Queen City Sounds Podcast Ep. 28: Hex Cassette

Hex Cassette at the Hi-Dive December 23, 2021, photo by Tom Murphy

Hex Cassette is an EBM/synth pop/confrontational industrial artist from Denver, Colorado. As the solo project of Zachary Jordan, Hex Cassette has been around since the mid-2010s and his gift for crafting fairly accessible, exuberant dance music with a darkwave flavor has garnered him a bit of a local following among people who not only appreciate his particular style of music but potentially of anyone that would like to see musicians engage with the crowd in a way that is aimed at blurring the line between performer and audience and sharing in a dissolving of a complacent dynamic in live music. His spirited shows involve wicked but benevolent humor including a comical needling of the audience and it wouldn’t be unusual to see Jordan not just roaming the stage but coming off stage with his animated style and bringing that energy into the crowd. His latest release is Pomegranate Death and while the themes of death and mortality and irreverence for stuffy, traditional religion and culture remains a feature from the music of Hex Cassette in general, the album is also one that injects into the mix expressions of hopefulness and seeking to live a vital existence. All set to some of the most vibrant electronic music you’re likely to hear all year.

Hex Cassette celebrates the release of the album on June 10, 2022 at Jester’s Palace with other local darkwave greats Church Fire and eHpH as well as experimental indie rock artist Pink Lady Monster. The show is also the tour kickoff for Hex Cassette who will be headed out on a mini-tour of the west where you will be able to purchase a, yes, cassette copy of Pomegranate Death. Listen to our interview with Jordan on Bandcamp linked below.

Best Shows in Denver and Beyond June 2022

Failure performs at the Bluebird Theater on Wednesday June 8, 2022
Quits at Hi-Dive, March 2022, photo by Tom Murphy

Friday | 06.03
What: Scream Screen: Sisters w/Quits
When: 9:30 p.m.
Where: Sie Film Center
Why: Theresa Mercado is hosting her latest Scream Screen series this month with various bands opening the proceedings. Tonight it’s Brian De Palma’s 1972 psychological horror film Sisters starring future Lois Lane from the 1978 Superman movie. Opening are local noise rock legends Quits and their eruptive, cathartic and always riveting live show. Will be strange to see this in the front of the theater at Sie Film Center so that would be worth going to see alone.

Saturday | 06.04
What: Five Points Jazz Festival
When: 12 p.m. – 12 a.m.
Where: Various Venues
Why: It’s free and you can catch a bevy of local and some non-local modern jazz greats like Buckner Funken Jazz, Denver Jazz Trio, Five Points Jazz Heritage Orchestra, Annie Booth Sextet, Ron Ivory and Suite ti and Las Luces featuring educator and local avant-garde jazz legend Joshua Trinidad.

Fear in 2013, photo by Tom Murphy

Saturday | 06.04
What: Fear w/The Potato Pirates and Cease Fire https://www.gothictheatre.com/events/detail/417884
When: 7 p.m.
Where: Gothic Theatre
Why: Rescheduled from NYE 2021. FEAR is the legendary Los Angeles punk band that helped define an entire lineage of that style of music. The group took great pleasure in taunting self-righteous punks and conservative American culture equally with its irreverently humorous, sometimes nihilistic, lyrics and outrageous performances with lead singer Lee Ving commanding the stage like an insult comedian. The band was featured in Penelope Spheeris’ classic 1981 punk documentary The Decline of Western Civilization as well as the infamous 1981 Halloween episode of Saturday Night Live arranged by show writer Michael O’Donoghue and former SNL star and then cinema luminary John Belushi. On the show the band performed and the audience included members of Minor Threat, Cro-mags, The Meatmen and Negative Approach and mayhem ensued including profanity broadcast before the live feed was cut. So plenty of anticipation was in place when The Record came out on Slash in 1982 and it delivered some of the most caustic and boisterous punk in an era not short on such offerings. Since that time FEAR has released a handful of records, the final being 2000’s American Beer, and occasionally toured and still worth showing up to see. But with Ving having turned 72 in 2022 this may be one of your last chances, if not your last chance, to catch these heroes of punk before Ving calls it a day.

Tomberlin, photo by Ebru Yildiz

Sunday | 06.05
What: Tomberlin w/Jana Horn
When: 7 p.m.
Where: Larimer Lounge
Why: Tomberlin’s new record, her second, i don’t know who needs to hear this… (2022) is like an atmospheric jazz pop record with her vocals at the center and a truly imaginative soundscape ghosting into the background to haunt the spare beat and minimal instrumentation. If the songwriter’s sound and style can be lumped into the broadly clumsy umbrella of folk it’s more in the vein of artists who made liberal use of field recordings but in this case it’s more like taking an interest in a sound and a sample like one might if one were a hip-hop or electronic music artist looking to give a beat some character and unconventional emotional resonance. Tomberlin’s vocals are of course the usual strong but gentle flavor one would hope for but she always seems to find a way to use it guide he mood while syncing with the rhythm in ways that keep the vibe fresh and evocative.

Blackwater Holylight, photo from Bandcamp

Tuesday | 06.07
What: Blackwater Holylight w/Spirit Mother and Keefduster
When: 7:30 p.m.
Where: Hi-Dive
Why: Much in a similar way that SubRosa brought a tribal, deeply atmospheric, psychedelic sensibility to heavy music, Blackwater Holylight takes some of the grit and heft of doom but lightens in with broad atmospheric and moody vistas of sound. Its 2021 album Silence/Motion includes a nice element of the electronic so that it sounds like it could and should be a soundtrack to the next Panos Cosmatos film. But there’s nothing kitsch about Blackwater Holylight. Denver’s Keef Duster will bring its own flavor of psychedelic doom/space rock to open the show with former Dirty Few singer Kim Phat bringing some entrancing melodies into the mix.

Failure, photo courtesy the artists

Wednesday | 06.08
What: Failure w/sneak peek at Failure documentary
When: 7 p.m.
Where: Bluebird Theater
Why: Failure got started in the early era of what came to be called alternative rock having founded in 1990 in Los Angeles right before the glam metal that seemed ubiquitously popular tanked in the next two years once early alternative rock bands like Jane’s Addiction helped to popularize music that had been in the underground with its successful Lollapalooza tour subverted the record industry. Failure enjoyed some of the fallout of that time but its own music didn’t exactly fit in with trendy styles and sounds. It had a hard rock edge, an art rock ambition in the songwriting and atmospheric sensibilities that some might have associated with shoegaze or space rock but very much its own flavor. Its mid-90s albums Magnified (1994) and Fantastic Planet (1996) showed how you could meld heavy, monolithic, deeply dynamic sounds with blissful melodies in a way that had a cinematic quality that the band members would bring to the more sound design approach to composition it would perfect when it reunited in 2013 after a six year hiatus. Since that reconvening it might be argued that Failure has been releasing the best music of its career with its sublimely dark dissonance and nuanced emotional palette including its 2021 album Wild Type Droid. For this show you will get a preview of the forthcoming documentary about the band due out in 2023 featuring interviews with the broad array of artists (not all musical) who have been impacted by Failure’s particular brand of sonic magic.

French Kettle Station circa 2016, photo by Tom Murphy

Thursday | 06.09
What: Insane Angel, Grunkster, Sell Farm, French Kettle Station
When: 9 p.m.
Where: Glob
Why: Insane Angel is an unusual amalgam of jazz, indie pop and folk and includes members of Horn Horse and Palberta. Grunkster is kind of like a lo-fi IDM/glitch pop project. Sell Farm is hard to quantify easily but has been part indiepop, part dub, part cavernous industrial in the Godflesh vein minus the metallic aspects. French Kettle Station is an eclectic artist whose output runs a broad range of ideas and aesthetics though one might hear in his work aspects of New Age pop, glitchcore, ambient, post-rock and croony classic pop and always an energetic, commanding performance.

The Black Angels, photo by Alexandra Valenti

Thursday | 06.09
What: Black Angels w/Dion Lunadon
When: 7 p.m.
Where: Ogden Theatre
Why: Before being thoroughly associated with modern psychedelic rock and even long after, The Black Angels from Austin, TX were early adopters of blurring all lines between early psychedelic rock, Krautrock, shoegaze, freak folk and noise rock. And to this day its body of work endures because they have always been one of the best practitioners of modern psych including advocating for other artists with its formerly annual (currently on hiatus) Austin Psych Fest, one of the most astutely curated festivals of the modern era. Dion Lunadon spent a decade playing in and writing songs with A Place to Bury Strangers but is releasing his first solo album since leaving APTBS in 2020 with Beyond Everything due out June 10, 2022 on In the Red Records. Early singles promise a driving, noisy psychedelic rock album with the dynamic flourishes that Lunadon brought so masterfully to APTBS and The D4.

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

Friday | 06.10
What: Hex Casette album release, Church Fire, eHpH and Pink Lady Monster
When: 7 p.m.
Where: Jester’s Palace
Why: For a handful of years Hex Cassette has been crafting and refining his style of confrontational industrial dance pop music and in the past year or two he started to become known in the underground for highly energetic performances informed by a darkly playful sense of humor. For this show he’s releasing his new album Pomegranate Death, a collection of songs that fans of M83 and TR/ST will appreciate for the immersive melodies and underlying hopeful mood even as many of the songs are about death and overcoming personal challenges to embrace a vital life. And sure Hex Cassette is one of the most exciting of the newer projects in the Denver underground but for this album release/tour kick off show, Hex Cassette has invited spirited and political industrial dance, synth pop heroes Church Fire whose own shows are cathartic and deeply emotional without skimping on the enthusiasm and energy to balance out the sense of despair and melancholic mood that is part of some of its material honoring loss and recognizing elements of our culture hostile to the the very existence and dignity of people that don’t fit into a very conservative view of mainstream society. There is also eHpH, the EBM/industrial band whose own music takes aim at fascism and authoritarian impulses in American culture and whose evocative soundscapes and irresistible rhythms have made it a staple in local darkwave circles for several years. Former Corda Vera front person Simone Fohrman has been at her solo project Pink Lady Monster since 2020 with its blend of dream pop and indie rock with an experimental flourish in the production and signal processing.

Ambar Lucid, photo by Keith Bennett

Friday | 06.10
What: Ambar Lucid w/Miki Ratsula
When: 8 p.m.
Where: Globe Hall
Why: Ambar Lucid taught herself to play piano, guitar and ukulele and took in YouTube videos to work on her vocal technique. And her output of music since 2019 reflects that generation of pop artists that isn’t defined by narrow conventions of the art form. In her sound and production you hear the R&B influence, her Latin music roots, the influence of hyper pop and perhaps forward thinking artists like Charli XCX. It’s a pure fusion of styles and aesthetics she has made her own as evidenced by her 2020 album Garden of Lucid and her new single “girl ur so pretty.” Lucid’s own life sounds like something from a movie as her father was deported to Mexico when she was 8 years old and she didn’t see him or her sister until ten years later. Which speaks to issues of immigration and how the laws surrounding that have a direct impact on people and their families and the intimate knowledge of which is part of why the songwriter has been such an active advocate for immigrants’ rights. Sharing the bill with Lucid is non-binary pop songwriter Miki Ratsula whose R&B infused songs with colorful and evocative music videos are in themselves an act of resistance to prejudice in being so appealing and imaginative in making everyday life for a non-binary person seem like what it is—normal and not short on joy and fulfillment in ways that are accessible to anyone. Miki’s March 2022 debut album i owe it to myself is filled with ample examples of the aforementioned.

Friday | 06.10
What: Scream Screen: Madhouse w/Weathered Statues
When: 9:30 p.m.
Where: Sie Film Center
Why: This edition of Scream Screen will give you a chance to see in a theater Ovidio G. Assonitis’ 1981 slasher Madhouse in which one sister is stalked by her psychotic twin. The film was included on the “video nasty” list in its day and banned in the 1980s in the UK. Opening will be local post-punk/Xmal Deutschland-esque band Weathered Statues.

Sunflower Bean, photo by Driely S

Saturday | 06/11
What: Sunflower Bean w/Liily
When: 8 p.m.
Where: Bluebird Theater
Why: When Sunflower Bean started garnering a national audience after the release of its debut album Human Ceremony in 2016 it seemed as though the band’s fusion of post-punk and shoegaze aimed it in a particular musical direction but since then up to and including its 2022 album Headful of Sugar the trio has embraced its knack for pop songcraft and hooks. The new record showcases a band able to write coolly sultry R&B-inflected songs that fit in with its own history of lushly atmospheric songs that can be not just melancholically evocative but subtly cathartic. If one were into overblown comparisons for the song “Who Put You Up To This?” it’s like hearing Cocteau Twins after they sequestered themselves in a studio and only listened to Delfonics and Marvin Gaye for a few months before writing their next record.

Saturday | 06.11
What: Big Head Todd and the Monsters w/Violent Femmes
When: 6:30 p.m.
Where: Red Rocks
Why: Todd Park Mohr is bar none the most prominent Colorado musician of Asian ancestry and his band Big Head Todd and The Monsters have been crafting a respectable body of work that blends rock, folk, alternative rock and jazz with an ear for improvisational flourishes. Starting in Boulder in 1984 the group really pulled together a solid set of songs for its 1990 second album Midnight Radio. Reworking its best song “Bittersweet” for its 1993 release Sister Sweetly the group hit upon a formula that took it from prominent local band to platinum selling act whose music was prominent on radio for the rest of the decade. And since the 90s Big Head Todd has been releasing worthwhile albums if you’re into blues rock bordering on jam band folk rock. Opening the show is long time college rock cult band Violent Femmes whose music became a staple of alternative radio since the early 80s with its 1983 self-titled debut with every track more or less a classic of a world of music upon which alternative rock in the 1990s was built. Beyond the eccentric and brilliant songwriting part punk, part folk and part outsider music Violent Femmes have long been one of the great live bands of, yes, American music and would be worth going to see for this show alone but you get to see two greats of the alternative era.

Saturday | 06.11
What: Still Corners w/Foxes in Fiction
When: 8 p.m.
Where: Globe Hall
Why: UK dream pop band Still Corners create warmly contemplative songs with a dusky soulfulness that has translated well from its early very ethereal, shoegaze-y material to its more countrified 2021 album The Last Exit and its imagery of open vistas in the American west. Not quite in the realm of Chromatics in its evocation of Lynchian noir but like something inspired by a romantic version of a Jonathan Demme slice of working class Americana.

Purity Ring, photo courtesy the artists

Saturday and Sunday | 06.11 and 06.12
What: Purity Ring w/EKKSTACY
When: 8 p.m. and 7 p.m.
Where: Mission Ballroom and Boulder Theater
Why: Purity Ring’s production style established firmly on its 2012 debut album Shrines has proven incredibly influential on modern electronic pop and hip-hop. Its own amalgamation of dream pop, hip-hop and witch house is otherworldly and transporting and in its music you can hear the future of forms of electronic music like hyper pop and glitchcore because Purity Ring has already been there and moved on to other realms of soundscaping and the crafting of emotionally resonant sounds, textures and dynamics. Having worked with Danny Brown and Katy Perry, the duo’s stylistic flexibility has resulted in albums brimming concepts and sound design elements rendered as coherent songs that are sure to be tapped for years to come. Its live show is more theatrical and unusual that one might expect as the group uses devices to control sound and lighting that it had to make itself so the presentation is always compellingly unconventional.

Everclear, photo by Ashley Osborn

Sunday | 06.12
What: Everclear w/Fastball and The Nixons
When: 7 p.m.
Where: Ogden Theatre
Why: Before singles from the 1995 Everclear album Sparkle and Fade made the band stars of later era alterative rock singer and primary songwriter Art Alexakis had already been through the ups and downs of being a musician, drug addiction and parenthood and was in his mid-30s to late 30s when his band took off, breaking many stereotypes of musical success. Songs like “Santa Monica,” “Father of Mine” and “Everything to Everyone” were all but ubiquitous on Top 40 radio and stations with alternative rock heavy playlists. But inside all of those songs were nuggets of wisdom and a raw honesty that was suffused in the band’s live performances. By the turn of the century Everclear didn’t enjoy the commercial popularity it once had and key members of the band had departed by 2003 but Alexakis has continued on doing what he does best: write meaningful songs that shed light on the human condition with wit, humor and compassion. One record that has gone by the wayside was the group’s fantastic 1993 debut album World of Noise which is being reissued in 2022 and for the first time on vinyl in the fall. People who only know the band from its hits may be surprised with how raw and vital it is like something you might expect from an early grunge or punk band of that time but also with Alexakis’ gift for an ear worm hook. Celebrating the re-issue of the record Everclear is touring with other late alternative rock bands Fastball and The Nixons for a billing of bands who experienced their greatest success in the 90s but who remain potent live acts.

Cau5er at Hi-Dive, May 2022, photo by Tom Murphy

Sunday | 06.12
What: Dragon Drop, Cau5er, sororityboy, Juniordeer and sintax
When: 7 p.m.
Where: Seventh Circle Music Collective
Why: If you were to pick one show to go see some of the best and most imaginative underground electronic artists from Denver in the vein of hyper pop, industrial noise and glitch pop this would be the show to go see.

Tuesday | 06.14
What: Compactor, Sleeping With The Earth, No More Cheering, Cremedelacrvp, Tolerant
When: 8 p.m.
Where: Glob
Why: Okay, this would be the other show to go see some electronic acts that take soundscaping to another level except this bill includes New York industrial noise legends Compactor, Portland, Oregon-based ambient noisenik Sleeping With The Earth and harsh noise/power electronics artist Cremedelacrvp.

© 2022 These Arms Are Snakes Photo by: Shayla Martin

Wednesday | 06.15
What: These Arms Are Snakes w/Git Some
When: 7 p.m.
Where: Marquis Theater
Why: These Arms Are Snakes is a post-hardcore band that gets lumped in with the genres of metalcore and mathcore and there is some validity to that. But a lot of its music is closer to noise rock and the new compilation of its early demos and non-album tracks and other odds and ends Duct Tape & Shivering Crows (which came out on April 15, 2022 on Suicide Squeeze Records) bears out how this band could elude easy categorization. It includes former members of 90s metalcore pioneers Botch and experimental rock band Kill Sadie. The band’s wiry, sonic savagery had a kind of brutal fluidity to it that seemed to have come out of that era of post-hardcore that included synthesizers to give its music more than the bare bones rock band level of impact with atmospherics that felt as dreamlike as it did visceral. Opening the show are like-minded Denver noise rock legends Git Some who never broke up but rarely play live and itself includes former members of Planes Mistaken For Stars and Luke Fairchild from Quits. So this show will definitely get a little off the hook with the energy and intensity.

