Best Shows in Denver and Beyond October 2022

black midi performs at The Fox on 10.3.22 and The Ogden on 10.4.22, photo by Atiba Jefferson
Amyl and The Sniffers, photo by Jamie Wdziekonski

Saturday | 10.01
What: Amyl and The Sniffers w/Boby Vylan and Cleaner
When: 7
Where: Ogden Theatre
Why: Amyl and The Sniffers may be named after amyl nitrate aka poppers as well as a humorous nod to singer Amy Taylor’s name but its own buzz has lasted much longer than thirty seconds. The group’s early EPs Giddy Up (2016) and Big Attraction (2017) garnered the group an avid cult following in its hometown of Melbourne, Australia as well as abroad where its fuzz-infused proto-punk sound felt like a stripping back of even punk to its essentials. The band’s 2019 self-titled album and fiery live shows cemented its reputation as one of the most exciting live bands of recent years. In 2021 Taylor guested on the song “Nudge It” by influential UK duo Sleaford Mods and Amyl and The Sniffers released the sophomore album Comfort to Me. As noteworthy as the earlier records were, Comfort to Me has the group sounding as massive as the furious energy that seems to be fueling its performances this year thus far.

Abrams, photo by Kim Denver

Saturday | 10.01
What: Abrams album release w/Lost Relics, Vexing and Lord Velvet, poster art by Mhyk Monroe
When: 8
Where: Hi-Dive
Why: Calling Denver metal band Abrams doom has never quite fit the group even though that’s roughly where maybe its music has landed in terms of framing. Its new album In The Dark has such an expansive spirit and deep atmospherics that its surging melodies and weighty hooks might be compared with those of Baroness, especially the newer offerings from that band. But this new record also has a touch of psychedelia on its fringes. The vocal harmonies sound and the incandescent guitar riffs somehow complement each other perfectly guided by elegantly interlocking rhythms. Live the band’s raw power feels almost as much punk as it does metal with turns of musical phrase that take the music into sonic realms beyond both making Abrams one of the most interesting bands in heavy music out of Denver right now.

Saturday | 10.01
What: Daniel Avery
When: 9
Where: 1134 Warehouse
Why: Daniel Avery is poducer from Bournemouth, UK whose work with the likes of synth pop artist Little Boots and nu disco project Hercules and Love Affair garnered him no small amount of cache in the world of electronic music. His latest solo album Ultra Truth is reminiscent of late 90s Underworld but more ambient, more progressive/ethereal deep house.

The Afghan Whigs in 2017, photo by Chris Cuffaro, courtesy subpop.com

Saturday | 10.01
What: The Afghan Whigs
When: 8
Where: Gothic Theatre
Why: Afghan Whigs have long fused R&B and rock in powerful, poetic ways since the late 80s. Early comparisons to the Replacements seem a bit obvious because of the group’s passionate performances even decades later. But there is also in its music a soulful core that offers great distillations of universal human experiences and an evocation of emotion that especially live is irresistible. The group’s 1993 album Gentlemen put it on the map nationally and internationally and even now it sounds like something fairly timeless when a lot of 90s music sounds of the period. The 2022 album How Do You Burn? feels more dark and electronic than previous records but in being so like its expanding on its core sound in a bold way that it began on 2017’s In Spades.

black midi, photo by Atiba Jefferson

Monday and Tuesday | 10.03 and 10.04
What: black midi w/Quelle Chris
When: 7:30 (10.03), 8 (10.04)
Where: Fox Theatre (10.03) and Ogden Theatre (10.04)
Why: For connoisseurs of highly imaginative art rock, London’s black midi has been a go to for finding some of the most wild dynamics and musical ideas this side of Frank Zappa for many years. Its much more than its truly creative and unique guitar and bass compositions and performances its like these guys tap into various sounds in orchestrating a musical experience that exists outside normal time. Its new album Hellfire (2022) feels like a lounge jazz variety show as curated by Anthony Braxton, Zappa or Zach Hill. The group uses its hyperkinetic maximalist approach to songwriting in ways that clearly aim at producing compelling songwriting and not just as an exercise in superior musicianship. Like a Can having come up after being influenced by Women and Hella.

Iceage, photo by Fryd Frydendahl

Monday and Tuesday | 10.03 and 10.04
What: Iceage and Earth
When: 7 (10.03) and 8:30 (10.04)
Where: The Marquis Theater (10.03) and Fox Theatre (10.04)
Why: Danish band Iceage had an immediate cult following with the release of its 2011 album New Brigade and its tour of small clubs DIY spaces including Rhinoceropolis in Denver, Colorado that year revealed a band that sat at the nexus of hardcore and moodier yet cathartic post-punk. But as the band developed its sound it grew into a brilliantly decadent art rock that might have had more sonic kinship with 80s Nick Cave and the Bad Seeds and with its most recent studio offering Seek Shelter it reconciled its various creative instincts for music that had both the forcefulness of its early music and the sophistication of what came after. In September 2022 Iceage released Shake The Feeling: Outtakes & Rarities 2015-2021 including songs that could have easily have been on the records of that time period but which didn’t quite fit in and showcased how Iceage had absorbed power pop and the noise rock of the likes of Dinosaur Jr. Also on this tour are doom legends Earth whose visionary heavy blues psychedelia has been an influence on most doom bands since its own 1989 inception whether they know it or not. Its soundscapes and use of drone has an almost ritualistic, mystical quality that utilizes slow, hypnotic progressions to build dramatic tension and release in a way that draws you further into emotional spaces maybe you had shuffled to the side in the headlong pace of everyday life but are better off experiencing and processing in the ways Earth seems so adept at facilitating with its gorgeous layers of psychedelic heaviness.

Ceremony, photo by Rick Rodney

Wednesday | 10.05
What: Ceremony w/Spy, Restraining Order and Candy Apple
When: 7
Where: HQ
Why: Ceremony was considered one of the great bands of 2000s hardcore with its 2008 album Still Nothing Moves You standing as one of the most potent examples of that music of that decade. But its own musical ideas were progressing rapidly out of hardcore and 2010’s Rohnert Park contained experiments in sound and songwriting that were well out of the hardcore frame. Zoo (2012), though, had Ceremony well into post-punk territory and though its tour for the album had the band in high, ferocious form it was a fascinating contrast with music that seemed to be more in tune with its atmospheric potential rather than merely the visceral. Since then the group has gone straight into arty almost glam rock territory with its most recent album In the Spirit World Now (2019) making Ceremony a band that is forging a creative path that is yielding fascinating results with every release.

Broken Social Scene, photo by Richmond Lam

Wednesday | 10.05
What: Broken Social Scene w/Jasmyn
When: 7
Where: Summit Music Hall
Why: Broken Social Scene is a bit of a supergroup making glorious and epic art pop whose membership has included musicians from Do Make Say Think, Metric, Feist, Stars and other notable Canadian musical projects. For this tour the group is celebrating the twenty year anniversary of the release of its monumental 2002 album You Forgot It In People. While orchestral in its arrangements the album’s lush sound felt like an intimate exploration of personal aspirations, identity and culture through an eclectic run of songs that could be awash in nostalgic ambient pop haze and urgent rock songs that harnessed an exuberant energy that seemed to drive the whole album underneath its inspired moments of reverie. The original record featured eleven members and its tour at that time delivered on the seemingly daunting promise of the recorded album and this is a chance to catch that moment in the group’s development one more time.

Night Moves, photo by Shawn Brackbill

Thursday | 10.06
What: Night Moves w/Free Music
When: 7
Where: Globe Hall
Why: Night Moves is a rock band from Minneapolis that has been honing its blend of power pop, psychedelia and Americana since forming in 2010. Across three albums and now two EPs Night Moves’ eclectic style with one leg in modern American indie rock and the other in soul and R&B has evolved and refined to produce the expansive and bright yet introspective moods you hear in its 2022 EP The Redacted. Its its flow of melodic layers and sonic detail one might hear the touch of the more cosmic end of Gram Parsons and Spirit as well as some resonance with what more modern artists like Whitney and Foxygen have done in melding a classic songwriting sensibility and modern use of electronic production in achieving a depth of atmosphere but accomplished with more tangible instrumentation.

Thursday | 10.06
What: Pusha T w/IDK
When: 7
Where: Gothic Theatre
Why: On his fourth studio album It’s Almost Dry, rapper Pusha T puts his usual commanding string of bars over beats that are a mixture of inspired sampling and deeply evocative and atmospheric melodies. The title of the album he said in an interview with Rolling Stone references the making of a painting and thus an album as it’s being finalized. But also drug culture when you have to wait on the product to dry before it can be distributed. And the album walks those boundaries in terms of them and metaphors brought to bear. Once again, like Pusha T’s 2018 masterpiece Daytona, this new record sounds like a journey through the labyrinth of aspirations and personal ghosts that require creativity and boldness to navigate without getting sunk by the trappings of the former and the enervating power of the latter.

Shame, photo by Sam Gregg

Friday and Saturday | 10.7 and 10.8
What: Viagra Boys w/Shame and Kills Birds
When: 7:30 (10.7) and 7 (10.8)
Where: The Fox Theatre (10.7) and The Gothic Theatre (10.8)
Why: Viagra Boys are a Swedish rock band that has defied easy categorization going back to its audacious 2018 debut album Street Worms. Like if a post-punk band embraced the more glam and art rock roots of that music while giving it a raw edge. With the release of 2022’s Cave World the group seems to have let go of any stylistic restraints that have guided it in established directions. The brash and irrepressible energy heard on the record has garnered comparisons by critics to Iggy Pop and one would presume to IDLES. But Viagra Boys more than dabble in electronics and “Troglodyte” sounds like Devo pushed through a garage rock lens. And live Viagra Boys have earned the Iggy-esque reputation with exuberant performances that sound and feel like they could collapse or go off in unexpected directions at any moment. Co-headliners Shame from South London have had a similar creative trajectory as Viagra Boys. Its own first album, Songs of Praise, also dropped in 2018 to great acclaim. But its much-anticipated sophomore album Drunk Tank Pink more than delivered when it was available in mid-January 2021 during a period when live music was basically at a standstill due to the pandemic but anyone that pre-ordered the record got to see a stream of an intimate and emotionally stirring performance of the songs not only revealing how Drunk Tank Pink was a leap into new directions for Shame but how it was able to take its own raw energy and channel that into sensitive and nuanced yet powerful takes on the sense of desperation and and pent up frustration with nowhere to go but plug those feelings into a rare depth of personal reflection, in particular the track “Human, For a Minute” and its perfect and poetic encapsulation of a kind of emotional solidarity based in universal human experiences that anyone can identify even beyond the circumstances of the enforced life limitations of the pandemic and the emergent sense of personal dignity discovered by most people that had been covered over by the headlong momentum of the fraud that was “normal life.” And if two of the best bands out of the wide realm of post-punk wasn’t enough Kills Birds from Los Angeles is a noise rock trio whose own scorching and unrelenting songwriting has garnered great critical acclaim and fans like Kim Gordon and Dave Grohl. Its 2021 album Married is obviously informed by music from the grunge era but also oddly reminds one of the youthful energetic outburst of Minor Threat combined with the elegant and gritty moodiness of Live Skull.

Friday | 10.7
What: Suzanne Vega
When: 7
Where: Boulder Theater
Why: The a capella recording of “Tom’s Diner” was used as a test track during the development of the MP3 digital audio format. The track was at the end of Suzanne Vega’s 1987 breakthrough album Solitude Standing, bookending one of the most sensitive and knowing and clever records of the 1980s with “Luka,” a song about child abuse, an unlikely mainstream radio hit. But Vega’s idiosyncratic, folk rock songs had already made waves in college radio and would continue to do so long after the mainstream no longer seemed to shine its light on the talented songwriter’s career. Vega perhaps became known to a wide audience with her song “Left of Center” as it appeared on the soundtrack to the 1986, John Hughes penned coming of age film Pretty In Pink.

Verhoffst in 2021, photo by Tom Murphy

Saturday | 10.8
What: Verhoffst, KNEIFFII, Laudanum_quilt, ET Mac & the Alien, DJ URSA and No More Cheering
When: 6, $10 cover
Where: Glob
Why: This is fundraiser for Puerto Rican mutual aid group Brigada Solidaria del Oeste featuring some of Denver’s finest industrial noise and experimental sound sculptors.

Kid Bloom, photo by Diego Andradei

Saturday | 10.8
What: Kid Bloom w/Wizthemc and All Things Blue
When: 8
Where: Lost Lake
Why: Kid Bloom’s style of indie pop seems to be inspired by the sort of chillwave and hip-hop production that The Weeknd has perfected up to this point. But his new album Highway sounds like an introspective journey (street sounds included) through a mood that feels like he’s trying to leech out a malaise and spiritual exhaustion that sits deep inside through a radically self honest look at his own ways of conducting himself and his life from often subconscious and almost always else unexamined motivations as tied with life experiences that can tumble by you into a dark place in your head left neglected in the headlong pace in modern life. In the song “Cowboy” alone when Kid Bloom sings “when desperation pulls me closer” its obvious that he’s become very familiar with a deep place in his own psychology and took the opportunity to explore that territory in his music with an aim to soothing and letting those personal demons go. It’s just that the lush synth work and production like an even more luminous early Twin Shadow makes these feelings seem possible to process with success.

DaiKaiju, photo courtesy the artists

Saturday and Sunday | 10.08 and 10.09
What: DaiKaiju w/TripLip
When: 7
Where: The Squire Lounge (10.08) and 715 Club (10.09)
Why: DaiKaiju is the legendary surf and psychedelic kabuki theater and kaiju themed rock band from Alabama. Its shows involve fire and wildly energetic performances and a transformation of the venue into a ritual space of fun and rock and roll myth come to life. Opening the show as usual is Denver dup TripLip whose fusion of experimental prog, weirdo jazz, funk and punk with elements of performance art is the perfect complement to the strangeness that is a DaiKaiju show.

Psychedelic Porn Crumpets, phot by Matt Puccinelli

Saturday and Sunday | 10.08 and 10.09
What: Psychedelic Porn Crumpets w/Acid Dad
When: 8 (10.08) and 7 (10.09)
Where: Globe Hall
Why: Psychedelic Porn Crumpets from Perth, Australia have certainly chosen a surrealistic and absurd name for the band but it’s one that you don’t forget despite its three words and multiple syllables. It makes no sense and therefore doesn’t automatically suggest an aesthetic or a sound other than something colorful and certainly its brand of fuzzed out guitar atmospherics and sublime vocal melodies swimming in a wavy, expansive dynamic embodies what modern psychedelia should be more like. Its 2022 album Night Gnomes has song titles worthy of Black Moth Super Rainbow and an unabashed playful trippiness in its tonal choices and the visual representation of the music akin to early Mercury Rev. Also on the bill is the surprisingly original and not at all style victim psychedelic rock band Acid Dad whose elegant compositions are enveloping and hypnotic with irresistible whorls of transporting soundscaping.

