Best Shows in Denver 10/26/17 – 11/01/17

Slowdive
Slowdive, performs at the Ogden Theater on Wednesday, November 1. Photo by Ingrid Pop

 

Thursday: October 26, 2017

The Black Angels
The Black Angels, photo by Alexandra Valenti

Who: The Black Angels w/Ron Gallo
When: Thursday, 10.26, 7 p.m.
Where: The Ogden Theatre
Why: The cover of The Black Angels’ new record, Death Song, itself is a commentary on what’s going on in American culture now and its ripple effect beyond the nation’s borders. Red, white and blue in repeating, circles within larger circles, hypnotic and disorienting, an image suggesting chaos but one that also hints at the possibility of a return to some semblance of coherence and peace. The image, designed by guitarist Christian Bland, is part graphic design style and part minimalist art, much like his work on previous Black Angels albums, but one that suggests movement and confused stasis.

The album’s music bears out those qualities with some of the group’s heaviest and most politically pointed, but never preachy, material to date. The Black Angels were one of the bands that pre-dated the relatively recent wave of psychedelic rock having begun life in 2004 and its own career helped to influence and shape the sound of modern psych with its own music and direct advocacy through Levitation (formerly Austin Psych Fest) and The Reverberation Appreciaion Society. While one of the bigger acts out of psychedelic rock today, The Black Angels and other psych acts make the kind of music that resists full commercial co-optation.

As a live act The Black Angels has always been one that integrates the visual presentation of the music with the sounds so that the experience of the show is one that reflects the experience intended with the creation of the music. This time out the urgency, the heaviness, the fear, anxiety and the catharsis that we all hope comes about on the other end of the current national and international nightmare unfolding as we speak.

Who: Me Me Monster, Gort Vs. Goom and Television Generation
When: Thursday, 10.26, 9 p.m.
Where: Your Mom’s House
Why: Gort Vs. Goom is a bass and drums duo who perform a kind of eccentric punk and jazz hybrid that may remind some listeners of Primus but it’s weirdness has as much to do with one of that band’s influences, The Residents, as with any post-Mr. Bungle art rock band. GvG (for MMO nerds even if not fully intentional on the part of the band) also often perform in costume or some sort of get-up. And Me Me Monster and its commitment to theater and spectacle is a good fit but its own warped hard rock sounds like what might happen if Neil Young got into making psychedelic prog but went through a weirdo jazz phase teaming up with Robin Trower. Television Generation isn’t overtly weird. It’s brand of fuzzy punk, psychedelic garage rock and pop bears some comparison to Love Battery but there is even more of a sardonic sense of humor informing its songwriting and presentation.

Who: Perry Weissman 3, Roger Green and Andy Monley
When: Thursday, 10.26, 9 p.m.
Where: Syntax Physic Opera
Why: Perry Weissman 3 is a long-running avant-garde jazz and rock band that was perhaps most active in the 90s and earl 2000s. Roger Green is the genius guitarist and avant-garde composer who may be best known for his stint in local slowcore band The Czars, which included experimental pop songwriter John Grant. And hey, while we’re talking about former members of The Czars, the band’s other guitarist and vocalist, Andy Monley, is on this bill as well. Monley, however, has plenty of respectable music outside The Czars including his still going tenure with alternative rock band/country punk weirdos, Jux County and his exquisitely written and thoughtful solo material.

Who: Jerkagram, The Uglys, Chromadrift, Sleeping Bears and December Eleventh
When: Thursday, 10.26, 8 p.m.
Where: Bar Bar (Carioca Café)
Why: Jerkagram from Los Angeles is one of those bands that didn’t really fit in a single genre of music so its styles can be all over the place and all at once. But loosely more on the heavier and math-y end of things. In some ways the band is reminiscent of former Denver art rock weirdoes Action Friend who now live and play in L.A.. The Uglys get dubbed this and that and probably haven’t fully decided what they are themselves. How a band can remind you of both Mudhoney, At the Drive-In and Fu Manchu all at once I don’t know but that’s The Uglys for you. Some screamy stoner rock, if you will. Chromadrift? As in Drew Miller? The IDM/ambient artist whose music is so ethereally beautiful it immediately transports you to a better place? Indeed. Filling out the bill are Sleeping Bears and December Eleventh, progressive metal bands from Georgia.

Friday: October 27, 2017

Brotherhood Of Machines
Brotherhood Of Machines, photo by Tom Murphy

Who: Brujeria w/Powerflo and Piñata Protest
When: Friday, 10.27, 8 p.m.
Where: Bluebird Theater
Why: Brujeria is almost pure schtick as a North Mexico drug cartel/national liberation group/band. Death metal, grindcore, unabashed takedowns of questionable politicians like Donald Trump (pre/post-presidency) and lots of cartoonishly dark humor. But the music to some extent transcends the joke because the musicians are members of other well-known heavy acts like Napalm Death, Carcass, Cradle of Filth, Criminal and others. Opening act Piñata Protest is a highly entertaining hybrid of ska punk and Norteño.

Who: Chelsea Wolfe and Youth Code
When: Friday, 10.27, 8 p.m.
Where: Gothic Theatre
Why: Chelsea Wolfe has spent her career writing in a variety of musical styles but all of it has been a vehicle for her stark rendering of emotional turmoil and channeling that into challenging yet entrancing works of art. Wolfe’s last few records have brought forth in explicable form the subconscious ghosts that have long haunted the songwriter. Her latest, 2017’s Hiss Spun, is the heaviest set of songs Wolfe has yet released. Heavy but also heady and sonically expansive. If some of Wolfe’s previous records could feel and sound claustrophobic as a reflection of an insular creative vision, Hiss Spun is that vision opened up and shared more fully with anyone who might want to share in that experience as someone well-acquainted with personal demons and/or as someone that appreciates an authentic emotional experience so intensely realized.

Youth Code while a different animal musically, is a great fit for this tour because Sarah Taylor’s own unrelenting emotional intensity on stage is something to witness. The band’s dark, industrial bursts of tones and rhythm have evolved considerably since its earliest recordings and 2016’s Commitment to Complications revealed a band that is more than a thrilling jackhammer of aggressive music. There is a moody underbelly and a catharsis of internalized melancholy alongside the desperation you’d expect.

Who: Church Fire and Motion Trap
When: Friday, 10.27, 9 p.m.
Where: Black Shirt Brewery
Why: It could be argued that both of the bands on the bill are electronic dance bands of the highest order because they are. Motion Trap, though, is tends toward bright tones and more keyed into the kind of aesthetic for dance clubs because it is very upbeat. But its music is way too steeped in strong pop songwriting to fully fit in that world. One of the few bands it does seem to fit in with is Church Fire whose dark undertones, politically-charged, noisy synth pop is one of the most exciting bands in Denver or anywhere right now. It’s own unabashed embrace of hip-hop beat production and industrial and dance music isn’t necessarily obvious. This will be an outdoor show starting at 8 p.m. so bring warm clothing.

Who: Mux Mool, atruc, RUMTUM and Brotherhood of Machines 
When: Friday, 10.27, 8 p.m.
Where: Fort Greene
Why: Kind of a more leftfield live dance music/hip-hop night with progressive beat maker Mux Mool, alternative hip-hop duo Curta playing as atruc, electro-guitar-based ambient solo act RUMTUM and Brotherhood of Machines. The latter’s combination of ambient, IDM and dubtechno-flavored beats is always very different from many of the acts in whose company he finds himself. The 2016 album III Pillars was a triptych of hypnotic noise and textured atmospheres that established a sense of place. Except that place wasn’t in normal reality.

Who: Rot Congress Night 1: Loanword, Boat Drinks, Jobless, The Far Stairs, Fake Awake
When: Friday, 10.27, 9 p.m.
Where: The Skylark Lounge
Why: Hot Congress, the long-running indie rock collective, has been hosting this Halloween-themed event for years with some of the best bands out of that corner of the Denver music scene. This first night includes ambient project Loanword is on tap as is lo-fi band Jobless and former Hindershot keyboardist Jesse Livingston’s experimental synth pop band The Far Stairs.

