Tonight, May 26, 2018, at 5 p.m. (and running until 11:15) several of the Denver area’s most sonically adventurous musicians will assemble in the basement of Bar Max for 102 Wires. The event was organized by Kevin Richards who is known in local underground music circles for his most recent experimental guitar and electronics project Equine, which has been very prolific of late with the release of a handful of 2018 albums so far including White Majick, Der Howling, Equencing and Twins. In years past, Richards brought his knowledge of jazz chord theory to the too-post-hardcore-for-noise rock/too-weird-for-post-hardcore band Motheater, the quasi-performance art Hogsplitter, noise project Epileptinomicon and solo guitar drone band Temples. We recently sent some questions Richards regarding 102 Wires, it’s inspirations, aims and what Richards hows will be the aftermath.
Queen City Sounds: What inspired doing an event like this? Have you seen anything like this before putting the event together? Perhaps one of the late Glenn Branca’s guitar orchestra events.
Kevin Richards: I don’t know that I’ve actually seen something quite like this before, although I have heard of somewhat similar festivals. The large ensemble aspect was definitely inspired by Branca and Rhys Chatham. Generally speaking, I was hoping to gather as may atypical guitarists (or guitarists doing something atypical for themselves) in one room with minimal instruction and see what happens. This fest is curated in a form, but has been intentionally fairly hands off as far as what people are bringing to the table. Hopefully this yields surprises for us all.
What will the show look like/be like and what kind of logistics and gear did you need to bring together to make it happen?
I am hoping to have people around the perimeters of the room performing, and the audience in the middle. there may be people performing solo sets, Steve Reich repertoire, original compositions, perhaps some prepared guitar, ambient loops, large ensembles, and some things that even I don’t quite know what they will be like. This should be six hours of guitar-centric musical fascination. As for the gear, I will of course be bringing multiple guitars and amps. We have performers who don’t generally play guitar and so there is a bit of borrowing happening. Logistics wise, this came together much more smoothly than I had anticipated. Max at Bar Max was great about letting us use the space for the event and all of the performers are putting in a decent amount of work to help this thing all come together. So in the end I can barely take credit for this team effort, as it should be.
With a diverse set of talents, skill sets, aesthetics and so forth, did you put any rules on how things will go and if so why so?
]The general concept/rules of the things were one, you must do something either atypical for how the instrument is generally approached, or you had to do something a bit out of your wheelhouse. Two, as much as possible this should be guitar only, so no drums, or other instruments. I think this event will for the most part adhere to both of these rules, with a couple well-reasoned exceptions. I tend to like working within musical restrictions myself as a means to foster creativity, and I was hoping this had a similar effect on others in this setting.
Why did you think bringing together a broad spectrum of musicians and guitars and whatnot would prove interesting?
How could it not? I have a certain love of the creative chaos that this type of gathering could bring. The joy from this will come from all of the things I didn’t anticipate.
What do you hope is the outcome of this show for both the people there and what might happen in post with you and other participants?
I hope that the primary outcome of this show is that we all gather together and enjoy each others company and creativity. I do hope that this gathering spawns other creative endeavors among the participants. Many have never met each other and may not even know the other exists in the same town, so that aspect should foster some interesting encounters at the very least. For the audience, I hope they see something that they have never seen before, and leave rethinking the instrument in some way.
The official schedule of events
Drew Miller 6-6:30
Large ensemble 1 6:30-7:00
Russ Callison 7:00-7:30
Large ensemble 2 7:30-7:45
Julien Miller/ Kevin Richards collaborative set 7:45-8:15
Vahco Before-Horses 1 minute set 8:35
Sean Patrick Faling doing Glenn Branca memorial solo set 8:35-8:40
Large ensemble 3: branca memorial ensemble 8:40-8:55
Farrell Lowe 8:55-9:15
Aleeya Wilson 9:15-9:9:35
Joe Mills 9:35-10:00
Never Kenezzard Lite with Ryan Peru 10:00-10:15
Jacob Isaacs 10:15-10:35
Equis Sub Templum – 2 large ensemble compositions 10:55-11:15
Who:Glasss Presents The Speakeasy Series Season 2: Left Handed Electronics, Grrrl, Bianca Mikahn When: Thursday, 05.24, 7 p.m. Where: Hooked On Colfax Why: Bianca Mikahn’s combination of almost free verse poetry and beats should be well within the canon of hip-hop and ultimately is. But her delivery and her crafting of her songs has as much in common with the kind of hippie-ish, open mic, slam poetry world as it does with any hip-hop context. Mikahn’s ability to critique society at large while speaking to those issues with a compassion and positive spirit minus any note of insincerity sets her apart from most other artists. That her beats contains elements of noise and melodic ambient music makes her immediately accessible music an otherworldly dimension even as the songs are grounded in fairly earthbound experiences.
