TIME’s Ecstatic, Theatrical Live Show Brings Transcendence Through Sound

TIME
TIME, photo by Ian Clontz Historia Photography

TIME from Gainesville, Florida, is currently on tour bringing its otherworldly synthesizer-based compositions to many corners of America. Its 2016 self-titled album is reminiscent of Alice Coltrane’s devotional albums and Peaking Lights. It has the saturated tones and atmospheres that have made so many analog synth projects of recent years tap into a sense of nostalgia for a time when, as Americans, we had the time and leisure to let our minds explore inner space or find solace in letting the imagination exercise its capacities in creative activity we often feel pressured to set aside in favor of non-meaningful work to merely survive. TIME’s music reminds us, if perhaps indirectly, that we must consider what we would want to do with our lives if we weren’t yokes to the machinery of late capitalism. Maybe it’s that the music has some roots in South Asian spiritual practices as hinted at below. Think something like Dead Can Dance, Sky Cries Mary and Tangerine Dream and you have something of the vibe.

The live shows will include a sense of theater beyond the rich atmospheres and emotional catharsis of the music so don’t miss out if you get the opportunity to witness TIME for yourself. We caught up with TIME during their transit through the southwest via email and learned a bit about their foundation, their connection to the DIY music world and what exactly is Mirror Vision, the art project that lent its name to the band’s tour in early 2017.

Queen City: Where did you grow up? What kind of music did you have access to when you were younger?

Madhava Collins: I grew up in the Canary Islands and South Wales. I would say that when I moved to the US 12 years ago my musical library broadened and became more sophisticated. I grew up on a lot of timeless classics. My mom would play old soul and Motown records as well as Michael Jackson, Tina Turner, Whitney Houston, Donna Summer [and such] then there’s the whole Spanish and Spanish speaking South American music: Salsa, merengue. Growing up Catholic, there would be several festivals of the saints in our town and the whole village would come out and celebrate and there would be live music all night long. And of course, also, disco!

Michael Collins: I grew up in Gainesville, discovered punk rock through a Minor Threat mixtape my brother made me and stumbled upon the tail end of the golden era of the Gainesville punk scene in the late nineties. Seriously formative in my understanding of DIY culture and the community necessary to support it.

Had either of you played in bands prior to TIME? What kind of music? What made you want to do something different?

Madhava: I’ve been fascinated with playing music since I was a child. One of the best things they taught me at school was how to sight read music. During my college years in Salem, MA I played blues harmonica and later chromatic harmonica in jazz band. I was in one of my music teacher’s bands for a little while. Then I dropped everything and became obsessed with devotional music from India. I started playing harmonium and an Indian drum called mrdanga. Up until 2 years ago I would play other people’s music and never felt inspired to write lyrics or compose songs. Then, while driving one day, I started hearing in my head a random arrangement of a traditional vaisnava song from my spiritual practice that is a prayer of protection to the lion incarnation of Vishnu. I began recording melodies, lines and drum beats on my phone recorder with my voice while stopped in traffic and it later became “Nrsimha Pranam,” which is on our album. That moment was like a flood door opening and since then I have probably recorded around 30 songs in the same way, two of them which will be in an upcoming album we are planning for 2018.

Michael: I had a high school band called Dasi which then became Prince Rama of Ayodhya and eventually just Prince Rama. We released about five albums together and toured almost constantly. It started as a “psych-folk” project and shifted towards tribal/noise/synthpop as our tastes evolved. Working with them was truly amazing but in many ways I had to set off on my own to discover my own voice.

TIME
TIME, photo by Ian Clontz Historia Photography

What inspired the formation of TIME?

Madhava: Michael and I had been dating for a year or so when I started composing and he set me up with some software so I could begin laying everything down. He was super impressed . I think he was surprised too because I don’t think he knew I had that in me, and neither did I to be honest. That’s when we formed the band.

Michael: I had been performing solo for a few years under my own name, put that on the back burner to perform traditional kirtan on the streets of New York with a bunch of Hare Krishnas and then Madhava came along with an amazing collection of songs that inspired me to dust off the old synthesizers and get back in the game.

How did you get started playing live in Gainesville with the kind of music you make?

Madhava: Our first show was at a bike collective in Gainesville and we played with Ghost Fields. One of the audience members was pretty much the go to booker for DIY, experimental, awesome music in Gainesville. He brings amazing people here like Boy Harsher and Curse. Some known and many unknown but incredible people. He started booking us for his shows and gave us a good start.

Were you aware that there were other bands making new, all synth/electronic music that wasn’t part of the whole dance music world (EDM and such)? Were there other bands in Gainesville or nearby making the kind of music you wanted to before you started TIME? 

Michael: Contemporary EDM I’ve avoided like the plague. My exposure to electronic music was initially through electroacoustic composers creating insane tape and synth based compositions under the auspices of forward thinking institutions (Pierre Schaeffer, Steve Reich, Terry Riley) and also the world of noise and harsh electronics that was so prevalent in the mid to late 2000’s (Teeth Mountain, Sewn Leather, DJ Dog Dick, etc.).  I eventually discovered Bobby Orlando and Italo disco and my life was never the same.

 

TIME
TIME’s Madhava Collins, photo by Mary Silas

When did you become aware of like-minded artists around the country? Particularly in the DIY music world. Though I suppose Michael’s experience with Gainesville punk and Prince Rama didn’t hurt.

