Saturday – Monday | September 4-6 What: Down In Denver Fest When: Labor Day Weekend Where: Larimer Lounge Why: With the erosion of the national and local media especially in coverage of local music and culture as a parallel to increasing income inequality the curation of a local scene virtually everywhere in America has all but disappeared. Publications that once served as active legacy institutions that traditionally documented and preserved local culture in a robust way have either dissolved or transitioned to a digital marketing portal model with a subsequent narrowing of content and cultural mission. Music festivals often following a lifestyle branding concept in sync with the lifestyle model of much of digital media following the implosion of the blogosphere can feel like Philip K. Dick circa Do Androids Dream of Electric Sheep was more of a prophet than we’d prefer to believe. The Down in Denver Fest organizers remember a time when the rich and broad diversity of Denver’s local scene was more honored and represented in local music festivals and older artists were not expected to retire but, rather, respected for their past and current efforts. While Denver and other cities are in disarray with the forces of drastic income inequality and subsequent gentrification local cultural history seems to pass into irrelevance like a social media feed more quickly than at any previous moment in human history, episodes without context, products to consume and discard. But this is antithetical to lived human experience and human life and our collective craving for connection not just to other people but our experiential, existential context that defines our lives for a certain period or our entire lives. Maybe Down In Denver Fest won’t provide this to everyone but the inspiration behind it is the understanding that local culture and the people who make it a living thing past and present are not just the atomized dots of a marketing galaxy but a continuum that can be and is accessible. So go expecting to see a broad slice of bands representing decades of Denver music history from bands from a variety of genres and styles to DJs from the Denver underground. Visit the event website for the line-up and schedule and to sample artists. Also listen to the Queen City Sounds Podcast featuring a handful of stories from the Denver scene from some of the people that were involved and have helped to make various corners of the city’s musical milieu.
Monday | September 6 What:Midwife w/Sympathy Pain and Sketches When: 8 p.m. Where: Hi-Dive Why: Midwife is touring more broadly in support of her 2021 album Luminol, a soothing yet heart wrenching record mourning deep loss and fumbling for healing the caustic burns on your heart from the death of friends, the crumbling of the cultural infrastructure that gave one’s life more definition than it might have had and a nation and international community in disarray from grand forces of inequality and the rise of fascism and science denial with no seeming relief on the horizon. It isn’t a dire record but an honest one cast in gossamer guitar work and introspective, dreamlike vocals that tap into those dark places of the mind and not to say it’s all going to be okay but rather as a reminder that you’re not crazy and your feelings of despair, deep discontent and righteous anger are real and valid. Midwife is also performing at Trident Bookstore in Boulder on September 8 and The Coast in Fort Collins on September 12.
Thursday | September 9 What:Denver Meatpacking Company w/I’m A Boy, Wiff and Sleep Demons When: 7 p.m./8 p.m. Where: Lost Lake Why: Denver Meatpacking Company pull liberally from 90s alternative rock for inspiration but its fuzzy guitar work is couched in solid pop hooks that prevent it from sounding like a throwback act. Which makes it a good pairing with I’m A Boy and its own power pop sensibilities and refreshingly unaffected love for bombastic and theatrical rock and roll.
Sunday | September 12 What: Denver Does Denver When: 1-10 p.m. Where: Green Valley Ranch Town Center Amphitheater 5060 Argonne St., Denver, CO 80249 Why: It has been 11 years since the last Denver Does Denver event happened when various musicians in the Denver scene covered music by peers and influences in local music at the Meadowlark Bar and its environs. This reboot of the event, once again curated by educator and member of experimental funk and world music phenoms Pink hawks, Yuzo Nieto, is taking place outdoors in Green Valley Ranch and features a typically fascinating set of musicians showcasing the creative wares of other bands and songwriters that otherwise wouldn’t normally be thus recognized for their impact.
