Best Shows in Denver March 2022

Nation of Language, photo by Robin Laananen
Monolord, photo by Josefine Larsson

Wednesday | 03.09
What: Monolord w/Firebreather and The Munsens
When: 7 p.m.
Where: Marquis Theater
Why: Monolord formed in 2013 at a time when the whole wave of stoner rock was pretty much over and before doom metal hits its ascendency later in that decade. Its members had been part of a more boogie rock oriented band Marulk but at rehearsal had riffed in more drawn out dynamics and sustained atmospherics while incorporating those impulses into coherent songwriting. So its current sound while rooted in what is now called doom metal contains melodic elements lend its crushing rhythmic leads an accessibility that sounds more like an updated version of power metal. The group’s 2021 album Your Time to Shine is arguably its most streamlined manifestation of an aesthetic that draws on the psychedelic heaviness of Sleep and Kylesa and infuses it with its own impulse to impart a mood of catharsis and triumph to its listeners.

Owosso, photo by Tom Murphy

Friday | 03.11
What: Owosso, Moon Pussy, Church Van and Gestapo Pussy Ranch
When: 9 p.m. doors, 9:30 p.m. show
Where: Lion’s Lair
Why: Moon Pussy’s scorched earth noise rock and underpinnings in musical experimentation can be disorienting in the best way. Like Big Black with creatively expressive human drums instead of a drum machine. This will be Owosso’s first show. The group is comprised of veterans of the local punk/post-hardcore and indie rock scenes including people from Modern Goon. The group was been described as “post indie wook rock” but it’s hopefully safe to assume it’s not some ironic jam band with punk roots. Though if it is it’ll probably be alright anyway considering the band’s lineage.

Saturday | 03.12
What: Mitski w/Michelle
When: 8 p.m.
Where: Mission Ballroom
Why: Mitski released her latest album Laurel Hell in 2022 and it is arguably her most vulnerable and raw album while also her most poignantly melancholic. Few other artists have articulated the disillusionment of the current era and the perils of an over mediated culture with as much precision and resonance as Mitski over the course of her two most recent records. As a live performer Mitski always has something different in her repertoire like on her most recent tour in 2019 when she had stage sets and a costume that looked like somewhere between a workout suit and a martial arts dancer uniform.

Saturday | 03.12
What: Jen Korte & The Loss, Mike Clark & The Sugar Sounds and Heated Bones
Where: Hi-Dive
Why: Jen Korte & The Loss this time out is basically her excellent experimental singer-songwriter project Lady Gang but with a full band instead of pulling off the full range of sounds herself. But it’ll still be Korte deep diving into emotionally rich explorations of hurt, resilience and the complex nuances of human experiences and relationships. Korte’s imaginative musicianship and songwriting elevates her work beyond the usual expectations one might have when one thinks of singer-songwriter. Her body of work is eclectic and runs a range of Americana, indie rock, folk and what might be described as experimental pop with loops and electronics. Many artists reach a point where they rest on their laurels and Korte hasn’t done so.

Saturday | 03.12
What: Mayhem w/Watain and Midnight
Where: Summit Music Hall
Why: Mayhem is indeed the legendary black metal band from Norway whose lore and history is worth looking into for the lurid details alone. It makes for a fascinating origin story. But the music and its harrowing and heavy sweeps of epic storytelling speaks for itself as does the unforgettable stage presence of frontman Attila Csihar who always brings a deep sense of theater and performance art to every one of his performances whether with Mayhem or SunnO))). The show will be worth it to see what he does alone and that chilling, sepulchral, operatic voice.

Sunday | 03.13
What: Drug Church, One Step Closer, Soul Blind and Lurk
When: 6:30 p.m.
Where: Hi-Dive
Why: Drug Church is a band that has managed to bridge the sonic worlds of pop punk, hardcore and noise rock with super catchy hooks and made powerful and meaningful music in the process. Currently touring in support of its forthcoming album Hygiene out March 11, 2022.

SUMAC, photo by Reid Haithcock

Sunday | 03.13
What: Sumac w/Blood Spore and Patrick Shiroishi
When: 7 p.m.
Where: Marquis Theater
Why: SUMAC formed in 2014 when Kurt Ballou of Converge connected guitarist Aaron Turner (Isis, Old Man Gloom, Mammifer, House of Low Culture) who had written the initial elements of songs with Baptists drummer Nick Yacyshyn to help realize Turner’s vision of crafting the heaviest music of his career then thus far. Brian Cook of Russian Circles and formerly of These Arms Are Snakes and Botch rounded out the classic and current line-up in time for the group’s debut album. The resulting four albums since (The Deal from 2015, What One Becomes in 2016, Love in Shadow out 2018 and May You Be Held released in 2020) are indeed some of the heaviest records of recent years. But as with Turner’s other projects it’s never just heavy for the sake of that quality, it’s intricate and imaginative, emotionally charged soundscapes in which the contributions of all the players seems to be highlighted. Certainly with the most recent album it’s not relentlessly crushing dynamics but a flood of textures seemingly elevated in a suspended and sustained whirlpool of sound that rushes through you and then out like experiencing a state of being. Calling it post-metal or sludge metal is one way of giving people an idea of what they’re in for but the music itself has more in common with artists like Neurosis and SunnO))) than with some other bands lumped under those genre designations. Perhaps it is conceived of as a mind-altering experience to perform and thus witness when you’re in the room with it live. The fact that SUMAC has collaborative albums with noise legend Keiji Haino who is highly selective with whom he does work speaks much to how SUMAC isn’t merely a metal or heavy band.

Turner has long been a champion of forward thinking underground music since the 90s with his label Hydra Head Records which issued releases from the likes of Boris, Big Business, Cave In, Daughters, Dälek, Jesu, Kayo Dot, Oxbow, Khanate, Harvey Milk, Xasthur and The VSS. Its roster is a kind of who’s who of heavier experimental music of its heyday. Through the label and touring Turner has had a vehicle for exploring his creative interests in music and visual art which brings an added dimension to SUMAC’s releases as well and the ethos with which the band operates. On its current tour the group will be joined by purveyors of death doom Blood Spore and Los Angeles-based avant-garde saxophonist Patrick Shiroishi. Listen to our interview with Aaron Turner on Bandcamp.

Lala Lala, photo by Miwah Lee

Monday | 03.14
What: Lala Lala w/Elton Aura
When: 7 p.m.
Where: Larimer Lounge
Why: Lillie West was already stretching the boundaries of music that might loosely grouped under the vague term “indie rock” earlier in her career with imaginative pop songwriting. But with her 2021 album I Want The Door To Open with Yoni Wolf as co-producer she finely tunes her soundscapes as perfect complements to her expressively ethereal vocals andan exploration of themes of where an artist fits in with a world in which they often need to make their own lives the fodder for some of their most meaningful work and how that can affect your sense of self. It’s a bit like synth pop for fans of Holly Herndon or Virginia Wing.

Monday | 03.14
What: Portrayal of Guilt w/End, Yashira and Wake
When: 7:30 p.m.
Where: HQ
Why: Portrayal of Guilt might be described as a post-hardcore, grindcore adjacent noise rock band with the visceral live quality all that implies. But there is a bit of the irreverent trickster to their presentation and their 2021 album Christfucker was sent out in a jacket that displayed the letters “ST” like “Self-Titled” so that maybe the record could be stealth sold at record stores in more conservative areas of the country and as a signal to fans of the ridiculousness of actual censorship and not the myth of it perpetrated by bad faith actors. Wake from Calgary, Alberta is of like mind and its 202 album Devouring Ruin is like a psychedelic flavor of later era Napalm Death.

Choir Boy, photo by Jordan Utley

Tuesday | 03.15
What: Choir Boy w/Riki
When: 7 p.m.
Where: Lost Lake
Why: Choir Boy is a post-punk band from Salt Lake City that has garnered a bit of a cult following in recent years for its tender, synth-pop ballads about loss and desire recalling the likes of the more melancholic end of Thompson Twins and Felt. Riki sounds like she came from an alternate dimension where she had a career making sensual pop songs for David Lynch movies with her soulfully expressive voice. Elements like cool jazz saxophone and chimes that might sound cheesy and dates in the music of other people just sounds perfect for the mood Riki has evoked of late night adventures in secret Bohemian dives across two albums: her 2020 self-titled and Gold from 2021. Not many artists have a maintained a mystique to them but Niff Nawor aka Riki certain has.

Wayfarer, photo courtesy the artists

Thursday | 03.17
What: Wayfarer w/Midwife and Snakes
Where: Bluebird Theater
Why: Denver’s Wayfarer is finally getting to celebrate the release of its 2020 album A Romance With Violence and bringing its flavor of dark Americana, at turns spaghetti western and doomy black metal, to stage bigger stages. This night the band’s guests are Midwife and her intensely evocative and poignant ambient folk and art country/dark pop supergroup Snakes.

Thursday | 03.17
What: Ellen Allien w/Mr. Frick and Mort.Domed
Where: Bar Standard
Why: Ellen Allien aka Ellen Fraatz makes a rare appearance in Denver and brings her experimental style of techno that is somewhere between minimal, IDM and acid house with an imaginative flair that can seem subtle until you listen to her work alongside other artists in similar realms of music.

Squirrel Flower, photo courtesy the artist

Thursday | 03.17
What: Squirrel Flower w/Tenci
When: 7 p.m.
Where: Lost Lake
Why: Ella Williams aka Squirrel Flower recently released Planet EP, the follow-up to her acclaimed 2021 sophomore album Planet (i). Her gritty yet introspective songs like “Hurt A Fly” are so honest and real about her mistakes and shortcomings you feel that deeply in your own heart. Williams really has a gift for creating strong imagery and emotional impressions and matching it with songwriting that is simultaneously forceful and vulnerable like she respects your time with the music and wants it to be a fortifying experience to give it a listen.

NightWraith, photo by Holden Kudla

Friday | 03.18
What: NightWraith album release w/Space in Time, Ghosts of Glaciers and Ashes For the Mute
When: 8 p.m.
Where: Hi-Dive
Why: Calling any band a “supergroup” is a bit of a misnomer but Denver’s NightWraith has a major pedigree of Denver metal and art rock luminaries including the following with their past and current bands in parentheses as applicable: Benjamin Pitts (To Be Eaten, The New Rome, False Cathedrals, Vimana, Black Sleep of Kali, In The Company of Serpents, Giant Eyeball and others), Igor Panasewicz (Valiomierda, Vimana, Necrosophik Abyss, Abhoria), Isidro “Spy” Soto (Ashes For The Mute, Primitive Man), Caleb Tardio (I Sank Molly Brown) and Jerry Hilger (who is just the affable guy you run into in the scene regularly and wonder when he was going to be in a band). In 2019 NightWraith put out its excellent self-titled debut but on this night the outfit celebrates the unleashing of its new record Offering (available digitally, on CD and limited edition vinyl starting March 25). The early singles highlight the way this quintet brings together melodic riffs with epic sensibilities and black metal grit for an orchestral display of a particularly glorious brand of heavy metal. There is a playfulness to the songs that also doesn’t detract from the heaviness of the riffs and the elegantly precise dynamics. Also on the bill is the psychedelic hard rock and metal of Space In Time whose own hybrid influences from the likes of Hawkwind, Deep Purple and Uriah Heep has resulted in an always surprisingly powerful performance. You also get to see the instrumental post-metal band Ghosts of Glaciers and cosmic black metal outfit Ashes For The Mute in which “Spy” will be doing double duty for the night. Clearly the best metal show of the week.

Lost Walks, photo courtesy the band

Friday | 03.18
What: Lost Walks w/Friends of Slim Cessna and f-ether
When: 7 p.m.
Where: LFX Filmworks
Why: Lost Walks released its weighty and harrowing new album Blood Lantern in December 2021. The theatrical, dark Americana of Wolf, Woman, Man, its 2017 debut album, is still at the root of this new batch of music but the band which collaborates with a regular dance troupe for its performances shed some of the folk and blues aspects of its prior musical incarnation in any obvious ways and sounds now more like Neurosis except that Dameon Merkl still sounds like the mysterious and charismatic figure you want to narrate a future documentary about H.P. Lovecraft. Also for this show you get to see members of Slim Cessna’s Auto Club bring their own imaginative and compelling style of gritty old time music and theater while f-ether performs his own highly refined and stylized techno and house-informed electronic soundscapes. Considering the venue expect more than a touch of theater to the show.

Friday | 03.18
What: Daikaiju w/TripLip and De Gringos y Gremmies
When: 8 p.m.
Where: The Squire Lounge
Why: Daikaiju is a surf rock revival band originally based out of Huntsville, Alabama but now out of Houston. But that doesn’t quite do justice to the legend of this band that you hear from anyone that has seen them from not just the kaiju (giant monsters in Japanese popular culture i.e. Godzilla, Rodan, Mothra, Gamera and others not so well known) aesthetic and themes but also the kabuki masks, the use of fire when they can and energetic/borderline unhinged live performances that are part of the lore of the group as well. But make no mistake, yeah, a surf rock revival band but one with chops and imagination and not the rote surf rock that has plagued the indie underground for way too long. Think more like Man Or Astro-man or The Mermen. As for TripLip, some journalist wrote this about them in 2013 and they are a much neglected local institution: “A drum and bass instrumental duo (not in the EDM sense, of course), TripLip can’t be said to fit into any particular musical subgenre. Reminiscent only of a a band these two guys have probably never heard of — Denver’s The Hellmen, because of its perfect fusion of jazz, punk, noise rock and surf with flourishes of improvisational funk — it can safely be said that TripLip isn’t following any trends, local or otherwise, because there’s nothing trendy about what the act is doing. The outfit’s solid musicianship and sonic creativity is refreshingly out of time and place, and it’s always interesting. – Tom Murphy, Westword. 11/24/2013”

Saturday | 03.19
What: Lost Walks w/Friends of Slim Cessna and Florea
When: 7 p.m.
Where: LF Filmworks
Why: See above on 3.19 but for this show the introspective and dusky folk of Florea will open the proceedings.

Circle Jerks, photo by Atiba Jefferson

Saturday | 03.19
What: Circle Jerks w/Negative Approach and 7 Seconds
When: 8 p.m.
Where: Ogden Theatre
Why: Circle Jerks were one of the earliest and one of the most enduringly influential hardcore bands out of Southern California in the late 70s with former Black Flag frontman Keith Morris. Morris’ surreal and absurdly wry sense of humor and self-deprecating social commentary informed much of the band’s material which can be lost in flood of energy of the live show and Morris’ exuberant energy as a vocalist. This tour is technically the 40 year reunion tour that was supposed to happen in 2020 but everyone knows what happens there so here’s your chance to see the Jerks in high form with Morris, guitarist Greg Hetson, bassist Zander Schloss and Joey Castillo formerly of Queens of the Stone Age joining on drums. But wait, there’s more. Negative Approach is also one of the pioneering bands of hardcore having formed in Detroit and fronted by one of the most elemental vocalists of our time in John Brannon. Brutal, nihilistic and desperate in lyrics and crushing and devastating in sound. And then of course 7 Seconds from Reno, Nevada also helped to lay the foundations of hardcore beginning in 1980 with the fast and hard dynamics with a core of catchy melodicism that helped shape a body of work that in itself has inspired generations of punk bands since.

Saturday | 03.19
What: Daikiju, TripLip and friends
When: 7:15 p.m.
Where: The Matchbox
Why: See above on 3.18 for this show in case you had to miss that performance.

Monday | 03.21
What: Daikaiju w/TripLip and Ego Death
When: 7 p.m.
Where: Seventh Circle Music Collective
Why: Final chance to catch Daikaiju with TripLip before the touring band hits the road for places out west.

Monday | March 21
What: W.I.T.C.H. w/Night Beats and Mauskovic Dance Band
When: 7 p.m.
Where: Bluebird Theater
Why: Incredibly W.I.T.C.H. is the Zamrock band formed in the 1970s meaning of course that they’re pioneers of the unique flavor of psychedelic rock that happened in Zambia during that decade before multiple forces led to the demise of the movement by the mid-1980s. Articles have written about the movement and vinyl reissues of classics by Witch and of course Ngozi Family lead to a resurgence in interest in that era of music and the reunion of Witch in 2012. Not often you get to catch legends like this in the flesh. But also on the bill is the great psychedelic garage rock band Night Beats from Seattle who were always weirder and more interesting than most of the recent wave of American psychedelia. Also opening is Mauskovic Dance Band whose blend of cumbia, Afro-Cuban rhythms and Krautrock sensibilities will fit right in with the headliners.

