Queen City Sounds Podcast – Page 13 – Queen City Sounds and Art

Queen City Sounds Podcast S2E48: Rue Bainbridge

Rue Bainbridge at Lafayette Electronic Arts Festival, April 21, 2023, photo by Tom Murphy

Rue Bainbridge is the duo of Gryphon Rue and Benton C. Bainbridge who fuse an expanded practice of cinematic and sonic art. Using a hacked game console and other electronic devices to generate imagery and synth and musical saw to shape unique tones and frequencies in a way that generates what the project calls “electric calligraphy.” In the live setting the duo use a mesh screen upon which to project the minimalist yet intricate visuals improvising together with the sounds/music in a dynamic interplay unlike much of anything else in the realm of experimental music and visual art. The visuals and the sounds invite those present to engage in a mutual act of imagination and interpretation and in the live setting Rue and Bainbridge play off the reactions and responses of the audience in a way that makes each performance unique as each takes place in a different environment geographically and emotionally/psychologically.

Though initially getting off the ground in New York City and crafting performances in unconventional spaces and those more so, Rue Bainbridge have presented their shows on five continents in art museums, outdoor venues, for broadcast and a wide range of spaces inspiring the creative expansion of the project. In 2022 and 2023 Rue Bainbridge performed at the Lafayette Electronic Arts Festival and for the 2022 event they employed a large wall as part of an impromptu canvas for the visuals and in 2023 it was indoors at the Center For Musical Arts. The wide ranging visual expression with stylized geometric shapes and luminous sketches in sync with composed and improvised drones, field recordings and other samples and textural and harmonic tones felt like being witness to and immersed in a nonverbal yet deeply emotionally communicative act of a shared experience alive for those moments like a collective performance art piece. It had an effect that struck one as intimate and cosmic at once and one that you knew was ephemeral and more poignant because of it.

After the show I got to speak with the duo in one of the other performance spaces in the venue and we discussed a bit of their background and approach to their craft and performance and the heady ideas that have informed what they try to do with their art.

For more information on the project and their shows please visit Gryphon Rue’s website and follow Rue Bainbridge on Instagram.

Queen City Sounds Podcast S2E47: scott crow

Now known more for his political activism and writings on subjects as diverse worker cooperatives, animals liberation, environmentalism, prison abolition, police brutality, anarchism and general alternative economic models to capitalism including mutual aid and disaster relief, scott crow was also a member of political industrial dance acts Lesson Seven and Audio Assault. One might compare Lesson Seven’s music to EBM and electronic industrial groups like Skinny Puppy, with whom the project toured on the latter’s 1988 VIVI Sect VI tour sharing a similar political ethos. At the time most of those industrial and adjacent bands, a good number with whom Lesson Seven shared the stage with over the years, had an outlook critical of a political and social order that had become entrenched in the USA and more or less globally starting in the mid-1970s and dramatically throughout the 1980s with the Reagan and Thatcher regimes in America and the UK respectively: a crypto-authoritarian and austerity policy agenda that has worked to dismantle environmental, labor and civil rights laws and regulations hard won by over a century of grassroots struggle and a brief window of relative political openness to change. The music crow and his bandmates and likeminded artists made commented on this state of affairs with insight and gave it an accessibility that dance-oriented music can, perhaps echoing the famous words of Emma Goldman from her 1931/1934 autobiography Living My Life: “If I can’t dance, I don’t want to be a part of your revolution.” Meaning the austere and joyless, inhuman and uncompassionate, revolutionary culture she observed regularly throughout her lifetime that missed the point of human and non-human liberation broadly.

As an author crow reflected on his life and work in his first book Black Flags and Windmills: Hope, Anarchy and the Common Ground Collective (2015) and published selections of his work in Emergency, Hearts, Molotov Dreams (2016). The record label Emergency Hearts crow started to release new music with a similar ethos to that of his own early time in music that resonates through to today and to reissue some of the older albums that have been neglected for decades. Releasing work and collaborations between artists such as Dead Voices on Air, Laibach, Lee “Scratch” Perry, the recently passed Mark Stewart (The Pop Group), Del The Funky Homosapien, Angelo Moore, Mark Pistel, Time (the Denver-based rapper and political writer), Stephen Mallinder (Cabaret Voltaire), MDC, Sole and a host of others has brought crow and not only his sense of the fusion of music, culture and politics but his ear for music that is and can be impactful to a modern era of music at a time when it can spread more rapidly and not merely serve as background entertainment due to its vital content.