Bummer, photo by Skylar Cowdrey

Wednesday | 06.15
What: Whores w/Bummer and Capra
When: 7 p.m.
Where: Hi-Dive
Why: Atlanta’s Whores sound like a glorious, mutant hybrid of Unsane and Big Black. But if you’re into KARP or Helmet’s more free moments you’ll appreciate the band’s spirited onslaught. Bummer from Kansas City released its latest album Dead Horse (as in beating a—clear proof of the group’s dark sense of humor including about itself because someone probably told them they sound like they’re doing that after all these years making music like this) in 2021. It shares obvious influences from the likes of KARP and the Amphetamine Reptile roster of bands like Cherubs and The Jesus Lizard. But its sound is very different from the style of Whores with more spiraling guitar riffs and open harmonic flourishes. They have a song on Dead Horse called “I Want to Punch Bruce Springsteen in the Dick” and even if you’re a fan of the Boss the song title is irreverently puerile for a song that’s a psychedelic noise scorcher with undeniable appeal. Capra from Lafayette, LA fills out this line-up with its own pointed and noisy metalcore with incredible momentum and a brutal grace.

Hovvdy, photo by Pooneh Ghana

Wednesday | 06.15
What: Hovvdy w/Mini Trees
When: 7 p.m.
Where: Globe Hall
Why: Austin-based band Hovvdy released its most recent album True Love in 2021 and like many other artists are finally able to take that music on the road. The hushed vocal harmonies paired with lush and richly layered instrumental arrangements are part of the duo’s core sound but this time around the tender and intimate sound hits with a little more of the gentle warmth that characterized its earlier work and its songs of heartbreak and hope seem imbued with a spirit of thoughtful introspection that offers a perspective beyond hokey pronouncements that everything is going to be okay. Rather, the hard times and misfortune that seems to have visited the entire world and rushed into everyone’s lives require a much more nuanced take and response on even the minutiae of life and Hovvdy brings the type of nurturing energy to this batch of songs that would benefit many people to hear.

Bestial Mouths at Hi-Dive May 2022, photo by Tom Murphy

Thursday | 06.16
What: Bestial Mouths w/Lowfaith and Turismo Blu
When: 8 p.m.
Where: Fritzy’s
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 Denver-based post-punk band Lowfaith and acid house artist Turismo Blu.

Thursday | 06.16
What: Bob Log III w/Bolonium and Legs
When: 8 p.m.
Where: Hi-Dive
Why: Bob Log III was once a member of mutant blues rock duo Doo Rag and was doing that sort of Mississippi Delta blues mixed with punk thing before a lot of people got around to that by the mid-to-late 90s. By the end of the 90s Bob had gone on his own with his current moniker as a solo act with his The Road Warrior meets Troma sartorial aesthetic and somehow makes his music seem futuristic even as it embraces old time blues with no irony. Bolonium is a Denver band whose own stylistic link to Troma should seem obvious as its antics have included a live game show during its set but its music is somewhere betwixt an even more cartoon-y Devo and They Might Be Giants and with all the kitsch of a very self-aware but never giving up the joke Adult Swim show skit as band.

Shocker Mom, photo by Tom Murphy

Friday | 06/17
What: Scream Screen: The Mafu Cage w/Shocker Mom
When: 9:30 p.m.
Where: Sie Film Center
Why: This edition of Scream Screen features Karen Arthur’s 1978 psychodrama The Mafu Cage. The titular creatures, the “mafus,” are the pet monkeys one of the mentally unbalanced Cissy played by Carol Kane whose sister Ellen (Lee Grant) is an astronomer. There is some demented dynamic between the two sisters who share a mansion in Los Angeles but for the exact plot it’s perhaps best viewed rather than read about in summary. The musical guest is Shocker Mom whose brilliant blend of soulful R&B, ambient music and IDM isn’t something you get to see often enough. Robin Walker aka Shocker Mom is also one half of experimental hip-hop duo Nighttimeschoolbus.

Saturday | 06.18
What: Jerry Paper w/Bobby Amulet and Sell Farm
When: 8 p.m.
Where: Hi-Dive
Why: Jerry Paper is one of the more imaginative hip-hop producers/artists to have emerged out of the 2000s. Their records, especially those for respected and forward thinking label Stones Throw, always seem to have some unusual and creative approach to songwriting and sound sculpting so that even when their beats wax into cosmic yacht rock territory they don’t skimp on the forays into weird realms of sound. Their latest record is the psychedelic and chill Free Time. Bobby Amulet from Denver is the musical moniker of Connor Spell whose own affection for lush, adult-contemporary-esque disco sounds are a good fit on a bill with Jerry Paper. Sell Farm? You don’t really know what you’re going to get except that it’ll be interesting whether it’s the more dub flavoring in the indiepop realm or epic soundscapes or whatever it is the group will be up to this time around.

Laney Jones, photo by Libby Danforth

Sunday | 06.19
What: Blitzen Trapper w/Laney Jones
When: 6 p.m.
Where: Levitt Pavillion
Why: Blitzen Trapper is one of the bands that really introduced the easy listening 70s adult contemporary vibe back into indie folk in a big way. But they’ve managed to evolve a great deal as a band and refine their sound from early alt-country roots into a finely honed blend of 70s laid back rock, folk and jazz. Opening Laney Jones’ new album Stories Up High has more personal psychological insight than many things you’ll hear this year. Her voice is warm, strong and vulnerable with her signature, subtle vibrato. And that coupled with orchestral musical arrangements and expansive and deeply textured guitar work makes every track linger in your heart with a rich emotional resonance.

New Standards Men at Hi-Dive December 2021, photo by Tom Murphy

Sunday | 06.19
What: ABANDONS, New Standards Men and Shauna Corinne Murray
Where: Seventh Circle Music Collective
Why: ABANDONS from Denver might be described as post-metal or post-rock but its creative ambitions are wider than that. They mix samples and vocals in with their linger and slow burning atmospherics particularly on “Coffee Highway.” But songs like “Ghost Ranch” and “Cotopaxi” the spiraling riffs and feedback sculpting wax unconventionally psychedelic. In that way they are regularly a good fit on a bill with New Standards Men whose own hybrid of psychedelia, noise rock and Krautrock through a classic art rock lens is never fully predictable in a way that is consistently refreshing. Shauna Corinne Murray used to be based in Portland, Oregon but now hails from Albuquerque but her singer-songwriter compositions on piano are informed by a touch of the avant-garde.

Monday | 06.20
What: Lo Moon w/Social Animals
When: 7 p.m.
Where: Hi-Dive
Why: When Lo Moon emerged with a public presence in 2016 it seemed to have its aesthetic, sound, production and media engagement strategy fully formed while maintaining a bit of mystique about its origins. Like it had been around for years writing that music and resisting the normal urge to put it out into the world in an era when it would have been easy to do so. That approach apparently worked for the Los Angeles quarter because its 2018 self-titled album came out on major label Columbia. Its blend of dream pop and rock shaped by an ear for production and the role of a strong live mix in creating powerfully evocative moods garnered the band an opening slot for the 2017 leg of Ride’s reunion tour before having an album out. In 2022 the group finally released its sophomore album A Modern Life even after Columbia dropped the band during the latter part of its recording process. The album builds on the virtues of its earlier material while taking a different direction in the songwriting emphasizing more the lush R&B side of its sonic palette and more akin to contemporaries like Private World and seeming stylistic nods to Tears For Fears.

Empath, photo by Daniel Topete

What: Empath w/Supreme Joy
When: 7 p.m.
Where: Larimer Lounge
Why: Empath has evolved various sounds during the course of its existence and its 2022 album Visitor is its most experimental offering yet. If the band can still be called punk based on impressions of its earlier albums at this point Empath has embraced a synth-infused dream pop approach that fans of early Japanese Breakfast might appreciate. But songs like “Born 100 Times” has more than a bit of the energetic, noisy weirdness that points most directly to its more punk origins. But really this band’s music has always resisted easy categorization after the manner of many bands from Philadelphia where no matter the genre tag might be placed on its sound it doesn’t quite fit and in the case of Empath the world of music is just that much more interesting.

Tuesday | 06.21
What: Weval
When: 7 p.m.
Where: Meow Wolf
Why: Dutch production duo Weval has been assembling some of the most imaginative electronic dance music around since 2013. Its use of vibrant analog synth tones in its tracks and meditative yet irresistible rhythms builds with layers of colorful melodies that hit with a soothing physicality. Its 2021 EP Changed for the Better and 2022 four-song release Time Goes reveal Weval’s ability to go beyond its early production style into something that evokes a sense of exploration and wonder with songs that have a fresh quality in where Weval tie texture to atmosphere in a dynamic flow that engrossingly dreamlike.

Wednesday | 06.22
What: Modern English
When: 7 p.m.
Where: Soiled Dove Underground
Why: Modern English is obviously most known for its 1982 hit single “I Melt With You.” Likely lumped in with the “New Wave” of the time the undeniably catchy yet meaningful song with its cool vocal dynamics was really only a sample of where the group came from. Based out of Colchester in the east of the UK Modern English came up at a time when its early, brooding, post-punk songs fit right in with the likes of contemporaries like Magazine, Joy Division and The Sound. Its 1981 debut album Mesh & Lace is much darker and more experimental than 1982’s After the Snow but both albums represent Modern English’s ability to navigate a variety of moods without being stuck in a particular mode of expression so that it could embrace when the mind waxes to melancholia as well as times of joyful celebration of connection. After some mishaps the rest of the 80s with record labels and not quite being able to match the commercial success of its most famous single the band split by 1991. Upon convening in the mid-90s Modern English didn’t seem too prolific in the releasing of songs or albums its 2016 comeback record Take Me to the Trees bridges the breadth of its songwriting styles and flavors well with songs worthy of its first two records and as a live band the quintet still brings that passion and emotional nuance to its performances that struck a chord with audiences early on its career.

Lesser Care at Hi-Dive April 2022, photo by Tom Murphy

Wednesday | 06.22
What: Lesser Care w/don’t get lemon, Natural Violence
When: 7 p.m.
Where: Hi-Dive
Why: Lesser Care from El Paso, Texas is one of the closest bands we’ll see to a pure shoegaze and post-punk hybrid in the vein of The Chameleons and Kitchens of Distinction. Though its exquisitely ethereal melodies are the stuff of daydream bliss the trio performs with an energetic intensity one might more expect from a group that came out of punk. Its 2022 album Underneath, Beside Me gets released on vinyl in July. don’t get lemon from Austin comes from a similar sonic perspective but more electronic in its establishing of mood with a production style that is right out of lo-fi darkwave but with uplifting vocals that sit in the urgent dynamic of its flow of sounds not unlike a more dream pop early Depeche Mode. Natural Violence might be more techno-infused post-punk noise with a strong performance art element or maybe former School Knights and current American Culture guitarist Michael Stein will be exploring a new vista of sound for his imaginative songwriting.

Windhand, photo from Bandcamp

Wednesday | 06.22
What: Windhand w/Un https://www.bluebirdtheater.net/events/detail/426122
When: 7 p.m.
Where: Bluebird Theater
Why: Richmond, Virginia’s Windhand has been crafting cosmic, psychedelic doom since its 2008 inception. Its most recent album Eternal Return (2018) is a fuzz-laden journey into mythological constructs of emotional and psychological spaces. Its hypnotic rhythms and Dorthia Cottrell’s powerful and sultry vocals are reminiscent of some of Kylesa’s more meditative yet moments. Seattle’s Un is more in the realm of heavy, contemplative post-rock with an knack for evoking the otherworldly with a processional elegance paired with a feral sensibility once the songs take flight.

Pale Waves, photo by Katia Temkin

Wednesday | 06.22
What: 5 Seconds of Summer w/Pale Waves
When: 5:30 p.m.
Where: Fillmore Auditorium
Why: 5 Seconds of Summer is a pretty standard mainstream pop act and one of the biggest people who normally read previews for this site may not know about. But it’s songwriting is strong enough and its musicianship accomplished enough there’s no need to be embarrassed by being into its pop hooks. Sure they got their start as YouTube stars and got a bump up into an international audience touring with One Direction but also managed to parlay these breaks into a large international fandom on the merits of its own creative work. But a major reason to go to this show as well is opening act Pale Waves. Underneath the effervescent energy and infectious melodies are lyrics that directly and sensitively deal with issues of anxiety, depression and class. Its 2018 debut EP All the Things I Never Said delivered on the promise of early singles like “Television Romance” and “There’s a Honey.” Employing a palette of wonderfully melodramatic pop punk and straight ahead pop, Pale Waves delivers music that is immediately and thrillingly accessible for anyone not looking to be alienated by catchy music but with deftly crafted, meaningful content. Its forthcoming album Unwanted releases on August 12, 2022.

Dead Boyfriend, photo from Bandcamp

Friday | 06.24
What: Scream Screen: Ginger Snaps w/Dead Boyfriend
When: 9:30 p.m.
Where: Sie Film Center
Why: This iteration of June’s Scream Screen will be a showing of Ginger Snaps (2000) directed by John Fawcett. It’s about a pair of sisters one of whom, the titular Ginger, becomes a werewolf and goes on a bit of a killing rampage that comes to a head by the end of the film. No spoilers. The musical act opening the proceedings is Dead Boyfriend whose recorded output suggests a lo-fi indie/bedroom pop aesthetic with delicately raw emotional sensibilities that fans of early Joanna Newsom or Dear Nora might appreciate.

HULDER, photo by Liana Rakijian

Saturday | 06.25
What: True Brewing Bacchanal: Khemmis, Panopticon, Hulder, Vastum and Dreadnought
When: 6 p.m.
Where: Gothic Theatre
Why: True Brewing is the metal themed brewery on Broadway in Denver and this mini-festival features some of the better local and not so local metal bands running. Khemmis’ psychedelic doom has struck a chord with audiences far beyond Denver with its intricate melodies and songwriting chops. Dreadnought puts a different flavor into the mix of doom with keyboards adding a layer of dynamic atmosphere and a touch of classical sensibility. Hulder is a Belgian/American solo black metal project based out of Portland. Her latest album offers her signature flood of crushing riffs and Cascadian atmospherics but also a touch of the more ambient side of the songwriting. The hovering riffs over propulsive drumming from its new album The Eternal Fanfare is something we have come to expect from a solo black metal act but the songwriter sounds like a being from myth declaring tales of a perilous future but not one without its share of glory and adventure.

Saturday | 06.25
What: Goo Age, Hippies Wearing Muzzles, Sleepdial and Lowern
When: 8 p.m.
Where: Glob
Why: Goo Age is Garrett Williamson and Adrian Wright who craft New Age music seemingly with analog synths and sequencers for a sound like an 80s video game about going on vacation and having playful adventures in a mostly benevolent landscape. It’s like Art of Noise or Anne Dudley solo but scoring the aforementioned video game that doesn’t involve killing other creatures or exploiting the environment but, rather, creative achievements and those more down to earth and not dire. Hippies Wearing Muzzles is the analog synth project of Lee Evans, bassist of slop pop band Kissing Party. Sleepdial is one of the projects of Luke Thinnes aka French Kettle Station but in the past Sleepdial has been his guitar driven ambient music though these days who can say exactly what you’ll see.

Kamasi Washington, photo by Russell Hamilton

Saturday | 06.25
What: Kamasi Washington
When: 7 p.m.
Where: Ogden Theatre
Why: Kamasi Washington is the rare modern jazz leader whose work as a saxophonist in conjunction with other artists and collaborators and his work as a sideman is so powerfully expressive he can uplift and break your heart without having to utter a word, such is the mastery of his musicianship as guided by a superior creative imagination with his craft. He hasn’t put out an album since the epochal Heaven and Earth in 2018 though he has done music with Dinner Party which features other jazz greats Robert Glasper, Terrace Martin and 9th Wonder. In the live setting where he can improv and push his compositions beyond their usual bounds is where Washington shins brightest.

Fleet Foxes, photo by Emily Johnston

Tuesday and Wednesday | 06.28 and 06.29
What: Fleet Foxes w/Tim Bernardes
When: 6:30 p.m. and 7 p.m.
Where: Mission Ballroom and Vilar Performing Arts Center (Beaver Creek)
Why: Fleet Foxes are one of the best and most creative bands out of the indie folk milieu of the 2000s. Before going on hiatus in 2013 after the departure of longtime member Josh Tillman aka Father John Misty, Fleet Foxes were something of an indie rock supergroup with more than one gifted songwriter in the band. But since reconvening in 2016 the band has pushed its sound in interesting directions and perhaps most distinctively with its 2020 album Shore and its evocatively delicate and sensitive compositions informed by a taking stock of life and sussing out what feels like needs to be said and despite orchestral soundscapes has a refreshing simplicity.

Kraftwerk, photo by Reema Shah of Out of the Dark Photography

Thursday | 06.30
What: Kraftwerk 3-D
When: 6:30 p.m.
Where: Red Rocks
Why: Kraftwerk has to be considered among the most influential bands of the past five decades and more as pioneers of putting synthesizers into music equal parts visionary pop, art rock and the avant-garde. Every synth pop band or derivations thereof are all descended from Kraftwerk’s unique and idiosyncratic songwriting and soundcraft. Every techno artist and DJ culture practitioner owes a great deal to Kraftwerk’s experiments in sound. Its early recordings included more than a few not purely electronic instruments but as the band evolved through the 70s and the 80s it ditched even acoustic percussion in favor of the electronic equivalent even if it didn’t dispense with the physicality of its sound both futuristic and minimal and immediately accessible even its stranger moments. For this tour you will get to see its 3-D presentation at Red Rocks with 3-D projections that anyone who has seen these shows can tell you add an experiential dimension to the music that listening to it at home can’t fully replicate with Kraftwerk itself delivering a powerful performance even without “rocking out” as its members finely control its orchestrated flow of deeply evocative sounds. The 2020 tour had to be canceled because of the early stage of the pandemic and this revamping of the presentation from previous 3-D tours from Kraftwerk will prove that the band doesn’t really rest on false laurels.

Best Shows in Denver October 2021

The Milk Blossoms perform at Titwrench on Sunday 10.03, photo by Cory Palencia
Muscle Beach circa 2018, photo by Tom Murphy

Friday | 10.01
What: Muscle Beach, Cheap Perfume and Mainland Break
When: 8 p.m.
Where: Hi-Dive
Why: This is a now rare opportunity to see Denver post-hardcore band Muscle Beach. Fitting somewhere in between noise rock, the aforementioned subgenre of punk and extreme metal, Muscle Beach also somehow manages to create an inviting rather than forbidding energy. Cheap Perfume’s strident and thrilling feminist punk anthems challenge tropes of punk and social convention equally with great energy and sass. Mainland Break’s jangle-y power pop is absolutely for fans of Franz Ferdinand and Nick Lowe with a perfect balance of homespun storytelling and burning off everyday frustration with fuzz-tinged melodies.

Saturday | 10.02
What: Franksgiving 2021: Ralph Gean, Little Fyodor & Babushka Band and The Pollution, DJ Don Bess
When: 9 p.m.
Where: Lion’s Lair
Why: The late Franklin Bell was a local character whose eccentric DJ nights were a hit with the local weirdo music cognoscenti. For several years he held an event called Franksgiving as a fundraiser for the Crohn’s and Colitis Foundation. With the relatively recent passing of Bell, his friend Little Fyodor has taken up the cause in Bell’s name and merch sales as well as proceeds from the evening will be donated to the aforementioned charity. If you show up you’ll get to see Denver rock and roll legend Ralph Gean, the über punk of Little Fyodor & Babushka Band (don’t go expecting another Ramones or Black Flag clone, this is weird, smart, eccentric stuff and as filled with attitude and as informed by existential anxiety as the best of the genre), the psychedelic punk of The Pollution and DJ Don Bess whose own bizarre choice of cuts for the evening will be decidedly different. Some of the city’s finest all on one bill and for a good cause.