Sunday | 10.09
What: Cyclo-Sonic w/The Valve
When: 1
Where: Wax Trax
Why: Cyclo-Sonic is an always forceful post-grunge punk band comprised of members of local punk legends like Rok Tots, The Choosey Mothers, Fluid and Frantix. The quartet recently released its most recent album Everything Went Stupid on Big Neck Records and may be available at the show ahead of the official October 21, 2022 release date.

Melt-Banana in 2011, photo by Tom Murphy

Sunday | 10.09
What: Melt-Banana w/Quits and Wiff
When: 7
Where: Larimer Lounge
Why: Melt-Banana is a ferocious ball of sounds and ideas that seem to erupt in multiple directions at the same time live on stage so that its manic energy and dazzling array of noises fits nicely in the realm of noise rock, grindcore, glitchcore, math-y hardcore and really like no other band even from the very rich world of Japanese experimental rock. That the group was inspired by the raw originality of the bands on the No New York compilation as the baseline starting point in being able to carve out its own sound should come as no surprise. Quits from Denver might be simply described as noise rock as well but there is something also primal in its angular and unpredictable musical and emotional trajectories that makes it sound dangerous from the beginning of a song to the end.

MAITA, photo by Tristan Paiige

Sunday | 10.09
What: MAITA w/Allison Lorenzen and Moodlighting
When: 7
Where: The Skylark Lounge Bobcat Club
Why: MAITA released one of the most poignant and astute set of songs on the deleterious effects of overstimulation through the bombardment of information and the demands of that constant flow on psyche with I Just Want To Be Wild For You (2022). But the songs hit deeply personal notes with a gentleness of spirit that also conveys a coherence of creative vision that comes from serial realizations about the world around you. MAITA’s pairing of exquisite vocal melodies and evocative counter melodies in the music lend the music an intimacy of tone that feels like MAITA has given voice to some of your own anxieties and discovered a way to make them explicable and easier to untangle. Allison Lorenzen has created some of the most compellingly and emotionally stirring ambient and experimental folk of recent years out of Denver. Moodlighting’s blend of shoegaze and dream pop is delicate and vulnerable and in being so draws you into its poetic commentary on life in this tentative and confusing era.

Front 242 in 2019, photo by Tom Murphy

Sunday | 10.09
What: Front 242 and The Revolting Corpse
When: 7
Where: The Oriental Theater
Why: This is the final North American tour for the foundational, influential and legendary EBM band Front 242 who despite some of their martial sounds and hard industrial visual aesthetic have made songs about the human condition with humor and insight. The Revolting Corpse is a bit of an industrial music super group that for this iteration, the last of its kind, will include founding Revolting Cocks members Paul Barker and Chris Connelly.

Kaelan Mikla i 2019, photo by Tom Murphy

Monday | 10.10
What: Kaelan Mikla w/Kanga and Midnight Marionettes
When: 7
Where: HQ
Why: Icelandic post-punk trio Kaelan Mikla returns to Denver following the release of its 2021 album Undir K​ö​ldum Nor​ð​urlj​ó​sum. Its suffusion of the otherworldly and ethereal into its primal sound gives its melodies a visceral quality that renders its signature styles in cool colors and tonal stark yet bleeding contrasts. The sublime and the feral in its vocals playing off each other gives it the flavor of a Viking epic that wouldn’t be out of place in a future show about Vikings that are versed in magic and mysticism.

Tuesday | 10.11
What: The Mars Volta w/Teri Genderbender
When: 7
Where: Mission Ballroom
Why: The Mars Volta is the influential art rock band that formed after the split of the also impactful arty post-hardcore group At the Drive-In. The Mars Volt combined the angular dynamics and raw power and energy of punk with the creative ambition and histrionics that informed Led Zeppelin and the progressive rock of King Crimson. With a new, self-titled album out that reveals an outfit that has pared back some of its inspired, sprawling workouts of politico-mystical poetry and elongated phrasings in favor of songs that cut with the intro and get into the heart of the songwriting and seem to have incorporated more straightforward pop songcraft and gentleness of textures into its soundscapes. It doesn’t sound like a group of artists that are trying to recapture previous glory but pushing forward toward musical ideas that may once again be ahead of the tastes of previous fans.

Otoboke Beaver, photo by Mayumi Hirata

Tuesday | 10.11
What: Otoboke Beaver w/Cheap Perfume
When: 7
Where: Globe Hall
Why: Otoboke Beaver from Kyoto, Japan takes cultural references, tropes and frustrations and shreds them and reassembles them in a surrealistic yet cathartic bursts of mutant punk rock fury. That this process is set to hypermanic melodies that are undeniably catchy and even infectious is a testament to their deep resonance with anyone that has had to tangle with the alienation of modern hypercapitalism and the way it warps culture and consciousness unless you make a break with it and turn it in on itself the way Otoboke Beaver has done not just with that particular brand of psychological conditioning but also with the baked in misogyny of Japanese and Western culture. But this band makes it seem fun and revolutionary by virtue of making that critique seem exciting. None more so than on its 2022 album Super Champon. It’ll be in good company with the radical yet immediately relatable subject matter and the energy of Colorado Springs punk band Cheap Perfume who mince no words in their deconstruction and dismantling of sexist tropes.

Superorganism, photo by Jack Bridgeland

Tuesday | 10.11
What: Superorganism w/Blood Cultures
When: 7
Where: Meow Wolf
Why: Superorganism’s 2022 album World Wide Pop is another exploration of the outer edges of where accessible pop song can occupy in its ever-expanding aesthetic. From the beginning it has a production style and pacing that feels like constant weirdo advertisement for some strange variety show with a level of sampling and manufacturing of samples nearly on par with a hip-hop record of old. To merely dub what the band does as psychedelic pop doesn’t do justice to how genuinely strangely its songs come across. Like if Elton John co-wrote an album with Cut Copy as produced by Charli XCX inspired to make an album that tapped into the cheesiest of 1980s synth pop and turned it inside out. It’s the kind of music that washes through your brain and lingers for longer than average with so many unusual song ideas it might take your brain a minute or ten to catch up and appreciate what you’ve just heard.

Why:

Tuesday | 10.11
What: Kris Baha w/Mvtant, Modern Devotion and DJs Moody and Wngdu
When: 9
Where: Glob
Why: Kris Baha got his start in the Melbourne, Australia club scene with the industrial weekly event Power Station. But these days Baha calls Berlin home but his crafting of dark, hard techno with a leg in EBM has been on a steady arc of development that these days intersects aesthetically with the likes of darkwave artists likes Kontravoid and hardware-based industrial techno like Mvtant who is also on the bill and Modern Devotion, which is the techno project of Adam Rojo from post-punk group Voight.

Alex G, photo by Chris Maggio

Wednesday | 10.12
What: Alex G w/Barrie https://www.ogdentheatre.com/events/detail/434815
When: 7
Where: Ogden Theatre
Why: Alexander Giannascoli aka Alex G is one of the most gifted pop songwriters of his generation with a respectable track record of orchestral indie folk that is sharply observed and widely eclectic and inventive in production and swapping and collaging styles. This unorthodox aesthetic is very much to the fore on the new Alex G record God Save the Animals where the songwriter free employs processing on all sounds and at times casts his voice in different modes including some of the only cool use of autotune in “Cross the Sea” where he also uses surreal and bizarre tones to establish a mood of resigned melancholy. But the whole record sounds like an exercise in fascinating experiments making catching him on this tour look promising in getting to see a lot of the new material live.

Clutch, photo by Dan Winters

Thursday | 10.13
What: Clutch w/Helmet, Quicksand and JD Pinkus
When: 6
Where: Fillmore Auditorium
Why: Over thirty years into its career Clutch continues to defy easy categorization in being too close to the spirited drive of punk to be strictly metal, too sludgy and groove oriented in its riffs to be punk. Too charged with momentum to truly be a “stoner rock” band and too willing to experiment with its core sound and ideas to stay stuck in the same musical rut for decades because something worked with commercial success years ago resulting in an ossified style. Its new album Sunrise on Slaughter Beach doesn’t reinvent Clutch’s aesthetic so much as show how the band still knows how to write hard rock with a clarity and economy of style without compromising its ability to stretch out and get weird, the title track being a prime example. Also on the bill are noteworthy practitioners of sludgy heaviness from the alternative rock era with Helmet and Quicksand who on their own would be worth catching live. And JD Pinkus who some may know for his tenure in Butthole Surfers on Honky.

Thursday | 10.13
What: The Peculiar Pretzelmen, Vampire Squids From Hell and Plastic Rakes
When: 8
Where: Jester’s Palace
Why: The Peculiar Pretzelmen from Los Angels is a band that took the challenge of making its own instruments sometimes parted out from other instruments or from everyday objects in order to craft music so idiosyncratic yet accessible one wonders how there hasn’t already been an eccentric documentary about the band. Musically its somewhere betwixt Bob Log III, Flat Duo Jets, a steam punk version of Dead Moon and Pere Ubu. Fitting enough that psychedelic, noisy surf rock weirdos Vampire Squids From Hell are opening as are prog pop trio Plastic Rakes.

Zombi, photo by Matt Dayak

Thursday | 10.13
What: Om w/Zombi
When: 7
Where: Gothic Theatre
Why: Om might be described as ritual doom as its songs combine sonic elements you might more readily associate with devotional music. Compound time signatures that make the music resolve in ways that sink into the mind and move you in ways that feel like they’re coming from a primal place and processed drones that serve as a meditative preparation and backdrop to the direct action of each song. With the high volume of the live setting Om’s music comes off both cosmic and channeling the energies of an ancient and largely forgotten mother civilization to those we know now. Pittsburgh’s Zombi is perhaps best known for its true fusion of heavy rock with synthesizer music in crafting music that at times might remind one of the psychedelic progressive rock of Goblin who composed music not only for Dawn of the Dead (named Zombi in Italy from which this project borrows its own moniker) but multiple Dario Argento horror classics. Chances are this performance will feature that end of the group’s music. The duo’s most recent album is Zombi & Friends Vol. 1 which is a set of fairly faithful covers of songs by The Eagles, Alan Parsons Project, Dionne Warwick, Eddie Rabbit, The Doobie Brothers and more soft rock and pop artists whose work primarily emerged prominently in the 1970s. Somehow it works and the record itself includes appearances from members of The Sword, Trans Am, Pinkish Black, Zao and others. Maybe you’ll get to see some of that too.

Friday | 10.14
What: Honey Blazer vinyl release w/Body and Jasper Adkins
When: 8
Where: Lost Lake
Why: Denver’s Honey Blazer is the kind of band that seems to have unabashedly come out of that flood of indie psych and 1970s folk rock revival of the 2010s. But like many of those bands at least the songwriting is deeply attentive to craft and tight performances that give its sound great range and nuance. Its debut album Lookin’ Up has an elegance and poetry of composition that transcends any of the aforementioned considerations like if a group of guys took threads of the Dead and The Velvet Underground at their most pop and countrified and absorbed late 60s Flying Burrito Brothers along with Joni Mitchell of that same era and infused it with a touch of Bob Dylan with The Band and Fairport Convention but all translated through the lens of modern sensibility. Like what indie Americana wants to be but rarely achieves.

Maude Latour, photo courtesy the artist

Friday | 10.14
What: Maude Latour w/Charlie Hickey
When: 8
Where: Globe Hall
Why: Since 2019’s Starsick, Maude Latour has been releasing a series of inventive pop EPs including her latest, 001 from 2022. Her take on indie R&B and dream pop has an layer of complexity with thoughtful personal observations and her willingness to experiment with the composition of her beats and melodies freely borrowing from experimental electronic music and vocal processing. At times her music is reminiscent of what Alice Glass has been doing since going solo but Latour’s vocal style is very much her own and wide-ranging and inventively eclectic.

Guerilla Toss performs at Lost Lake on October 15, 2022, photo by Vanessa Castro

Saturday | 10.15
What: Guerilla Toss w/Forty Feet Tall and Hex Cassette
When: 8
Where: Lost Lake
Why: For the past decade Guerilla Toss has been pushing the envelope of the fusion of experimental electronic music and art rock. From its artwork to its music videos and stage show, Guerilla Toss has always put a personal touch to how it engages with a potential audience. In putting forth an idiosyncratic creative vision the band has in its way encouraged anyone encountering its music to forge their own path whether as fellow creatives or someone just getting through life and resisting a beige compliance with a standard issue existence. The latest Guerilla Toss album Famously Alive is somehow simultaneously its most adventurous and accessible album to date with songs that sound like they’re coming from the edges of dreams and expressive of a spirit of hopefulness and acceptance, of a will to use imagination to explore the potentials life has to offer if your existence wasn’t limited by practical considerations.

Church Fire in 2021, photo by Tom Murphy

Saturday | 10.15
What: Church Fire album release w/Xadie James Orchestra, Dragon Drop and Sell Farm
When: 8
Where: Hi-Dive
Why: Wildly energetic and intense industrial dance trio Church Fire is celebrating the release of its album puppy god on Witch Cat Records with this show sharing the stage with like-minded weirdos and comrades in deconstructing popular musical styles and infusing it with a social analysis that is both inspirational and in which its easy to get swept up in the moment. The new album itself is like a science fiction novel in which one imagines a better future in spite of the time of troubles we’re experiencing at this moment. It’s an embrace of a perhaps foolish hope that the collective us can endure the onslaught of authoritarian politics and culture and outlast its momentum.

Metric, photos by Justin Broadbent

Saturday | 10.15
What: Metric w/Secret Machines
When: 7
Where: Fillmore Auditorium
Why: Keeping your band going for twenty-four years is challenging enough but even more so is to sustain a band with some artistic ambition and inventiveness across a similar period but that’s what is obvious from Metric’s 2022 album Formentera. The dream-like atmospherics and lush soulfulness of the music is still there. But this time around, perhaps more so than on previous albums, Metric takes aim at some of the serious issues that are coming crashing into human civilization that are impacting us all in a direct and personal way. The band is calling this tour the “Doomscroller Tour” after the first song on the album and how the very common habit of scrolling through social media and the news and being confronted with the horror, oppression, violence, despair, deprivation, disaster and much more that has come to be considered the norm and a generalized dissociation seems like a feature of modern life as a coping mechanism that can be psychologically paralyzing when it becomes a generalized state of mind. The album in its grand vistas of beauty and menace aims to disrupt that process with some choice commentary and music that inspires movement and challenges complacency in listeners as well as in the creation of the songs that seem to mark a new era for the long-running band.

Meet Me @ The Altar, photo by Lindsey Byrnes

Saturday | 10.15
What: Meet Me @ The Altar w/MUNA at Boulder Theater
When: 7
Where: Boulder Theater
Why: Synth pop trio MUNA could have gone a different route since two of the three members are guitarists but having met in college at the University of South California they decided on taking a different route. And the result is an electronic pop sound with great momentum in its rhythms and vocal harmonies that soulful and vital. Opening act Meet Me @ The Altar is a pop-punk group from Florida that is really combining musical styles in an exuberant mix that takes that emotionally expansive and open and self-affirming spirit of pop-punk and blends it with joyful pop production for a sound that is genuinely exciting and uplifting. Earlier in the year the group released an acoustic version of its 2021 EP Model Citizen.

