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.
Ambient Music For Watering Plants is the latest EP from Past Palms. A clear nod to Brian Eno’s landmark 1978 album Ambient 1: Music for Airports and possibly to Stevie Wonder’s 1979 soundtrack album Stevie Wonder’s Journey Through “The Secret Life of Plants” for the documentary directed by Walon Green (and based on the book The Secret Life of Plants by Peter Tompkins and Christopher Bird), Past Palms utilizes textures and processed atmospheric elements with field recordings to produce a musical analog to replicate the emotions and outer life of fairly common household plants. The track “Meditation III: Philodendron” celebrates the qualities of one of the most popular and durable potted plants one finds in most homes that host such relatively domesticated flora. Its vaguely heart shaped, shiny leaves with gentle wrinkles from extending out from a central stem often found hanging over the edge of the pot in one version of the plant, a fern-like structure with distinct branches off the central stem in another. All lushly green without being overwhelming. Past Palms evokes how these plants bring a freshness to a room without being obtrusive with bright flowing tones and tactile arrangements that suggest ease and comfort. Listen to “Meditation III: Philodendron” and the rest of Ambient Music For Watering Plants on Spotify and follow Past Palms at the links provided.
What:Baroness When: 7 p.m. Where: Globe Hall Why: Savannah, Georgia’s Baroness never got to tour behind its 2019 album Gold & Grey for the reasons most bands didn’t do a lot of touring in 2020 and a good chunk of 2021. But now the group with new guitarist Gina Gleason will get a chance to perform older favorites as well as material from the aforementioned album showcasing a seemingly different approach to songwriting different from the brash, bombastic and playful style of previous records. John Baizley’s vocals still soar with great expressive control but the music seems more tied in with the rhythms and beautiful minor chord progressions so that when the songs engage into expansive choruses they always seem to resolve in ways that feel like the group decided to push themselves to say something different and worthwhile with each song. It’s frankly their best album and it would be simply lazy and clumsy to merely refer to this era of Baroness as sludge metal.
Friday | 04.01 What:Brandon Wald (owner of Black Ring Ritual Records out of ND), Viator, Many Blessings, Maltreatment, Tripp Nasty and MPW When: 7:30 p.m. Where: Mutiny Information Café Why: There aren’t too many noise shows or places to see noise in Denver these days meaning a form of music/sound art is hard to come by in the live setting where it is best experienced. But this show will include local stars like Many Blessings aka Ethan McCarthy of Primitive Man doing his harsh industrial noise project and Tripp Nasty whose body of work is so diverse and broad that some of it is in the realm of noise so who knows how that will manifest for this show so just best to go if you’re so inclined. Brandon Wald runs Black Ring Ritual Records, home to some of the more prime noise records and tapes of the last several years and his own noise is part power electronics, abstract industrial, harsh ambient and musique concrète.
Friday | 04.01 What:The Blue Rider w/Cleaner and Wes Watkins When: 8 p.m. Where: Hi-Dive Why: Psychedelic garage rock band The Blue Rider hasn’t been playing much in recent years since Mark Shusterman has been busy playing in Nathaniel Rateliff and the Night Sweats. So catch the always surprisingly powerful and brain expanding show with Wes Watkins who has been involved in a variety of projects over the years like Wheel Chair Sports Camp and the aforementioned Night Sweats. But his own music betwixt jazz, R&B and funk is worthwhile in its own right.
Friday and Saturday | 04.01 and 04.02 What: The Goddamn Gallows & Scott H. Biram w/JD Pinkus When: 8 p.m. both nights Where:Larimer Lounge (04.01) and Swing Station (Laporte, CO on 04.02) Why: The Goddamn Gallows sound like something you’d get if you mixed a scuzzy punk band, some murder ballad honky tonk and Black Sabbath. Scott H. Biram plays solo and while many men of his ethnic persuasion have abused the blues and country in ways largely boring and unforgiveable, Biram’s songwriting is so strong, diverse and sincere yet poetic he’ll make you forget those other guys that served as a blight in blues clubs for decades. JD Pinkus is indeed the bass player of Butthole Surfers and member of Honky. But this tour showcases his fragmented, haunted psychedelic country material. His 2021 album Fungus Shui is the peak of that aesthetic as crafted by Pinkus thus far.
Monday | 04.04 What: Spiritualized When: 7 p.m. Where: Ogden Theatre Why: With the 2022 album Everything Was Beautiful expected out on April 22, 2022, Jason Pierce finds yet another way to blend freaky, spooky yet warmly engaging folk with space rock in ways transporting and transcendent. The roller coaster dynamic of late 90s music has long since given way to lush orchestral builds that flow in unpredictable yet satisfying directions so that listening to the album gets your brain to go down a different path than previous records from Pierce. With any luck the live show will reflect this bright aspects of this album without losing the dark cool that has made the songwriter’s material so fascinating since his early days with Spacemen 3.
Tuesday | 04.05 What:SASAMI w/Jigsaw Youth When: 7 p.m. Where: Larimer Lounge Why:Squeeze, the 2022 album from SASAMI, is definitely a departure from the songwriter’s 2019 self-titled debut. Whereas there was a deeply chill energy to the downtempo aspect of that album, there is a more distorted and visceral quality to Squeeze that seems like a mirror image of the wonderfully ethereal quality of that first record. This might seem like too wide a stylistic swing, Sasami Ashworth has had a very eclectic career playing in Cherry Glazerr and contributing to albums by artists as widely different as Vagabon and Wild Nothing. Ashworth explores metallic sounds and much more aggressive song dynamics this time around while pushing the boundaries of her knack for pop songcraft with songs that sound sometimes metal, sometimes industrial, sometimes grunge and all made accessible. Fans of the broad spectrum of St. Vincent’s catalog would appreciate what SASAMI has been doing the past few years and beyond.
Tuesday | 04.05 What:girl in red w/Holly Humberstone When: 7 p.m. Where: Gothic Theatre Why: girl in red is the performance moniker of Marie Ulven Ringheim whose guitar pop has garnered critical acclaim beyond her home country of Norway. Her 2021 debut album if i could make it go quiet found the songwriter expanding beyond the bedroom pop compositions and recordings that brought her to prominence and it charts her struggles with the various ways in which one’s mind can sabotage your life. In addressing these personal demons in such a direct, honest and relatable way with such luminously warm melodies Ringheim doesn’t insult herself or the listener by suggesting something as trite as it’s all going to work out. Her depictions of the head spaces in which you can get stuck seem so vivid and immediate that they seem like something you can overcome or at least survive and dare to want more for yourself and reach for it than you seem to think is possible when you’re in the depths of your own personal hell.