Jawbox, photo by Pete Duvall

Tuesday | 03.22
What: Jawbox w/despAIR Jordan
When: 7 p.m.
Where: Marquis Theater
Why: Jawbox emerged from the vibrant late 80s and early 90s post-punk/post-hardcore DC punk scene to go on to become one of the most influential guitar bands of the 90s and beyond. Its 1991 debut album Grippe is like the missing link between Dinosaur Jr and midwest post-punk and hardcore like Articles of Faith and Naked Raygun. But the beautifully atonal and angular “Savory” from the 1994 album For Your Own Special Sweetheart, the band’s major label debut, was a surprise hit during that era before the alternative rock being championed by major labels was a watered down version of the music seemingly flooding forth in the early part of the decade. Jawbox split in 1997 and didn’t reunite except briefly in 2009 until 2019 though in 2021 founding member Bill Barbot left the group replaced by War on Women guitarist and singer Brooks Harlan. Opening the show is Denver’s despAIR Jordan whose own post-punk flavor is as informed by melodic hardcore as it is the atmospheric, melancholic variety.

Tuesday | 03.22
What: Yves Tumor
When: 7 p.m.
Where: Boulder Theater
Why: Yves Tumor is like the Prince of experimental electronic music whose exuberant stage presence is as colorful as Bowie at peak weirdness but whose sensibilities and aesthetic are very much of the present. That their music has been coming out on Warp Records is saying something about the forward thinking quality of the songcraft and for someone who many might consider a weird hip-hop artist, Tumor has cited Throbbing Gristle as a major influence.

Tuesday | 03.22
What: New Candys and Mint Field w/Wave Decay
When: 7 p.m.
Where: Hi-Dive
Why: New Candys from Venice, Italy released Vyvyd in 2021 and it proved to be one of the best psychedelic rock albums of the year with its hybrid of krautrock and shoegaze. Mexico City’s Mint Field brings its own ambient/shoegaze soundscapes to the show with touches of psych folk and cinematic aesthetics making what can often be abstract music that transports you to other spaces into something that feels deeply personal. Wave Decay’s soothing dream pop sound combines motorik beats with gossamer melodies.

Indigo De Souza, photo by Charlie Boss

Tuesday | 03.22
What: Indigo De Souza w/Field Medic
When: 7 p.m.
Where: Fox Theatre
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.

Wombo, photo by Fallon

Wednesday | 03.23
What: Ed Schrader’s Music Beat w/Wombo, Apollo Shortwave and H-Lite
When: 8 p.m.
Where: Hi-Dive
Why: Ed Schrader’s Music Beat has been a fixture of underground American art punk. Somewhere between angular post-punk, funk and jazz, the duo’s releases have been varied and always interesting with viscerally impactful and fun live shows. Its forthcoming album Nightclub Daydreaming has all the hallmarks of a great Ed Schrader offering with intricate rhythmic minimalism but decidedly moodier and more atmospheric than we’ve come to expect from the project’s rich sonic palette. Wombo’s psychedelic alternative rock with the dispassionate vocals have been one of the more consistently interesting left field bands out of the indie milieu of recent years that fans of Dry Cleaning and Ganser might appreciate. H-Lite’s electronic experiments unites minimal techno with a more playful and expansive type of glitchcore.

Lightning Bolt, photo by Nick Sayers

Wednesday | 03.23
What: Lightning Bolt w/Problems
When: 7 p.m.
Where: Lost Lake
Why: Saying that Lightning Bolt is a noise rock duo is a little like saying a hurricane is a storm. Doesn’t quite cover it. Though only a duo, Lightning Bolt seems to produce more sound than one might expect from just two people and its aggressive rhythms and explosive live performances are like small scale riot of their own. Which one might expect from a group from Providence, Rhode Island where some of the wildest and noisiest bands of the modern era (Mind Flayer, Arab on Radar, Six Finger Satellite and The Body to name a few) have come from over the past 30 years. Sonic Citadel, the band’s 2019 and latest album, is a masterclass of constant motion and barely controlled chaos and inspired weirdness. In place are also the usual rambunctious soundscape of intense yet modulated drums, processed vocals, distorted bass played both for rhythm and as accents in a call and response dynamic with lyrics sung with a nearly unhinged style. If you’ve never seen Lightning Bolt be prepared for pretty much anything to happen except that it’ll be more fun than you can usually have in a small rock club. Problems is the strange yet also fascinating techno house music project of Darren Keen based out of Lincoln, Nebraska whose 2020 album Ought Not Be Overthought is worth a listen for anyone interested in electronic music that doesn’t have obvious connections to what anyone else is doing yet remains accessible to most people.

Wednesday | 03.23
What: Dance With The Dead & Magic Sword w/Das Mortal
When: 6 p.m.
Where: Oriental Theater
Why: Dance With The Dead is a synthwave band currently touring on the festival circuit and in support of its new album Driven To Madness. But a major reason to go to this show is to see Boise’s Magic Sword whose own mix of fantasy and science fiction imagery and hard rock synthwave is on another level than most like-minded artists as the band members perform as space knights and other than differently colored costume lights largely anonymously. With a handful of albums out and their own comic, Magic Sword is consistently entertaining and its music though technically born out of a gimmick has an appeal far beyond that like the kind of retro science fiction action movie soundtrack for a film that has yet to be made.

Yob, photo courtesy the artists

Thursday | 03.24
What: Yob w/True Widow and Glacial Tomb
When: 7 p.m.
Where: Marquis Theater
Why: Yob guitarist/vocalist Mike Scheidt founded Yob in 1996 after spending some years in hardcore bands in Eugene, Oregon. The mid-90s weren’t exactly the height of the popularity for metal of any kind but in embracing the kind of heavy music that was being called “stoner rock” in the 90s but today the sludgy, sometimes psychedelic, metal might be called doom or post-metal depending on where on the stylistic spectrum the music falls. But whatever genre tags one might put on what Yob has done at this point its newer music as having emerged on both Clearing the Path to Ascend and Our Raw Heart has more than a little in common with experimental heavy artists like Neurosis and Isis (the former having been released on Neurot Recordings). Despite the sometimes cosmic bent of the lyrics and themes of mortality and struggle there is a real joy to the band’s live performances that draws you in for a shared catharsis. Denver death doom band Glacial Tomb opens the show and in the middle is True Widow from Dallas whose blend of doom and shoegaze is entrancingly melodic and moody.

Friday | 03.25
What: Gary Numan w/I Speak Machine
When: 8 p.m.
Where: Gothic Theatre
Why: Gary Numan is a pioneer of synth pop whose work with his old band Tubeway Army along with the likes of Orchestral Manoeuvres in the Dark, Fad Gadget and Human League brought a sophistication of creative vision, nuanced social commentary and inventive incorporation of synthesizers into well-crafted pop songs proved influential on a generations of other artists. Numan forged a solo career for himself with 1979’s The Pleasure Principle and the hit single “Cars.” Since that time Numan has reliably experimented with technology and his own songwriting approach in ways that proved to be an influence on many of the more popular industrial bands of the 80s and 90s including Nine Inch Nails. Pick up anywhere in Numan’s recent catalog and there is worthwhile material including his 2021 album Intruder with its thoughtful commentary on climate change and its impact on the world and not just one human civilization. I Speak Machine is an electronic artist of recent years whose own synthscapes recall the era of music Numan helped to establish with horror cinema aesthetics and a live show to match. Definitely for fans of ADULT. and Xeno and Oaklander.

Saturday | 03.26
What: Quits w/Endless Nameless, Sell Farm and Pythian Whispers
When: 8 p.m.
Where: Hi-Dive
Why: Quits is like the Hasil Adkins of post-hardcore noise rock. Endless Nameless are like the Iceburn collective of post-Canadian instrumental art shoegaze. Sell Farm is the Townes Van Zandt of doom industrial twee. Pythian Whispers is the Hüsker Dü of elevated Krautrock. These absurd characterizations are true in spirit so come on down and see for yourself. Full disclosure, the author of this bit is in Pythian Whispers.

Dust City Opera, photo by Gracie Meier

Saturday | 03.26
What: Dust City Opera w/Split Lips
When: 9 p.m.
Where: Lion’s Lair
Why: Albuquerque’s Dust City Opera recently released its new album Alien Summer with its colorful story arc of science fiction, horror and the drama of the human experience. The sound mixes a bit of the group’s dark Americana with fuzzy rock grit to lend all of the songs more of an edge than one might assume given the band’s theatrical presentation. The new album sounds like something that could have come out of the later era indiepop bands steeped in the 90s version of that music like Beulah or Red Pony Clock but with a bit more refinement of sound.

Sunday | 03.27
What: Kat Von D w/Prayers
When: 7 p.m.
Where: Bluebird Theater
Why: Kat Von D is perhaps best known as a tattoo artist who has been in a couple of reality shows related to the profession. But in 2021 she released her debut album Love Made Me Do It and its mix of darkwave and synthpop is surprisingly accomplished. Her set alone with be worth seeing but opening is her husband Rafael Reyes’ band Prayers who garnered a good deal of attention as a “Cholo Goth” band when really Prayers is just one of the best modern electronic post-punk bands with a bit more actual edge to go along with the moody soundscapes and intense and dramatic lyrics.

The Spirit of the Beehive, photo courtesy the artists

Monday | 03.28
What: The Spirit of the Beehive w/Deeper
When: 8 p.m.
Where: Hi-Dive
Why: Spirit of the Beehive probably seemed like a slightly weird indie rock/pop band early in its career but anyone that has been paying attention across the arc of its albums it’s like the Philadelphia-based group has been pulling back the veils of normalcy and convention with every album. Pleasure Suck and its hazy atmospherics and melodic left turns was reminiscent of something Black Moth Super Rainbow or Stargazer Lilies might do. This shifting to more experimental songwriting continued on 2018’s Hypnic Jerks with an approach to songwriting and structure reminiscent of cinema rather than simply music. With Entertainment, Death (2021), The Spirit of the Beehive is further opening its Pandora’s Box of unexpected tonal experiments, textures and raw sound composition to craft pop songs unlike much of anything anyone is making, even genius weirdos like Deerhoof. Often the songs sound like you’re stepping into a room in a horror movie funhouse and not sure where to find the exit and find you like it there. Deeper is one of Chicago’s bright post-punk stars and their album Auto Pain is something akin to music The Cure might have done if they had gone the route of angular art rock and emerged in the 2010s having been impacted by The Rapture and Women.

Monday | 03.28
What: Blunt Bangs (Athens, GA), Supreme Joy, Moodlighting and Public Opinion
When: 7 p.m.
Where: Mutiny Information Café
Why: Blunt Bangs from Athens, GA includes Reggie Youngblood formerly of buzz indie band Black Kids. But this project is like power pop with a touch of soul. The Big Star influence is obvious but the self-aware lyrics are very much in tune with the social environment of today and the cultural touchstones and lingo of the moment and a poignant portrait of the struggles young people have navigating relationships and a world that seems to make most aspects of life challenging for everyone. Blunt Bangs also includes Eli Saragoussi formerly of psychedelic garage rock phenoms Hair Cult. Also on the bill are Ryan Wong’s lo-fi post-punk band Supreme Joy and twee dream pop outfit Moodlighting who are set to release their new album Boy Wonder with a show at the Hi-Dive on May 5, 2022.

Glove, photo by Ivana Cajin

Tuesday | 03.29
What: Nation of Language w/Glove and Ducks Ltd.
When: 7 p.m.
Where: Bluebird Theater
Why: Nation of Language released its debut album Introduction, Presence in 2020 at a time when no one could or did tour but its bass-driven, moody synth pop songs were reminiscent of early OMD in a way worthy of that obvious influence. The group’s 2021 album A Way Forward was aptly named because the synthesizers came more to the front for a starker yet richer sound overall. It initially recalled Magnetic Fields’ 1995 album Get Lost and its rhythms and pacing seemed to draw on Krautrock influences like Kraftwerk, Cluster, Harmonia and Ashra. And an exploration of OMD’s 1983 artpop masterpiece Dazzle Ships. But whatever the influences or inspirations, Nation of Language has fused the avant-garde with pop in a way with modern methods that draw you in and induce a mood of looking toward a future of possibilities. Glove is a post-punk/darkwave band from Tampa, Florida, a city rightfully more well known for its influential death metal milieu. But Glove’s knack for composing songs that wed energetic rhythms with pulsing low end to melancholic mood may do something toward changing that impression. Its new album Boom Nights breaks free from the cookie cutter darkwave sound that has emerged with more lo-fi recordings. Glove’s album has not slick production so much as strong. Reminiscent of The Prids and Modern English circa Mesh & Lace. Ducks Ltd. from Toronto, Ontario released Modern Fiction on Carpark in 2021 and its ebullient jangle pop sounded like a mix of New Order, all that great 80s Kiwi rock and groups out of the C86 movement of that era. But the content of the songs were inspired by an examination of modern human civilization in decay and its impacts on our lives on a very personal level. The songwriters also took some cues from the fiction of Graham Greene whose life in MI6 and fiction were likely the model of spy fiction to follow.

Greet Death, photo from Bandcamp

Tuesday | 03.29
What: Dummy, Greet Death, Infant Island, American Culture, Dirt Sucker, Candy Apple
When: 7 p.m.
Where: Hi-Dive
Why: [Greet Death and Infant Island show moved to this event due to issues with Meadowlark Bar] Dummy from Los Angeles released its latest album Mandatory Enjoyment in 2021 and immediately established itself as a band to watch with its consistently fascinating soundscapes somewhere betwixt post-punk, Krautrock, indie pop and whatever avant-garde mix of all that you’d call Stereolab. Greet Death is the kind of modern shoegaze band that sounds like its members came up through post-hardcore or some kind of punk or metal as its guitar work has some nice sharp edges even as its soundscapes sound like the shattered glass of disappointed emotions. Its 2019 album New Hell is overflowing with a sublime catharsis that genre bends in ways that one doesn’t hear much in this realm of music. Unless you’re listening to Drowse or another band with seemingly similar roots and an ear for vulnerable emotional expressions put very much forward. American Culture from Denver is no stranger to these hybrid musical impulses and singer Chris Adolf has been someone who never limits himself to a narrow genre though an innovator in indiepop going back to the 90s with bands like Love Letter Band, Bad Weather California, V-Tech Orchid and the various musical incarnations of American Culture with its Cure-esque guitar soundscapes and raw yet tenderly executed vocals. Candy Apple from Denver might be considered hardcore but only if you include the influence of early Christian Death and maybe Jesus and Mary Chain.

Video Vision, photo from Bandcamp

Tuesday | 03.29
What: Video Vision w/DJ Julian Black and DJ Niq V
When: 9 p.m.
Where: HQ
Why: Video Vision is a post-punk/deathrock band from Athens, Georgia whose 2021 album Inked in Red feels both melodramatic and intimately rendered. Sounds like something plucked from the early 80s except for the synth treatments which feel very modern. The male and female vocals recall the dynamics you’d hear in a 45 Grave song but with more ethereal music, just that grit and confidence seems very much in place.

Wilderado, photo by Grant Spanier

Wednesday and Thursday | 03.30 and 03.31
What: Wilderado w/flipturn
When: 7 p.m.
Where: Aggie Theatre and Bluebird Theater
Why: Though Wilderado released its self-titled debut album in October 2021, the band originally based in Tulsa, Oklahoma, now out of Los Angeles, has put in its time over the last seven years honing its songcraft and performances through regular touring. Its sounds sound like they were written with acoustic guitar in a living room contemplating a feeling or a thought that strikes you so strongly you end up writing it down or committing it to memory as best you can. But those skeletons of songs get the full-fledged manifestation across an album of lively pop songs that are stronger for having been worked out before any adornments and embellishments are added.

Wednesday | 03.30
What: Black Ends (Seattle), Sell Farm, Joseph Lamar and Fainting Dreams (members of Endless Nameless, Direct Threat and Asbestos)
When: 7 p.m.
Where: Seventh Circle Music Collective
Why: Black Ends and its “gunk pop” sounds like something you’d get if you took an experimental punk band and found a way to deconstruct the traditional sounds and structures into this melted mutant version. Meaning it’s more original than most things you’ll see actually on tour and would have found a home on Siltbreeze in the 2000s alongside Pink Reason, Eat Skull and the like. Sell Farm is a dub-industrial-indie pop band whose own sound experiments in real time pretty much place it outside all trendy styles happening right now which is always a reason to go see a band. Joseph Lamar is a glam R&B space alien whose soulful vocals can’t be constrained by convention either and his songwriting while hyper tuneful also colors outside the lines of expectation. If Fainting Dreams includes members of Endless Nameless, Direct Threat and Asbestos and still playing this show they’re probably using their considerable musical talents and chops to make something unusual and interesting as well.

Thursday | 03.31
What: Prism Bitch w/Horse Girl and Bud Bronson & The Good Timers
When: 7 p.m.
Where: Lost Lake
Why: Prism Bitch from Albuquerque, New Mexico fuses synth pop with garage rock in unpredictable ways while not compromising solid pop songwriting yet coming off very unfiltered and punk. Horse Girl is part inspired performance art and art pop with a show that always breaks that barrier between the spectator and performer in creative ways. Brilliant weirdos, always. Bud Bronson & The Good Timers is the best power pop band out of Denver. Full stop.

