Slowdive at The Ogden Theatre, November 1, 2017. Photo by Tom Murphy
When Slowdive announced in January 2014 that it would perform at Primavera Sound Festival in Barcelona of course speculation began about a new album. But the band wisely promised nothing it couldn’t deliver. The tour in various corners of the world including North America re-established Slowdive as one of the premier bands of ethereal guitar rock and one whose aesthetic and sound ideas reflected its interests in ambient and electronic music. But Slowdive’s appeal beyond the transporting sounds has been the deep emotional sweep and sense of intimacy within its songwriting. How can one not be struck by the peeks into the revelatory private moments and dreams exposed by songs like “Sing,” “Albatross,” and “Blue Skied An’ Clear”? What might have surprised long time fans that never got to see the group before it split in the mid-1990s was how forceful its emotionally-saturated sound could be.
Slowdive at The Ogden Theatre, November 1, 2017. Photo by Tom Murphy
When Slowdive released its self-titled album in 2017 it was a relief to learn the band didn’t try to replicate the vibe or the feel of any of its previous records. Among other efforts, when Slowdive split in the mid-90s Rachel Goswell, Neil Halstead and Ian McCutcheon (no longer in Slowdive) went on to do Mojave 3, Christian Savill to Monster Movie and other projects and Simon Scott to Televise, Lowgold and The Sight Below. Halstead also had/has a noteworthy solo career. Somewhere in those experiences, it seems as though the current members of Slowdive refined their songwriting skills, absorbed ideas and sounds that weren’t around or as developed over twenty years ago. Whatever the roots of the new Slowdive songs, they are a fine successor to the heartbreaking dream pop of Just For a Day, the hypnotic brooding and intensity of Souvlaki, the abstract soundscapes, dub sculpting and mind-altering minimalism of Pygmalion. There is a warmth, a comfort, a soothing capacity from a place of mature psychological development. It is the kind of record only people past their thirties could have written all too aware of the poisonously soporific quality of nostalgia that hits most of us in our mid-thirties as middle age comes hurtling down with its own challenges and fears and the temptation to tune out anything new can be irresistible. The self-titled Slowdive album achieves a timelessness in bypassing the existential terror and a reminder to keep dreaming and find enjoyment in life while not ignoring the fact that life’s challenges and struggles are not unique to a certain time in your life even if their faces and qualities change.
Slowdive at The Ogden Theatre, November 1, 2017. Photo by Tom Murphy
The show at The Ogden Theatre on November 1, 2017 itself was a reflection of a band that seems to enjoy playing its music for a larger and likely more appreciative crowd. Many of its new fans grew up with the kind of electronic music and aesthetic that informed Pygmalion, the record that lost the band its record deal with Creation but one that was more forward thinking than the records of many of its contemporaries. That said, most of the shoegaze bands that have reunited over the past decade to release new albums have done so without wasting our time with subpar comeback albums. And in putting on shows that more than live up to the legends of times past. Perhaps even surpassing them. When the early strains of “Golden Hair” the Syd Barrett cover, those of us that only ever heard the recorded version on reissues and compilations had no idea what we were in for and as the sounds swirled up and up in volume and density it was a sonic, cyclone of ethereal fire that transformed from a deeply haunting, overwhelming experience into a heightened sense of catharsis of melancholy. In short, though drawing on another artists material, it was the embodiment of Slowdive’s project as a band—the feelings may hit hard, hurt so thoroughly and stick with you but you can make it through intact if you allow yourself to experience them in their fullest extent.
Slowdive at The Ogden Theatre, November 1, 2017. Photo by Tom Murphy
Set List
Slomo
Slowdive
Crazy For You
Star Roving
Souvlaki
Avalyn
Catch the Breeze
Don’t Know Why
Blue Skied An’ Clear
When the Sun Hits
Alison
Sugar For the Pill
Golden Hair
No Longer Making Time
Dagger
40 Days
Slowdive at The Ogden Theatre, November 1, 2017. Photo by Tom MurphySlowdive at The Ogden Theatre, November 1, 2017. Photo by Tom MurphySlowdive at The Ogden Theatre, November 1, 2017. Photo by Tom Murphy
Rubedo at We Labs, November 15, 2013. Photo by Tom Murphy
Thursday | January 4, 2018
Princess Dewclaw, photo by Tom Murphy
Thursday | January 4, 2018
Who:Hot Trash, Creature Keeper, Princess Dewclaw at Lost Lake When: Thursday, 01.04, 8 p.m. Where: Lost Lake Why: Hot Trash from Sewell, NJ is a punk band that seems like its members grew up on a lot of 90s pop punk and emo but then discovered the roots of that music and absorbed a great deal of Rites of Spring and Fugazi. Its clipped, angular guitar riffs reveal the latter but its bratty yet melodic vocals are right out of 90s post-hardcore and pop punk. Denver’s Princess Dewclaw have some of that brattiness in their vocals but it comes off more like righteous outrage at being the “beneficiaries” of misogyny American style. With keyboards and guitar work that goes beyond any kind of standard punk, think more Milemarker than AFI.
Saturday | January 6, 2018
Who:iZCALLi (album release) w/Rubedo (album release), Wes Watkins and El Cro When: Saturday, 01.06, 7 p.m. Where: Bluebird Theater Why: Maybe the next iZCALLi album will be called Casas Del Santo. But seriously, the veteran rock and roll band based out of Denver is calling its new record iZCALLi IV. It is the group’s first bilingual record, it’s previous efforts with songs in Spanish, and with any luck will bring the band, which has been putting on highly energetic shows since its 2005 inception, and playing in various scenes and subscenes in Denver. Many bands garner attention from press and garner a following quickly but iZCALLi has had to grind and play Mexican restaurants and other restaurants that happened to have a P.A. for karaoke night or some other kind of music. But iZCALLi’s power as a live band was undeniable and before ever really releasing an English language song on an album, the group attracted fans for its strong songwriting and charismatic stage show.
Joining iZCALLi in releasing an album is Rubedo whose Vaca is its first album since 2014’s Ikey Owens produced Love is the Answer. Though not benefiting directly from Ikey’s magic, Vaca reflects his legacy of excellence and truth with eleven songs that to some extent documents the mourning process of a mentor and friend. But across the record the songs are a celebration of Ikey’s life and his influence on the people around him and how people can inspire each other to achieve their dreams with integrity. The previous Rubedo albums are worthwhile on their own, representing the era in which they were made, but Vaca may be the most emotionally nuanced and deep record the band has released to date. The exuberant bursts of emotion and wiry energy of Rubedo’s core sound is there but the gentler atmospheres and the evidence of a band pushed further into craft if individual members pushed further than they’d been before makes for rewarding repeated listening.
Who:Tennis w/Brent Cowles When: Saturday, 01.06, 8 p.m. Where: The Ogden Theatre Why:Yours Conditionally, released on Tennis’ own label Mutually Detrimental, came out in 2017 and seems to have pushed the band’s cachet higher among a wider audience since it’s playing The Ogden this time around. The record isn’t envelope-pushing enough to garner a lot of kudos from music critics. It’s still the sort of Laurel Canyon circa 1973 pop sound with 2000s production updates on the mixing and mastering end. It was also written during a four-month sailing trip along the West coast of the US and Mexico. That might justifiably make one think the band is trying to recapture some past glory of its first album. But the songwriting is better and Alaina Moore and Patrick Riley have clearly developed their craft to a fine degree. Beyond that, Tennis is never really given the credit it deserves for articulating many of the internal conflicts, aspirations, insecurities, anxieties and uncertainty in America without hitting you over the head with it and without having to dumb it down.
Brent Cowles long ago established himself as a songwriter of note separate from his old band You, Me and Apollo. His 2017 Cold Times EP puts him in good company with Tennis invoking another era of music. Except there’s somehow this sense that Cowles listened to or otherwise absorbed a lot of mid-90s Pulp while writing those songs. That is to say that there’s a decadent yet romantic undertone to the idealistic overtones of his songs. That mixed quality will probably give Cowles’ songwriting some durability that many of his peers may lack.
Who:SPELLS 7” release w/Hooper and Lawsuit Models When: Saturday, 01.06, 8:30 p.m. Where: Hi-Dive Why: SPELLS shows are a punk rock party for people who are wise enough to remember that 80% is good enough. But their version of 80% is a bit higher than many punk bands who don’t look like they’re having fun even if they’re bashing out the tunes. The band will release one of its collectible 7”s this night and on the bill are other excellent bands that are technically punk but open up the format quite a bit in Hooper and Lawsuit Models.