Sol Vida Worldwide performs at Titwrench, image courtesy the artist

Sunday | 10.03
What: Titwrench 2021: Nacha Mendez (Santa Fe), The Milk Blossoms, Machete Mouth, My Name is Harriett (Colorado Springs) and Sol Vida Worldwide
When: 4-10 p.m.
Where: City Park Pavilion 2001 Steele St,
Why: The Titwrench Festival launched in 2009 as a means of shining a light on the creative efforts of marginalized groups beginning with the musical and art works of female identified folks and expanded to other groups including the 2SLBGTQIAP+ community at large and people of color and so on. While the curation has been thusly focused, the festival has always been all ages and inclusive and open to everyone to get to experience creative performances in a safe environment from people whose work isn’t always featured in the usual venues and rooms where you generally get to see live music. The current edition of the festival takes place on Sunday, October 3, 2021 from 4-10 p.m. at the Denver City Park Pavilion. The event will include educational workshops, dance parties, food from Maiz food truck (selling homemade Mexican cuisine) and a market featuring Witch Collective, a group of local artisans and herbalists. Also, this year Suzi Q. Smith will be the MC. Our recent podcast includes interviews with the event organizers (Sarah Slater, Michaela Perez and Katie Rothery) and members of all the performing artists including My Name is Harriet, Machete Mouth, Nacha Mendez, April (Axé) Charmane of Sol Vida Worldwide and Harmony Rose of The Milkblossoms which you can listen to on Bandcamp. For more information on the festival please visit titwrenchcollective.org.

Nacha Mendez performs at Titwrench, photo by M. Cordero
My Name Is Harriett performs at Titwrench, image courtesy the artist
Machete Mouth performs at Titwrench, photo by Tom Murphy circa 2021
The Shivas at the Gothic Theatre in 2013, photo by Tom Murphy

Monday | 10.04
What: The Shivas w/Rootbeer Richie & The Reveille and Honey Blazer
When: 7 p.m.
Where: Hi-Dive
Why: Since forming in 2006, Portland, Oregon’s The Shivas has developed a sound that incorporates elements of 60s psychedelic garage rock and pop but out of step with obvious trends. Its idiosyncratic songwriting style has always seemed to have more in common with the 90s indie pop and its emphasis on raw expressiveness and tapping into classic sounds and aesthetics as a vehicle for expressing timeless themes and universal human emotions with an intensity and artistry that feels vital and of the moment and not trying to recreate a previous era of music and culture. The band started making a name for itself in the American underground in the late 2000s but its breakthrough to a wider audience might be traced in the wake of the release of its 2013 album Whiteout! On the respected and influential label K Records. Heavy touring every year and a string of solid albums garnered the band a bit of a cult following when, in 2020, The Shivas, like many touring entities, had to effectively stop operations. The foursome had already written its next album and had to put plans on hold for any kind of release until the following year. During the first part of the pandemic and a de facto blackout of live shows happening, three fourths of the band worked with the unhouse population of Portland through a non-profit and took time to rethink and rework how the band would operate going into the future. In early 2021 the group released its latest album Feels So Good // Feels So Bad through Tender Loving Empire, a record that evokes the sense of urgency and uncertainty that all of us felt during the bleakest times of the 2020-2021 pandemic but which many of us poignantly felt prior to that global, and ongoing, health crisis. It is both a cathartic and comforting listen. Check out our interview with The Shivas on Bandcamp.

Indigo De Souza, photo by Charlie Boss

Monday | 10.04
What: Indigo De Souza w/The Slaps
When: 7 p.m.
Where: Globe Hall
Why: North Carolina-based singer and songwriter Indigo De Souza recently released her latest album Any Shape You Take on Saddle Creek in August 2021. Though its neo-soul and pop sound is somewhat stylistically different from her fantastic 2018 debut album I Love My Mom with its introspective, guitar pop songs it goes further into an approach of radical vulnerability in plumbing the depths of emotional trauma, self-doubt and the use of creativity as a path out of the darkest places of the mind. The gentle touch of the songs have an unconventional power through honoring wounded feelings with a compassionate honesty that informs the songwriting in general.

Tuesday | 10.05
What: Arlo Parks w/Michelle
When: 7 p.m.
Where: Globe Hall
Why: Arlo Parks’ debut album Collapsed in Sunbeams was one of the more anticipated releases of the past year. Her early EPs showcased a unique and soulful voice from an artist with a deft and easy wordplay that gave an added dimension to her jazz-inflected downtempo pop songwriting. Her performance video for Seattle’s KEXP recorded during the pandemic verified Parks’ self-possession as a performer capable of commanding attention within the coolly dynamic flow of the music.

Japanese Breakfast, photo by Peter Ash Lee

Friday | 10.08
What: Japanese Breakfast w/Luna Li
When: 8 p.m.
Where: Ogden Theatre
Why: With every album Michelle Zauner of Japanese Breakfast has seemed to take on powerful emotional challenges as almost an engine for her creativity. Psychopomp was written while her mother went through treatment for cancer, Soft Sounds From Another Planet was written in the wake of her mother’s death and seemed like a personalized science fiction story as an attempt to make a meaning of events for anyone listening in to her heartfelt sentiments and poetic exploration of inner space channeled into expansive and inventive art rock. Her latest album, Jubilee, is a departure from those first two records in being more overtly pop in the sense that writing a pop song with resonance and poignancy is a challenge and a way to remain focused on something that distills joy for at least a few moments of time with observations that express essential truths. The record has much in common with the great indie pop bands of the 90s and 2000s and how that music was ambitious and experimental in utilizing sounds and song dynamics that were out of step with what was popular but which has gone on to age well. 2021 has been a bit of a banner year for Zauner as it also marks the release of her powerful memoir Crying in H Mart. If you’re lucky enough to have an H Mart in or around your city and, perchance, have spent time in one the book has a special, tactile, cultural resonance that is difficult to fully appreciate without experiencing that gloriously pan-Asian market for yourself.

Friday – Saturday | 10.08 and 10.09
What: Convulse Records 3 Year Anniversary
When: 5:30 p.m.
Where: Aztlan Theater
Why: Hardcore label Convulse Records celebrates its three year anniversary with a two day festival at the historic Aztlan Theater where many a punk and underground music show took place in the decades leading up to the 21st century. The scheduled performers include Goon, Spine, Militarie Gun, Ingrown, Raw Breed, Discreet, The Consequence, Spy, Urban Sprawl, Faim, Entry, Big Laugh, Video Prick, Punitive Damage, Gel, Scowl, Closed In, Sweat, Cyst, Battlesex, Public Opinion, Direct Threat, MSPaint, Drill Sergeant, Yambag, Rash, Candy Apple, L.I.B., Blood Loss, Reality Complex and Asbestos. See set times below and keep in mind that with all festivals set times can be a little loose around the edges.

Saturday | 10.09
What: Grief Ritual album release w/Church Fire, Lost Relics and Dulled Arrows
When: 7 p.m.
Where: Hi-Dive
Why: Grief Ritual celebrates the release of its debut album The Gallows Laugh. The band’s blend of post-hardcore and extreme metal is threaded through with surprisingly uplifting melodies as contrasted with distorted vocals and fluidly heavy riffs. Also on the bill are sludge metal greats Lost Relics whose own 2021 album Now We’re Even dropped in April. Dulled Arrows is a bit of a departure from the heavy with its blend of math rock and Americana. Even more of a departure for this show is Church Fire and its revolutionary industrial dance synth pop.

Nation of Language, photo by Robin Laananen

Saturday | 10.09
What: Nation of Language w/Oko Tygra
When: 8 p.m.
Where: Lost Lake
Why: For its new album, A Way Forward due out on November 5, 2021 on PIAS, Nation of Language reached back to the roots of its sound to early pioneers of electronic pop and rock like Kraftwerk, Popol Vuh, Suicide and OMD. It also has the transformative sense of wonder mixed with nostalgia heard in the music of Tor Lundvall in the 90s as released on the 2019 compilation A Strangeness In Motion. So called minimal synth from the early 2010s was very much part of the emergent modern darkwave movement and Nation of Language has refined those sounds and impulses in a way that should also appeal to fans of Perfume Genius and Future Islands. Opening the show is the great, soulful dream pop band Oko Tygra who though clearly inspired in part by Cocteau Twins also bring an R&B sensibility to its lush and affecting guitar rock.

Saturday | 10.09
What: Supersuckers w/Reno Divorce and Luke Schmaltz
When: 7 p.m.
Where: Oriental Theater
Why: Supersuckers were part of that whole mess of the Seattle music scene explosion of the early 90s and benefited from that association but somehow survived the fallout of that collapse to become a beloved underground touring act for some 30 years now. Reno Divorce may be a roots punk band but its stories of everyday struggle hit deep and its spirited performances help drive that content home. Luke Schmaltz was and is the frontman for long running Denver punk legends King Rat and he brings a literary flair to his punk songwriting though for this show he’s going solo.

cleopatrick, photo by Tanner Pare

Monday | 10.11
What: cleopatrick w/Zig Mentality and Ready The Prince
When: 7 p.m.
Where: Bluebird Theater
Why: cleopatrick’s 2021 debut album BUMMER seethes with irresistible intensity. Like a hop-hop album written by guys who make music that sounds like they had to listen to Soundgarden and Sleaford Mods through blown out speakers growing up. The vocal cadence has that kind of flow and the burning, distorted, pulsing guitar work is almost like a sample in the way it is employed in the mix of sounds.

Cellista, image by Yellow Bubbles Photography

Friday | 10.15
What: Cellista PARIAH tour w/Zero Collective (LA) and Herpes Hideaway
When: 7 p.m.
Where: Mutiny Information Café
Why: Cellista returns with her latest album PARIAH which is a fairytale concept album of a sort. But it’s a fairytale about confronting injustice by daring to speak the truth even though rejection by one’s community is often inevitable with a long and uncertain road to vindication for refusing to accept the official version of events. In live performance Freya Cellista aims to break down the barrier of performer and audience with a collective experience of the music. The combination of classical music, pop and opera makes the type of creative work one often has to go to a fancy theater or art gallery to see accessible in a smaller setting like Mutiny.

Friday | 10.15
What: The Final Sound (Brooklyn) w/eHpH and Weathered Statues
When: 8 p.m.
Where: HQ
Why: New York’s The Final Sound brings its moody post-punk flavored dream pop to Denver in the wake of the release of its 2021 album Automata Theory. Fans of The Chamleons and Pink Turns blue will appreciate what The Final Sound have to offer. Weathered Statues is a post-punk band from Denver with a touch of punk brashness that gives the music an expansive momentum and pop flavoring. EhpH is one of Denver’s most interesting EBM/industrial bands even though its latest album, 2020’s Infrared, revealed a bit more than a passing gift for making brooding and deeply atmospheric post-punk.

Valley Maker, photo by Bree Burchfield

Friday | 10.15
What: Valley Maker w/Patrick Dethlefs
When: 8 p.m.
Where: Globe Hall
Why: Austin Crane was already writing thoughtful, delicately textured folk style songs on the 2010 self-titled debut Valley Maker album. But with the 2021 release of When The Day Leaves it’s like you’re getting to see those modest though sophisticated creative beginnings attain a full bloom with subtle layers of dynamics interlocking and resolving around rhythm of the poetic imagery of the lyrics. It’s a mastery of songcraft in this loose realm of songwriting that one hears in the work of Sam Beam where storytelling, elegant turns of phrase and delicacy of feeling work together with a nuanced evocation of life’s poignant moments strike you with power of gentle epiphany.

Saturday | 10.16
What: 100 Gecs
When: 8 p.m.
Where: Ogden Theatre
Why: 100 Gecs is, loosely and perhaps imprecisely speaking, an experimental pop duo from St. Louis whose sound combines noise, trap, industrial pop, EDM and video game music. The auto-tuned vocals and hyperkinetic yet chill production is the kind of thing that will alienate and outrage more conventionally-minded tastes which is why it’s interesting in the first place in flouting outdated notions of good taste. It is unabashedly its own thing which is why the group has garnered a cult following not just for the music but its non-gendered presentation as performers. If you thought people hated Riff Raff, this is weirder with stage personae that really do push the envelope in a creative way and thus culturally significant for that as well as pushing into hybrid musical territories in making something new and undeniably accessible and interesting if you’re open to the unfamiliar.

Monday | 10.18
What: Erykah Badu
When: 7 p.m.
Where: Mission Ballroom
Why: Erykah Badu is one of the pioneers of psychedelic neo-soul whose emotionally vibrant and deep songs have rightfully caught the attention of a wide audience since the late 90s after the release of her 1997 debut album Baduizm. Her gift for jazz idiom and poetry in the context of hip-hop and soul is second to none and her commanding live performances are always moving and worth witnessing.

Cradle of Filth, image courtesy the artists

Monday | 10.18
What: Cradle of Filth w/3TEETH and Once Human
When: 7 p.m.
Where: Ogden Theatre
Why: Cradle of Filth is currently touring and performing its 1998 album Cruelty and the Beast in its entirety. The concept album centered around the story of the 16th/17th century Hungarian countess Elizabeth Báthory. So go expecting the band’s usual theatrical, extreme metal bombast with some older fan favorites and perhaps some cuts from the group’s forthcoming album Existence is Futile.

Thursday | 10.21
What: Juliet Mission, Jacket of Spiders, Amalgam Effect
When: 7 p.m.
Where: HQ
Why: Juliet Mission is a trio that includes former and current members of classic Denver alternative rock band Sympathy F. Juliet Mission has less jazz elements than the latter and its music is more in vein with the great, gloomy, dark vibe of old Denver. Jacket of Spiders includes former members of Twice Wilted and Tarmints doing a more shoegaze-y and post-punk thing.

Kal Marks, photo by Greg Scranton

Sunday | 10.24
What: Kal Marks w/Moon Pussy and Tender Object
When: 7 p.m.
Where: Hi-Dive
Why: Kal Marks from Boston has been making some of the most scorchingly abrasive yet accessible noise rock this side of Big Black for over a decade all while mixing in haunting atmospherics and irreverent storytelling. The title of the group’s 2019 EP Let The Shit House Burn Down about summed up widespread frustration with the direction of American society and government. Did this band woodshed songwriting while listening only to releases on Amphetamine Reptile, Touch and Go and Siltbreeze before putting out any releases? Probably not but thankfully they sound like that was part of the creative process to shield musical instincts from the temptation to aim for appealing to tastes dullened by having become used to music that sounds tame and having gone through focus group meetings before being marketed as exciting when it’s anything but. Moon Pussy from Denver are a similar type of band with its own eruptive dynamics and emotional intensity coupled with scorching soundscapes.

Tuesday | 10.26
What: Lords of Acid w/Aesthetic Perfection, Praga Khan and MXMS
When: 6:30 p.m.
Where: Oriental Theater
Why: Lords of Acid is the Belgian industrial dance band whose overtly sexually themed songs are a hedonistic celebration of life and a repudiation of puritanical sensibilities and a-human hypocrisy. But even if that’s not completely your thing the songs are fun especially in the live setting when you don’t always know what frontman Praga Khan will get up to on stage all in the spirit of a good time. MXMS is the excellent dream pop/downtempo group from Los Angeles whose lush, sultry sound is reminiscent of MIA by way of Crystal Castles and Goldfrapp.

Snotty Nose Rez Kids, photo by Brendan Meadows

Wednesday | 10.27
What: Snotty Nose Rez Kids w/Lex Leosis
When: 8:30 p.m.
Where: Hi-Dive
Why: Snotty Nose Red Kids is a Canadian First Nations hip-hop duo whose production seems as dark as it is playful. Their songs suss out the corners of depression and alienation with sharp couplets that flow with a jagged yet sinuous flow. Currently the group is touring for its fourth full length album Life After.

Thursday | 10.28
What: Mr. Atomic w/Trash and Gila Teen
When: 7 p.m.
Where: Globe Hall
Why: Denver’s Gila Teen is what happens when punk and emo kids discover post-punk and manage not to go Goth yet embrace that emotional intensity as a vehicle for making honest art. Mr. Atomic from Fort Collins could be dismissed as yet another 2010s/2020s band that really hopped back on that retro 90s alternative rock revival bandwagon. But its energetic shows and strong songwriting makes such considerations irrelevant because if you band can bring it live that’s all that matters in making it something to recommend.

Tokyo Police Club, photo by Taylor Ohryn

Saturday | 10.30
What: Tokyo Police Club w/Pkew Pkew Pkew https://www.bluebirdtheater.net/events/detail/405233
When: 8 p.m.
Where: Bluebird Theater
Why: Tokyo Police Club got going in 2005 and benefited directly from the peak years of the music blog phenomenon from roughly 2006-2016. The band hit the sweet spot of a mix of influences that sounded like 90s indie rock like Cursive and Modest Mouse and the then still strong post-punk revival. What set the band apart from a steady stream of cookie cutter indie rock was its strong songwriting and thoughtful, insightful lyrics. This was perhaps best embodied in its first half decade by the 2010 album Champ which the 10th anniversary edition of which TPC announced at the end of 2020 and released in 2021. Opening the show are fellow Canadians Pkew Pkew Pkew and their brand of anthemic pop punk.

Saturday | 10.30
What: itchy-O Hallowmass w/J.G. Thirlwell
When: 8 p.m.
Where: Summit Music Hall
Why: itchy-O is the experimental, maximalist electronics and rhythm mobile orchestra that has graced Denver, Colorado and worldwide stages for over around a decade. It’s performance art as much as music though both can be enjoyed independently, which is why itchy-O is still interesting and not an inspired gimmick, as the collective has evolved all aspects of its show and recordings from launch. It’s a bombastic and unforgettable spectacle everyone should get to see. Opening the show is legendary producer and influential industrial artist J.G. Thirlwell whose project Foetus helped to pioneer and develop the industrial and noise genres at the beginning of the 1980s. He has been involved in other people’s records for decades including a fascinating collaboration with Zola Jesus for her 2013 remix album Versions.

Queen City Sounds and Art Best Albums of 2020

Sex Swing | Type II | Rocket Recordings

This sprawling best of list was intended for publication in January 2021 but other priorities got in the way and I had written about many of these in brief in my year end best column for the December 2020 print edition of Birdy magazine in December. Others I wrote up for Birdy throughout the year. All of that text is here hopefully not in a form with my errors edited back in. At any rate it begins with what I’m going to call the album of the year, Type II by UK post-punk experimentalists Sex Swing. It not only stretched post-punk beyond the usual boundaries these days and it articulated the conflict, the outage and confusion of a world coming to terms with the great shortcomings of modern, international capitalism, the inadequacy of the conservative/far right and neoliberal government to address the needs of people across decades and most painfully and poignantly in the moment. That agony and anomie can be heard throughout the album but even separate from that context it’s just a great, experimental rock album. The original verbiage for the Birdy piece reads “An uncomromisingly mind-altering psychedelic noise rock ride through 2020 hell.” With any luck we’ll see the band in North America sooner than later and see for ourselves if the live show delivers. What follows is the rest of the best of list for 2020.