Madhava: This is our 3rd DIY tour and actually it was just a year ago that we set out on our first tour, which was 3 months long and took us pretty much everywhere, including Canada. There were only a handful of U.S. states where we didn’t have shows. Back then I was more naive about DIY touring. When I met Michael he had mentioned that he was going on tour for a few weeks with a friend and I pictured them in a huge tour bus with a crew. I had no idea DIY touring was a thing, but now I handle pretty much all the booking and get excited when I discover new amazing artists and folks from cool local scenes.

Michael: As a punk rock youth I was involved in Gainesville DIY spots and saw so many amazing bands pass through, it was only natural that I eventually sought to do the same.

Your self-titled, 2016 album reminds me tiny bits of Alice Coltrane circa Turiya Sings, early Dead Can Dance but with synths rather than guitar and analog synth science fiction soundtracks if the 80s. What inspired the combination of sounds and ideas for that album?

Madhava: That same summer I started composing I was working as a yoga teacher at summer camp and I asked Michael for some good relaxation music for my classes. Not only did I get that from him, but also amazing synth music: John Maus, Martin Dupont, Emeralds, Zeno and Oaklander and Inner City just to name a few. I got super into it!
Michael: John Maus, Popol Vuh, Bobby O, Robbie Basho—artists seeking transcendence through the medium of sound.

Your current tour is the Infinity Tour. What is this Mirror Vision thing that gave name to your tour earlier this year?

Madhava: That’s our collaboration with our friend and Florida artist Jay Rosen. Michael and I were living at a show space where Jay had his exhibit last year and we were so impressed. It was the most incredible thing in the whole show. Everyone flocked to try on his head pieces. When you wear them it totally transforms your reality. You can see out, depending on the light, but you also see multiple reflections of yourself inside from different angles and sometimes you can even see behind you. It’s like being a kaleidoscope.

One day Michael asked Jay if we could tour with the pieces, so we took them on the road for our Mirror Vision Tour earlier this year. When we got back from tour we said “Now we want a whole stage!” And he built it in less than 3 months. My personal connection with Mirror Vision is that it serves as a visual representation of an important concept explained in the Bhagavatam, one of the main texts of our spiritual practice, that this material plane is a distorted reflection of the spiritual plane.

TIME
TIME’s Michael Collins, photo by Ian Clontz, Historia Photography

 

There seems to be a real moment right now, or has been going on for a few years, where synthesizer music, darkwave/industrial and post-punk music is enjoying a real renaissance and this time more interconnected than before. Do you feel this is the case? If so, how has this benefited you? Are there other bands you’d recommend to anyone out of all that and why?

Madhava: It’s hard for me to say whether synthesizer, darkwave/industrial and post-punk music are at a renaissance right now because it’s music that I am super into and I feel like we attract or surround ourselves with people on the same wavelength. I have talked to folk who have no clue about this music at all, and I doubt they would say it’s currently prolific. One of my old pals from college, upon hearing our album, said “What is this? I’ve never heard anything like it! I can’t make sense of it!” Mind you, this is a person who plays bagpipes and is into contra dancing or something like that. At the top of my list of current artists right now is Drab Majesty. Not only is their music incredible in and of itself, but they have an interesting aesthetic and performative vibe which is a direction that we are also exploring.

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Review: Downtown Boys at Larimer Lounge, 8/20/17

 

Downtown Boys at Larimer Lounge
Downtown Boys at Larimer Lounge, photo by Tom Murphy

Several people got to see Downtown Boys in Denver at the Summit Music Hall opening for Prophets of Rage for that Rock Against the TPP kickoff concert on July 23, 2016. Lucky them. The Providence, Rhode Island band made its return to Denver on August 19, 2017 at Larimer Lounge in the wake of the release of its latest album, Cost of Living. The title suggests layered meanings with considerations of a living wage in a world dominated by late stage capitalism, but also the cost of living in the world we live in both externally and internally, the emotional and psychological cost of having to make your way in a civilization that seems hostile to not just creativity but any modes of being not tied directly to a narrowly conceived profit motive–and the impacts of such on every aspect of your life. But Downtown Boys also weave narratives of how to resist that erosion of humanity without being a downer. On the bill that night were Denver bands Bleak Plaza and Surf Mom as well as Los Angeles-based No Wave psychedelic, Latin funk band Sister Mantos.

Bleak Plaza
Bleak Plaza at Larimer Lounge, photo by Tom Murphy

It’s rare that a band can live up to even a fraction of its hype. Even if you saw live footage on YouTube or elsewhere. Even if you saw the interview Downtown Boys did for Democracy Now in February 2016, it simply didn’t prepare you for the actual experience of what Rolling Stone’s David Grossman in 2015 declared “America’s Most Exciting Punk Band.”

From the beginning, Victoria Ruiz was the kind of front person who commands attention. Between songs engaging with the crowd in mini-treatises on the condition of the world today in a way that felt like a great friend you hadn’t seen in a long time might talk to you in a very real, poetic moment. The songs, blistering post-punk with an exhilarating dynamism that I’ve only before seen when witnessing The Gang of Four in 2005 on its reunion tour, Fugazi in 2001, The Gossip in 2006, Ponytail in 2008 and Refused in 2012. That kind of punk that sweeps you up not only in the music but in what the music is about, what it represents at that time when a lot of music feels phony and devoid of anything but entertainment value.

Sister Mantos
Sister Mantos at Larimer Lounge, photo by Tom Murphy

When Ruiz spoke, every time it felt like she was cutting right to what’s ailing the world from the racism, sexism, homophobia, all other misplaced phobias, inequality, the perils of manufactured boredom and violence. Among other subjects too varied and eloquently spoken to recreate hours after the fact. Downtown Boys fused the excitement of a punk band not limited by the tropes of the genre, willing to use dynamics and sounds that you know won’t be quaint years from now. By the end of the show, Downtown Boys struck me as the perfect band at the right time with the most on point message presented in the most exciting and riveting fashion imaginable. One has to think this show must have been what it was like to see Public Enemy circa Fear of a Black Planet but addressing a wider and different set of issues but in a more challenging time in American history making Downtown Boys not only one of the most exciting bands in the land but also one of the most important.