Who:High Plains Honky 7” release w/Casey James Prestwood and the Burning Angels Band and Danny Dodge & The Dodge Gang When: Thursday, 05.24, 8 p.m. Where: Hi-Dive Why: If Ronnie Milsap had gone a little more honky tonk with a grittier voice, the results might sound a bit like High Plains Honky. The group is releasing its latest seven inch record tonight at the Hi-Dive joined by a couple of other bands who are no slouches in the local country scene. Maybe comparing a Denver band to a best selling artist like Milsap seems like a bit much to some but what made him such a compelling songwriter beyond the masterful combination of musicianship and an ear for catchy and evocative melodies is the vivid storytelling. High Plains Honky have both qualities as well as no holding up of the nose at pop conventions used in a country context. “Goin’ All The Way” and “I Know Where You Go,” the two sides of the record, seem so relatable even if country music isn’t your thing. A tastefully tiny hint of psychedelia haunts the edges of the music and the aspirational, anthemic quality of the stories suggest a deep knowledge of personal reality but needing to write the songs to escape being too bogged down by current circumstances to go after what you really want while also honoring the emotions subsequent to the potential disappointment, pain and lack of resolution that is a part of everyday life. High Plains Honky invites its listeners to dream just a little bit and to embrace their heartsickness.
Who:DOA and MDC When: Thursday, 05.24, 8 p.m. Where: Streets of London Why: In the annals of hardcore outside of American coastal cities, DOA and MDC have to be considered two of the most important acts out of that movement. DOA from Vancouver, British Columbia, was one of the hardest touring bands for years, spreading the gospel of hardcore across the continent and whose album Hardcore ’81 is, perhaps apocryphally, is often cited as the first use of the term in connection to the musical movement. DOA’s political songs struck personal tones in Joe Keithley’s deft songwriting allowing the band’s music to have an appeal beyond agreeing with every iota of the band’s politics. MDC started in Austin, Texas as The Stains with similarly political punk songs that were more left than most of its peers at the time. It didn’t hurt that singer Dave Dictor seemed to havea personal agenda to push the envelope with fans in his stage persona as the ultimate freak and always with the aim of challenging reductive notions of animal and human rights. Listen to that first MDC album and it’s clear that Dictor was an unabashed critic of police brutality and creeping fascism in a way that makes those songs and their specific anti-authoritarian tone even more relevant now.
Who:The Blackouts w/Adrian Conner (Hell’s Belles) and We Are Invisible and Wild Call When: Thursday, 05.24, 8 p.m. Where: 3 Kings Tavern Why: The Blackouts are an all female rock band that really shows how you can have a fairly straightforward hard rock band and not fall to the boring tropes that happen with too many bands with roots in punk and metal. Adrian Conner from the great all-female AC/DC cover band Hell’s Bells is also playing this show as well as Wild Call, a band whose forthcoming album is reminiscent of White Hills and Medicine.
Who: Amy Shark and Tomi globehall.com/event/1663566-amy-shark-denver When: Thursday, 05.24, 7 p.m. Where: Globe Hall Why: Amy Shark is a pop songwriter from Australia whose 2016 single “Adore” caught the attention of tastemakers in Australia and the song was reissued by Sony Music Australia. That Shark was either in her late 20s or 30 when the song came out explains a bit how her voice and the perspective present in the song had a bit of depth and more of the weight of experience than would be the case of a pop artist a decade or more younger. Shark’s debut full-length, Love Monster, will drop in July 2018 so you can catch her live tonight at Globe Hall before everyone has heard of her.
Friday | May 25, 2018
Who:Amber Mark w/Demo Taped and Adiel Mitchell When: Friday, 05.25, 8 p.m.