Taleen Kali, photo by Scarlett Miranda

Sunday | 10.16
What: Taleen Kali w/Tuff Bluff, Galleries and Princess Dewclaw
When: 7
Where: Hi-Dive
Why: Taleen Kali spent the early part of the 2010s in the experimental, exuberant garage/shoegaze outfit TÜLIPS. But for the past few years with the project under her own name, Kali has been establishing her own sound that draws on some of those early influences but might be considered in the realm of post-punk, raw psychedelic rock and dream pop in a vital fusion of elements. Her forthcoming album Flower of Life is an emotional and musical journey from a fiery and direct energy to something more contemplative and tranquil. This tour may feature a good deal of that material before you can hear it in full in early 2023 and the group has a certain forceful and charismatic quality that makes the music hit harder than one might expect. Also on the bill is s Sarah Fischer’s latest project Tuff Bluff and noisy and political post-punk group Princess Dewclaw.

Molly Nilsson, photo by Graw Böckler

Sunday | 10.16
What: Molly Nilsson w/Water on the Thirsty Ground and French Kettle Station
When: 8
Where: Glob
Why: Molly Nilsson is a Swedish born electronic pop artist now based in Berlin. Since 2007 she has been creating a rich body of work including ten albums starting with These Things Take Time (2008) which yielded her first widely recognized single “Hey Moon” and covered by experimental electronic artist John Maus on his 2011 album We Must Become the Pitiless Censors of Ourselves. The introspective sounds and luminous melodies with measured yet accented beats of Nilsson’s early work and her poetically illustrative lyrics brought to the songs a mystique that has endured throughout the songwriter’s career. Her embrace of a lo-fi aesthetic and organic noise in her songs also gives the music a sense of immediacy and intimacy that other artists at her level of accomplishment, development and influence might have chosen to edit out in pursuit of a kind of fictional purity. This core humanity to Nilsson’s work is one of its perhaps often unspoken appeal and it helps to ground some of the heady concepts she infuses into her lyrics. There is a political element in much of her music that explores concepts of power, our notions of identity and the foundation of what we aspire to achieve and do with our lives and how that is so often driven by the prevailing economic system controlled by the interests of elites until we learn to disentangle our dreams and psychology generally from the ongoing process of commodifying every aspect of our lives. This examination always seems to be carried out in a compassionate and imaginative way and never comes across in didactic fashion. Her 2022 album Extreme brings together Nilsson’s various impulses and instincts as a uniquely creative musician who imbues accessible pop songs with rich conceptual content that most directly yet not explicitly explores the place and role of power in the world and how it manifests in society and in our own consciousness and how we can challenge the less savory aspects of it in the world and in our own hearts. It’s a thematically deep record that works on the level of a poignant social critique and as pure pop songcraft. It is yet another chapter in Nilsson’s ever-evolving artistic journey and one worth taking in from beginning to end. This marks her first performance in Colorado.

The Wrecks, photo by Shervin Lainez

Saturday and Sunday | 10.15 and 10.16
What: The Wrecks w/CARR
When: 7 both nights
Where: The Black Sheep (10.15) and Fox Theatre (10.16)
Why: The Wrecks are a pop band from Los Angeles, California that formed in 2015 when Nick Anderson and Aaron Kelley put their pop-punk band Coastbound on hiatus in favor of a more straight ahead pop project they would call The Wrecks. Though technically more of an alternative rock band the pop sensibility of what The Wrecks have put into the world across its two albums including the 2022 offering Sonder is undeniable even though one is reminded of the better end of late 90s alternative rock with some taking of those threads further and genre bending in the modern mode of blurring genre lines to keep the sound from getting stale and aging better rather than getting pigeonholed to a particular era of music.

King Princess, photo by Collier Schorr

Monday | 10.17
What: King Princess w/Em Beihold https://www.missionballroom.com/event/428147-mission-ballroom-denver-tickets
When: 7
Where: Mission Ballroom
Why: For her sophomore album Hold On Baby, King Princess (aka Mikaela Straus) dispenses with the pretense of pretending everything is okay or going to be okay as one often hears in pop music. She also leaned into an eclectic and instrumentally rich songwriting and recording process that somehow also didn’t hamper how raw the record feels because it is artfully truthful about the struggle of dealing with the world as we have it and if you’re a touring musician that depends on live music and the industry for your livelihood the past three years and really much longer have been challenging as evidenced by Santigold’s recent statement on why she canceled her upcoming tour. Santigold, a very established and respected artist. Straus captures that moment in multiple ways on the new record and the fact that the late, great Taylor Hawkins played on the pointed social critique of “Let Us Die” is particularly poignant. Seems that song might be hard to play live but it’s such a powerful song hopefully Straus doesn’t skimp on it for this tour.

Wednesday | 10.19
What: L7 – Bricks Are Heavy 30th Anniversary tour w/FEA
When: 7
Where: Summit Music Hall
Why: L7 benefited from the alternative rock explosion of the early 90s without really sounding much like any of the more popular styles. Its mix of metal and punk with a irreverent sense of humor and ferocious energy paired with sensitive takes on subjects that might not be obvious from the band’s image as hard rocking hellions but a deep dive into its catalog reveals some choice moments of poignant character portraits and social commentary against war, sexism, abuse and psychological turmoil. Its 1992 album Bricks Are Heavy catapulted the band briefly into mainstream radio and certainly stations catering to the alternative music format at a key time when the music industry was in disarray in trying to keep up with the flood of music rock and otherwise becoming popular beyond what was already calculated to perform well in a commercial sense. Bricks Are Heavy yielded at least two stone classics of the alternative era with “Shitlist” and “Pretend We’re Dead” but you’ll get to see probably the whole album live for this show.

Brujeria in October 2016, photo by Tom Murphy

Wednesday | 10.19
What: Napalm Death w/Brujeria and Clusterfux
When: 6
Where: Bluebird Theater
Why: Napalm Death is one of the foundational bands of grindcore but its music imbued with always on point political and socially critical content. It also has to be admitted that Napalm Death doesn’t just have brutal, noisy music, it’s catchy and isn’t short on hooks and melody for one of the bands who has a reputation for pointed and electrifyingly challenging music. Brujeria is also a sort of death metal and grindcore band that has a wicked sense of humor and political commentary couched in the character of some kind of revolutionary drug gang writing songs in Spanish about illicit substances, Satanism, the occult and populist politics aimed at authoritarian impulses. Clusterfux is one of the absolute classic Denver skate punk and hardcore bands still in operation since 1995 and still putting on a spirited live show.

Pink Lady Monster in July 2022, photo by Tom Murphy

Thursday | 10.20
What: Antibroth w/Supreme Joy, Pink Lady Monster and Endless Nameless
When: 7
Where: Lost Lake
Why: Sometimes an all local bill can be a bunch of the same thing or not all excellent bands but fortunately that’s not the case for this show. Endless Nameless blurs the line completely between math rock, emo and death metal in an impressive display of musical chops with an equally impressive emotional range. Supreme Joy’s lo-fi psychedelic garage inflected post-punk sounds like something that had to have come out in Los Angeles’ weirdo art punk world of the early 80s but having landed in the 2020s absorbing the influence of decades of experimental pop. To say its music is reminiscent of Savage Republic gone psychedelic pop Americana or The Feelies having done the same might be a bit much but it gives you a sense of what you’re in for. Pink Lady Monster appears to have skipped trendy sounds of the past decade and crafted a deeply imaginative style of music that is rooted in more left field rock but comes off like an indie pop version of Broadcast and thoroughly entrancing because of that. Antibroth is definitely in the broad galaxy of post-punk but freely associating ideas from No Wave, math rock and noise rock into the mix. Like they grew up listening to a lot of Protomartyr, Pere Ubu, Palm, Lithics and the Contortions but decided to make their own mutant version of the kinds of sounds that leaked into their brain in a society in which we’re constantly bombarded by content and doing something different was one way to be free.

Saturday | 10.22
What: Juliet Mission w/Plague Garden, SORROWS and DJ Katastrophy
When: 9
Where: Broadway Roxy
Why: Juliet Mission are still a bit of a secret great modern shoegaze band and out of Denver including current and former members of jazz-inflected dream pop rock band Sympathy F. This might be the first show for SORROWS, a downtempo duo with beautifully orchestrated soundscapes and deeply emotionally expressive songs that seem like a cathartic expression of just what the name of the band suggests without wallowing overlong in the dark end of that as the music is ultimately about embracing the broad spectrum of experiences life presents us. Plague Garden bridge the gap between death rock inflected post-punk and synth infused New Wave and full disclosure the author of this piece plays second guitar in the group.

Spacey Jane, photo by Sam Hendel

Saturday | 10.22
What: Spacey Jane
When: 8
Where: Gothic Theatre
Why: Spacey Jane’s 2022 sophomore album Here Comes Everybody is like the catharsis of the depression, anxiety and uncertainty everyone with any level of sensitivity has undergone in the last few years with of course the pandemic (ongoing) and really for a working musician the way things already felt precarious but were amplified by the various ways the pandemic has affected the ecosystem of the music industry from independent local artists and their own way of operating to even famous, commercially successful artists and definitely artists like Spacey Jane who are in that middle tier of renown where they can play middle sized theaters internationally but touring out of Australia to the rest of the world can be a dicey proposition. Musically its lightly psychedelic pop rock style makes that exploration of life challenges directly relatable even if you’re not a musician. Songs like “Lots of Nothing” are about self-acceptance of your flawed and what you might perceive as incomplete self and “Clean My Car” and “Haircut” point out some basic everyday things we must force ourselves to do to have a scaffold out of the emotionally paralyzing end of depression.

The Jesus and Mary Chain, photo by Steve Gullick

Sunday | 10.23
What: The Jesus and Mary Chain w/Scott Von Ryper
When: 8
Where: Paramount Theatre
Why: Indeed it’s The Jesus and Mary Chain performing in a fancier theater than usual for a Denver show. The legendary band predated and completely informed the sound of shoegaze in the 90s with its mastery of both volume and fragmented melodies that still hit a sweet spot so that it could never be saccharine nor dismissed as discordant. JAMC blurred that line completely with beautiful vocal melodies, emotionally intense yet nuanced songwriting and the ability to deconstruct musical conventions while reassembling them for the modern era in a way that reconciled a pre-classic rock 1960s pop era with the sonic possibilities open to a band from the 1980s willing to not follow prevailing trends to forge a vital sound often imitated, rarely if ever equaled. There is no A Place to Bury Strangers, no My Bloody Valentine, no modern dream pop and noise rock really without the root inspiration of The Jesus and Mary Chain.

Spelling, photo by Erik Bender

Sunday | 10.23
What: Spelling w/Ramahkhandra and BODY
When: 7
Where: Bluebird Theater
Why: In a 2021 interview in Under the Radar by Jordan J. Michael, Christia “Tia” Cabral who performs as Spelling cited her favorite albums were by artists as disparate as Minnie Ripperton, Kraftwerk and Iggy Pop. That tells you a lot about the kind of music and show you’re in for if you decide to come out to this show in support of her 2021 album The Turning Wheel. It’s baroque pop with an art rock underpinning. Opening is experimental pop/performance art band BODY from Denver and the eclectic psychedelic world music inflected jazz of Denver underground greats Ramakhandra.

Sunday | 10.23
What: EXTC featuring Terry Chambers of XTC https://www.eventbrite.com/e/extc-tickets-403543699067
When: 7
Where: Soiled Dove Underground
Why: Terry Chambers was the drummer for the legendary pop/post-punk band XTC from 1972 until it stopped touring and playing live shows in 1982 though his work appeared on the 1983 XTC record Mummer. Afterward he ended up living in Australia for many years where he did session work behind the drum kit before returning to the UK and recorded an album called Great Aspirations (2017) with ex-XTC member Colin Moulding and another bandmate Steve Tilling under the project moniker TC&I. Shortly after Chambers and Tilling formed EXTC which performs classic songs by Chambers’ old band from the period in which he was an active participant. This is a rare opportunity to get to see any of this music live by one of the people who made it happen.

Monday | 10.24
What: The Chills w/Unwed Sailor
When: 7
Where: Marquis Theater
Why: The Chills are touring in support of the thirtieth anniversary of its album Soft Bomb. But regardless of the occasion it’s The Chills, the legendary New Zealand pop band whose songwriting helped to define the “Dunedin sound” branch of New Zealand rock music with jangle guitar sounds that one has to assume helped to inform what became C86 and thus indiepop as we know it. New Zealand bands rarely come through Denver much less a foundational group like The Chills whose leader Martin Phillipps has made such a deep impact on popular music his influence would make an interesting book or documentary.

Mr. Pacman in August 2022, photo by Tom Murphy

Monday | 10.24
What: Bit Brigade w/Mr. Pacman and Adam Newman
When: 8
Where: Hi-Dive
Why: Bit Brigade performs on somewhat standard instrumentation very legit renditions of the music from various 8 and 16-bit video games. So who from Denver makes sense to open the show but Mr. Pacman whose own musical connection to video games is not so obvious except for the name and how its members dress up as characters from a long lost super hero team cartoon themed after Pacman but the music is like a fusion of punk, performance art and synth pop in a way that is intense and mysterious and always entertaining.

Dayglow, photo by Dana Trippe

Tuesday | 10/25
What: Dayglow w/Ritt Momney
When: 7
Where: Ogden Theatre
Why: Sloan Struble of Dayglow got his start recording and producing music at eleven years old with Garageband. While still a teen he had a project called Kindred that released one self-titled album in 2016 and in that music you hear his knack for crafting electronic pop with a sense of vulnerability and self-awareness. A lot of bedroom pop is fairly lacking in production chops but even that Kindred record though fairly minimal and lo-fi demonstrates a clear working within the limitations of available resources to make something that is clearly more ambitious. So when Struble began his next project called Dayglow by the time of his second release Harmony House (2021) there is of course the creative growth but also much more development in how the music is recorded. All of that evolution as an artist can be heard and pushed further in terms of songwriting and sound palette on the 2022 album People In Motion. The blend of R&B, psychedelic pop and indie rock on the album sounds like the modern equivalent of yacht rock but with a much more expansive array of sounds and an accessible immediacy. It may sound like the opposite of a focus on the conflicted energy and tragedy of the current period in human history but having a respite from that heaviness and intensity is what you need at least once in a while and Dayglow offers that aplenty for the duration of a show or an album.

Priest, photo courtesy the artists

Tuesday | 10.25
What: Minuit Machine and Priest
When: 7
Where: HQ
Why: Minuit Machine is an industrial darkwave duo based in Paris, France. Its particular brand of brooding dance music is a modern take on EBM with soulful vocals that wouldn’t have sounded out of place in the 90s era of downtempo and trip-hop or on a The Crystal Method record. Priest includes former members of the Swedish heavy metal band Ghost but this project is not some campy prog metal. But the sense of theatrical presentation of the music is very much there including costumes. And the music is infused with a futuristic aesthetic akin to Nitzer Ebb if that band made industrial disco for cyborgs. Its 2022 sophomore album Body Machine fuses beautiful synth melodies with hard edged, almost martial rhythms like the equivalent of Kraftwerk having emerged in the world of The Terminator and operating in secret underground dance clubs for the discerning cyborg.