Saturday: October 28, 2017

Cults
Cults, photo by Shawn Brackbill

Who: Cults w/Cullen Omori and Hideout
When: Saturday, 10.28, 8 p.m.
Where: Globe Hall
Why: Cults made a bit of a splash with its debut EP and “Go Outside” single in 2010. Its evocation of upbeat, breezy 60s pop mixed with a sense of the otherworldly. Like an alternative history science fiction story born out of heartbreak, personal trauma or simply plain wanting to recast a drab and depressing present with something more romantic and meaningful without the cheese factor that often accompanies such impulses and creative work that comes out of them. Cults latest record, 2017’s Offering, finds the band maintaining that Julee Cruise-esque, dreamlike, nostalgic tone but this time with a broader palette of sounds and rhythms. Where some of the earlier music sounded like it was tapping into some of Phil Spector’s Gold Star Studios years’ vibe, Offering sounds more present and immediate. Opener Cullen Omori was once a member of up-and-coming pop/rock band Smith Westerns. When that band split in 2014, Omori continued writing and performing under his own name. The music wasn’t radically different but the tone seemed to shift. Smith Westerns was very rooted in 70s rock. Omori’s solo output is more reminiscent of a modern version of a New Wave band with a gently psychedelic overtone. More synth, more lush sounds overall. His 2016 album, New Misery, sounded like an artist who wasn’t creatively cutting all ties with his old band so much as reinventing it and, um, culling the elements that didn’t work for him the first time around.

Who: TR/ST
When: Saturday, 10.28, 8 p.m.
Where: Bar Standard
Why: Robert Alfons doesn’t yet have a new record out but TR/ST released a new single, “Bicep,” over the summer. The new track sounds like Alfons is wending more in the direction of EBM than the synth/dance pop of his first two records. TR/ST was one of the few bands that Goth DJs in Denver would play out of the wave of dark electro music that has been very much part of the indie underground since the second half of the 2000s. No, it didn’t sound like Depeche Mode or even Erasure but Alfons’ songs were as dark and moody as anything the former has ever released and as celebratory yet thoughtful as the latter’s best material. When TR/ST recently played Denver it was a well-attended show at The Bluebird so here’s a chance to see the project at a much smaller venue.

Who: Rot Congress Night 2: Kissing Party, Bleak Plaza, Quantum Creep, Voight (as The Cure), Wrinkle (as Guided By Voices), Last of the Easy Riders and Wild Flowers (Fleetwood Mac)
When: Saturday, 10.28, 9 p.m.
Where: The Skylark Lounge
Why: See above re: Hot Congress’ annual Halloween show. Excellent indie pop bands Kissing Party, Bleak Plaza and Quantum Creep will perform. Industrial post-punkers Voight will perform a set of songs by The Cure for the first and last time. Lo-fi emo greats Wrinkle will do a Guided By Voices set.

Who: Mehvana (as Nirvana), Denver Meatpacking Company (as Hüsker Dü) and Lawsuit Models (as Jimmy Eat World)
When: Saturday, 10.28, 9 p.m.
Where: 3 Kings Tavern
Why: Bands performing covers sets for Halloween isn’t the most original thing in the world but all the bands on the bill for this show are at least trying out something different with grunge-esque band Denver Meatpacking Company doing a set of Hüsker Dü songs probably focusing on the middle era. It’s not a huge leap for pop punk band Lawsuit Models to a Jimmy Eat World set but putting yourself in someone else’s creative head space even if you’re influenced by their work takes some effort when you’re not some session musician or someone that generally plays in cover bands.

Who: Sharone & The Wind (“Night of Terror”) w/Black July, 21 Taras and Married a Dead Man
When: Saturday, 10.28, 8 p.m.
Where: Moe’s Original Bar B Que
Why: It’s a Halloween show that Sharone & The Wind is advertizing as their “Night of Terror” so expect some theatrical shenanigans from the Denver hard rock band. In recent months the band has reinvented itself in a direction more like a cross between a proto-death rock band and a blues-inflected emo group. Sounds like it shouldn’t work but it does. Married a Dead Man is a Goth/death rock band that came out of people who played in the punk and hardcore scene beforehand. Sonically, sort of reminiscent of Sunshine Blind but rougher around the edges at the moment—you know, that ethereal synth with some metallic guitar with a female vocalist who sounds like she is no stranger to belting it a little.

Who: Bob Log III w/Colfax Speed Queen
When: Saturday, 10.28, 8 p.m.
Where: Lost Lake
Why: Bob Log III used to freak people out as the confrontational frontman of Doo Rag. The Crash Worship crowds for whom the duo played probably got it but the Lollapalooza crowd probably wasn’t used to seeing weirdo blues quite that raw and primal. As a solo artist, Bob Log III has only pushed the theatrical side of his act further with strange costumes like a carnie, blues punk Dex Romweber. Denver’s Colfax Speed Queen won’t be quite as stripped down but it’s own psychedelic garage rock is surprisingly forceful and disorienting in its own way.

Who: Lee “Scratch” Perry + Subatomic Sound System w/Gracie Bassie, TNERTLE (solo) 
When: Saturday, 10.28, 8 p.m.
Where: Cervantes’ Other Side
Why: Lee “Scratch” Perry is one of the architects of modern music as we know it. As the producer at the now defunct Black Ark in Jamaica, Perry was one of the pioneers of dub, which is a radical remixing and reproduction of existing music and represents one of the earliest forms of electronic music and a creative use of an early version of sampling. Directly or indirectly, as an engineer, producer or musician, Perry shaped the sound of much of reggae music and through that of punk, hip-hop and electronic music from the 70s forward. In recent years, Perry has collaborated with house/experimental electronic band The Orb on original material. His live show is a masterful delivery of his imaginative soundscaping and hypnotic rhythms.

Sunday: October 29, 2017

Curta
Curta, photo by Tom Murphy

Who: Ministry w/Death Grips
When: Sunday, 10.29, 8 p.m.
Where: The Fillmore Auditorium
Why: Ministry somehow made the crossover from synth pop (With Sympathy) to EBM (Twitch and to some extent The Land of Rape and Honey) to industrial rock (by the time of The Mind Is A Terrible Thing to Taste) in the course of seven years. It’s a remarkable transformation and at each stage Ministry was one of the very best bands in those respective genres. Since then Ministry’s newer material has been on the heavier end of music though arguably more difficult to neatly classify. The current touring incarnation of Ministry is focusing on material post-1988. If you’ve been switched off for 30 years and are expecting tracks from the EBM era and would be disappointed not to see it live, don’t go. But if you appreciate Al Jourgensen’s mutant heavy music from The Mind forward, it’ll be a worthy selection of material. Death Grips is an industrial hip-hop band with a charismatic frontman in MC Ride and one of modern popular music’s greatest drummers in Zach Hill. Even if you’re not into hip-hop for some reason Death Grips is really more of an experimental band that doesn’t really bother with splitting hairs between the aesthetics of hip-hop, noise, industrial music or whatever its own style might be that comes out of that.

Who: Haunted Sound Laboratory, Unbridled Sonic Anarchy, Chris Sessions, Jonathan Cash
When: Sunday, 10.29, 7 p.m.
Where: Mutiny Information Café
Why: Textures is an ambient showcase that happens at Mutiny the final Sunday of every month. This time, host Wesley Davis’ own Unbridled Sonic Anarchy will be performing alongside Jonathan Cash who some may know more for his noise project Break Dancing Ronald Reagan.

Who: Vanilla Milkshakes, Denver Meatpacking Company and Uncle Bad Touch
When: Sunday, 10.29, 8 p.m.
Where: Lion’s Lair
Why: This is another Halloween-themed show and apparently grunge/punk band Vanilla Milkshakes will treat those in attendance with its take on The Ramones and DMC will reprise its Hüsker Dü cover set from the night before.

Who: 2Mex, Onry Ozzborn, Early Adopted and Curta
When: Sunday, 10.29, 8 p.m.
Where: Larimer Lounge
Why: 2Mex may not be a household name but in the alternative hip-hop scene of the 1990s (and now for that matter) he has long been a star. His witty and imaginative wordplay was honed at the open mic nights at Good Life Café in South Central Los Angeles and he has been willing to couch it in beats that reflect popular music of the time. More importantly his raps criticize his own music culture, American culture in general and himself with humorously poetic sensibility. Onry Ozzborn is a respected alternative hip-hop artist in his own right whose music seems to favor darker tones and downtempo beats. As a member of Grayskul and Dark Time Sunshine Ozzborn’s gritty stories were reminiscent of Aesop Rock’s literary output, and of course the two rappers have collaborated. Opening act, Denver’s Curta, incorporates a more industrial and psychedelic/experimental electronic flavor into its beats. Apparently this will be the last show with founding keyboardist/guitarist Brent Larsen, aka 4Digit who is moving out of town.

Who: Governor Mortimer Leech (Widow’s Bane) undead and unplugged
When: Sunday, 10.29, 6 p.m.
Where: Ophelia’s Electric Soap Box
Why: Widow’s Bane is the undead pirate band from Boulder. They do interviews in character and perform in character. Is it “character”? Anyway, Governor Mortimer Leech will be performing a rare acoustic show early at Ophelia’s and it’s free.