Princess Goes to the Butterfly Museum, photo courtesy the artists

Thursday | 03.31
What: Princess Goes to the Butterfly Museum
When: 8 p.m.
Where: Oriental Theater
Why: Oftentimes when actors get into making music it’s either quaint, ill-considered our insufferable. But Princess Goes to the Butterfly Museum which includes Michael C. Hall (Dexter, Six Feet Under, Hedwig and the Angry Inch) alongside Peter Yanowitz (The Wallflowers, Morningwood) and Matt Katz-Bohen (Blondie) is shockingly good. Like a synth pop glam rock band. Its debut album THANKS FOR COMING comes off more like an art rock concept record the likes of which you’d expect more from the 1970s with strong ideas and commentary on life and society and ambitious songwriting. But with modern sensibilities like the musicians are well aware that Radiohead and Arcade Fire already happened. Its tonal exercises are poignant and evocative and the songs cinematic.

Best Shows in Denver November 2021

Julien Baker performs at Gothic Theatre on Nov 13, photo by Alyssa Gafkjen
Brandy Clark, photo by Chris Phelps

Wednesday | 11.03
What: Brandy Clark w/Kelsey Waldon
When: 7 p.m.
Where: Lost Lake
Why: If famous country music stars performing songs you’ve written is a sign of your significance as an artist, Brandy Clark has had a resoundingly successful career. Kenny Rogers, Reba McEntire, LeAnn Rimes, Kacey Musgraves, Keith Urban and Darius Rucker have all performed songs penned by Clark. Her critically acclaimed 2020 album Your Life Is a Record garnered her accolades for her own work even from more critical reviewers because her arrangements and thoughtful lyrics were undeniably well crafted and affecting even if you’re not a fan of country music or acoustic pop. Producer Jay Joyce encouraged Clark to expand her musical range with sounds and ideas that brought a quality to the songs that pushed beyond the boundaries of Clark’s previous work for arguably the best record of her career thus far. The 2020 pandemic put plenty of plans for touring and promoting records on hold so this is a chance to see the award winning singer and songwriter at an intimate venue.

Wolf Alice, photo by Jordan Hemmingway

Wednesday and Thursday | 11.03 and 11.04
What:
Wolf Alice w/The Blossom
When: 7 p.m.
Where: Bluebird Theater
Why: Wolf Alice is hitting its stride with its new album Blue Weekend. Earlier records like 2017’s Visions of a Life and 2015’s My Love is Cool showcased the music of a band learning its powers and creative instincts in often thrilling ways during some years when too many rock bands were trying to cop some of that classic rock or psychedelic garage cachet. Wolf Alice walked a finer line of hard rock and atmospherics fortified by singer Ellie Rowsell’s sometimes gritty vocals yet always emotionally vibrant and nuanced vocals. The new album reveals a band that has not become stuck in what one might expect from previous efforts. Swells in a song don’t inevitably lead to a glorious blowout, rather Wolf Alice takes left field turns in its arrangements perhaps a challenge to foster their growth as a band with consistently compelling results.

Black Dice, photo by Black Dice

Thursday | 11.04
What: Black Dice w/cindygod and H Lite
When: 8 p.m.
Where: Hi-Dive
Why: Black Dice was an integral part of New York City underground music in the late 90s and 2000s. Its members had come up through punk but took the spirit of open possibilities suggested by that music to do whatever the wanted to. Anything could be an instrument, any rhythmic idea could be made to work. Even ideas about how structure and patterns would emerge through a kind of sound collage cut-up technique that one might compare favorably with the work of Autechre and Aphex Twin. Key to the band’s creative approach and aesthetic was visual art concepts and its various album covers have been designed by members of the band in a style that hits you like graffiti by way of the Situationist International. The band’s methods of composition and expression proved influential to peers like Animal Collective, a band that on the surface makes an updated form of 90s indie pop but like that music truly experiments with the form and musical substance of the songwriting with forays into noise and sampling that enriched the palette of sounds and dynamics available in crafting songs.

In 2012 Black Dice released its then most recent album Mr. Impossible after which its members took time to pursue other projects, Eric Copeland releasing several solo works as well. With the pandemic thus far time seems to have stretched and compressed for most people and what may feel like a handful of years in the living it can stretch to several and in 2021 Black Dice released its latest record Mod Prog Sic. It is classic Black Dice as a free flowing parade of ideas, textures, rhythm and playful tone and signal processing like some futuristic hip-hop/EBM fusion psychedelic beatmaking. We recently had a chance to speak with longtime member Aaron Warren about his early musical days growing up in California and his formative years as an active member of the punk scene in Boulder and Denver in the 90s before ending up in NYC in pursuit of furthering his education and ending up in the city at a time of great creative ferment. Listen to the interview on the Queen City Sounds Podcast.

Thursday | 11.04
What: The Black Angels w/L.A. Witch
When: 8 p.m.
Where: Ogden Theatre
Why: The Black Angels came together and established its individual style of psychedelic rock before that became too trendy in the 2010s and has been able to develop, refine and then evolve its aesthetic across multiple records. Obvious influences drawn from early psychedelic rock, shoegaze, Middle Eastern drones and compound time signatures out of that music and perhaps a touch of African influence along with industrial and the avant-garde has merely made for a musical career that is much more creatively varied than seems obvious with a live show that is consistently entrancing. Opening is the like-minded L.A. Witch and their engaging take on blending 60s psychedelic pop with noir vibes.

Soccer Mommy, photo by Brian Ziff

Thursday | 11.04
What: Soccer Mommy w/Alexalone
When: 7 p.m.
Where: Gothic Theatre
Why: Probably virtually every musician touring in 2021 has the same story of an album released early in 2020 or slated or release that year only to have all forward momentum in getting the music out there slowed down or stopped due to the pandemic. When Soccer Mommy’s Color Theory was released at the end of February 2020 it garnered some critical acclaim for its winsome, melancholic pop songs in which the songwriter’s arrangements expanded to give her short lyrical lines expansive and often shimmering background textures paired with ethereal string arrangements. There is a pensive and yearning quality to singer/songwriter Sophie Allison’s words and vocal performance that elevates the music beyond much of the sometimes interchangeable indie music offerings you might hear on a playlist in a public space. Allison is not stranger to luminous and introspective songwriting, but right now she is taking her craft into deeper emotional territory than her admittedly excellent 2018 debut album Clean.

Band of Horses, photo by Stevie and Sarah Gee

Thursday | 11.04
What: Band of Horses w/Miya Folick
When: 7 p.m.
Where: Mission Ballroom
Why: Band of Horses is a band that has managed to make uplifting yet incredibly heartbreaking music with undeniable earworm melodies without losing the emotional impact for the last 17 years. The group formed after the respected indie pop band Carissa’s Wierd split in 2004 and quickly established itself as purveyors of thoughtful songs imbued with an upbeat energy and great forward momentum while never dipping into the realm of the hokey or obnoxious positivity. Probably because the lyrics have consistently hit as grounded and insightful even when written in good fun. Expect the new Band of Horses album Things Are Great to drop in January 2022 but for now you can maybe catch a good deal of that new material live until then.

Friday | 11.05
What: Eventually It Will Kill You 4 Year Anniversary Pre-Show: Wisteria w/Candy Apple, Deadluv and Vitrina
When: 8 p.m.
Where: Hi-Dive
Why: Brian Castillo has been involved in DJ nights over the years and releasing a few records here and there. But he may have found his niche when he launched Eventually It Will Kill You four years ago releasing mostly experimental music and darkwave like the 2018 reissue of the 1983 death rock classic by Denver band Your Funeral and their single “I Want To Be You” b/w “April Fool’s Day” and releases from Many Blessings, the noise side project of Primitive Man’s Ethan McCarthy, chicago darkwave band Funeral Door and dark minimal synth group Child of Night from Columbus, OH. For the occasion of the anniversary “El Brian” put together two shows including this Pre-Show which includes performances by Pittsburgh based post-punk band Wisteria and jagged, jangly Denver post-punkers by way of hardcore Candy Apple.

Plack Blague in October 2018, photo by Tom Murphy

Saturday | 11.06
What: Eventually It Will Kill You 4 Year Anniversary: Kontravoid, Plack Blague, Many Blessings and Closed Tear
When: 8 p.m.
Where: Hi-Dive
Why: For the second night of the 4 year anniversary of Eventually It Will Kill You you can catch some of the stars of underground darkwave and noise with EBM techno artist Kontravoid, industrial disco legend Plack Blague (listen to our new interview with Raws Scheslinger of Plack Blague from our podcast on Bandcamp), the ambient noise stylings of Many Blessings and the gloomy, post-punky dream pop of Closed Tear.

Saturday | 11.06
What: Dan Deacon w/Alex Silva and Patrick McMinn
When: 8 p.m.
Where: Bluebird Theater
Why: Dan Deacon’s 2020 album Mystic Familiar was praised as a solid synth pop album but it sounds more like Deacon has really honed his songwriting after a career of pushing musical ideas ever forward. The instrumental performances have a nuance and energy with a granular level of musical detail that can be enjoyed for simply the sheer joy and dynamic expressiveness Deacon seems to bring to his music. But one has to marvel at the way Deacon orchestrates complex passages and textures to into majestic pop songs that uplift the spirit and living up to the name of the album. His live shows are often a collaborative affair and even with his music surely Deacon will encourage those that show up to become involved in spontaneous and creative ways that don’t happen at other shows.

Gus Dapperton, photo by Jess Farran

Saturday | 11.06
What: Gus Dapperton w/spill tab at The Gothic
When: 6 p.m.
Where: Gothic Theatre
Why: Forget the hair style, the jewelry, the eyeliner and Gus Dapperton’s stylish sartorial proclivities, the songwriter’s 2020 album Orca is brimming with touching and delicate songs with real insight into the vulnerabilities and haunting thoughts that come to you in your lowest moments. His spare musical arrangements give the vocalization of the lyrics space to issue forth and sit in the air like lingering melodies. It’s an unexpectedly interesting effect from a songwriter who can come across to anyone that hasn’t sat down with the music as saccharine pop but the guy’s music is anything but that.

Uniform, photo by Ebru Yildiz

Monday | 11.08
What: Uniform, Portrayal of Guilt and Body Void
When: 7 p.m.
Where: HQ
Why: Uniform is an industrial hardcore band from New York that came out of the city’s punk and extreme music scene. Its fiery and abrasive electronic onslaught articulates issues of existential confusion and frustration with the destructive forces of society and within our own minds and clawing a path to catharsis. The group’s 2020 album Shame (Sacred Bones Records) is perhaps its most accessible but also its most deeply personal and raw. Also, listen to our podcast episode with an interview with vocalist Michael Berdan on Bandcamp. Opening the show is the great experimental hardcore group Portrayal of Guilt. With music sitting somewhere betwixt black metal, grindcore, hardcore and noise, Portrayal of Guilt consistently delivers scorching songs of poetic yet abrasive beauty. Its new album Christfucker is due out November 5, 2021 on Run For Cover Records. Body Void’s scathing, outraged doom just seems like the perfect complement to the whole show and its 2021 album Bury Me Beneath This Rotting Earth out on Prosthetic Records is not short on tortured crushers.

Mamalarky, photo by Sara Cath

Tuesday | 11.09
What: Slow Pulp w/Mamalarky
When: 7 p.m.
Where: Globe Hall
Why: When many bands in the 2010s were evoking a bit of 1990s fuzz rock and grunge, Slow Pulp took a hint of that but went in more a direction of atmospheric pop and experimental soundscapes as a structure for its more hushed and introspective songs. Tourmates Mamalarky from Atlanta is on a similar wavelength with songs of unconventional structure, rhythmic strategy and tonal palette. Like maybe its members came up listening to early Liz Phair demos, Broadcast, Virginia Wing, Deerhoof and Electrelane. The group’s outstanding 2020 self-titled album never gives you a chance to get too settled into a sound but draws you along for a ride into a colorfully dreamlike realm of lush pop adventures.

Wednesday | 11.10
What: Nothing w/Frankie Rose and Enumclaw
When: 7 p.m.
Where: Marquis Theater
Why: Nothing has been on a great trajectory of developing into and beyond punk-influenced shoegaze reaching a high state of creativity on its 2020 album The Great Dismal. Whorling sheets of guitar drone bursting up and receding like waves punctuated by electronic crackles and an aesthetic as much informed by electronic music as by rock at this point. Frankie Rose has spent time in such bands as Crystal Stilts, Dum Dum Girls, Vivian Girls and Beverly but her solo albums is where she has perhaps been most free to utilize her imaginative guitar work, production and songwriting. Though these days she’s also in a band with Matthew Hord of Pop. 1280 called Fine Place which is more in the realm of dub-influenced darkwave pop. So it may be awhile before you get a chance to see a solo Frankie Rose performance for a bit. Enumclaw is one of the few modern bands that sounds like it was heavily influenced by Dinosaur Jr without ripping the band off and injecting a good deal of fuzzy dream pop like they listened to The Smiths but found a way to mix Morrissey out of the proceedings.

Wednesday | 11.10
What: Armand Hammer w/Trayce Chapman and Time (from Calm.)
When: 8 p.m.
Where: Hi-Dive
Why: The psychedelic sounds in the beats to Haram, the 2021 album by Armand Hammer with The Alchemist, is reminiscent of the ways cLOUDDEAD tapped into subconscious spaces to evoke a mood that complements the surreal vibe of the lyrics. Fans of Gonjasufi and early Sole records will appreciate the way this pairing of artists collage tone and texture to create great depth of sound and expression. Plus opening is Time whose existential and deeply philosophical and playful lyrics are an antidote to the programmed ignorance of the American education system and the current state of the culture.

Silverstein, photo by Juan Angel

Thursday and Friday | 11.11 and 11.12
What: Silverstein w/The Plot In You and Can’t Swim
When: 6 p.m.
Where: Bluebird Theater and Gothic Theatre
Why: Silverstein is one of the few bands that walked the line between pop punk and screamo without sounding a parody of itself and where the distorted, screaming vocals really did sound like a primal expression of an intense peak of feeling in the context of the songs. What has kept the band worth a listen is the songwriting and how, as is the case with the better pop punk, the most critical examination in the lyrics is aimed at one’s own shortcomings and finding a way to get through those moments of feelings of failure and intense self-judgment rather than lash out at someone else like a challenge to oneself to truly feel these things you don’t want to in an attempt to be a better person even if you fall short because life and self-betterment is often a process of reworking habits and not some perfect formula to follow.

Friday | 11.12
What: Glacial Tomb, Noctambulist, Necrosophik Abyss — CANCELED
When: 8 p.m.
Where: Hi-Dive
Why: Glacial Tomb and Noctambulist are two of the best and most brutal and imaginative technical death metal bands out of Denver at the moment and if that’s your thing they’re both on the same bill.

Phony Ppl, photo courtesy the artists

Friday | 11.12
What: Phony Ppl w/Kent Washington
When: 7 p.m.
Where: Marquis Theater
Why: Brooklyn’s Phony Ppl have done some music with Megan Thee Stallion but their own music is a richly expressive sort of art soul music and jazz-inflected hip-hop without making boundaries between any of those styles. There is a gentleness to the music that makes it instantly accessible even though the specific content is very musically sophisticated and challenging. These five guys take heady musical elements and ideas and bring to it a loose and playful spirit that sounds like it should be music for the kind of arty dramas that have yet to be made about the poignant periods in the lives of regular people.

Julien Baker, photo by Alysse Gafkjen

Saturday | 11.13
What: Julien Baker w/Dehd
When: 8 p.m.
Where: Gothic Theatre
Why: Little Oblivions is not the album a lot of people were expecting from Julien Baker. Her first two records of hushed and introspective folk rock had an undeniable emotional power in part because of Baker’s own stirringly emotional vocals. For this record Baker expanded the palette of sounds including more electronic elements and more expansive, brash soundscapes that seem perfectly suited to what really feels like a burst of expressing emotions kept under wraps for too long yearning to be let out. There is an intensity to the record that almost makes Baker’s previous albums seem safe by comparison if they too weren’t informed by a strong emotional honesty themselves. Easily one of the top albums of the year in the realm of rock. Opening is psychedelic surf pop band Dehd from Chicago. Don’t let that short descriptor throw you off because Dehd performs with an often unsettling intensity as well for a band whose moody music is not short on nervy energy too.

Saturday | 11.13
What: Nitzer Ebb w/DJ Eli
Where: Oriental Theater
Why: EBM/industrial legends Nitzer Ebb don’t tour much these days and no matter which of their music you’ve heard the live band is more scrappy, more visceral and more powerful than you could really expect. Their 1987 album That Total Age remains a stone classic of 1980s electronic industrial music.

Big Dopes, photo by Jake Cox

Saturday | 11.13
What: Big Dopes album release w/Bellhoss
When: 9 p.m.
Where: Roxy on Broadway
Why: Big Dopes is one of the best Denver bands not enough people know about yet. Its new EP Destination Wedding picks up where its outstanding 2019 album Crimes Against Gratitude left off with affecting lyrics and exquisitely crafted melodies. Fans of C86 era pop, Magnetic Fields and Carissa’s Wierd will likely appreciate the band’s attention to sonic detail and knack for a poetic and thoughtful turn of phrase. Also on the bill is the utterly idiosyncratic pop group Bellhoss. Although many have compared Bellhoss and singer Becky Hostetler, at least according to the project’s website, to artists like Waxahatchee and Soccer Mommy, Bellhoss is weirder and more interesting than those comparisons would suggest (though both artists are obviously notable in their own right) and often comes off like some kind of weirdo indie pop thing with intricate and eccentrically shoegaze-y guitar. Really a show with two of the most compelling bands in the Denver scene post-2017 when the music scene in the Mile High City started to severely fragment even as it expanded.