Where: Marquis Theater Why: Amber Mark seemed to come out of nowhere when she uploaded her song “S P A C E” to Soundcloud in February 2016. Her voice strong and assured, drawing immediate comparisons to Sade for those qualities and a soulfulness one rarely hears in someone just twenty-two years old. But Mark had something to say and in subsequent singles like “Monsoon,” Mark revealed herself to be a brilliantly poetic songwriter. The 3:33 a.m. EP followed in 2017 and in 2018 Mark released the EP Conexão. Joining her on the Denver date of the tour is Adam Alexander, aka Demo Taped. His electronic pop songs are bright and upbeat but the subject matter of his songs run a broad range of subjects including struggles with anxiety and insecurity. His nuanced and layered songwriting manifested especially strongly on his 2018 EP Momentary.
Who:Orbit Service, Church Fire, The Drood and DJ Mudwulf When: Friday, 05.25, 9 p.m. Where: Lion’s Lair Why: Denver ambient/space rock legends Orbit Service don’t play many shows these days and even less often at a dive bar like Lion’s Lair. The project’s primary figure, Randall Frazier, has been responsible for maintaining and putting together some of the best live sound in Denver rooms like Walnut Room and Ophelia’s Electric Soapbox as well as championing experimental music in the local scene and collaborating with Edward Ka-Spel of Legendary Pink Dots fame. And that would be reason enough to go to this show but also on the bill are Church Fire, a band one might describe as industrial synth pop but its inspired and emotionally fiery performances elevates what could be considered excellent dance music to a higher level. Also, The Drood, a dark, psychedelic, avant-garde prog band.
Who:How To Measure the Weather: Tobias Fike, Ryan Wade Ruehlen, Kari Treadwell, Scott Ferguson When: Friday, 05.25, 6:30 – 7:30 p.m. Where: Emmanuel Gallery Why: This show has been described as a “migratory sound installation” meaning the performers, members of the Flinching Eye Collective, will move their respective sound-making rigs to take advantage of the Emmanuel Gallery on Auraria campus, one of the oldest buildings in Denver, and its architecture to provide a truly unique, one-off environmental sonic experience.
Who:Muscle Beach w/Colfax Speed Queen, Kenaima and Voight When: Friday, 05.25, 8 p.m. Where: Hi-Dive Why: Confrontational, arty hardcore. Furious post-psych garage punk. Crushing, post-hardcore noise rock. Emotionally-charged, industrial post-punk. Also, four of Denver’s best, most interesting and always compelling and entertaining live bands.
Who:Super Bummer album release w/Eye and the Arrow and King Eddie When: Friday, 05.25, 8 p.m. Where: Syntax Physic Opera Why: Super Bummer may be both one of the most ironic and yet accurate names in Denver underground music. The band’s melancholy compositions sure do articulate life’s downbeats with sincerity and self-deprecating humor—a rare combination. Its new album, Big Ambition, out on GROUPHUG, comes out tonight at Syntax where the band will share the stage with the broodingly melodic Americana band Eye and the Arrow and King Eddie, whose 2017 album Holographic Universe is a rabbit hole of beautifully enigmatic sounds and ideas to get lost in across its nine tracks.
Who:La Luz w/Savila and The Kinky Fingers When: Friday, 05.25, 8:30 p.m. Where: Larimer Lounge Why: La Luz may have originally been (and continue to be) inspired by 60s surf rock giants and the great girl groups of the era. But the Los Angeles-based group have long since made their own mark in music, especially with its 2018 album Floating Features, out on Hardly Art. Spooky and soulful, La Luz have mastered the art of nuanced emotional textures and mood so that its songs can be urgent and spend passages of sound swirling in the sweeping heat of a memory that unexpectedly rushes back into your consciousness triggered some moment or detail you encounter in the present. Denver’s The Kinky Fingers possess similar powers of evoking vivid emotions and imagery with their own surf-rooted rock songs.
Saturday | May 26, 2018
Who:Victoria Lundy, Snails and Oysters, Sporehive, Denizens of the Deep and Floating Cave, DJ sets by Franklin Bell and visuals by Orchidz3ro When: Saturday, 05.26, 2:30 p.m. Where: Mutiny Information Café Why: An entire afternoon of some of Denver’s most interesting experimental and avant-garde bands. For instance, Snails and Oysters used to be just Joe Mills but is now a duo creating organic ambient music using rock instruments in unconventional ways. A project that cites psych folk legend Sandy Bull, the artist that did an arrangement of Carl Orff’s symphonic opera masterpiece “Carmina Burana” for five-string banjo and released it on a debut album in 1963, is definitely not coming from predictable places. While every act on the bill is worth checking out and nothing really much like each other, the star of the show is Victoria Lundy who at one time people might have said is better known for being the Theremin player in The Inactivists. But by now she has established herself locally as a gifted composer of electronic and ambient music with the Theremin and synth. One thing that sets Lundy apart is that her music tends to be free of transient, modern culture reference tropes and is rooted in 20th century classical and the first wave electronic music avant-garde. And yet, Lundy makes her music accessible and emotionally engaging. There is plenty of intellect going into the making of the music and the craft and technology but the art comes from the heart.