Tuesday | 04.05 What:Hiatus Kaiyote When: 7 p.m. Where: Ogden Theatre Why: Melbourne, Australia’s Hiatus Kaiyote is refreshingly difficult to pin down without sounding like they’re trying too many things. Their unique style of soul and R&B is so idiosyncratic it sounds like the kind of band J. Dilla would have wanted to have started or at least produced because the avant-garde jazz flourishes in the songwriting almost sound like well-produced samples. Its 2021 album Mood Valient is the group’s most coherent offering to date and its organic and evolving rhythms so fresh and unusual it sounds like an improv session developed until the rhythms are tight but never stale.
Wednesday | 04.06 What: Charli XCX w/Baby Tate When: 06:30 p.m. Where: Ogden Theatre Why: This show should probably be at a bigger venue but hey you get a chance to see Baby Tate before word gets out that her sex positive songs aren’t all production in the studio and in music videos. Sure, her mom is Dionne Farris who hopefully most people remember from her time in Arrested Development before branching out into a popular music career under her own name. But Baby Tate’s confidence isn’t just swagger, regardless of subject matter and word choice there is a deft and creative wordplay that syncs her words with the always imaginative beats with a fine ear for the use of bass that one doesn’t hear in enough hip-hop these days. Fans of Kari Faux should probably give Baby Tate a listen. And of course headlining is Charli XCX who is touring in support of her 2022 album Crash. Whether the record is the end of a chapter in the pop star’s career or hinting at a more experimental future direction, the singer sounds as confident as ever and the eclectic influences are on display so that beyond the typically strong vocals the driving bass of post-punk and the expert electronic dance music production allows for all elements to flow freely together in a way divergent from the hyperpop aesthetic of earlier offerings. Of all the pop songwriters in the mainstream, Charli XCX has long been one of the more consistently inventive and fascinating whose lyrics also hit as poignant and poetic.
Thursday | 04.07 What:CELE Presents: Chihei Hatakeyama w/Carl Ritger and Wind Tide When: 7-11 p.m. Where: 860 Vallejo St. (Denver) Why: Chihei Katakeyama is an ambient/experimental electronic/drone artist from Tokyo, Japan whose work has found a home on Kranky but lately largely out of his own White Paddy Mountain imprint which showcases other artists that operate in similar realms of composition and sound design. Carl Ritger has been producing prepared environmental sound experiences under his own name and as Radere and a fixture of Denver’s ambient music scene for more than a decade. Wind Tide is presumably the musique concrète/ambient artist from Littlefield, Texas whose use of field recordings and processed noise captures the essence of the background sounds of civilization that often go ignored unless brought explicitly to your attention though not often as creatively as Wind Tide has done in an extensive Bandcamp catalog.
Thursday and Friday | 04.07 and 04.08 What: Jawbreaker w/Descendents, Face To Face and Samiam When: 6 p.m. Where: Fillmore Auditorium Why: Between 1986 and its break-up in 1996, Jawbreaker helped to shape the aesthetics and sound of what became pop punk and emo during that time and going forward. With albums like 1994’s influential 24 Hour Revenge Therapy and Dear You from 1995, which the group celebrates with this tour, Jawbreaker brought an existential self-examination to the lyrics and a creativity to the dynamics and textures of its songs that transcended the genres it helped to define. The trio has been back together since 2017 with a documentary about the band Don’t Break Down: A Film About Jawbreaker releasing that same year. Listening back to its old albums the fingerprints of that music is clearly evident on a large swath of punk-oriented music of the past 25 years. Also on this bill are pioneering pop punk band The Descendents whose own anthemic songs likely proved an inspiration for Jawbreaker and both Face to Face and Samiam also sharing the stage this night.
Saturday | 04.09 What:Sarah Shook & The Disarmers w/Lillian When: 8 p.m. Where: Hi-Dive Why: Sarah Shook could have had a perfectly fine and successful career sticking to the modern country sound of their excellent first two records Sidelong and Years. Shook’s expressive vocals and finely crafted songs have always been informed by a thoughtful sensitivity with some grit underlying the delivery. The new album, 2022’s Nightroamer, produced by Dwight Yoakam collaborator Peter Anderson, has touches of effects on Shook’s voice which might strike some longtime fans as odd but overall those sonic details and a more expansive quality to the sound in general on the album feels like it opened up the singer’s songwriting a bit and lends it a quality that sounds more full and the musical equivalent of a color photo versus a black and white. Both have their appeal but more hues in emotion are emphasized. Lillian is a Denver-based singer-songwriter whose luminous songs in an Americana vein are difficult to pigeonhole. Her new album Chasing Shadows will be released at a show at The Skylark Lounge Bobcat Club on April 21.
Saturday | 04.09 What:Abandons, Brother Saturn, Equine and Denizens of the Deep When: 7 p.m. Where: Seventh Circle Music Collective Why: Brother Saturn will celebrate the release of his latest album Dreams of Sand at this show. As per usual, ethereal soundscapes that are both subtle and transporting and fans of the Hearts of Space program will find a lot to like with his material in general. Abandons is a heavier post-rock band. Denizens of the Deep also produces ambient/noise/modern classical music in a variety of modes but the latest album End Times is a good deal of distorted synth drone over mournful, melancholic compositions and moody piano. Equine is avant-garde prog informed by modal jazz and cosmic mathematics.
Saturday | 04.09 What:Fern Roberts, Vampire Squids From Hell and Mossgatherers When: 8-11 p.m. Where: Enigma Bazaar Why: Fern Roberts is a band that isn’t easy to classify and its latest album I’ll Do It Again Tomorrow occupies a musical space between late 80s Talk Talk, Animal Collective and Beach Fossils. Vampire Squids From Hell are an instrumental, psychedelic surf rock band.
Sunday | 04.10 What:Ministry w/Melvins and Corrosion of Conformity When: 6 p.m. Where: Mission Ballroom Why: For this tour Ministry is mainly tapping into its songs from Psalm 69 and earlier and even playing”Supernaut” which leader Al Jourgensen covered for an EP by his side project 1000 Homo DJs. So maybe some other early material is in store for the rest of the tour as well. Corrosion of Conformity wasn’t explicitly a crossover band but one whose hardcore bridged the worlds of punk and thrash almost from the beginning. And of course Melvins are always a reliably entertaining live act that has pushed its own envelope since its early days in the 80s when it inspired a great swath of the grunge scene including guitarist/vocalist Buzz Osbourne teaching Kurt Cobain to play guitar and drummer Dale Crover having been a member of Nirvana for a time in the early days. The trio’s impact on modern rock music is often underrated but indelible. In 2021 Melvins released two albums, Working with God, a record more in line with its always compelling noise rock, and Five Legged Dog, an acoustic album. You never have to worry about a rote Melvins show so get there early and see one of the truly great bands of the last 40 years in a place that sounds as great as Mission Ballroom.