Peel Dream Magazine, photo by Samira Winter

Wednesday | 10.26
What: Peel Dream Magazine w/Calamity and Duck Turnstone
When: 7
Where: The Skylark Lounge Bobcat Room
Why: Joseph Stevens has released three fine full length albums over the past few years under the moniker of Peel Dream Magazine including the 2022 record Pad. The 2018 debut album Modern Meta Physic presented a sound that had obvious musical touchstones in My Bloody Valentine, Velvet Underground and Stereolab as well as their own sources of inspiration. The hypnotic drones and fuzzy melodies over steady beats an obvious ear for crafting textural aesthetics that helped to shape the structures in the music. 2020’s Agitprop Alterna cemented Stevens’ reputation as a songwriter and artist who could combine heady atmospherics and widely dynamic music with poetic and insightful personal and cultural commentary. With Pad Stevens broke his own mold by swapping in a different sound palette including banjo, chimes, vibraphone and more extensive use of keyboards to create a softer sound that is more reminiscent of Harry Nilsson’s early 70s psychedelic pop albums and like those records there is a creative concept that runs through the album which is a journey in which Stevens is ejected from his own band, which is in most ways a solo project, and undertakes a journey to find a way back in. Though the soothingly dreamlike melodies and free weaving in elements of Bossa Nova and ambient folk gives the album an immediately palatable quality it is about the disconnect and anxieties that have careened into the general culture while taking a chance in finding ways to make connections again and to process the anxiety and trauma in a way that lands us in a better place. It reflects Stevens’ own journey from being a bit of a New York-based outsider to a member of the Los Angeles creative community. The album is worth a deep dive and allow its retro-futuristic sounds and style to sink into your brain with its therapeutic frequencies.

Eliza & The Delusionals, photo by Luke Henery

Wednesday | 10.26
What: Eliza & The Delusionals w/BODY
When: 6:30
Where: Lost Lake
Why: Australian pop band Eliza & The Delusionals release its debut full length album Now And Then in May 2022. The album came along as many have in the wake of the recent and ongoing global pandemic. The songwriting had begun in various stages of development prior to the pandemic and some prior to the group having embarked on the first leg of a big tour of North America in January and February 2020 with The Silversun Pickups. But the period of lockdown and then the prolonged time of not being able to tour with anything resembling reliability left the band with time to hone the songs and create an album that is brimming with a sense of nostalgia and reconnecting with a time in life and a time period in the early 2000s when perhaps if you were a kid in Australia or the USA, depending on life circumstances, you had the time and the ability to allow your imagination and your heart to take in experiences that stimulated both. Connecting with that headspace lending your current self the tools to navigate bringing a bit of that mindset into life today. In the fuzzy and chiming guitar work and singer Eliza Klatt’s melodious and exuberant vocals one hears an introspective articulation of a desire to liberate one self from one’s own limitations and of those imposed on you by circumstance. Opening the show is experimental psychedelic pop band BODY from Denver which includes former members of Ned Garthe Explosion but in a band that is fully embraces its chops and songwriting craft as well as its idiosyncratic sensibilities.

Snail Mail in 2022, photo by Tom Murphy

Thursday | 10.27
What: Turnstile w/JPEGMAFIA and Snail Mail
When: 6
Where: Mission Ballroom
Why: This is a very eclectic bill of all bands from Baltimore. Lindsey Jordan as Snail Mail has been writing some of the most heartfelt and vulnerable, even raw and honest pop songs of recent years as heard perhaps most powerfully on her 2021 album Valentine. Jordan takes painful experiences and transforms them into the kind of songwriting that normalizes the struggle and the will to persevere. JPEGMAFIA is one of the most boundary pushing artists operating today whose work can generally be described as hip-hop but in his beats there is a spirit of experimentalism so that it can weave in the elements you might expect but also industrial music and noise. Turnstile manages to blend what might be described as nü metal and hardcore in a way that is incredibly accessible and subverts the tropes of those genres. Sure there’s the electronic component and aesthetic in its beats and angular guitar riffing and vocals that are melodic even in the shouting. But Turnstile delivers it with more imagination and genuine excitement than most bands coming out of those realms of music in many years.

Thursday | 10.27
What: The Chameleons w/Shadows Tranquil and Emerald Siam
When: 7
Where: HQ
Why: The Chameleons are the post-punk band that emerged out of the 1980s with a unique and atmospheric guitar sound that one assumes plugged more directly into the sound of groups like Slowdive and Kitchens of Distinction and other shoegaze bands than other groups of the era. For years a version of the band that included only singer Mark Burgess from the original lineup. But this time out brilliant guitarist Reg Smithies is back in the mix so expect some of those classic Chameleons dreamlike guitar wizardry.

Dubble Trouble in 2022, photo by Tom Murphy

Thursday | 10.27
What: Free Music (Minneapolis), Dubble Trouble (cassette release), Yenan Form (debut performance), Goo Age (Orange Milk Records)
When: 9
Where: Glob
Why: This is going to be the kind of experimental electronic show that is part glitchcore and part that Orange Milk weirdo ambient and New Age strangeness. But it’s also the cassette release of dub and free jazz/glitch/ambient duo Dubble Trouble.

Friday | 10.28
What: Wngdu, Ray Diess, Church Fire and special guest
When: 8
Where: Jester’s Palace
Why: Denver Blood Cult is presenting this Halloween show featuring charismatic industrial dance group Church Fire who recently put out their powerful new album puppy god. Ray Diess will deliver his sincere and thought-provoking synth pop. DJ Wngdu will officiate the music outside the live music sets proper and likely a surprise guest. All at one of the weirdest newer venues in Downtown Denver.

King Bee, photo by Kenzi Everitt

Friday | 10.28
What: King Bee’s METAMORPHOSIS w/The Milk Blossoms (duo) and DJ Camp Love
When: 7
Where: Mercury Café
Why: King Bee is the latest project of Fox Linnea Drickey from high concept art pop band Chimney Choir. This current performance is the fifth installment of a multi-episode semi-autobiographical allegory called “Tugboat vs. Tidal Wave” and involves Greek chorus-style theater, performance art, costumes and DJ dance party afterward. Includes David and Carl from Chimney Choir and Cassidy Bacon from The Whimsy of Things/Ghost Tapes and Ben Weinrich of Dandu/Retrofette. Expect inspired and insightful storytelling and a theatrical performance unlike most things most other bands have to offer. Opening is the duo version of experimental pop band The Milk Blossoms whose music makes a true virtue of vulnerability when channeled through richly imagined songwriting.

Captured! By Robots, photo by Raymond Ahner

Friday | 10.28
What: Captured! By Robots w/Axeslasher and Valiomierda
When: 8
Where: Hi-Dive
Why: Captured! By Robots is a grindcore band unlike any other in that the vocalist is human (JBOT) but the musicians in the band are all robots built by JBOT after other human musicians failed him in putting together a reliable project.

Friday through Sunday | 10.28-10.30
What: Front Range Noise Fest
When: 6 p.m. each day
Where: Glob
Why: This is the closest Denver is going to get to one of the noise and experimental electronic festivals that used to happen in the Mile High City regularly. It would be too much of an undertaking to write a blurb on every artist performing but below are the dates with the artist lineups each date.
Friday Oct 28th @ Glob
Caged Grave
Mumble
Foans
A Light Among Many
Solypsis (AZ)
New Aged Karen
Night Grinder
Granular Breath (IA)
Lore
Saturday Oct 29th @ Glob
Boar (IA)
Compactor (NY)
Demonsleeper (CA)
Fleeting Breath (KY)
Ghost Dance (MI)
Man.Moth (MI)
Scuzz Nun (WA)
Fresh Bait
Maltreatment
Many Blessings
MPW
Sunday Oct 30th @ Glob
Rush Falknor (IL)
Magical Mind (IL)
0rgan
Sounding
Gate Fog
May Leitz
Bunny Showstopper
Staff of Loss
Herpes Hideaway

CO2 Ensemble, photo b Tom Murphy

Saturday | 10.29
What: Scream Screen with Carbon Dioxide Orchestra
When: 5:30 p.m.
Where: Sie Film Center
Why: Carbon Dioxide Ensemble (CO2 Ensemble) is an avant-garde trio from Denver composed of the electronic music composer and the Mile High City’s premier Theremin player Victoria Lundy, her husband and mathematician Thomas Lundy and fellow practitioner of the electronic music arts Mark Mosher whose work in electronic music technology and visual synthesis has been a part of local music and art culture for over a decade. The three met through Mosher’s Rocky Mountain Synth Meet-Up events around 2012 where enthusiasts of that technology and methods for utilizing it in making music would meet up to network and share their passion for synthesizers generally. Shortly into their friendship the Lundys helped to organize an event called Concrete Mixer that has happened a handful of times over the past eight or nine years and a showcase for musique concrète, a type of music composition pioneered by French composer Pierre Schaeffer in the early 1940s with that term coined by Schaeffer in 1948. Those theoretical principles Schaeffer put into practice attracted the interest of composers Pierre Henry, Edgard Varèse, Iannis Xenakis, Karlheinz Stockhausen and others including a popularizer of the art form with one of Schaeffer’s students, Jean-Michel Jarre. The technique of manipulating recorded sound can be heard in looping techniques and the use of samples. CO2 Ensemble hearken back to the earlier method but utilize unconventional sound sources including a large, copper heart that Thomas Lundy rubs with pieces of dry ice to generate frequencies that Mosher processes to enhance and render into different musical forms. Victoria Lundy playing Theremin utilizes one of the oldest electronic music technologies having been patented by Leon Theremin in 1928 with a device that is controlled without physical contact by the performer. Everyone has heard one if they’ve watched any 1950s science fiction film with a spooky soundtrack. Working in tandem the CO2 Ensemble generate highly evocative compositions that suggest textures and primal emotional experiences. Victoria Lundy co-founded what was called the Carbon Dioxide Orchestra in the mid-90s employing similar methods but with less emphasis on the electronic production end and in the 2000s and 2010s she was the Theremin player in experimental pop band The Inactivists who are currently, what else, inactive. The Carbon Dioxide Orchestra concept she revived when Concrete Mixer started up. Mosher was the keyboard player for New Wave cover band Head Full of Zombies based in Colorado Springs from 1989-2003 before branching out into making his own music. The group’s current performance will be the live musical portion of Noche de Terror, a double feature of Rubén Galindo Jr’s Cemetery of Terror (1985) and Don’t Panic (1987) presented by Scream Screen creator and host Theresa Mercado. The trio has a shared affection for B science fiction and horror and cult movies as well as the musical avant-garde and their piece prior to the film screening suits well the Halloween season and the films at hand.

Voight, photo by Tom Murphy

Saturday | 10.29
What: Julian Street Nightmare, The Savage Blush and Voight
When: 8 p.m.
Where: The Skylark Lounge
Why: Julian Street Nightmare is a post-punk band from Denver whose sound draws not just on recent darkwave but surf rock and psychedelia. But its songwriting has developed into its own flavor that has a freshness and intensity colored by a moodiness and energy that lends it an edge of unpredictability. The Savage Blush is a local psychedelic garage rock band. Voight bridges the gap between dark, industrial post-punk and techno with a pointed yet self-effacing sense of humor.

Pinkshift, photo by Leigh Ann Rodgers

Saturday | 10.29
What: Pinkshift w/Jigsaw Youth and Yasmin Nur
When: 8
Where: Lost Lake
Why: Baltimore’s Pinkshift recently released its debut full-length album Love Me Forever. The record sounds like a lifetime of frustration and processing trauma and oppression put into songs that sound like something Sleater-Kinney might have put out had its members come up a couple of decades later and influenced by the riot grrrl bands that existed prior to and in parallel with S-K as well as early 2000s post-hardcore and emo. There is an irresistible emotional vitality and joy of release of pent up feeling on the record and a directly relatable yearning for a life in a world where you can live free of the yoke of a pervasive authoritarian patriarchal culture. Also on the bill is NYC’s Jigsaw Youth who last came through Denver as an opener for art noise metal group SASAMI. It felt like seeing a band that absorbed the irreverent humor and scorching guitar anthemics of L7 and Betty Blowtorch in finding a true fusion of punk and metal that isn’t rooted in crossover or metalcore. Feral and electrifying stuff.

White Rose Motor Oil, photo courtesy the artists

Sunday | 10.30
What: Smokestack Relics w/White Rose Motor Oil
When: 1 p.m.
Where: Wax Trax
Why: Smokestack Relics are a bluesy Americana duo whose vagabond honky tonk aesthetic that seems obviously influenced by Tom Waits, likely a bit of Hasil Adkins is in there and Scott H. Biram. But the presentation is so eccentric and energetic its definitely not mere imitation. White Rose Motor Oil somehow makes a kind of Americana that isn’t tied to any particular strain of the Colorado variety and for that alone always worth a lisen. But its shows have a warm energy and its music is more akin to country punk-esque bands like Lone Justice and The Beat Farmers. Its beautifully atmospheric 2021 album Oh Lucretia was recently re-released and on cassette.

Vision Video, photo by Scarlet Lewis

Monday | 10.31
What: Vision Video w/Radio Scarlet, Redwing Blackbird and Witchhands
When: 8
Where: HQ
Why: Vision Video is a post-punk band based out of Athens, Georgia whose self-styled Goth pop is infused with gorgeous melodic hooks and emotionally raw and honest lyrics. Visually the band looks like what you might imagine a Goth band from a movie might look like with the appropriate make-up and sartorial flair. But there is something darker and different yet also welcoming about that appearance and in performance, reflecting the ethos of the members of Video Vision who recognize the band and fan dynamic as being one of community. There is disarming earnestness in the songwriting coupled with a clear sense of humor and self-awareness in how Video Vision conduct themselves as people that signals an approachable quality that doesn’t undermine the serious and meaningful content in what the band is putting into its art. In recent years frontman Dusty Gannon has been releasing videos on the Video Vision TikTok in which he adopts the persona of “Goth Dad” who presents information about the Goth subculture in which he came up as well as real life issues with a sense of humor, affection and sincerity in a way that comes across as wholesome, a quality one doesn’t always associate with Goths. In 2022 Vision Video released its second album Haunted Hours, the much anticipated follow-up to its 2021 debut Inked in Red. Fans of The Cult and The Cure will find much to like about the flavor of both records as will anyone looking for modern post-punk with solid production, urgent dance rhythms and songs that really tell it like it is with the state of the world and the importance of embracing your own humanity and that of those around you even and especially as the world seems to be crumbling.