Monday | 11/15
What: Surfbort — CANCELED
When: 8 p.m.
Where: The Coast (Fort Collins)
Why: Surfbort is a weirdo punk band that’s probably a little too rough around the edges and real for a lot of people who call themselves fans of punk but it’s also one of the most interesting and powerful bands in the world of punk today. They don’t have a lot of releases but its new single “FML” has a strange music video that includes Fred Armisen of Portlandia fame whose own background in punk and his own unusual sense of humor vibed with that of this New York band.

Monday | 11.15
What: Exhumed w/Creeping Death, Bewitcher and Victim ov Fire
Where: Oriental Theater
Why: Indeed, it’s influential deathgrind band Exhumed from San Jose, California. Though the music can be brutal and forbidding in a way that might be reminiscent of Cannibal Corpse it nevertheless performs the music with great energy informed by a sense of irony and humor with lyrics often aimed at the corrupt American political and economic system that has metastasized into an oligarchy with a wide gulf between the ultra rich and the poorest members of society.

Paul Jacobs, photo courtesy the artist

Tuesday | 11.16
What: Tonstartssbandht, Paul Jacobs and Wally
When: 8 p.m.
Where: Hi-Dive
Why: Between its gentle lo-fi psychedelia and almost found sound collage aesthetic, Tonstartssbandht from Orlando, Florida is a different animal in the realm of modern psychedelic pop. Andy and Edwin White draw on a broad spectrum of influences from more traditional music to classical music, classic rock and they have a High Rise tribute band called High Rise II. So even though their relatively pastoral 2021 album Petunia can come off just shy of too weird and gritty for yacht rock there are plenty of bizarro nuggets in the mix to keep it interesting. Paul Jacobs’ 2021 album Pink Dogs on the Green Grass gave us a solid batch of wefting and warping psych pop that somehow both hits the ears reminiscent of both Unknown Mortal Orchestra, Clarke and the Himselfs and Odessey & Oracle period The Zombies. The textural quality of his guitar sound keeps us grounded as vocals and wind sounds and even the percussion carries us away into ethereal realms of daydream wonder. In the case of both artists it seems odd to consider how they might pull this stuff off live and yet they do.

Black Marble in May 2017, photo by Tom Murphy

Tuesday | 11.16
What: Black Marble w/Voight
When: 7 p.m.
Where: HQ
Why: Black Marble has spent some years perfecting a sonic equivalent of Polaroid photos cast in the colors of lo-fi, New Wave-y post-punk. The 2021 album Fast Idol finds Black Marble less in the realm of entrancing gloom pop and more in some upbeat mood with a sound that makes one think about what forbidden music might have sounded like if it was the USA rather than the USSR that cracked down on the immoral popular music of a decadent other empire. Live the music hits with full fidelity resulting in two different experiences of the music. Denver’s Voight really wants to be a dark techno band playing in dark rooms in the neo-urban decay but is still stuck in industrial shoegaze mode. And yet remains one of the best bands in the Mile High City because the music isn’t rote, predictable, safe pabulum and ferocious live.

Tuesday | 11.16
What: Nick Lowe’s Quality Rock & Roll Revue w/Los Straightjackets
Where: Oriental Theater
Why: Nick Lowe is one of the pioneers of power pop. He would have sealed that reputation had he remained in Rockpile with one of the other greats of that form of music Dave Edmunds. But Lowe’s solo career speaks for itself with soulful pop rock classics like “Cruel to Be Kind” and “I Love the Sound of Breaking Glass.” This run of music is a nod to the sounds that influenced Lowe from rockabilly to soul and beyond.

Wednesday | 11.17
What: Caribou w/Jessy Lanza
When: 7 p.m.
Where: Boulder Theater
Why: Dan Snaith has written some of the most inventive yet accessible electronic music for nearly 20 years as Caribou. Employing traditionally acoustic instrumentation alongside synths/electronic instruments and programming, Snaith taps into some of the same emotional pools of yearning, introspective pondering and nostalgia as the later chillwave and bedroom pop composers he influenced directly or indirectly. His most recent album Suddenly (2020) seemed more somber than other releases but still flowing with hazy yet bright melodies. Even in the most down moments, Snaith incorporates a playful creativity in the mix to convey the nuances and complexity of existence and how we experience life.

Kraak & Smaak, photo by Michael Mees

Wednesday | 11/24
What: Kraak & Smaak w/Capyac
When: 8 p.m.
Where: Marquis Theater
Why: Dutch musical production trio Kraak & Smaak are masters of blending a tropical beat with layers of synth melody modified in real time to give a sense of fluid movement giving the music the aural equivalent of 3D visuals. The effect being an enveloping music with a cinematic sensibility like a somehow benevolent spy movie funk without any violence or skullduggery involved, just adventure and relaxing moods. It’s most recent EP, Scirocco, is like an unlikely but satisfying blend of Ennio Morricone, Boards of Canada and Simple Minds. If the band’s recent live streams are any indication, this current tour will be like seeing some long lost electro funk great of the past playing music that seems familiar yet fresh.

The Velveteers, photo by David Mermilliod

Friday | 11.26
What: The Velveteers w/Dreadnought and Dry Ice
When: 7 p.m.
Where: Gothic Theatre
Why: The Velveteers were a promising band from early on in their career in Denver and Boulder playing house shows, small clubs and DIY spaces. While many bands were trying for that classic rock sound, The Velveteers were rapidly outgrowing those early influences into their own sound with fuzzed out riffs and surging song dynamics that made the band sound like it was taking off in multiple directions lending its performances a fiery energy. Through developing the group, creating their own music videos and a little bit of touring, The Velveteers came to the attention of Dan Auerbach of The Black Keys who offered to produce the trio’s new album Nightmare Daydream. Sure it has expert production and clearly the band got some polish in Auerbach’s studio but this set of songs also sound so focused yet as thrillingly effusive as it ever has.

Friday | 11.26
What: Baroness
When: 8 p.m.
Where: Globe Hall
Why: Savannah, Georgia’s Baroness never got to tour behind its 2019 album Gold & Grey for the reasons most bands didn’t do a lot of touring in 2020 and a good chunk of 2021. But now the group with new guitarist Gina Gleason will get a chance to perform older favorites as well as material from the aforementioned album showcasing a seemingly different approach to songwriting different from the brash, bombastic and playful style of previous records. John Baizley’s vocals still soar with great expressive control but the music seems more tied in with the rhythms and beautiful minor chord progressions so that when the songs engage into expansive choruses they always seem to resolve in ways that feel like the group decided to push themselves to say something different and worthwhile with each song. It’s frankly their best album and it would be simply lazy and clumsy to merely refer to this era of Baroness as sludge metal.

Primitive Man in April 2015, photo by Tom Murphy

Saturday | 11.27
What: Primitive Man w/Spectral Voice and Oryx
When: 8 p.m.
Where: Hi-Dive
Why: Denver is fortunate to have an exceptional extreme metal scene with many bands worth a deep listen. This show, though, showcases three of the best. Spectral Voice and the angular brutality of its dark death metal has evolved from an earlier sort of a blackened deathgrind sound into more refined sonic brutality without losing its raw edge. Oryx has never been short on an inventive evocation of musical heaviness and commentary on the hubris of human civilization. It’s 2021 album Lamenting a Dead World perhaps says it all with the title but the vocals sound especially feral and the parallel rhythms and guitar leads flow with a primordial energy that embodies an inevitable path to doom for the planet if things don’t take a different turn amongst us humans. And of course Primitive Man brings the most crushing and emotionally harrowing death grind you’re likely to experience anywhere. The Denver trio did not tour or play much if anything in the way of live shows in 2020 or much of 2021 so its caustic 2020 album Immersion and its nightmare vision of what seem like end times didn’t get to unleash what is hopefully a catharsis of the eschatological mood that has cloaked the planet since the onset of the pandemic until recently. That these great works of music from Oryx and Primitive Man are still so relevant does speak to the excellence of their conception and execution but also to how far we have to go as a species to prove ourselves worthy of continued existence.

Queen City Sounds Podcast Episode 6: Aaron Warren of Black Dice

Black Dice, photo by Dan Hougland

Black Dice was an integral part of New York City underground music in the late 90s and 2000s. Its members had come up through punk but took the spirit of open possibilities suggested by that music to do whatever the wanted to. Anything could be an instrument, any rhythmic idea could be made to work. Even ideas about how structure and patterns would emerge through a kind of sound collage cut-up technique that one might compare favorably with the work of Autechre and Aphex Twin. Key to the band’s creative approach and aesthetic was visual art concepts and its various album covers have been designed by members of the band in a style that hits you like graffiti by way of the Situationist International. The band’s methods of composition and expression proved influential to peers like Animal Collective, a band that on the surface makes an updated form of 90s indie pop but like that music truly experiments with the form and musical substance of the songwriting with forays into noise and sampling that enriched the palette of sounds and dynamics available in crafting songs.

In 2012 Black Dice released its then most recent album Mr. Impossible after which its members took time to pursue other projects, Eric Copeland releasing several solo works as well. With the pandemic thus far time seems to have stretched and compressed for most people and what may feel like a handful of years in the living it can stretch to several and in 2021 Black Dice released its latest record Mod Prog Sic. It is classic Black Dice as a free flowing parade of ideas, textures, rhythm and playful tone and signal processing like some futuristic hip-hop/EBM fusion psychedelic beatmaking. We recently had a chance to speak with longtime member Aaron Warren about his early musical days growing up in California and his formative years as an active member of the punk scene in Boulder and Denver in the 90s before ending up in NYC in pursuit of furthering his education and ending up in the city at a time of great creative ferment.

Black Dice performs at the Hi-Dive this Thursday, November 4, 2021, with cindygod and H-Lite (doors 8 p.m., show 9 p.m., $15 presale, $20 day of show) but until then, please give our wide-ranging and in-depth interview (linked to Bandcamp below) with the insightful and engaging Aaron Warren a listen as it is another tale of the American underground music scene from the 1990s to the present.

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 1/16/20 – 1/22/20

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Heilung performs January 17 at Ogden Theatre, photo by Ruben Terlouw

Thursday | January 16

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Muscle Beach, photo by Tom Murphy

What: Muscle Beach, Church Fire, Vexing and Grief Ritual
When: Thursday, 1.16, 8 p.m.
Where: Hi-Dive
Why: With the exception of Church Fire whose own politically-charged, emotionally cathartic, noisy synth pop, this is basically a showcase for some of the best Denver bands who bridge the gap between experimental metal, hardcore and noise punk. Muscle Beach released its riveting new album Charms in 2019 and Vexing just let loose with its album Cradle.

What: Cursive w/Cloud Nothings and Criteria
When: Thursday, 1.16, 7 p.m.
Where: Bluebird Theater

What: Cereza w/Indica Cinema and Dog Basketball
When: Thursday, 1.16, 7 p.m.
Where: Globe Hall

What: Chromadrift w/Felix Fast4ward, MYTHirst and Furbie Cakes
When: Thursday, 1.16, 8 p.m.
Where: Lion’s Lair

What: Eli N-H & L Heron
When: Thursday, 1.16, 9 p.m.
Where: Rhinoceropolis

What: Necromantic (Goth, post-punk, darkwave, industrial DJ night)
When: Thursday, 1.16, 9 p.m.
Where: Shag Lounge

Friday | January 17

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The Still Tide, photo by Jay Wescott

What: Heilung
When: Friday, 1.17, 7 p.m.
Where: Ogden Theatre
Why: Many bands in the past two or three decades claim to hearken back in their music to early northern European culture. Heilung took the concept a step or two further by basing their music on texts and runes from the Germanic people of the Viking era and longer ago infused with pan-ancient world cultures. The band members look like members of a Scandinavian mystery cult with elaborate outfits, some wearing horned head gear, performing with recreations of traditional instruments from various ancient cultures, guttural vocals reminiscent of Tuvan throat singing. It is a spectacle that is a ritualistic performance of music and poetry designed to transport you to the mindset of earlier humanity getting in touch with its subconscious mind communally.

What: The Still Tide Between Skies album release, Down Time and Heavy Diamond Ring
When: Friday, 1.17, 7 p.m.
Where: Hi-Dive
Why: The Still Tide has been making waves in Denver and beyond for several years at this point with its poignantly expressive dream pop soundscapes. Its sounds are expansive yet are imbued with an intimate sensibility as though Anna Morsett is singing from the past toward the future. It takes you out of a mundane mindset and transports you to a realm where you can feel all the pressures, angst and demands of everyday life but it seems in context of a bigger picture hidden from your thinking most of the time. At least that’s the vibe of the band’s new record Between Skies. The lush and well-balanced soundscapes crafted by Morsett, Jake Miller, Joe Richmond and Nate Meese render incredibly accessible an album of meaningful songs about personal struggle and striving to make sense of the seemingly endless run of reverses and confusing experiences with your heart intact.

What: Caustic Soda EP release w/Sinister Pig and Princess Dewclaw
When: Friday, 1.17, 7 p.m.
Where: Seventh Circle Music Collective
Why: Caustic Soda is a noise punk band from Boulder whose new EP Stud Count will be available at this show. As the title suggests it’s a pointed critique of the all the destructive and regressive ideas that have seemed to issue forth prominently in the wake of Donald Trump announcing his candidacy for president: the misogyny, the bizarre anti-science right, open racism—all the stuff nascent fascism spews into the world.

What: The Amphibious Man, Apollo Shortwave and Pelvis Presley (EP release)
When: Friday, 1.17, 7:30 p.m.
Where: Glitter City

What: Kiltro w/Oxeye Daisy and Julian Brier
When: Friday, 1.17, 8 p.m.
Where: Larimer Lounge

What: On the One: DJ Johnra (John Eggert) and DJ Mike Moses
When: Friday, 1.17, 9 p.m.
Where: The Squire Lounge

Saturday | January 18

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Lazarus Horse, photo by Andy Denson

What: Lazarus Horse Oh, The Guilt album release w/Disinherited and Dead Characters
When: Saturday, 1.18, 8 p.m.
Where: Mutiny Information Café
Why: Eddie Durkin was once a member of the promising and powerful experimental guitar pop band Sparkler Bombs but for various reasons had to take a break from playing in bands and playing shows. But his time away allowed him to incubate and hone his talent further and his latest project Lazarus Horse has been performing now and then with a set of songs that are rough enough around the edges to be fresh and interesting but refined in the execution of dynamics to not be confused for an off-the-cuff band still not in possession of a sense of intentionality. The group’s new album Oh, The Guilt will be an earworm for fans of Codeine, Red House Painters, Versus and Slint. The songs have a simple construction but because of that they are capable of a great emotional range as the layers of sound interact with a fluidity that the sometimes splintery tones might suggest otherwise. The vulnerability on display is disarming, honest and inviting. Given the arc of the songs it’s part eulogy for a time in Denver Durkin experienced while playing DIY spaces in the late 2000s and early 2010s and a map for navigating the new reality in the Mile High City and America in general, one that seems to have put so much up in the air with no sense of confidence in social stability. It’s a record showing bravery and self-awareness in the face of massive uncertainty and possible civilizational collapse.

What: Punk Against Trump: Cheap Perfume, Allout Helter, Over Time, Filthy Hearts, Altar Girls (debut)
When: Saturday, 1.18, 7 p.m.
Where: Marquis Theater
Why: Maybe in the years ahead Trump and everything he willfully and unintentionally encouraged among the forces of cultural and political reaction will be in the rearview and great punk bands won’t have to have fundraiser for groups that are keeping essential services and a compassionate mission alive but for now Punk Against Trump remains a proud tradition in Denver.

What: Bleakheart w/Many Blessings, Its Just Bugs and Human Tide
When: Saturday, 1.18, 9 p.m.
Where: Tooey’s Off Colfax

What: LUCY, H Lite, French Kettle Station and Horse Girl
When: Saturday, 1.18, 8 p.m.
Where: Rhinoceropolis

What: Your Smith w/Chelsea Jade
When: Saturday, 1.18, 8 p.m.
Where: Larimer Lounge

What: Ladies Night (band) and Lifers
When: Saturday, 1.18, 9 p.m.
Where: The Squire Lounge

Sunday | January 19

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Drune, photo courtesy the artists

What: Drune (album release), New Standards Men and Simulators
When: Sunday, 1.19, 7 p.m.
Where: Larimer Lounge
Why: Drune’s debut album SEER is three extended tracks with Roman numerals as the title. Doing so almost invites you to have no preconceptions about what you might be in for with the listening even if you’ve heard the band is a doom band or “heavy.” And it is but there is an elegance to Drune’s composition that has as much in common with bands like Black Mountain who push the aesthetic into unconventional sonic territory as it does with any doom band. James Cook’s soaring vocals and the modulated rhythms syncing with guitar riffs that are as textural and moody as brutal. It’s a sonically expansive record that rewards your attention. Drune doesn’t drone on the same idea ad infinitum, its evolution through a song suggests a narrative structure that pulls you in for the long haul.