Surf Mom
Surf Mom at Larimer Lounge, photo by Tom Murphy
Downtown Boys
Downtown Boys at Larimer Lounge, photo by Tom Murphy

Best Shows in Denver 9/1/17 – 9/6/17

 

Rubedo
Rubedo at Treefort Music Festival 2013, photo by Tom Murphy

As summer is winding down hopefully two weeks of rampant allergens winds down in time for many people to catch some of the best shows happening in Denver and its environs. Perhaps even Labor Day at Red Rocks with Foreigner (interview with Queen City Sounds and Art published soon), Cheap Trick and the Jason Bonham Led Zeppelin Experience show. Maybe not. Either way, here areten worthy of consideration.

Who: Chaperone and Radere split tape release 
When: Friday, 9.1, 7:30 p.m.
Where: ATLAS Theater, CU Boulder
Why: It’s a release show from Always Human Tapes, which issues some of the most interesting electronic and electroacoustic music going on anywhere. It’s also in the black box ATLAS Theater in the basement of one of the buildings on the CU Boulder campus with an immersive video environment and a high definition sound system. It’s also free so take a chance on seeing ambient/soundscape artists Chaperone and Radere in pretty much the perfect environment to experience that music.

Who: 09.01 Fiat Luxx (Intimat, Eko House), Ryan Scannura (Deep Club) and Mike Carungi (Nocturnal) 
When: Friday, 9.1, 9 p.m.
Where: The Black Box (Denver)
Why: Electronic music collective Nocturnal presents this showcase of some of the most interesting deep house/dubtechno/techno artists in town. Ryan Scannura is one of the founders of the Deep Club collective, which, along with Nocturnal, Sorted and other groups helped to give underground electronic music a real foothold. If you like electronic dance music but find the whole EDM thing a little played out (or you were never into that to begin with), this may be a good place to start exploring the rich and broad electronic scene in Denver at a venue with a Function One. There is another show at Black Box this night that’s also worthwhile (RUN DMT, Calivin Hobbes, Rave Booty etc.) so make sure to get into the right room or just take a chance.

Who: Abrams w/Glacial Tomb, NightWraith, Kenaima 
When: Friday, 9.1, 9 p.m.
Where: Larimer Lounge
Why: Even if you’re not really a fan of metal, all of these bands write good songs beyond genre considerations. At the same time, none more heavy. Ten years ago maybe Abrams, Glacial Tomb and Nightwraith would have been lumped into stoner rock or sludge or simply doom, like too many things are now. And it all would have fit but this bill displays the diversity within heavy music because Abrams, despite being doomy and heavy has real energy and nuance like the band remembered that great songs often aren’t just about being crushing and devastating. Kenaima is more overtly a post-hardcore band. Glacial Tomb is deathgrind with flecks of melody. NightWraith wouldn’t sound out of place in a Gothenburg melodic black metal playlist.

Who: Earthless w/Cloud Catcher and Chieftain 
When: Saturday, 9.2, 8 p.m.
Where: Marquis Theater
Why: Earthless is an instrumental hard psych band from San Diego but they were doing that before it became something that felt ubiquitous for a while. Like a bunch of the stoner rock guys discovered acid and post-Lemmy Hawkwind and the 13th Floor Elevators and that Black Sabbath wasn’t the end all be all of heavy and trippy music. Drumming for Earthless is Mario Rubalcaba who once played or plays in Clikatat Ikatowi, Pinback, Hot Snakes, OFF!, Rocket From the Crypt and The Black Heart Procession. Cloud Catcher from Denver somehow makes bluesy rock and roll blended with metal’s harder edges seem dangerous but fun and singer/guitarist Rory Rummings really sells it with his seemingly indefatigable energy.

Who: The Soul Rebels featuring Big Freedia w/The Reminders, Sur Ellz and Venus Cruz
When: Saturday, 9.2, 9 p.m.
Where: Cervantes’ Masterpiece Ballroom
Why: Big Freedia more than helped to popularize the hip-hop genre known as bounce—and Big Freedia’s variety oft referred to as sissy bounce. Beyond embodying a genre, Freedia contributed to the world of music by taking bounce and crossing it over into the realm of experimental electronic music and a kind of hyperkinetic dub that is a mind bending live music experience. Collaborating with fellow New Orleans band The Soul Rebels on this tour just means the sound palette between both sets of artists will be greatly expanded. Also on hand are worthy locals in the realm of hip-hop The Reminders, Sur Ellz and Venus Cruz who embody genres of hip-hop of their own. A lot of personality for one show.

Who: Courage My Love w/The Hollow and Viretta 
When: Saturday, 9.2, 9 p.m.
Where: Lost Lake
Why: If you go, do know not to expect the sort of pop punk band of six years ago when Courage My Love first started making waves in North America. It might be safe to say that the band ditched what offered less possibilities for artistic growth in favor of the kind of pop music that would allow for Mercedes and Phoenix Arn-Horn to more fully utilize their classical music training background. The new album, 2017’s Synesthesia, may alienate many of the band’s older fans expecting the punk band but to the Arn-Horn sisters’ credit, the songwriting is more interesting and explores more emotional expression than their earlier work.