A.M. Pleasure Assassins | Careless Laughter | Self-released
This latest EP from Fort Collins-based, math-y post-punk band A.M. Pleasure Assassins sounds like it  was written after a long period of contemplation and self-imposed exile from one’s usual social activities. “Said Yer Outta Gas” is imbued with a rush of exuberance reflected in its words about emerging from winter into a period of new beginnings. “Get It Right” finds the band waxing into the warped garage punk territory like something one would expect out of Memphis, Tennessee the past two decades — raw and ragged yet bracing. “Cain Was Killing Abel” strikes a more contemplative tone and the sprawling “Pretty Dead Beat” creates a beautifully hypnotic pulse of sounds with bell tones processed through reverb and distorted drones for an effect like a late 90s Yo La Tengo track. The four songs give the impression of nostalgic reflection, but one where you see and feel deeply the joys and pains of a good time in your life  that you are wise enough now to know to enjoy in its full measure rather than through the lens of selective romanticism.

Abrams | Modern Ways | Sailor Records

Adulkt Life | Book of Curses | What’s Your Rupture?

ADULT. | Perception Is/As/Of Deception | Dais Records
Darkly urgent industrial dance anthems to purge today’s desperation, confusion and chaos.

Angel Olsen | Whole New Mess | Secretly Group
A tender yet bracingly fragile portrait of the realization that you can never adequately prepare for everything life might throw your way.

Anna von Hausswolff | Sacro Bosco | Southern Lord

A Shoreline Dream | Melting | Late Night Weeknight
With its first release since 2018’s Waitout EP, A Shoreline Dream presents a set of songs that seems less  ethereal than their previous output. From opening track “Turned Too Slow” to closing song “Atheris  Hispida” the progressive shoegaze duo has seemingly focused its attention on the texture and  physicality of the music. One is tempted to say the guitars are more like hard rock, but only if your idea of  hard rock is more in the vein of Swervedriver. But “Downstairs Sundays” has more in common with folk  music in its intricate guitar interplay though threading through an uplifting, introspective drone. A  Shoreline Dream still gives us its usual transporting melodies, but this time its astral realms are  more focused and vivid as though coming out of its musical dreamstate into a phase of making those  dreams real. 

Autechre | Sign | Warp Records
Cleanses the mind with textural tones and hypnotically immersive, abstract rhythms.

Bambara | Stray | Wharf Cat Records

Bestial Mouths | RESURRECTEDINBLACK | RUNE & RUIN

Bison Bone | Find Your Way Out | self-released

Black Wing | No Moon | The Flenser

blackcell | Burn the Ashes | self-released
Denver-based EBM/IDM band Blackcell returns with its first full- length album since 2013’s In the Key of  Black. Matt Jones’ processed, distorted vocals sound as ever like a dispossessed human resisting an ever increasing mechanization of life. These dark dance songs articulate so well the struggles of the human  condition and seem so resonant for today as meaningful choices and control over your own life are  leeched away into increasing labor defined by a gig economy, subscription and streaming services in the  modern equivalent of pay-per-view, and a failing political and economic system that has channeled all the  world’s wealth into fewer and fewer hands, nickeled and dimed to death and expected to take it like it is or  not to streamline the technocratic wealth pipeline. Blackcell offers no answers but this time, its Gary  Numan-esque end of the world techno feels particularly cathartic right now.  

BleakHeart | Dream Griever | Sailor Records

Body Double | Milk Fed | Zum
Vignettes of personal psychological horror expressed as seething, angular post-punk pop.

Body Negative | Fragments | Track Number Records

Bootblacks | Thin Skies | Artoffact Records
Soaring synths and guitar sketch a vivid image of a deep yearning for personal transcendence and rebirth.

Boris and Merzbow | 2R012P0 | Relapse Records
Alien soundscapes of stunning immediacy that challenge preconceptions of all artists involved.

Botanist | Photosynthesis | The Flenser

Cabaret Voltaire | Shadow of Fear | Mute

Camila Fuchs | Kids Talk Sun | Felte Records
Avant-garde, psychedelic synth pop for tropical vacations in parallel dimensions.

Causer | Hellebore: Demos | self-released

Chicano Batman | Invisible People | ATO Records
Un-ironic, un-corny psych Tropicalia love songs for an inclusive future of unified humanity.

Choir Boy | Gathering Swans | Dais Records
Every song is an introspective Goth R&B ode to radical self care.

Church Fire | Some Lonely Wip | self-released
This collection of “unfinished/unmixed/unmastered/instrumentals” bridges the gap between Nine Inch  Nails and Crystal Castles with their raw, lo-fi, maximalist glitch. Without the highly emotive and cathartic  vocals that have been part of Church Fire’s signature sound we are invited to visit the soundscapes that  give those vocals a powerful musical context. What is obvious here is the band’s playfulness and gift for  pairing dark tonal choices and buoyant rhythms anchored by spare textural elements. On “pixie death  tickle” there are wisps of voices but they serve as more a musical aside from the strong, bright, urgent  main passages. The “wip” in the title may refer to “works-in-progress” but these songs would work as  mood pieces in a soundtrack to the inevitable English language Inio Asano manga film in mirroring that  artist’s talent for simultaneously expressing melancholia and joy.  

cindygod | EP 2 | Fire Talk

Clipping. | Visions of Bodies Being Burned | Sub Pop
Brooding, seething, menacing industrial hip-hop horror stories from an all too near future.

Cyclo Sonic | Pile of Bones EP | self-released

Damn Selene | Nobody By That Name Lives Here Anymore | self-released

Dan Deacon | Mystic Familiar | Domino Records

Dead Voices On Air | Stone Cross Shuttle Worn | self-released

Deafbrick (Deafkids + Pet Brick) | s/t | Rocket Recordings

Death Bells | New Signs Of Life | Dais Records
Atmospheric post-punk brimming with an infectious sense of hope after a time of struggle.

Death Valley Girls | Under the Spell of Joy | Suicide Squeeze
Acid jazz flavored garage psych with an ear for emotionally rich infinite horizons.

Deerhoof | Teenage Cave Artists | Joyful Noise
Reliably Beefheartian, lo-fi No Wave-esque, boundary-breaking avant-pop.

Down Time | Hurts Being Alive | self-released

Drew Danburry | Icarus Phoenix A Sides and B Sides 2020 | Telos

Drew McDowell | Angalma | Dais Records

Dyad | Dormant | self-released
Charles Ballas and Jeremy Averitt are perhaps better known for their participation in acts like  Howling Hex and Esmé Patterson’s live band respectively as well as their production work for  Echo Beds. But DORMANT from their long-running collaborative project DYAD showcases  their mutual knack for genre-bending IDM-esque soundscapes. DYAD freely blends elements of  non-Western polyrhythms, intricate and textured instrumentation, luminous jazz keyboard  progressions and tasteful electronic arrangements that convey an eclectic and international flavor.  Imagine music equally influenced by Herbie Hancock, 80s Ethiopian synth pop, Daft Punk,  Warp Records artists and informed by a deep sense of play, and you will have some idea of the  soothing and imagination stirring quality of this music and its brilliantly new age downtempo  future jazz sounds. 

eHpH | Infrared | self-released
This Denver-based electro-industrial duo minces no words on the opening track “Idiot” in its  introductory sample “I’m gonna say one thing, fuck Trump.” And then on to choice  sampling of 45s words and those of journalists cataloging some of his offenses against humanity.  The menacing descending synth bass progression and minimalistic percussion puts the focus on  the words. The rest of the album is less explicitly and specifically topical but it is the band’s most  fully realized and focused effort yet. The pulsing pace and Fernando Altonaga’s distorted vocals  draw you into meditations on the perils of creeping authoritarianism on “Tarnished.” The  pastoral pace and deep melancholy of “Forever Haunted” resonates with the artfully despairing  tones of the Closer period of Joy Division the way its circular guitar line and synth melody rides  a wave of personal revelation and the contemplation of an unrelievedly bleak future. EhpH  has long been one of the more interesting modern EBM bands but Infrared demonstrates that the  group of Altonaga and Angelo Atencio have fully integrated those roots with a more  contemporary post-punk and darkwave sensibility, thus never sounding stuck in the  past. 

Emerald Siam | Inventions of Ascension | self-released

Emma Ruth Rundle & Thou | May Our Chambers Be Full | Sacred Bones Records

Emmy The Great | April / 月音 | Bella Union

Entrancer | Decline Vol. 4 | Multidim
In constructing this latest installment in Entrancer’s Decline series Ryan McRyhew utilized Rob  Hordijik’s DIY synth, the Benjolin, as well as the Make Noise Shared System. Though both are modular  synthesis devices and visually look complex, McRyhew, in naming the equipment on the Bandcamp  page, takes some of the technological mystery out of music making with synths  and puts the emphasis on the creativity end. For twenty-seven minutes forty-four seconds of the single  track of this album, “Decline XVI,” we travel with McRyhew through the sonic analog of the distorted  ebb and flow of civilizational decay that we seem to be experiencing right now. Yet at the  heart of the piece we hear a separation of more industrial sounds and those more organic like the  inevitability of nature reasserting its primacy in our own consciousnesses and in the entire world.

Equine | Light Wa/orship | Noise Pelican

Eve Maret | Stars Aligned | White Supulchre Records

Eyebeams | It Means Trouble | Hot Congress

Eyedress | Let’s Skip to the Wedding | Lex Records

Eye of Nix | Ligeia | Scry Recordings
Uplifting, psychedelic, blackened noise doom journey to a pagan underworld and back.

Facs | Void Moments | Trouble In Mind
The post-punk equivalent of crime jazz’s subterranean menace.

Faim | Hollow Hope | Deathwish

Fearing | Shadow | Funeral Party

Fire-Toolz | Rainbow Bridge | Hausu Mountain Records

Flaming Lips | American Head | Warner Records
Overflowing with compassion and musical salves for the pain and despair of the fractured American psyche.

French Kettle Station | Spirit Mode | Slagwerk

Future Islands | As Long As You Are | 4AD
A soulfully soothing and transporting examination of the roots of one’s melancholic impulses.

Galleries | Resolve | self-released

Ganser | Just Look at That Sky | Felte Records
Incandescent yet contemplative post-punk dense with conceptual content and poignant social commentary.

Gold Cage | Social Crutch | Felte Records

Hard to Be a Killer: A Tribute to Ralph Gean
In an alternate universe Ralph Gean is a beloved rock and roll hero widely known for his  brilliantly unique and off-beat songwriting. But the British Invasion derailed that trajectory and  Gean instead has since become a bit of a legendary figure with a cult following in Denver music  who has periodically played shows and championed by figures as politically disparate as Boyd  Rice (who compiled a collection of Gean’s work in 2007) and Jello Biafra. That fandom is  reflected on this sprawling tribute album assembled by Arlo White of Hypnotic Turtle Radio and  bands like Deadbubbles and The Buckingham Squares. Every interpretation of Gean’s songs is a  worthy listen and a fine showcase for his sheer breadth as an artist. Contributions from local,  experimental eccentrics like Little Fyodor & Babushka, Claudzilla and The Babysitters lovingly  capture Gean’s essential appeal as an artist with an unvarnished charm and humor. Eric Allen of  The Apples in Stereo fame highlights the science fiction cowboy persona that Gean could convey while White’s band Diablo Montalban with the late, great eccentric DJ and Denver cultural figure  Frank Bell give “Switzerland” a real dark exotica treatment reminiscent of weirder moments in  Tom Waits’ catalog. A fascinating portrait of an important yet often overlooked artist.

H Lite | Green Youth Heattech | self-released
Anton Kruger has been known for his inventive, hyperkinetic electronic and experimental music. But for  this new EP he took a deep dive into contemplative realms of sound. Elegant, heavenly strings, luminous  swells of tone and crystalline percussion embody the title of the song “Light Language.” The spacious  sound design aspect of all the song’s on the album are reminiscent of Plaid in the enigmatic playfulness  and the stretching consciousness to find inspiration through creative work. Every song brings forth a  singular and imaginative portrait of tone, texture and rhythm that takes you on a journey to alien spaces  that strike one as familiar and ultimately comforting like a dream. It is post-glitchcore IDM that dispenses  with the anxiety in favor of a soothing spirit.

Houses of Heaven | Silent Places | Felte Records
Gloomy street tribal dance anthems fortified with dark, minor chord melodies.

Human Impact | s/t | Ipecac Recordings

In The Company Of Serpents | Lux | self-released
In the Company of Serpents has long been a band that has aimed to infuse its music with its  interest in cinema, esoteric knowledge, literature, and with all of those come out of directi human experience, emotion and an attempt to make sense of life and imbue it with  meaning. Lux is the fullest manifestation of those aims written into its most sonically dynamic  set of songs to date. The crushing yet fluid heaviness of its sound is paired perfectly with  elements of song that wouldn’t sound out of place on a Spaghetti Western soundtrack. “The  Fool’s Journey” opens the record as a sort of map for the path set before us ending with the  enigmatic “Prima Materia.” It’s a musically diverse and rich album that places In the Company  of Serpents apart from a mere doom band and more in the realm of Swans’ and Neurosis’ own  heavy explorations of the human psyche. 

IDLES | Ultra Mono | Partisan
Pointed yet loving politi-punk built on a hip-hop framework.

Insect Ark | The Vanishing | Profound Lore Records
A seething and entrancing hybrid of a Junji Ito manga and industrial psychedelic doom.

Jarv Is | Beyond the Pale | Rough Trade Records

jOoHS UhP | Big Glasss | Records
This record is so irreverent and self-deprecating it uses the swagger language of much of hip-hop to make  statements that are the opposite of anything some other artists would brag about. The irony runs so deep  even the elements of the music sounds like swagger. There is a song called  
“NoWeDon’tWannaMakeGoodMusic.WeTriedAndIt’sBoring.” The glitchy, industrial beats are so  unconventional and eccentric you would never confuse this duo with anything resembling traditional hip-hop. It all has more in common with Renaldo & The Loaf and The Residents  than even a weirdo like Kanye. Though often confrontational and obnoxious there’s no denying the  relentless creativity of the production and glorious seeming lack of regard for how a song is supposed to  sound. 

Juliet Mission | Surren | self-released
Surren is the third EP from Denver-based post-punk band Juliet Mission. As with previous releases the  trio’s command of blending layers of atmosphere with strong rhythms and a contemplative melancholy is  impressive. The short title track actually has three movements that flow from existential introspection to  passages of dark realization to a mood of uneasy acceptance. All four songs in their brooding beauty  demonstrate, as have the most recent albums from The Church, that you can write vital and engrossing  rock songs from an adult point of view with elegance and grace, and without defaulting to an adolescent,  and thus thematically limited, perspective. 

Jupiter Sprites| Holographic | Jupiter Sprites Records

Kaitlyn Aurelia Smith | The Mosaic of Transformation | Ghostly International

Killd By | Neotropical (tape reissue) | Noumenal Loom

King Krule | Man Alive! | Matador
Like The Fall gone hip-hop chillout lounge post-bad trip horror movie dreaming.

Klara Lewis | Ingrid | Editions Mego
Distorted melancholic cello drones like the glitched image memories of past life regression.

KoKo La | Curriculum Vitae | self-released
Koko La has long already established herself as an artist of note as one of the MCs and producers in the  hip-hop group R A R E B Y R D $. Her soulful voice and presence often draws out subconscious  emotions and gives them form in the music and performance. Curriculum Vitae finds Koko La exploring  the experiences that have shaped her. Aided by Machete Mouth and Kitty Opinion$ on a couple of tracks,  Koko La excels here with shining a light on those experiences that challenge you in various ways, while  at the same time, giving you a better sense of self and the boundaries you must draw the border for people who might seek to dismiss you as a human or otherwise put you in your place. The trap beats and  hushed atmospheres provide a fascinating listening experience, like you’re honoring the subconscious  thoughts and feelings that affect your waking life by giving them an identifiable form that also allows you  to comprehend, embrace and reconcile the wounded sides of yourself. 

Lazarus Horse | Oh the Guilt! | self-released

Lithics | Tower of Age | Trouble In Mind
Surreal, minimalist post-punk funk disintegrating into disorder like American democracy.

Lone Dancer | Temporal Smearing | Multidim

Mamaleek | Come and See | The Flenser

Many Blessings | Emanation Body | Translation Loss Records
Ethan McCarthy of Primitive Man renown returns to his ongoing noise soundscapes with the enigmatic  and forbidding Many Blessings. In typical fashion this set of five pieces stretches beyond what McCarthy  has done with the project in the past. Throughout this album there is not the harsh noise and deconstructed  drones of some earlier work. Rather, it is layered collages of sound that give voice to the raw angst and  anxieties that sit as a background hum of modern civilization eating away at our collective  unconsciousness. The concluding track “Harm Signal” is like a symbol for the whole effort — a flow of  sounds, a frequency, that we usually ignore but which causes untold destruction to our existence.  These songs identify and give expression to energies and forces we’ve bypassed our whole lives but which  are now impossible to ignore, like a sound art metaphor for the social and political forces that have come  home to roost of late. 

Marissa Nadler | Moons | self-released

Melkbelly | PITH | Carpark Records/Wax Nine

Memory Bell | Solace | self-released

Metz | Atlas Vending | Sub Pop

Midwife | Forever | The Flenser
Madeline Johnston wrote Forever during one of the darkest times of the Denver DIY music  and art community. Her community was scattered and challenged in the wake of the Ghost Ship fire with  so many lives seeming to be on hold with no hint about when thatdespairing period would end. And  the 2018 death of Colin Ward hit everyone whose lives he touched so deeply that it seems like the kind of  hurt that will never fully heal. Johnston’s almost ghostly, delicate and vulnerable vocals and distorted,  ethereal guitar seem to drift together in an effort to make some sense of those feelings with a nuance and  sensitivity that always comes across as emerging directly from those places of acute pain and ache  and loss, and honoring the need to just feel all of that whenever the need strikes and for however long into  your life it lasts even if that is, indeed, forever. An especially touching and evocative tribute to a uniquely  restless and creative yet sensitive and emotionally refined person in Colin Ward, Forever is a tender and  heartbreaking, healing catharsis in the listen. 

Mild Wild | Mild Wild, Vol. 1 | self-released
Intensely personal, imaginatively lo-fi aural snapshots of daydreams and poetic observations.

Mint Field | Sentimiento Mundial | Felte Records
Dream pop slow burner illuminating and warming the inner regions of the melancholic heart.

Moby | All Visible Objects | Mute Records
Retro rave and chillout lounge songs mourning our collective loss, yearning for a hopeful future.