Sunday | January 7, 2018
R A R E B Y R D $, photo by Tom Murphy
Who:R A R E B Y R D $ w/Bianca Mikahn, Abeasity Jones, A’Dula and MC Big House When: Sunday, 01.07, 7 p.m. Where: Larimer Lounge Why: This Glasss Records showcase highlights its excellent hip-hop roster. Bianca Mikahn has spent several years honing her poetry and production skills all while being heavily involved in Denver’s performing arts community and youth outreach. Her own work is passionately honest and while informed by hip-hop, incorporates elements of ambient and noise to create a mood and a texture, something tangible, in her beats. Abeasity Jones brings a playfulness and wit to his raps that are almost a detournement of the bravado that underlies entirely too much hip-hop. R A R E B Y R D $ is sometimes a duo, sometimes a group. But whatever the configuration, the project will draw you into their vision of a better, more nurturing, more loving world that also doesn’t pretend that the struggles and pains we’ve all experienced never happened. Even if you’re not wanting that, its beats are a transporting and intimate flow of sounds and rhythms that one might compare to more dreamy IDM acts and alternative/underground hip-hop legends cLOUDDEAD or imaginative modern artists like Kari Faux and Jonwayne.
Monday | January 8, 2018
Euth in its previous incarnation, Caged Bird Songs circa 2015, photo by Tom Murphy
Who:Stoic/Euth tour kickoff w/Echo Beds, Old Sport and faim When: Monday, 01.08, 7 p.m. Where: 7th Circle Music Collective Why: Stoic and Euth are both hardcore bands from Laramie, Wyoming and both are kicking off their winter tour in Denver at Seventh Circle Music Collective. Helping to celebrate the occasion are three of Denver’s best bands with a connection to hardcore. Old Sport is a kind of a math rock/emo band in the vein of early 764-Hero or lo-fi Jawbreaker. Faim has such a feral, aggressive sound it’s difficult to know what to compare it to except for maybe the relentless pace of Converge minus the math-y instincts but with all the splintery dynamics and thrillingly abrasive melodies and punchier low end. Echo Beds is brings together the confrontational, organic catharsis of hardcore with classic industrial music in the vein of Throbbing Gristle, Test Dept. and Einstürzende Neubauten.
Wednesday | January 10, 2018
Surf Mom, photo by Tom Murphy
Who:Cowgirl Clue w/Surf Mom, Sweater Belly and Meeting House When: Wednesday, 01.10, 7 p.m. Where: Lost Lake Why: Ashley Clue appears to have tapped into a personal creative mythology akin to the otherworldly, surreal, bright and glittery world that is that of Akiko Higashimura’s manga series Princess Jellyfish, a place where the characters live in an apartment building in Tokyo populated by otaku women and where men are forbidden to enter. Her colorfully upbeat pop songs are strange but playful and accessible. Apparently, according to Jocelyn Rockhold of Medium, Clue has mainly been DJing queer dance parties around the world and performing select shows in larger cities so this is your opportunity to catch her live act in a place like Denver. Opening are Meeting House, Sweater Belly and Surf Mom. The latter with its gritty surf garage sound may be a bit out of step for some electronic pop stuff but both Cowgirl Clue and Surf Mom off an alternative to the patriarchal vision of art and music channeled to you daily. Gold Trash is a more obvious fit being an experimental electronic project that expands on the possibilities and palette of dance music while challenging societal norms and stereotypes in its lyrics.
King Gizzard at the Ogden Theatre, October 4, 2017. Photo by Tom Murphy
The presentation of the live show from King Gizzard and the Lizard Wizard matched the ambition that the group brought to bear in 2017. The latter refers to the band’s having released four noteworthy albums with a fifth which will supposedly drop before 2017 is over. Even if it’s not looking good at the time of this writing that that will happen, any band releasing four albums of worthwhile material that isn’t basically all the same is impressive enough.
King Gizzard at the Ogden Theatre, October 4, 2017. Photo by Tom Murphy
The Denver show on October 4, 2017 at the Ogden Theatre happened before the November release of Polygondwanaland and the set list drew on the albums I’m In Your Mind Fuzz (2014), Nonagon Infinity (2016), Flying Microtonal Banana (2017) and Murder the Universe (2017). This suggesting the band hasn’t yet incorporated much of the material from Sketches of Brunswick East (2017) or the aforementioned Polygondwanaland as yet for the live show. Given the rich visuals and theatrical presentation of the music and all the logistics involved in producing and releasing that much music in a single year, King Gizzard has plenty of time to tour on its new albums and to make the kind of concerts that will make the experience of that music with creative integrity.
What we did get to see in Denver, though, was a show from a band whose music has been stamped with various genre designation from garage rock, to metal, to psychedelic rock to progressive rock. All fit. In that way, one has to compare King Gizzard with modern groups like The Black Angels and one of the progenitors of its sort of mélange of styles in Hawkwind. Those two bands draw easiest comparisons because like those, King Gizzard’s vibe is one of manifesting a culture and community and mindset that goes beyond the band. Hawkwind’s links to folk music and the tribal spirit thereof and aiming for something more cosmic and otherworldly in its songwriting is something one finds in King Gizzard’s songs that seem to be about other dimensions and utopian futures and parallel cultures. Who, after all, calls a song “Horology”? Flying Microtonal Banana overtly tapped into non-western music not just tonally but in terms of its compound rhythmic structure which both Hawkwind has long done and which The Black Angels weave into their own music so deftly it can be tricky to figure out how their sometimes simple melodies can be so hypnotic and mind-altering.
King Gizzard at the Ogden Theatre, October 4, 2017. Photo by Tom Murphy
The band’s visuals traversed the various musical worlds that King Gizzard traversed throughout the show. The organic, the abstract, the meta-media sense of being on a TV screen writ large on the sort of big screen on which many of us saw films in school—creating a sense of a shared moment of mutual education borne of being put into a mindset outside of everyday life. Maybe that’s a stretch but that’s what psychedelic music, at its best, accomplishes, challenging your existing worldview by inviting you on a journey beyond your known boundaries of experience. In the case of King Gizzard and The Lizard Wizard, though, that journey was not jarring so much as welcoming enticing while not shorting you on heady moments of intense emotions along its iridescent grooves.
King Gizzard at the Ogden Theatre, October 4, 2017. Photo by Tom MurphyKing Gizzard at the Ogden Theatre, October 4, 2017. Photo by Tom Murphy
Wolves in the Throne Room at The Black Sheep, October 2, 2017. Photo by Tom Murphy
Wolves in the Throne Room dispensed with the usual stage lighting at The Black Sheep. The Olympia, Washington-based black metal band retired from the standard touring circuit several years back partly because the environment didn’t suit the music or the experience the band wanted out of playing live shows for itself and for fans of the earthy, transcendent beauty of its music. This time out the band was touring in support of Thrice Woven, its first full-length album not tied to a previous release since 2011. Some of us would have loved to have seen a live performance of 2014’s all-synth Celestite, the companion to 2011’s Celestial Lineage, but that will probably never happen.
Wolves in the Throne Room at The Black Sheep, October 2, 2017. Photo by Tom Murphy
At any rate, Thrice Woven is the first album following the trilogy of Two Hunters, Black Cascade and Celestial Lineage and the album, and the live show, felt like a band that had to pare back and reinvent itself using the parts it had lying around in the wake of what some critics might have called career suicide when the band announced its last lengthy tour in 2011. There’s something majestic and accessible about Wolves in the Throne Room that reached a wider audience than many of its peers—the kind of accessibility that was propelling the group to wider audiences including people who otherwise had little interest in metal or heavy music in general. The material for Thrice Woven is probably too long format for people conditioned by the brevity of pop music to find fully engaging but for this tour, Wolves in the Throne Room created a stage set like a pagan holy place with structures and patterned design work to enhance the sense of the intimate yet otherworldly with the illumination provided by lights imitating the orange of campfires and braziers burning the incense to clear the space of unwanted influences. In the background, a blue stage light cutting through oranges, reds and purples and reds like stark moonlight penetrating the haze that made the figures on stage indistinct. The latter effect seemed to hint that the band wanted the identities of the players to matter less than the music and the experience itself—a shared ritual to dissolve, for an hour or two anyway, the demands and destructive culture of the modern world.
Wolves in the Throne Room at The Black Sheep, October 2, 2017. Photo by Tom Murphy
Something about the relentless, sometimes abrasive, flood of sounds from stage was indisputably uplifting and cathartic. Like a cleansing of the mind through the tribal sounds and a sense of having participated in an experience crafted to express a mystical experience. With songs with titles like “The Old Ones Are With Us,” “Mother Owl, Father Ocean,” and “Fires Roar in the Palace of the Moon” it seems apparent that a certain meaning, not merely an aesthetic, was being conveyed suggesting a reminder of our ancient roots as a species that unite us, a connection that holds potential for a positive future. There wasn’t much stage banter but that would have just broken the spell and WITTR tends to be good at not ruining the moment.
Wolves in the Throne Room at The Black Sheep, October 2, 2017. Photo by Tom Murphy
Who:Musical Mayhem: Corey Daggers, Snaggletoothe and f-ether When: Thursday, 12.14, 9 p.m. Where: The Skylark Lounge Why: This is Musical Mayhem at The Skylark Lounge part 1 (part 2 is in two weeks) for December. Typically it’s somewhat an extension of Claudia Woodman’s Weird Wednesday meaning it’s the weirder end of Colorado live bands and occasionally an underground touring band. The night is simulcast by Hypnotic Turtle Radio. This night, zombie surf rocker Corey Daggers will be performing. As will improvisational noise rockers Snaggletoothe and experimental electronic dance legend in the making, f-ether. It’s 21+ because it’s a bar but it’s also a free show.