Who:102 Wires When: Saturday, 05.26, 5 p.m. Where: Bar Max Why: This is a celebration of the possibilities of guitar in music beyond the typical use of the instrument in popular or even experimental music. Read our interview with organizer Kevin Richards here.
Sunday | May 27, 2018
What:A Life Celebration For Steve Gordon When: Sunday, 05.27, 1 – 4 p.m. Where: Mercury Café Why: This will be an event honoring the late, great, Steve Gordon. Steve was a visual artist, sculptor and musician who contributed greatly to the local avant-garde improvisational and ambient music scenes in Denver. Steve passed away in early May following a prolonged battle with cancer but as a widely admired figure, his legacy of excellence, originality, humanity and humor will continue to have an impact in the Denver art world for years to come. For the event friends and collaborators will share stories, music, poetry, food and drink. Read Lauri Lynnxe Murphy’s excellent piece on Steve for Westword here and our own interview with the artist from November 2017 here.
Who:Textures featuring Tunica Externa, paperbark, Lepidoptera When: Sunday, 05.27, 7 p.m. Where: Mutiny Information Café Why: This will be John Mulville’s last show in Denver for a while as he’s moving back to Minneapolis for the duration. His ambient project paperbark has brought some of the most compelling, textured to grace Denver spaces in recent years. Generating sounds with treated modular synth tones, Mulville’s compositions suggest natural spaces with a physicality suggested by the earlier reference to texture. It’s like you experience a tactile sensation through a creative crafting of atmosphere. Though Mulville will be back through town, we won’t have the luxury of catching any of his soothingly hypnotic sets regularly.
Who:ManifestiV, Bloodied, eHpH and Keldari Station When: Sunday, 05.27, 7 p.m. Where: Seventh Circle Music Collective Why: ManifestiV from Vallejo, California sounds like it came out of the intersection of the burner community that embraces both industrial music, electronic dance and New Age concepts in the use of sound. But it works though at times you expect it to be the soundtrack to some kind of hippie-esque cyberpunk video game. But who wouldn’t want to play that game? Denver’s Keldari Station sounds like it’s coming from a similar place but its own music is more pop, has more elements of dub and old school glam rock. eHpH, like the other bands on this bill, is a duo with a penchant for dark, atmospheric music. Except this duo has managed to combine EBM with industrial rock without sounding like they’re trying to fit in with the tired old Goth scene sound of the 90s and 2000s. The band’s music is more experimental, more nuanced in its emotional expressions, than bands who really want to be a new version of Suicide Commando.
Tuesday | May 29, 2018
Who:King Tuff w/Cut Worms and Sasami When: Tuesday, 05.29, 7 p.m. Where: Globe Hall Why: At the end of his last tour, Kyle Thomas was sick of the party monster persona he had cultivated for years as King Tuff. The pressure to live up to something you’re not because it benefits you professionally and to some extent artistically erodes you more than a little on the inside and Thomas was feeling it. “I was a lost soul,” Thomas posted on his website regarding the release of his 2018 album The Other. “I didn’t know who I was anymore.” The new record is certainly a bit of a departure for Thomas. Any trace of the garage rock that informed his earlier releases is pretty much gone. There is a soulfulness and an overt spirit of experimentation running through all the songs for the release. In moments its tinge of futuristic funk and glam prog are reminiscent of I Robot period The Alan Parsons Project.
Also playing this show is Cut Worms. The band’s main creative force is Max Clarke who seems tapped into a mid-60s pop sort of sound and aesthetic. There is a simplicity and clarity of melody and songwriting that we’ve heard plenty of, likely, in this era of mining past decades for artistic inspiration. But especially on Clarke’s 2018 album Hollow Ground the subject matter isn’t so clean and tidy and his songs, like the era it perhaps sonically echoes, reflect a self-aware sense of social anxiety, a painful yearning but struggling with real or endlessly imagined inability to not fuck things up somehow and a willingness to stumble and scrape through even if life doesn’t always, or never does, turn out as planned or hoped. The brilliance comes in striking that balance—being real alongside the sounds of a time many romanticize in spite of the dark and grisly underbelly of people’s lives and the culture itself.