Monday | 04.11 What:Girl Talk w/Hugh Augustine When: 7 p.m. Where: Ogden Theatre Why: Gregg Gillis as Girl Talk took the mashup to new levels in the 2000s as a DJ who, inspired by 90s IDM, alternative artists and noise, created surprisingly unique blends of sounds, rhythms and musical concepts. In 2022 Girl Talk released a collaborative album with Wiz Khalifa, Big K.R.I.T. And Smoke DZA called Full Court Press in which Gillis was able to use his production expertise to weave together the contributions of three hip-hop artists not short on personality and idiosyncratic styles. The album represents Gillis’ first full record since 2010’s All Day but also one of the higher points of an already interesting and genre bending career.
Tuesday | 04.12 What: Bootblacks w/Plague Garden and DJ Kilgore When: 7 p.m. Where: HQ Why: Bootblacks started in New York City in 2010 around the early stage of the current wave of darkwave and post-punk. Its intricate rhythms and brooding atmospherics sync well with what feels like a visceral intensity, especially live, that brings an urgency and forcefulness to the music that is missing from the music of some later bands tapping into similar sources of inspiration. Bootblacks didn’t get to tour on its 2020 album Thin Skies for reasons with which we’re all too entirely familiar so this tour will find the band able to give the material its proper presentation. Fans of Chameleons will appreciate Bootblacks dusky take on dreamlike, observational nightlife anthems. Plague Garden is a similarly-minded post-punk band from Denver with roots in punk and EBM.
Tuesday | 04.12 What:Brian Jonestown Massacre w/Mercury Rev When: 7 p.m. Where: Ogden Theatre Why: Brian Jonestown Massacre and Mercury Rev started around the same time around the beginning of the 90s on opposite sides of the country. But both incorporated elements of folk, psychedelic rock and experimental soundscaping into their respective mix of sounds. BJM became an influential band in the American and international underground with a fiercely DIY spirit that went from making records to touring and promoting its music. Singer Anton Newcombe’s thoughtful and poetic lyrics and ever evolving songwriting injected the expansive and imaginative spirit of late 60s psychedelic rock and art rock into a the zeitgeist of the often anemic late-90s post-alternative rock musical landscape and culture with ample personality and unpredictable live shows, some going sideways, mostly striking a chord with disaffected creative people wherever the band toured. Since that time Newcombe has tried his hand at a variety of musical styles while maintaining a subversive and forward thinking creative vision channeled into prolific output. In late spring we can expect to see the release of the new BJM record Fire Doesn’t Grow On Trees and its the result of Newcombe’s active experiments in composition and production over the past few years in his Berlin studio. Of course live the group is reliably vital. Mercury Rev from upstate New York was started by former Flaming Lips guitarist Jonathan Donohue and with longtime guitarist Grasshopper, Mercury Rev too has been on a creative arc that has taken them to fascinating places from early, warped psychedelia and space rock to the deeply affecting dream pop of breakthrough album Deserter’s Songs (1998) and explorations of personal mythology and the ways our inner lives manifest in how we make sense of the world on every album since. Live, Mercury Rev is transcendent, inspirational and just the thing you need to fill up after a long time being hollowed out by the less fun aspects of life.
Tuesday | 04.12 What:Bill Frisell Trio When: 6 p.m. Where: MCA Denver’s Holiday Theater Why: Bill Frisell is one of the great living jazz guitarists. From Baltimore, Frisell spent many of his formative years in Denver and Colorado as a graduate of East High School. Going to Berklee took him back to the east coast and he was a studio musician for the prestigious jazz label ECM and when he was living in Hoboken, New Jersey he became a fixture in the NYC jazz scene where he came to collaborate with multiple luminaries of the era including John Zorn, going on to become a member of Naked City, the wildly experimental jazz band. By the late 80s Frisell had relocated to Seattle and continued his already noteworthy solo career but also continuing to collaborate with the likes of Ryuichi Sakamoto and on film and television scores. Frisell maintains his connections to the Denver avant-garde and occasionally plays locally including this rare chance to see his trio at the MCA Denver’s Holiday Theater.
Friday | 04.15 What:The Velveteers w/Dry Ice and Rose Variety When: 7 p.m. Where: Fox Theatre Why: The Velveteers released its most recent album Nightmare Daydream in 2021 and demonstrated a great leap forward in terms of songwriting for anyone that hadn’t been keeping up with the band in its live performances. Produced by Dan Auerbach of Black Keys fame, Nightmare Daydream is a blues rock record informed by imaginative songwriting with lyrics that reveal an astute assessment of relationships, the social scene around the world of music and the nuances of human psychology but channeled into bombastic songs that in the live setting have proven to be forceful and captivating. Anyone that saw the Gothic Theatre album release show got to witness a band in full command of its powers with a fiery performance that felt like you were getting to see a famous rock band on the verge of reaching a far wider audience. With upcoming dates with Rival Sons and Greta Van Fleet it’s likely the trio’s star will be rising so catch The Velveteers for a hometown show at The Fox Theatre before it breaks through to a mainstream audience.
Friday | 04.15 What:Mogwai w/Nina Nastasia When: 7:30 p.m. Where: Gothic Theatre Why: Scottish post-rock band Mogwai has consistently delivered cinematic guitar music across the breadth of its career going back nearly three decades. But even at that its 2021 album As the Love Continues comes as a bit of a surprise as it includes even more evocative vocals in no way buried in the mix as well as those more processed and a finely nuanced soundscaping with electronic elements and rock instrumentation working in perfect sync to at times remind one of a Wendy Carlos composition (i.e. “Fuck Off Money”). There are no mediocre Mogwai albums but it is one that goes to wider vistas musical vistas than to which the band has traveled in some time.
Saturday | 04.16 What:Actors w/Scifidelic, Weathered Statues and DJ Sin When: 7 p.m. Where: HQ Why: Canadian post-punk band Actors have been crafting New Wave-inflected darkwave for around a decade now and its 2021 album Acts of Worship sounds like a dance club soundtrack from a forgotten, 1980’s transcendental science fiction movie. Like maybe if the club Tech Noir from The Terminator got its own movie after being re-opened in 2020. The album’s echoing guitar riffs, melodically brooding vocals, hazy synth lines accented with crystalline tones are reminiscent of early 80s Human League had the league fully incorporated guitars and taken some inspiration from Fad Gadget. And the warping, upbeat, melancholic melodies of songs like “Killing Time (Is Over)” is thoroughly captivating with its unconventional dynamics like something you’d hear on an early Brian Eno “solo” album.