Who:Prayers When: Thursday, 12.14, 7 p.m. Where: Bluebird Theater Why: Prayers, the band that coined the genre Cholo Goth, return in the wake of the release of its 2017 album, Baptism of Thieves. Part industrial, part electro death rock, part synth pop, Prayers has from the beginning articulated a gritty personal vision that is both profane and philosophical, compassionate and poetic about the harshness of everyday life for many people. Perhaps the whole Cholo Goth thing is a gimmick in a way but there is no denying the power and charisma of the band in the live setting. Recently Rafael Reyes and Dave Parley collaborated with former members of Christian Death (Rikk Agnew, James McGearty and Gitane Demone) on the Cursed Be Thy Blessings EP.
Friday: December 15, 2017
The Milk Blossoms, photo by Tom Murphy
Who:Nicole Atkins w/The Milk Blossoms and Chella Negro When: Friday, 12.15, 7 p.m. Where: Lost Lake Why: Nicole Atkins is at this point a veteran songwriter whose combination of classic pop (think pre-1960s), indie rock, psychedelia and American lends her music a ring of familiarity while not really sounding like anyone else. Her clever wordplay and bright voice makes it easy to forget the brutal, yet not cruel, emotional honesty of, for instance, her 2011 album Mondo Amore. Atkins’ new album, 2017’s Goodnight Rhonda Lee, finds the songwriter finding new ways to make some fairly stark self-reflection seem hopeful and in turn helps you to find ways to forgive yourself without letting you off the hook. Atkins may be quasi-famous, and rightfully so, at this point, but she’ll be in good company with the local openers. The Milk Blossoms make fragile yet powerful pop songs with unconventional elements. Somehow the ukulele doesn’t seem like a quaint affectation as it deftly expresses the delicate emotional colorings within and on the fringes of the deeply affecting voices of Harmony Rose and Michelle Rocqet. Chella Negro has long been a singer-songwriter in Denver and the whole time she’s managed to write songs that go beyond surface subject matter. Even when one of her songs is overtly about this or that, within those stories Chella dives deeper and digs out those kernels of truth merely suggested at by most other songwriters and finds a way to articulate them in a way that’s relatable to almost anyone.
Who:Alphabet Soup #29: Rare Byrd$, Adam Selene, MYTHirst, Furble Cakes, Chromadrift, DaShwoo and Preston Safeway When: Friday, 12.15, 8 p.m. Where: Deerpile Why: This is mostly a hip-hop show with some chill vibes. Chromadrift is an ambient artist whose songs don’t sound like he just put together the money to buy a Yamaha DX-7 and a cheap drum machine to plug into an SP-404. It’s like he’s tapped into a place of true calm and solace somewhere in the recesses of his dream states and made them into songs. Rare Byrd$ is secretly in the top three hip-hop groups in Denver and the group’s songs are incredibly compassionate feminist mantras designed for anyone looking for music or art in general that is strong but has no truck with brutality. As if an old school gangsta rapper/producer ditched the violent imagery and brutal beats for a message of love in both specific and bigger picture senses accompanied by smooth beats possessed of a transcendent and transporting beauty.
Saturday: December 16, 2017
Night Grinder, photo by Tom Murphy
Who:Grotto album release w/Restivo, Moon Atomizer and Night Grinder When: Saturday, 12.16, 7 p.m. Where: Mutiny Information Café Why: Denver’s Grotto is releasing its latest album, Spring Drips, this night. Its instrumental music combines the hazy, blissed out sensibility of downtempo IDM with electro-acoustic soundscapes. The beats are both sculpted electronics and organic-sounding like something you’d hear from Bonobo or Sound Tribe Sector 9 but an aesthetic closer to the playfulness and dreamlike quality of early Björk. Also on the bill is noise/industrial artist Night Grinder. The latter is the solo project of Cribsy Gacy who some from the Saint Louis noise scene might remember for his time in various bands The Icebergs, Monster Sized Monster and Street Justice. Using bass, vocals, various electronic devices in layers, Gacy captures the sense of civic decay and economic neglect along with the accompanying desperation many of us will find familiar but not often articulated in music.
Who:Esme Patterson w/Susto and Tyto Alba When: Saturday, 12.16, 8 p.m. Where: Globe Hall Why: When Esmé Patterson was in Paper Bird her talent was clear and obvious. There was a lot of talent in that band in general. But it always seemed that she had to tie her self-expression and imagination in the context of that band to an aesthetic that while it clearly had an appeal for many people, probably felt limiting. By 2012, Patterson wrote and released her debut solo album All Princes, I. To anyone only superficially familiar with Paper Bird it might not have seemed too removed from the music of her old band. In fact, it was a stylistic leap in a different direction without ditching what made Patterson’s vocals and songwriting noteworthy—warm vocals that both sound like something very present but evoke something you might have heard on FM radio in the 70s. Her lyrics even then balance well imaginative storytelling with commenting on human relationships with other people and with ourselves.
2015’s Woman to Woman found Patterson taking even more chances as a songwriter by writing songs in response to iconic pop songs of the last few decades including Dolly Parton’s “Jolene” and Elvis Costello’s “Alison,” a song down there with “Under My Thumb” in terms of being incredibly catchy, well-written songs but with lyrics that might make you think differently of the artists in question. In each case Patterson is creative, sometimes humorous, and thought provoking. With We Were Wild from 2016, Patterson’s experiments and expansion of her musical palette from her previous albums paid off well on the new set of songs. Some of the reviews of that time talked about how unfocused the album seems to be but some of that came off more wanting to expand horizons and ideas rather than getting stuck in a rut. It also matched Patterson’s own inner experience of examining her own life, which isn’t always such a cut and dry, linear process—it’s more emotional, experiential and intuitive. The record is the embodiment of that too. If it didn’t always work at least the impulse was right. What the album, and Patterson’s newer, as yet unreleased, material revealed most vividly was that the songwriter’s guitar work with its chiming, percussive strum was more reminiscent of something like The Cramps or Jeff Buckley than the folk/Americana roots not to mention her willingness as a vocalist to embrace the wilder end of emotional expression beyond that warm, delicate strength that helped make her name.
Who:Decemburger 2017: Bongripper, Call Of The Void, Serial Hawk, Weaponizer, Abrams, The Munsens, Weeed, NightWraith and Sceptres When: Saturday, 12.16, 3 p.m. Where: Hi-Dive Why: If you’re in the mood for a broad spectrum of extreme metal tonight, get to this show at the Hi-Dive. Call of the Void blurs the line between grindcore and death metal with its stark and unrelenting songs. Weaponizer is sort of a combination of black metal and thrash so the songwriting is there but its aesthetic has that chaotic quality that makes black metal so interesting. Its latest album Lawless Age that would be a good name for the era we’re in or one that we seem to be heading into. The other bands on the bill would be worth your time too if you want to see heavy music that isn’t straightjacketed by purist genre emulation.
Sunday: December 17, 2017
Esmé Patterson, photo by Tom Murphy
Who:Esmé Patterson w/Susto and Down Time When: Sunday, 12.17, 8 p.m. Where: Globe Hall Why: For the great Esmé Patterson see the write-up above. In addition to the Charleston based alt-country/Americana band Susto, is Denver’s Down Time whose indie rock songs are really not being constructed in a conventional sense seeing as it is partly centered on the drums with Davie Weaver playing drums and sometimes bass at the same time. Alyssa Maunders sounds like a long lost member of Young Marble Giants and her minimal guitar work is more a texture than a vehicle for melody. Justin Camilli’s own guitar work matches Maunders’ for melodic textures but his keyboard work is truly standout. The richly saturated tones aren’t as obvious on the band’s excellent debut EP, 2017’s Good Luck!, but live it’s striking. Fans of Unknown Mortal Orchestra and Foxygen should probably at least give Down Time a listen.
Monday: December 18, 2017
Gary Numan, photo by Tom Murphy
Who:Gary Numan w/Me Not You and DJ Slave 1 When: Monday, 12.18, 8 p.m. Where: Gothic Theatre Why: Gary Numan has been an innovative artist in the post-punk, new wave, synth pop and industrial rock genres while being a foundational artist for the latter three. Numan made waves in his homeland the UK with “Are ‘Friends’ Electric?” with his old band Tubeway Army. But he crashed into the international mainstream with his 1979 hit “Cars.” Numan’s blending of science fiction imagery with a sound suggestive of a future neither utopian or dystopian pre-dated and yet was somewhat the aesthetic of cyberpunk, which, as with Numan, was influenced by the visionary and literate novels of J.G. Ballard. Throughout the 80s Numan further experimented with music technology and developed a sound that anticipated and influenced the production of 90s industrial rock bands like Nine Inch Nails and Fear Factory. With 2017’s Savage (Songs From a Broken World), Numan proves that twenty-one albums into his career he isn’t out of ideas or things to say or sound experiments to explore. This time out the theme of the album is the most overt in adopting the subject of the environment and its impact on human cultures whether those cultures acknowledge them or otherwise.