Who: Yes featuring Jon Anderson, Trevor Rabin and Rick Wakeman 
When: Sunday, 9.3, 7:30 p.m. show
Where: Hudson Gardens
Why: Last year, the version of Yes including Steve Howe, Alan White, Geoff Downes, Billy Sherwood with Jon Davison on vocals performed Drama and sections of Tales From Topographic Oceans at the Paramount. This year, you can see the version of Yes with the inimitable Jon Anderson, the band’s original lead singer, Trevor Rabin and Rick Wakeman. All impressive musicians in their own right, they’ll be able to play from Yes’s respectable back catalog of some of the most imaginative rock music of the 70s and 80s. The set list for the tour so far is heavy on the 70s.

Who: La Luz w/Bad Licks and Rubedo 
When: Sunday, 9.3, 7 p.m.
Where: Bluebird Theater
Why: La Luz started in 2012 when it seemed that there was a glut of surf and garage rock (or a combination of the two) bands. The then Seattle-based band distinguished itself from other groups mining similar sounds and influences by having songs that transported you to a better place where your dreams and aspirations seem attainable. With album titles like It’s Alive (20130 and Weirdo Shrine (2015), La Luz was signaling to like-minded types their own willingness to make pop music for people who are at least somewhat outside society’s mainstream. So that Denver’s psychedelic band Bad Licks and the prog-pop-psych luminaries Rubedo are on the bill opening the show seems just about perfect.

Who: Weedeater w/Telekinetic Yeti, The Atomic Bitchwax and Tricoma 
When: Monday, 9.4, 8 p.m.
Where: Hi-Dive
Why: The sheer amount of sound at this show might be slightly too big for a place like the Hi-Dive. But if Primitive Man can play there, so can sludge lords Weedeater whose giant, crushing riffing is like a slow moving tidal wave. The Atomic Bitchwax sounds like it took more than a few cues from Fu Manchu and Monster Magnet (2/3 of the band currently plays with the latter) but if that tuneful stoner rock is your thing you should definitely check out The Atomic Bitchwax. This should probably be in a bigger room so consider yourself lucky you get to see it at a relatively cozy venue.

Who: The Octopus Project w/Eyebeams and Curta 
When: Wednesday, 9.6, 8 p.m.
Where: Hi-Dive
Why: Austin’s The Octopus Project has been bringing its brilliant electro-indie pop compositions to stages around the country since 1999. The band’s almost orchestral sound employs 8-bit sounds, vintage synths and motorik beats. You’re never sure what you’re going to get with each tour but The Octopus Project manages to be a refreshing experience every time. Opening is indie pop band Eyebeams from Denver featuring the songwriting of Suzi Allegra who some may know from Quantum Creep but also earlier projects like Fingers of the Sun and The Pseudo Dates. One of the best bass players in town, Allegra is also a gifted songwriter whose insightful lyrics make thoughtful observations about life and the world around us.

 

 

Marya Errin Jones of Ebony & Ermine And Ensemble Art as a Springboard for New Ideas

Mariner Variations
Mariner Variations at Titwrench 2012, photo by Tom Murphy

Ebony & Ermine from Albuquerque, New Mexico performs tonight at Titwrench fest 9, going on stage 8 p.m. at The Mercury Café. The duo represents the collaboration between Ebony Isis Booth and Marya Errin Jones. Booth, a former Denverite, is a renowned slam poet and once member of the all female Wu-Tang cover band Lady Wu-Tang. Jones runs the performance space Tannex in Albuquerque but may be known to previous attendees of Titwrench for her turns as Mariner Variations as well as her contributions to the performance art collective Milch De La Máquina. Jones also organizes the Albuquerque ‘Zine Fest and Booth puts on the annual Burque Noir event. I recently had a chance to ask Jones some questions about her background and inspirations.

Tom Murphy: How did you discover and become involved in a kind of underground and experimental music and art world in Albuquerque ? Was there an experience or group of friends that brought you into it et. al.?

Marya Jones: I have been an experimental theatre artist for more than a decade, and a musician since a child. I was trained in physical theatre, and have, with few exceptions, devised most of my own performances. As far as experimental music is concerned, I started working with Milch de la Machina (created by Marisa Demarco and Monica Demarco) several years ago, which lead me to making experimental, electronic music. I also run a performance space in Albuquerque called The Tannex. For four years I have produced music events and other performances that exist outside the bounds of conventional performing arts.

Were there people (individuals or groups) that mentored you as a musician/artist in ABQ? Who were they and how important were they to your development, what did it help you to realize about your own creative work, if so? If not, what sorts of things did you do to foster your own creative vision and work?

I’m inspired in some way be everything that I see. As much as I enjoy watching local artists and groups, what fosters my creative vision and work is my own inner life – my dreams, and memories of the past.

You’ve performed at Titwrench before as part of Milch De La Maquina and as Mariner Variations. What inspired Mariner Variations, a clear nod, in part anyway, to seafaring adventures and sea shanties for someone living in a place fairly far from the ocean and large bodies of water? What about that sort of thing do you think held such a fascination for you?

The Mariner Variations was born from my love affair with the writer and adventurer Robert Louis Stevenson, whom I consider a mentor and distant friend, as strange as that may sound. I don’t think it’s unusual at all to be in love with water and the sea. I wasn’t born in the desert – I can here. I grew up in Georgia and Florida, lived in California and New England. And, lived in the womb for 9 months! Who doesn’t carry the ocean in their soul?

Milch De La Maquina is always a highlight of Titwrench. What do you think an art project like that is aimed at affecting for both the people involved in creating it/performing in it and the people who get to experience it that aren’t directly involved even if they are involved in the experience of the performance? What do you hope people get out of it? What do you get out of doing that past the time of the performance as they don’t seem to be designed to be repeated or captured for posterity in a way that would ever translate well to anyone that isn’t there?