To Be Continued…

Magali, A Cult Takes Us On an Android’s Pilgrimage to Reconnect With Family Memories on “Auntie Christ”

Magali, A Cult pushes us into an alternate dimension in the future in the song “Auntie Christ.” The frenetic beats and dynamics is like a breakcore mashup of Laurie Anderson, the Butthole Surfers and Atari Teenage Riot. The narrative is from the perspective of a woman who goes on an odd trip with a friend to a place she doesn’t know but where the friend has family memories of traveling to that place. But they meet a man who doesn’t seem to know what’s going on. All of this is told in a nearly deadpan voice with a twinge of the whimsical not unlike the aforementioned Anderson in her United States Live performance recordings while a propulsive and fragmented beat carries on at a frenzied yet precise clip of tones and percussive sounds. When the voice of the friend enters the song it’s a cartoonishly robotic tenor and barely decipherable except you can sometimes hear the wonderful play on words that is the title of the song “Auntie Christ.” It makes one wonder if the friend is actually an android or if the narrator might be? Does it all take place in a strange simulation? Whatever the actual intention the imagery created in the narrative is strangely vivid and dreamlike and now brings to mind the title of that Philip K. Dick novel about androids dreaming of electric sheep except do androids dream of past family associations and go on a pilgrimage to reconnect with those memories the way K did in Blade Runner: 2049 except in this somewhat less bleak fashion? The song offers no pat answers but does provide a wonderfully strange story that has the haunted and otherworldly quality one finds in the more unusual works of Shirley Jackson. Listen to “Auntie Christ” on Spotify and follow Magali, A Cult at the links below.

Magali, A Cult on Instagram

Best Shows in Denver and Beyond May 2022

ADULT., photo courtesy the artists
Dehd, photo by Atiba Jefferson

Monday | 05.02
What: Dehd w/Pixel Grip
When: 7 p.m.
Where: Bluebird Theater
Why: Chicago’s Dehd amalgamated and stripped to their essence strands of surf rock, post-punk and psychedelic garage rock that might have informed the trio’s bands prior to forming this group in around 2015. The result has been a body of work including what tracks have been released for listening of its fourth album Blue Skies (due out May 27 via Fat Possum Recordings) that consistently deconstructs recent trends in indie rock to create something somehow familiar yet decidedly different. Its inventive rhythms seemingly counter to the R&B flavor of some of its songwriting yet works well in spite of fusing styles so otherwise incongruous and as a live band there is a wash of atmospherics and moods that nonetheless comes across as focused and energetic. Sometimes its early records can when listened to in small samples don’t seem to convey this quality of the band but a deep dive on their records seems rewarding for the attentive listener. Pixel Grip is also from Chicago but its mutant blend of industrial disco synth pop would sound like a noise version of commercial pop if not for its eccentric streak in processing sounds and disregard for convention. Like a more accessible Atari Teenage Riot.

Mudhoney, photo by Niffer Calderwood

Tuesday | 05.03
What: Mudhoney w/Cyclo Sonic
When: 7 p.m.
Where: HQ
Why: Mudhoney is arguably the pioneering grunge band that cohered an aesthetic and attitude beyond the earlier explorations of Green River. Its wild dynamics and ramshackle rock and roll is almost like the early Replacements but more rooted in garage rock and punk. Mudhoney is also a charismatic and highly entertaining live band whose music isn’t inherently silly but despite the immense talent of its membership this group doesn’t take itself too seriously. Opening is Cyclo Sonic which includes members of various important Denver punk bands including Choosey Mothers, Rok Tots and of course Matt Bischoff of influential garage punk legends The Fluid who may have been an influence on Mudhoney and countless other bands of that era.

Tuesday | 05.03
What: Interpol w/Matthew Dear
When: 6 p.m.
Where: Mission Ballroom
Why: Most people who haven’t been living under a rock for the last 20 years, unless they’re also too young for it to have mattered, have heard of Interpol. More than most other bands of its time and of the so-called “post-punk revival” in the late 90s and early 2000s its brooding and widely dynamic post-punk reached the widest audience. Its 2002 album Turn On the Bright Lights was probably among the most played record in college dorms, hip bars and indie dance nights of that time outside of The Strokes’ 2001 classic Is This It. Paul Banks’ controlled yet highly emotional vocals jibed so well with Daniel Kessler’s nuanced and expressive guitar atmospherics and Sam Fogarino’s ear for subtle detail in percussion alongside Carlos Dengler’s duskily melodic bass lines. Dengler hasn’t been with the band since 2010 but Interpol continues to make evocative and beautifully moody music including its forthcoming 2022 album The Other Side of Make Believe. Brilliant experimental pop artist Matthew Dear could probably have a headlining tour of his though hard to say it would be at Mission Ballroom but you get to see his scintillating songwriting and performance on the same bill with Interpol so treat yourself and don’t skip the opener this time. It’s been 4 years since the release of Bunny so maybe Dear will treat us to new material.

Moodlighting in April 2022, photo by Tom Murphy

Thursday | 05.05
What: Moodlighting album release w/Mainland Break and Style Animal
When: 8 p.m.
Where: Hi-Dive
Why: Denver dream/twee pop band Moodlighting is released its debut album Boy Wonder at the beginning of April and is now celebrating the occasion on this night. Musically the group sounds like it came out of the more recent bedroom pop aesthetic with strong melodic lines and evocatively vulnerable vocals. The album seems to be an assessment of what it’s been like living your post-college years trying to establish your adult life during a global pandemic on top of the usual struggles and the things that make it all endurable from small joys to creative and personal aspirations that you know won’t manifest now but serve as a beacon to get you through the roughest stretches. Mainland Break is a power pop band with a fuzzy and urgent edge that sounds sometimes like it was influenced by the more psychedelic end of Jay Reatard and of course Ty Segall without being weighted down by the now faded psych garage aesthetic of the 2010s.

Thursday | 05.05
What: Drune w/Only Echoes, New Standards Men and Nightwalker
When: 7 p.m.
Where: Lost Lake
Why: Remember when there was this active organization called the Denver Art Rock Collective that put on shows featuring bands that were either inspired by or by default fit in with bands inspired by experimental rock of the 70s, 80s and 90s? Stuff like New Ancient Astronauts, The Skivies, Action Friend, Mourning Sickness and such? Maybe not. Well these bands would have fit in that milieu nicely. Drune might have had some origins in doom metal but has long since expanded into more progressive, noise and psychedelic territory as it has developed and a more interesting and original group because of it. Only Echoes is a post-metal/post-rock band that includes Austin Minney who has engineered the releases of more underground Denver bands in the DIY scene than most other people you could name as well as Alex Goldsmith who has spent more than his fair share of time in a broad range of music from hard rock band Sharone to the late, great experimental noise pop group Roommates. Only Echos releases its own album Sunsickness at Seventh Circle Music Collective on May 13, 2022 with Endless Nameless, Abandons and Old Soul Dies Young on that bill. But of course one of the current also outstanding and unusual bands out of Denver now is the art rock/prog/post-rock/space jazz group New Standards Men.

BleakHeart November 2021, photo by Tom Murphy

Friday | 05.06
What: BleakHeart tour kickoff w/Matriarch and No Gossip In Braille
When: 8 p.m.
Where: Hi-Dive
Why: Denver shoegaze/darkwave metal band BleakHeart is ready to go on a tour with Blackwater Holylight and marking that occasion with a hometown show with the colossal, doom-drone soundscapes of Matriarch and the elegantly haunted post-punk of No Gossip In Braille.

Friday | 05.06
What: The Cult w/King Woman and DES ROCS
When: 7 p.m.
Where: Mission Ballroom
Why: The Cult were pioneers of post-punk and death rock in an earlier incarnation but by the late 80s were making the kind of bombastic yet moody hard rock that strode the line between heavy metal, alternative rock and the music of its early days. With charismatic frontman Ian Astbury and the surprisingly consistently inventive guitarist Billy Duffy, The Cult remain a forceful live band worth your time to witness. But then there’s also the dark and dramatic metal/folk/psychedelic stylings of King Woman whose 2021 album Celestial Blues was one of the best albums of that year placing her in company with great songwriters who don’t feel the need to fit into a narrow genre yet embraced by fans of experimental music, metal and folk like Emma Ruth Rundle and Marissa Nadler.

Friday and Sunday | 05.06, 05.07 and 05.08
What: Henry Rollins
When: 7 p.m.
Where: Aggie Theatre on 05.06, Stargazers Theatre on 05.07 and Boulder Theater on 05.08
Why: Henry Rollins is of course the legendary frontman of the final incarnation of Black Flag in the 80s. And he had his own group Rollins Band from the 80s through the 2000s. But for much of that time Rollins was writing intense poems and observations about life and tales from the road that he published in various books across a prolific career as a writer and parallel to that he also did spoken word shows and arguably it is that work that is his greatest legacy as a cultural figure with insightful commentary on what it means to be a human trying to navigate an often perilous social and political landscape and try to pursue a life exploring what interests you and bring it back to inform and hopefully entertain others. His spoken word shows have always been highly entertaining and he’s usually very generous with his time. The most recent tour found Rollins sharing photographs from his extensive travels in parts of the world most of us will never go as a way to hopefully expand the perspective of people who show up. This time around who can say other than it will be well worth the time and resources invested in making it to the gig. You have three chances in Colorado over this particular weekend.

Dorothy, photo by Courtney Dellafiora

Sunday | 05.08
What: Dorothy w/Joyous Wolf and Classless Act
When: 6 p.m.
Where: Summit Music Hall
Why: Dorothy is a hard blues rock band fronted by the charismatic Dorothy Martin. A lot of bands have been tapping into classic rock and the blues in recent years with mixed and often cringeworthy, laughable results. But there’s some genuine gusto behind what Dororthy brings to the music. Could be an unusual comparison to make but imagine some 80s glam metal band with better songwriting minus the questionable lyrical content but with the bombast and larger than life energy that those bands aimed to put across and you get some of the vibe of Dorothy.

Sunday and Monday | 05.08 and 05.09
What: The Church
When: 6:30 p.m. (05.08) and 7 p.m. (05.09)
Where: Washington’s (05.08) and Fox Theatre (05.09)
Why: The Church may still mostly be known for their 1988 hit “Under the Milky Way” by most people who only pay attention to a band’s Top 40 charting. But The Church has been releasing extraordinary records consistently from its 1981 debut Of Skins and Heart through its most recent record Man Woman Life Death Infinity (2017) and the forthcoming, tentatively titled, In the Wake of the Zeitgeist is likely to not be short of thoughtful, emotionally stirring material as well. And as a live band The Church has a mystique about them that is also relatable like you want to be a part of it and they make you a part of the experience. Their music is hard to pin down for genre but the psychedelic rock is there, the post-punk, the folk roots and one has to assume most shoegaze bands since the 80s has had more than a brush of influence by The Church. Two Colorado shows this tour and maybe you’ll get to hear some of the new material before it finds official release.

Monday | 05.09
What: Fontaines D.C.
When: 7 p.m.
Where: Ogden Theatre
Why: Fontaines D.C. from Dublin has garnered an international cult following since the 2019 release of its debut album Dogrel. A couple of the members of the band met at college and bonded over a shared love of poetry and inspired in part by both the Beats and classice modern Irish poets like James Joyce and Yeats. And that sensibility can be heard in its narrative songs depicting the way the slow moving wrecking ball of late capitalism is crushing the life out of life for most people and their communities. Yet the music isn’t a bummer, just honest and unpretentious. Its fiery live performances early have evolved into something more nuanced and intense without losing that power and emotional resonance.

Monday | 05.09
What: Christian Death w/Luna 13 and Plague Garden
When: 7:30 p.m.
Where: The Oriental Theater
Why: Christian Death was the foundational band of the death rock side of early eighties post-punk and its 1981 debut album Only Theatre of Pain a classic of the genre. Valor Kand wasn’t part of the band at that time but for the group’s 1984 follow up Catastrophe Ballet Kand was the band’s guitarist and only constant member since 1983 including beyond band founder Rozz Williams departing and then doing his other projects and establishing a different version of Christian Death before his death in 1998. Under Kand’s leadership the group has explored a variety of styles and in recent years the sound has been more like a fusion of metallic blues punk and deathrock including its 2022 album Evil Becomes Rule. Luna 13 is sort of a blackened industrial metal band from Los Angeles. Plague Garden is a post-punk group from Denver that in the interests of transparency the author of this piece writes but figures people are really coming out to this show to see Christian Death.

Slow Crush, photo by Kat De Laet

Tuesday | 05.10
What: Slow Crush w/SOM
When: 7 p.m.
Where: Hi-Dive
Why: SOM’s new album The Shape of Everything (2022) picks up where its previous releases have drifted with a colossal yet deeply melodic sound. Like a slow moving fusion of a classic shoegaze group and a doom band. Post-metal and post-rock doesn’t quite cover it because it has hooks like you’d expect out of one of the better emo and post-hardcore bands of the early 2000s except translated to something with exquisite and epic soundscaping. Fitting that SOM is sharing this bill with Slow Crush from Belgium whose 2021 album Hush is a flood of luminous sounds and grainy textures like SubRosa gone full shoegaze or Tamaryn collaborating with members of Kylesa. Clearly the transcendental metal/shoegaze crossover show of the month and likely the whole year.

Moon Pussy, photo by Tom Murphy

Tuesday | 05.10
What: Metz w/Moon Pussy
When: 7 p.m.
Where: Bluebird Theater
Why: Canadian post-punk/noise rock trio Metz has been evolving its beautifully discordant sound since 2008. But its 2020 album Atlas Vending though a bit of a grower showcases the band at its most dynamic, frantic and raw yet fully realized. And in many ways its most overtly political in a general rather than topical sense. Obviously Metz wasn’t able to tour in support of the record so this is your chance to catch the wiry power of the group showcasing its recent work. Opening the show is probably the perfect Denver band for the slot in Moon Pussy. The sheer eruption of sounds and nearly unhinged musical dynamics and scorching yet angular sonic assault always seems like something that could go off the rails at any moment but never does. Fans of Touch and Go noise rock weirdness or that of Amphetamine Reptile should definitely make the effort to see Moon Pussy but your appetite for that kind of sonic savagery will get filled aplenty by this show.

MXMTOON, photo by Lissyelle Laricchia

Tuesday | 05.10
What: MXMTOON w/Chloe Moriondo
When: 7 p.m.
Where: Gothic Theatre
Why: MXMTOON garnered a cult following as a bedroom pop YouTuber but her songwriting chops were clear from early on and her thoughtful lyrics expressing the yearnings of a young, sensitive person examining her own insecurities and the intricacies of her own psychology and observations on life resonate much more broadly than one might expect. Employing mostly a ukulele and her own resonant voice, MXMTOON’s performances are confident yet introspective and imbued with a fresh and spontaneous energy. Her sophomore album Rising is due on May 20, 2022.

Wednesday and Thursday | 05.11 and 05.12
What: Nox Novacula (w/WitchHands and Plague Garden on 05.11 and w/Radio Scarlet and Witch Hands on 05.12)
When: 8 p.m.
Where: Fritzy’s (05.11) and HQ (05.12)
Why: Seattle’s Nox Novacula is a brash and energetic post-punk band whose fast-paced songs are more akin to a classic deathrock group with widely dynamic, propulsive rhythms and passionate vocals. Its 2021 album Ascension is a combination of grit and fire with vividly macabre and inspired lyrics that are dark and dramatic yet never cartoonish.