Tuesday: December 19, 2017
Agnostic Front, photo by Todd Huber
Who:Agnostic Front w/99 Bottles, Street Priests and Ultraviolet When: Tuesday, 12.19, 7 p.m. Where: The Black Sheep Why: Agnostic Front was one of the bands that helped establish New York as a late entry into the first wave of hardcore in the 80s. Early on the band had that more original hardcore sound of loud-fast-rules but by the late 80s, Agnostic Front was one of the pioneers of crossover. While claims of the band having been nationalistic and fascist skinheads are laughable when you look into what its songs are about, the band has always had a tough and uncompromising image. And part of that image has also been its working class politics that embrace being a thinking person in a climate where you’re encouraged to dumb down and obey. At least in its music and its presentation thereof, Agnostic Front was having none of that. Anti-war, anti-oligarchy, pro-social justice, pro-solidarity in the face of fascism, Agnostic Front may be one of the older bands in punk but like many that have stuck around, for example D.O.A. and Subhumans, its sense of political ideas have refined giving the old fire in their belly a different kind of edge.
Who:An Evening with Todd Rundgren When: Tuesday, 12.19, 7 p.m.
Where: The Oriental Theater
Why: Who can say they’ve had charting hits over decades and did production work for bands as different as Grand Funk Railroad, Patti Smith Group and XTC? Todd Rundgren’s own music has been on a steady path of evolution since first playing out in rock bands in the 60s and his more recent albums demonstrate his explorations of modern electronic musical styles, 2015’s Global being a good example, while writing music that combines a classic songwriting sensibility with newer sounds and aesthetics that don’t seem awkwardly incorporated, as on his 2017 album White Knight. Throughout most of his long career, Rundgren has adopted new technologies and methods of creating and presenting music and his tours, even for dates at a medium-sized theater like The Oriental, have long been multi-media affairs to enhance the impact of the music. This tour is billed as the “White Night Tour” with hits from across his career so who can say what you’ll hear, especially from a guy who seems averse to the rote and whose catalog is twenty-seven albums long.
Wednesday: December 20, 2017
Mandy Yoches circa December 2013, photo by Tom Murphy
Who:Agnostic Front w/Combat Force and Line Brawl When: Wednesday, 12.20, 8 p.m. Where: The Marquis Theater Why: See the entry for Agnostic Front above. Also on the bill are Denver hardcore bands Combat Force and Line Brawl. The latter released a worthwhile ripper of a record, Worse Off, in April 2017.
Who:Mandy Yoches w/CRL CRRLL When: Wednesday, 12.20, 9 p.m. Where: Goosetown Tavern Why: Mandy Yoches has done vocals for various bands over the years but in the last handful of years she’s been performing under her own name or with her band The Hell Knows. Her melodious, soulful voice and palpable sincerity are a powerful combination. Yoches doesn’t perform too often but you can sometimes catch her at the Goosetown on a Wednesday in any given month including this night when she’ll share the stage with electro-hip-hop artist CRL CRRLL. Ever since the line between hip-hop beatmaking and experimental electronic dance music soundscaping was obliterated some years back, many artists have been able to tape into a wide variety of musical ideas to craft inventive and compelling music. CRL CRRLL just happens to be one of the most interesting artists occupying that intersection of styles and you can find him playing events like Cloak & Dagger as well as hip-hop and avant-electronic shows with his accessible but forward thinking songwriting.
In a year where it seemed as though the hateful dullards of the world, especially in the USA, were puzzlingly victorious in gaining political office and influence, INVSN released a bracing antidote to all of that with The Beautiful Stories. But, as you might expect, the Swedish band followed up the album with a good deal of touring. Which one might think of as praxis seeing as the songs on The Beautiful Stories are all imbued with a humanized radical politics.
INVSN, September 18, 2017
For anyone that ever saw The (International) Noise Conspiracy and The Refused, a high bar of expectation was there. Both of those bands delivered some of the most viscerally energetic live shows of their time. Singer Dennis Lyxzén seemed almost superhuman in his acrobatic stage moves and the raw forcefulness of both bands was inspiring. That Lyxzén and INC bassist/vocalist Sara Almgren are members of INVSN promised a lot alone. Fortunately, the band brought the kind of ferocity and exuberance they would need to make a larger venue show compelling and even inspiring to Larimer Lounge, a venue with a capacity of 250. Like no one told them that they’re playing a place many locals think of as a dive bar even if it isn’t—as if they would skimp and deny themselves the joy of their own music. Not a chance.
INVSN played liberally from The Beautiful Stories and balancing musicality perfectly with a flamboyant performance style, Lyxzén wrapped the mic up over a roof beam and sang from the floor, dancing with people in the audience at one point. At various other points jump spinning off the bass drum and leaning backward to the point his shoulders touched the floor while not missing a note. He was Iggy-like in his way of not only commanding the stage but in moving more energetically than most musicians half his age.
INVSN, September 18, 2017. Photo by Tom Murphy
Theatrics aside, Lyxzén engaged the audience with words acknowledging the perilous state of things in American and international politics. There was no empty bravado. There was an admission of the level of despair that anyone with any sensitivity and cognizance of the situation must feel. But there was plenty of humor too that had little to do with the rise of fascism. The fog the band used throughout the show swirled in the wind of the air conditioner and Lyxzén observed that it made it “feel like we’re in a Whitesnake video the whole time.” It was a nice reminder that a state of constant outrage is exhausting and so is anticipating the next wave of shit coming down the pike from various sources. INVSN’s show embodied a sense of hope and humanity in a time of acute crisis and a hint that it is that route that will help give us the will and heart to turn back that tide even if many great struggles lay ahead.
INVSN, September 18, 2017. Photo by Tom MurphyINVSN set list for September 18, 2017 at Larimer Lounge. Photo by Tom Murphy
Atmosphere performs across Colorado in December. Photo by Dan Monick
Thursday: December 7, 2017
Who:Atmosphere w/Musab + Ink Well (Mink), deM atlaS, The Lioness and DJ Keezy When: Thursday, 12.07, 8 p.m. Where: Ogden Theatre Why: Though Atmosphere is all but a mainstream hip-hop act these days, Slug and Ant had their roots in underground hip-hop in the 90s. As cofounders of Rhymesayers Entertainment, the influential Minneapolis hip-hop imprint, Slug and Ant participated in that creatively rich and collaborative environment nationally that included the Mush Records and Anticon Records imprints and Slug’s participation in Deep Puddle Dynamics, the alternative hip-hop supergroup that also included Sole, Doeseone, Alias and Jel of Anticon. But Atmosphere slowly started to enjoy greater levels of commercial success after the 90s while still remaining an innovative and interesting project. By the time of 2008’s When Life Gives You Lemons, You Paint That Shit Gold, Atmosphere worked with Tom Waits on “The Waitress.” Each of Atmosphere’s subsequent albums have charted respectably on the Billboard charts. But none of that would matter a bit if the music wasn’t worthwhile. On 2017’s Fishing Blues, Slug has returned to the deeply introspective delivery style that made his early work so compelling. Except the naivete is gone but the need to express his truth from the perspective of an older person who doesn’t find some of the bravado of his youth so charming and who finds the desperation to be oh-so-clever boring. Atmosphere today doesn’t lack for the energy for which it’s become known but it is more sharply channeled. Atmosphere is performing numerous shows throughout Colorado over the next ten days or so, the front range shows shows, in addition to the Thursday, December 7 date in Denver include shows on Saturday, December 9 at The Aggie Theatre in Fort Collins, December 10 again at Ogden Theatre in Denver, December 12 at Black Sheep in Colorado Springs and December 13 at Boulder Theater in Boulder.
Friday: December 8, 2017
Ian Cook circa 2013, phot by Tom Murphy
Who:Ian Cooke The Flight I Flew album release show and Going Away Party When: Friday, 12.08, 9 p.m. Where: Syntax Physic Opera Why: Ian Cooke is moving to South Carolina in 2018 to be with his partner of the last handful of years. And when you listen to his 2017 album The Flight I Flew, you can tell he went through an extended period of emotional confusion and turmoil ultimately coming to a place where his heart and and head are in alignment and his creative music given a focus that maybe it hadn’t had in such a short span of time that it took to assemble the new record. You can hear in the album’s songs the epiphanies, the self-realizations, the accepting of forgiveness that takes real work on the part of both people, and the commitment to personal accountability that you don’t hear in a lot of pop music even when it is as thoughtful and ambitious as the type Cooke has written his entire career. Friday’s show will be the full band spanning Cooke’s catalog while Saturday’s show will focus on Cooke’s quieter songs in a solo format. Either way, here’s your chance to see one of Denver’s truly greatest songwriters perform before you only get to see him maybe once a year.
