. Where: Bowman’s Vinyl and Lounge Why: Weird Wednesday is the monthly musical showcase that lives up to its name and curated by Claudia Woodman. This time she will be performing in her persona of Gothsta and for this performance she says, “Gothsta covers goth songs on the melodica that have some link to climate change-related themes, because Gothsta is depressed about global warming. Gothsta will have some extra special content that has to do with the Amazon burning and will be joined by Hypnotic Turtle’s Diablo Montalban for dueling melodicas/improv along with noise loops generated for this performance.” It’s rare that anything lives up to hype like that but this show probably will.
“Where We Live” is the kind of song that is able to tap into the pleasure centers reached by both 80s inspired minimal synth and the retrofuturist pop of an Alice Glass. The multiple rhythms running throughout the song let each minimal layer shine and the vocals to resonate in all their melancholic glory. There is an iciness to the melody suggesting creative gestation through the winter months and fully manifesting the music as the days get longer but still in the grips of the mood that inspired the writing of the beautifully desolate arpeggios and the breathily introspective vocals that illuminate the dark hues of the song with a ray of hope. Look for the Where We Live EP out Oct 4 through Rain Heart Records.
Queen City Sounds and Art 
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