Saturday | 04.16 What: Calm./Time w/Wilt to Live and Lucy Freedom at Mutiny Information Café 8 p.m. When: 7 p.m. Where: HQ Why: Calm./Time is one of the great hip-hop projects of Denver music with sharp, political lyrics infused with an incisive and playful sense of humor. With some of the most creative beats steeped in not only classic alternative hip-hop but experimental music and art pop, Calm. (comprised of rapper Time and producer Awareness) always seems to make high concept social commentary accessible and engaging.
Saturday | 04.16 What: Pile (Rick Maguire solo) When: 7 p.m. Where: Seventh Circle Music Collective Why: From the Facebook event page because I can’t do better: “While the band is known for its dynamic and bombastic live performances, Maguire recontextualizes the material by performing on his own, something he has continued to do throughout the project’s history. 2021 saw documentation of this aspect of Pile in Songs Known Together, Alone, a solo re-imagining of 15 songs across Pile’s catalog.”
Sunday | 04.17 What:Snail Mail w/Joy Again When: 7 p.m. Where: Ogden Theatre Why: Lindsey Jordan seems to have packed more than a lifetime of heartbreak and pain into her 2021 Snail Mail album Valentine. The title track alone so vividly captures what it feels like to be in the worst throes of a bad breakup and is kind of an inverted Valentine expressing feelings of love and affection that have no direction because of the split and how that can churn inside you leaving you in agonized confusion. Which is a tricky feeling to get across. “Ben Franklin” is apparently about Jordan’s time in a rehab facility, a place for which there all sorts of reasons to end up in for a time, and in the music video for the song she moves about with an energetic playfulness the way many people do with words and actions until they’re ready to have the breakthroughs that are necessary to move on. But the whole record is a brilliantly poetic pop exploration of the various phases of being in some of life’s lowest places set to lush arrangements and inventive guitar compositions that are reminiscent of the more interesting late 90s emo bands that blurred genre lines like Rainer Maria and Milemarker except that Jordan’s sounds reflect the gentleness better suited to expressing wounded feelings and lingering hurt. And yet there is a sense that these songs helped Jordan to crawl through the most vivid memories of their inspirations.
Sunday | 04.17 What:Radolescents w/The Haji, Noogy and Egoista– canceled When: 7 p.m. Where: HQ Why: Radolescents is Rikk Agnew and Casey Royer of the Adolescents along with original Adolescents guitarist Frank Agnew’s son Frank Agnew Jr on vocals, Dan O’Donovan on guitar and Dan Colburn on bass performing the Adolescents’ 1981 self-titled record aka The Blue Album in its entirety. Rikk Agnew has been responsible for some of the most inventive and memorable guitar tones out of punk rock including his performance on the 1982 deathrock classic Only Theatre of Pain while a member of Christian Death. Live performance video out there for this lineup has been pretty solid so here’s a chance to see one of the most iconic bands out of punk of the last 40+ years.
Sunday | 04.17 What: mssv aka Main Steam Stop Valve (Mike Bagg, Stephen Hodges and Mike Watt) When: 9 p.m. Where: Lion’s Lair Why: mssv has quite a pedigree including obvious master bass player Mike Watt of Minutemen, fIREHOSE and Stooges fame but also Stephen Hodges who played drums on Tom Waits records like Swordfishtrombones, Rain Dogs and Mule Variations. He also played on various soundtracks including those for Until the end of the World and Twin Peaks: Fire Walk With Me. No big deal. But with Mike Bagg whose own performance resume is respective for his work with distinguished jazz artists and avant-garde musicians like Nels Cline. Together they make what might be described as a mutant type of free jazz and surf rock.
Monday | 04.18 What: Sleep w/Superwolves (Matthew Sweeney and Bonnie Prince Billy) When: 7 p.m. Where: Mission Ballroom Why: The right people are going to appreciate this strange folk and blues band Superwolves comprised of Bonnie “Prince” Billy and Chavez guitarist/singer Matthew Sweeney opening for psychedelic sludgerocks’s heaviest of the heavy, Sleep. Some people are going to be so put off and angry that will be amusing on its own. Too bad for those people though because two great bands on one bill with this stylistic swing should happen more often. Will Oldham (Bonnie “Prince” Billy) has influenced a generation of musician though his various bands over the years and his solo records as well for inventive and intricate guitar work and heartfelt, tender, poetic and witty lyrics and Sleep has perhaps more than any other single band outside of Black Sabbath spawned the doom metal genre as we know it but few have equaled their sonic grandeur and imaginative songwriting.
Monday and Tuesday | 04.18 and 04.19 What:The Airborne Toxic Event w/Mondo Cozmo — Rescheduled, date TBD When: 7 p.m. Where: Ogden Theatre Why: Joshua Ostrander aka Mondo Cozmo made a name for himself as the frontman for Laguardia in the the first half of the 2000s and then for a decade as the lead singer for Eastern Conference Champions. But since 2015 he has been recording and performing under the Mondo Cozmo moniker and crafting heartfelt and genre eclectic music. His new album, 2022’s This Is For The Barbarians takes Ostrander deep into his roots in rebellious folk artists like Bob Dylan and his more experimental electronic interests at the same time. The album is like a Radiohead album but more informed by folk and more overtly pop but with the appropriately rough around the edges quality to suit the times that surrounded the process of writing the songs with Ostrander commenting on the highs and very low depths of the world in the past half decade and his insight into personal psychology and the American zeitgeist is as cathartic as it is inspirational. And yes, opening for Toxic Airborne Event whose own long career of luminously gritty alternative rock has garnered a bit of a cult following. Its 2020 album Hollywood Park, sharing the title with singer Mikel Jollett’s memoir of the same name from the same year, was unsurprisingly as literarily as musically as poignant album as any in the group’s career to date and certainly seemingly its most personal.
Tuesday | 04.19 What:IDLES w/Automatic When: 7 p.m. Where: Mission Ballroom Why: IDLES first came to the attention of a wider international audience with the 2017 release of its debut full length album Brutalism. Its exhilaratingly spirited live shows and the poetic intensity and social consciousness and deep self-examination reflected in the lyrics had an immediately appeal that seemed another high point in the then relatively recent resurgence of punk and post-punk that made that style of music seem relevant and exciting again. The 2018 second album Joy As An Act of Resistance in title alone sounded like a call to action for putting energy and will into the world around you that engages people in a positive and compassionate yet passionate manner. Since then 2020’s Ultra Mono took some knocks by various critics as a creative plateau if not a dip in the exciting potential of the band’s previous work but Crawler (2021) proved IDLES is not out of ideas and certainly not out of the incredible energy that is clearly behind its live performances. When IDLES performed at Larimer Lounge 2018 it was unlike most club shows of late with lead singer Joe Talbot ranging far into the crowd to break down the performer and audience barrier the way the songs often do, like they’re speaking directly from your life. Opener Automatic is a trio from Los Angeles whose own flavor of rhythm-and-synth-driven post-punk is reminiscent of early OMD. Its forthcoming and second album Excess releases on June 24, 2022 with retrofuturist music videos that compliment its aesthetic so well. In commenting on the song “New Beginning” the band references the Swedish science fiction film Aniara which is one of the better neo-dystopian films of recent years.