Who:Death in Space, Shawn Mlekush and Herpes Hideaway When: Friday, 12.08, 6 p.m. Where: Hooked on Colfax Why: Aleeya Wilson is a Girls Rock Denver alumna who was probably a bit different from her peers as she used her guitar to make noise and ambient music rather than whatever popular musical style was favored among teens of that time. As a musician and writer, Wilson has tended toward conceptual work with a visceral quality making few if any concessions to mainstream accessibility. Supposedly this is one of her last noise shows in Denver though she’ll probably do some more while in grad school out of state. Shawn Mlekush is one of the synth players in experimental electronic band Jackson Induced Mutant Laboratory. No, not making that up. So his set will be interesting. And of course there’s the dark ambient of Herpes Hideaway. That entity is the solo project of Patrick Urn whose contributions to industrial band In Ether, the production on some Church Fire material and his various noise, hip-hop and electro efforts over the years may not be widely known but in the underground Denver experimental scene, widely respected. Herpes Hideaway finds Urn adopting the character of a witch-like being from another dimension evoking the fears and pains of humanity and purging them from the collective unconscious. Maybe not but that’s the vibe of the live show.
Sunday: December 10, 2017
Unsane, photo by Dan Joerigh
Who:Unsane w/Plaque Marks and Pueblo Escobar When: Sunday, 12.10, 8 p.m. Where: Hi-Dive Why: Unsane crawled out of the 80s stained by the crushing, avant-garde noise rock of Swans, the organic-mystical industrial of Einsturzende Neubauten and perhaps the punishingly grinding transcendence of Flipper. So much so that the band has been often mistaken for a metal band, though that influence is probably there too through the more early doom and thrash end of that music. These days Unsane’s closest musical cousins are probably bands like Eye Hate God and the current incarnation of Neurosis. Its songs sounding like a Rob Zombie movie feels to watch in their finest moments—harrowing, unblinking in its depiction of the horrors humankind inflicts on itself, all awash in heightened emotions. Philadelphia’s Plaque Marks includes members of Creepoid, Ecstatic Vision and Fight Champ so it’s noisy post-hardcore-ish sound is beautifully disorienting. Like if Butthole Surfers had somehow emerged after the 31G imprint bands and modern psychedelic doom had their impact and its members decided they needed to push beyond their immediate influences. Pueblo Escobar is a Denver-based, metallic post-hardcore band that actually lives up to a name like that with dark, edgy songs played with an exuberant sense of fun.
Who:Ultrametal Presents: The Last King of Poland (10) w/John Gross (11), Meme Girls (11:30), Killd By (9:30), Birth (10:30), Ghost House (8:30), French Kettle Station (8) and Blank Human (9) When: Sunday, 12.10, 7 p.m. Where: Syntax Physic Opera Why: Noise tends not to get much stage time outside of DIY venues and Mutiny so this noise showcase at Syntax, a venue that often has a more open booking policy than most clubs, is a welcome change of setting for a show like this. It’s a broad spectrum of noise and not a whole lot in the way of the harsher side. John Gross of Page 27 is playing a rare solo set. Killd By will make the kind of hyperkinetic dance music that only Colin Ward could make in his manipulation of self-created samples inside his beats. Birth is as much performance art as weirdo breakcore. French Kettle Station will likely be his usual energetic post-punk/synthwave delivered with a visceral energy. Blank Human, a noisy kind of ambient. Touring through from Chicago is Last King of Poland who will bring his beat-driven ambient noise tracks. Set times indicated above in parentheses.
Monday: December 11, 2017
Hunter Dragon circa February 2007, photo by Tom Murphy
Who:Hunter Dragon birthday/going away party w/Lazarus Horse and Midwife When: Monday, 12.11, 8 p.m. Where: Syntax Physic Opera Why: Hunter Adams pushed in many different musical directions when he moved to Denver in the mid-2000s from St. Louis. You could consider some of what he did in the indie pop vein, but he also made experimental synth music that bordered on the ambient. His restless imagination wouldn’t let him settle for anything rote so some of his later music was a completely unique sort of electronic dance pop music but infused with an edgy emotional honesty that you pretty much never hear in that sort of music. Adams is a true original with a rich imagination that he expresses with his music eloquently and vividly. Now Adams is moving away from Denver yet again and celebrating the occasion, along with his birthday, with Lazarus Horse and avant-folk artist Midwife. With Madeline Johnston of the latter, Adams was involved in Tiny Amp Tapes so hopefully he can still have some involvement with imprint from afar.
Tuesday: December 12, 2017
Male Blonding, photo by Tom Murphy
Who:Panther Martin w/Couches, Male Blonding and Godchild When: Tuesday, 12.12, 8 p.m. Where: Hi-Dive Why: Panther Martin, the Denver-based indie rock band, has never suffered from a lack of strong songwriting but it’s recent Drats EP finds the band pushing past its obvious influences (The Strokes, maybe some Pavement in there as well as other tuneful purveyors of tastefully fuzzy tone). Couches from San Francisco seems to be coming from a similar place musically but more punk, more from the House of Reatard. Male Blonding may have the greatest rhythm section in Denver indie rock but one that plays to the band’s richly emotive songwriting lead in part by Noah Simons’ commanding yet melancholic vocals.
Who: Hott Mt w/déCollage and Moon Magnet DJ set lost-lake.com/event/1582575-hott-mt-denver When: Tuesday, 12.12, 7 p.m. Where: Lost Lake Why: Hott Mt apparently tracked down Wayne Coyne a handful of years ago and got him to work with them on some music and a video. He later became a fan of the band’s ethereal, synth driven pop music reminiscent of Air’s elegantly crafted nostalgia-inducing tonality and The Helio Sequence’s meshing of guitar rock and gossamery synth pop. Maybe think Black Moth Super Rainbow a bit too. Check out the band’s excellent 2017 album AU. Seems a good pairing with déCollage’s playfully colorful psychedelic music that sounds like it’s being channeled from a world where all classic children’s literature isn’t fiction but a wondrous world worth exploring.
Wednesday: December 13, 2017
Empress circa 2016, photo by Kelly Spencer
Who:Empress w/Grass and Paper Knees When: Tuesday, 12.12, 7 p.m. Where: Lost Lake Why: Empress’ 2017 album, Passion Fade, perfectly synthesizes the band’s instinct for dark, beat-driven industrial music, death rock and the heavier end of post-punk—think The Cult and early Death In June. Gritty, borderline abrasive stuff with corrosive atmospheres. In a bit of inspired pairing, Boulder’s lo-fi noise rock phenoms Grass are also on the bill. Fans of Hue Blanc’s Joyless Ones, Eat Skull and the Reatards should check out Grass.
Who:Glasss Presents: The Speakeasy Series 2017 finale When: Wednesday, 12.13, 6 p.m. Where: Hooked On Colfax Why: This will be the final installment of the 2017 edition of The Speakeasy Series presented by Glasss Records with a focus on more experimental electronic acts from Denver. The shows happened in the basement of Hooked on Colfax with Glasss bringing in a P.A. to allow the room to be awash in rich sounds. For this final show of the year in that series, Glasss will bring in various artists to perform. Some of them may even collaborate but, as with the rest of the series, it’ll be quality and interesting stuff.
Yes featuring Jon Anderson, Trevor Rabin and Rick Wakeman at Hudson Gardens, Little, CO, September 3, 2017. Photo by Tom Murphy
The environment for the show wasn’t the best. An outdoor amphitheatre that isn’t really designed for a concert. Late summer and muggy. The crowd the type that is a little comfort entitled and thinking itself know what “real” music is. Fortunately, on that night, September 3, 2017, Yes featuring Jon Anderson, Trevor Rabin and Rick Wakeman made possible getting to see an era of the band Yes that is often overlooked as well as some deep cuts from the band’s classic 70s catalog.
Though an outdoor show the sound was somehow dialed in with a vivid clarify that allowed the aforementioned band members to shine through the dense air and late twilight. Taking roughly half the set from the band’s most commercially successful 80s albums, 90125 and Big Generator, Yes ARW started the show off with the instrumental “Cinema.” The song as it originally appeared on 90125, was a nod to the short-lived band of the same name in which Rabin, Alan White and the late Chris Squire performed after Yes split for a couple of years in the early 80s. Maybe it’s reading too much into the gesture, but it was a subtle and classy way to honor the legacy of Squire to start things off with that song.
Anderson’s voice many of us have heard most of our lives and you take hearing his truly unique and musical vocals in Yes songs for granted. But live his command of his native instrument in the context of a rock band, even one as dynamic and nuanced as Yes, was impressive. Perhaps none more so than in the sprawling “And You And I.” Wakeman’s synth work on the song is breathtaking just hearing it on the radio or on the record but having those brightly colorful atmospheres envelop you with the sheer volume of the sound system had an augmented power to transport you to the spaces beyond mundane human experiences of the song.