Listen to our interview with crow on Bandcamp and for more information on the artist, writer, filmmaker, father and organizer, please visit scottcrow.org and for Emergency Hearts releases, take a look at the label’s Bandcamp.

Queen City Sounds Podcast S2E46: Water From Your Eyes

Water From Your Eyes at Larimer Lounge, December 6, 2022, photo by Tom Murphy

As Water From Your Eyes, Nate Amos and Rachel Brown have made a career of using an eclectic and ever evolving palette of sounds to explore ideas and concepts through what could be considered dance pop. That is if your frame of reference might be the experimental electronic and punk out of New York and Los Angeles of the last fifteen years. Its 2020 album 33:44 is something you’d expect more out of a band on the Northern Spy label with its beautifully dire, ambient and modern classical soundscapes that are almost an homage to Penderecki’s “Threnody for the Victims of Hiroshima” crossed with Howard Shore’s work for the films of David Cronenberg. But the duo’s most recent album Structure at times sounds like what might have happened if Aphex Twin in writing Selected Ambient Works Volume II had decided to turn those into pop songs. Except that Water From Your Eyes inserts enigmatic spoken word elements that serve as a a meta narrative that re-configures traditional album sequencing and gives the whole album a non-linear quality made cohesive by reimagining the nature of how creative work is structured. In these ways Water From Your Eyes fuses the avant-garde and pop songcraft into a highly accessible form that in the live setting creates an inviting mystique. The group signed to Matador Records in 2023 which released its new album Everyone’s Crushed on May 26 of that year.

Listen to our interview on Bandcamp with Amos and Brown conducted in the back area of Larimer Lounge prior to its show opening for Palm on December 6, 2022 and delve into the new album and the band’s back catalog at the link below. For more information on Water From Your Eyes please visit waterfromyoureyes.com.

Queen City Sounds Podcast S2:E45: Matt Bischoff of Cyclo Sonic, The Fluid and Frantix

Matt Bischoff at The Music Hall of Williamsburg playing with The Fluid, January 17, 2009, photo by Tom Murphy

Matt Bischoff is currently the guitarist and backing vocalist for garage punk band Cyclo Sonic. But Bischoff’s musical lineage reaches back to the early days of punk in Colorado. As a teen he witnessed late 70s and early 80s punk in the Denver are including Boulder and formed his own bands as a bassist including an early incarnation of the legendary punk act Frantix whose 1983 single “My Dad’s A Fuckin’ Alcholic” recorded by prominent Denver engineer and producer Bob Ferbrache has become a classic not just in Denver but far afield with a 2003 compilation of the band’s songs issued by Australian label Afterburn Records followed by a reissue of that compilation with extra material by Alternative Tentacles in 2014. In 2023 the single and some as yet unreleased recordings was pressed onto 7” by FM Records on yellow and pink vinyl.

Frantix split in 1983 and Bischoff was a member of White Trash and Madhouse which morphed into The Fluid. The latter became one of the most influential punk and garage rock bands in Denver and one whose impact reverberated well beyond the Mile High City especially in the Pacific Northwest where it found likeminded musicians in Seattle. In fact, The Fluid was the first band based outside the PNW to be signed to Sub Pop. Its 1991 split 7” “Candy (live” b/w “Molly’s Lips (live)” by a then not yet famous band called Nirvana. Though not technically a grunge band, The Fluid’s raw power as a live band and its infectious melodies and anthemic songs were irresistible and resonated strongly with the grunge scene of The Emerald City. But not being fully in that grunge lane and being from Denver put a lot of pressure on the band which never wanted to conform to that kind of genre straightjacket (nor did the bands dubbed “grunge” for that matter) and after a major label release with 1993’s Purplemetalflakemusic The Fluid called it quits. Former Frantix and The Fluid bandmate Rick Kulwicki dropped out of music to raise his sons and the other members of the band drifted into other pursuits except for Garrett Shavlick who formed Spell and Bischoff who was a member of ’57 Lesbian for some years with a brief stint in Denver garage rock band Boss 302. But by the early 2000s the former members of The Fluid were somewhat or completely inactive in music.