Monday: October 30, 2017

Ghoulfriend
Ghoulfriend, photo by Tom Murphy

Who: Cobalt, Worry and Fathers
When: Monday, 10.30, 7:30 p.m.
Where: Hi-Dive
Why: Greeley-based black metal band Cobalt didn’t play much in the first decade or so of its existence and nevertheless garnered a bit of an international following. Founding member Phil McSorley left the project in 2014 but Erik Wunder (who also plays in one of Jarboe’s bands) and Charlie Fell (formerly of Lord Mantis, Nachtmystium and Abigail Williams) have kept the band going and completed its best album to day, 2016’s Slow Forever. The band’s previous records were boundary pushing in what can be an insular musical style and Slow Forever‘s expansive dynamism sacrificing none of the bleakness and brutality was something of a new chapter for the band. Colorado Springs-based deathgrind band Worry and Denver’s heavy band super group (with members of Native Daughters, Cult of the Lost Cause and Lords of Fuzz) round out the bill.

Who: Ghoulfriend, Corner Girls, Page 27, art by Katherine Louise, Jesse Nickell and poetry by Kelsey Carolyn Bowe
When: Monday, 10.30, 7:30 p.m.
Where: Syntax Physic Opera
Why: Ghouloween 2017 will be held in the basement of Syntax for extra spookiness. It’ll be a night of art, music and poetry. Chances are you won’t see the bands on the same bill again any time soon. Ghoulfriend is weirdo guitar project of Trey Tafoya of Ancient Elk and déCollage. Some bands play psychedelic rock, Ghoulfriend takes the concept of using guitar to expand sound palettes to a higher and more original level while still making it accessible. Page 27 is one of Denver’s, and the world’s, longest-running noise bands. Now, P27’s soundscape has included harsh noise and sometimes still does but it’s more like a hypnotic, modulated drone that pulls in sounds that one does not often associate with the genre called drone. Corner Girls is an excellent surf rock/punk band whose lyrics are often enough an irreverent take-down of patriarchal cultural features that should have been weeded out of our collective unconscious decades ago but somehow still linger and affect people’s everyday lives. Addressing it with music is simply a peaceful and creative way to discuss the issues.

Tuesday: October 31, 2017

Alvvays
Alvvays, photo by Ardin Wray

Who: Alvvays w/Jay Som bluebirdtheater.net/events/detail/337225
When: Tuesday, 10.31, 7 p.m.
Where: The Bluebird Theater
Why: Alvvays’ self-deprecating pop songs could be glum but Molly Rankin and company seem to realize that wallowing in despair rather than finding the humor in life’s downstrokes is more boring than transforming those moments of intense emotions into something creative. The Toronto band’s promising 2014 debut sounded like a band fully formed and tapping a bit into the pop music that came out of the C86 era in its sophisticated simplicity and unabashed embrace of bright and breezy, catchy melodies. The 2017 album, Antisocialites is highlighted with neon-sounding synths like someone in the band has started listening more closely to Missing Persons including the flourishes of tastefully intricate micro guitar solos. The subtle details make it a consistently rewarding listen. Along for this leg of the Alvvays tour is Jay Som whose lo-fi anthems about identity, self-discovery, self-definition and personal liberation seem very relevant in a time when the boorish, hateful and oppressive side of modern American culture has reared its ugly head in a big way. 2017’s Everybody Works is a bracing antidote to all of that even if it may sound like a gentle indie rock record to many.

Who: Itchy-O w/Altas
When: Tuesday, 10.31, 8 p.m.
Where: Summit Music Hall
Why: For the uninitiated, Itchy-O is a roughly 32 member avant-garde music performance troupe that plays its shows entirely in costume like mariachi mystics. The band has a full drum corps and other percussion, a taiko section, bass, guitar, synths, processed vocals and other noises and “dancers” that creep about the crowd during the show. It’s a real spectacle and really unlike other bands in every way. That it can release albums that could be worthy of the live show seems implausible but the band recently released its second full-length album, From the Overflowing, on Alternative Tentacles. The records are no replacement for the experience of the band but fascinating listening nevertheless. Instrumental rock band Altas opens the show with its dynamic, cinematic compositions.

Who: Space In Time, Keef Duster, Colfax Speed Queen and Wild Call
When: Tuesday, 10.31, 8 p.m.
Where: Hi-Dive
Why: Space in Time is a hard rock band whose sound harkens to a time when early metal and psychedelic rock were not at all far apart. Obvious touchstones for Space in Time would be Deep Purple, Captain Beyond (which included ex-members of Deep Purple and Iron Butterfly) and Uriah Heep with both bands’ gift for writing melodic heavy rock with a fluidly trippy groove. Keef Duster’s music draws on similar inspirations but wends more toward the doom end of the heavy spectrum. Fronted by Kim Phat, who some may know from garage rock punks Dirty Few, Keef Duster is more than a clever name even though it recently released a song called “Hash Hive.” The latter was mixed and produced by Matt Loui of psychedelic garage rock band Colfax Speed Queen, also on the bill.

Who: Captured! By Robots w/908, Bewitcher and Night of the Living Shred
When: Tuesday, 10.31, 9 p.m.
Where: 3 Kings Tavern
Why: Captured! By Robots at this point is a great metal band, bordering on death metal and industrial. Most of the band is comprised of robots constructed by JBOT but a lot of the kitsch factor of the earlier part of the project’s life are gone and the performance is much more focused on doing something that isn’t a complete gimmick. Internationally known deathgrind band 908, from Colorado Springs, shares the bill as does skate thrash band Night of the Living Shred. So basically Bryan Ostrow will be doing throat destroying vocals for two bands this night because he’s the Nivek Ogre of extreme metal.

Who: Bronze, Terminals, Master Ferocious, The Pollution and The Stunning Cuntz
When: Tuesday, 10.31, 9 p.m.
Where: Mutiny Information Café
Why: Three of the handful of good sludge metal bands from Denver at Mutiny? We’ll have to assume some books will fall off shelves at some point. Bronze is named in reference to Mad Max and its heavy music is more tied to bands from the 70s and early 80s with strong songwriting and good vocals rather than the 90s and 2000s stoner rock bands it may sound like. When there seemed to be way too many stoner rock bands in Denver from roughly 2000-2010, Bronze stood out. Members of Master Ferocious came out of some of the better bands of that era too like The Angry Hand of God. Out of the latter, guitarist Mark Pilloud and bassist Brian Kennedy were involved in the founding of Master Ferocious in 2014 and the newer band still seems to write dystopian songs about the present with guitar work that demonstrates an interesting co-influence from, of course, Black Sabbath and late 70s Judas Priest.

Wednesday: November 1, 2017

Slowdive
Slowdive, photo by Ingrid Pop

Who: Slowdive w/Cherry Glazerr
When: Wednesday, 11.01, 7 p.m.
Where: Ogden Theatre
Why: Of all the shoegaze bands of the late 80s and early 90s, Slowdive was an early adopter of an ambient and electronic music aesthetic. When the group started as a kind of indie pop band called Pumpkin Fairies, its songwriting, inspired in part by atmospheric post-punk bands like Siouxsie and the Banshees (the song of whom the fledgling band borrowed its then new name), The Cure and Cocteau Twins. For the 1991 debut full-length, Just For A Day, the ethereal vocals that one now associates with the shoegaze genre was very much in place and so were the expansive, towering guitar drones that the band had developed on its previous EPs.

By the time of the 1993 follow-up, Souvlaki, Slowdive was working with ambient music godfather Brian Eno and had all but abandoned conventional rhythm structure in favor of more organic rhythms giving songs like “Sing” and “Souvlaki Space Station” a quality that melds the tone and the atmosphere into what might later be described as a beat-driven approach to the songwriting. Those musical instincts reached their peak with Slowdive on what might have been its final, and in some ways most daring and interesting album, 1995’s Pygmalion. The latter came out at a time when the alternative music world had long gone down the rockist path with a set of songs based in what seemed like a sonic recreation of pure emotion cast in minimalist textures. It was like a post-rock album seemingly inspired by and synthesizing IDM, abstract dub and ambient house music. The innovative record lost the band their label contract with Creation records and the members of Slowdive went on to other musical concerns over the years including Mojave 3, Monster Movie and The Sight Below.