Rabin sometimes comes off like a jazz fusion guitarist and if that’s not your thing it can be distracting. But if you allowed yourself to take in his masterful turns on “Owner of a Lonely Heart,” “Hold On” and “Rhythm Of Love,” it’s like his tone and style is something of the missing link between John McLaughlin and the more imaginative industrial and experimental metal guitarists of the late 80s and 90s in his use of texture as well as melody and the way his tone cuts through the song with an elegant precision.
A show like this could be the kind of thing you’d expect at a state fair or on the purely nostalgia circuit. But at no point did the show feel like a pander to past glory. It was a reminder of the power of imagination and how music that is truly experimental but imbued with a fusion of passion and intellect can attract a broad audience—something many musicians and record companies today would do well to take note.
Yes featuring Jon Anderson, Trevor Rabin and Rick Wakeman Set List For 9/3/17
1. Cinema
2. Perpetual Change
3. Hold On
4. South Side of the Sky
5. And You And I
6. Lift Me Up
7. Rhythm of Love
8. I Am Waiting
9. Heart of the Sunrise
10. Awaken
11. Owner of a Lonely Heart
Maria Bamford at Paramount Theatre on Friday, December 1. Photo by Natalie Brasington
Thursday: November 30, 2017
Charlie Parr, photo by Nate Ryan
Who:Charlie Parr w/Them Coulee Boys When: Thursday, 11.30, 7 p.m. Where: Bluebird Theater Why: Charlie’s stage banter is pretty much worth the price of admission. But his take on country and blues is so personal and individual that he leaps over expectations of the genre performed by modern musicians. You can start anywhere in his discography and it’ll be worth a listen. His latest record, 2017’s Dog, seems to capture this moment in American history where a lot of people are experiencing depression and despair and a need to catch a break from that wearying state of mind. In articulating that mood so well, Dog is actually a therapeutic record that actually finds a way to explore dark places without getting stuck in them.
Who:To Be Astronauts album release w/The Patient Zeros, Dead Pay Rent and Flahoola When: Thursday, 11.30, 7 p.m. Where: Lost Lake Why: To Be Astronauts is a psychedelic hard rock band that sounds like the main songwriter might listen to a whole lot of the Misfits and Clutch. Fortunately, on the band’s new album, indifferentstates, these tendencies are morphed into something more original and the songs seem to be about something substantive as in the songs “This Is Not Normal” and “Discontent.” The Patient Zeros are the kind of blues rock band that there should be more of instead those more easy to mock. Probably because CJ Kjolhede, younger brother of former Cutthroat Drifters frontman Nicolas Kjolhede, and Joe Schramm and Michael Raymond aren’t trying to be the next Dead Weather or whatever. Their songs sound more like they’re rooted in some kind of folk and country sensibility with a spooky edge. Add some grit, fuzzy melodies and excellent use of space and that’s a bit of what you get with The Patient Zeros.
Friday: December 1, 2017
SPELLS, photo by Tom Murphy
Who:Maria Bamford When: Friday, 12.01, 6:30 p.m. Where: Paramount Theatre Why: Maria Bamford spent the 90s honing her comedic craft and flew almost completely under the radar of everyone but fans of underground comedy. She got her start in stand-up in the late 80s at age 19 and by the mid-90s she had spots on various television comedy showcases getting a few minutes on screen here and there. But those sports were memorable and you could tell there was more going on with her comedy than the usual faire. During that time Bamford obviously made connections with other comedians and be her 30s she started to become known for her surreal, intelligent, thoughtful, brilliant comedy to wider audiences. Bamford has voiced various animated TV shows and films such as Stuart Little 2 and Barnyard because of her sheer versatility as a voice actor, her gift for tone, inflection and vocal texture, all features of her stand-up, a real asset for character acting. Her appearances on Arrested Development, Louie, Tim and Eric Awesome Show, Great Job!, Kroll Show and numerous others have been standouts, taking all of those shows in more temporarily unusual direction than was already the case.
The Bammer now has her own comedy skit show called Lady Dynamite. As funny as the show might be, like George Carlin, who had a short-lived comedy series on Fox from 1993-1995, Bamford shines brightest in her stand-up where she can exercise her genius for free association storytelling, her illumination of ridiculous moments in all our lives, her sensitivity to the vicissitudes of the traumatized psyche and some of the most incisive social and political commentary of our time. Many don’t “get” Bamford but one might suggest these people take too much too seriously and handle all situations in the world with a shocking lack of nuance and subtlety. Bamford expertly treats subjects with the right stresses, the right pressures, the proper intensity, the appropriate tone and with a true appreciation for the humor inherent to almost every experience without unduly diminishing what really is important by, even in joking about it, not trivializing the truly weighty on the social and especially the personal level.
Who:SPELLS, Colfax Speed Queen, Cheap Perfume and Simulators When: Friday, 12.01, 8 p.m. Where: Larimer Lounge Why: All four bands on this bill could be considered punk but also a step or more in a different realm of music from that. Cheap Perfume is a raw yet melodic punk band that minces no words about sexism, Nazis and El Presidente Cheeto. Stephanie Antillon is an electrifying and commanding front person and that is something not common enough in music. SPELLS has a motto. Something about “80% is good enough.” And sure they live up to that on average in that sometimes you see an unhinged show because Ben Roy is a madman singer and everyone else in the band doesn’t exactly hold back even in hook-driven, pop-oriented punk (though not pop punk, per se). Other times, it’s just a fun, energetic show. Sometimes you don’t need unhinged and thus, yes, 80% is indeed good enough. Stop going for broke all the time or telling yourself you need to do that with all things in life, America. It burns you out. SPELLS teaches us by example that something can be good even if you’re not giving it your all. Colfax Speed Queen didn’t get that memo, apparently, because the psyche garage act seems to play like they’re trying to set a new bar for what that music can sound and look like on stage. Simulators is a noise-punk duo that came about, in part, from wanting to get away from the ideas and sounds of the bands Bryon Parker and Brian Polk are in and have been in. But it still reminds one of Shellac as did Parker’s old band Accordion Crimes—truly no bad thing.
Who:Kacy & Clayton w/Many Mountains and Patrick Dethlefs When: Friday, 12.01, 8 p.m. Where: Lost Lake Why: Kacy & Clayton are kind of a vocal and acoustic guitar duo and while that can be one of the most boring things in the world, Kacy & Clayton are drawing upon the great British folk-rock tradition embodied by the likes of Fairport Convention. Resonant tones, spare arrangements that feel full. The duo’s latest record is 2017’s Siren’s Song, for which it is touring in support. Opening the show is Patrick Dethlefs whose own folk music is so richly developed, mastetrfully written and emotionally powerful yet finely nuanced that when you see him you kind of assume he should be the headliner.
What:Rubedo Album Release Popup Shop and Local Music Record Store Debut When: Friday, 12.01, 8 p.m.
Where: Understudy (890 C 14th Street) Why: Rubedo’s full blown album release show for Vaca is scheduled for January 6 at The Bluebird Theater with iZCALLi, Wes Watkins and El Cro. But you can pick up the band’s latest record, a tribute to and meditation on the impact of friends and community on our lives. Over the weekend there will be a showcase celebrating the opening of a popup local record store at Understudy. Friday will celebrate the release of the record, Saturday there will be performances from Rubedo, Holophrase, Entrancer and many others. Sunday will continue live music performances with artists to be announced. For more information and more up-to-date schedules, please visit the link above or here.
Saturday: December 2, 2017
Alex Lahey, photo by Giulia McGauran
Who:Pink Hawks When: Saturday, 12.02, 11 a.m. Where: Children’s Library at Denver Public Library Central Branch Why: The sprawling afrobeat band from Denver finds a way to mix humanistic radical politics with high energy performances. And this time you’ll be able to catch the band in the Children’s Library at the Central Branch of the Denver Public Library in the morning. Yes, the content doesn’t mince words but it’s also safe for kids because Yuzo Nieto and his bandmates are brilliant that way in making accessible music with deep content designed to bring you in rather than alienate you.
Who:Alex Lahey w/Dude York and Porlolo When: Saturday, 12.02, 8 p.m. Where: Lost Lake Why: Alex Lahey hails from Melbourne, Australia and over the last couple of years she’s garnered some attention for her spirited, fuzzy, pop songs. Lahey’s lyrics are tender, self-deprecating, often humorous tales of desire, angst, seemingly thwarted aspirations, and everyday struggle and misfortune. Lahey’s songs are usually upbeat but she seems to honor the downbeat emotions even as she transforms the experience into something with real fire and energy behind the delivery. Her debut full-length, 2017’s I Love You Like a Brother is brash yet sensitive and bluntly yet somehow thoughtfully honest.
Who:Rocky Mountain Low 2: United Mutation, Vile Gash, Cadaver Dog, The Pollution and Combat Force When: Saturday, 12.02, 7:30 p.m. Where: Hi-Dive Why: The second edition of Rocky Mountain Low, a mini-festival put together by Reed Bruemmer of Poison Rites and Heavy Dose Records head Brian Castillo. This time it’s mostly punk and hardcore including a rare appearance from United Mutation from Washington D.C.–a band that existed in the 80s alongside the bands on the Dischord imprint of that day. U.M. had incorporated psychedelic rock sounds into its songwriting so that it still has the bite and energy of hardcore while seeming to have learned a thing or two from Chrome and Hawkwind. Similar ethos, different side of the D.C. punk scene of the 80s. Jay Fox of United Mutation has lived in Denver for several years and his more overtly psychedelic punk band The Pollution will perform as well.