This will be my first Milch experiment. After attending the first Titwrench, and seeing the dress piece I was thrilled by the idea of creating sound and art – which is something I’d wanted to work on for a while. At that time, I was dipping my toes in the waters of experimental sound, primary via the voice. After building speakers and creating a piece with pedals, I started building my own performative sound projects.

I don’t know that the purpose of all art is that it exist forever. We plan, we rehearse, we practice, we experiment, but Milch de la Machina performances are born very much out of how we are feeling in the month, at the time, in the hour. I think it’s power to create that way. It opens up new avenues for creation. I honestly don’t think in terms of what someone will get out of a performance. I think about giving my all to a performance, being present, and creating space for those who witness the work to daydream. What I “get out of it,” is the experience of working in ensemble and using the experience as a springboard for new ideas.

Best Shows in Denver 8/25 – 8/31

 

EVP
EVP performs 8.26 at Hooked on Colfax, photo by Tom Murphy

If, like many of us, you aren’t super flush with money and couldn’t sell enough blood plasma this past year to afford half the ticket price of the Depeche Mode show tonight at Pepsi Center, you have plenty of options should the live music experience be what you’re seeking. Not just the Titwrench festival at the Mercury Café starting tonight August 25, continuing tomorrow, August 26, but plenty of others including the following.

One
Who: Itchy-O and SPELLS 
When: Saturday, 8.26, 9 p.m.
Where: Gothic Theatre
Why: Itchy-O, the cult/sprawling experimental band/spectacle including over thirty members, has toured America, played in Tasmania and is arguably the most well-known weirdo band from Denver. Now the group is finally releasing its sophomore record, From the Overflowing, the follow up to 2014’s Burn the Navigator. Both albums have a home at Jello Biafra’s long-running indie label Alternative Tentacles but you can buy one in person this night and experience Itchy-O’s ever evolving live show. You can also catch openers, SPELLS, fronted by comedian Ben Roy who, with any luck, will do and say something memorably ridiculous.

Two
Who: Sliver, Television Generation, Quantum Creep and Stasis of Seasons 
When: Saturday, 8.26, 9 p.m.
Where: Moe’s Original Bar B Que
Why: Sliver and Television generation play together often but that’s no bad thing because both groups have managed to basically reinvent grunge for the Rocky Mountain West. 20 years ago, maybe you would roll your eyes at such a throwback impulse in sound. But both bands are energetic and seem to be coming from a sincere and pure place that bypasses notions of misguided nostalgia. TG even worked with grunge scene engineer par excellence Jack Endino on its 2015 Digital Static EP. Quantum Creep is a noise pop band that is comprised of veteran members of Denver area indie rock and indie pop bands. Rather than just basically retreading prior efforts, the members of Quantum Creep challenged themselves to focus not just on solid songwriting but in expanding what indie rock can and should sound like. Also, kudos for the nerdly science reference, people!

Three
Who: Laetitia Sadier Source Ensemble w/Heather Trost and Pattern Language 
When: Saturday, 8.26, 8 p.m.
Where: Lost Lake
Why: Laetitia Sadier was once the charismatic frontwoman of Stereolab, a band that combined Krautrock, avant-garde electronic music, bossa nova, punk and pop for an otherworldly listening experience with every record. Since that group split up nearly a decade ago, Sadier has forged her own music path with songs creatively worthy of Stereolab but more a reflection of her nuanced, further exploration of a cross-cultural blend of sounds and thoughtful commentary on life and the modern political landscape. Heather Trost, whom some may know for being in A Hawk and a Hacksaw, perfectly compliments Sadier’s own blend of diverse influences. The what one might call electronica exotica of Boulder, Colorado’s Pattern Language, as one can find on the 2017 EP Total Squaresville, is a great introduction to the whole evening.

Four
Who: Kevin Morby and Shannon Lay
When: Saturday, 8.26, 9 p.m.
Where: Globe Hall
Why: Before ever joining experimental folk band Woods on bass in 2009, Kevin Morby was writing his own music from a very young age. After leaving Woods in 2013 to forge his own way, Morby has proven himself to be a gifted crafter of introspective pop songs with a rare full use of low end in his compositions. Currently on tour in support of 2017’s City Music, Morby is finally writing and performing with the confidence that comes from not making music in the shadow of his previous musical projects.

Five
Who: Speakeasy Series: EVP and Nighttimeschoolbus
When: Saturday, 8.26, 6-9 p.m.
Where: Hooked On Colfax
Why: Nighttimeschoolbus is not too well known in Denver, much less elsewhere, but if quality of music is ever an indicator of success in that realm it should be. However, the duo comprised of Robin Walker and Toby Hendricks has few widely available recordings. They play few shows and don’t seem to have a shred of the careerist ambitions that bands trying to “make it” in any way seem to need to go beyond being asked by friends to play small shows. Walker, one of Colorado’s most talented musicians and vocalists, released solo albums in the past and with her indie pop band Cougarpants. Hendricks has several releases under his solo hip-hop moniker Otem Rellik. And together it’s an amalgamation of that underground hip-hop beatmaking and Walker’s avant-garde pop sensibilities. Also on this bill is EVP, another duo, but in this case, the band has elements of industrial music, witch house and post-punk. Amanda Baker’s vocals are reminiscent of Gitane Demone and the music has an 80s death rock vibe informed by a modern dance music production sensibillity.