Thursday | 05.12
What: Front Line Assembly w/Rein, Choke Chain, DJs Paul and Eli
When: 7 p.m.
Where: The Oriental Theater
Why: Bill Leeb the vocalist of Front Line Assembly got his start as a member of an early incarnation of Skinny Puppy but by the late 80s he had branched off with his own with long time bandmate and collaborator Rhys Fulber called Front Line Assembly in 1986. A pioneering band of the EBM movement and then electro-industrial, Front Line Assembly built on the political consciousness of the music with its often dystopian depictions of the effects of commercialized technology and industry on human lives and civilization. But even if you weren’t into that content as much its soundscapes and mix of menacing sounds and hard, danceable rhythms has been a consistent feature of its music from the beginning up to and including its 2021 album Mechanical Soul. Swedish electro-industrial pop artist Rein is also on the bill with her soulful vocals and well-orchestrated synths and textures. Choke Chain’s distorted, ominous songs are reminiscent of early Nitzer Ebb and his 2021 EP Invoking Shadows has an uncommon edge even for the genre with Mark Trueman sounding a little like William Faith at his most unhinged.

Friday | 05.13
What: William Basinksi w/Tripp Nasty
When: 8 p.m.
Where: Hi-Dive
Why: Outside of Terry Riley, Philip Glass, Steve Reich and a few others, William Basinski is likely the most famous avant-garde composer in America and certainly one whose work has been most celebrated in recent years including his now classic 2001 electronic masterpiece The Disintegration Loops. His career has been greatly varied and includes work in modern classical and ambient music and styles that are unique to him though informed by process music and tape collage. He rarely comes to Colorado and not often playing a small club. Opening is Tripp Nasty who is no stranger to classical avant-garde, noise, experimental pop music, noise rock and analog synthesizer composition. You never quite know what to expect from Tripp except that it’ll be interesting and of quality.

Fozzy, photo by Adrienne Beacco

Friday | 05.13
What: Fozzy w/GFM and Krash Karma
When: 6 p.m.
Where: The Oriental Theater
Why: Fozzy is the hard rock/melodic metal band fronted by Chris Jericho. The latter most probably know from his professional wrestling career throughout the 90s and on into the 2010s and his outsized persona like he was auditioning to be the lead singer of a rock band. The early Fozzy records were mainly covers albeit pretty solid as far as that goes but more recent offerings reveal the group’s knack for anthemic hard rock as evidenced on its 2022 album Boombox. The single “I Still Burn” has all the aggression and bombast you’d want from a band like this but its lyrics are also introspective and vulnerable and lacking in the bravado that helped make Jericho a celebrity and yet that’s why it’s definitely a cut above a lot of other hard rock that might get compared to 80s glam metal which this is not yet has a similar appeal I its uplifting dynamics and willingness to indulge a tasty and tasteful guitar solo.

ADULT. circa 2018, photo by Tom Murphy

Saturday | 05.14
What: ADULT. w/Kontravoid and Spike Hellis
When: 8 p.m.
Where: Hi-Dive
Why: ADULT. is an electronic duo from Detroit that has been evolving its blend of dark techno, noise and post-punk since forming in 1998. Early releases displayed the project’s affinity for early techno and around the time of its 2007 fourth album Why Bother? you could hear the experiments in production and soundscapes with beats that yielded fascinating results on the 2005 album Gimme Trouble turn into almost set pieces in an album with an almost cinematic aesthetic, like dynamic visual design translated directly into sound design and songwriting. Since then ADULT.’s releases have been more overtly political and commenting on aspects of culture and society that have been corrosive to human culture and civilization in an accelerating way that has also more or less made cataclysmic climate disaster in our lifetimes a foregone conclusion. Since signing with Dais, the hip experimental music imprint, ADULT.’s output has seemed even more intentional and focused in its critique starting with 2018’s This Behavior, to the 2020 album Perception is/as/of Deception and now to the 2022 album Becoming Undone. Nicola Kuperus and and Adam Lee Miller both have a background in the visual arts and punk and both come through in striking visuals for the album covers (mostly if not entirely designed by Kuperus) and promotional material as well as the composition of the music and certainly in the band’s confrontational live performances. With the current underground popularity of what is called darkwave ADULT. seems to have enjoyed a bit of a renaissance after spending more than a decade pioneering some of the modern style of the more electronic wing of that loose movement while also showing what the music can do when there is a unity of aesthetic vision brought to bear with strong concepts and creative commentary on important issues of the day and personal impact of things like the commodification of all areas of life, misogyny, environmental destruction, societal complacency in the face of rising fascism in what were once some of the most democratic nations on Earth. Though the music is accessible it is also challenging and the opposite of dissociation in a time of global crises. In this interview we discuss the band’s early days and its development, its visual elements and the ways in which the new record has delved in novel sonic areas for the project in line with what the title would suggest as the world as we know it seems to be coming apart or certain in a state of perilous flux. Listen to our interview with Adam Lee Miller on Bandcamp.

Orchestral Manoeuvres in the Dark at Bluebird Theater, March 2011, photo by Tom Murphy

Sunday | 05.15
What: OMD w/In The Valley Below
When: 7 p.m.
Where: Paramount Theatre
Why: Orchestral Manoeuvres in the Dark were early pioneers of synth pop in the 1970s and turning the style of music into a mainstream phenomenon throughout the 1980s. Turned off by what today might be called toxic masculinity of too much guitar driven rock in the 70s, singer and bassist Andy McCluskey and keyboardist/vocalist Paul Humphries arrived at their own style of music inspire by Kraftwerk as solidified by their having witnessed the foundational electronic band live (McCluskey has the seat number memorized and mentions it now and then in various interviews, such was the enduring impact). The electronic post-punk of OMD quickly caught attention early on and their 1979 debut single “Electricty” was was released on Factory Records, the imprint started by Tony Wilson to release Joy Division’s records. Following a tour with Gary Numan OMD’s self-titled debut failed to chart commercially but the group had built their own studio and had a place to refine recording and composition. And with the release of their second album Organisation (1980) and the hit, anti-war single “Enola Gay” (named after one of the airplanes that dropped the atom bomb on Hiroshima on August 6, 1945 to great horror and bringing to a swifter end World War II though at what cost, thus the point of the song), OMD garnered international popularity. Through ups and downs of popularity including the lack of love for its arguably most experimental and interesting album Dazzle Ships (1983), OMD persevered until splitting in 1989. But By 2006 interest in synth pop was starting to become more pronounced than it had in decades and OMD re-convened as chillwave, vaporwave and related musical forms gained popularity in the indie music world and then well into mainstream music. Don’t go OMD expecting to see a sedate band performing some of the most gorgeous, most heartfelt electronic-driven pop of all time. OMD plays it like they’re a punk band but with grace and humor.

Sunday | 05.15
What: Cut Copy w/Suzanne Kraft
When: 7 p.m.
Where: Ogden Theatre
Why: Unfortunately Australian band Cut Copy is playing opposite a clear influence in OMD not far from the Paramount at The Ogden. The quartet has made finely sculpted pop songs informed by not just synth pop but modern dance music and shoegaze soundscaping and guitar work since 2001 with a string of albums that seem to have pushed the band into new territory even if in what can sometimes come across as subtle ways but all are beyond a surface level massively different. Freeze, Melt, the 2020 and most recent record, hit a tonal yet highly evocative plateau that sounded like an attempt to reach a place of emotional tranquility and put that across in a set of songs for a time of great turmoil. Also, a consistently surprisingly passionate live band in spite of its ethereal melodies.

Sunday | 05.15
What: Eve 6:The Extreme Wealth Tour w/Field Medic and Jake Flores
When: 6:30 p.m.
Where: The Oriental Theater
Why: Eve 6 had a bunch of hit singles in the 90s and did well for itself with songs like “Inside Out” and “Leech.” Nevertheless, Eve 6 was one of those mid-to-late alternative rock acts that weren’t so bad but nothing as exciting and as innovative as what came much earlier in the decade. And yet, nothing cringey which can’t be said about all the later-era alternative music. So probably the show will be good. The band also named itself after the titular character in the “Eve” episode of X-Files (S1E11). But one thing that is indisputable is that singer Max Collins’ Twitter account is one of the most real and amusing things you’ll read from any musician in social media and that must be honored.

Collen Green, photo by Jason MacDonald

Monday | 05.16
What: Juan Wauters w/Colleen Green
When: 7 p.m.
Where: Hi-Dive
Why: Juan Wauters was once a member of psychedelic, indie garage band The Beets who garnered some critical acclaim and popularity during its heyday of the early 2010s. His albums under his own name show a broad spectrum of musical interests. His 2021 album Real Life Situations is reminiscent of Harry Nilsson crossed with Devendra Banhart. Except that Wauters has his own sound wherein he freely goes off the conventional map. Colleen Green made a solid career out of fuzz pop songs across a handful of releases with songs that seemed like a vivid portrait of personal insecurities discussed with a poetic honesty and sardonic humor. Her 2021 album Cool found Green using her songs as a vehicle for shedding outmoded lifestyles and frames of mind that might have seemed critical to one’s identity at an earlier point in life. Her career got going at the height of the indie/surf punk explosion of the 2010s and the influence of pop punk is obvious in Green’s work but her songwriting has always been more interesting than the prevailing trends and her lyrics consistently more sharply observed.

Tuesday | 05.17
What: Nilüfer Yanya w/Tasha and Ada Lea
When: 8:30 doors 9 show
Where: Fox Theatre
Why: Nilüfer Yanya is a UK-based singer-songwriter whose music is a hybrid of various styles and modes somewhere between what some might call indie folk, synth pop, jazz and trip hop. Her subtly expressive vocals alongside lush arrangements and layered textures give her songs a gentle presence with great nuance of emotional resonance. The artist is now touring in support of her 2022 album Painless.

Author & Punisher, photo by Becky DiGiglio

Wednesday | 05.18
What: Author & Punisher w/MVTANT
When: 8 p.m.
Where: Hi-Dive
Why: Tristan Shone has refined his Author & Punisher project from its early days of using his mechanical engineering skills to modify mechanical and electrical devices as controllers for sound generators and other instruments into a sort of industrial noise project. His latest album Krüller (2021) found Shone pulling back from the colossal wall of sound that characterized a good deal of his previous body of work and the melodic side of his songwriting is more obvious and enhanced as is his expert use of space and overlapping rhythms this time used with even more atmospheric effect so that one might get lost in the gorgeous soundscapes rather than be thrillingly overwhelmed by them. But don’t worry, A&P hasn’t lost its visceral edge and sense that you’re seeing a musical project from an actual cyberpunk future and not the second rate, B-movie version.

Thursday | 05.19
What: Testament w/The Black Dahlia Murder, Municipal Waste and Meshiaak
When: 6 p.m.
Where: Summit Music Hall
Why: Testament is one of the second wave of bands to have emerged foundational to Bay Area thrash metal. Its aggressive precision was rooted partly in progressive/technical metal and jazz fusion except Testament utilized those ideas to make imaginative, thoughtful, politically charged music. With Chuck Billy’s commanding bark and Eric Peterson’s and Alex Skolnick’s intricately interweaving guitar work these days buoyed by Steve Di Giorgio’s bass and now Dave Lombardo’s (formerly of Slayer) paradoxically tastefully bombastic drums, Testament remains one of the greats of the genre.

Molchat Doma, photo courtesy Sacred Bones Records

Friday | 05.20
What: Molchat Doma w/Pompeya
When: 7 p.m.
Where: Gothic Theatre
Why: Considering world events it’s fortunate that Belarusian post-punk band Molchat Doma (“Houses Are Silent”) is touring North America at the moment. Formed in Minsk in 2017, the trio’s sound fuses synth pop, New Wave and the sort of post-punk informed by both as perhaps most notably embodied by classic Russian post-punk band Kino. There is a melancholic and resigned tenor to much of the music as though there is a spirit of not wanting to get your hopes up too much only to have them dashed by circumstances beyond your control. Which makes it a solid soundtrack not just for a band living in Belarus and in the sphere of Russia but life under this particularly crushing version of late capitalism where you’re encouraged to grind yourself to death just don’t cause any major trouble for the powerful and wealthy. The group’s latest album Monument (2020) was to have come out the same year the band was to undertake its first tour of North America with a May 2020 date at the Hi-Dive. But the pandemic hit and the band’s cachet grew dramatically beyond the appeal of a few dozen connoisseurs of post-punk in every city of size in America and beyond. The track titles on the new record spell out a bleak present and future and despite the sound of the music it also points to an ability to resist the inevitable despair which is always key in the toughest times. This show is sold out and has been for weeks but you never know. Maybe it’ll get moved to a bigger venue or will should there be a future tour.

Elder Island, photo by Nick Kane

Friday and Saturday | 05.20 and 05.21
What: Elder Island w/JORDANN
When: 8 p.m. (05.20) and 8:30/9 p.m. (05.21)
Where: Bluebird Theater (05/20) and Fox Theatre (05.21)
Why: Elder Island is a trip-hop influenced trio from the home of that downtempo electronic music that emerged in the 90s in Bristol, UK. Starting life as an experimental folk act its members had access to seeing the great electronic artists of their early days and inspired by the power of that music and its ability to stir emotions in ways different from the types of instruments you’d use to make even experimental folk. But fusing the styles completely and arranging the music almost like a trip hop jazz lounge group, Elder Island’s debut album The Omnitone Collection was a set of lush, soulful, deeply atmospheric pop with surprisingly spare arrangements that left a great deal of room for experimenting with dynamics that invited the listener to project their imagination on to the open spaces of the music. The 2021 album Swimming Static was completed on either end of the 2020 (and ongoing) pandemic with work done in between since Elder Island all lived together or nearby. The record reflected the band’s expanding access to analog synthesizers and the ability to freely incorporate those elements into the songwriting resulting in pop songs that have resonance with early analog synth artists like Kraftwerk, Giorgio Moroder and OMD as well as synth pop groups of the 80s and modern practitioners of the art of dramatic tonal and dynamic arrangements like Nation of Language and Perfume Genius.

Kurt Vile, photo by Adam Willacavage

Monday | 05.23
What: Kurt Vile and the Violators
When: 7 p.m.
Where: Ogden Theatre
Why: Kurt Vile has more than proven himself as one of the foremost songwriters to have emerged from the American indie underground with a thoughtful and evocative body of work that traverses and transcends simple categories like psych, Americana and garage rock. His new album (watch my moves) (2022) isn’t too much of a surprise to long time fans of his songwriting and its homespun charm. But where it perhaps departs a bit from expectation is in the subtle sonic details. None of Vile’s albums seem overproduced but this one, granted recorded in his home studio OKV Central, really feels like Vile was honing in on a sound like his own version of what Bruce Springsteen did on Nebraska—relatively stripped down production, spare arrangements, a sense that this could have been done on a four track with few overdubs. Which is saying something considering multiple collaborators worked on the album including Stella Mozgawa (Warpaint), Cate Le Bon, Julia Shapiro (Chastity Belt), Farmer Dave Scher (Beachwood Sparks), Annie Truscott and Lydia Lund (both also from Chastity Belt) among others. It’s a deeply introspective and layered album that sounds disarmingly intimate so it should be interesting to see how it translates to a big stage.