Molchat Doma | Monument | Sacred Bones Records
Introspective, elegantly minimalistic, lo-fi, Belarusian gloom pop.

Mong Tong | Mystery | Guruguru Brain

Moodie Black | FUZZ | Fake Four

Moon Pussy | Hurt Wrist | The Ghost Is Clear Records
Guitar riffs like swarms of angry insects sweeping through. Syncopated percussion like start- and- stop  jackhammers. Bass lines like a half- ton coil being struck and emitting a menacing fluidity. Tortured  vocals erupt with Brutalist, post-hardcore poetry. All of this helps to make this latest Moon Pussy record  the perfect companion and reaction to a radically uncertain world seemingly in perpetual crisis mode and  on the verge of we know not what. Fans of bands on the Amphetamine Reptile imprint or Touch and Go  will be thrilled with the band’s seemingly endless supply of inspired, aggressive and savage noise rock  riffs and the ability to articulate directly from a place of desperation and outrage. “Fail Better” should be  the theme song of these United States.  

Mr. Bungle | The Raging Wrath of the Easter Bunny Demo | Ipecac

Mr. Gnome | The Day You Flew Away | El Marko Records

Mrs. Piss | Self-Surgery | Sargent House

Napalm Death | Throes of Joy in the Jaws of Defeatism | Century Media

New Standards Men | I Was A Spaceship | self-released

Night of the Living Shred | Return of the Night of the Living Shred | self-released
The name of this album of course invokes the title of the 1985 horror comedy Return of the Living Dead.  And the Colorado Springs-based metal group has taken the opportunity to give us an unusual and eclectic  record that not only reflects its members’ broad taste in music but a deeply healthy sense of humor about  the world and themselves. “Shred Shoppe Quartert” is an a cappella song in the style of a barbershop  quartet. There are rap, punks, death metal, doom and grindcore songs. All of it performed with  a charming exuberance even though the entire track list reads like something out of a heavy metal version  of Mad Magazine. “We Get it, Mike Patton Is a Musical Genius” with screaming like a cover of  something by Naked City with lyrics mocking that? That’s genius. Even though the record is largely a put  on in one way or another, the fact that it has so much variety makes it eminently listenable.  

No Age | Goons Be Gone | Drag City

Of Feather And Bone | Sulfuric Disintegration | Profound Lore Records

Oneohtrix Point Never | Magic Oneohtrix Point Never | Warp Records

Otzi | Storm | Artoffact Records
Emotionally intense post-punk at the intersection of Sleater-Kinney and The Cure.

Perry Weissman 3 | Backlog | self-released

Plack Blague | Wear Your Body Out | self-released

Plague Garden | LEFT IN THE GRAVE | self-released

Pod Blotz | Transdimensional System | Dais Records

Pole | Fading | Mute Records

Primitive Man | Immersion | Relapse Records

Princess Dewclaw | Wild Sugar | Glasss Records
On the Wild Sugar EP Princess Dewclaw has reinvented itself as a gritty, industrial darkwave band. That  element was there on its 2017 album Walk of Shame (in fact the songs “Walk of Shame” and “Into the  Words” have carried over in a significantly different form), but there seems more of an edge here. The  vocals come more directly from channeling anxiety and pain into catharsis. Rather than acoustic  drums the electronic and programmed drums sync more closely with the cutting synth work. The effect is  like a caustic and politically charged take on a pop song with mainstream appeal. In that way it has an  appeal similar to that of Alice Glass’s emotionally raw solo offerings.

Protomartyr | Ultimate Success Today | Domino Records
Burning poems songs evoking a Jim Thompson-esque modern America in slashing/clashing post-punk.

Public Memory | Ripped Apparition | Felte Records
If Tarkovksy and Jarmusch could team up to make a cyberpunk movie this would be the soundtrack.

Rafael Anton Irisarri | Peripeteia | Dais Records

Raspberry Bulbs | Before the Age of Mirrors | Relapse Records

Reverb And The Verse | RESONATE | self-released
Since 1999 Reverb & The Verse has been developing and writing some of the most imaginative hip-hop  out of Denver. The groupput their songwriting on this ninth record through  a rigorous process of experimentation and weeding out the material deemed not quite  there. Though steeped in classic MC wordplay, the beats and expertly crafted synth work and rhythms  seem as informed by the likes of Minneapolis alternative hip-hop that came out of the 90s as it does 80s  and 90s synth pop. All of these elements make for a sonically rich and diverse listen a bit like a cross  between Clipse and Meat Beat Manifesto. 

Riki | s/t | Dais Records
Goth synth pop for skate rink parties in abandoned malls.

Run The Jewels | RTJ4 | Jewel Runners

Shabazz Palaces | The Don of Diamond Dreams | Sub Pop

Shitkid | 20/20 | PNKSLM
An unlikely and fascinating hybrid of garage rock and soulful synth pop.

Shocker Mom | The Mediocre Depression | self-released

Sightless Pit | Grave of a Dog | Thrill Jockey
Sublime and caustic, often claustrophobic, soundscapes of terrifying and transcendent beauty.

SNAD/Jackson Lee| Jargon/Syntax Error 12” EP | Deep Club Records

SPELLS | Stimulants & Sedatives | Snappy Little Numbers
This record is raw even by SPELLS standards. But it’s perfect for 11 songs about the messiness of  adulthood with lyrics that frankly go for the jugular. This isn’t new for this pop punk band and its  anthemic choruses, but it’s always interesting to hear the contrast between the primal pop of the  songwriting and incisive portraits of American life that dispense with the soul-destroying niceties. “We  Can’t Relate” is a pointed declaration of the disconnect between the culture of the wealthy and the  working class. “I’m Sorry I’m Not Sorry” is something of an apology song for being how you have to be  in a world that demands essentially unacceptable compromises. Imagine an amalgam of Blatz, Stiff Little  Fingers and The Replacements and you have an idea of the sound, the vibe and the sentiments expressed  throughout. 

Spice | s/t | Dais Records

Sprain | As Lost Through Collision | The Flenser
Colossal, sprawling, slowcore deep dives into the catharsis of anxiety and rootlessness.

Spunsugar | Drive-Through Chapel | Adrian Recordings

Squarepusher | Be Up a Hello | Warner Records

Stay Tuned | Remote Control | self-released
Brilliantly sampling from American media and entertainment culture, both musically and thematically,  Stay Tuned has produced not just a signature song with this arc of eleven tracks but a signature album.  Dense with content each song uses the format of autobiography to comment on aspects of society like the  shallowness of celebrity culture and the way we formulate our dreams and aspirations in terms and  frameworks taken from preexisting constructs like television shows, movies, video games and other  media — of course expressed through the corporate controlled channels we most often use to  communicate with one another. But in free associating musical and other media references in a collage of  sounds in the beat, Stay Tuned uses media tropes and collective myths and imagery to showcase how we  can subvert the prevailing power relationships and the monopolistic paradigms of our time.  

Stephen Malkmus | Traditional Techniques | Matador

Studded Left | Sidewalk Vitamins | Girlgang Music

Stūrī Zēvele | Labvakar | self-released
An endearing indie pop manifestation of the essence of close and warm friendships.

Sumac | May You Be Held | Thrill Jockey

Suo and Data Rainbow | s/t | Multidim

SUUNS | FICTION EP | Joyful Noise

Syko Friend | Fontanelle | Post Present Medium

The Drood | Totally Comfortable | self-released

The High Water Marks | Ecstasy Rhymes | Minty Fresh

The Microphones | The Microphones In 2020 | P.W. Elverum & Sun

The Paranoyds | Pet Cemetery EP | Suicide Squeeze

The White Swan | Nocturnal Transmission | CockThermos

Through Flames | Through Flames | self-released
Riveting, radical experiments in political poetry and sound design.

TI-83 | Demo | self-released

Time | These Songs Kill Fascists | Dirty Laboratory
Hip-hop artist Chris “Time” Steele displays a true gift for fusing autobiography and lived experience with  historical context and knowledge of political theory on this album. He’s always been a brilliant lyricist  whose expert wordplay has seemingly effortlessly combined his sharp sense of humor with a wide ranging curiosity about the world and a growing body of knowledge of history, culture and politics. On  These Songs Kill Fascists, Steele works with Daiba, Mick Jenkins, long time producer AwareNess,  Giuseppe, Ron Miles, JXSHYB, Cat Soup and Psalm One to create a jazz-inflected story cycle  commenting astutely on social issues now getting some focus. While a riveting listen purely as a well crafted album, These Songs Kill Fascists does not function as merely socially conscious entertainment, it  seems to have been crafted as a form of praxis that challenges artist and listener in a dialectic of critical  pedagogy that mutually encourages ongoing personal growth and social transformation.

Tobacco | Hot, Wet & Sassy | Ghostly International
Bright, bombastic, noisy synths paired with darkly humorous musings disrupt the album’s aesthetic of nostalgic comfort sounds.

Torres | Silver Tongue | Merge Records

Uniform | Shame | Sacred Bones Records
Scorching and thrillingly diverse industrial hardcore inspired by noir literature.

Usaisamonster | Amikwag | Yeggs Records

Vivian | The Warped Glimmer | self-released

Voight | s/t | self-released
Maybe it’s Chase Dobson’s treatments and mixing and mastering after Adam Rojo and Nick Salmon wrote  and recorded this album, but the self-titled Voight album is the closest the duo has come to sounding like  it’s blurring the line between its rock and electronic aesthetics. Guitar chords burn and shimmer out,  percussion flurries and traces out a minimalist beat and Salmon’s vocals float through the songs like a  person who was once lost but is now rediscovering his ability to feel and to express those emotions with a  coherent self-awareness. Every song has an expansive quality reminiscent of Clan of Xymox and The Twilight Sad. The tone of the album perfectly walks the line between urgency and introspection without  ever compromising an underlying delicacy of spirit and emotional refinement.

Wayfarer | A Romance With Violence | Profound Lore Records

Wetware | Flail | Dais Recordings

White Rose Motor Oil | You Can’t Kill Ghosts | self-released

Windy & Carl | Allegiance and Conviction | Kranky

WL | ADHD | Beacon Sound

Wolf Parade | Thin Mind | Sub Pop

Yves Tumor | Heaven To A Tortured Mind | Warp Records
Futuristic, effervescent, downtempo, synth pop-inflected, R&B informed non-binary funk.

Best Shows in Denver and Beyond 11/21/19 – 11/27/19

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Lisa Prank performs at Hi-Dive on November 24. Photo circa 2016 by Tom Murphy

Thursday | November 21

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Wilderado, photo by Grant Spanier


What: Zeta (Venezuela), Clarion Void, Disposal Notice, Its Just Bugs
When: Thursday, 11.21, 9 p.m.
Where: Rhinoceropolis
Why: Venezuelan band Zeta has been developing its experimental hardcore sound since 2003. It’s sound is a parts progressive rock and punk but in a way that’s expressive and moody while not sacrificing the intensity. Currently touring in support of its 2019 album Mochima.

What: Mt. Joy w/Wilderado and Adam Melchor
When: Thursday, 11.21, 7 p.m.
Where: Ogden Theatre
Why: Wilderado’s new single “Surefire” sounds wistful and nostalgic in a way that allows for words to develop into an introspective narrative that blooms into an expansive melody alongside the story. Reminiscent of the way The War On Drugs echoes some of the vibe of Bruce Springsteen’s reflective, diary-like lyrics, this offering from the band builds on the atmospheric experiments of its 2018 EP Favors with more electric instrumentation and a more immersive sound without compromising the group’s use of space as a canvass for its emotional colorings.

Friday | November 22

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Married a Dead Man, photo by Ana Irene Valdes-Behrens

What: Married a Dead Man w/False Report, Dead Characters
When: Friday, 11.22, 8 p.m.
Where: Goosetown Tavern
Why: Denver’s Married a Dead Man is releasing its second album Awakening this night. The group’s sound might be described as somewhere between Xmal Deutschland’s wiry, urgent, dark atmospherics and modern pop melodies. The new set of songs, no doubt honed from live performances, are not just bandwagon new post-punk revival and darkwave. At times Megan Kelley’s performance and songwriting chops from her time as a solo artist infuse the songs with a warmth and coherence that gives the music a broader range than the genre of late can sometimes have with songs like “Burn” having a massive, expansive, dramatic dynamic that stretches the boundaries of what one might this band is capable of at first blush. Worth delving into beyond a casual listen.

What: Wildermiss w/Slow Caves
When: Friday, 11.22, 8 p.m.
Where: Bluebird Theater
Why: Wildermiss is a Denver-based indie rock band that is probably on the verge of much wider circles than simply relatively successful local band status. Its new EP In My Mind captures the spirit of our time now of great contrasts of emotional states and expectations, a mixture of fear and hopefulness that most people are experiencing due to the state of the planet, politics, culture and economics. We stand on the precipice of disaster and promise of a better future if we do not lack the will to make it happen. In My Mind expresses that tension well across its length.

What: Briffaut, Down Time and Inaiah Lujan
When: Friday, 11.22, 8 p.m.
Where: Hi-Dive
Why: Briffaut’s new album A Maritime Odyssey: Heaven is Only a Boat Race Away is a nice capsule of this band’s idiosyncratic songwriting. Fans of both King Krule and Deerhunter will find something to love about the band’s lush and unpredictable song structures and raw, emotional swells of tone and a disregard for whether a song or style or performance fits in with some established aesthetic outside its own. Too much music in the indie world is boringly predictable. Not just the indie world. Imitators of milquetoast artists and already successful formulas are rife in music now as at all times since popular music has been a thing. Thankfully Briffaut and its willingness to embrace its own weirdness has been intact since the beginning and gloriously so on the new album of imaginative soundscapes, completely unconventional songwriting and the ability to utterly transport us outside our usual frames of musical reference.

What: King Diamond w/Uncle Acid and the Deadbeats and Idle Hands
When: Friday, 11.22, 6 p.m.
Where: Fillmore Auditorium

What: Faim, Tuck Knee, Gack
When: Friday, 11.22, 8 p.m.
Where: Mutiny Information Café

What: Atomga w/Dandu, Spellbinder and DJ Yahru
When: Friday, 11.22, 8:30 p.m.
Where: Ophelia’s Electric Soapbox

What: False Cathedrals, Gila Teen, How to Think and Wolf Larva
When: Friday, 11.22, 8 p.m.
Where: Glitter City

What: Sour Boy, Bitter Girl and Dirty Shrines
When: Friday, 11.22, 8 p.m.
Where: The Squire Lounge

What: Broncho w/Hot Flash Heat Wave and Rinse & Repeat
When: Friday, 11.22, 7:30 p.m.
Where: Globe Hall

Saturday | November 23

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Blood Incantation, photo by Tom Murphy

What: Blood Incantation w/Vermin Womb, Dreadnought and Superstition
When: Saturday, 11.23, 8 p.m.
Where: Gothic Theatre
Why: Blood Incantation recently released its new album Hidden History of the Human Race. The Denver-based death metal band is a big of an enigma in that it has been slowly building a cult following for years and playing few local shows. But its songs, especially live, come across as larger than life, psychedelic although imbued with the technical precision of the best death metal, and as oddly accessible as the genre has ever been. The record is a science fiction concept album but one that has a cover designed by Bruce Pennington who did cover art for A Canticle For Leibowitz and the Dune books after the initial novel. Plus the guy did the iconic cover for Gene Wolfe’s landmark science fiction fantasy book The Shadow of the Torturer. Fine stuff for an album that is a thrilling reminder that death metal can still be fun and not a forbidding drag.

What: Black Star Gang ft. Yasiin Bey, Talib Kweli, DJ Premier w/Brother Ali, Evidence and The ReMINDers
When: Saturday, 11.23, 7:30 p.m.
Where: Mission Ballroom
Why: Black Star is a hip hop duo comprised of Talib Kweli and Yasiin Bey (Mos Def), two of the sharpest critics of American culture and innovators in the genre themselves. The project only has one album up to now, 1998’s Mos Def & Talib Kweli Are Black Star, but rumor has it they have another in the works produced by Madlib. So if you’ve caught the recent live performances maybe you’ve heard some of the new material and it seems likely it’ll be on display for this show.

What: Lusine w/JUSCHILL and HU
When: Saturday, 11.23, 8 p.m.
Where: Larimer Lounge

What: Broncho w/Hot Flash Heat Wave and Rinse & Repeat
When: Saturday, 11.23, 7:30 p.m.
Where: Globe Hall

What: Matt Rouch & The Noise Upstairs, Chella & The Charm, The Maykit
When: Saturday, 11.23, 7:30 p.m.
Where: The Skylark Lounge

Sunday | November 24

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The Shift circa 2015, photo by Tom Murphy

What: Lisa Prank w/The Tangles (fka The Tickles) and Horse Girl
When: Sunday, 11.24, 7 p.m.
Where: Hi-Dive
Why: Lisa Prank has established refined and thoughtful emo pop songs as a national artist since starting the project in Denver several years back. Her new record Perfect Love Song is a a little fuzzier, more confident but just as wise and as insightful.

What: Shibui Denver #8: Dead Orchids and The Shift
When: Sunday, 11.24, 6:30 p.m.
Where: Hi-Dive
Why: For this edition of Shibui Denver we will have two bands that don’t get nearly the attention they deserve. The Shift is an improvisational, experimental progressive rock band and includes Esmé Patterson and former Bad Weather California bassist Jeremy Averitt. Dead Orchids’ dark, brooding songs are a vital mix of post-punk and Americana but without the trendy habits that often mar bands trying their hand at either.

What: Vérité and YaSi
When: Sunday, 11.24, 7 p.m.
Where: Lost Lake

What: Kris Kristofferson & The Strangers
When: Sunday, 11.24, 5 p.m.
Where: Paramount Theatre

What: Neyla Pekarek’s Rattlesnake w/Chris Fleming, Bluebook and The Newfangled Four
When: Sunday, 11.24, 7 p.m.
Where: Bluebird Theater

What: Goon w/Whiskey Autumn and We Are Not a Glum Lot
When: Sunday, 11.24, 8:30 p.m.
Where: Lion’s Lair

Monday | November 25

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Midwife, photo by Tom Murphy

What: Midwife w/Hogwaller
When: Monday, 11.25, 7 p.m.
Where: Forest Room 5
Why: Midwife is an ambient folk artist of the highest order who was recently tapped to perform at The Flenser showcase at the Roadburn Festival in 2020 with her debut album on that record label later in the year. See her at these small rooms while you still can.

Tuesday | November 26

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HIDE circa 2016, photo by Tom Murphy

What: HIDE w/Echo Beds, Church Fire and Cau5er
When: Tuesday, 11.26, 8 p.m.
Where: Hi-Dive
Why: Confrontational, performance art-oriented industrial band HIDE is the urban dystopian futurist ritual catharsis we need now to burn off the darkness of the modern world. Its new album Hell is Here is a searing, discordant exorcism of the demons that plague the body politic.