Six
Who: Reggae on the Rocks featuring Sublime With Rome, The Mighty Mighty Bosstones, Fishbone, Inner Circle, Landon McNamara and Judge Roughneck
When: Sunday, 8.27, 2 p.m.
Where: Red Rocks
Why: In an annual tradition going back several years, Reggae on the Rocks will get started early Sunday afternoon. Whether the musical form is your thing, or whether or not all of these bands appeal to you, there’s not likely to be another chance to see punk/reggae legends Fishbone, much less a worthy band they influenced like The Mighty Mighty Bosstones on the same bill. Maybe some people will even figure out that Inner Circle has excellent songs beyond “Bad Boys.” The band, after all, has roots in the earliest days of reggae and had a whole career before 1986 when its most famous song was released. Local reggae powerhouse Judge Roughneck is also on the bill. While much local reggae is deservedly the butt of scorn and disdain, Judge Roughneck has garnered respect for its own music which never seems like a misguided appropriation.

Seven
Who: Bleached w/Springtime Carnivores and The Corner Girls 
When: Sunday, 8.27, 7 p.m.
Where: Larimer Lounge
Why: Jennifer and Jessica Clavin were once members of the great art punk band Mika Miko. When they formed Bleached in the wake of the dissolution of the latter, they embraced a kind of songwriting style that reflected the myth of Southern California—bright and easy melodies—while never trying to pretend there isn’t a darker side to California or a more gritty aspect of everyday living. The group’s latest album, 2016’s Welcome the Worms, is a heavy album that manages not to weigh you down. Denver’s The Corner Girls also take a sort of punk and surf rock aesthetic and make it a vehicle for commenting on serious issues in a way that doesn’t sugarcoat anything but also doesn’t unproductively wallow in despair.

Eight
Who: Silver Face w/Mugen Hoso and Palo Santo
When: Monday, 8.28, 9 p.m.
Where: Silver Spur Saloon
Why: Tokyo’s Mugen Hoso could be a punk band or a rockabilly band but in fine Japanese tradition, distinct categories don’t matter and the art statement of kind of cutting loose in a culture that frowns on such emotive gestures is plenty rebellious on its own. Silver Face, the Denver psychedelic rock band, is also on the bill. By not trying to be a psych band in the same mold as so many bands have in the last 10 years when more people discovered that music by listening to the Black Angels and realizing that The Brian Jonestown Massacre is a great band and not just a living caricature of a band in the excellent 2004 documentary Dig!, Silver Face is writing valid songs with real roots in an earlier era of rock and roll.

Nine
Who: The Cutthroat Drifters (final show) w/The Patient Zeros and To Be Astronauts
When: Wednesday, 8.30, 7:30 p.m.
Where: Larimer Lounge
Why: Since around 2003 way too many bands have mined the “classic rock” sound and attitude. Like Civil War recreation societies for rock and roll. The results have been mixed. The guys in Cutthroat Drifters, though, never seemed to forget that it’s not enough to play music inspired by that era of great songwriting or to just live an irresponsible lifestyle. These Drifters wrote many a worthy rock and roll song of their own and the live show was surprisingly forceful with a talented vocalist and frontman in Nicolas Kjolhede who danced with an unaffected yet theatrical flair as his equally skilled bandmates provided the context for that performance to work. After nearly a decade of rocking and sweating on multiple Denver stages, this is their last show. We hardly knew ye, Drifters.

Ten
Who: Wovenhand with Emma Ruth Rundle and Jaye Jayle
When: Thursday, 8.31, 8 p.m.
Where: The Marquis Theater
Why: Wovenhand has evolved into a more noisy, haunted, post-punk band from its more Gothic Americana beginnings a decade and a half ago. Live, the band’s music is a journey through harrowing emotional landscapes guided by singer David Eugene Edwards’ dark vision aiming toward spiritual catharsis. Sharing the bill are Emma Ruth Rundle and Jaye Jayle. The two songwriters had a collaborative album earlier this year but separately, Rundle has a ghostly purity at the heart of her dark, moody songs that evokes Julee Cruise while sounding more like Marissa Nadler. As a member of Red Sparrowes with roots in folk music, Rundle masterfully navigates a broad and deep vista of emotional expression. Evan Patterson, Jay Jayle, is no stranger to heavy music himself as a member of Young Widows and Breather Resist, and his burnished blues folk is the stuff of Jodorowsky soundtracks.

Laura Ortman’s Ambient Music is Steeped in Community and Environment

 

Someday We'll Be Together by Laura Ortman, cover
Laura Ortman from the cover of her 2011 album Someday We’ll Be Together

Laura Ortman’s transition from a focus on visual and performance art to music and sound art generally happened when she acquired a 4-track recorder. Not only could she record her own compositions but she could capture sounds and use those recordings to transcend the limitations and immediate contexts of either. It perhaps provided a way to use her skills and conceptualizing tools as a visual artist in a different context and to transcend the limitations of a more classical mode of creating music.

An accomplished, New York City-based artist Ortman grew up in St. Louis where he adopted grandmother inspired her to learn violin. She went on to play in the St. Louis Youth Symphony and earned a BFA from University of Kansas which lead to living in NYC where became an installation and performance artist. Since taking up music, Ortman has become a multi-instrumentalist and vocalist who also employs unconventional instruments like an Apache violin and an amplified piano to create sound environments that are as much music as an emotional experience translated in a form that can be shared without the boundaries of spoken language. Ortman plays tonight at Titwrench Fest #9 at the Mercury Café at 10:30 p.m.. We had a chance to interview Ortman via email about some of her recent projects and bringing together various modes of creation and cultural traditions in making her deeply evocative soundscapes.