Tuesday | January 21

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GZA, photo courtesy GZA management

What: GZA 25th Anniversary of Liquid Swords w/Righteous Revolution (feat. 1-natVson-1), D-Stylz & High Key (Affliction Music), DJ Notch, Killah Priest
When: Tuesday, 1.21, 7:30 p.m.
Where: Summit Music Hall
Why: GZA’s 1995 album Liquid Swords is of course a classic of 90s hip-hop fusing a more traditional genre aesthetic with genre-bending innovations in the use of atmospheric elements in the production to give the whole record an otherworldly quality worthy of its transcendental lyrics. While it might be difficult to prove this record sounds like one of the primary influences on late-90s alternative hip-hop like artists on the Anticon, Mush and Rhymesayers imprints and on experimental electronic music and bands as unusual and adventurous as Black Moth Super Rainbow and CocoRosie. Whatever its exact impact and legacy, Liquid Swords gets into your head and still manages to surprise with the sheer creativity in its use of sound and GZA’s masterful wordplay like a thinking person’s futuristic crime drama manga.

Best Shows in Denver and Beyond 11/7/19 – 11/13/19

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Frankie Cosmos performs at Bluebird Theater on November 7, photo by Jackie Lee Young

Thursday | November 7

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Stephen Steinbrink circa October 2009, photo by Tom Murphy

What: Frankie Cosmos w/Stephen Steinbrink and Ashley Koett
When: Thursday, 11.7, 7 p.m.
Where: Bluebird Theater
Why: The latest Frankie Cosmos album is called Close It Quietly (out on Sub Pop) which is a title reflecting the tender, sensitive and utterly sincere quality of Greta Kline’s songwriting and psychologically insightful lyrics. Stephen Steinbrink’s golden voice and talent for inventive soundscapes in his pop songs has been brewing for more than a decade while he toured regularly in the DIY world. His 2018 album Utopia Teased is a pinnacle of his recorded output with a diverse array of moods and textures.

What: Juan MacLean DJ set w/boyhollow and Retrofette (DJ set)
When: Thursday, 11.7, 8:30 p.m.
Where: Ophelia’s Electric Soap Box

What: HXXS (KC), Luxury Hearse, Kid Mask, Blood Wolf (NM)
When: Thursday, 11.7, 8:30 p.m.
Where: Tennyson’s Tap

Friday | November 8

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Kyle Emerson, photo by Rett Rogers

What: Houndmouth w/Kyle Emerson
When: Friday, 11.8, 8 p.m.
Where: Bluebird Theater
Why: Kyle Emerson’s new album Only Coming Down is a thoughtful collection of songs written while the songwriter was splitting his time between his adopted home of Denver and Los Angeles. Emerson is from norther Ohio but moved to Denver in his late teens/early 20s where he fell in with an up and coming psychedelic pop band Plum which made waves before moving to the City of Angels and, as is often the cliché, broke up shortly thereafter. Since then Emerson moved back to the Mile High City where he established himself as a solo artist with the release of his sophisticated and introspective, folk inflected pop album Dorothy Alice. For this set of shows he’s opening for bluesy indie rock band Houndmouth from Indiana.

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FILTH circa 2017, photo by Tom Murphy

What: Ultra Metal 2 Night 1
When: Friday, 11.8, 5 p.m.
Where: Rhinoceropolis
Why: Since Denver Noise Fest isn’t happening this year, Johnathan Cash of Sunk Cost is picking up that slack again with the biggest noise festival in Colorado across two nights at Rhinoceropolis bringing together a wide range of artists from Colorado and well beyond. Go expecting the broad spectrum of noise from the presumed harsh noise, to prepared environment soundscaping, ambient, beat-driven industrial drone, noisy post-punk, glitch, weirdo techno, post-metal, organic sound composition, sound collage, field recording processing and more. Honestly, greater diversity here in purely sonic terms than any other festival in Colorado since the last Ultra Metal. See the schedule below.

5pm – doors open
5:40pm – J. Westerman
6pm – Blarney Mumble
6:20pm – Harms
6:40pm – Kid Mask
7pm – Dragging
7:20pm – Voight
7:40pm – Pat Hopewell
8pm – Genital Stigmata
8:20pm – Culled
8:40pm – John Ingram
9pm – Sounding
9:20pm – Ritual Chair
9:40pm – Developer
10pm – Kiran Arora
10:20pm – Xome
10:40pm – Conscious Summary
11pm – Baby Daddy
11:20pm – PCRV
11:40pm – Scathing
12am – VX Bliss
12:20am – GNO
12:40am – FILTH
1am – H Lite x Techno Allah
1:20am – Clutch Plague
1:40am – J. Hamilton Isaacs

What: Clan of Xymox w/The Bellweather Syndicate and The Siren Project
When: Friday, 11.8, 7 p.m.
Where: Oriental Theater
Why: Clan of Xymox is a Dutch post-punk band that influenced a generation of second wave Goth bands with its imaginative and bracing sounds and imagery. Adam Wingard featured Xymox tracks in his 2014 action thriller The Guest.

What: Codename: Carter w/SPELLS and Zephyr
When: Friday, 11.8, 8 p.m.
Where: Hi-Dive

What: The Roots
When: Friday, 11.8, 8 p.m.
Where: The Fillmore Auditorium

Saturday | November 9

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Pedestrian Deposit circa 2012, photo by Tom Murphy

What: Ultra Metal 2 Night 2
When: Saturday, 11.9, 5 p.m.
Where: Rhinoceropolis
Why: See above regarding Ultra Metal. Schedule for night 2 below.

5pm – doors open
5:40pm – ilind
6pm – French Kettle Station
6:20pm – Goo Age
6:40pm – Earth Control Pill
7pm – Pet Sounds
7:20pm – Rush Falknor
7:40pm – Illicit Relationship
8pm – Sunk Cost
8:20pm – A Fail Association
8:40pm – Primordial Wound
9pm – T.E.F.
9:20pm – Sects
9:40pm – Jackson Pratt
10pm – Sissisters
10:20pm – Blind Date
10:40pm – Circuit Wound
11pm – Ancient, INC.
11:20pm – Tralphaz
11:40pm – Pedestrian Deposit
12am – Dromez
12:20am – Purism
12:40am – Blank Hellscape
1am – Total Mom
1:20am – Many Blessings
1:40am – Page 27

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Necropanther, photo courtesy the artists

What: Necropanther w/Methane, Incarnit, Draghoria
When: Saturday, 11.9, 8 p.m.
Where: Hi-Dive
Why: Death/thrash metal band Necropanther from Denver is celebrating the release of its latest album The Doomed City although it has those great, distorted vocals that you’d expect from a black metal outfit there’s always been something tuneful and catchy about the band’s output.

What: Pink Hawks’ Scorpio Party: Pink Hawks, Los Mocochetes, Brothers of Brass, DJ A-L
When: Saturday, 11.9, 8:30 p.m.
Where: Ophelia’s

What: Zebroids, Mr. Pacman, The Half Hearts, Ladies Night
When: Saturday, 11.9, 9 p.m.
Where: Lion’s Lair

What: Integrity w/Limbwrecker, Victim of Fire and Clusterfux
When: Saturday, 11.9, 7 p.m.
Where: Oriental Theater

What: Houndmouth w/Kyle Emerson
When: Saturday, 11.9, 8:30 p.m.
Where: Fox Theatre

Sunday | November 10

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Pile, photo by Elisabeth Fuchsia

What: Pile w/Slow Code and Moon Pussy
When: Sunday, 11.10, 8:30 p.m.
Where: Fox Theatre
Why: Pile formed in 2007, the same year as the Canadian band Women, and has exerted a similarly strong influence on underground guitar rock by going off the map of conventional structure, dynamics and tone. Its new album Green and Gray has all of its signature contorted and noisy angularity. Opening is Denver noise rock Moon Pussy whose Big Black-esque bluster is a revelation.

What: Vincent Comparetto Going Away Party
When: Sunday, 11.10, 7 p.m.
Where: Hi-Dive
Why: Vincent Comparetto has been calling Denver home for over 20 years and is now moving to New York City. He got involved in the skating community in the 90s and discovered the local world’s punk and post-punk communities and has been avidly documenting the music scene and the cityscape for years as can be found in his ‘zines Follow Focus, particulary #2 in which he shared several of his shots of shows and the arts world in Denver. Here’s a public chance to say farewell to one of local cultures most cordial and thoughtful preservers of what has been and advocates for what is going on.

What: FUTUREBIRDS w/Rowboat and Paul DeHaven
When: Sunday, 11.10, 7 p.m.
Where: Globe Hall

Monday | November 11

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Hippo Campus, photo by Pooneh Ghana

What: Hippo Campus w/The Greeting Committee
When: Monday, 11.11, 7:30 p.m.
Where: Boulder Theater
Why: Hippo Campus released two albums in 2019 as Demos I and Demos II. While they sound a bit like the titles suggest and recorded between 2017 and 2018, the spare, raw quality of the recordings actually serve to highlight the band’s songwriting further. Its 2018 album Bambi showcased its knack for expertly produced pop songs while the new batch of material is almost the polar opposite like the experiments Magnetic Fields have engaged in over the years with its creative and varied use of technology in songwriting and processing sounds. But whatever its approach, Hippo Campus has proven its mastery of dynamics and tone.

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Aquabats, photo courtesy the artists

What: The Aquabats
When: Monday, 11.11, 7 p.m.
Where: Gothic Theatre
Why: It’s odd to think that The Aquabats has been around for over twenty-five years now. Hailing from Huntington Beach, California, the quintet’s mixture of ska, punk and pop is as surreal as it is playful. Its singer The MC Bat Commander (aka Christian Jacobs) is better known for his involvement with the kids’ show Yo Gabba Gabba! these days but The Aquabats was a good natured send-up of the Orange County punk scene as the opposite of a macho, violent band. Instead The Aquabats have assumed the personae of super heroes and its multi-media presentation through its own TV shows and sillymusic videos has allowed the band to transcend not just genre appeal but appeal beyond the realm of punk and ska, which the group has long since left behind in favor of greater musical diversity in its songwriting. Go expecting more than just a musical performance, expect the full integration of that with theater and comedy routines and special guest performers along with its usual incorporation of the audience into the proceedings as well.

What: RAREBYRD$, Staple (WI), Gone Full Heathen, Heathen Burial and Denizens of the Deep
When: Monday, 11.11, 7:30 p.m.
Where: Glitter City

What: Ulthar w/Nightfell, Malum Mortuus and Saeva
When: Monday, 11.11, 8 p.m.
Where: Hi-Dive

What: Decide Today (ex-Realicide), Watabou, Church Fire and Techno Allah
When: Monday, 11.11, 8 p.m.
Where: Rhinoceropolis

Tuesday | November 12

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Emerald Siam, photo by Tom Murphy

What: Elephant Stone w/Frankie and the Witch Fingers and Emerald Siam
When: Tuesday, 11.12, 7 p.m.
Where: Hi-Dive
Why: Elephant Stone’s psychedelic pop songs have weathered the glut of wannabe psychedelic rock of the past several years by going beyond the tropes and creating transcendent melodies incorporating traditional Indian musical styles and methods for a sound that seems to drift in from some brighter realm than our own. Frankie and the Witch Fingers is a little more traditionally garage psyche but the sheer momentum of its performances elevates it beyond the languid pace and laid back style we’ve come to expect all while maintaining a delicacy of feeling. Emerald Siam from Denver has some of that psychedelic garage rock in its musical DNA but is more like a moody, dark, post-punk band that discovered that musical catharsis comes from overcoming one’s personal momentum rather than sinking deeper into it.

What: FKA Twigs
When: Tuesday, 11.12, 7 p.m.
Where: Mission Ballroom
Why: FKA Twigs brilliantly fuses downtempo with experimental electronic music. Her new album Magdalene is basically an environmental noise record with elements of R&B and soul in a pop format in the foreground.

What: Big Freedia w/Low Cut Connie
When: Tuesday, 11.12, 7 p.m.
Where: Gothic Theatre
Why: Big Freedia’s “sissy bounce” is like some hip-hop performance art spell-casting that is disorienting yet utterly riveting.

What: At the Heart of the World w/Lowfaith and Polyurethane
When: Tuesday, 11.12, 7 p.m.
Where: Rhinoceropolis

Wednesday | November 13

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The Coathangers, photo by Jeff Forney

What: The Coathangers w/Control Top and Rocket Dust
When: Wednesday, 11.13, 7 p.m.
Where: Lost Lake
Why: The Coathangers have evolved a lot since the incendiary and thrilling chaos of their earlier punk rock without losing any of that raw power. Now touring for The Devil You Know, The Coathangers have completely integrated its instinct for tearing down convention with sharply focused songwriting.

What: Sun Seeker w/Duncan Fellows
When: Wednesday, 11.13, 7 p.m.
Where: Larimer Lounge
Why: Duncan Fellows from Austin unexpectedly makes a blend of Americana, psychedelic pop and 2000s indie rock work through creative layering of instrumentation and vocals giving its songs great dynamic range and an element of unpredictability. There’s a lot of imitation in music at the moment and while Duncan Fellows may not strike some as incredibly original, give them a good listen and it becomes obvious they’re at least following their musical instincts where the mood flows rather than where pre-existing style suggests. In that way the group is a bit like Foxygen and Unknown Mortal Orchestra without sounding like either. Its use of synths as a full compositional element sets it apart from most of its peers as well as heard put to full effect on the group’s latest release the Eyelids Shut EP.

What: MONO w/Bell Witch
When: Wednesday, 11.13, 7 p.m.
Where: Ophelia’s

What: The Get Up Kids w/Kevin Devine and The Whiffs
When: Wednesday, 11.13, 7 p.m.
Where: Oriental Theater

What: Mr. Phylzzz w/Simulators, Church Van and Moon Pussy
When: Wednesday, 11.13, 8 p.m.
Where: Glitter City

Best Shows in Denver 8/29/19 – 9/4/19

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Phonebooks (Colin Ward and Stephan Herrera L-R) circa 2010 at Rhinoceropolis. CRFW Benefit at Rhinoceropolis on August 29, photo by Tom Murphy

Thursday | August 29

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Cop Circles circa 2013, photo by Tom Murphy

What: DJ Fresh Kill, Earth Control Pill, Cop Circles and H-Lite
When: Thursday, 08.29, 8 p.m.
Where: Rhinoceropolis
Why: This is a benefit show for the CRFW Fund which supports the body of work of the late Colin Ward and which “assists artists via grants and other means of support.” Ward would have turned 29 on this August 29 and the artists on the bill were friends and creative comrades of the artist and musician. A lot of high energy electronic dance music from DJ Fresh Kill and H-Lite, conceptual No Wave afrobeat post-disco from Cop Circles and the chill soundscaping of Earth Control Pill.

What: The Sugar Hill Gang w/Furious 5 and White Fudge & The Antagonist
When: Thursday, 08.29, 7 p.m.
Where: The Oriental Theater
Why: For a lot of people The Sugar Hill Gang was the first rap band. But hip-hop pre-dated that by some years beginning with the soundsystem parties thrown by DJ Kool Herc. The Sugar Hill Gang was probably the earliest, commercially successful rap group with its 1979 hit song “Rapper’s Delight.” Also on this bill is the Furious 5 who, with Grandmaster Flash, had been a pioneering hip-hop crew before The Sugar Hill Gang hit the charts. So this is a bit like getting to see some of the earliest days of hip-hop as we know it in one show.

Friday | August 30

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Paw Paw circa 2013, photo by Tom Murphy

What: Meek, Future Scars, Kali Krone, Madelyn Burns
When: Friday, 08.30, 8 p.m.
Where: Rhinoceropolis
Why: Meek mixes live drums with 31G and-esque processed vocals and electronic beats for a result that’s somewhere between noise and industrial. But really not like much except for maybe, maybe, solo USAISAMONSTER minus guitar. Santa Fe’s Future Scars is pretty much impossible to pigeonhole except to say it’s a rock or a pop band but it has the cutting, hard hitting guitar drive of metal, the delicacy and texture of the most tender indie rock, the soaring vocals of some torch song pop and post-punk rhythmic drive. And that’s for one song. Other times, meditative, heavy drone with introspective melodies like Emma Ruth Rundle. Kali Krone’s dreamy slowcore seems about perfect for the swelter cool off. Madelyn Burns’ spooky singer-songwriter should appeal to fans of early Grouper.