What: B. Dolan w/Wheelchair Sports Camp
When: Tuesday, 11.26, 8 p.m.
Where: Ophelia’s Electric Soapbox

Wednesday | November 27

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The Hu, photo by Altankhuyag

What: Pigface w/eHpH, DJ N810, DJ Mudwulf
When: Wednesday, 11.27, 7 p.m.
Where: Summit Music Hall
Why: Pigface is the long-standing industrial supergroup with roots going back to the 80s with members of Ministry, KMFDM and other industrial luminaries. EhpH is a Denver-based duo whose mix of EBM and industrial rock is actually compelling and cathartic and doesn’t come off like its members’ musical imagination got stuck in the early 2000s.

What: Shark Dreams w/Nuancer, The Milk Blossoms and GhostPulse
When: Wednesday, 11.27, 7 p.m.
Where: Larimer Lounge
Why: Best local dream pop line-up in more than a minute with some of Denver’s best. Shark Dreams is more the kind of drifty indie pop with a leg in glittery, slowcore dynamic. Nuancer is as informed by experimental electronic music as pop. The Milk Blossoms are a hip-hop trio disguised as a heartfelt, hyper sincere, experimental indie pop group with a sense of humor and humanity. GhostPulse weaves together downtempo beats, unconventional instrumentation and luminously cloudy atmospherics.

What: The Hu w/Crown Land
When: Wednesday, 11.27, 6 p.m.
Where: The Black Sheep
Why: The Hu is a rock band from Mongolia that performs with traditional instruments, uses throat singing and yet its songs are an exquisite hybrid of Mongolian folk music and heavy metal. Could be corny but it is not, it is powerful, stirring stuff. Fans of Laibach will enjoy the sound of this band even though the styles are so different. Around since 2016 The Hu recently released its debut album The Gereg on Eleven Seven Records.

What: Neon Indian w/Lou Rebecca
When: Wednesday, 11.27, 7 p.m.
Where: Bluebird Theater

What: Emma Mayes & The Hip w/Los Mocochetes and Ghost Tapes
When: Wednesday, 11.27, 8 p.m.
Where: Lost Lake

What: Flaural w/Oko Tygra, Wet Nights and DJ Lexie
When: Wednesday, 11.27, 8 p.m.
Where: Hi-Dive

What: An Evening of Never Kenezzard 2 sets
When: Wednesday, 11.27, 9 p.m.
Where: The Squire Lounge

Best Shows in Denver 09/12/19 – 09/18/19

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Summer Cannibals perform at Lost Lake on September 13, photo by Jason Quigley

Thursday | September 12

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Sheer Mag circa 2017, photo by Tom Murphy

What: Sheer Mag w/Tweens and The Born Readies
When: Thursday, 09.12, 7 p.m.
Where: Larimer Lounge
Why: Sheer Mag sounds like a band that grew up listening mostly to Thin Lizzy, 70s power pop and AC/DC but invented punk rock without ever having heard it. It’s new record A Distant Call finds the band having refined some of its raw power without blunting it.

Friday | September 13

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Dub Trio, photo by William Felch

What: Soulless Maneater, Sweetness Itself, Sad Bug
When: Friday, 09.13, 8 p.m.
Where: Mutiny Information Café
Why: Sad Bug is sort of a neo-emo pop punk band. Sweetness Itself might come off as a bit of a fuzzy psychedelic band but sometimes Cyrena Rosati’s guitar work verves into bendy waves akin to something you might hear from My Bloody Valentine via No Joy. Which is to say gloriously loud and noisy but also tied to tight songwriting and accessible hooks. Soulless Maneater is what happens when you give doom metal more of an abrasive edge and more pointed and political lyrics aimed at where a critical eye belongs.

What: Summer Cannibals w/Mr. Atomic and Knuckle Pups
When: Friday, 09.13, 8 p.m.
Where: Lost Lake
Why: Summer Cannibals have for the past seven years charted a path out of the neo-garage rock that dominated American underground rock for several years. Its own songwriting more fluid and dynamic than just the adolescent release and raw, youthful enthusiasm that was both what was exciting but ultimately limiting and tiresome about the new garage bands. Summer Cannibals didn’t just have a healthy sense of humor but the band also seemed to take seriously its songcraft but without overthinking it. Its new album, 2019’s Can’t Tell Me No is Summer Cannibals in high form with its contrast of melodic vocals, grit, attitude and confessional lyrics.

What: Dub Trio w/Incubus
When: Friday, 09.13, 7 p.m.
Where: Fillmore Auditorium
Why: It shouldn’t work and maybe for some it doesn’t, but Brooklyn’s Dub Trio took inspiration from King Tubby and applied the principles of dub to heavier music in terms of shaping sound, production and signal processing. Surface level, the group comes across like an arty doom band and it has served as part of the backing band for Mike Patton on the 2006 Peeping Tom tour and on its new album The Shape of Jazz to Come, it worked with Buzz Osborne of Melvins fame. But the bass is sculpted in a way to sync up with the sampled and manipulated sounds fed back into the mix for a disorienting yet hypnotic effect. Sure, opening for a pretty famous nü metal band but worth going to see for their set alone.

Saturday | September 14

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Strand of Oaks, photo by Alysse Gafkajen

What: Dub Trio w/Incubus
When: Saturday, 09.14, 7 p.m.
Where: Fillmore Auditorium
Why: For Dub Trio see above on 9.14.

What: Day of the Green Fish: Emerald Siam, Pale Sun, No Gossip In Braille, Wild Call, Kilonova and Palehorse/Palerider
When: Saturday, 09.14, 7 p.m.
Where: Rhinoceropolis
Why: Really a showcase for some of Denver’s greatest practitioners of darkly atmospheric rock from the post-punk, shoegaze, tribal drone and psychedelic underground.

What: Test Dept w/Acidbat, eHpH and DJ Dave Vendetta
When: Saturday, 09.14, 7 p.m.
Where: Antero Hall (formerly Eck’s Saloon)
Why: Test Dept is indeed the legendary early industrial band from London touring through Denver before it performs at the Cold Waves festival in Chicago. Percussion heavy, full, mind-altering assault to the senses in the vein of those early industrial groups of the 80s. Different from but definitely for fans of Einstürzende Neubauten and Crash Worship.

What: Total Trash, Vampire Squids From Hell, Lords of Howling
When: Saturday, 09.14, 8 p.m.
Where: The People’s Building
Why: September’s Get Your Ears Swoll will include “doom surf” band Vampire Squids From Hell, avant-folk Lords of Howling and psychedelic indie rock phenoms Total Trash.

What: Strand of Oaks w/Apex Manor
When: Saturday, 09.14, 8 p.m.
Where: Globe Hall
Why: As Strand of Oaks, Timothy Showalter has had a prolific career writing delicate and thoughtful, introspective, folk-inflected pop songs. One might call it pastoral but by candlelight. There’s an intimacy to Showalter’s songwriting that sets it apart from some other songwriters exploring similar sonic territory. That and Showalter’s attention to the rhythm side of the music so that all parts compliment each other well. His new album, 2019’s Eraserland, was never supposed to happen until some friends convinced him to get back into the studio to write the record and it’s a particularly touching testament to rediscovering the strength to continue on and do what you love even if it feels to you at the time pointless and hopeless. It’s a personal reinvention with music that feels gently reinvigorating as well.

What: KGNU Quarterly Showcase, Smash it Back Edition: Sputnik Slovenia, Little Fyodor & Babushka and The Hinckleys – DJ Andy Z
When: Saturday, 09.14, 8 p.m.
Where: Lion’s Lair
Why: This edition of the KGNU Quaterly showcase features Jim Yelnick of hardcore band Pitch Invasion playing his solo material and probably treating you to some unusual humor. And of course the great, avant-garde punk band Little Fyodor & Babushka will be putting in a, these days, rare appearance and demonstrate how punk can push the boundaries of the songwriting and subject matter while writing incredibly catchy music. There is no fashion victim type stuff with Fyodor because he already looks like an accountant who burned down his office and started a cable access show about underground culture and the impending collapse of civilization.

Sunday | September 16

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Altas, photo by Evan Semoìn

What: RETIFest: Los Mocochetes, iZCALLi, Roka Hueka, El Cro, Altas, Sierra Leon, 2MX2, Modulor, Puete Libre
When: Sunday, 09.15, 10 a.m.
Where: Mile High Flea Market
Why: This is sort of an all day festival featuring some of Denver’s best bands whose membership is largely of Latinx extraction from the psychedelic funk band Los Mocochetes, hard rock group iZCALLi, experimental post-rock powerhouse Altas and hip-hop crew 2MX2.

Monday | September 16

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Lower Dens, photo by Torso

What: Of Monsters and Men w/Lower Dens
When: Monday, 09.16, 6:30 p.m.
Where: The Mission Ballroom
Why: Icelandic pop band Of Monsters and Men are currently touring in support of its 2019 album Fever Dream and will provide the expansive, emotional, melodic songs made for the larger club setting. Opening the show is experimental dream pop band Lower Dens. The group’s earlier albums were in the realm of dub-inflected post-punk but its newer material, particularly on its new record The Competition, combines its lush melodies with an almost disco flavored adult contemporary sound. Like Jana Hunter and company mined 80s pop music and removed the cheese but kept the solid songwriting and production.

What: Roselit Bone, High Plains Honky and Erika Ryann
When: Monday, 09.16, 7 p.m.
Where: Lost Lake
Why: Roselit Bone is like a honky tonk, cow boy high desert Gun Club and visually reminiscent of the same. Intense live performances and riveting storytelling. Its new album Crisis Actor is a storybook of American skullduggery, misdeeds and a celebration of life.

Tuesday | September 17

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GRLwood, photo by Mickie Winters

What: Man Man w/GRLwood
When: Tuesday, 09.17, 7 p.m.
Where: Globe Hall
Why: GRLwood from Louisville, Kentucky sound like an emotionally nuanced math-y emo band on its 2018 album Daddy. Though there is a smoldering sensibility to the vocals the band is able to reconcile powerful feelings with actually feeling its hurt and transforming that into a melancholic catharsis that bursts forth in fiery riffs and introspective passages. And it will contrast well with Man Man, the psychedelic art rock band formerly form Philadelphia who made it “indie big” in the 2000s with its ambitious albums and theatrical and bombastic live shows.

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Hatchie, photo by Alex Wall

What: Hatchie w/Orchin and Slow Caves
When: Tuesday, 09.17, 7 p.m.
Where: Larimer Lounge
Why: Hatchie’s 2019 debut full length Keepsake is the rare dream pop offering of late with a keen ear for the low end to give the music some weightiness and drive. Maybe there’s no surprise there since Harriet Pilbeam has played bass and guitar in her musical career up to now and the songwriting on Keepsake reflects an appreciation for a broad spectrum of how the music can stimulate your emotions. It’s breezy in dynamic and Pilbeam’s vocals warmly melodic but the songs always seem to be reaching forward to draw you in.

Wednesday | September 18

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Torche, photo by Dan Almasy

What: Kælan Mikla (Iceland), No Gossip in Braille, French Kettle Station and Shadows Tranquil
When: Wednesday, 09.18, 8 p.m.
Where: Rhinoceropolis
Why: Kælan Mikla is an Icelandic post-punk band whose desperate vocals paired with lush, brooding bass and synth tracks are an entrancing contrast. Definitely for fans of Tollund Men.

What: Torche w/Pinkish Black and Green Druid
When: Wednesday, 09.18, 7 p.m.
Where: Larimer Lounge
Why: Torche formed in 2004 in Miami and came out of the heavy music underground of the 90s when Steve Brooks and former member Juan Montoya were members of doom/sludge legends Floor. Torche was a different animal and as the band has developed over the years it is difficult to really call it a sludge or doom band, especially with its 2019 album Admission with its sometimes shimmery and gritty melodies, expansive vocal dynamic and sinuous rhythms. The fuzzy drones seem to have more in common with the likes of Swervedriver than what you’re likely to hear on a doom record and yet often enough Torche employs a colossally blunt riff but then sends it spiralling in different trajectories giving the songs a sound like what might happen if a psychedelic metal band left behind its limiting tropes and explored the inherent possibilities of its sound palette.

What: Man Man w/GRLwood
When: Wednesday, 09.18, 7 p.m.
Where: Globe Hall
Why: See above on 9/17 for Man Man and GRLwood.

Best Shows in Denver 6/27/19 – 7/3/19

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Earth performs June 27 at The Marquis Theater, photo courtesy the artist

Thursday | June 27

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Zealot, photo by Tom Murphy

What: Earth w/Helms Alee
When: Thursday, 06.27, 7 p.m.
Where: The Marquis Theater
Why: Earth is as much an influential and pioneering drone metal band as it is an avant-garde blues folk group imbued with mystical overtones. It’s 2019 album Full Upon Her Burning Lips finds the trio channeling more than the usual measure of its crawling, Black Sabbath-esque gloom. Seeing the live show it’s always fascinating to see how Adrienne Davies moves in an orchestrated string of slow sweeping moves and fast, accenting flourishes as Dylan Carlson and their collaborators of the moment drone with a smoky fluidity.

What: Meet the Giant, The Jinjas, Monty O’Blivion and Zealot
When: Thursday, 06.27, 7 p.m.
Where: Thought//Forms Gallery
Why: Zealot would be a Mountain Goats cover band but Luke Hunter James-Erickson would find that too rote so he injects his own eclectic tastes into the songwriting. Recently released the “Snake Goddess” single, a typically eccentric, high energy, angular indie rock gem. Meet the Giant, informed by electronic music and hip-hop beat-making, write and perform deeply evocative, brooding rock songs that maybe now would overlap with the whole darkwave thing except that Meet the Giant often crosses over into the realm of hard rock in a way most of those bands don’t.

What: Cholo Goth Night featuring Dave Parley of Prayers
When: Thursday, 06.27, 9 p.m.
Where: Streets Denver
Why: Just like it says, Cholo Goth Night at Streets Denver with Dave Parley of Cholo Goth and spinning Darkwave and Goth for the evening. When this event happens in the Los Angeles area and select other cities Parley brings in other darkwave musicians of note to guest a set but not for tonight.

Friday | June 28

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Blue October, photo by Chris Barber

What: The Kinky Fingers w/Vic N’ the Narwhals and Colfax Speed Queen
When: Friday, 06.28, 8 p.m.
Where: Hi-Dive
Why: Now that the Denver “party rock” scene has withered away and garage psych/surf is going the way of pop punk in the early 2000s only the strong and more interesting survive. In the case of these three bands it’s partly because their songwriting was always good and their individual sounds not so susceptible to the blowout of trendiness. Each has also evolved.

What: Tyto Alba and Steele Douglas
When: Friday, 06.28, 5 p.m.
Where: Museum of Contemporary Art Denver
Why: Tyto Alba is always surprisingly evocative with music coming from the tender places of the psyche and coloring the tones in warm, incandescent tones and hypnotic rhythms. Seeing them on a rooftop while a thunderstorm threatens to hover in but never does? Seems symbolic and entirely appropriate.

What: Blue October w/Mona
When: Friday, 06.28, 7 p.m.
Where: Ogden Theatre
Why: Blue October has been around for nearly a quarter of a century now and its career has crossed over from the old way of major labels and the album release cycle to the modern mess and disarray of the industry now that offers bands to connect directly to an audience more so than ever before but to earn far less for their efforts. That the group has weathered that period is impressive itself. Oddly enough its own style of power pop seemingly inspired by late 80s proto-alternative rock like Icehouse and The Outfield and their dramatic presentation of being a bit on the outs of true emotional fulfillment but yearning for that special connection with another human with music that is a little too triumphant in tone and uplifting to be sad bastard music. But Blue October didn’t stay trapped in a past style and its newer music reflects a diversity of newer influences.

What: Primal Birth: Hotpiss, Drume, Eyeface, Padfut, Worldwide Dungeon, DJ 7 Heads
When: Friday, 06.28, 10 p.m.
Where: Rhinoceropolis
Why: A bit of a weirdo underground techno show that starts late and goes late like a rave.

Saturday | June 29

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PUP, photo by Vanessa Heins

What: Westword Music Showcase
When: Saturday, 06.29, 12 p.m.
Where: Golden Triangle Neighborhood
Why: This is the longest running music festival of its type in Denver. Held on just one day in the Golden Triangle neighborhood near the Westword offices off Tenth Ave and Broadway, it is arguably the most concise way all year to see a broad spectrum of the local scene without having to walk too far. This year’s line-up includes several of the local luminaries. Here is a list of see-if-you-can acts at each of the stages and a given set time. Tastes will vary and I’m certainly no expert on big chunks of the local music world.

Breckenridge Brewery Stage
12:25 YaSi
6:10 Jai Wolf

White Claw Stage
7:20 CHVRCHES

Vinyl Main
12:50 Techno Allah
2:30 Erin Stereo

#vybe
12:50 Venus Cruz
6:40 Lady Gang
7:30 RARE BYRD$

Stoney’s Main
12:35 Gora Gora Orkestar
5:35 Wes Watkins
7:15 Roka Hueka
8:05 Los Mocochetes

Bar Standard
12:50 Hail Satan
2:30 Ghosts of Glaciers
5:50 Fathers
6:40 Plasma Canvas
7:30 Cheap Perfume

Temple/Mirus Gallery
3:20 Starjammer

Stoney’s South
1:40 Brianna Straut
2:30 Bevin Luna
5:50 Florea

The Church
12:00 eHpH
2:30 Ramakhandra
5 Vic n’ the Narwhals
5:50 Spirettes
6:40 The Hollow

100% Agave
1:40 Bret Sexton
5:50 Los Dog Ensemble
6:40 The Maybe So’s
7:30 Joshua Trinidad Trio

What: PUP w/Ratboys and Beach Bunny
When: Saturday, 06.29, 9 p.m.
Where: Gothic Theatre
Why: PUP started making waves a handful of years ago outside its hometown of Toronto, Ontario among aficionados of pop punk and emo who missed that brashly confessional style of songwriting before the music hit maximum saturation level in the early-to-mid 2000s. When the band began in 2010 a quasi-movement was under way across the North American continent in making fun, melodic punk that was raw and expressive. With PUP and others the key difference was embracing the relatively unrefined side of that songwriting and how that opened possibilities for the music to go where it will rather than fall directly in a worn out style. This has given PUP’s songwriting a freshness that even if at first it seems completely within the realm of standard pop punk. Its new record, 2019’s Morbid Stuff, arguably its best to date, revealed the influence of the more vital garage punk and 2000s lo-fi noise rock on its sound. Like the Reatards and perhaps No Age. Its irreverent spirit and deft local cultural references that are relatable to people who experience similar social phenomena in their own cities makes for a consistently endearing listen.

What: Luxury Hearse, Timelord SFX and blank human
When: Saturday, 06.29, 7 p.m.
Where: Tennyson’s Tap
Why: Luxury Hearse combines the forces of blank human’s ambient/noise sound sculpting and Psychic Secretary’s beat-driven experimental electronic music. What to call it? Some might think industrial because of its sometimes sharp edges but it’s more in the vein of edgier yet dream-like dance music.