Tom Murphy: You recently did a tribute concert to the late Bruce Langhorne roughly two months before he passed, assuming it’s the same folk musician who worked with Bob Dylan and much more. What inspired doing that tribute concert and why do you think that sort of tribute was fitting for him?

​Laura Ortman: Yes it’s the same Langhorne. He was incredible, though I didn’t know that much about him until Scissortail Records in Oklahoma rallied all these musicians for this extensive compilation tribute album and it was guitarist Loren Connors in New York​ who recommended for me to participate. It was a huge honor to try to cover one of Langhorne’s pieces, especially as a violinist. It was the right pairing and now it has given me a great sense of the man. Playing the tribute concert was taking all these understandings of Langhorne knowing he was in solace but his legacy is very inspiring to me especially for the kind of music he wrote and recorded.

Your music and art incorporates multiple styles, traditions, cultures and aesthetics. Do you feel that anything in particular set you on a path to doing what you do know from having played in classical situations like the St. Louis Youth Symphony and later on doing truly unique experiments with amplified strings (pianos, various violins etc.)? 

​Yes. I grew up playing and listening to ’80’s radio in Alton, Illinois and at the same time was learning from a great violin teacher from 5th grade to high school the craziness of the concentration it takes to even slightly attempt to play difficult classical repertoire. And then when moving to New York City that became my new school of influences due to so many of my friends who were going to many live shows, seeing great art exhibits and having wild parties. It became a huge passion and that happened along the same time I was doing improv violin live for modern dancers. It was inspiring to keeping me in the moment. I eventually played in large, crazy bands, especially Stars Like Fleas.​ Then doing my own home recordings and soundtracks for films really helped me sort out tons of what I liked and wanted to part with too.

You’ve experimented with 4-track recorders for some time. When did you first start using them and what do you think makes it a creatively inspirational bit of technology to use in making music? Or, perhaps, rather, why do you think simulating isolated, ambient sounds from the environment around you at the time is so evocative in composing an experience (certainly I don’t think your compositions are limited simply to the framework of a traditional song most people are used to thinking about when using that word “song”)?

​I live on one of the loudest streets in Brooklyn called Flatbush Avenue. My apartment is old and on the 2nd floor right above the avenue (I also call Flatbush my river.) That’s where I learned how to 4-track and it was nearly impossible to play this incredibly ambient, atmospheric, simple sound recordings without a garbage truck, ambulance siren or subway train rumble inside of it. I always listened back through all these recordings and noticed how much I really think it was my partner in one lone quiet violin song, or a space between a chord on my amplified piano. I embraced it fully and leave the technology of recording to that mostly because it’s all I’ve ever known. ​

You’ve worked (or are still working on) on soundtracks of cities like New York and Santa Fe. What does coming up with these soundtracks look/sound like for you in terms of what you collect and edit/collage together. What would you say are the salient qualities of New York that make it interesting for you to write a soundtrack for? Santa Fe?

It’s about bringing my friends and community together and hearing pieces of their experiences in the audio way so as to catch a window into their worlds. There’s a lot of ideas I have about working on these soundtracks about being a resident and visitor in a place I will never fully know. So I take a lot out of what it means to hang with the locals. I want to know this world where I live and work. My community (music world, Native world, friends, and beyond) carries me through this experience. Plus—the strangers! The strangers!

Where do you think Western European, First Nations, ambient and avant-garde music intersect and blend well in your own music-making and imagination? As in where do you find them blending well with the other or informing the other, enhancing the music. I realize that it may not be as separated out as that or as self-conscious. But as someone who educates people about these sorts of things, I was wondering how you may talk about how these various ways of thinking of art and music intersect and work together if indeed they do.

​From my own experience, I began as a visual artist making drawings and sculptures, then shifted to installation work and performance work and then gained a huge interest in making my own self-recordings for my installation/performance work. And then just probably through the massive, worldly New York City music world and the huge influence it’s had on me, working with just music made so much sense to me because it simplified all these ideas about how to express my ideas about where I’ve been, where I’m going and what’s to come. Coming from many different worlds (Arizona, Illinois, Michigan, Kansas, New York City) through many different mediums has been a thrill. And I just can’t stop wanting to be part of the vibrant music/arts scene my friends, heroes, homes, communities and family has brought me to since I was very, very young.

Your music suggests mood and setting and a story even if it’s non-verbal. Do you feel storytelling is a component of your music and how do you feel you incorporate that thinking in music that has no lyrics or words?

​More than anything I’d say my music is about atmospheres of places I have dreamt up. They tell stories perhaps about staying in one place with one emotion and one vista. It takes me years to figure out what some of my pieces are about, but I always mainly leave them up to the listeners observations without any yes-es or nos. It’s open.

My Soul Remainer (2017) reminds me a tiny bit in places of the more pastoral work of Daniel Lanois yet it was recorded in Brooklyn with Martin Bisi who is of course known for all those great post-punk and avant-garde and whatnot recordings. How did you come to work with Martin and why do you think he was the right choice for the kind of album you had written? 