But as 2008 loomed as the 20 year anniversary of Sub Pop the group was approached for a reunion and The Fluid agreed, performing at the anniversary event in Seattle with shows in Denver that same year and a handful of shows in early 2009 including gigs at the legendary now defunct small club Maxwell’s in Hoboken, New Jersey and The Music Hall of Williamsburg in Brooklyn. With members living in various parts of the country The Fluid weren’t going to be a fully active band again but Kulwicki and Bischoff formed the garage and psychedelic rock cover band The Buckingham Squares with other Denver music luminaries like former Rock Tots drummer John Henry, John Rumley, former Choosey Mothers bassist Arnie Beckman and Sam Schiel formerly of Francis Theory. Rick Kulwicki tragically passed away on February 15, 2011 but the Squares continued for a couple of years further. After two or three years off of playing live music Bischoff got together with Beckman and his brother AJ on drums and former Rok Tots vocalist Jif Jipers to form Cyclo Sonic whose own songs are in line with the spirited punk that its members have all done so well for decades. The debut full length by Cyclo Sonic Everything Went Stupid dropped in 2022 on clear green vinyl through Big Neck Records.

This interview is a deep dive into Bischoff’s life in music and as an artist though we could easily have talked about music and his own vast well of stories as an active participant in a local and national music scene going back to the 1970s. And Bischoff’s music and his elegantly powerful guitar work and creative bass playing speaks for itself. Every release by every one of his bands is worth a listen and his story an important part of the cultural legacy of Denver. Rumor has it there is a solid remaster and reissue of the 1989 The Fluid album Roadmouth in the works. RIP former Frantix drummer Davey Stewart who passed away in Spring 2023.

Listen to my interview with Bischoff on Bandcamp and look out for upcoming Cyclo Sonic dates on the group’s Instagram and Facebook accounts. The Fluid’s Facebook page often has fantastic posts related to that band as well. Below are some photos I (Tom Murphy) shot over the years of Bischoff’s bands.

Frantix reunion, September 20, 2008, photo by Tom Murphy

The Fluid at Maxwell’s, January 16, 2009, photo by Tom Murphy

The Fluid at The Music Hall of Williamsburg, January 17, 2009, photo by Tom Murphy

The Fluid at Neumo’s, February 13, 2009, photo by Tom Murphy

The Buckingham Squares at Mercury Café, March 13, 2010, photo by Tom Murphy

The Buckingham Squares at The Bluebird Theater, March 26, 2011, photo by Tom Murphy

Cyclo Sonic at Lost Lake, August 5, 2022, photo by Tom Murphy

Queen City Sounds Podcast S2E44: Kiltro

Kiltro started as the solo acoustic project of Chris Bowers Castillo who as a Chilean-American, had moved to the port city of Valparaíso where he worked as a walking tour guide. And that job not only afforded him the time to learn the city and take in its richly diverse cultural influences but also the opportunity to write a body of work as a songwriter. After returning to Denver Kiltro formally came to life in 2017 and Bowers Castillo developed his acoustic songs with loops, pedals and percussion elements. But in 2018 the project expanded into a trio with Will Parkhill on bass and drummer Michael Devincenzi and later with Fez Garcia on board as a percussionist for live shows.

Kiltro’s 2019 debut album Creatures of Habit had been recorded after the material had been performed live and getting feedback from audiences and friends before being committed to an easily transmitted and shareable form. But the group’s new album, 2023’s Underbelly, is the product of crafting music in quarantine and working in the studio, following whatever creative paths sparked the most inspiration in the moment resulting in a more experimental set of songs which incorporates aspects of shoegaze, ambient, South American folk, psychedelia and a literary yet spontaneous form of storytelling that feels like a deeply personal experience in the listening. The record is a hypnotic and transcendent work of surprising immediacy that one might compare with the likes of Devendra Banhart, Hermanos Guitérrez and more locally to the work of artists like Midwife American Grandma. It fuses the aesthetics of electronic music with the intimacy of mythical folk music around the campfire for a truly unique record refreshing in its originality.

Listen to our interview with Chris Bowers Castillo on Bandcamp and catch Kiltro live at its album release show at the Mercury Café on June 1, 2023 with Nina De Freitas,on tour throughout the USA in June, July, August and September with a stop in Denver on August 25 for the VORTEX festival at The JunkYard at Meow Wolf. For more information on Kiltro including live dates and to pre-order Underbelly please visit kiltromusic.com.