Tuesday | 04.19 What:Soft Kill w/Alien Boy, Topographies, Candy Apple and Destiny Bond When: 7:30 p.m. Where: Hi-Dive Why: Soft Kill was one of the earliest of the current wave of darkwave/post-punk bands with a decent string of releases with its 2020 album Dead Kids R.I.P. City being its finest and a poignant commentary on the confluence of the growth of Portland, Oregon both organically and through the poisonously mutant manner that the tech industry and other moneyed interests have initiated globally and the ways in which underground music scenes and cultures have been all but washed out of larger and perceivedly hip cities. The music was a little predictable in that obviously influenced by The Cure and The Chameleons way early on but that latest record has some more inventive songwriting and what comes across as a sincere and tender, melancholic observational lament on people lost and a way of life for creative people and others involved in vital subcultures essentially made a thing of the past or at least a shadow of its former self. Alien Boy is also from Portland and its own melancholic blend of punk, emo and atmospheric guitar rock is imbued with its own melancholic spirit inspired by the struggle with the usual everyday stuff that can be a drag if you’re at all sensitive and thoughtful but also with a culture that in too many quarters is hostile to the very existence of certain sectors of society. Candy Apple from Denver perfectly combines spirited hardcore and Hüsker Dü and The Jesus And Mary Chain-esque noise rock. Destiny Bond also from Denver comes from a similar realm of music but one closer to emo but more aggressive in its expression of vulnerability.
Tuesday | 04.19 What:10 Years w/Black Map and VRSTY Where: The Oriental Theater Why: Black Map is a post-hardcore band from San Francisco comprised of members of Far, Dredg and Trophy Fire. Though supporting alternative metal band 10 Years on this tour its 2022 album Melodoria is the kind of melodic heavy music that bends toward emo and definitely in your wheelhouse if you’re a fan of Circa Survive as its not on the screamo or pop punk end of post-hardcore.
Tuesday | 04.19 What:Jon Spencer & The HITmakers w/Quasi When: 7 p.m. Where: Globe Hall Why: Jon Spencer has been giving us gloriously demented and exciting psychedelic blues and garage rock since at least his time in Pussy Galore. But with his new band he collides together all of the stuff you might expect with industrial music production and willingness to introduce non-musical sounds and concepts into the mix. The group’s new album Spencer Gets It Lit is like a retrofuturist science fiction movie as imagined through the lens of an unlikely Suicide and the Cramps team-up and then turned into wonderfully strange and sometimes unsettling songs, which has been Spencer’s modus operandi through various projects for decades. Anything to weird out the squares and honestly the world has been in desperate need for such creative gestures in increasing amounts over the last several years. On the record you can hear the synth and vocal stylings of Sam Coomes of opening band Quasi which is no experimental rock slouch project either with drummer Janet Weiss who in rock and roll right now has to be considered one of the top tier talents. Most people probably know her from her long stint in Sleater-Kinney but anyone lucky enough to have seen her with Quasi or Stephen Malkmus & The Jicks has seen a different facet of her considerable talent.
Wednesday | 04.20 What: Blushing, Letting Up Despite Great Faults, Old Soul Dies Young and Moodlighting When: 7 p.m. Where: Lost Lake Why: This is pretty much the shoegaze or shoegaze adjacent show of the year with Blushing touring in support of its new album Possessions. Its hazy and urgent melodies are enveloping and hypnotic. Letting Up Despite Great Faults also based in Austin weaves in a bit more twee pop stylings into its gorgeous soundscapes. Its own new album, IV, is back to back entrancing material about the more subtle sides of life and daily struggles and in “She Spins” one of the great melodic guitar progressions of the past two decades. Old Soul Dies Young from Denver mixes expansive guitar atmospheres with an almost black metal grit and lo-fi aesthetic seemingly inspired in part by anime and manga, or so its releases on the group’s Bandcamp suggests. Moodlighting like Letting Up Despite Great Faults puts the pop songcraft at the center of its own amalgam of indiepop and dream pop.
Wednesday | 04.20 What:Parquet Courts w/Tim Kinsella and Jenny Pulse When: 7 p.m. Where: Ogden Theatre Why: If you were to name the top ten post-punk bands now that are pushing that form of music forward with creativity and ambitious songwriting while putting out some of the most sharp critiques of modern politics and society, Parquet Courts would be near the top of that list. Its 2021 album Sympathy For Life has an almost mystical album art design and its songs combine the use of mythical storytelling with stories of the folly of human civilization, especially late stage capitalism, and our often flawed ways of coping in the face of a deeply uncertain future.
Friday | 04.22 What: Waxahatchee w/Madi Diaz When: 8 p.m. Where: Ogden Theatre Why: Katie Crutchfield has been releasing deeply personal and insightful folk pop albums as Waxahatchee since her 2012 solo debut album American Weekend. Crutchfield’s gift for articulating existential uncertainty, personal devastation and yearning has imbued her recorded output with a underlying but always present spirit of compassion for self and others. Her 2021 album Saint Cloud expands her sound palette further with synths and programming serving as a backdrop, a context for songs that speak directly to a world of accelerating sources of anxiety and by grounding her songs in directly relatable experiences rather than contemplative theoreticals. The songs come off like a great country record informed by imaginative songwriting that pairs grit with poetic observations as ingredients in keeping present when so many things drive us to dissociate.
Friday | 04.22 What:Emerald Siam, Weathered Statues and We Are Not a Glum Lot Where: Enigma Bazaar Why: Emerald Siam has long been fusing a dark and melancholic sound with a brightness of spirit that rises through the psychological murk that can bog everyone down so easily these days. Its membership includes former members of bands like Twice Wilted, Tarmints, The Bedsit Infamy and Wild Call and its alchemical use of rhythm tied to dynamic rhythms plus frontman Kurt Ottaway’s passionate vocals is hard to beat. Weathered Statues is a post-punk band from Denver whose sound is rooted in the classics of that subgenre but there is something so upbeat and spirited about its sound and performance that associating the music with something gloomy seems inaccurate as its moody atmospherics have an expansive energy. We Are Not A Glum Lot all but suggests it’s going to be a an emo band of some kind and that wouldn’t be too far off the mark as its intricate guitar melodies and wiry rhythms have a leg in 2000s emo but also one in shoegaze and gritty post-punk. Think something like Sunny Day Real Estate mixed with Jawbox and you have some idea of what you’re in for.