What: 5th Annual Colorado Goth Fest: Suicide Commando and Læther Strip w/Offerings to Odin, The Union, The Midnight Marionettes, eHpH and WitchHands
When: Saturday, 06.29, 6 p.m.
Where: Oriental Theater
Why: This edition of the Colorado Goth Fest features headliners who are significant and one might say pioneering artists in the realm of EBM with Suicide Commando and Læther Strip. The local acts are a fairly diverse group as well including death rock band WitchHands from Colorado Springs and Denver’s own EBM/electro-post-punk duo eHpH.

What: Blue October w/Mona ogdentheatre.com/events/detail/369899
When: Saturday, 06.29, 8 p.m.
Where: Ogden Theatre
Why: For Blue October see above for 6.28.

Monday | July 1

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Culture Abuse circa 2018, photo by Tom Murphy

What: Culture Abuse w/Tony Molina, Young Guy, Dare, Regional Justice Center and Cadaver Dog
When: Monday, 07.01, 7 p.m.
Where: Marquis Theater
Why: Culture Abuse has big melodic hooks for a band that came up through the milieu of garage punk. It’s 2018 album Bay Dream greatly expanded its range as a band both tonally, dynamically and emotionally as it’s informed by a sensitivity to the inevitability of the death of those close to you and a wry sense of humor and irony. After all Culture Abuse has a song called “Dave’s Not Here (I Got The Stuff Man)” referencing the classic Cheech & Chong skit. While there’s plenty of wiry punk energy behind the material, especially live, it’s really more of a great power pop record. Tony Molina got started in music playing in hardcore bands but his solo work is more in line with jangle pop and C86 with a sprinkling of The Byrds. His own 2018 record Kill the Lights wouldn’t have been out of place in the same musical realm as Teenage Fanclub circa 1992. Except with more folk-inflected, introspective songwriting throughout.

What: Muscle Beach, Buildings (MN) and Simulators
When: Monday, 07.01, 8 p.m.
Where: Streets Denver
Why: Buildings form Minneapolis is a vital cross between a math-y noise rock and post-hardcore. Muscle Beach is of similar mind but its own version of post-hardcore is a splintery assault on the senses that drags you down emotional pathways that purge angst and personal darkness – all done with a cathartic sense of joy. Simulators are an angular noise rock duo whose music is both cutting and unhinged yet mathematically precise. It’s always an interesting contrast.

Wednesday | July 3

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Total Trash, photo by Tom Murphy

What: Bud Bronson + the Good Timers, The Right Here, Bad Licks, DJ Sara Splatter
When: Wednesday, 07.01, 8 p.m.
Where: Hi-Dive
Why: Bud Bronson + The Good Timers are always surprisingly good. Its earnest power pop sounds like it’s of today but has a quality and a vibe that is reminiscent of the stories and sentiments one heard in the music of late 70s/early 80s Bruce Springsteen and Tom Petty. Also on the bill is Bad Licks who somehow do a kind of psychedelic blues rock that is legitimate and high energy because good songwriting transcends pre-conceptions.

What: Weird Wednesdayl: Total Trash, Pretty Loud, Klaus Dafoe
When: Wednesday, 07.01, 9 p.m.
Where: Bowman’s Vinyl
Why: Total Trash is a band comprised of luminaries of Denver’s indie rock scene going back nearly two decades and yet it’s not all middle aged people. If you remember Fissure Mystic, Fingers of the Sun and Lil’ Slugger, it’s people from those bands. It’s psychedelic, shoegaze-y jangle pop is transporting yet relatable and down to earth. Klaus Dafoe is an instrumental band that collides together 2000s math rock, weirdo punk and indie pop for a sound that is familiar yet unusual.

What: Pale Sun, Palehorse/Palerider, Random Temple and Grass
When: Wednesday, 07.01, 7 p.m.
Where: Lost Lake
Why: Palehorse/Palerider’s drummer Nathan Marcy said to bring earplugs. Good idea, because his own group is the kind of doom/shoegaze/dark desert psych band that makes beautifully dark, atmospheric, consciousness expanding music with ritual/tribal flourishes that is, yes, in fact, quite loud. In good company with gritty psych band Grass and Pale Sun. The latter’s dreamy yet dense rock music will take you to a different psychological space than the one with which you walked into the show. Includes former members of Bright Channel, Space Team Electra and Snake Rattle Rattle Snake.

Best Shows in Denver 5/2/19 – 5/8/19

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Tyto Alba releases its new album Sucker at Hi-Dive on Saturday, May 4

Thursday | May 2

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Jai Wolf, photo by Shervin Lainez

What: Jail Wolf w/Hotel Garuda, ford
When: Thursday, 05.02, 7 p.m.
Where: The Ogden
Why: Sajeeb Saha got started making electronic music and did remixes for the likes of Odesza and Dirty South before embarking on making the kind of effervescent pop that appeared on his 2016 EP Kindred Spirits as Jai Wolf. The EP reflected his earlier production experience in terms of the musical ideas and details that one might hear on an EDM record. But it also incorporated the kind of expansive and psyche cleansing musicality of the post-chillwave efforts of artists like Toro Y Moi and Washed Out. Three years later the new Jai Wolf album, The Cure to Loneliness sounds like a massive leap forward evolving the eccentric sonic flourishes of EDM into more interesting features of a song and tighter songwriting with a wider array of instrumentation including guitar and percussion that sounds like a human is behind the performance somewhere. Intact and more fully realized in its expression, though, is Saha’s gift for expressing a sense of wonder and hope, qualities that are much needed given the state of the world. The same line-up same time performs at the Ogden Theatre on Friday, May 3.

What: Speakeasy Series: Denizens of the Deep and Felix Fast4ward
When: Thursday, 05.02, 6:30 p.m.
Where: Hooked On Colfax
Why: This edition of the Speakeasy Series presented by Glasss Recorods are master Denver soundsculptors Denizens of the Deep and Felix Fast4ward. Both fit somewhere in the realm of ambient and electronic dance music and psychedelia without needing to fit in any of those categories.

What: Monolord w/The Munsens and The Well
When: Thursday, 05.02, 7 p.m.
Where: Hi-Dive
Why: Solid doom show including Monolord from Gothenburg, Sweden, a city more well-known for its melodic death metal. Monolord sounds more like they grew up listening to pre-1995 Melvins and that’s a positive.

What: A Rembrance for Brittany Strummer w/Typesetter, Cheap Perfume and Ersatz Robots 
When: Thursday, 05.02, 7 p.m.
Where: 3 Kings Tavern
Why: Brittany Strummer was not in bands but as a fan and associate of bands and the punk community and a friend to many she touched many lives nationally and even internationally. For this show some of her friends are getting together to celebrate her life and legacy with live music.

What: Shpongle w/Tipper, Desert Dwellers, Leo P (from Too Many Zooz)
When: Thursday, 05.02, 6:30 p.m.
Where: Red Rocks
Why: Shpongle has kind of a silly name and its fusion of world music, psychedelia and electronic dance music isn’t for everyone but it’s shows are like an idiosyncratic ritual of spectacle and depth of sound. Tipper’s deep ambient abstract dance could be headling this show as well but is only on this first date of Shpongle’s 2-day run at Red Rocks.

Friday | May 3

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eHpH circa 2018, photo by Tom Murphy

What: Faces Under the Mirror, Rosegarden Funeral Party, Vio\ator and eHpH
When: Friday, 05.03, 8 p.m.
Where: Mutiny Information Café
Why: Darkwave show of the week with electro-industrial band Faces Under the Mirror, Dallas-based post-punkers Rose Garden Funeral Party, noisy dark industrial project Vio/lator and Denver EBM duo eHpH whose electronic industrial soundscapes have a bit of confrontational energy built into the mix.

What: Jacket of Spiders
When: Friday, 05.03, 9 p.m.
Where: Denver Art Society
Why: The debut show of the new band from former members of Tarmints/Twice Wilted/Cynic’s Bane/Soulbender ,AJ Hathaway, Bobby Jamison and Bobby Bane.

What: Shpongle w/Clozee, Desert Dwellers, Leo P (From Too Many Zooz)
When: Friday, 05.03, 6:30 p.m.
Where: Red Rocks
Why: Second night of world music dub electro dance legends Shpongle.

What: Copper Leaf, Bear and the Beasts and Gun Street Ghost
When: Friday, 05.03, 9 p.m.
Where: BarFly
Why: A free show. Somewhere betwixt Americana and late 90s/early 2000s indie pop with a charming richness of musical detail is Copper Leaf. Bear and the Beasts is like-minded but more rock and probably more influenced by the likes of Lucero. Gun Street Ghost is kind of a gritty Americana band but Mike Perfetti’s masterful storytelling and charisma sets any of his projects apart from most other bands.

What: Benefit for Yes on 300, screening of segments of “The Right to Rest” film, Laura Goldhamer, Knuckle Pups, Poppet
When: Friday, 05.03, 7:30 p.m.
Where: BarFly
Why: Denver Initiative 300 isn’t going to legalize people sleeping on your porch and littering your neighborhood with needles or whatever. Nor will it magically make that appear everywhere. The sort of fear mongering surrounding the initiative is misplaced. This show is a benefit for voting yes on the measure including the multi-media artist/songwriter Laura Goldhamer.

What: Roller Disco 2
When: Friday, 05.03, 11:30 p.m.
Where: Roller City
Why: Late night culture is back to being nascent and underground in Denver but this is something along those lines where your entry fee gets you a skate rental and new wave and synth pop songs appropriate to the occasion playing into the wee hours.

What: Jai Wolf w/Hotel Garuda and ford
When: Friday, 05.03, 7 p.m.
Where: Ogden Theatre
Why: See above on 5/2 for Jai Wolf.

Saturday | May 4

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Panther Martin, photo by Tom Murphy

What: Tyto Alba album release – Sucker w/Panther Martin and Modern Leisure
When: Saturday, 05.04, 8 p.m.
Where: Hi-Dive
Why: Anyone paying attention to the Denver underground rock scene with any taste or discernment would tell you that Tyto Alba is one of the city’s best bands. Its ear for melody and keen sense of dynamics has resulted in a body of work that is emotionally rich and deeply evocative. Its dream pop is a master class in contrasts between strong rhythms and delicate, gauzy melodies and Melanie Steinway’s thought-provoking lyrics delivered with a gift for expressing nuanced sometimes uncomfortable truths with a vulnerability and strength of conviction that isn’t common enough. The group’s new album Sucker is a showcase for the band’s songwriting versatility. Tyto Alba already had a sound of fascinating contrasts and complexities (moody, bright, melancholic, emotional truthfulness and acceptance of the range of one’s feelings) but Sucker is the band at its peak of development so far. In the hands of other artists some of the material could be brutal but a sense of compassion has also long informed the music.

What: Itchy-O 5th Annual Sci Fi Freakout w/Carnivale De Sensuale Sci-Fi Burlesque and hosted by Hagbard Celine and Andrew Novick
When: Saturday, 05.04, 8 p.m.
Where: The Oriental Theater

Sunday | May 5

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What: Cinco De Mayo with Los Mocochetes including Vic N’ The Narwhals, Kiltro and El Javi
When: Sunday, 05.05, 7 p.m.
Where: Larimer Lounge
Why: If you were so inclined to go to a show on Cinco De Mayo billed as such none better than seeing Latin indie funk stars Los Mocochetes and soulful garage rock psychedelic band Vic N’ The Narwhals.

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Skating Polly, photo by Angel Ceballos

What: Skating Polly w/MONSTERWATCH and Backseat Vinyl
When: Sunday, 05.05, 8 p.m.
Where: Streets of London
Why: Because Skating Polly had to come up as musicians in an insular way and didn’t come up on trends the way many other musicians have, its almost outsider blend of primal grunge and garage rock is unlike much else in the scenes of the revival of either of the past decade.

Monday | May 6

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Pedestrian Deposit circa 2012, photo by Tom Murphy

What: Pedestrian Deposit w/Entrancer, Anime Love Hotel, Sunk Cost
When: Monday, 05.06, 8 p.m.
Where: Syntax Physic Opera
Why: Pedestrian Deposit combines layers of sound to create an engulfing sonic experience. From organic stringed instruments, field recordings, tape collage, harsh noise and electronic instrumentation, the duo from Los Angeles is unlike many bands in the realm of “noise” and its shows border on a kind of ritual born out of urban decay and neglect. Also sharing the bill are techno wizard and ambient artist Entrancer and noise sculptor supreme Sunk Cost.

What: Lolo Zouaï: High Highs to Low Lows Tour w/Jean Deaux
When: Monday, 05.06, 7 p.m.
Where: Larimer Lounge
Why: Lolo Zouaï’s 2018 full-length High Highs to Low Lows is surprisingly downtempo and world weary for an artist in her early 20s. She cites Too Short as an influence so maybe that is a factor. Its lush production and trap-esque and gritty, ethereal flavor bears comparison to Alice Glass’s solo EP of a couple of years ago.

What: Winter w/Ancient Elk
When: Monday, 05.06, 8 p.m.
Where: Lost Lake
Why: Samir Winter and the band that takes its moniker from her surname is fortunately not sticking to one sound for an entire career. Yes, those blissfully atmospheric pop songs from the debut album benefited from Winter’s strong, evocative singing. But the 2018 album Ethereality sounds like the group adopted a bit of the muscular, fuzzy upbeat rock sound of other groups that are tapping into the 90s but Winter’s buoyant yet introspective presence gives it some depth. Denver psychedelic folk band Ancient Elk is changing its name and supposedly this is the show where the new name and presumably new line-up will be launched.

Tuesday | May 7

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Perturbator, photo courtesy the artist

What: Perturbator w/GOST and Many Blessings
When: Tuesday, 05.07, 8 p.m.
Where: The Oriental Theater
Why: Perturbator takes that sort of analog synth John Carpenter worship soundtrack thing and elevates it with even more dramatic flourish and volume by transforming it into industrial dance music.

What: Real Dom, Terror Pigeon, Techno Allah, Aman
When: Tuesday, 05.07, 8 p.m.
Where: Rhinoceropolis
Why: Since the late 2000s Terror Pigeon has created bombastic synth poppy dance music with deep grooves like they were some band out of Brooklyn rather than Nashville.

Wednesday | May 8

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Malamadre circa 2014, photo by Tom Murphy. Vincent Fasano on right.

What: Fasano Twin Film Night
When: Wednesday, 05.08, 10 p.m.
Where: Mutiny Information Café
Why: Charly and Vincent Fasano have been fixtures of the front range art, poetry and music scene for close to three decades. Charly “The City Mouse” will be screening some of his short films while Vinnie “Cheap” will provide musical accompaniment with his experimental jazz group Still Birth of Cool.

Best Shows in Denver 2/28/19 – 3/6/19

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Teenage Fanclub performs at the Bluebird Theater on March 2

Thursday | February 28

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Sliver, photo by Tom Murphy

Who: Endless, Nameless tour kickoff w/Soulless Maneater, Lightstory, Giardia and Sliver
When: Thursday, 02.28, 7 p.m.
Where: Seventh Circle Music Collective
Why: Math rock band Endless, Nameless is headed to SXSW and to launch the group on its way some of its friends and peers are playing this show including gloom and angst festooned post-punk band Soulless Maneater, psych jazz abstract metal trio Giardia as well as post-grunge poseurs Diet Nirvana. But, really, Sliver is a great band inspired by grunge-era bands, Wipers and DC punk.

Who: Starjammer w/Joshua Trinidad
When: Thursday, 02.28, 9 p.m.
Where: 3 Kings Tavern
Why: Squidds Madden has been bringing his gift for improvisation to various funk, rock, jazz and ska bands over the past two decades. But Starjammer is his one man avant-garde dub reggae project in which he pilots an integrated multi-instrumental vehicle. Lately he’s been crafting stories to go along with performances and this is one of a handful of events where he’s trying that out while bringing in some of the greatest players in Denver to round out the bill. Tonight it’s trumpet player extraordinaire Joshua Trinidad who some may know for his masterful turns in Wheelchair Sports Camp and GoStar.

Friday | March 1

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Blood Incantation, photo by Tom Murphy

What: Decibel Tour: Cannibal Corpse, Morbid Angel, Necrot and Blood Incantation
When: Friday, 03.01, 6 p.m.
Where: The Oriental Theater
Why: Cannibal Corpse is known for having some of the most cartoonishly brutal and horrifying lyrics in metal. But it’s all in fun and if one can’t appreciate the absurd, even in bad taste, maybe you take yourself too seriously. The death metal legends share the stage tonight with one of the pioneers of death metal from, where else, Tampa, Florida (where Cannibal Corpse is now based): Morbid Angel. Opening the night is Blood Incantation, a Colorado band with a cult following in the death metal realm. While clearly self-aware, Blood Incantation is a powerful live act whose songs push the genre in interesting directions rather than get stuck like it’s 1985.

Who: Venus305 physical album release w/Gold Trash, EVP, Düll Haus and Techno Allah
When: Friday, 03.01, 9 p.m.
Where: Thought//Forms
Why: Molly McGrath is perhaps better known for her rock band Surf Mom. But for Venus305 she’s left behind the guitar and punk-esque vocals for electronic dance tracks and a vocal style more fitting for the type of downtempo and what one might call progressive lounge that is the music of Venus305. Also on the bill for this release show of the project’s physical album is screamy electroclash Gold Trash, industrial punk/dance duo EVP, the glitchcore for the dancefloor sounds of Techno Allah and Düll Haus, a band that seems to navigate the sonic territory traversing minimal synth dance and IDM.

Who: The Scientist w/Dr. Israel and DJ Imeh
When: Friday, 03.01, 8 p.m.
Where: Ophelia’s Electric Soapbox
Why: The Scientist learned his craft partly under the tutelage of dub legend King Dubby and went on to contribute greatly to the genre himself—which is reason enough to go if you’re into the roots of sound sculpting production.

Who: eHpH, TetraKroma, Redwing Blackbird
When: Friday, 03.01, 9 p.m.
Where: The Skylark Lounge
Why: None more synth on this night. eHpH makes a good case for why EBM and industrial rock isn’t essentially dead these days because the duo brings an emotional resonance to the music that isn’t just trying to be as angsty and nihilistic as possible. TetraKroma, that’s a lot of analog synths for making dark dance music but the depth of sound makes it obvious having the layers in hardware are worth it. Redwing Blackbird mixes samples and low-end heavy tracks to make some gritty EBM like early Front 242 but darker.