Perhaps inevitably, Slowdive reunited in 2014 but under its own terms and with the aim of recreating its heart and imagination-stirring music authentically. And its subsequent tours have borne that goal out. Making no promises until the possibility was a bit of a concrete reality, the band didn’t announce new material until Spring 2016. The forthcoming self-titled album, released in May 2017, was not a rehash of the band’s past. It was not an attempt to outdo the sheer experimentalism of Pygmalion. Rather, it was a strong set of songs worthy of all of its earlier music. The music doesn’t feel like nostalgia, it feels like the band knew it had to do something that wouldn’t reject the past but also not be yoked to expectations of any lack of artistic growth on the part of the musicians over the previous twenty-two years. So if you go to the show, and you should if you’re a fan of highly emotionally stimulating music that is an unexpectedly visceral experience, no need to dread any newer, inferior material because the most recent Slowdive songs are far from subpar.

Who: Robot Peanut Butter & The Shooting Stars, Ice Troll, Dear Rabbit and Open to the Hound
When: Wednesday, 11.01, 9 p.m.
Where: 3 Kings Tavern
Why: This might be the deluxe edition of Claudia Woodman’s Weird Wednesday series for the first half of the month. Robot Peanut Butter & The Shooting Stars is “Electronica Glam Rock” that includes contributions from Never Kenezzard’s Ryan Peru. Ice Troll is a sort of doom rock orchestra. Dear Rabbit is lo-fi avant-garde folk. Open to the Hound is what might happen if Lloyd Cole formed a band that took some cues from The The and Slim Cessna’s Auto Club. It’s just that weird but grounded in classic songwriting sensibilities.

Who: Chicano Batman w/Khruangbin and The Shacks
When: Wednesday, 11.01, 7 p.m.
Where: Gothic Theatre
Why: To say Chicano Batman is sort of a psychedelic soul band doesn’t quite do it justice because its music comes out of tropicalia, old timey rock and roll and funk without sounding like it’s trying too hard to please everyone. Live, the group presents a unified visual image with matching outfits as one might expect from 60s and 70s Chicano rock bands like Thee Midnighters and Sunny & The Sunglows. Early on championed by the late, great, Ikey Owens, Chicano Batman got a leg up reaching a wider audience through a 2015 tour with Jack White, with whom Owens had been playing before his untimely death in October 2014. The group’s 2017 album, Freedom is Free, is a bracing antidote to the climate of chaos, desperation and despair that many people have been experiencing with the Trump administration by offering an alternative vision for a better America and a world.

Houston’s Khruangbin is a Thai surf-funk-soul band so it and Chicano Batman are a perfect compliment to one another as Kruangbin’s music isn’t grounded in the same influences even if the music it’s music is also not inspired by music from just one place and one time. Inspired initially by Thai funk cassettes from the 60s and 70s, Khruangbin has found fuel for its creativity in the music that influenced those bands and the music that resulted from those roots that manifested in various ways. Dub, Afrobeat, reggae and hip-hop, among others.

Best Shows In Denver 10/19/17 – 10/25/17

Bell Witch
Bell Witch, photo by David Choe

 

October continues to be the busiest live music month for Denver but one with few if any festivals, thank goodness. As usual here are several offerings worthy of your attention.

Thursday: October 19, 2017

Who: Din Virulent & MGNLP w/Rasmussen and Juice Up 
When: Thursday, 10.19, 7 p.m.
Where: 7th Circle Music Collective
Why: This is basically a harsh noise show but one thing lost on people that either actively despise it or don’t get it at all is that most noise artists are completely unlike every other noise artist. Juice Up has some disorienting arrangements of samples and sounds that’s something like a completely unconventional rhythm but there is a humorous playfulness there. Rasmussen is John Rasmussen of Denver noise legends Page 27. Rasmussen’s solo output is so diverse in texture and tone that even his “harsh” noise sets tend to have a subtlety and nuance that suggests the serious composition and planning that undergirds sounds that aren’t trying to fit at all into a pop song format. Din Virulent sounds like what happens when you chain a few delay pedals together and have them feed back off each other while manipulating the signal for an effect like watching white noise on TV if that image was sound and occasionally felt like it was aggressively charging out at you.

Friday: October 20, 2017

Who: Tera Melos w/Speedy Ortiz, Holophrase and Meet Me In Montauk
When: Friday, 10.20, 8 p.m.
Where: Larimer Lounge
Why: Tera Melos might be one of the more misunderstood bands of the last several years because it sounds like its member spent some time playing in one of Trey Spruance’s projects: lots of unusual rhythms and dynamics requiring a precise musicianship while not sounding too in the pocket; heavy guitars, disorienting tones and an alternating driving and and hanging melodies. Its 2017 album, Trash Generator, is like a math rock shoegaze album with a touch of brutal psychedelia. In that way Tera Melos could be said to be a bit of a musical cousin to noise rock phenoms Deerhoof. Speedy Ortiz sounds like it picked up where The Breeders and Throwing Muses left off in the mid-to-late 90s with captivating, fuzzy melodic songs that take a walk out of every day mundane life while commenting on that life with with and sensitivity. Holophrase is a Denver band that has come out of being a guitar-based indie rock band (albeit one that didn’t sound much like anything contemporary and only slightly like Magazine) into being a mostly electronics-based band with deep atmospheres and Malgorzata Stacha’s layered vocal melodies serving as an emotional and sonic locus for the group’s hypnotic, chilly soundscapes.

Who: Thurston Moore w/The Diary of Ic Explura
When: Friday, 10.20, 8 p.m.
Where: Larimer Lounge
Why: It is indeed Thurston Moore of influential No-Wave-and-punk-inflected rock band Sonic Youth. His new album, Rock and Roll Consciousness, showcases Moore’s gift for writing moody pop songs bolstered by dynamic and complex yet tasteful guitar work. It’s melancholy stuff but much of Moore’s best material is yet he also manages to lend his songwriting a thoughtfulness not mired by despair. He can create a gritty image and imbue it with some future hopefulness not yet obvious in the moment he documents in his words—being in the moment but knowing that you can never fully get stuck there unless you try really hard. The Diary of Ic Explura is Toni Oswald’s ambient, sound collage experiments that she sculpts into coherent songs by adding instrumentation to elements that aren’t necessarily inherently musical. Like musique concrète with a soundtrack. Which is nothing new in the world of avant-garde music but Oswald’s vibrant and transporting music demonstrates well how noise and composition can work together.

Who: The Juan MacLean
When: Friday, 10.20, 8 p.m.
Where: Bar Standard
Why: Deep Club 3rd Fridays brings The Juan MacLean to a relatively small venue. John MacLean’s first chapter in influential music came with his tenure as a guitarist for Providence, Rhode Island-based, experimental post-hardcore band Six Finger Satellite. The band was an early practitioner of fusing electronic elements with the usual punk rock instrumentation and operating in the same musical realm as bands like Arab On Radar, Lightning Bolt and Mindflayer—though predating them all. When SFS split near the turn of the century, MacLean left music for a few years before Six Finger Satellite’s sound engineer, James Murphy (who some may know as starting DFA Records and as a member of LCD Soundsystem) helped convince him to make music again. But instead of doing the noisy punk stuff he’d been doing, MacLean focused instead on forward thinking electronic music and a mutant form of modern disco. And that’s what you can more or less expect at this event.

Who: Don Strasburg, Cuckoo, Ashley Koett
When: Friday, 10.20, 8 p.m.
Where: Denver Bicycle Cafe
Why: Don Strasburg isn’t just a clever name for a band. The Boulder-based outfit doesn’t bother to trace any lines on the punk rock spectrum but fans of modern, mathy emo will find something to like but so will anyone that is into the most genre-bending, noisy post-hardcore. Cuckoo is lo-fi dream pop that would have fit in well on the Siltbreeze imprint or so it’s 2016 album Mermaid’s Don’t Exist would suggest. For fans of stuff like early Sebadoh, Eat Skull, Times New Viking, No Age and Microphones. — update, Don Strasburg no longer on the bill, now Terremoto.

Who: Allout Helter & Black Dots FEST sendoff w/faim, The Larimers, Andy Thomas’ Dust Heart
When: Friday, 10.20, 8 p.m.
Where: Hi-Dive
Why: The Fest has been happening in Gainesville every year since 2002. It’s a mostly punk festival and this year’s festival includes the likes of Against Me!, Pegboy, Hot Water Music, Beach Slang, City of Caterpillar, Hum, Snapcase, Atom and His Package and Rainer Maria. But it will also feature Denver political punk thrashers Allout Helter and melodic hardcore band Black Dots. Sure, both bands play Denver regularly but here they are on one bill to send them on their way to one of punk’s most prestigious festivals.