Queen City Sounds Podcast S2E43: Helloween

Helloween is the influential power metal band from Hamburg, Germany. Since 1984 released a string of albums that have often featured concepts and storytelling commenting on the human condition in both personal, emotive narratives and paralleling historical references with current events and commenting on recurring themes of human civilization and the impact of culture and those in power on the lives of people within and without a particular country. The iconography of the pumpkin has been part of the group’s artwork since early on and infuses the often weighty subject matter of the songwriting with a touch of humor and humanity. In 2016 older Helloween lead vocalists Michael Kiske and Kai Hansen rejoined along with long time singer Andi Deris for the kind of sound not many groups in metal have ever had in one band. In May 2023 the group was slated for induction into the Metal Hall of Fame.

Listen to our interview with guitarist Sascha Gerstner on Bandcamp. Helloween is currently on tour with a date in Denver on Tuesday, May 30, 2023 at Ogden Theatre with Hammerfall.

Queen City Sounds Podcast S2E42: Arts Fishing Club

Arts Fishing Club, photo courtesy the artists

Arts Fishing Club is an indie rock band from Nashville that formed in 2016. Singer/guitarist Christopher Kessenich grew up seeing live music with his father and older brothers witnessing a mix of alternative music, classic rock and jam bands all of which fed into his own eclectic songwriting. The band’s debut album Rothko Sky (due out June 16, 2023) is arranged as a kind of personal journey of a person who in the first half of the record sets out in life idealistic and open to everything only to find out that all of us have limitations both human and of our own unique psychology. On the album’s second half there is a reflection on the nature and impact of love, sex and pain and how that can shape who we are once the shine and novelty of new experiences evolves into appreciating the breadth and depth of life. The songs have a bluesy grit and an often impassioned delivery informed by the flow of its narrative element for a record that sounds like it had to be made by a band a few releases into its career once it has figured out who it is and what it wants to say with intention but with the exuberance of a new band intact.

The group is now on its first larger national tour with a stop in Denver at Globe Hall on May 23, 2023 and we had a chance to speak with Kessenich about hits roots as an artist and the rich tapestry of creative elements that went into the make-up of Rothko Sky. Listen to our interview on Bandcamp and follow Arts Fishing Club at artsfishingclub.com.

Queen City Sounds Podcast S2E40: Nastyfacts

Nastyfacts, image from liner notes of the 2022 reissue of Drive My Car

Per the group’s Bandcamp page, “Nastyfacts were part of a Brooklyn teen punk scene that included the Speedies and The Stimulators. Their core line-up consisted of Cherl Boyze on bass and lead vocals, guitarists Brad Craig and Jeff ‘Range’ Tischler with Genji “Searizak” Siraisi on drums. These last three also sang back-up. They began playing music together while attending St. Ann’s School in Brooklyn.” And the band’s sole release during its initial run was the 1981, three song 7-inch Drive My Car originally engineered at Media Sound Studios in NYC in 1980 as produced by Ramona Lee Jan known for her work with The Ramones and Brian Eno among others. The record became a bit of an underground hit and championed by the likes of John Peel and with music appearing on old punk compilations like Killed By Death. Boyze was an 18-year-old queer POC in a band with people in the mid-teens or younger at the time of the release of the record and touring wasn’t exactly on the agenda and as would happen in the normal course of events the band drifted apart and Boyze went on to other musical projects and styles, relocating to the Bay Area and is now known as KB. But for that period when Nastyfacts were around they regularly played CBGB’s and Max’s Kansas City and other venues willing to host all-ages shows. One thing that set the band apart from other punk bands of its milieu was obvious musical ability and KB’s melodious vocals. Fast forward some decades and Drive My Car has been reissued again on Left For Dead Records on November 18, 2022 available on limited vinyl 12”, CD, cassette and digital downloads via Bandcamp.

KB has since become the founder and director of Queer Rebel Productions (est. 2008), a queer and trans artists of color organization (QueerRebels.Org), was the bassist in the pit band (The Felicia Flames) for a recent production at Z Space in San Francisco of The Red Shades: A Trans Super Hero Rock Opera and is now a member of The Homobiles “The Bay’s Mainstay Queer Party Punk Supergroup” according to The East Bay Express with Lynn Breedlove formerly of queer punk legends Tribe 8.

Listen to our interview with KB about the band and the record and what the artist has been up to since those early punk days on Bandcamp. And to learn more about Nastyfacts and order copies of Drive My Car, visit the Bandcamp link below the interview.