Saturday | March 2

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Praga Khan of Lords of Acid, photo courtesy the artist

Who: Teenage Fanclub w/The Love Language
When: Saturday, 03.02, 8 p.m.
Where: The Bluebird Theater
Why: Teenage Fanclub came out of the fertile musical ground of C86 influenced by the bands that influenced the jangle, twee and garage rock of that era. Its second album, 1991’s The King, came out on Creation Records, the imprint better known for being home to shoegaze giants of that period like My Bloody Valentine and Slowdive. But Creation also nurtured the cooler end of power pop (later Creation signed Oasis but that’s a whole other story). In the USA, Teenage Fanclub hit the college radio charts in a big way with its later 1991 album Bandwagonesque. At the time there was a revival in the interest in power pop pioneers Big Star and its soulful and melancholic catalog—a band that somehow sounded mournful and sad even when it rocked in a celebratory fashion on its songs. Bandwagonesque evoked Big Star powerfully on songs like “What You Do To Me” and “The Concept.” But Teenage Fanclub had its own voice and its sophisticated songwriting evolved over its now long career. 1993’s Thirteen sounded like the band had absorbed a bit too much of grunge or grebo or whatever and yet its delicate psychedelia and emotionally vibrant vocals remained part of the sound. 1995’s Grand Prix dispensed with the grunge affectations going forward. Teenage Fanclub doesn’t get nearly enough credit for being an important band in the development of Britpop but probably because there’s too much rock and roll in its songwriting and not enough of the dance music/Madchester element. It is precisely because of that disconnect with that 90s trend that the group’s music has aged well.

Who: GoStar
When: Saturday, 03.02, 9:30 p.m.
Where: Dazzle
Why: If a trumpet-guitar-and-percussion-driven jazz fusion band of the early 70s (Bitches Brew period Miles, Mahavishnu Orchestra) adopted mind-altering psychedelic flourishes and then traveled forward in time to hang with Arrested Development and A Tribe Called Quest in the early 90s before hopping again and landing in the 2010’s, that band would sound like GoStar.

Who: Lords of Acid w/Orgy, Genitorturers and Little Miss Nasty
When: Saturday, 03.02, 6 p.m.
Where: The Gothic Theatre
Why: There will be a lot of ridiculous antics and NSFW stuff at this show. Including from headliner Lords of Acid. The band’s songs are all about hedonistic activities and aspirations up to the line of self-parody. Its industrial dance music and live show is also good fun and maybe vocalist and band leader Praga Khan will push someone off stage into the audience for an impromptu and unexpected stage dive. But even if he doesn’t, Khan is a charismatic and entertaining frontman who draws you into the playful chaos of the band’s music.

What: Nightshift
When: Saturday, 03.02, 9 p.m.
Where: The Meadowlark Bar
Why: Nightshift is an all vinyl dance party on first Saturdays curated by Meghan Meehan and Laura Conway, focused on synth pop, disco and new wave.

Who: Duos From The Abyss: Gort Vs. Goom, The Swamp Rats, Triplip, Still Frames
When: Saturday, 03.02, 6 p.m.
Where: Tennyson’s Tap
Why: None of these bands are particularly from the abyss unless you’re only into punk that doesn’t color widely outside the musical lines. Gort Vs. Goom is the They Might Be Giants of Blue Oyster Cult tribute bands. Triplip is the Daikaiju of prog. Gort is not a tribute band but that’s the sort of mashup that comes to mind, among other things, seeing one of the duo’s sets.

Monday | March 4

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Hunter Dragon circa 2009, photo by Tom Murphy

Who: Hunter Dragon album release of Universal Basic Income w/Lazarus Horse and Shockermom
When: Monday, 03.04, 8:08 p.m.
Where: Syntax Physic Opera
Why: Hunter Dragon’s catalog is vast and widely varied in his methods and songwriting styles. But it’s unified by an imagination focused on a future that could or should exist now. Whether that’s a desolate post-disaster setting or, as the title of his new album suggests, a future where everyone can use the time they would normally expend on scrambling to survive on whatever suits their natural interests and talents. The new songs have a meditative, spacious folk quality. For the occasion of this release show Hunter has brought on board Lazarus Horse (a band that sounds like it realized that even the cooler weirdo psychedelic rock of the 2000s and 2010s would be and is played out and injected a lot more imagination and unusual rhythmic and tonal ideas into the mix) and Shockermom. The latter has been writing the soundtrack to everyone’s emotional return to peace and tranquility during the collective long dark night of the soul that’s been coursing through the world like a psychic cognate of the collapse of the global ecosystem. Essential listening.

Tuesday | March 5

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In The Valley Below, photo by Jaimie Skriba

Who: Daughters w/Gouge Away and HIDE
When: Tuesday, 03.05, 7 p.m.
Where: The Gothic Theatre
Why: Daughters are the legendary post-hardcore noise rock band whose mournful and abrasive music sounds like the purging of the world’s anguish. Except Daughters make it darkly beautiful. Gouge Away is a forceful, cathartic hardcore band that isn’t trapped in early 80s SSD worship. HIDE is a performance art-oriented industrial duo from Chicago whose visceral, ritualistic live show will probably confuse punk purists but which will fit right in with everyone on the bill.

Who: Albert Hammond Jr. w/In The Valley Below
When: Tuesday, 03.05, 7 p.m.
Where: The Bluebird Theater
Why: Albert Hammond Jr. is best known for his membership in The Strokes. But his solo career has yielded better songs than The Strokes have in years. There’s a bright and fresh quality to his upbeat pop songs and his performances that are likeable even when it sometimes sounds like he’s leaning on past creative laurels. Opening the show is synth pop band In the Valley Below from Grand Rapids, Michigan. Its bass and melody-driven songs differentiate it from what one would assume are its peers in bands like CHVRCHES, Phantogram and Poliça while sharing a sense of elevating moods and positive energy.

Wednesday | March 6

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Acidbat circa 2015, photo by Tom Murphy

What: Weird Wednesday: Acidbat, Satin Spar, Ruehlen/Seward
When: Wednesday, 03.06, 9 p.m.
Where: 3 Kings Tavern
Why: Acidbat doesn’t play many shows in general much less outside of some super underground show. His ambient yet beat driven, glitchy IDM is more imaginative than a lot of music out of that milieu. Also on this night’s Weird Wednesday is avant-garde improvisational/spontaneous composition duo Ruehlen/Seward.

Best Shows in Denver 1/24/19 – 1/30/19

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hackedepicciotto performs January 30 with DBUK at Lost Lake. Photo by Sylvia Steinhäuser

Thursday | January 24, 2019

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Meet the Giant, photo by Tom Murphy

Who: Meet the Giant w/Dead Pay Rent, Mr. Atomic
When: Thursday, 01.24, 7 p.m.
Where: Lost Lake
Why: Meet the Giant, perhaps unintentionally, perhaps subconsciously, perhaps entirely by plan, has drawn on both 80s and 90s sounds at a time when the various aesthetics of those decades are firmly back in vogue. Downtempo, brooding post-punk, the rhythms of sample-driven composition and emotionally rich vocals make for a band that sounds instantly like something beyond having an appeal to nostalgia while drawing on a hint of that. The group spent nearly a decade honing its songcraft and chemistry as a unit and more than a small amount of the intimacy that comes out of such extended wood shedding comes through in the music like you’re getting to experience that connection that friends have who can share much with each other and be real. Many bands put on some kind of ego-driven facade fueled by a kind of borrowed rock and roll myth bravado. Meet the Giant comes about its rock and roll power honestly and with tender emotions laid bare, which is always more compelling than tough guy strutting any day of the week. Do yourself a favor and see them or at least check out their remarkable 2018 self-titled debut.

Who: DSTR, eHpH, Cutworm
When: Thursday, 01.24, 8 p.m.
Where: 3 Kings Tavern
Why: DSTR is Destroid, a project of Daniel Meyer who some may know more for his work as half of influential EBM band Haujobb. Distorted vocals, imaginative soundscaping, strong, pulsing beats and menacing, glitch-hazed atmospherics. Denver’s eHpH has been making an interesting hybrid of industrial rock and dark EBM of their own but refreshingly unlike any of their peers in the Mile High City. Cutworm is a bit of a left field choice for a bill like this if its 2018 Swallow EP is any indication with its sound being unfruitful in placing in a particular genre box. Its sounds range from modern downtempo darkwave to especially beautifully moody IDM. Live, though, Cutworm definitely brings the industrial edge into the production.

Friday | January 25, 2019

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Klaus Dafoe, photo by Tom Murphy

Who: Red Tack, George Cessna and Blindrunner
When: Friday, 01.25, 9 p.m.
Where: Lion’s Lair
Why: Red Tack is the solo, somewhat weirdo singer-songwriter project of Ted Thacker who should be remembered widely for being in 90s alternative rock band Baldo Rex and later as a member of indiepop band Veronica. Whatever his pedigree, Thacker has remained one of Denver’s most interesting songwriters and personalities. George Cessna is the son of Slim Cessna of Auto Club fame. The younger Cessna’s own work is both not too surprising considering his father’s legendary musical legacy but he is far from a carbon copy and his use of raw sound and atmosphere in his recordings and his wide ranging musical style in a broader realm of Americana and weirdo folk is noteworthy on its own merits.

Who: faim (record release), Line Brawl, Euth, Moral Law and Targets
When: Friday, 01.25, 7 p.m.
Where: Seventh Circle Music Collective
Why: Hardcore band faim is releasing its latest seven inch through Convulse Records and celebrating the occasion with a few of Denver’s and Wyoming’s best hardcore acts.

Who: Texas Chainsaw Massacre 1 and 2
When: Friday, 01.25, 9:30 p.m.
Where: Sie Film Center
Why: Tobe Hooper passed away in 2017 leaving behind a legacy of unusual and influential films beginning, in terms of impact, with 1974’s Texas Chainsaw Massacre, a movie so graphically violent and darkly disturbing for the time, because it felt more like a documentary than the mostly tame horror cinema up to its release. In 1986 he released the sequel as a horrifying kind of parody. Between that, the 1982 Poltergeist film, 1985’s space vampire spectacle Lifeforce and numerous other films, Hooper’s unique cinematic vision will be celebrated for years to come including this month-long or so series hosted by Theresa Mercado kicking off this night on the director’s birthday.

Who: Flaural, Panther Martin and The Eye & The Arrow
When: Friday, 01.25, 8 p.m.
Where: Larimer Lounge
Why: The kind of line up you want to see more often in the realm of indie rock with Flaurel’s psychedelic pop, Panther Martin’s visionary lo-fi rock and The Eye & The Arrow’s re-working of Americana into something we’re not hearing ad infinitum on playlists and radio stations with a fairly vanilla stream of content.

Who: Klaus Dafoe, New Standards Men and Simulators
When: Friday, 01.25, 9 p.m.
Where: The Skylark Lounge
Why: Klaus Dafoe seems to be a sort of instrumental rebirth of late 90s to mid-2000s indie math rock but deconstructed to be more fractured and potentially more interesting than some of the bands mining that neo-mathcore/emo sound of late. Simulators are the kind of post-punk that carves out the overtly atmospheric quality for stark contrasts of tone and angular rhythms that somehow still flow without getting splintery and yet, despite that intentional minimalism, bursting with Bryon Parker’s raw emotional vocals.

Saturday | January 26, 2019

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Hippo Campus, photo by Pooneh Ghana

Who: Hippo Campus w/Now Now
When: Saturday, 01.26, 9 p.m.
Where: The Ogden
Why: Hippo Campus has been writing finely crafted pop songs since its early days and challenging itself to make each record reflect not just personal and creative growth, qualities you’d want in any band worth your continued attention, but an evolving approach to larger cultural narratives. The group’s 2018 album Bambi offers no pat answers or platitudes. It is a record brimming with questions instead of the instant opinion/instant expert tendency that permeates our culture from the way people interact and present themselves on social media and how one must conduct oneself in various contexts lest one be thought indecisive rather than recognizing and learning to identify nuance—not in a way to placate all sides but in order to avoid the hubris of being unaware of one’s own limitations of knowledge and comprehension. It can be enjoyed as just a solid pop album but there’s a great deal of dimensionality and content for anyone wanting to listen deeper.

Who: A Celebration of 1/26 with Weird Al Qaida, Gregory Ego and Mermalair
When: Saturday, 01.26, 7 p.m.
Where: Mutiny Information Café
Why: Weird Al Quaida is an avant-garde punk/noise/psychedelic band from Denver that doesn’t perform often. Definitely for fans of the more rock end of Sun City Girls.

Who: Space Jail, Snaggletoothe and Claudzilla
When: Saturday, 01.26, 7:30 p.m.
Where: The People’s Building
Why: Space Jail might be described as a psychedelic synth band. Snaggletoothe as psych prog. Claudzilla as a one-person keytar rock weirdo extravaganza. All in likely the only venue in Aurora where you might see music anywhere within he realm of these bands.

Who: Soulless Maneater, Sliver, Endless Nameless, Fox Moses, Equine
When: Saturday, 01.26, 9 p.m.
Where: 3 Kings Tavern
Why: Soulless Maneater is somewhere between the best death rock band in Denver and a moodily creepy doom band. Sliver is “Diet Nirvana.” Fox Moses sounds like a gloomier neo-grunge band and all the better for that. Endless Nameless sounds like a hybrid of math rock, shoegaze and post-rock—not that those are mutually exclusive concepts. Equine is the avant-guitar and synth solo project of former Epileptinomicon and Moth Eater guitarist Kevin Richards.

Sunday | January 27, 2019

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Sumac, photo by Anne Godoneo

Who: Sumac, Divide and Dissolve, Tashi Dorij
When: Sunday, 01.27, 7 p.m.
Where: Larimer Lounge
Why: Aaron Turner’s guitar work and songwriting in partnership with fellow musicians has helped to define some of the boundaries of the more experimental, heavy music. As the leader of Hydra Head Records he also encouraged the development of that music throughout the 90s and 2000s. As a member of Isis, Old Man Gloom and Mamiffer, to name a few projects, Turner has crafted consistently interesting material that is undeniably within the realm of metal but with an ear for abstracting sounds into noise and then back together into coherent expressions of emotion outside the realm of standard songwriting in the genre. With Sumac this may be especially so in particular the band’s 2018 album Love In Shadow where the trio takes the concept of love at its most primordial level pre-marketing device, pre-narrowing the concept down to a relatively trite, or at least limited, word casually thrown around. Also on this tour is Bhutanese guitarist Tashi Dorij whose noisescapes could be considered loosely as avant-garde but also seem to contain a kind of personal ritualistic expression. See his own 2018 album gàng lu khau chap ‘mi gera gi she an example of the sorts of music you’re in for during his set. Since Dorij and Turner have collaborated on at least one record maybe you’ll get to see some of that this night as well.

Tuesday | January 29, 2019

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The Maykit circa 2015, photo by Tom Murphy

Who: Nadia Bolz-Weber – The Shameless Book Tour
When: Tuesday, 01.29, 7:30 p.m.
Where: Tattered Cover — Colfax
Why: Nadia Bolz-Weber is the activist and Lutheran pastor whose 2014 memoir Pastrix: the cranky, beautiful faith of a sinner & saint traced her personal growth from a kind of bohemian comedian to sober theology student and pastor. The book, brimming with irreverent humor and sarcasm as well as plenty of illuminating insights into human psychology, whether you’re Christian or not, struck a chord with a fairly sizable audience. In humanizing challenges many people face, Bolz-Weber made a good case for how we can embrace an expanded sense of our own best selves. In July 2018 left her pastoship of House for All Sinners and Saints in Denver, Colorado. Now she is releasing her new book Shameless: A Sexual Reformation. As a candid reexamination of “patriarchy, sex, and power” (from the Tattered Cover website), Bolz-Weber will likely further cement her reputation as something of a refreshingly maverick religious thinker and writer.

Who: Big Paleo album release w/Places Back Home, The Maykit and Quentin
When: Tuesday, 01.29, 7 p.m.
Where: Larimer Lounge
Why: Denver-based math rock Big Paleo is releasing its, presumably, debut album. One of the opening bands, The Maykit, may not be math rock but its intricate musicianship and songwriting and Max Winne’s indisputably sincere vocal delivery will be a standout of the evening.

Wednesday | January 30, 2019

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Mallrat, photo by Michelle Pitris

Who: Gnash w/Mallrat and Guardin
When: Wednesday, 01.30, 7 p.m.
Where: The Bluebird Theater
Why: Mallrat is Grace Shaw from Brisbane, Queensland, Australia. Since high school, Shaw has been writing sophisticated pop songs that bring together elements of electronic dance production, hip-hop style beats and the informal structure of modern indie rock—really an ideal synthesis and vehicle for expressing one’s ideas with nuance but a direct emotional quality. Her 2018 EP In The Sky is an interesting blend of contrasts: dusky atmospherics speckled with bright highlights, onomatopoeic cadences and vivid lyrics and soaring, saturated melodies dissolving into introspective minimalism. Headlining the show is Gnash, aka Garrett Nash, who released his debut full-length We on January 11, 2019. Nash made waves with his early breakup EPs and his far better than average beat-driven R&B.

Who: Hackedepicciotto w/DBUK
When: Wednesday, 01.30, 7 p.m.
Where: Lost Lake
Why: Hackedepicciotto is a multi-media, experimental music duo comprised of Danielle de Picciotto and Alexander Hacke. De Picciotto was one of the founders of the long-running electronic music festival The Love Parade in Berlin. The festival was initiated as celebration of innovative electronic music but also as a subversive kind of demonstration for peace through love and music. Hacke is the bassist for influential industrial band Einstürzende Neubauten. The aforementioned couldn’t completely encompass either artist’s work, output and collaborations and it would be worthwhile to explore their work in depth. But with this project the two bring together a set of skills in composition, performance, film making and storytelling. The word “immersive” gets thrown around a lot these days but it definitely applies to a Hackedepicciotto show. It isn’t just that the sound design and visuals and songwriting are striking, they are, it’s also because before it quite became a widely articulated phenomenon, de Picciotto, in her 2013/2015 graphic novel We Are Gypsies now vividly and powerfully captured what it’s like to be noteworthy, internationally renowned artists have to uproot from one’s home and home city of decades due to gentrification. Then, as explored in further detail on the 2016 album Perserverantia and 2017’s Menetekel how the way the world economy functions now globally has not only all but dismantled the way independent artists and not-so-independent artists can live, function and thrive. The albums alone are worthwhile experiences in the listening but the live show is where you truly get to experience a deep emotional manifestation of faith and hope nearly crushed by despair at the state of things supported by a drive to seek what must be better over the horizon. There is no naivete to the work, de Picciotto and Hacke both know they can never really regain what they once had, but a reminder that one’s compulsion to pursue one’s life work can be a beacon through difficult times. The duo’s latest release is the 2018 meditation soundtrack Joy.

Who: The Pink Spiders w/Television Generation and Smile Victoria
When: Wednesday, 01.30, 7 p.m.
Where: Larimer Lounge
Why: The Pink Spiders are a power pop band from Nashville who had a minor hit in 2006 with “Little Razorblade” from their Ric Ocasek-produced album Teenage Graffiti. Smile Victoria sounds like it’s still wearing its Pixies and others 90s alternative music fairly freshly. But not in the neo-grunge kind of way as the trio has more atmosphere and melody than some of its peers tapping into the same era. Television Generation somehow perfectly blends grunge with power pop without sounding like Nirvana or like Cheap Trick gone metal. Is there a bit of sonic DNA in there out of Love Battery and Buzzcocks? Probably but live the band has plenty of grit and emotional darkness to keep it from ever feeling derivative.