Who:Broncho w/The Paranoyds and Valen When: Tuesday, 05.29, 8:30 p.m. Where: Lost Lake Why: Broncho formed in 2010 in the wake of the dissolution of indie pop weirdos Starlight Mints. Ryan Lindsey of the latter, went on to play guitars, keys and perform lead vocal duties in Broncho. The four-piece has always been kind of an outsider in the music world in that it never really fit in with any emerging trend and was probably too weird to hit it big time in the mainstream. But Lindsey knows he doesn’t belong there. At this point, Lindsay has already done his time deconstructing pop in Starlight Mints and it’s obvious that subverting the tropes of indie, garage and psych rock this past decade isn’t as interesting as it might have been a few years ago. 2016’s Double Vanity found Broncho excavating and exploring some of the sonic ideas that Phil Elverum was onto on those final two The Microphones records, 2001’s The Glow Pt. 2 and 2003’s Mount Eerie. But without imitating Elverum’s richly imaginative and innovative soundscaping. With any luck, this version of Broncho will represent the band’s next phase of its injecting the pop format with expansive ideas and sounds.
Wednesday | May 30, 2018
Who:Gang of Youths w/Hannah Wicklund & The Steppin Stones When: Wednesday, 05.29, 7 p.m. Where: Globe Hall Why: Gang of Youths’ 2017 sophomore album Go Farther in Lightness garnered near universal acclaim in the band’s home country of Australia. Rightfully so. It has the poetic insight and depth of early Bruce Springsteen and more recent from Titus Andronicus. Like both of those artists, Gang of Youths has a gift for taking the mythical/universal aspect of everyday experiences and giving it a poignantly personal expression. There’s a song called “What Can I Do If the Fire Goes Out?” that goes beyond that whole rediscovering your bliss and your passion nonsense. But it’s a whole record of songs that might seem like a collection of trite platitudes but in the end are the exact opposite. It’s highly energetic indie rock but the emotional and intellectual content run a lot deeper with Gang of Youths.
Who:Nunofyrbeeswax w/Open to the Hound, Claudzilla and Rat Bites When: Wednesday, 05.30, 8 p.m. Where: 3 Kings Tavern Why: Berlin’s Nunofyrbeeswax brings together aspects of indie pop, naïve lo-fi rock and outsider pop in its music. Good thing its on a bill with local weirdos in keytar punk Claudzilla, gritty indie pop outfit Open to the Hound and Germs-esque noise punkers Rat Bites.
Who:Ufomammut w/White Hills and Tjutjuna When: Wednesday, 05.30, 8 p.m. Where: Hi-Dive Why: Saying Ufomammut is a doom metal band from Italy is a bit like saying that Neurosis is a post-hardcore band from the Bay Area. Clearly Neurosis found some kinship with the trio from Tortona, Italy because Neurot Recordings issued the group’s most recent four records in the USA. Ufomammut’s music has elements of doom and sludge metal but its psychedelic drones and industrial sounds have more in common with the other bands on the bill than a straightforward doom band.
New York City’s White Hills has been exploring past settled territories of modern psychedelic rock since its 2003 inception. The duo of Dave W and Ego Sensation use drum machins and sampled rhythms to set a frame in which each can weave a mind-altering and hypnotic soundscape of vivid tones and dark atmospheres. The band’s storytelling and Dave’s vocals are reminiscent of what one might hear on a Legendary Pink Dots or Skinny Puppy album in which there’s no rockist self-aggrandizement or empty calories rhetoric. Dave has something to say, observations to make and narratives to give in his songs that are frankly worth listening to in themselves but couched in an immersive experience in the listening and especially so in the live setting. The group’s 2017 album Stop Mute Defeat, out on Thrill Jockey, is a major leap forward in terms of capturing the band’s masterful use of mood, texture and atmosphere to craft psychological experiences in the form of song.
Denver’s Tjutjuna rarely plays live shows these days, but the band and its talent for krautrock-inspired mind-expanding drones and percussion was always ahead of the curve of so-called “psychedelic rock” bands in the Mile High City. Like White Hills, Tjutjuna is no stranger to employing motorik beats except with a live drummer and the clear melding of the aesthetics of psych, noise and the avant-garde sets the group galaxies ahead of indie rockers who recently discovered how to maybe use reverb pedals with chorus. Quaint. Tjutjuna? Not so much.