Saturday: October 21, 2017

Who: Afghan Whigs w/Har Mar Superstar
When: Saturday, 10.21, 8 p.m.
Where: Gothic Theatre
Why: Afghan Whigs both predated and embodied what was great about the alternative rock era. The group started as a kind of garage rock band but infusing that sound with soul and R&B, with lyrics revealing a keen insight into human psychology, yielded some of the best records of the 90s. 1993’s Gentlemen was the band’s major label debut, after an independently released 1988 debut and two fine records for Sub Pop, and the record that was a departure from the fuzzy psychedelia of its earlier efforts. As “alternative rock” was running out of steam by the middle of the decade, Afghan Whigs continued to write and record vital music for 1996’s Black Love and 1998’s 1965 before the band amicably split in 2001. Singer Greg Dulli kept on battling his personal demons in other projects throughout the 2000s but in 2011 Afghan Whigs announced it was reuniting. A lot of bands from the alternative rock world have reunited and most of them have had respectable tours and the Whigs were no different. Dulli was and is an electrifying frontman and the band’s performance startlingly powerful overall. Currently the group is touring in support of its 2017 release In Spades. Har Mar Superstar has stylistically been all over the map from silly hip-hop early in the life of the project (Sean Tillman is also in pop band Sean Na Na) to a more Motown-esque soul and R&B sound while often performing all but nude and making an oddly compelling spectacle of himself. But the music is legit and if it’s tongue in cheek it is in the way that only someone with a deep respect for the musical style could pull off.

Who: Sound of Ceres album release of The Twin, Plume Varia and The Milk Blossoms
When: Saturday, 10.21, 9 p.m.
Where: Syntax Physic Opera
Why: When Ryan and Karen Hover started Sound of Ceres in 2015, setting aside their dreamy indie pop band Candy Claws for the time being, they seemed to be tapping into a daydream realm of freely associating ideas and sounds and something about the purity, honesty and transcendent beauty of the music translated well onto the recording of 2016’s Nostalgia for Infinity. On the 2017 follow-up, The Twin, the band is spending less time drifting through shimmering gossamer and luminous fog. The minimalist songwriting approach this time leaves enough space for greater clarity of tone and distinctness of sounds working in conjunction with each other. It is not a better record but it sounds very focused. Denver dream pop greats Plume Varia and The Milk Blossoms open the show potentially opening a vortex into some realm Lord Dunsany would have written about. At least emotionally speaking. Vampires and werewolves aren’t real either, kids.

Who: Torres w/The Dove & The Wolf 
When: Saturday, 10.21, 8 p.m.
Where: Larimer Lounge
Why: Torres is an artist like PJ Harvey, Aldous Harding, EMA or John Vanderslice who are difficult to pigeonhole, whose high imaginative and powerful work cannot be reduced to a simple genre. Mackenzie Scott, the person behind Torres, doesn’t limit her songwriting to a single instrument so her sound has a layered cohesion even as it sounds like she’s going off the rails. There is an honesty, power and vulnerability to her music that comes across perhaps most vividly on her new record, Three Futures. Interestingly enough, Mackenzie got Rob Ellis, a longtime collaborator with PJ Harvey, as well as Portishead’s Adrian Utley.

Who: The Rotten Blue Menace reunion show w/Short Bus Rejects, The Beat Seekers, The Beeves and Sentry Dogs
When: Saturday, 10.21, 7 p.m.
Where: 7th Circle Music Collective
Why: The Rotten Blue Menace spent a few years being one of the most entertaining and active ska bands in Denver so it’s only appropriate that it would have its reunion show sharing the stage with a band it likely influenced, Short Bus Rejects, who are playing their final show this night. It won’t all be ska or ska punk because street punkers Sentry Dogs and melodic grunge wonders The Beeves will fill out the bill.

Who: Kitty Crimes (DJ set), Snubluck, DJ Polyphoni and Just, Kevin
When: Saturday, 10.21, 8 p.m.
Where: Fort Greene
Why: Kitty Crimes is normally a fast rapper with some explicit content in her lyrics and always pretty entertaining. For the DJ set who knows what might be in the mix because Maria Kohler, aka Kitty Crimes, has fairly diverse taste in music and the rest of the night will be some form of electronic dance music including experimental beatmaker and soundscaper, Snubluck.

Sunday: October 22, 2017

Who: Daikaiju w/TripLip, Kenaima and Chaff
When: Sunday, 10.22, 8 p.m.
Where: Streets of London
Why: Since 1999, surf rock band Daikaiju from Huntsville, Alabama, has been performing shows that are the stuff of legend. Fire, acrobatics, the kind of exuberant energy that’s impossible to not be swept up in at the show. They play in costume so you might think of them being, overall, something like Peelander Z and Crash Worship, lucha libre and kabuki. People often use the word “chaotic” to describe the show and fair enough but more like an explosion of fun. Also playing the show is TripLip, which is comprised of people who used to live at the late, great Five Points Denver DIY venue Mouth House. TripLip is more psych and prog but very much in the same spirit as Daikaiju, a band that somehow hosted Daikaiju’s wild live show more than once in a residential neighborhood.

Who: A Giant Dog w/SPELLS and Class President
When: Sunday, 10.22, 8 p.m.
Where: Hi-Dive
Why: It’s odd that Austin’s A Giant Dog hasn’t broken to a much larger audience. But for now count yourself lucky you’re getting to see the band in smaller venues in Denver for now. Its rowdy, tuneful mélange of early glam rock, punk and power pop is celebratory without coming off insincere. That’s probably because the songs are about things that anyone that isn’t living a glamorous or pampered life can relate to and delivered with an unlikely combination of vulnerability and conviction. In 2017, A Giant Dog released Toy, its most fully-realized album to date, through Merge Records. Denver’s SPELLS is cut from a similar cloth as a brash, minimalist punk band not short on melody in its own right.

Monday: October 23, 2017

Who: Daikaiju, TripLip and Today’s Paramount
When: Monday, 10.23, 7 p.m.
Where: 7th Circle Music Collective
Why: For Daikaiju and TripLip see above. Today’s Paramount is sort of a psychedelic jazz rock band with touches of carnival music and ska. But it works and Today’s Paramount doesn’t sound much like anything else in Denver except for maybe a band where the chops, songwriting and humor are blended together well and developed to a high degree like The Inactivists.

Who: Shadows Tranquil, Voight, Equine
When: Monday, 10.23, 8 p.m.
Where: Syntax Physic Opera
Why: Shadows Tranquil is a band including longtime music fan, often threatening to be musician, finally is, Doran Robischon, and this is the band’s EP release show. Knowing Robischon’s taste for noise, witchouse, dark atmospheric music and stuff on the moody spectrum of all of that, his band will probably be interesting. Voight is the post-punk band that has interwoven strong strains of noisy shoegaze and industrial. Equine is the solo project of Kevin Richards and it’s guitar soundscaping stuff that comes off like a sculpted version of ambient and musique concrète.

Who: Hissing w/SUTEKH HEXEN, Of Feather and Bone, Worm Ouroboros, Vermin Womb and Casket Huffer
When: Monday, 10.23, 8 p.m.
Where: Hi-Dive
Why: Hissing and Sutekh Hexen recently released a split record, fitting since both are more on the brooding end of death grind. Disorienting, hypnotic pummeling through sound and rhythm. Minimalistic yet loud and aggressive. Both are in good company with the rest of this bill. Of Feather and Bone is certainly the more in-your-face style of deathgrind that is thankfully too alienating for casual fans of metal. Vermin Womb is similarly-minded but has more hanging dynamics and sounds closer to the roiling chaos bordering on nasty atmospherics in some black metal. Cheyenne, Wyoming’s Casket Huffer has a flavor that still has some connection to thrash, at least in the guitar work. Oakland’s Worm Ouroboros, however, will be a bit of an anomaly with its beautifully expansive, minimalistic and melodic, ethereal metal rooted in themes of nature and humankind’s relationship with the environment. If you’re fans of SubRosa, Dreadnought and Wolvserpent you’ll probably find something to like about Worm Ouroboros. Update: Worm Ouroboros no longer on the bill, instead Un, the “Aetherical Doom” band from Seattle. Also, it appears Sutekh Hexen dropped out of the show too.

Tuesday: October 24, 2017

Who: Hans-Joachim Roedelius w/Xambuca and Dream Hike
When: Tuesday, 10.24, 10 p.m.
Where: Mercury Café
Why: Hans-Joachim Roedelius is one of the true pioneers of krautrock and synthesizer-based music generally. His diverse body of work influenced the development of the aforementioned as well as new age music, psychedelic rock, ambient and electronic music generally. He was one of the co-founders of Zodiak Free Arts Lab in West Berlin in 1968, one of the most important spots for experimental music and the avant-garde of its time. Along with Conrad Schnitzler and Dieter Moebius he formed Kluster (later Cluster after Schnitzler left the group), a band for which any idea seemed a go and its’ mixture of standard rock band instrumentation (albeit used toward unorthodox ends), cello, synths, feedback manipulation and unusual devices to use in music like car batteries and signal generators. Kluster didn’t exactly hit the charts but its legacy of experimentation and recontextualizing sounds continues to this day.