Saturday | 04.23 What:Ho99o9 w/N8NOFACE When: 7 p.m. Where: The Marquis Theater Why: Ho99o9 from Newark, NJ have somehow managed to completely fold together industrial music, hip-hop, hyperpop, hardcore and noise for one of the most immediately riveting sounds around. The live show is as visceral and as confrontational as you might imagine but also brimming with a sense of joy at shattering the conventions of established genre music-making.
Saturday and Sunday | 04.23 and 04.24 What: Mike Campbell & The Dirty Knobs w/Sammy Brue When: 7 p.m. Where: Fox Theatre and Bluebird Theater Why: Mike Campbell is indeed the influential guitarist who was once a member of Tom Petty & The Heartbreakers and a co-writer of many of the band’s hit songs across decades. This is his new band and they’re touring small venues in support of the band’s lively new album External Combustion. So go expecting an arena rock level show at these small theaters. Less polished than the Heartbreakers, this project from Campbell showcases the musician consistently cutting loose a little more than he has in his long and storied career.
Sunday and Monday | 04.24 and 04.25 What: PUP w/Sheer Mag, Pink Shift When: 7 p.m. and 6:30 p.m. Where:Ogden Theatre and Boulder Theater Why: PUP is one great bands to have emerged out of the 2010s as purveyors of the kind of heartfelt pop punk that seemed to revitalize that style of music and bring to it a healthy sense of self-deprecation and introspection expressed in spirited, anthemic songs that feel less like refurbished angst and more like catharsis in camaraderie. Its new album The Unraveling of PUPTheBand has more than its fair share of tasty hooks but also of lyrics that vividly capture the frustrations of the average person trying to navigate the vicissitudes of life in the modern world seemingly on the brink of some kind of disaster. Sheer Mag is the punk band that sounds like it grew up listening to a ton of AC/DC and Slade but ended up discovering working class punk and decided not to see why those sounds and ideas should be separate. Its 2019 album A Distant Call has the visual aesthetics of a Judas Priest record but lyrics that were a sharp critique of plain old American greed and political corruption and the immediate and deleterious impacts on every aspect of life.
Monday | 04.25 What:The Flaming Lips w/Particle Kid When: 7 p.m. Where: Mission Ballroom Why: The Flaming Lips will forever be to some people the scrappy weirdo band from Oklahoma that made strange, psychedelic music with vivid lyrics about life’s challenging and colorful moments before and after a brief flirtation with mainstream popularity in the mid-90s before circumstances within the band and a crisis of creativity sent the group back to the drawing boards. After the parking lot experiments in performance, the perhaps ill-considered yet brilliant Zaireeka released on four CDs meant to be played simultaneously for the full effect of the music and then deep diving into alternative methods of recording with its creative high point then thus far with 1999’s The Soft Bulletin. In the 2000s the band’s star ascended further than most people might have expected with its various stylistic experiments and becoming the kind of band that seemed to be playing every festival and embraced by fans of unusual rock music and jam band types. And then the Lips would put out some of its most daring and deeply introspective and insightful albums like 2013’s The Terror and American Head from 2020. If history seems correct for the Lips, this would be a tour to see. Opening the show is Particle Kid and his eclectic, countrified, psychedelic new record TIME CAPSULE includes collaborations with J Mascis and Willie Nelson. Which sounds like it could be a trainwreck but instead it’s an unusually touching set of contemplative, observational songs on American culture and our trying to make sense of it all. It is somehow both nostalgic and imbued with a paradoxically chill immediacy.
Monday | 04.25 What:Yumi Zouma w/Mini Trees When: 7 p.m. Where: Bluebird Theater Why: Yumi Zouma from Christchurch, Canterbury, New Zealand have spent the last eight years or so crafting tender dream pop imbued with a buoyant energy tempered by hazy, introspective tones. It’s 2022 album Present Tense explores the nuances of love and romance in the current period with a poetic sensibility and music that flows with a smoothly cinematic quality lending each song feel like a short film with all the drama of the story coming together poignantly in under four minutes. Jazz-like structures and strings throughout the album renders it like a new take on chamber pop without any of the pretentiousness.
Monday | 04.25 What:Deftones w/Gojira and VOWWS When: 6 p.m. Where: Ball Arena Why: Deftones are arguably the most influential of the newer style of metal band that came to prominence in the 1990s. The ability of the band to not just tap into a hybrid metal aesthetic but to weave in an always interesting and evolving atmospheric element that has been a part of its songwriting since early on. 2000’s White Pony was like a dream pop album written with the sound palette of a brooding metal group in search of a sound that better expressed the breadth and depth of emotions of its content with the tonal nuance to hit the ears with something more creative and interesting than the usual bludgeoning edginess of much of 90s metal. The combination gave the anger and pain in the album a raw accessibility than it might have had otherwise. The group’s 2020 album Ohms pushed the songwriting further into a more soundscape-y mode that had more in common with the likes of Failure and at times Swervedriver than metal. But that record came out in the middle of the first wave of the pandemic and of course the veteran band didn’t have a way to tour in support of what might be its finest set of songs until this run of shows with support from French death metal band Gojira and prominent darkwave duo VOWWS.
Tuesday | 04.26 What: Deserta w/Little Trips and Mon Cher When: 7 p.m. Where: Hi-Dive Why: Deserta is a Los Angeles-based shoegaze band whose songs sound like a more benevolent side of a Nicolas Winding Refn movie. The project’s new album Every Moment, Everything You Need has whispery vocals that fit right in with the languid builds and grainy melodies and insular mood. Its previous album 2020’s Black Aura My Sun was reminiscent of a more summery Slowdive if influenced by bedroom pop and the new record like a modern take on 80s New Wave but with sultry guitar atmospherics that trail off into the middle distance. Little Trips is a lo-fi dream pop outfit from Denver with a knack for subtle synth melodies that integrate well with chill beats and Mon Cher, also from the Mile High City, is a synth and piano-driven dream pop trio whose melancholic spaciousness is refreshingly not in some trendy mold of that style of music broadly speaking.