Monday | 05.23
What: Weedeater w/High Tone Son of a Bitch and J.D. Pinkus
When: 7 p.m.
Where: Hi-Dive
Why: A lot of sonic brutality for the small stage at the Hi-Dive this night with Wilmington, North Carolina’s kings of stoner rock Weedeater. Its doomy, grindy music is like a flood of caustic sonic tar like Thrones but even more metal. J.D. Pinkus will probably bring his heavier solo material rather than his excellent country tunes to this show but you just never know and either way the Butthole Surfers/Honky bassist will be entertaining and fit in somehow. Veteran, Bay Area psychedelic doom band High Tone Son of a Bitch rounds out the lineup.

Spoon, photo by Oliver Halfin

Tuesday | 05.24
What: Spoon w/Geese
When: 7 p.m.
Where: Mission Ballroom
Why: Lucifer on the Sofa (2022) is Spoon’s latest album and its most arduous in terms of production and release mostly because of the whole pandemic thing that’s still going on. But, as with every other Spoon album, it finds the group exploring new songwriting and stylistic territory. Its previous album 2017’s Hot Thoughts at times sounded like an old synth pop album but with modern sensibilities informing the songwriting architecture. The new record has an immediacy that was always part of the group’s sound but the production makes the music seem very up close and its blend of soul and Americana in the more raw rock and roll songwriting with touches of the unusual around the edges and at times what seems like a sound design approach to arrangements gives the song a different dimension and aural depth than most of its previous output. Of course live Spoon has always been a lively and charismatic group of performers all around. The inclusion of Brooklynite post-punk band Geese on the bill may be a label or management arrangement but it’s also an inspired selection of an opening act as its soul, funk and psychedelia-infused post-punk is reminiscent of something Factory records would have signed in the late 80s. That or a band that would have fit in at 99 Records because its sound is so richly eclectic and its 2021 album Projector a refreshingly different entry in the post-punk canon. Fans of Parquet Courts will indubitably appreciate what Geese is offering.

Bauhaus, photo by Gary Bandfield

Wednesday | 05.25
What: Bauhaus w/Automatic and Vinsantos — postponed
When: 7 p.m.
Where: Mission Ballroom
Why: Bauhaus is one of the most influential albums in post-punk and like the best of that first wave of bands they borrowed heavily from dub, early glam rock, psychedelia and the avant-garde. Its gloomy and often hypnotically otherworldly music immediately set itself apart from other bands from a similar background with not just the art school influence and conceptual soundscaping but also the theatrical aspect of its performances as manifested in the songwriting. Its use of melodrama never seemed corny and only enhanced its mysteriousness. Of course it got boosted into a wider circle of fame by basically opening the 1983 vampire film classic The Hunger with its own enduring classic “Bela Lugosi’s Dead.” But Bauhaus never rested on its creative laurels with its albums and each one expanded what not just post-punk could be but was essentially an art rock band without the progressive rock baggage. Nearly four decades hence Peter Murphy’s haunting and dramatic warble can still give you chills, David J and Kevin Haskins’ unconventional and fluid rhythms expand the brain with compound time experiments and Daniel Ash’s guitar-as-soundscape approach to the instrument hits like few other guitarists of the era. One of the most imaginative bands of the post-punk era, Bauhaus could just be going for a cash grab, nostalgia tour but it’s not that rote a thing and its new song “Drink The New Wine” (2022) is vintage Bauhaus weirdness and inspired dreamlike moodiness. New wave-esque, minimal post-punk band Automatic, which includes Kevin Haskins’ daughter Lola Dompé on drums and vocals, is also on the bill. Their turn opening for IDLES in April 2022 revealed a band more visceral than its excellent new album Excess might immediately suggest.

A Place To Bury Strangers, photo by Heather Bickford

Thursday | 05.26
What: A Place to Bury Strangers w/Glove and Polly Urethane
When: 7 p.m.
Where: Larimer Lounge
Why: A Place to Bury Strangers is often lumped in with the resurgence of shoegaze around the turn of the 2010s and the exquisite sound sculpting with noisy, atmospheric guitar shaped into evocative melodies definitely fit in that loose realm of music. But the knack for employing raw, nearly uncontrolled or not always reigned in noise in the mix made the music have an edginess closer to some kind of old noise rock band like Big Black or even the most unhinged guitar wall of noise that The Jesus and Mary Chain perpetrated so brilliantly on Psychocandy. This group could have skated on those core ideas but its body of work has evolved without compromising an individual vision for how music can occupy psychological spaces with not just organized tones and sonic textures but with the sheer physicality of that sound. Its most recent record See Through You (2022) on initial listen seems more pop oriented in some ways than the more avant-garde Pinned or even earlier records but with it definitely goes off into realms of experimentation that has more in common with some 2000s band that might have not decided to choose between styles and influenced by the most anti-music No Wave, the lowest of lo-fi psychedelic garage rock/punk you might find on the Siltbreeze imprint and menacing, scuzzy post-punk but with lyrics that give glimpses into a head space where a person is trying to pull themselves back together after having their heart stretched thin and feeling like they’ve hit the point of no return and finding some shred of meaning and truth in that low place as a thread to crawl back to something resembling normalcy. It’s both vintage APTBS and the next step in its sonic evolution. Glove is a post-punk band from Tampa that apparently didn’t get the memo that you can’t combine disco with synthpop, glam rock and post-punk and its music all the more interesting for it since the style side of its performance isn’t lacking either. Polly Urethane is a darkwave/industrial artist from Denver whose music has an enveloping vulnerability that feels like a memory of a dream at times even when evoking painful memories while transforming those strong emotions into catharsis. Think The Knife or Jenny Hval but perhaps inspired by the likes of SRSQ.

Thursday | 05.26
What: Faster Pussycat w/Love Stallion and Grind Cat Grind
When: 7 p.m.
Where: The Oriental Theater
Why: In the bloated haze of Los Angeles and international glam metal in the 80s a few bands stood apart from the rest of the Aquanet-teased hair fashion victims wishing they were Led Zeppelin but couldn’t even pull off Aerosmith or Hanoi Rocks with any integrity. One of those was Faster Pussycat whose hedonistic, sleazy glam rock had a core of good songwriting and strong stage presence. It didn’t hurt that lead singer Taime Downe is one of the few people in Penelope Spheeris’ The Decline of Western Civilization Part II: The Metal Years (1988) to not look silly and whose band in retrospect isn’t incredibly cringe. After the band split in 1993 Downe formed an industrial band called The Newlydeads but reformed Faster Pussycat in 2001.

Built to Spill, illustration by Alex Graham

Friday and Saturday | 05.27 and 05.28
What: Build to Spill w/Sunbathe and Distant Family
When: 7 p.m.
Where: Aggie Theatre (05.27) and Boulder Theater (05.28)
Why: Built to Spill like contemporaries Pavement established that jammy, psychedelic guitar was not antithetical to authentic alternative rock rooted in punk and the 80s underground beyond punk. Singer/guitarist Doug Martsch had been in the more overtly psychedelic post-punk band Treepeople at the same time Built to Spill was forming but the latter became Martsch’s going concern after 1994. The singer’s unconventional yet melodious voice served as a consistently interesting and elegant contrast to the sometimes amped ocean of sound that the band could unleash during the climax of a song and as the embodiment of the music’s more tender moments. BTS’s 1997 album Perfect from Now On was a masterpiece of late era alternative rock with a wide-ranging style of songs that unabashedly indulged in thought-provoking, heartbreaking epics like “Randy Described Eternity” and the bombastically celebratory “Stop the Show.” The band has consistently provided a soundtrack to introspective exploration and contemplation on the meaning of life up to and including its 2022 album When the Wind Forgets Your Name. Most live albums are not as good as the studio albums but BTS’s 2000 Live might as well be a greatest hits album performed at the near peak of its powers surpassed perhaps only by witnessing the band in the flesh.

Wild Pink, photo courtesy the artist

Friday | 05.27
What: The Antlers w/Wild Pink (solo)
When: 7 p.m.
Where: Bluebird Theater
Why: When Brooklyn-based indie folk project The Antlers released its first full band offering with 2009’s Hospice it immediately established itself as a band that could make powerful emotional statements with great delicacy and simplicity. The concept album is about a hospice worker and his relationship with a patient suffering from terminal bone cancer. After a hiatus of five years until 2019 due to primary songwriter and singer Peter Silberman experiencing hearing loss. While in recovery Silberman discovered he could still write music and following the 2017 release of the solo album Impermanence The Antlers returned with 2021’s Green to Gold. Opening the show is John Ross of Wild Pink performing solo. His band’s 2021 album A Billion Little Lights is one of the most affecting albums out of the indie rock milieu to be written from the adult perspective with adult concerns without waxing into self-parody or “dad rock” territory.

Animal Collective circa 2013, photo by Tom Murphy

Friday | 05.27
What: Animal Collective w/The Spirit of the Beehive — postponed
When: 7 p.m.
Where: Ogden Theatre
Why: Animal Collective is one of the most influential bands of the past 20 years. Its amalgam of psychedelia, folk, electronica, ambient and the avant-garde has yielded a rich and prolific body of work across several albums that has been oft imitated but rarely in a way equal to the group’s truly idiosyncratic songwriting and eccentric methods of composing and performing music with an almost live orchestration/remixing live during performances. It’s truly transporting music, an otherworldly pop. Its new album Time Skiffs (2022) marks the return of Deakin and a robust organic tonal element in the group’s signature, unconventional percussion and what appears to be its most sonically interesting record since Strawberry Jam with its arrangements sounding like weather events coming together to make songs through a purely intuitive process that likely involved a great deal of work to make sound effortless. The Spirit of the Beehive has been making pop music that sounds like something from another dimension like Black Moth Super Rainbow turned into more of a rock band but with a live show that sounds like it’s been orchestrated like a set of medleys and remixes performed in real time.

Friday | 05.27
What: Fiddlehead w/Flower Language, Destiny Bond and Public Opinion
When: 8 p.m.
Where: Hi-Dive
Why: Boston’s Fiddlehead is an anthemic, melodic post-hardcore band that for the uninitiated sounds akin to an emo band that was more influenced by Fugazi and Jawbreaker than what you might expect. Destiny Bond and Public Opinion are both post-hardcore bands from Denver whose songwriting stretches beyond the too often self-imposed limitations of hardcore.

Ezra Furman, photo by Tonja Thilesen

Saturday | 05.28
What: Ezra Furman w/Grace Cummings
When: 7 p.m.
Where: Gothic Theatre
Why: Ezra Furman and the Harpoons was an excellent band in the more indie folk vein but Furman herself had more to say in music than that loose format. And since writing and releasing music under her own name as a solo artist she’s seemed to have slowly shed obvious stylistic influences like Bob Dylan and Lou Reed among others across several albums since the literary, haunted Americana of 2012’s The Year of No Returning. With the new album All of Us Flames Furman takes into the consideration the concept of the end of the world, certainly the world as we know it, and examination the assumptions and hopes and dubious freedom from thinking the world is over and even finding proof of that with the pandemic and the failure of all political parties in America to deal adequately with the crisis even to this day nevermind the ecological disaster slow crashing through human civilization, the perils of right wing extremism entering into governments worldwide posing a threat on its own and compounding all others as fascism is completely unprepared to actually deal with the crises we face and establish a sustainable response to issues those types fail to comprehend to the detriment of all. The lead single from the new album “Forever In Sunset” is a fiercely compassionate presentation of that whole backdrop as the ambient weight that amplifies whatever mood we’re feeling but suggests we don’t have to be overwhelmed while in survival mode and the meaning and significance of our lives can and will continue beyond the immediate brace of crises at our collective doorstep. Sonically it’s like a great glam rock song with an elevated folk flavor layered with enveloping atmospheres. Which is reason enough to go see how Furman pulls this music off live. But you also get to see Australian singer Grace Cummings whose 2022 album Storm Queen has a brooding grit and fiery passion that is a little reminiscent of Jeff Buckley. But Cummings isn’t ethereal like the latter yet both songwriters have an almost spiritual immediacy and an instinct for crafting the kind of guitar rock that burns from within like the ghost of another era of music trying to manifest through her performance. For instance one hears in the single “Heaven” shades of Big Star, Tommy Bolin and Zeppelin. The rest of the album proves that Cummings isn’t just a rocker, her expressive voice and songwriting chops range far from bombastic heights to tranquilly introspective songs with emotionally vibrant performances. Fans of Aldous Harding will find much to like in Cummings’ rich repertoire.

Grace Cummings, photo courtesy the artist
Causer in 2019, photo by Tom Murphy

Monday | 05.30
What: Bestial Mouths w/CXCXCX and Cau5er
When: 7 p.m.
Where: Hi-Dive
Why: It’s difficult to limit Bestial Mouths to a narrow genre of music as vocalist/producer Lynette Cerezo has been experimenting with what the project is and how it should sound since its inception in 2009. While one hears across that span of time and multiple releases a foot in industrial, post-punk, noise, transcendental metal and other presumed influences like Diamanda Galas whose own music is a pure fusion of noise, No Wave, classical and blues there is an element of performance art as a vehicle for expressing concepts and ideas that unifies what Bestial Mouths has been about. At this point Bestial Mouths is a solo project of Cerezo’s and the albums INSHROUDSS and RESURRECTEDINBLACK might be considered a kind of darkwave dance music with an aspect of ritual drone. Cerezo is a prolific collaborator who has worked with the likes of Boy Harsher, Zola Jesus, Mick Harvey and Mater Suspiria Vision and out of that her impact on modern, underground music in the realm of post-punk is indisputable. Seems as though Bestial Mouths hasn’t played in Denver since a performance at now long defunct DIY space Mouth House in 2013 so this is a rare chance to see the now Berlin-based artist up close and personal along with industrial noise dance phenom Cau5er and Denver-based power electronics artist CXCXCX.

The Body, photo by Zachary Harrel Jones

Tuesday | 05.31
What: The Body w/Midwife and Polly Urethane
When: 7 p.m.
Where: Larimer Lounge
Why: With its extensive history of touring since starting in 1999 there’s a good chance that if you’ve been involved in underground music since that time you’ve seen or had a chance to see The Body from Providence, Rhode Island. The experimental duo might in a reductive way be described as a doom metal band crossed with a grindcore band informed by harsh noise. But drummer Lee Buford and guitarist Chip King really push their art into different sonic territory and in different formations with a fairly long list of collaborative releaes with the likes of Thou, Full of Hell, Unform, BIG BRAVE, and Krieg to name a few. The 2016 album No One Deserves Happiness was inspired by synth pop music and sounds it while also being one of the heaviest and most raw albums of that year that had an inexplicable and undeniable sonic nuance. Its most recent release is a split record with OAA called Enemy of Love and is harrowing fusion of doom, power electronics and intensely pointed social commentary fitting the state of the world today. But it’s not all just the sound of civilization crashing into a burning heap, there are moments when the record uses an almost ambient aesthetic to arrange the denunciation of the world’s destructive bastards and humanity’s seemingly unending instinct for self-destruction. By contrast though completely fitting Midwife is also on the bill with Madeline Johnston’s heartbreaking and soul soothing soundcapes that express a similar pain and rejection of a horrifying situation in the world in a broad and not topical sense while doing so through deeply personal songs about loss and trying to make sense of losses so deep they leave you shaken to the core. Midwife’s 2021 album Luminol provides some of the most transcendent and cathartic passages of music to address the aforementioned to have come out in the past decade. Opening this show is Polly Urenthane mentioned above opening the A Place to Bury Strangers show and will bring to this event her own music to transform trauma into inspiration.