​This is my third solo album recorded by the great Martin Bisi of Gowanus, Brooklyn. I came to know him through his discography but then also many of my good friends 20 years go when I first moved to New York were recording with him. I loved the idea of the small violin in his gigantic cavernous studio to record my 1st solo album. I emailed him and told him about my work. He said yes! And it’s been an incredibly vibrant and productive relationship ever since. I even haul my ginormously heavy piano there to record it. I needed the space, the caverns, the crud and the one-on-one fast paced relationship with someone like him who can read my mind sometimes. ​

 

Titwrench 9th Edition This Weekend 8/25 – 8/26 at the Mercury Café

RARE BYRD$
RARE BYRD$ at Titwrench 2016, photo by Lauri Lynnxe Murphy

Titwrench kicks off its 9th Edition tonight at the Mercury Café with performances from experimental and underground musicians from Denver and around the country. The festival is a community focused celebration of “women and LGBTQIAP artists and musicians and other underrepresented/emerging artists pushing the boundaries of genre and form.” The event will also feature workshops, crafts vendors, food and drink, tarot card readings, a yoga session on Saturday morning and much more. That’s what it is but if you go you will see the kinds of music that probably isn’t on the radar of any mainstream publication or news outlet and thus maybe, if you’ve never been, you’ll get to experience something refreshingly different.

Titwrench cultivates emerging artists in the community while featuring significant artists from the Rocky Mountain region and elsewhere. For instance, atmospheric sound collagist/sculptor Laura Ortman from New York performs on Friday as well as melodic doom punk “glam insect metal” band Chicharra, from Albuquerque and Denver’s own dream folk genius MIDWIFE. Saturday the performance art/sound experience troupe Milch De La Maquina will deliver another unforgettable performance and should not be missed. RARE BYRD$ will bring an example of hip-hop from the future and Shooda Shook It will provide the soundtrack to a No Wave funk dance party. But all of the artists are worth your time. Below is information and a program of events copied and modified from the Titwrench #9 page. We will be sharing interviews with Laura Ortman and Marisa Demarco of Chicharra and Milch De La Máquina later today and tomorrow as well as photos and observations post festival.

Friday August 25 and Saturday 26th 2017
Decor by Secret Love Collective
Music and local artisans/vendors from 4:00pm-2:00am both nights
At Mercury Cafe Denver
(ADA accessible venue)
2199 California Street
Denver CO 80205

All ages + All welcome
With your favorite Mistress of Magic Piper Rose guiding the way all weekend long

Tickets at this link.
* sliding-scale pricing
10% of all funds raised go to the sustainment of grassroots programs byWEBS of Support!

Workshops happening Saturday August 26th include:
DIY Marketing and Branding for Working Artists
Beat-making for Beginners
Performance + Vocals 101

SCHEDULE of music and performance: 

FRIDAY AUGUST 25 
400pm doors open with DJ Avalon (Denver/San Juan)

500pm Girls Rock Denver (bands TBA)

530pm Giraft (Denver, CO)
moody minimalism

600pm Emily Frembgen (New York, NY)
third wave americana

630pm Pearls and Perils (Denver, CO)
mad medicine for crazy hearts

700pm yesol (Denver, CO)
sweet harp and strums by Cory Feder

730pm The Molly Growler Project (Denver, CO)

800pm Prism Bitch (Albuquerque, NM)
turbo rock n’ soul punk

830pm K.O. SOLO (Seattle, WA)
electroimprovisational ambience

900pm Litter Brain (Albuquerque, NM)
bratty hardcore punk

930pm Cthulha (Albuquerque, NM) experimental solo piano and surprises

1000pm Nizhóní Girls (Albuquerque, NM) desert surf punks

1030pm Laura Ortman (New York, NY) solo experimental violin/meditations

1115pm Chicharra (Albuquerque, NM) glam insect heavy rock

1200am MIDWIFE (Denver, CO) delicate drone-pop anthems by Madeline Johnston

1:00am – 2:00am we dance it out with DJ Avalon!

Milch de la Máquina
Milch de la Máquina at Titwrench 2016, photo by Vincent Comparetto

SATURDAY AUGUST 26th (morning)
1000-1100am
Community yoga led by Piper Rose w/live music by Annastezhaa (Aurora, CO)
dreamy harp and vocals
——–
WORKSHOPS all afternoon on Saturday 8/26 – check our Facebook for details!

Weedrat
Weedrat at Titwrench 2016, photo by Sarah Slater

SAT AUGUST 26 (evening)

400pm doors open
with DJ DYNAMITE

430pm Girls Rock Denver

500pm Buried Moon (Denver, CO)
dark psyche

530pm Glitter Vomit (Albuquerque, NM)
like a unicorn wandering in the forest

600pm The Maybe So’s (Denver, CO)
from the brilliant minds of Bianca Mikahn and Jenee Elise

630pm Esmerelda Strange (Denver, CO)
one woman man band

700pm Bonnie Weimer (Denver, CO) banjo rambler

730pm kismet&dough (Denver, CO)
collaborative project by patrycja sara
a question. an off-kilter lullaby asking you how much your dreams cost

800pm EBONY & ERMINE (Albuquerque, NM)
wordseamstress magic

830pm R A R E B Y R D $ (Denver, CO)
sonic freak queens

900pm RAMAKHANDRA
(Denver, CO)
progressive hip-hop featuring Annastezhaa

930pm Dance Break w Erin Stereo (Denver)

1000pm Milch de la Máquina (Albuquerque, NM)
desert bird performance art troupe

1030pm Glassmen (Madison, WI)
indie experimental folk rock

1100pm PRETEEN OD (Denver, CO)
avant-garde classical weirds

1130pm Mirror Fears  (Denver, CO)
industrial dark wave

12:00am (Midnight) Shooda Shook It  (Tucson, AZ)
disco funky punks

12:45 Get Along (Denver, CO)
indie glitter dance pop

and then we dance it out some more with Erin Stereo! ♥

Victoria Lundy
Victoria Lundy at Titwrench 2016, photo by Vincent-Comparetto

Join us on Sunday August 27th for brunch at Mercury Cafe, followed bySlutWalk Denver 2017 from 12-3pm at Civic Center Park!