Tuesday | 04.26 What:Bloody Knives w/Twin Image and Juliet Mission When: 9 p.m. Where: Lion’s Lair Why: Austin’s Bloody Knives sound like what might be called an industrial shoegaze band with fairly strong electronic and electric musical components in its sound and seeming inspiration from 90s experimental electronic pop. Twin Image is the latest project from former Fell frontman and songwriter/multi-instrumentalist Josh Wambeke and this time it’s more like a shoegaze/slowcore hybrid which is roughly the lane in which Fell existed but Twin Image is even more introspective and somehow more brash. Juliet Mission includes former members of alternative rock/shoegaze band Sympathy F and this long-running project truly captures and expresses the dark, moody vibe of Denver from back when downtown at night was both a perilous and magical place, evoking the specific melancholic flavor that is one of the hallmarks of the city no matter how much shine Nü Denver projects try to gloss over the top.
Wednesday | 04.27 What:Knocked Loose w/Movements, Kublai Khan and Koyo When: 6 p.m. Where: Ogden Theatre Why: While metalcore battered itself into self-parody as a movement sometime in the 2000s its leading lights and adjacent artists of note like Poison the Well, The Dillinger Escape Plan, Converge and others have endured as an influence on hardcore and heavy music for their ability to express a furious kind of outrage through cathartic live performances and having a more imaginative take on that hybrid musical style that can seem monolithic. Since the 2010s metalcore has experienced a kind of renaissance with Knocked Loose from Oldham County, Kentucky being one of the most prominent bands out of that new wave. In 2021 Knocked Loose released its latest EP A Tear In The Fabric of Life with an full animation of the EP by Swedish filmmaker Magnus Jonsson from a story by Knocked Loose frontman Bryan Garris. This time out the band seems to be drawing out its grindcore influence a bit while expanding its dynamic range.
Thursday | 04.28 What:MONO w/Bing & Ruth When: 7 p.m. Where: Bluebird Theater Why: Japanese post-rock band MONO has been quite prolific in its 23 years of existence releasing creatively ambitious, mostly instrumental rock albums that speak more eloquently to emotions and ideas in a nuanced and eloquent way than many standard issue rock bands that spell out what they have to say more explicitly. This has mean the group’s music takes on rendering its meaning beyond specific cultural context. The music is rock but also extends to a modern version of classical music with elegant structure and formal composition tempered by an organic spontaneity. Live this quality translates perhaps most directly.
Thursday | 04.28 What:Vahco Before Horses, Polly Urethane, Pearls and Perils, Blank Human, Esu the Illest, Space Pirate, Morpgorp and Joohs Uhp When: 7 p.m. Where: Globe Hall Why: Vahco Before Horses is moving to the Netherlands soon and this is going to be his last show as a resident of Denver. The producer/singer/musician has run a local record label called Glasss and now Glass Melts which focused on more experimental music in the local underground and beyond. Vahco spent some time on both coasts in the music industry at various levels and brought some of that sensibility to his work in music in Denver. His own music is a surprisingly soulful form of electronic pop music with powerful vocals and vivid emotional portraits of life. Also on this bill is experimental downtempo artist Pearls and Perils, the weirdo techno of Blank Human, avant-garde mashup hip-hop hooligans Joohs Uhp, transcendent industrial pop soundscaper Polly Urethane, forward thinking rapper-producer Esu the Illest and others. Though kind of a farewell show to Vahco it’s also a fairly solid showcase of one important branch of left field underground music from the Mile High City.
Friday | 04.29 What:VR Sex w/Lunacy When: 8 p.m. Where: Hi-Dive Why: VR Sex is the more punk alias of Andrew Clinco of Drab Majesty fame. This project is more gritty in tone, noisier and more brash. Adopting the performance moniker of Noel Skum (an irreverent anagram of Elon Musk which is pretty on point), Clinco’s songwriting for VR Sex is ordered around clashing dynamics that sound like the kinds of songs a futuristic biker gang might listen to when getting up to some crimes aimed at yet another attempt at authoritarian control of all things in an asymmetrical warfare approach to taking down the man. The new record Rough Dimension with its cover clearly a nod to The Blair Witch Project all too poignantly encapsulates in sound the static, urgency and chaos that we face every day but blasting it apart with buzz saw riffs and attitude. Lunacy from Pennsylvania recently released Echo In The Memory is a bracing, ghostly industrial post-punk record that sounds like life after humans per the History Channel series but for real—gorgeously stark soundscapes with firm rhythm lines and washes of ethereally caustic atmospheres.
Friday | 04.29 What: Big Thief w/Kara-Lis Coverdale When: 8 p.m. Where: Mission Ballroom Why: Big Thief became so popular so quickly you might be excused for dismissing it out of hand as a buzz band of the moment. But its particular brand of indie folk rock strikes deep chords, comes off as deeply honest and personal and its use of space expertly rendered so that it feels like Adrianne Lenker is singing directly to you about your own life. Its 2022 album Dragon New Warm Mountain I Believe in You seems so developed and practiced yet also unvarnished and vulnerable. If there is a popular style of indie folk that has been plaguing playlists and the airwaves and watering down the impact of the music, Big Thief here is the opposite of that by embracing what might be considered flaws as simply an essential aspect of our analog humanity and the way we live and exist in a world where not everything is streamlined for easy consumption and the band takes many sonic chances on the record that many artists on a similar level of popularity would not and that makes what Big Thief is doing now seem incredibly refreshing.
Saturday | 04.30 What:Tempers w/Lesser Care, Julian St. Nightmare and Kill You Club DJs When: 8 p.m. Where: Hi-Dive Why: Tempers from NYC has been developing its dusky darkwave synth pop for the last several years with albums that seem to draw on a hazy 80s post-punk aesthetic for inspiration but also rooted in modern techno. Its 2022 album New Meaning is arguably its most coherent effort yet with songs about coming to terms with living in a time of great uncertainty and needing to create meaning where it might be eroding in meaningful ways in various areas of life and in the world around you. The cover image of the staircase to nowhere that is a part of contemporary creepy pasta culture as manifested so powerfully in Butcher’s Block, the third season of prematurely canceled horror anthology series Channel Zero. As a symbol for the album it works too as an enigmatic image that requires us to imagine where we might make the staircase take us and the peril of not building something beyond the great unknown that seems to be paralyzing the psyches of so many and otherwise sowing insecurity and desperation in a social environment that wasn’t already short on such things.
Saturday | 04.30 What:LEAF w/Negativland and SUE-C When: 7 p.m. Where: The Arts Hub Why: Lafayette Electronic Arts Festvial returns with a set from legendary performance art/avant-garde electronic/sound collage project Negativland and live cinema artist SUE-C collaborating on a performance that comments on the dystopian tech environment that is plaguing so much of life in the 21st century thus far.