What: Mutual Benefit w/Paw Paw and Card Catalog
When: Friday, 08.30, 8 p.m.
Where: Lost Lake
Why: Mutual Benefit’s moody, soundscape-y pop songs are like getting a glimpse into someone’s having processed some deep thinking and distilled it to the poetic essence of those collective feelings. Loosely in the realm of Americana but with some great sound collage in the songwriting. Paw Paw is the project of former Woodsman drummer Eston Lathrop. Sort of ambient, sort of organic electronic pop, experimental solo guitar and synth songs to transport you to another, better place for a half an hour or so.

What: Nuancer LP release w/SSIIGGHH, Dr3aMC@$T, Larians and Andy AI
When: Friday, 08.30, 8 p.m.
Where: Hi-Dive
Why: Daniel DiMarchi is the genius bass player in the great dream pop band Tyto Alba and great indie rock band Oxeye Daisy. But part of what makes him a great bass player is his true ear for tonality and composition which he brings to his experimental electronic pop project Nuancer and this is the release show of I Hardly Know Her. Also on the bill is a rare show from Larians, the solo project of former Male Blonding guitarist/singer Noah Simons. Though a guitarist, Simons has long had an interest in left field and forward thinking electronic music like Burial and Larians is the manifestation of that interest. And tonight Larians releases the first EP Looming Boy. If Nicolas Jaar made trap it might sound something like that.

What: I Hate It Here, Causer, $addy, Eraserhead Fuckers and Kid Mask
When: Friday, 08.30, 8:30 p.m.
Where: Thought//Forms Gallery
Why: The noise/heavy processed dance ambient/industrial show of the week. Granted the only one but heavy hitters like noise rapper Eraserhead Fuckers, hypnogogic environment sculptor Kid Mask and post-Goth ambient noise genius $addy alone make this a noteworthy lineup.

Saturday | August 31

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The Velveteers, photo by VOSSLING

What: The Velveteers UK tour kickoff w/Boot Gun, The Kinky Fingers and Bitter Suns
When: Saturday, 08.31, 7 p.m.
Where: Bluebird Theater
Why: The Velveteers is a rock and roll trio from Denver whose live show is surprisingly powerful, forceful and grippingly emotional. The group is headed to the UK for a tour and this is the kickoff show with some of Denver’s other great, local, non-subgenre-specific rock bands including The Kinky Fingers who may be in the garage psych vein but its songwriting so tight and poignant it’s strikingly original.

What: To Be Astronauts, Meet the Giant, The Center and Bad Britton
When: Saturday, 08.31, 7 p.m.
Where: Lost Lake
Why: Hard rock band To Be Astronauts is relasing its “Thoughts and Prayers” single tonight. Hard rock is a little generic a term. So yeah, in their sound you’ll hear a bit of industrial rock, grunge and anthemic punk without being stuck on any of that. And other like-minded bands are on the bill including Meet the Giant who, despite their ethereal and moody atmospheric rock gets heavy and driving often enough that they’ll fit in here.

Sunday | September 1

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Molly Burch, photo by Dailey Toliver

What: Molly Burch w/Jackie Cohen and Bellhoss
When: Sunday, 09.01, 7 p.m.
Where: Globe Hall
Why: Molly Burch has the kind of classic pop voice that many try to imitate but few nail the cadence and tonality that she seems to do so effortlessly. Her songs are intricate and delicate but her poetic observations sharp and illuminating. Jackie Cohen taps into an earlier era of music but her sound is more like a strange strain out of ABBA and 60s girl groups. Bellhoss is in good company here with Becky Hostetler’s idiosyncratic storytelling and inventive guitar work somewhere betwixt Dinosaur Jr, Edith Frost and Joanna Newsom. Yeah, let’s go with that until a better description of this unique songwriter and performer comes to mind. Hostetler will also make all the charmingly awkward jokes on stage so you don’t have to.

What: The Wes Watkins (EP release) w/Dr3@m Ca$t and Snubluck
When: Sunday, 09.01, 8 p.m.
Where: Larimer Lounge
Why: Wes Watkins is the brilliant trumpet player and vocalist whose talents have brought grace, cool and imagination to a broad swath of Denver music including his stint in Nathaniel Rateliff and the Night Sweats. But The Other Black, playing with poet, mystic, avant-garde hip-hop songwriter Bianca Mikahn, Wheelchair Sports Camp and others? His track record speaks for itself and tonight he’s releasing his new EP, a collection of jazz-inflected pop songs that seem to be streaming from a time in the future while sounding like it had to be recorded in the past putting Watkins out of time thus timeless, as seems appropriate for his soulful musical stylings.

Tuesday | September 3

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Shonen Knife circa 2014, photo by Tom Murphy

What: Shonen Knife w/Me Like Bees and Sexy Pistils
When: Tuesday, 09.03, 7 p.m.
Where: The Oriental Theater
Why: Shonen Knife is the legendary Japanese punk bands whose roots go back to the late 70s when not many women were playing music in Japan much less in a punk band. Its songs are often about fanciful and mythical things but its songwriting is sharp, powerful and uplifting.

What: Holy Grove (PDX), DØNE (SLC, ex-SubRosa), and Shepherd
When: Tuesday, 09.03, 8 p.m.
Where: Tooey’s Off Colfax
Why: A kind of doom metal show including the latest project from former SubRosa drummer Andy Patterson, DØNE.

What: Ian Svenonius DJ set / Dream Wish of a Casino Soul Closing Party
When: Tuesday, 09.03, 8 p.m.
Where: Pon Pon
Why: Philosopher, brilliant social commentator, media mogul and genius frontman (The Make-Up, Nation of Ulysses, Weird War, Chain and the Gang etc.) Ian Svenonius will hold court with one of his unique DJ sets for the closing party for the art exhibit Dream Wish of a Casino Soul.

Wednesday | September 4

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SunnO))) circa 2016, photo by Tom Murphy

What: SunnO))) w/David Pajo and BIG BRAVE
When: Wednesday, 09.04, 7 p.m.
Where: Gothic Theatre
Why: SunnO))) creates such intense, dense frequencies and slow dynamics with, assuming Atilla Csihar will be on hand, otherworldly vocals that run a broad spectrum of tonality that your brain may work differently after the show. Calling it “extreme metal” just doesn’t cut it as it’s a truly ritualistic experience and so engulfing you feel like you’ve really been through something by the end. David Pajo is the iconic guitarist of Slint, The For Carnation and a host of other bands including a short stint in the death metal group Dead Child. His solo material runs a fairly wide range of sounds and emotions and as Papa M he recently toured with Mogwai. Not to be missed. BIG BRAVE is a cathartic collision of industrial, drone metal and emotional exorcism.

What: Weird Wednesday: Gothsta, Dorian, Hypnotic Turtle Radio DJ, Cabal Art
When: Wednesday, 09.04, 9 p.m.
Where: Bowman’s Vinyl and Lounge
Why: Weird Wednesday is the monthly musical showcase that lives up to its name and curated by Claudia Woodman. This time she will be performing in her persona of Gothsta and for this performance she says, “Gothsta covers goth songs on the melodica that have some link to climate change-related themes, because Gothsta is depressed about global warming. Gothsta will have some extra special content that has to do with the Amazon burning and will be joined by Hypnotic Turtle’s Diablo Montalban for dueling melodicas/improv along with noise loops generated for this performance.” It’s rare that anything lives up to hype like that but this show probably will.

Best Shows in Denver 9/27/18 – 10/3/18

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Courtney Barnett headlines The Ogden Theatre on September 29 and 30 with Waxahatchee. Photo by Pooneh Ghana.

Thursday | September 27, 2018

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Gort Vs. Goom circa 2014, photo by Tom Murphy

What: 2X4 Duo Fest: Smashy Claw, Sugar Skulls and Marigolds, Gold Trash and Gort Vs. Goom
When: Thursday, 09.27, 7:30 p.m.
Where: Syntax Physic Opera
Why: This second annual edition of 2X4 Duo Fest features four duo bands (thus the name, of course). For this edition, as with the 2017 event, organizer Logan Rainard of Gort Vs. Goom assembled a genre-diverse bill. His own band, Gort Vs. Goom would have been considered punk 40 years ago before what that was supposed to sound like got more or less settled by some codification of the genre. Bass, drums, vocals and raw power with some nods to prog and art rock. Gold Trash is part noise, part electroclash and general pop chaos. Sugar Skulls and Marigolds would probably fit easily into a broadly metal world except the band’s musical range includes their “acoustic” set which sounds more like ghostly post-punk. Smashy Claw is what would happen if a couple of very self-aware geeks decided to get into writing eccentric alternative pop songs. Only if those geeks weren’t wasting our time with filking and had a real knack for good songwriting.

Who: Too Many Zooz w/Honeycomb
When: Thursday, 09.27, 7 p.m.
Where: The Bluebird Theater
Why: Too Many Zooz is a percussion and horns-driven jazz band that performs a style of music it calls “brass house” in that it employs acoustic instruments to make sounds that are like the use of samples in an electronic hip-hop beat. The group has performed with Beyoncé on the strength of its chops and creativity and its own albums and shows are an impressive display of what one can do with instruments you’re using to seeing in other contexts once you engage your imagination to see their possibilities in others. The group recently released a video for the single “Car Alarm” in which the trio brilliantly plays around, yes, a car alarm and makes it work.

Who: Slothrust w/Summer Cannibals and Iress
When: Thursday, 09.27, 8 p.m.
Where: Lost Lake
Why: Boston’s Slothrust combines a kind of jazz-inflected R&B mixed with fuzzy rock. It’s sound has been compared to the 90s revival of the past few years but the structure of its songs often have more in common with hip-hop than grunge and its quieter more introspective side with soulful folk. Its new record, 2018’s The Pact, brings these sides together well in a well-sequenced album that has the eclectic musicality and depth of expression in its thoughtful lyrics that we’ve come to expect from the band.

Also on this tour is Summer Cannibals from Portland, Oregon. The band’s sound defies easy categorization beyond hard rock but it has some loose around the edges wildness akin to Babes in Toyland and L7. Except Jessica Boudreaux’s voice is both melodic while cutting through the fuzzy sparks of the band’s driving forward momentum. Some might call Summer Cannibals garage punk but it’s guitar work is much more compelling than most of that wave of music and its musical vision more coherent as well.

Friday | September 28, 2018

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Denver Meatpacking Company, photo by Michelle Simutis

Who: Too Many Zooz – Pug In A Tub Tour w/Honeycomb and The Alcapones
When: Friday, 09.28, 8:30 p.m.
Where: Fox Theatre
Why: For Too Many Zooz see above for 09.27 at The Bluebird.

Who: Gary Numan w/Nightmare Air and DJ Slave 1
When: Friday, 09.28, 8 p.m.
Where: Gothic Theatre
Why: For those somehow not familiar, Gary Numan beyond his 1979/1980 Top 40 hit “Cars,” was a pioneer of the use of synthesizer as a compositional element in pop music. His old band Tubeway Army was a post-punk project and that sort of moody, brooding element continued on into Numan’s career under his own name. Throughout the 80s, Numan explored themes of alienation, the impact of technology on human civilization and psychology and the ways technology could be used to write and produce music. Numan also experimented with integrating other styles of music outside his perceived repertoire and his body of work and through the 90s were an obvious influence on industrial music generally and industrial rock specifically. In the 2000s Numan has delved further into conceptual work in his songwriting especially his two most recent albums, 2013’s Splinter (Songs from a Broken Mind) and 2017’s Savage (Songs from a Broken World). Numan is no stranger to using dystopian science fiction ideas or even simply examination of possible futures extrapolated from the present in his music but Savage is one wherein he posits a near future where global warming has caused a worldwide desert. In seeking answers what remains of humanity seeks answers in ancient religion rather than trying to deal with the world as it is with disastrous results. As with most science fiction a warning with some uncomfortable truths about humans contained within it and a suggestion to seek creative solutions rather than what we think is tried and true.

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Guerilla Toss, image courtesy the artist

Who: Guerilla Toss w/Black Belt Eagle Scout and H Lite
When: Friday, 09.28, 8 p.m.
Where: Hi-Dive
Why: Guerilla Toss came up through the underground/DIY music world of Boston and New York where it experimented with musical ideas and concepts, developing what might be described as weirdo electro No Wave funk. Except that wouldn’t encompass completely a sound and performance style that includes the threads of punk fury and wiry energy, noise, prog and the avant-garde. The group recently released its latest album Twisted Crystal, an album that seems to transform some of the band’s frantic, nervous energy into dense yet beautifully expansive atmospheres while using its angular dynamics straight into those more fluid. It’s a fascinating mixture of ideas and sounds that is both alien and comforting in a way that a surreal cartoon or live action show from your youth can be.

Who: Modern Goon, Luxury Hearse, A Light Among Many, New Standards Men album release
When: Friday, 09.28, 9 p.m.
Where: Denver Distillery
Why: New Standards Men released it’s new album People Wonder digitally on September 24. But it’s celebrating the release of the record with this show with like-minded peers at Denver Distillery. The Denver-based band has been releasing some of the more interesting experimental heavy guitar music of recent years in the Mile High City but the material on the new album has as much in common with 90s, dark math rock legends like A Minor Forest and Don Caballero as it does with even an adventurous doom band of today though some of that style of deep droning is present on the songs “Tanned Womb” and “Thirteen Alaskan Islands/Pacific Blood.” But it’s the sparkle and drift over the driving fuzz that makes the music breathe and invites the imagination to project onto its soundscape.

Who: Flahoola, To Be Astronauts, Denver Meatpacking Company
When: Friday, 09.28, 8 p.m.
Where: The Skylark Lounge
Why: Denver Meatpacking Company may hearken back to early alternative rock in the grunge vein but it does so with a charming self-consciousness that transcends any mere nostalgic kick. Flahoola as well but their sound is more like an early 2000s melodic stoner rock band that injects more energy into the rhythm.

Who: Weaponizer and Necropanther
When: Friday, 09.28, 9 p.m.
Where: Tooey’s Off Colfax
Why: Two of the best bands from Denver that in another era would have been considered thrash but thrash already happened and today’s metal bands that aren’t going for pure throwback cachet have been influenced by a broad spectrum of music, heavy and otherwise. Weaponizer’s more gritty style is like a more menacing, grind-esque, speed metal. Necropanther’s sound is closer to melodic death metal but a little too animalistic in the vocals for all of that.

Saturday | September 29, 2018

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What: Whaaat!? A Festival for Games and Experimental Interaction
When: Saturday, 09.29, 9 a.m. to 4 p.m.
Where: ATLAS Institute at CU Boulder
Why: This is a one day event dedicated to experimental games (arcade/video, tabletop et. al.) with featured speakers on the subject of gaming and development. Mattie Brice is not just a game designer but an activist in the games industry whose work includes Mainichi, in which players take on the role of the daily life of a transgender person. Her work has also been important on the subject of diversity in the gaming world generally. Pippin Barr, like Brice, is a game designer and educator who teaches game design and programming. Barr’s games are often unconventional and challenge traditional notions of what computer games can be including The Artist is Present, inspired by and involving performance artist Marina Abramović’s piece of the same name. The event gives attendees a chance to witness and participate in cutting edge games and interact with some of the minds behind them. Those interested should register at www.whaaat.io.


Who: Ned Garthe Explosion, Oxeye Daisy and Church Fire
When: Saturday, 09.29, 8 p.m.
Where: Hi-Dive
Why: Ned Garthe Explosion makes a good case for why modern psychedelic rock isn’t dead. Even from early on, the show itself has been chaotic and colorful enough to be worthy of the term psychedelic in not only sound, content and presentation. And yet, the songwriting has always been solid and interesting. Oxeye Daisy has seemingly leapt past 90s alt-rock nostalgia into a musical zone that, sure, bears the influences of that era, that is more energized atmospheric pop than anything throwback. Its sound is very much of the present and fans of Wye Oak and Japanese Breakfast should take note. Church Fire has secretly and not so secretly been one of Denver’s most engaging live bands for not just its irresistible dance beats but its willingness to go beyond the map of middle-of-the-road accessibility mixing in noise, industrial dynamic edge and Shannon Webber’s impassioned vocal delivery.

What: Industrial Music For the Masses Vol. 2: DJ Ed Gein and eHpH
When: Saturday, 09.29, 9 p.m.
Where: Milk Bar Green Room
Why: Denver EBM/industrial rock band eHpH has been hitting a strong creative vein of late crafting vibrant and engrossing atmospheric electronic music shot through with a palpable emotional power. Always interesting, the duo is now starting to hit its stride as a band.

Dr. Hamburger

Who: Belly Eater, Curt Oren, Real Dom, $addy, Oxygen Thief and Dr. Hamburger
When: Saturday, 09.29, 8 p.m.
Where: Thought//Forms Gallery
Why: Fairly broad spectrum of noise and related music at this show. Belly Eater from Ohio is sort of a noisy, Atari Teenage Riot-esque breakcore punk band. Chicago’s Curt Oren does avant-garde audio-acoustic music including processed saxophone. Real Dom from Iowa threads together synthwave and noise. $addy makes bizarro video game music for stuff way more interesting and haunting than Sad Satan and without the disturbing baggage of the latter. Oxygen Thief is true bedroom techno dungeonwave, or something. Dr. Hamburger has landed in Denver from Rochester, New York to share his processed real time environment noise. Somehow none of these acts sound anything alike and the bill is better for it.