To Be Continued…

Best Shows in Denver April 2022

IDLES, photo courtesy the artists
Baroness, photo courtesy the artists

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.

SASAMI, photo by Alice Baxley

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.

girl in red, photo by Jonathan Kise

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.

Baby Tate, photo by Scrill Davis

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.

Jawbreaker, photo by John Dunne

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.

Sarah Shook & The Disamers, photo by Harvey Robinson

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.

Hex Cassette at Hi-Dive 2021, photo by Tom Murphy

Saturday | 04.09
What: Lose Your Head II: Ponce (Swampy Erotic Punk Blues), Julian St. Nightmare (Goth Rock), Ray Diess (Goth Pop), Savant Tarde (Post Wave), Hex Cassette (SynthGoth For Satan), Painted City (Synth Pop)
When: 6:30 p.m.
Where: Jester’s Palace
Why: Lose Your Head is an event that highlights some of Denver’s better underground bands in a more dawkwave, post-punk and experimental pop vein. The genres listed above in parentheses work as a vague idea of what you’re in for. Julian St. Nightmare are a visceral yet atmospheric post-punk band. Hex Cassette is industrial darkwave pop with a confrontational and wildly energetic live show. Painted City is for sure synth pop but in that art rock sense one might have seen more in the early 80s but with a sensibility that speaks to having coming up post-Radiohead. Ray Diess is definitely “Goth Pop” but also with a theatrical live show that fans of classic EBM will appreciate.

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.

Melvins, photo by Bob Hannam

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.

Girl Talk, photo by Joey Kennedy

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.

Bootblacks, photo by Katrin Albert Photography

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.

Anton Newcombe of Brian Jonestown Massacre, photo by Thomas Girard

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.

The Velveteers, photo by David Mermilliod

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.”

Snail Mail, photo by Tina Tyrell

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.

Mondo Cozmo, photo by Travis Shinn

Monday and Tuesday | 04.18 and 04.19
What: The Airborne Toxic Event w/Mondo CozmoRescheduled, 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.

IDLES, photo by Tom Ham

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.

Black Map, photo from Bandcamp

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.

Letting Up Despite Great Faults, photo courtesy the artists

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.

Waxahatchee, photo by Molly Matalon

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.

Mike Campbell & The Dirty Knobs, photo by Chris Phelps

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.

PUP, photo by Jess Baumung

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.

Particle Kid, photo by Randi Malkin Steinberger

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.

Yumi Zouma, photo by Nick Grennon

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.

Deftones, photo by Tamar Levine

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.

Deserta, image from Bandcamp

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.

Knocked Loose, photo by Perri Leigh

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.

Vahco Before Horses circa 2018, photo by Tom Murphy

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.

VR Sex, photo courtesy the artists

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.

Big Thief, photo by Alexa Viscius

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.

Tempers, photo by Julia Khoroshilov

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.

Buzz Osborne On Butthole Surfers

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Melvins [L-R: Steven Shane McDonald, Dale Crover, Buzz Osborne, Jeff Pinkus], photo by O1
Depending on how you’re counting it, Melvins released its thirtieth album, Pinkus Abortion Technician in April 2018. The title of the record an obvious, and humorous, reference to the 1987 Butthole Surfers classic Locust Abortion Technician. It should be noted that Butthole Surfers’ longtime bassist Jeff Pinkus has been a member of Melvins since 2013. The record is bookended by two Surfers songs, “Stop Moving to Florida” and “Graveyard.” While a testament to the impact the Butthole Surfers had on Melvins, both bands proved influential on 80s underground rock and the musicians who would break that parallel vision of interesting and exciting music, likely considered largely uncommercial at the time, to the world in the early 90s when alternative rock bands took the foundation built by bands like Butthole Surfers and Melvins to a massive audience.

Though Butthole Surfers had two left field hits in the 90s with “Who Was In My Room Last Night” and “Pepper,” neither Butthole Surfers or the Melvins were aiming to appeal to any trends, their respective music too weird and idiosyncratic for most people with mainstream tastes and otherwise casual music fans. Because of that both bands have a body of work that has aged well and in the case of Melvins, work that continues to evolve organically, regularly yielding interesting records. This weekend, Melvins are playing a pair of shows in Colorado, the first on Friday, August 10 at The Gothic Theatre in Englewood and Saturday, August 11 at The Aggie Theatre in Fort Collins, both with WE Are The Asteroid. We spoke with Melvins guitarist Buzz Osborne ahead of the show and talked about Butthole Surfers and his pragmatic attitude toward the appeal of his own music.

Tom Murphy: When did you first hear about Butthole Surfers?

Buzz Osborne: ’82 or ’83. I think I saw them first in ’83. Seattle.

How did you hear about them?

Same way I heard about every other band. I listened to underground music, I heard the EP and I really wanted to see them. I heard about them long before I saw them, like the year before.

What is it about that music that appealed to you?

It was left of center, it didn’t sound like anything else. They had a nice way of expressing their melodies that I found to be quite exciting and refreshing. I thought they were extremely good players. It was weird to the point that I could get into it and not feel like I was listening to a fucking REO Speedwagon record. It was everything I enjoyed about underground music. But having said that, honestly, if REO Speedwagon put out a record I liked, I would buy it. I’m not going to hold my breath but I’m not being perverse, you know. I never have been. I feel things are good or bad and that’s the end of it.

When you saw them the first time was it more the stripped down thing or the multimedia thing they did later on?

It was stripped down. I’m not sure what you mean. To me it was super punk rock but it wasn’t 7 Seconds, you know? It wasn’t no jive bullshit like that. It was really good in every sense of the word. Not normal but I was okay with that. I embraced that.

Do you feel like they were influential to you then?

Of course! They always were. That’s why at this point now, when I think about what we’re doing and who we’re doing it with, I can’t even really believe it. The idea that I’m in a band now with two guys that I’ve been fans of for literally decades is really quite amazing to me. It’s second to none and I feel like the happiest boy on earth.

The album is bookended by two Butthole Surfers songs? Was there an inspiration for the choice of eras of the band?

I don’t know. It could have been any era. We have been touring around playing both of those songs live a long time prior to recording them. And when we got in the studio with Jeff it just seemed like the right thing to do. An obvious choice. There’s no more to it. There isn’t an era of the Butthole Surfers that I don’t like.

Did you tour with them way back when?

We did shows with them but never toured with them. Three or four shows.

Is there a specific era of the Butthole Surfers you favor?

Like I said, I like every era of the Butthole Surfers. But if I had to get particular, I guess I would pick Hairway to Steven, [Psychic…Powerless…] Another Man’s Sac and Brown Reason To Live.

How do you think they impacted the world of music?

I never thought about how they influenced music in general. Maybe their weirdness. They influenced me. They did have an album that sold a lot of copies but I can’t say how well-versed a lot of the people that bought that album were in what [Butthole Surfers] did before that. Or if they had explored the earlier records if they would have been as excited about it. Maybe they would have loved Another Man’s Sac as well, it remains to be seen. Yeah, these guys are going to love the Brown Reason to Live EP, they’re going to be super into it. But who knows? I have no idea why people like what they like. I only know what I like and I’ve always figured that I operate with the assumption that I have good taste and I will make music I think is good without thinking in terms of how it will be perceived by anyone else. Just figure that if I like it, other people will like it but it probably won’t be millions of people and I’m okay with that. It’ll be enough. I’m not concentrating on selling records or not selling records. I’m concentrating on making music that’s good.

Chrome’s Legacy of Inspired Dystopian, Industrial Psychedelia Comes to Denver

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Chrome, photo by Jeremy Harris

In the annals of weirdo, psychedelic, noisy rock Chrome (performing tonight, March 31 at Larimer Lounge) stands out as one of the true originals. Innovators of an art/acid damaged sound that fully blended synthesizers and rock music, Chrome is often considered one of the progenitors of industrial music. Butthole Surfers freely admit the influence, so did Stereolab. One has to assume Arab On Radar drew on Chrome’s proto-sampling, recontextualizing, deconstructionist impulses as well. When Chrome released its debut album The Visitation in 1976 it must have seemed as alien as its closest musical cousin in the early solo albums of Brian Eno. Ned Raggett Allmusic Guide described it as “Brian Eno meets Santana.” The latter probably because of the fluttery, bluesy leads that are the hallmark of part of the guitar sound on the record alongside the fuzzy, spidery melodies. The band might have continued to develop along that path if bassist Gary Spain hadn’t been playing violin in a band prior to The Visitation’s release with future Chrome guitarist Helios Creed, mentioning he was in a band called Chrome.

“I asked if I could hear it when it was done,” says Creed. “He gave me a copy and I liked the record, The Visitation, but I guess the record wasn’t selling at all and everybody quit. Then I auditioned and me and Damon [Edge] got along really well. It ended up just being me and him after a while. I played the bass on the first three records [after I was in Chrome]. When I heard that [first] record I [told them I] felt like they needed me and I was right.”

Creed had grown up in the 50s, 60s and 70s listening to, among other bands, Black Sabbath, Iron Butterfly, The Doors and Blue Cheer. “I went to go see Black Sabbath on acid and I sort of felt like I knew what I wanted to do, in a way,” says Creed. To Chrome, Creed brought another dimension to the band’s spirit of experimentation and a guitar sound that was as energetic as it was corrosive and both jagged and serpentine.

Starting with Alien Soundtracks, originally titled Ultra Soundtrack when it was a soundtrack project for what might be called an avant-garde strip show in San Francisco. But the music was considered too weird even for an endeavor like that in a city where strange art had long been embraced. From the opening track, “Chromosome Damage” to the last, “Magnetic Dwarf Reptile,” it is obvious that Chrome had absorbed obvious influences like Blue Cheer, Black Sabbath, Hendrix, Stooges and Hawkwind and allowed that to mutate and stew into something that sounded like what cyberpunk authors like William Gibson, John Shirley and Bruce Sterling were trying to capture when they took the spirit of J.G. Ballard’s visionary, dystopian science fiction and its influence on punk in brilliant new directions. Chrome albums have consistently seemed like science fiction novels and movies no one has yet written or made. “Yeah, we got sci-fi ideas and integrated it with the feel of the music,” says Creed. “Or a sterile, dehumanizing, robotic society. We had a lot of different kinds of inspirations. That movie Carrie? Alien, the first one. Blade Runner and A Clockwork Orange–the feel of those movies really inspired us.”

 

Although based in the Bay Area, Chrome didn’t exactly play live shows in a city where the avant-garde or any kind of strange, eccentric art seemed to find a home. The band had garnered critical acclaim abroad with Alien Soundtracks and its follow-up, 1979’s Half Machine Lip Moves but it wasn’t until 1981 that the group performed live for the first time.

“We didn’t play until Blood on the Moon came out,” says Creed. “That was our first show and we played in Italy at a music festival in Bologna. We played all new songs but they dug it. We played the whole Blood on the Moon album. There’s a live record of that show somewhere.”

The lineup with both Edge and Creed produced some of the most interesting and unusual music of the era including 1980’s more synth-infused Red Exposure, the aforementioned 1981 album Blood on the Moon and 1982’s 3rd From the Sun. With more electronic elements including drum machines, those records, dark and clearly taking cues from no one beyond the dictates of active and restless imaginations, Chrome’s sinister psychedelia was not destined to fit in with the fake positivism of the 1980s mainstream culture. Thank goodness. However, the Edge/Creed era of Chrome ended by the mid-80s and Edge moved to Paris with his wife and collaborator, Fabienne Shine. Edge released albums as Chrome into the 90s before he died of heart failure in 1995. Around that time he had reconnected with Creed with notions of doing Chrome together again.

After Chrome, Creed continued as a solo artist and collaborator with current synth and guitar player Tommy Grenas (from bands Farflung and Pressurehead) who connected Creed with former Hawkwind member Nik Turner with whom Creed and Grenas worked on a 1993 re-recording of Turner’s 1978 solo album Sphynx and the 1994 Nik Turner record Prophets of Time. Creed and Turner now have a band with Jay Tausig called Chromium Hawk Machine that put out an album called Annunaki in 2017 on Massimo Gasperini’s Black Widow Records imprint. “Massimo is into the whole Zecharia Sitchin theory about Nibiru so we made a record about it.”

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Chrome circa 2008, photo by Tom Murphy

Rumor had it that Grenas was able to get a hold of Edge’s original synth rig after the musician passed. Turns out the rumors were true.

“I met Damon before I met Helios,” reveals Grenas. “When Damon passed away I had the opportunity to buy his stuff when [his sister] Sharon put it up for sale and I bought it before anyone else did. I bought Damon’s [Moog] Liberation and the [Electro-Harmonix] Micro Synth and something else. I used it on the first tour but a lot of that stuff is too fragile to take on the road.”

Grenas used some of the older gear for the Chrome records that have come out since the turn of the century. Right now the band is touring in support of 2014’s Feel It Like a Scientist and 2017’s Techromancy. While the methods and means of making sound have changed, Chrome still seems off the frequency of mundane normalcy with songs about an ominous, dystopian future society.

“It seems like we’re on the brink of going right into that with machines and robots taking over,” says Creed. “So maybe they’ll just kill us, I guess. We’re going to be obsolete. ‘You must go to this room here and wait for destruction.’ We also have songs of hope.”

In spite of the overt sound of the band and the subject matter of the lyrics, Creed’s sharp and playful sense of humor is infused into the music as well and so is his willingness to explore the dark underbelly of American culture that is often simply dismissed as folklore. Although Creed grew up in Long Beach, California and lived in the San Francisco Bay area for much of his life, he did spend some years in the American Midwest where lurid stories of local figures and events are not in short supply.

“I was living in Manhattan, Kansas, twenty miles from Stull,” says Creed. “Supposedly it’s one of the gateways to Hell. That’s the scuttlebutt. Supposedly the Pope won’t fly over it when he comes to America. Every Halloween apparently the Goth people and witchy kind of people show up there thinking they’re talking to the dark ones. But really all it is is just a burned out church. [So the story goes,] a bunch of rednecks who hated blacks, and really everyone, put people in that church and burned it down and opened a vortex to hell. You know how the old west was. Where I was living in Kansas they used to cut the heads of slaves if they didn’t like them. All this stuff never gets written about but I know the history of Kansas is very dark. It ain’t no Wizard of Oz place, I’ll tell you that much.”

Chrome performs Saturday, March 31, with Echo Beds and Phallic Meditation at Larimer Lounge. Doors 8 p.m., show 9 p.m., tickets $25.