Who:Jed Kopp’s Birthday Bash: Pretty Mouth and The Sleep Escape When: Saturday, 12.02, 8 p.m. Where: Gary Lee’s Why: Jed Kopp has been lending his drumming talents to several bands in Denver over the years and his clear musical talent plus his affable nature has made him a real fixture in Denver underground music. One band he plays with these days is the alt-country/punk band Pretty Mouth whose singer Marie Litton has an otherworldly presence as a front person, giving the songs and the performances an elevated and elegant quality.
Who:Sour Boy, Bitter Girl, Savage Blush, Modern Leisure and Down Time When: Saturday, 12.02, 8 p.m. Where: 3 Kings Tavern Why: Must be the top notch all local bill weekend in Denver. For this show Sour Boy, Bitter Girl, formerly from Fort Collins, will bring its literate yet gritty folk rock. The Savage Blush’s deeply reverby psychedelic pop will illuminate the stage. Modern Leisure’s superbly crafted pop songs graced with Casey Banker’s insightful lyrics and ability to truly capture a moment in time and tell a story will be on display. And Down Time is an indie rock band but it will demonstrate, as it always does, how you can work with familiar sounds and tools and by being willing to experiment with all elements make something incredibly compelling and original. The band’s use of percussion in a way that is very tied to the vocals and the use of synths in the mix brightens the sound and augments all the melodies in a way you don’t often hear.
Who:The Lollygags, Hot Apostles, Jonny Barber and The Ghost-Towners When: Saturday, 12.02, 8:30 p.m. Where: Moe’s Original BBQ Englewood Why: Very mixed bill but no filler. The Lollygags is a power pop band that sounds like it’s listened to a lot of The Wedding Present and Elvis Costello. Hot Apostles is a hard rock band that sounds like its members worked all the obvious influences out of its sound. Like maybe the members were into 70s classic rock and glam rock of the 80s but ditched the gross trappings and held onto the solid songwriting and passion. The Ghost-Towners describe themselves as an outlaw country band, which could be more retro-mundane rip-off of better material but the band includes Dario Rosa formerly of Cabaret Diosa, his former Cabaret Diosa bandmate Kimmy Franco, Zack Littlefield who spent time playing with Supercollider, Greyhounds and Sonnenblume, Bobby Genser and Chuck Cuthill both of Slakjaw and Mark Aubie of The Jaguars. Not a supergroup, per se but the outlaw country claim is no idle boast because of that lineage.
Who:Blackcell with Solypsis, The Psybrid, DJ Hepster Pat When: Saturday, 12.02, 9 p.m. Where: Tennyson’s Tap Why: This will be a bit of a different show with Denver’s longest-running industrial/experimental electronic band Blackcell as the duo collaborates with ambient and industrial artist Solypsis. Whatever the exact nature of the set it’ll be an entrancing, enveloping sonic experience.
Sunday: December 3, 2017
Chella And The Charm, photo by Tom Murphy
Who:Chella and The Charm, Bryan McPherson and Sputnik Slovenia When: Sunday, 12.03, 5 p.m. Where: Goosetown Tavern Why: Two of Denver’s great storytellers will be playing this show. Michelle Caponigro of Chella and The Charm, can write a song about situations and experiences pretty much anyone can relate to but in the telling take aim at larger issues and while thoughtfully unpacking what are often complicated subjects. Anyone can write a trite song about relationships for the gendered fist bump of solidarity. Caponigro gives us something much more profound and anything but rote. Jim Yelenick will perform his more or less solo material as Sputnik Slovenia but you may remember him for being the frontman of Nuns of Brixton, Pitch Invasion and Jet Black Joy. Among others. There’s a very self-conscious and irreverent humor in his show and in many of his songs. Amid that, and because of that, there’s an unexpected sincerity that you get when a natural born smartass gets real even using irony as an element in the art.
Who:Punk For Positive Change—Benefit for Northern Colorado AIDS Project: Discount Price, Equine, Smashy Claw, Plasma Canvas, Teacup Gorilla, Sinister Pig When: Sunday, 12.03, 7 p.m. Where: Surfside 7 Why: Obviously a benefit show for the Northern Colorado AIDS Project, not so obvious is how, thank goodness, broad the sense of punk might be for this show. Kevin Richards, who is Equine, was once in experimental post-hardcore band Motheater even though his current project is more like an avant-garde guitar solo project that wends toward the realm of ambient. Teacup Gorilla is more like a post-punk-oriented glam band that doesn’t seem to be looking to any era or scene for inspiration and what’s more punk than that, really. If you mixed Weird Al with Dead Milkmen you might get something like Smashy Claw. Who knows what instruments they’ll use in the songs? Live, the band is probably more stripped down and will still probably confuse people who don’t get bands that don’t fit into a narrow genre. The irreverent, fuzz-fueled melodies of Plasma Canvas’s post-sludge-doom garage punk has more in common with Kyuss and Mudhoney than King Tuff. Not that this duo isn’t into King Tuff.
Who:Whitney w/Julie Byrne When: Sunday, 12.03, 7 p.m. Where: Bluebird Theater Why: Max Kakacek and Julien Ehrlich were once members of one of the most promising bands of the last several years, Smith Westerns. The breezy psychedelia of Smith Westerns resulted in a handful of releases and the group had garnered a large enough audience to tour playing mid-sized theaters across North America. But in 2014 Smith Westerns called it quits. Kakacek and Ehrlich wrote the early Whitney songs while living in Chicago. Two years later, after already a fairly busy touring schedule, the then full band released Light Upon The Lake, recorded with Jonathan Rado of Foxygen. The record sounds like Kakacek and Ehrlich spent a lot of time in Laurel Canyon or listening to records from the heyday of the musicians who lived and wrote their own classic material in that part of Los Angeles. An immediate comparison could be made with Joni Mitchel’s 1974 classic, Court and Spark. Partly because the vocals are intentionally in a different tone and pitch than you’d expect from even a 60s-and-70s-worshipping indie rock band from today a well as Mitchell’s genius for turning unusual, even experimental, guitar tunings into accessible riffs. Whitney, in making interesting musical choices, makes familiar-sounding music interesting because it is so well-crafted and sonically imaginative despite hearkening back to an older aesthetic. The band puts its own stamp on that sound making Whitney a band to watch rather than merely culture vulturing on an already established musical style.
Monday: December 4, 2017
Whitney, photo by Sandy Kim
Who:Whitney w/Julie Byrne When: Monday, 12.04, 7 p.m. Where: Bluebird Theater Why: Max Kakacek and Julien Ehrlich were once members of one of the most promising bands of the last several years, Smith Westerns. The breezy psychedelia of Smith Westerns resulted in a handful of releases and the group had garnered a large enough audience to tour playing mid-sized theaters across North America. But in 2014 Smith Westerns called it quits. Kakacek and Ehrlich wrote the early Whitney songs while living in Chicago. Two years later, after already a fairly busy touring schedule, the then full band released Light Upon The Lake, recorded with Jonathan Rado of Foxygen. The record sounds like Kakacek and Ehrlich spent a lot of time in Laurel Canyon or listening to records from the heyday of the musicians who lived and wrote their own classic material in that part of Los Angeles. An immediate comparison could be made with Joni Mitchell’s 1974 classic, Court and Spark. Partly because the vocals are intentionally in a different tone and pitch than you’d expect from even a 60s-and-70s-worshipping indie rock band from today a well as Mitchell’s genius for turning unusual, even experimental, guitar tunings into accessible riffs. Whitney, in making interesting musical choices, makes familiar-sounding music interesting because it is so well-crafted and sonically imaginative despite hearkening back to an older aesthetic. The band puts its own stamp on that sound making Whitney a band to watch rather than merely culture vulturing on an already established musical style.
Who:Grizzly Bear w/serpentwithfeet When: Monday, 12.02, 7 p.m. Where: Ogden Theatre Why: Grizzly Bear’s 2017 album Painted Ruins sounds like it’s tapping into the same emotional states of fantasy, yearning, uncertainty, nostalgia and self-examination that Joe Walsh expressed in his 1978 album But Seriously, Folks… and the wistful, deeply atmospheric soundscaping conjured by Supertramp for the songs on 1977’s Even In the Quietest Moments and 1979’s Breakfast in America. The melody is there, even the pretense of upbeat tempos and gestures of hope. But all are about anxiety in an age of fake plenty expressed with a sublime irony and compassion for all of us living through this moment. All those albums were written by relatively successful artists who may have fully indulged in the “good life,” to varying degrees, that music made possible for them but all of whom also saw the limitations of the hubris that commercial success and the privilege it provides engenders in many people and wrote existential songs to that effect. That’s not to say Grizzly Bear is “important” or that Painted Ruins is a masterpiece, certainly the other three records mentioned aren’t necessarily so for those respective artists, it’s just refreshing to hear a solid, thoughtful album that doesn’t give the impression that nothing’s wrong but also doesn’t try to offer shallow, pat advice.