Queen City Sounds Podcast S2E39: King Tuff

King Tuff is the creative moniker of Kyle Thomas who has established himself as an artist whose imaginative and eclectic songwriting has evolved over the course of several imaginative albums. His style might be traced to some roots in psychedelic and garage rock but what shines in his recorded output and performances is Thomas’ craft as a storyteller whose lyrics illuminate aspects of American life and culture through the lens of his own experiences and their grounding details. With his latest record Smalltown Stardust, Thomas reflects on the small town life hailing from Brattleboro, Vermont that shaped him and drawing on warm memories to inform a set of songs that sound like an affectionate exploration of how reconnecting with a past one left behind in pursuit of one’s life goals can enrich an appreciation of where you are now and where you’ve been. Beginning to end it’s an album of uncommonly well crafted pop melodies that feel grounding and comforting after a time of some of the greatest chaos and uncertainty for any musician hoping to share their music with a public in living memory. The record is also a celebration of the community and context of Thomas’ musical life and conceived and recorded while his housemantes Meg Duffy (Hand Habits) and Sasami Ashworth (Sasami) were putting together their own extraordinary records of the past couple of years (Fun House from 2021 and Squeeze from 2022 respectively). Some of that spirit creative spirit and good will seems to have intermingled into Smalltown Stardust as well.

Listen to our interview with King Tuff on Bandcamp and follow the artist at the links below. King Tuff performs at Globe Hall on Saturday, March 11, 2022 with Tchotchke and The Savage Blush, doors 8, show 9.

kingtuffworld.net

King Tuff on Instagram

King Tuff on Facebook

King Tuff on Twitter

King Tuff on YouTube

King Tuff on Apple Music

Queen City Sounds Podcast S2E37: The CBDs

The CBDs are a Power Folk Trio formed in the Boulder area in 2013 when the members of the band more or less met each other through their wives and via the world of CU Boulder. Burt Rashbaum (keyboards, vocals), Evan Cantor (acoustic guitar, harmonica, bass, vocals) and Roland LaForge (electric guitars, vocals) all grew up on the East Coast of America and were electrified by the counterculture of the 60s and 70s and all witnessed that great wave of music and art as it was happening before they separately found themselves moving to Colorado in the mid and late 70s. Rashbaum has a background in writing and has been a published author for decades, Roland LaForge was a geologist who spent times in volcanoes around the world gathering data for analysis among his other duties and Evan Cantor in addition to more mundane jobs was a part of Colorado’s avant-garde as a member of Walls of Genius with Little Fyodor (aka Dave Lichtenberg) who blurred the lines between punk, tape collage and noise and Cantor experienced the rich and great underground scene of 1980s Denver and Boulder including witnessing shows at The Packing House and The Junkyard including the legendary 1986 show with Einstürzende Neubauten the tickets for which were painted bones one had to purchase at Wax Trax. Cantor was also in various other left field punk and experimental rock bands over the years but upon befriending his current bandmates he reconnected with some of his own roots in that genuinely cool end up hippie subculture and its own musical leanings.

The CBDs have been playing shows along the front range for the past decade and are now finally releasing a double album conceived of as representing the kind of set list one would hear at one of the band’s performances. Two Sets is the kind of record that could have come out fifty years ago, a decade ago or now and its refreshing and spontaneous energy draws you in immediately into its stories of life, love, bemusement at some of the situations one finds oneself navigating through life. In moments it recalls the off the cuff brilliance of the Grateful Dead or The Band and in others of Frank Zappa in his mode of thoughtful storytelling. It’s a varied record that flows so well it’s like listening to the kind of movie one would hope someone would make of a Tom Robbins novel but one more rooted in instantly relatable and evergreen themes of human connection that bypass sectarian political and cultural divides. It’s a gentle yet potent reminder of an era of idealism and open humanity that never needed to get tarnished and one that seems accessible, practical and nurturing.

Listen to out interview with The CBDs on Bandcamp give a listen to Two Sets on Bandcamp as well (linked below) and witness the easy and creative connection of the band for yourself live. For more information on the band and their future exploits visit thecbds.com.

Upcoming Live Dates for The CBDs:

3/5/23: Very Nice Brewing Company, 4-6 pm, 20 Lakeview Dr., Nederland, CO
3/18/23: BOCO Cider, 6-8 pm, 1501 Lee Hill Dr., Boulder, CO
5/5/23: The Rock Garden, 6-9 pm, 338 W. Main St., Lyons, CO
6/6/23” The Local, 7-9 pm, 2731 Iris Ave., Boulder, CO