Roedelius has since then been a prolific artist whose projects (solo and otherwise) and collaborations have pushed the boundaries and horizons of experimental music and synthesizers. With Cluster and Harmonia, Roedelius took truly unusual and groundbreaking musical ideas and made them accessible. Cluster collaborated with Brian Eno on 1978’s ambient music classic After the Heat. In the next decade Roedelius’ work helped to refine and further define the aesthetic of techno. But, interestingly enough, Roedelius’ most prolific years came in his mid-sixties around the turn of the century. This is a rare opportunity to witness one of the founders of modern music and especially at a small and intimate venue like The Mercury Café.

Who: Ariel Pink w/Bite Marx
When: Tuesday, 10.24, 7 p.m.
Where: Hi-Dive
Why: Ariel Pink as much as Animal Collective and Deerhunter can be said to have been responsible for inspiring a whole generation of musicians to use reverb on their vocals and guitars in an attempt to create a dreamlike soundscape that pre-dated the full-on psychedelic rock revival by half a decade. Except that those three acts did that and pushed the aesthetic further than most of the people they influenced. AC released a few of Ariel Pink’s earlier records before he was a touring act or one that played live much at all. To his credit, like Animal Collective and Deerhunter, every one of Ariel Pink’s albums pushes his own envelope and his new record, Dedicated to Bobby Jameson, is a fitting homage to the late, great cult songwriter of transporting psych folk.

Who: Dinosaur Jr w/Easy Action
When: Tuesday, 10.24, 7 p.m.
Where: The Gothic Theatre
Why: Dinosaur Jr is the clear draw for this show and rightfully so. The band has inspired more great guitar music to have come along since the early 80s out of proportion to their level of fame than most other bands you could name. Certain an influence on shoegaze, noise rock, alternative rock in general and any kind of left field music that dares to use guitar sounds with a nod to classic rock virtuosity and punk rock’s willingness to repurpose and deconstruct rock tropes. But get there early and catch one of the greatest frontmen in the history of rock music in John Brannon of Easy Action. One, the band is like a psychedelic version of Black Flag with that kind of forcefulness and ability to write guitar riffs that also disorient the senses. Brannon first came to the attention of most people in the know with his hardcore band Negative Approach. But in the mid 80s, Brannon formed legendary noise rock band Laughing Hyenas with the late Larissa Stolarchuk, Jim Kimball and Kevin Munro. For a decade the band set a high bar for intense live performances and songs that really articulated the harrowing struggle between desperation, inspiration and dreams of a more meaninful existence. Easy Action formed near the turn of the century and alongside a re-formed version of Negative Approach it has been Brannon’s outlet for his unique vocal style that is as terrifying as it is riveting.

Who: Tei Shi w/Twelve’len
When: Tuesday, 10.24, 7 p.m.
Where: The Gothic Theatre
Why: Valerie Teicher was born in Buenos Aires and spent part of her childhood in Bogotá and Vancouver, BC. So maybe somewhere along the line her knack for gently but vibrantly soulful vocals started to develop. However it happened, her early singles as Tei Shi found an audience among fans in her then adopted home city of New York, where she moved after attending Berklee. After a string of acclaimed EPs, Teicher released her 2017 full-length Crawl Space. It is an expansive gem of a downtempo, R&B-inflected synth pop album named after a place Teicher used to go to confront her fears of darkness. An apt metaphor for the various situations (emotional, social, professional, personal and so forth) Teicher discusses with nuance and insight across the album’s fifteen tracks.

Who: Dayglo Abortions w/Serial Killer Sunday School, The New Narrative and Self Service
When: Tuesday, 10.24, 9 p.m.
Where: Streets of London
Why: With a name like Dayglo Abortions the Canadian punk band was never going to have to worry about being co-opted by mainstream music outlets. During its existence, Dayglo Abortions have been punk, hardcore and crossover but its messaging has been the same—a big middle finger of irreverence for mainstream normalcy. Read the track list to the 1986 classic Feed Us a Fetus and you might even wonder where this band is coming from except for a healthy and vitriolically humorous disdain for right wing politics and racism and other aspects of Western culture that make it a bummer for anyone trying to live an authentic life. This is also the band that named its 1991 album Two Dogs Fucking. That level of surrealistic humor and pointed political statements didn’t exactly end, thank goodness. Opening the show are Denver’s Serial Killer Sunday School, The New Narrative and Self Service, all great punk bands that aren’t just irreverently funny but who have some fairly pointed commentary on the ills of American society.

Who: My Life With the Thrill Kill Kult w/Ritual Aesthetic and DJ Ritual
When: Tuesday, 10.24, 8:30 p.m.
Where: Streets of London
Why: My Life With the Thrill Kill Kult is celebrating its 30 year anniversary with this tour so they’ll be playing a whole lot of early albums Confessions of a Knife (1990) and I See Good Spirits And I See Bad Spirits (1988) so you’ll get to see some vintage material. The show is the best kind of spectacle and it perfectly blends B-movie horror kitsch, a carnival, trash culture and industrial dance music into an inspired whole. Chances are it will be one of the most fun shows you’ll see all year even if you’re not necessarily into industrial music. DJ Ritual will spin his relatively eclectic set at the show and between bands. Ritual Aesthetic is an industrial rock band from Denver in the vein of stuff like Electric Hellfire Club and Stabbing Westward when that band is more industrial than metal.

Wednesday: October 25, 2017

Who: Arcade Fire w/Bomba Estereo
When: Wednesday, 10.25, 6:30 p.m.
Where: Fillmore Auditorium
Why: Arcade Fire quickly became one of the most popular of early 2000s indie rock bands following the release of its 2004 debut album Funeral. On that tour the band played in Denver at Hi-Dive and Larimer Lounge. By the time Neon Bible came out in 2007, Arcade Fire had become too commercially successful to play small clubs. And that’s where it cold have ended with all the pressures of the music industry guiding the band into tried and true territory. But Arcade Fire actually risked alienating fans with 2013’s Reflektor and its emphasis on the electronic side of the band’s soundscapes. For 2017’s Everything Now, the band recruited Pulp’s Steve Mackey, Thomas Bangalter of Daft Punk and Geoff Barrow of Portishead to come in and do production work and the resulting set of songs is lush and has a warm, sweeping quality that one might expect out of a 70s glam rock record. As such the live show is sure to not skimp on a visual component to aid in the elevated tone of the songwriting. It’s kind of a past time of music critics and older fans to trash Arcade Fire today but it’s arguable the band is writing the most interesting music of its career by being willing to push forward instead of sticking to what some people think is what they do best. Bomba Estéreo is an alternative Cumbia band from Colombia.

Who: KMFDM w/OhGr and DJ Ritual at Summit Music Hall
When: Wednesday, 10.25, 7 p.m.
Where: Summit Music Hall
Why: Kein Merheit Für Die Mitleid does not in fact mean “Kill Mother Fucking Depeche Mode,” per the long-running joke. The industrial band was founded in Hamburg, Germany in 1984 and has undergone numerous incarnations and stylistic shifts from its early performance art-oriented shows to its full embrace of bombastic kitsch, sardonic humor and thoughtful social critique. You can probably start anywhere to get an idea of what the band’s music is about but for beginners give 1997’s Symbols a listen. Which is appropriate enough because Ogre from Skinny Puppy will perform his solo material as OhGr as a kind of co-headliner for this show. His set lists have included a good deal of material from Welt and SunnyPsyOp. And it’s Ogre so his set will have plenty of the inspired weirdness that has made him one of industrial music’s most interesting performers and artists. And who knows, maybe he’ll join KMFDM on stage for “Torture” as he did during KMFDM’s tour for that album in the 90s.

Who: Guided by Voices
When: Wednesday, 10.25, 8 p.m.
Where: Fillmore Auditorium
Why: Robert Pollard is by now both a godfather of modern lo-fi rock and one of its most accomplished and prolific artists. Had he ended Guided By Voices after 1994’s epochal Bee Thousand he would still be a legend. But 18 albums later, Pollard is still going strong with two 2017 albums: August By Cake (Pollard’s 100th recorded album) and How Do You Spell Heaven. Not every song is a winner but even Bob’s “lesser” material is worth a spin. The live show is an unabashed flood of splintery rock and roll in an era when there’s too much emphasis on being smooth and polished or faking grit. There’s no fake grit with Guided by Voices except maybe as an inside joke with fans and the audience.