Who: Chelsea Wolfe w/Russian Circles
When: Friday, 09.28, 8 p.m.
Where: Cervantes’ Masterpiece Ballroom
Why: Chelsea Wolfe’s knack for making deep, dark, loud music was built on a foundation of the dynamics and sonics of acoustic, old world folk music. Along with her channeling her experiences with sleep paralysis, anxiety and other psychological trauma into her art, Wolfe’s music has an unexpected depth and emotional intensity beyond anyone trying to pen her music in as doom or Goth or neofolk or anything so narrowly defined. For this tour she’s sharing dates with instrumental metal group Russian Circles whose own music seems to come from a primordial place from which all ancient religions and rituals find their root. Although associated with metal, Russian Circles sounds like its music origins are steeped in posthardcore and, like Wolfe, ancient, certainly pre-Christian, folk music.

Who: Lyrics Born w/Indigenous Peoples, AG Flux and Bukue One
When: Saturday, 09.29, 8 p.m.
Where: Cervantes’ Masterpiece Ballroom
Why: Tsutomu Shimura used to call himself Asia Born because he was actually born in Tokyo. But early in his career he changed his hip-hop moniker to Lyrics Born so that the perception of his work would be a product of its own merit rather than through some essentialist filter. To his credit, Lyrics Born’s fluid delivery and vocal centered, funk-driven, songs bring an experimental dimension to a style of hip-hop that sounds like something from a classic 80s era rather than something that is pushing stylistic boundaries. Lyrics Born is now touring on his first album in a few years, Quite a Life.

Who: Cuckoo, Magpies (MT), Grave Moss and Surrender Signal
When: Saturday, 09.29, 9 p.m.
Where: The Skylark Lounge
Why: Magpies got started in Havre, Montana, close to the Canadian border, in 2006 and given its bright, introspective indie rock probably didn’t find too big an audience at home before moving to Missoula in 2012 where, like most bands that don’t have some kind of marketing budget or an influential PR team, it plays to small rooms regularly. But the band did what not every group does, it went on tour and has released multiple albums including 2017’s Annex. Brooding, fuzzy and anthemic, it’s something for fans of Rainer Maria and Eleventh Dream Day.

Rounding out the bill are three Denver bands that resist pat classification. Cuckoo may have at one point sounded a little like a math rock version of a hardcore band but now that math-y side has become more dominant with intricate guitar work in the context of a spare and simple songwriting context. Grave Moss is sort of like a death rock band if that band wasn’t brooding so much as burning with nervous energy and dynamics. Surrender Signal’s mixture of introspective moods, cool melodies peppered with atonal highlights and emotional urgency is reminiscent of acts on the Teenbeat imprint and early Merge Records.

Who: Courtney Barnett w/Waxahatchee
When: Saturday, 09.29, 8 p.m.
Where: The Ogden Theatre
Why: Courtney Barnett’s witty, self-effacing songwriting goes beyond merely clever wordplay and a poignant observation here and there. It’s often as though she’s tapping into a modern contemporary zeitgeist or able to express her experiences, feelings and imagined scenarios in a way that is immediately relatable to anyone that has taken some time to ponder what life is all about or at least be amused by circumstances that resist immediate interpretation. Throughout her career, Barnett has been especially adept at humanizing anxiety as experienced. Barnett doesn’t treat the experience as simply a condition to be treated in a clinical fashion, rather she articulates with telling details and humor how that emotional wrecking ball affects one’s life in a myriad of ways, shining a compassionate light on its several darkened corners of in the psyche. You can pick up anywhere in Barnett’s catalog and get a record worth taking the time to delve into but her 2018 album, Tell Me How You Really Feel, is a seemingly more subdued affair sonically speaking if not so much in the words. When you call songs “I’m Not Your Mother, I’m Not Your Bitch” and “Crippling Self-Doubt and a General Lack of Confidence” you’re not mincing words and on the new record Barnett spares us the niceties in favor of personal truth.

Katie Crutchfield of Waxahatchee is no stranger to laying bare a powerful vulnerability in her own songwriting and performances. Her own storytelling has a warmth and intimacy that when coupled with the spacious, expansive quality of the music an impact that lingers with you long after the song is over. Crutchfield transmogrifies the fear, uncertainty and anxiety at the heart of the experiences of most people living today in this crumbling and increasingly demanding civilization into anthems of to soothe and comfort without sugarcoating the way things are. Waxahatchee released the Great Thunder EP in 2018.

Sunday | September 30, 2018

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Waxahatchee, photo by Molly Matalon

Who: Courtney Barnett w/Waxahatchee
When: Sunday, 09.30, 7 p.m.
Where: The Ogden Theatre
Why: For Waxahatchee and Courtney Barnett see above for 09.29.

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Earthless, photo by Atiba Jefferson

Who: Earthless w/Mad Alchemy and Green Druid
When: Sunday, 09.30, 7 p.m.
Where: The Marquis Theater
Why: San Diego’s Earthless is on a surface level a sort of bluesy psychedelic rock band akin to Mountain or Uriah Heep. Except with a modern sensibility like its members have already heard and been imprinted a bit by peers like Dead Meadow and Sleep. But Earthless’ embrace of the imagery of natural mysticism and the aesthetics of kosmische musik gives its music an air of otherworldliness even as it employs rock and roll sounds and rhythms that may be familiar to many of its listeners. Its new album, 2018’s Black Heaven, has the band following the rabbit hole of its musical intuition down paths it might not have taken if the songwriting was consciously crafted with standard song structure.

What: Textures: Chromadrift, Blank Human and Ancient Inc. 
When: Sunday, 7:30 p.m.
Where: Mutiny Information Café
Why: This latest edition of the Textures ambient showcase features dream pop/guitar drone artist Chromadrift, Blank Human’s modular synth compositions (Blank Human’s Dan Coleman is also in experimental electronic/industrial duo Luxury Hearse) and Ancient Inc., a project that uses field recordings, ancient acoustic instruments and production to create its textured sonic atmospheres.

Who: Brighter Death Now w/Theologian, Echo Beds, Page 27 and Gruesome Relics
When: Sunday, 9 p.m.
Where: TBA
Why: As Brighter Death Now, Roger Karmanik has been a prolific and influential maker of forbidding industrial soundscapes and noise. His now defunct record label Cold Meat Industry introduced the world to some of the most innovative and challenging music of its time from 1987 to 2013. This is a rare chance to see the Swedish artist live in Denver with a handful of like-minded local acts.

Monday | October 1, 2018

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Presets, photo courtesy the artist

Who: The Presets w/Blood Red Shoes
When: Monday, 10.01, 7 p.m.
Where: The Bluebird Theater
Why: The Presets from Sydney, Australia is a duo making the kind of electronic pop that on the surface is fun, high energy dance music. But their latest album, 2018’s Hi Viz makes it more obvious the depth of influence and innovation going on underneath what seems obvious. “Beethoven” and other tracks are reminiscent of the dark, cavernous, mysterious club vibe that was an aspect of the music of Underworld in the 90s—a calming tone amid urgent rhythms. Along with fellow Sydney electronic artist Flume, The Presets helped to bring Australia’s dance music world to a global audience. Even though Hi Viz, as the name suggests, was aimed at broadening the duo’s potential fan base with a diversity of musical ideas loaded into the tracks, the experiments also made for one of the more interesting electronic albums of this year thus far.

Who: The Breeders w/Sasami and Boyhollow
When: Monday, 10.01, 7 p.m.
Where: The Bluebird Theater
Why: Alternative rock band The Breeders came through Colorado in the spring touring in support of its 2018 album All Nerve. While one of the band’s stronger efforts of the past twenty years it also includes an interesting pick of a cover song with “Archangel’s Thunderbird” by classic psychedelic prog band Amon Duul II. The band is also bringing along Sasami as in Sasami Ashworth, former member of Cherry Glazerrr, on her solo tour in the wake of the release of a couple of acclaimed singles.

Who: Lucy Spraggan w/The Dollhouse Thieves, Sarah Slaton
When: Monday, 10.01.18 7 p.m.
Where: Lost Lake
Why: Lucy Spraggan is a singer/songwriter from the UK who was already making a name for herself as an artist of note before auditioning for The X Factor and, in fact, had already signed to Columbia before any episode in which she appeared aired to the public. Spraggan is an LGBTQ activist in the UK and she and her partner foster disadvantaged children and that points to the compassion and and emotional strength of her songwriting. 2017’s I Hope You Don’t Mind Me Writing is brimming with the aforementioned along with an irreverent and sometimes self-deprecating sense of humor. Spraggan’s new album is set for release in 2019 but for this tour you may get to hear some of that material.

Who: IDLES w/Bambara
When: Monday, 10.01.18, 7 p.m.
Where: Larimer Lounge
Why: IDLES from Bristol, UK put out an album in 2018 called Joy as an Act of Resistance. A bold title and one the band was able to live up to at a time when too much of punk is fairly traditionalist in most ways. Musically it’s more experimental than a lot of punk and could be considered post-punk but the vibe is there and the critique of cultural distraction as aspirational reward, fake do-gooders, self-destruction and toxic masculinity is refreshing. Also on the tour is Brooklyn, New York’s Bambara. There’s a lot of darkwave-inspired bands and a new post-punk revival that’s been going on for nearly a decade but Bambara manages to stand out with some genuinely deep personal darkness in the vocals and sonics reminiscent of Red Lorry Yellow Lorry and The Birthday Party in post-come down mode. It’s own 2018 album, Shadow On Everything, delivers on the promise of that title.

Tuesday | October 2, 2018

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at Oriental Theater circa 2018, photo by Tom Murphy

Who: <PIG>, eHpH, Offerings to Odin, and DJ n810
When: Tuesday, 10.02, 7 p.m.
Where: 3 Kings Tavern
Why: Raymond Watts of <PIG> has been an influential figure on the sound and aesthetics of industrial music going back to the early-to-mid 80s as a producer, an artist and a sound engineer. While touring with Einsturzende Neubauten he had to tangle with a challenging live sound situation with that band’s use of large art pieces and experiments as noisemakers as well as more conventional instrumentation. He contributed to some of KMFDM’s most interesting work and with <PIG> he was an innovator in both industrial rock and finely sculpted ambient music. For this tour it’s mostly going to industrial rock but Watts’ stage performance draws on the antics of Freddie Mercury and Rob Halford and the aesthetics of a Kenneth Anger’s 1963 film Scorpio Rising. Or if not, that’s what it looked like while he was touring with Ohgr over the summer of 2018.

Who: Vase Vide w/Patrick Hale Coyle and Housekeys
When: Tuesday, 10.02, 8 p.m.
Where: Thought//Forms Gallery
Why: Vase Vide is yet more proof that Colorado Springs is “hiding” some of Colorado’s most interesting bands. Sure, synth pop, but too weird and inherently experimental for just that. Daniel Oglesby’s and Kellie Palmblad’s vocal layers and treatments are certainly accessible but challenge conventional notions of what forms pop music can take. Along with the music and visual presentation of the band, Vase Vide may not be so well-known in Denver but the quality of the imagination going into its music and concept should garner the group national and international attention.

Wednesday | October 3, 2018

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Dr. Hamburger, photo by Tom Murphy

What: Weird Wednesday: Enji, Dr. Hamburger and Gothsta
When: Wednesday, 10.03, 9 p.m. doors/9:15 show
Where: 3 Kings Tavern
Why: October’s Weird Wednesday will be extra weird with video game electronics/guitar looping from Enji who will probably perform in an unusual mask. Gothsta is Weird Wednesday host Claudia Woodman’s keytar band and so a bit of glam presentation and the odd but on point cover. Dr. Hamburger is Cameron Farrash from Rochester, New York whose layers of textured beats, drone, harsh noise and ambient tones creates a surreal, even otherworldly ambiance.

Best Shows in Denver 6/21/18 – 6/27/18

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Lithics perform at Tuesday 6/26/18 at Lost Lake with Super Bummer and Male Blonding. Photo by Christie Maclean.

Thursday | June 21, 2018

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Bios+a+ic circa 2015, photo by Tom Murphy

Who: Glasss Presents the Speakeasy Series Season 2: Bios+a+ic and Acidbat
When: Thursday, 06.21, 7 p.m.
Where: Hooked On Colfax
Why: For this edition of the Speakeasy Series Season 2 you can see Wesley Davis doing a rare performance as Bios+a+ic, his long-running ambient/experimental electronic and acoustic instrument project. Davis curates the Textures Ambient showcase series now hosted the last Sunday of every month (including this Sunday, 6/24) at Mutiny Information Café. This event marks the twenty year anniversary of Davis’ label Symbolic Insight. Also on the bill is Acidbat, Seth Ogden’s noise-techno-downtempo-IDM project. Though not short on the experimental of electronic soundscaping, Acidbat pushes the use of rhythm and beats in interesting directions.

Who: Cindygod w/French Kettle Station and Whoopsi
When: Thursday, 06.21, 8 p.m.
Where: Hi-Dive
Why: Probably a good reason to go to this show is to see New Wave Dance phenom French Kettle Station and his emotionally charged performance. But the main reason is to see the debut of Andy Rauworth’s and Craig Nice’s new band Cindygod. Rauworth and Nice were the indie rock duo Gauntlet Hair who made waves in the late 2000s/early 2010s with its energetic, noisy, sparkly rock songs. The group signed to Dead Oceans and did a short bit of touring before calling it quits in August 2013. For this band Rauworth is joined by Anton Krueger formerly of Bollywood Life (now H-Lite) and Eamonn Wilcox
who some may remember performing as Running Niwot a few years back.

Friday | June 22, 2018

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Calm., photo by Tom Murphy

Who: Pop Up: Music & Art with Calm., Adolfo Romero and poet Jesus Rodriguez, art by Goat Witch Goods
When: Friday, 06.22, 7:30 p.m.
Where: Hooked On Colfax
Why: The benefits of this show will go to benefit the undocumented community. It will include performances from poets Jesus Rodriguez and Adolfo Romero as well as the great Denver-based hip-hop duo Calm. whose own music reflects growing up poor in Park Hill and North Denver and an organic intellectual tradition. Also, rapper Chris Steele might lay down some of his surreal humor between songs and drop some knowledge outside the context of Calm.’s music.

Who: Pearls & Perils, Vahco and Victoria Lundy
When: Friday, 06.22, 9 p.m.
Where: Lion’s Lair
Why: Soulful downtempo and synths show from Glasss Records artists Pearls & Perils and Vahco. Olivia of Pearls & Perils creates a deep cloudscape of sound with her beats and her sultry voice and Vahco’s experimental R&B and powerfully emotive singing gives his songs a quality that transcends any specific genre of music to which it might be attached. Victoria Lundy is the godmother of experimental electronic music in Denver at this point from her time in Carbon Dioxide Orchestra two decades ago to her Theremin work for avant-pop outfit The Inactivists to the music under her own name that reflects the influence of Twentieth Century classical and avant-garde electronic music as well as her own imaginative use of synth and Theremin.

Who: Pink Hawks w/Wheelchair Sports Camp and Polyphoni
When: Friday, 06.22, 9 p.m.
Where: Ophelia’s Electric Soap Box
Why: Pink Hawks are one of few legit Afrobeat outfits in Denver led by Yuzo Nieto. The latter helped start the project as more of a free jazz trio but followed his instincts into more out jazz and Latin music to whatever it is one might exactly describe Pink Hawks now. Also on the bill is the great, jazz-inflected Denver hip-hop group Wheelchair Sports Camp whose playful yet deeply meaningful songs bridge the personal and the political with rapper/beatmaker Kaelyn Heffernan’s social activism. WSC doesn’t really sound like anyone else, reflective of its diverse roots.

Who: Sliver, Pout House, Yellnat, Hair Club and Galleries
When: Friday, 06.22, 8 p.m.
Where: 3 Kings Tavern
Why: It’s a free show but that is no knock on its quality. Galleries is a heavy psychedelic band from Denver but one where the songwriting comes before simply rocking with a weirdo flourish. Sliver is a punk and grunge band influenced by, of course, Nirvana, but also hardcore pioneers Bad Brains and post-punk/proto-grunge band Wipers from Portland, Oregon. As good as any of those bands? Maybe. But, contrary to the band’s protestations otherwise, Sliver does not in fact suck.

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Krallice circa 2009, photo by Tom Murphy

Who: Trve Brewing’s 6th Anniversary Bacchanal Night 1: Krallice, Wayfarer, Fórn, Many Blessings
When: Friday, 06.22, 8 p.m.
Where: Hi-Dive
Why: Trve Brewing has been hosting a weekend of great extreme metal for several years now and this first night includes legendary black/technical death metal shredder Mick Barr with his band Krallice as well as Denver doom outfit Wayfarer and Many Blessings, the ambient/instrumental doom/noise project from Ethan McCarthy of Primitive Man.