Tuesday: December 5, 2017
Overcoats, photo by Anna Azarov
Who:Overcoats w/Sarah Jaffe When: Tuesday, 12.05, 7 p.m. Where: Globe Hall Why: Electronic pop duo Overcoats released its debut full-length YOUNG in 2017. It has the kind of sonically rich production you would hope for from a band of its kind but where Overcoats truly distinguishes itself is in its willingness to incorporate fairly unconventional sounds and rhythms in its songs and the subject matter of the lyrics sound more like a worthwhile country or folk artist. The vulnerability and startling frankness may not be obvious amid ghostly atmospheres and lushly smooth low end pulses but if you take some time with the songs it’s striking. And who better to tour with Overcoats than Sarah Jaffe’s whose own 2017 album Bad Baby swims in bright yet melancholic synth tones and sweeping rhythms as well as thought-provoking words that unwind some of the complexity of mixed emotions everyone seems to navigate in modern life these days. Definitely for fans of St. Vincent and EMA.
Who:Supersuckers, The Bellrays, Bombpops When: Tuesday, 12.05, 7 p.m. Where: Lost Lake Why: Supersuckers have tried on various sounds over the course of the last thirty or so years. But initially the band was kind of a garage punk band with an irreverent and ironic sense of humor. Probably too many people took their song “I Say Fuck” too much at face value, totally missing the significance of Daniel Clowes having done the artwork to The Smoke of Hell and Clowes’ own views on the lunkheads of the world. Whatever your takeaway from the band, its shows are energetic and celebratory even after it wisely progressed away from its roots a bit and became more of a gritty country rock band in recent years. Bellrays are a soulful revolution rock band fronted by the incomparable Lisa Kekaula. For its 1998 album Let It Blast, the band wrote a song called “Blues For Godzilla” and actually lived up to the title. That image should give you some idea about the live show.
Wednesday: December 6, 2017
Sheet Metal Skingraft, photo by Tom Murphy
Who:Weird Wednesday: Sheet Metal Skingraft, Robot Peanut Butter & The Shooting Stars, Universal Devils When: Wednesday, 12.06, 9p.m. Where: 3 Kings Why: For this edition of Weird Wednesday you get to witness the noise-driven beatmaking of Sheet Metal Skingraft, the sinister one-man band folk-metal of Universal Devils as performed by Tricky Dick Wickett of Little Fyodor and Babushka Band and Robot Peanut Butter & The Shooting Stars which answers the question “What do you get when a noisy, experimental funk band makes music that J. Dilla might have wanted to sample while making a song that sounds like a lo-fi version of J. Dilla’s more out there beats?” Very meta. Thus, Weird Wednesday delivers another night of some of the most interesting and unusual music in Denver.
Animal / object (Steven Gordon 2nd from left) on October 18. Photo by Tom Murphy
This is the first in a series of mini-profiles of musicians and artists, mostly from Denver for now, called The Dozens where the interviewer asks, as the name suggests, twelve questions. For the debut we posted some questions to Steven Gordon, a Denver native, and a significant local artist whose sculptures and visual work demonstrate a simple but unmistakable style and whose relatively-late-in-life immersion in improvisational music through his playing in avant-garde band Animal / object has earned fans among Reed Fuchs of Moon Magnet and Gordon Gano of The Violent Femmes who now regularly performs with the group. Gordon as a musician and as an artist seems to be someone who quietly lets the work speak for itself with a grace and humility not common enough in the arts.
Over the last few years Gordon has experienced the death of his mother and his own battle with health issues and this Saturday there will be a benefit show to help Gordon in his dealing with his illness (discussed below). The show will include performances by local and non-local musical luminaries such as Animal / object, Gordon Gano, Perry Weissman 3, David Dinsmore and Lynn Baker-Miguel Espinoza Flamenco Jazz Duo. There will be a silent auction with donations from various local artists and businesses. Those unable to attend the event and/or wanting to donate directly to Gordon as he is needing to take a leave of absence from his job for the duration can do so through his Paypal account here.
Queen City Sounds and Art:Most kids do some kind of artwork growing up whether or not they think of it that way. What got you to keep doing art beyond childhood where everyone had art classes and were more or less forced to do something they do naturally?
Steven Gordon: Honestly, mostly album cover art and drafting classes. Studying the different techniques and trying to mimic those, for instance, with markers and hair spray. Library books. Auto shows.
Being from Denver, what and where were your first experience with art and music outside the more formal (Denver Art Museum, shows at McNichols and Red Rocks etc.) context?
I’d say early MTV, then MusicLink and Teletunes. Westminster was not exactly an art Mecca.
When did you have your first art show and where was it showcased? If this has not happened yet somehow let’s make that happen. But I’m assuming it has.
Not a solo show, but it was around 1991at a Westminster gallery called Ec-Lec-Tic Art, a tiny space run by Mark Oeser.
Was there anyone in your life that fostered your love of art? Mentored you in any way? How did that person or those people do so in a way that you felt cultivated your creativity or helped you to cultivate it yourself?
After leaving engineering, before I had shown anywhere, I had a job as head artist at Ocean Pacific Childrenswear, which, with no actual experience, enabled me to develop myriad techniques and styles. What a thing to get paid for! They had some really great art directors, and I am grateful for the experience.
Pottery/sculpture by Steven Gordon
I’m mostly familiar with your sculpture and pottery (which I suppose is a form of sculpture). What about that medium do you feel appeals to you most? What about pottery do you find interesting as it is more a reproducible work as opposed to a a piece made not with the intention of being reproduced?
I didn’t get into ceramics until about 8 years after I opened my studio. Once I was surrounded by ceramicists, I absorbed their influences. I started out doing small to large-scale flat wall installations. Now, I’m fascinated with the possibilities of slip casting, though to do multiples of custom assemblages is a daunting task.
When did you start playing music? Do you have formal training in it and if so where did you get your start in terms of instruments?
I started playing around with music pretty late in life, around age 47, after a lesson in surface mic building at Titwrench. I was hooked on the possibilities of captured noise for life after that. I have absolutely no formal training in music at all. Three things nurtured me: Classical music, becoming the bass drum player in that weirdo marching band here in town, and a 4-track recorder and some Danelectro pedals to feed the surface mics through.
As a member of Animal / object you perform sometimes improvised pieces, sometimes spontaneous compositions. What do you find interesting and satisfying about that way of making music? A lot of musicians can’t really operate in that context because of its off the cuff quality.
As a self-taught musician, there’s really no other way for me to play. I don’t read music, and when I’m using homemade instruments, there are no formal rules, so I have no choice but to learn those instruments and make it up as I go. There’s a strange freedom in that pressure. Playing that way actually informs the ear in many ways the rigidity of a composed piece may never do. It causes you to listen to the space and the mindset of the other players, their timing, their intensity, that would usually be missing in most forms of composed pieces.
I’m under the impression, for whatever reason, that you had a span of years when you weren’t involved in music or making art. Is that true? What was occupying your time? If so, what brought you back to it or into getting into playing music either for the first time or again?
I had reached a point where I just couldn’t do another corporate art commission, so I kind of broke away, but that really gave birth to the whole music thing. I was still doing art, but just letting myself experiment without the pressure of showing or selling. The marching band and Animal / object really drew me back into society, which was ultimately very good for me.
I believe that after a certain age most people know what their life is about or what they want it to be about. What would you say your life is about or what you want it to be about? Do you know what made you realize those things?
Right now life is all about survival. As much as I enjoy helping other people, being forced to focus on my own well being is fairly alien, so ultimately I hope to come out of this with a renewed spirit of inspiration and giving to others.
You recently spent some time for for a serious ailment. What was the nature of the ailment and what was done to deal with it?
It’s pancreatic cancer, and it sneaks up on you. I’m in Stage 2, so we’re attacking it with chemo for now, and they will reapproach the surgery in January.
You’ve dealt with some major, life-changing experiences over the last several years. Beyond being devastating in a way that many people may not yet be able to relate to, have these experiences caused you to reevaluate aspects of your life for the better? Or at least to redirect your energies in a way maybe you didn’t think you would in years past?
After looking over my mother the last few years until her passing in February, I went in to caregiving full time. I figured it was the best way to use what I had been learning over that time. I discovered that the more I can give of myself, the more I can make a difference to others. I don’t think I can give that up anytime soon.
What is one or a few things in life that you have yet to accomplish or do or experience that you’d still like to and why so?
One major thing I want to do is a tribute album to my mother. She sang with Antonia Brico back in high school, so I’d like to hunt down a recording of her and work it together with the field recordings of her hospital machine noises and the oxygen pump sounds from her last weeks at the house.
Queen City Sounds and Art 
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