Who: Glasss Records presents The Artists of Glasss and Friends: Princess Dewclaw, RAREBYRD$, Bianca Mikahn, Gold Trash, Juniordeer, EVP, Abeasity Jones, Pearls and Perils, Super Macho and Chromadrift as well as Adam Selene and Nighttimeschoolbus
When: Wednesday, 10.25, 7 p.m.
Where: Alamo Drafthouse – Sloans Lake
Why: This is a big showcase for Denver experimental music imprint Glasss Records and it includes some of the Mile High City’s most interesting bands and guests like alternative hip-hop group Nighttimeschoolbus.This show is a great opportunity to get a taste of a lot of what the artists on the label have to offer as they won’t be playing full sets.

Who: Bell Witch w/Primitive Man, Urn and Oryx
When: Wednesday, 10.25, 8:30 p.m.
Where: Hi-Dive
Why: Seattle-based doom band Bell Witch released one of the genre’s most haunting and crushing albums of 2017 with Mirror Reaper. The duo manage to conjure spectral horror and primal energies crying out in drawn out triumph with processed bass, drums and vocals. A perfect pairing with tourmates Primitive Man from Denver whose own 2017 album Caustic not only beyond lives up to and embodies the album title, it is an evocation of sustained despair, desperation and frustrated rage transmogrified into colossal and punishing songs that somehow also serve as a catharsis and a channel into an inner peace that are the opposite of the songs themselves. Opener Oryx is a sort of doom grind duo and the other opening act, Urn, injects some psychedelic elements into its own brand of doom. Probably the loudest show of the week outside of that Dinosaur Jr and Easy Action show on October 24 but also easily one of the best lineups of heavy music all month.

Best Shows in Denver 10/12/17 – 10/18/17

Palehorse/Palerider
Palehorse/Palerider, photo by Tom Murphy

With disaster and political malfeasance plagueing the world, not helped by an American president filled with the insufferable hubris to troll not just a dictator with nuclear capabilities and a proven delivery system as well as an American territory hit hard by a hurricane it’s difficult to think how anything less serious matters much. But getting no enjoyment out of life won’t make things better for anyone so what follows are a list of some of the best shows happening in Denver this coming week.

Who: Atriarch, Fotocrime, Echo Beds and Palehorse/Palerider
When: Thursday, 10.12, 9 p.m.
Where: Meadowlark Lounge
Why: Portland’s Atriarch creates the kind of ominous, bluntly forceful yet elegant music that shows you where noise, deathrock and black metal intersect to create the soundtrack to an epic post-apocalyptic horror film soundtrack. It’s new record, Dead As Truth, should appeal to fans of Neurosis, Swans and Wolves in the Throne Room. Fotocrime includes members of Coliseum and Young Widows. Not too surprising considering Coliseum’s latest, and best, material is a reinvention of dark post-punk. Fotocrime is even more in that vein but with the forcefulness of a post-hardcore band. And that would be reason enough for going to this show but you’ll also get to see Denver’s great industrial/noise band Echo Beds and Palehorse/Palerider who are on that post-punk vibe but more in the vein of colossal, atmospheric doom metal. That is if Kevin Shields got into that game. It’s 2017 album, Burial Songs, is a sprawling science fiction and fantasy epic in its own right.

Who: We Should Have Been DJs (WI), Once A Month (WI), Guts and Obtuse 
When: Thursday, 10.12, 9 p.m.
Where: Mutiny Information Cafe
Why: Madison, Wisconsin’s We Should Have Been DJs are that kind of noisy, sloppy and relentless weirdo punk brings their show to Mutiny with fellow Wisconsinites Once a Month, a lo-fi, fuzzy punk trio that is so bratty and irreverent it’s worth listening to for that alone. “Ghosting” and “Boys Oughta” from their new split with We Should Have Been DJs are brilliantly pointed pieces of commentary. Denver emo punks Guts and Obtuse put out two of the best EPs/splits of the year out of that world that has been re-emerging over the past half decade or so. Flavorwise, Guts is more DC-esque emo and Obtuse more midwest/Chicago/Champagne-Urbana style.

Who: Candace w/Eyebeams and Boat Drinks
When: Thursday, 10.12, 8 p.m.
Where: Hi-Dive
Why: Candace is “country shoegaze”? Maybe the shimmer from certain kinds of country and the solid songwriting. But the Portland band’s music could have come out 26 years ago of at the height of slowcore in the 90s or today with a fresh take on all of that. Opening are Denver dream pop band Eyebeams and Boat Drinks, a band whose melancholic pop songs suggest maybe the songwriters listened to a lot of Chisel (though probably Ted Leo & The Pharmacists) and Wilco but that is no knock on the excellent songwriting.

Who: The Colorado For Puerto Rico & Mexico Benefit Concert at McNichols Building 4-11 p.m.: Barrio E (Puerto Rican Bomba), Colombian dance troupe by Julio A. Martinez Latin Explosive Movement (LEM), Los Hijos de Tuta (Latin Rock), Son Moreno by Juan Moreno (Cuban Son, Cumbias), Roka Hueka (Latin ska), Mono Verdecollective Monoverdecollective (Latin Reggae) and Orquesta La Brava (Salsa) 
When: Thursday, 10.12, 4-11 p.m.
Where: McNichols Building
Why: Since the Trump administration seems to be dropping the ball on aiding Puerto Rico and Mexico at a time of natural disasters devastating a U.S. territory and one of our neighboring countries, it seems as though gestures like this will be necessary to help provide any meaningful relief. By the time this posts the show will have got off the ground but you can probably still catch some of the best Latin artists playing live music in Denver right now and help out with a great cause.

Who: Battalion of Saints, The Nobodys and The Cryptics 
When: Thursday, 10.12, 7 p.m.
Where: The Marquis Theater
Why: Battalion of Saints was part of the first wave of hardcore when it launched in San Diego in 1980. Sure it had the edgy furiousness of other hardcore bands and thus part of the appeal. But Battalion of Saints always had a melodic quality to even its heavier songs that has aged better than some of the music of its contemporaries. Colorado Springs-based melodic hardcore veterans The Nobodys opens the show alongside Dover, New Hampshire’s The Cryptics.

Who: Jonwayne w/Danny Watts and Grigsby
When: Saturday, 10.14, 8 p.m.
Where: Lost Lake
Why: Jonwayne was one of the youngest performers at Low End Theory when he started performing at the legendary hip-hop showcase in 2010. He started attending the night when he was still a teenager in 2009 and he became friendly with Diaba$e and later Peanut Butter Wolf who has since signed the rapper and beatmaker to his Stones Throw label. Jonwayne garnered early attention for his mixtapes including 2011’s I Don’t Care and Cassette and Cassette 2 from 2012 and 2013 respectively. His lyrical deftness was reminiscent of Aesop Rock but his beatmaking has always been creative in his use of musical samples in synch with unusual field recordings to craft truly unique rhythms. 2017’s Rap Album Two further confirms Jonwayne’s gift for storytelling and imaginative soundscapes. Jonwayne discovered Danny Watts when the latter contacted him through Soundcloud. Watts, originally from Houston, had been working at a Costco optical department with no realistic prospect of taking his music to the professional level but there was a creative connection between the two artists and Jonwayne was very involved in making the music for Danny Watts’ 2017 release Black Boy Meets World, a powerfully vulnerable and honest set of songs that spell out some of the downbeats of modern life with a rare sensitivity.

Who: D.I., Redbush, The Hacks and Amuse
When: Saturday, 10.14, 8 p.m.
Where: Streets of London
Why: D.I. is indeed the hardcore band that was in Penelope Spheeris’ Suburbia. Or at least vocalist Casey Royer is still in the band. The group had a memorable scene in the film where they perform “Richard Hung Himself,” which was originally written when Royer was in The Adolescents. But D.I. Had plenty of other material and its sing-along, poppy punk sure seemed to have an influence a generation or more of punk bands to follow. Denver’s The Hacks are cut from a similar cloth including an irreverently self-deprecating sense of humor as evidenced by the title of its 2017 album: Three Chord Cliché.

Who: Black Out—Solar Powered Show w/Ned Garthe Explosion, The Amphibious Man and Colfax Speed Queen
When: Saturday, 10.14, 7 p.m.
Where: 7th Circle Music Collective
Why: This show is going to be drawing on solar power, presumably stored in the kind of battery that can provide ample power for three rock bands to play at least partial sets. For this show Ned Garthe Explosion and Colfax Speed Queen will demonstrate how bands that in some ways came out of the garage rock and psychedelic resurgence of the past 8 years or so can take the threads of the music that informed a lot of other bands and do something genuinely interesting with it. Ned Garthe and Stuart Confer playing off each other and the crowd provide some hilarious stage banter.