Who: Definitely, Maybe, Thistledown, Ancient Elk and Laura Goldhamer
When: Friday, 06.22, 8 p.m.
Where: Denver Bicycle Café
Why: Definitely Maybe includes former members of the late, great, math rock band Scatter Gather. Ancient Elk shows us where avant-folk, psychedelia and soul meet. Laura Goldhamer has long been an influential figure in Denver’s later era indie pop and experimental folk world not just for her music but for her steering bookings at the now defunct DIY space Brooks Center Arts as well as her beautifully imaginative filmmaking.

Sunday | June 24, 2018

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Mingo, photo by Tom Murphy

Who: Textures 4 year anniversary at Mutiny w/Mingo, Bios+a+ic and The {Nothing} 
When: Sunday, 06.24, 7 p.m.
Where: Mutiny Information Café
Why: This Textures anniversary show also celebrates 20 years of Wesley Davis’ Symbolic Insight imprint. For the occasion, Davis will perform as Bios+a+ic, his long running ambient project. Additionally, Mingo, whose work has also been featured on Hearts of Space Program, will put in one of his few performances and The {Nothing} is a newer ambient/experimental project that is Travis Sturm who will provide the usual, greatly evocative visuals under his orchidz3ro moniker.

Monday | June 25, 2018

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Oko Tygra, photo by Tom Murphy

Who: The Horrors w/Oko Tygra
When: Monday, 06.25, 7 p.m.
Where: Bluebird Theater
Why: Even though The Horrors were basically a The Birthday Party tribute band early on, as evidenced by its promising debut album Strange House, it at least was one that seemed halfway credible. As the band evolved, and as the band aged out of their early 20s, The Horrors took on other flavors like late-era Spacemen 3 and Spiritualized with the 2009 Primary Colours album, motorik beats and all. With 2011’s Skying The Horrors made its inspirations in electronic music much more obvious but so well blended with the rock instrumentation that it was practically a new band whose gift for otherworldly and transporting compositions was fully formed. While not sounding the same at all one might say that The Horrors have become the British equivalent of Deerhunter. With 2014’s Luminous The Horrors went further into the realm of the electronic but with 2017’s V, the band has come to engaging in more straightforward pop songcraft while not shedding its experimental instincts and what it has learned during its impressive arc of development as a band. To say nothing of the group’s great visual style and theatrical performances which give the music its proper and impactful context.

Opening the show is Denver-based dream pop band Oko Tygra. Singer/guitarist Joshua Novak has been making emotionally stirring music since his days of performing as a what one might say singer-songwriter. Of course Novak’s songwriting seemed much more sonically ambitious from the beginning and with this band he’s able to create the kind of downtempo, lush music that has been in his imagination waiting for the right way to see expression for years.

Who: Men I Trust w/Pearl Sugar and Modern Leisure
When: Monday, 06.25, 7 p.m.
Where: Lost Lake
Why: Montreal’s Men I Trust operate independently of labels and PR folk pushing their music to press. And often that means the band is probably punk or some kind of rock. But no, the group’s music is minimalist, downtempo dream pop and its ethos reminiscent of bands that used to play the American DIY circuit in the late 2000s when you could never fully predict what kind of music would come through playing place in Denver like Rhinoceropolis, Mouth House and the like. Men I Trust has more in common with Cocteau Twins and Alvvays than modern synth pop or post-chillwave acts and its production sophisticated for a band existing largely outside the traditional channels of the music industry. But, really, isn’t that how many bands these days are doing it? From learning the skills to produce, mix and master their music and create music videos mainly to have control over one’s output but also because you can learn all those skills and not have to pay someone outside your immediate orbit to do the work. That part doesn’t really make the band unique in this day and age. However, Men I Trust seems like it’s put more than their fair share of time into releasing quality product from inception to setting it off for others to enjoy.

Tuesday | June 26, 2018

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Dirty Projectors circa 2007, photo by Tom Murphy

Who: Dirty Projectors w/Still Woozy
When: Tuesday, 06.26, 7 p.m.
Where: Bluebird Theater
Why: Whatever one thinks of Dirty Projectors you can’t really down a band that seems to explore new territory or at least find different angles on ideas it already developed well on earlier releases. Its forthcoming album Lamp Lit Prose (due out July 13, 2018) finds David Longstreth and company doing as it has done for years in weaving together a wide spectrum of musical traditions and ideas to produce music that many may find quirky but which pushes forward what pop music can be. This time the spidery and labyrinthine guitar work and non-western rhythm schemes inside fairly mathy overall structures is a fascinating wrinkle for a band that has rejected certain comparisons to prog. Because it’s not prog. It is, however, using technical musical ideas as a framework to experiment with unconventional ideas in its own musical legacy.

Who: Lithics w/Super Bummer and Male Blonding
When: Tuesday, 06.26, 7 p.m.
Where: Lost Lake
Why: Inevitably Lithics get compared to No Wave early NYC and Bush Tetras. And that sort of wiry, writhing alienation is part of its sonic DNA. But the urgent atonal math rock-esque quality of some of its songs and the junk-jangle riffs remind one a bit of great 90s math rock weirdos like A Minor Forest, Polvo and Autoclave as well as art punk peers like Palm and US Weekly. Nevertheless, Lithics, from Portland, Oregon, has distinguished itself with stark melodies and jagged changes of pace as well as singer Aubrey Hornor’s intense stage presence and piercing gaze that channels perfectly songs brimming with nervous energy distilled into brilliant nuggets of postmodern poetic meditations on the neuroses plaguing anyone paying attention in the world in the past decade. Its new album, Mating Surfaces (out now on Kill Rock Stars), is exactly the kind of harum scarum post-punk disco we need as an salve to challenge and help cope with the conformist shittiness that has taken over our national politics. Bonus: you get to see two of Denver’s greatest post-punk acts with the more psych Super Bummer and Male Blonding’s deeply atmospheric sound grounded by one of the greatest rhythm sections in the Mile High City.

Who: The Sidekicks w/Great American House Fire and The Spirit of the Beehive
When: Tuesday, 06.26, 7 p.m.
Where: Globe Hall
Why: The Sidekicks, from Cleveland, Ohio, spends most of their excellent 2018 album Happiness Hours proving that you can still be a pop-oriented punk band and not have to perpetually navigate life as an emotionally stunted teenager. It’s not a melancholy album. It’s not cynical. It’s not rife with the voice of someone who feels like they have it all figured out. What the band has figured out, though, is that their version of punk doesn’t have to fit the formula they grew up with in terms of instrumentation or the flavor of the sentiments expressed in the words—that punk, too, can evolve and grow with you if the people making it are willing to reimagine the music they love for a time in life they never really thought about reaching without feeling like they had to put anything fun behind. Denver bands Great American House Fire and The Spirit of the Beehive also didn’t get the memo on needing to keep on making punk like you never outgrew shitty street punk and problematic emo.

Wednesday | June 27, 2018

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Thurston Moore circa 2012, photo by Tom Murphy

Who: Thurston Moore
When: Wednesday, 06.26, 6-7 p.m.
Where: Innisfree Poetry Bookstore and Café
Why: Thurston Moore wasn’t just a charismatic member of one of alternative rock’s most influential and iconic bands. He was an ambassador for the underground in music and art throughout the 80s and through to today. He is also a scholar of the Beat movement and an instructor on that subject at Naropa University. Tonight he will be doing readings from his book Stereo Sanctity – Lyrics & Poems.

Who: Weird Wednesday: Dorian, Chromadrift, Denizens of the Deep
When: Wednesday, 06.26, 9 p.m.
Where: 3 Kings Tavern
Why: This edition of Weird Wednesday will have a focus on some of Denver’s greatest ambient bands. Chromadrift just released his latest album Skyline. It’s organic/electronic/textural beats frame luminous compositions reminiscent of Dntel will be soothing enough to make one forget how busy the Baker District has become of late. Denizens of the Deep’s soundtrack-y ambient music is the aural equivalent of an A.E. Van Vogt story set in some detailed yet completely alien and haunted far future after civilization has fallen for the umpteenth time—haunted, suggestive of decaying urban landscapes and dark yet comforting.

Best Shows in Denver and Beyond 01/25/18 – 01/31/18

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Echo Beds perform tonight, January 25, 2018, at Mutiny Information Café. Photo by Tom Murphy

Thursday | January 25, 2018

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Dinosaur Jr, photo by Tom Murphy

Who: GLAARE, Fearing, Echo Beds and Voight
When: Thursday, 01.25, 9 p.m.
Where: Mutiny Information Café
Why: Los Angeles-based post-punk bands GLAARE and Fearing will bring their lushly dark compositions to Mutiny, sharing the stage with like-minded Denver acts Echo Beds and Voight. GLAARE’s sound is closer to shoegaze bands with a strong electronic production component like Slowdive and Seefeel. Fearing shares some of those tendencies for slow, soaring atmospheres but with a darker flavor. Both bands had 2017 releases, GLAARE’s To Deaf and Day and Fearing’s Black Sand so expect a show that favors that era of each band’s music. Fans of Black Marble, John Maus and The Prids will find plenty to like about this show.

Who: LANDLINES film premiere w/Dinosaur Jr and Thurston Moore DJ set
When: Thursday, 01.25, 6:15 p.m.
Where: Ogden Theatre
Why: Vans is releasing its first full-length snowboard film, LANDLINE. Directed by Tanner Pendleton, who made Crazy Loco, about renowned young snowboarder Jed Anderson the screening will be preceded by a panel discussion with filmmakers and others affiliated with the production of the film. The presentation will include a performance from Dinosaur Jr who did some music for the soundtrack as well as a DJ set from Thurston Moore. It’s free but to attend please click the link above or here to RSVP.

Friday | January 26, 2018

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Night Grinder, photo by Tom Murphy

Who: Night Grinder album release w/Kid Mask and Muscle Brain
When: Friday, 01.26, 8 p.m.
Where: Mutiny Information Café
Why: Brad Schumacher is a veteran of the Saint Louis noise scene and when he relocated to Denver a few years back his Night Grinder project was a unique combination of experimental bass playing and noisy soundscapes. His new album Animus bridges musical worlds: industrial, noise, ambient, IDM and glitchcore. Although sometimes abrasive and alien, Animus has an undeniable immediacy and intimacy that is the hallmark of Schumacher’s work generally. On the occasion of the release of the album, Night Grinder will be joined by post-punk band Muscle Brain and experimental electronic wunderkind, Kid Mask.

Who: Denver Meatpacking Company, Vic N’ The Narwhals and Waiting Til Three
When: Friday, 01.26, 8 p.m.
Where: 3 Kings Tavern
Why: With the most recent garage rock revival in the rearview with some stubborn holdouts still grinding it out, now increasingly replaced with the inevitable re-invention and resurgence of the kind of fuzzy rock style popular in the 90s, the oversaturation point of the next wave is rapidly approaching. Fortunately, Denver Meatpacking Company is doing it right by writing songs in the quiet-loud vein popularized by Mission of Burma and then Pixies by giving the songwriting a mature but not tamed edge. Vic N’ The Narwhals are clearly influenced by garage rock, psychedelia and more classic rock and roll but blend enough raw energy with sophisticated songcraft to bypass immediate comparisons. Waiting Til Three often seems like the duo took some cues from In the Whale and 2000s garage rock but it has enough genuinely tender material to make you not think it’s not just another band riding that retro music nostalgia train.

Who: EVP, eHpH, Church Fire and Angel War
When: Friday, 01.26, 7 p.m.
Where: Flux Capacitor 2.0
Why: Some of Denver’s finest darkwave artists will perform at Flux in Colorado Springs this night. The forbidding, darkly luminous industrial pop of EVP, eHpH’s thorny EBM and Church Fire’s politically charged and fiery dance song rituals will make that library building the place to be in the Springs for the duration of the show.

Saturday | January 27, 2018

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STRFKR, photo by Erika Reinsel

Who: STRFKR w/Reptaliens
When: Saturday, 01.27, 8 p.m.
Where: The Gothic Theatre
Why: STRFKR has come a long way since starting as a Joshua Hodges solo project. But the components of the bands sound have remained consistent even as it has refined and evolved from a more indie-synthpop sound of its early albums. The band’s first three albums were a great soundtrack to suburban aspirational daydreaming of a more meaningful existence minus the anxiety. By the time of 2013’s Miracle Mile, STRFKR’s sound wended toward the more funk end of its musical instincts, reflecting its full-band lineup at that point. 2016’s Being No One Going Nowhere fully incorporated the robust low-end that buoyed the more laid back melodies for which that band had become known. In 2017 the band delved into its backlog of unreleased material for three volumes of rarities. But beyond just an “odds and sods” collection, the three volumes of Vault trace Hodges’ personal struggles and unguarded moments as a musician channeled into creative endeavors. With any luck, you’ll get to hear some of this material on the current STRFKR tour.

Who: Circuit Des Yeux w/Howling Hex
When: Saturday, 01.27, 8 p.m.
Where: Larimer Lounge
Why: 2017’s Reaching For Indigo is the latest album from Chicago’s Circuit Des Yeux, the more or less solo project of Haley Fohr. With the project, Fohr has explored human relationships, including socialized roles and identity, in a deep way paired with accessible yet boundary pushing music that is beholden to neither pop or avant-garde conventions. The live show is performance art as much as musical so go expecting to see something different from the usual sort of thing you’d see at a small bar/venue like Larimer Lounge. Also on the bill is Denver’s Howling Hex, the long-running project of Neil Michael Hagerty who some may know from his days in Royal Trux and Pussy Galore. Howling Hex finds Hagerty and his collaborators taking concepts and rhythms pioneered by ranchero and norteño artists in making repetition of theme and meter a hypnotic and creative form of songcraft. Of course Hagerty injects other elements of sound into the mix making Howling Hex really unlike any other band with his own roots in music and not much obviously like a Mexican folk style band either.

Who: Church Fire, Eyebeams and Milk Blossoms
When: Saturday, 01.27, 9 p.m.
Where: The Skylark Lounge
Why: Church Fire never bores with its compelling, inspiring shows with music that mixes fiery punk attitude with noise, synth pop and electronic dance music. The Milk Blossoms turn vulnerable, fragile musical and emotional elements into powerful, deeply affecting songs that are somehow both cathartic, gentle and thought provoking. Eyebeams prove that psychedelia had places to go that were not rooted in the garage rock of the past decade. Songwriter and singer Suzi Allegra’s words creatively suss out the intricacies of identity and dreaming with immediacy and insight.

Sunday | January 28, 2018

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Dirty Fences, photo by Justin Aversano

Who: Dirty Fences w/Sliver and Fast Eddy
When: Sunday, 01.27, 7 p.m.
Where: Summit Music Hall
Why: Brooklyn’s Dirty Fences sound like the group immersed itself in classic power pop, 70s Oz rock and American proto-punk and carved its own sound out of that raw material. Its latest record, 2017’s Goodbye Love sounds like an homage to life in its ups and downs, to taking risks for fun and experiences beyond everyday mundanity and to the stories that come out of being willing to saying yes to promising opportunities as they come your way. Sliver melds the vitality and aggression of East Coast post-hardcore with the darkness and edge of early 90s grunge into a surprisingly effective amalgamation.

Who: Textures featuring Denizens of the Deep, Psychic Secretary and The Teeth of the Hydra
When: Sunday, 01.27, 7 p.m.
Where: Mutiny Information Café
Why: Textures, the monthly ambient showcase run by Wesley Davis of Symbolic Insight and bios+a+ic. This time around it’s the abstract environment sculpting compositions of The Teeth of the Hydra, the IDM-esque and hardware based futuristic ambient of Psychic Secretary and the organic/instrument and software composed soundtracking of Denizens of the Deep.

Monday | January 29, 2018

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Josh Ritter, photo by Laura Wilson

Who: Josh Ritter & The Royal City Band w/Nicki Bluhm
When: Monday, 01.29, 7 p.m.
Where: Ogden Theatre
Why: Josh Ritter sounds nothing like Neil Young. But he shares Young’s knack for having a consistent, identifiable sound while seemingly never allowing himself to get stagnant or stuck in a boring rut. He also has a similar ability to find ways to talk about everyday life in a way that provides insight and an intimate view into his own psyche, flaws and all without getting maudlin. His latest record, Gathering, is warmly upbeat and almost celebratory while giving a sense of an introspective mood—like you’re being invited into a series of private moments with a friend who isn’t trying to hide or isolate but is still a little emotionally raw from life’s slings and arrows of late.

Who: Breakdancing Ronald Reagan (album release) w/Stye, Docile Rottweiler, Ancient, INC., DJ Anime Love Hotel
When: Monday, 01.29, 7 p.m.
Where: Syntax Physic Opera
Why: Breakdancing Ronald Reagan aka Jonathan Cash is releasing his first album as a Denver resident. Even while based in Austin until 2017, Cash was no stranger to the Denver noise scene as a performer at Denver Noise Fest and other events in town. His combination of harsh noise and surrealistic sound collage along with a sometimes confrontational but always visceral performance has made his shows a hit with noiseniks beyond his usual bases of operations. Also on the bill is Stye, the solo project of Nick Salmon of Voight, H. Lite (formerly Bollywood Life) and other local luminaries of the noise world.