The Present time mix remixed by iY? of “Big Brother” puts the focus on rhythmic elements of the track and the more ethereal atmospheric elements where synth lines seem to streak by. Sonically it sounds like what it might be like to fly a vehicle in some future where hearing the ambient traffic chatter is a part of life for someone shuttling passengers to and from high rise buildings and distant home or recreational destinations. Samples of radio talk sit side by side bright but hazy melodies and a tonal percussive features that track the passage of time and lend a backdrop of urgency and low key menace. At points it comes off a bit like an unlikely but entirely possible collaboration between Brian Eno, The Crystal Method and Oneohtrix Point Never with the physicality and sense of texture of the first, the gift for dark yet playful moods of the second and the way the latter is able to craft emotional sonic vistas with layered movement. Listen to the track on YouTube and connect with BONG-747 at the links provided.
On the title track to his forthcoming EP Rabbit Feather, Jackson Hill brings extremely tactile sounds together with an electronic production aesthetic that both grounds what you’re hearing and transports you to an otherworldly headspace of pure imagination. Soft electronic drones swell and swarm while percussive sounds mark out unconventional rhythms in modulated clicks and snaps, strings resound with an unmistakably delayed and drawn out strum, bass traces downward arcs in jazz-like downtempo style. It is layers of minimalism that matches the surreal imagery suggested by the title of the song. For something so peaceful and spare there is a lot of movement and forward momentum in the song and altogether it sounds like little else unless you could vaguely trace a lineage to some of the work of Laraaji, Brian Eno’s and David Byrne’s 1981 experimental world music album My Life in the Bush of Ghosts and maybe the more avant eras of Anthony Braxton. It is a unique and rewarding listen for anyone that has an ear for the music that is somehow both tuneful and requires taking it in on its terms rather than imposing genre requirements in order for it to be enjoyed. Listen to “Rabbit Feather” on YouTube and connect with Jackson Hill at the links below. The Rabbit Feather EP is being independently released on March 18, 2022.
The beginning of “Transcendental Medication” sounds like we’re peeking into the end of a movie with the final credits rolling. But it reprises with a sound almost like white noise but with a touch of melody that stretches into an infinite horizon, a sonic canvass upon which the drawn out pedal steel notes cast tones that enter that sonic stream in parallel. Like a previous track we reviewed for this site, “Lake of Dreams,” this song recalls Brian Eno’s “Deep Blue Day” from the 1983 album Apollo: Atmospheres and Soundtracks for which Daniel Lanois contributed his own iconic lap steel work that unified a grounded Americana quality with cosmic ambient music to transport the mind to tranquil spaces free of the rat race of regular human life. The elegance and subtlety of the performance leaves no edges yet draws you in with a deep sense of peace with which you want to connect. Listen to “Transcendental Medication” on YouTube and connect with The Howard Hughes Suite at the links provided.
JOYFULTALK used sampled sewing machines as part of the soundscape for it’s song “Rare Earth,” a piece commissioned for the Everyseeker festival. But the effect with what sounds like sampled bird sound and processed beats is more like a prepared environment so that listening to the collage and amalgam of sounds is more akin to walking blindfolded into an indoor bird sanctuary designed to replicate an exotic environment with flowing water around as expressed by the aforementioned sewing machines. It somehow sounds like the tribute sequel to the more unusual sound experiments on Brian Eno and David Byrne’s album My Life in the Bush of Ghosts. But no human voices. Jay Crocker and Johanna Hayes in recontextualizing the sounds to convey a deep sense of place but a place no one has actually been through such unconventional methods and samples brought together makes this not a song in any conventional sense but music in the realm of ambient and the broader spectrum of noise. Yet it doesn’t come off as random, or chaotic, but rather reflecting a sound experience you might have in a jungle or a bird sanctuary and because of the intentionality that had to go into its composition it is curiously soothing. Listen to “Rare Earth” on Bandcamp and follow JOYFULTALK at the links provided.
Treated to views in Woodstock, NY from a national park structure atop a high vista, the video for “Rainbow Over Rue D’Iberville” by Flux In A Constant State sets a mood with some animation/high contrast filters over the footage. The steady percussion while guitar noodles playfully over the top like Robert Fripp’s work with Brian Eno. Cosmic tonal sketches, reverse delays taking you out of standard rhythms with improvisation in more standard rhythms over the top. While relaxing the song does take you along on its slinky yet steady path along its echoing, dreamlike soundscape to infinity. Watch the video for “Rainbow Over Rue “D’Iberville” on YouTube and connect with Flux In A Constant State at the links below where you can give a listen to the rest of the album Saeculum II: Causa Sui Boogaloo.
“Lake of Dreams” proceeds in a recursive fashion a streaming atmospheric tonal line that expands with additional textures and parallel sounds suggesting circular movement, slow ripples. The title is thus apt as you’re drawn into the drones that put your mind from a tranquil everyday headspace into one traveling on the waves of a lake from a mystical dream where your spirit can be at rest and open to information and feelings one perhaps resisted previously. The unmistakable movement of sound through long delay and the reverse version thereof takes one out of any sort of standard time and beyond even compound time to a sound that intentionally or not takes the listener outside of such limitations into a pure and intuitive experience. Could be synths, could be other electronics, could be processed pedal steel by which The Howard Hughes Suite made a name for himself in local and international music circles but the soundscaping is both organic and ethereal and reminiscent of the cosmic ambient of Popol Vuh, the mystical Americana of Daniel Lanois, the space new age of Apollo-period Brian Eno and the otherworldly emotional eloquence of Robin Guthrie’s solo work. Listen to “Lake of Dreams” on Spotify, be on the lookout for the album High & Lonesome album out February 18, 2022 and connect with The Howard Hughes Suite at the links provided.
At the start of $YNDRM’s “Shadow Life” we’re drawn in by a mysterious, darkly lush tone and the sound of ethereal xylophone to a story about the mediated nature of a large portion of public life. In a melancholic, reflective emotional quality, $YNDRM sings about the dynamic of how the way we are encouraged by social media and public interactions of all kinds to present a manufactured and finely manicured persona and for what? Fake social capital that gets us nothing of substance? Are out lives destined to be fodder for an algorithm that will never see to our substantive needs as living creatures who crave nourishing lives and experiences and not to be a consumer of the surface level data used to market to us the facade of our desires as massaged by the agenda of the most massive of corporate entities? $YNDRM bemoans this state of counterfeit identities “in a world where nothing seems to matter and points out how that is unsustainable and that this reality is showing signs of fragmenting as is much of culture and the political and economic system despite the seeming all powerful nature of it all. The song is reminiscent of the artier rock end of Peter Gabriel, a more pop Legendary Pink Dots and early solo rock Brian Eno. Listen to “Shadow Life” on Soundcloud and follow $YNDRM at the links provided.
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