Who: The Bronx w/Plague Vendor and ’68
When: Saturday, 10.14, 7:30 p.m.
Where: Globe Hall
Why: The Bronx is often referred to as hardcore but its sound is like someone found a way to inject Aerosmith by way of L.A. glam metal into a punk band. Somehow it works. But if you’re not at all into Turbonegro or the the glammy end of The Refused, you probably won’t like The Bronx. Plague Vendor is in a similar vein and apparently calls its sound “voodoo punk.” Which is fitting since there seems to be some trippy-ish surf rock in its aesthetic that makes you think these guys listen to a lot of The Cramps and, in its noisier more hectic moments, At The Drive-In.

Who: The Bronx w/Plague Vendor and ’68
When: Sunday, 10.15, 7 p.m.
Where: Globe Hall
Why: See above.

Who: Listener w/Levi the Poet and Comrades
When: Sunday, 10.15, 7 p.m.
Where: Marquis Theater
Why: When Listener first started touring through Denver over a decade ago, it was the spoken word/hip-hop project of Dan Smith. His rapping and beats was in a similar vein to that of artists on the Rhymesayers and Anticon labels meaning sharply observed lyrics and a mastery of delivery. These days, Listener hasn’t ditched his poetic sensibilities but the music is provided by a live band whose introspective music has more in common with post-rock and Daniel Lanois than Smith’s organic and electric beatmaking of old and in many ways the better for it. 2017’s Being Empty: Being Filled finds Smith in an especially emotionally vibrant and impassioned mode.

Who: Imelda Marcos (Chicago) w/Body Meat and Club Soda 
When: Sunday, 10.15, 9 p.m.
Where: 3 Kings Tavern
Why: Imelda Marcos is a math rock/avant-garde noise rock band from Chicago whose 2017 album Dalawa might be compared to the likes of This Heat, Laddio Bolocko or Don Caballero. At least in its use of space in the songs and willingness to employ unorthodox rhythms and methods of playing guitar strings. Denver’s Body Meat might be similarly described except there seems to be more of a jazz component to Body Meat otherwise maybe its disorienting and angular flow of rhythms would be difficult to pull off.

Who: Boris w/SubRosa at Endon
When: Tuesday, 10.17, 7 p.m.
Where: Globe Hall
Why: Boris is the long-running metal/avant-guitar rock band from Japan. Its music helped to define stoner and doom rock for the past 25 years. While influenced heavily by Melvins (the band took its name from a Melvins song), Boris seems to just explore whatever realm of sound and rock and roll suggests itself to the band. Whether it’s broad vistas of sound with 2000’s Flood, crushing fuzz sculpting with 1998’s appropriately titled Amplifier Worship, the heaviest of heavy shoegaze and psychedelia with 2005’s classic album Pink or 2017’s eclectic Dear, Boris always seems to be reaching in different directions for inspiration. Live, Boris will remind you why so many other guitar bands are playing it safe in terms of both the sounds employed and the level of energy put into the show. Opening is SubRosa, the mystical/atmospheric doom band from Salt Lake City. Since its inception, SubRosa’s imagery and music has seemingly drawn upon primal, earth energies to put into its whole aesthetic. 2016’s For This We Fought the Battle of Ages is classic SubRosa in its weaving together organic, almost folk elements with epic, heavy, densely atmospheric guitar work and pummeling tribal rhythms that carry your imagination into the mythological realms that are at the heart of the music.

Who: Chromadrift and Victoria Lundy
When: Tuesday, 10.17, 7 p.m.
Where: Hooked On Colfax
Why: This latest installment of the Speakeasy Series hosted by Glasss Records in the basement of Hooked on Colfax features two of Denver’s most accomplished ambient/experimental electronic artists. With Chromadrift, Drew Miller has found a way to tap into the same well of transcendent and transporting sound and rhythm that seems to inform the work of Boards of Canada. Except that Miller’s song titles seem more grounded in immediately relatable themes rather than the suggestive mysteriousness of BOC. And this cozy setting would be the perfect place to experience his music live. Victoria Lundy has been a veteran of various facets of the Denver expermental music scene since at least the 90s. She uses the theramin the way other musicians play their classical instruments and she has in fact adapted classical pieces for her performance. Ultimately, though, Lundy is a nerd and that finds its way into her elegant way of expressing those impulses such as her 2015 electro/ambient album Miss American Vampire. Every Victoria Lundy show is different so expect something well-composed but leaving room for intuition to guide the sound where it may go this evening.

Who: Dälek w/Street Sects, Echo Beds and It’s Just Bugs 
When: Tuesday, 10.17, 8 p.m.
Where: The Marquis
Why: Dälek formed in the late 90s and from the beginning its use of sound and samples was markedly different from most other hip-hop acts. In retrospect the group’s most obvious peers in beatmaking and soundsculpting (i.e. Sole, cLOUDDEAD, Cannibal Ox, Aesop Rock, El-P) started getting off the ground to a national audience around the same time. But it was Dälek that seemed to be embraced by more open-minded fans of heavy music who could appreciate what one might call the My Bloody Valentine meets Godflesh sound of the group. In 2011 the project went on hiatus for a few years before reuniting to write and record 2016’s Asphalt for Eden on Profound Lore, a label that generally releases metal in a more experimental vein. In 2017 Dälek released Endangered Philosophies on Ipecac, an imprint also well known for its catalog of arty, innovative heavy music. Austin’s Street Sects is one of the opening acts and its gritty, dark and aggressive industrial punk has garnered it an international audience. The 2016 album End Position blurred all lines between hardcore, industrial and breakcore. 2017’s Rat Jacket takes the band into even darker thematic territory. Apparently hard political and economic times is a good time for music that gives no fucks about peeling back the scab of society’s sins. Speaking of which, two Denver bands are also on the bill. Echo Beds has been developing its own synthesis of punk, industrial and noise since 2010 and these days have honed strong ideas into sharp songs that articulate and embody the desperation of the current era. With its visceral live show, Echo Beds is pretty unforgettable. It’s Just Bugs is an industrial rap band whose forays into noise are a refreshingly developed use of sounds as samples.

Who: Pixies w/Mitski 
When: Wednesday, 10.18, 7 p.m.
Where: The Fillmore Auditorium
Why: Pixies probably got its greatest boost into mainstream popularity oddly with the release of the 1999 film Fight Club. Because if you went to see the band during its 2003-2004 reunion tour cycle a lot of the crowd seemed largely lukewarm to and confused by the band’s other classic material but when “Where is My Mind?” came on the crowd went wild. Some of us got to be confused by Pixies during its earlier era when the 1988 album Doolittle was offered in the metal section of tape/CD clubs and when it turned out that it wasn’t metal didn’t know what to think of it. But once everything clicked the genius of the band’s unusual and imaginative lyrics and its willingness to go off the standard time signatures and roll with the moment became something to be cherished rather than dismissed. This version of the band is without founding bassist Kim Deal but Joe Santiago’s truly eccentric and brilliant guitar work will be there along with Black Francis’ alien yet melodious and intense vocals and David Lovering’s expressive and propulsive drumming. Also, if you’re going to get a bass player Paz Lenchantin is no slouch and her talent has elevated other artists like Jarboe, A Perfect Circle, Jenny Lewis, Queens of the Stone Age and Silver Jews. Opening the show is Mitski whose emotionally charged rock songs are cathartically confessional and some of the most strikingly honest music of the past few years.

Who: Girlpool w/Palm and Sweater Belly 
When: Wednesday, 10.18, 7 p.m.
Where: Larimer Lounge
Why: Seems like any guitar band that has a tinge of distortion and any whiff of DIY credibility is called “punk” like a sound rather than an attitude. Or, worse, when said music isn’t particularly aggressive and the band is all or mostly women, “pastel punk.” Girlpool probably gets painted in that light often and if the band chooses to embrace that sort of thing, it’s certainly entitled to because who gets to tell a band whether or not it’s really punk. But fans of dream or indie pop will find much to like in Girlpool’s expansive melodies and fluid song dynamics, particularly on its excellent 2017 album Powerplant. Philadelphia’s Palm toured with LVL UP earlier in 2017 and its precise, spidery guitar interplay was reminiscent of a band like Young Marble Giants had the members gone on to be members of 90s math rock bands and then ditched the sound but not the musical skill and ended up like some weirdo neo-No Wave jazz band. Its 2017 album (EP?) Shadow Expert is a nice reminder that a band can be completely weird and completely accessible at the same time.