Thursday | September 16 What:St. Vincent When: 7 p.m. Where: Mission Ballroom Why: Annie Clark has been experimenting with concepts across her musical career and giving us not only a respectable body of work and consistently fascinating songwriting and inventive musicianship but a creative arc in which she’s willing to take risks. None more so than her 2021 album Daddy’s Home. It is clearly a well-arranged series of vignettes about life in New York City as told through the sonic lens of 70s pop and rock like an East Coast answer to Joni Mitchell’s fantastic and insightful 1970 album Ladies of the Canyon. The structure of the album feels like reading a short novel with a cinematic scope and revelations about character and concept reminiscent of the flow of Virgnia Woolf’s Mrs. Dalloway. Every tour, certainly for her last three albums, has involved creative and entrancing production and even set design subverting the standard rock and pop paradigm so if you go expect some of that deep creativity for which Annie Clark and St. Vincent are rightfully known.
Friday | September 17 What:Herbie Hancock When: 7 p.m. Where: Ellie Caulkins Opera House Why: Herbie Hancock and his stunningly brilliant keyboard and synth work alongside his mindblowingly talented collaborators put on one of the greatest live shows going regardless of genre. His roots in some of the jazz legends of the 60s and 70s are impressive enough but his albums under his own name often reveal a passion and genius for composition that he channels into accessible and engrossing songs and performances that remain relevant and powerful.
Friday and Saturday | September 17-18 What:Westword Music Showcase When: See schedule per day at http://www.westwordshowcase.com Where: Rino Arts District and Mission Ballroom Why: The Westword Music Showcase returns with an expanded presentation in the Rino Arts District northwest of downtown Denver including performances at the Mission Ballroom for headlining acts like Young The Giant, Kaytranada, Thundercat, Matoma, Hippo Campus and Duke Dumont with a bevy of local acts nominated by experts in the local scene tapped for their knowledge by the long running alternative weekly paper.
Monday | September 20 What: Mannequin Pussy w/Angel Du$t and Pinkshift When: 7 p.m. Where: Bluebird Theater Why: Philadelphia’s Mannequin Pussy has long commented on sexism and its effect on identity and how those issues dovetail into the colonist mentality and the most deleterious and sometimes subtle corrosive effects of capitalism. But doing so in a way that seems as tender and sensitive as it is ferocious, cast in noise rock and melodic punk. In 2021 Mannequin Pussy released its gloriously caustic EP Perfect.
Monday and Tuesday | September 20 and 21 What: Mdou Moctar When: 7 p.m. Where: Globe Hall Why: Mahamadou Souleymane is a Tuareg songwriter from Niger who is known to the musical world at large as Mdou Moctar with a growing international following despite the lyrics to his songs being in Tamasheq. His intricate guitar work and sincere performance style renders what might seem exotic to some Americans immediately relatable. Moctar’s fusion of blues and rock with West African musical styles and sounds come off both familiar and arrestingly fresh. In 2021 he released the album Afrique Victime through Matador, his first for an imprint other than specialist label Sahel Sounds. An intense and engaging performer, Moctar’s gracious and self-effacing demeanor doesn’t quite prepare you for the emotionally charged journey of the show but makes it one you want to take.
Tuesday | September 21 What: Twin Tribes and Wingtips w/Plague Garden When: 7 p.m. Where: The Oriental Theater Why: A great pairing of the Brownsville, Texas lo-fi post-punk band Twin Tribes and Chicago’s darkwave pop sensations Wingtips. The former released a beautifully curated remix album in 2021 called Altars including remixes from Turkish post-punk legends She Past Away, Dave Parley of Prayers, Wingtips and Bootblacks. Wingtips’ new record Cutting Room Floor is a gorgeously composed set of expansive and bright yet hazily moody and reflective pop songs subverting the tropes of sounds and aesthetics borrowed from 80s era synth pop by many modern artists and seemingly as influenced by the likes of Thompson Twins and Howard Jones as Depeche Mode and Fad Gadget. Opening the show is Plague Garden whose 2021 album Requiem of Souls is a great expansion on their brooding and atmospheric blend of industrial and post-punk into more pop territory including an excellent cover of Tanita Tikaram’s 1988 hit single “Twisting in My Sobriety” that highlights the song’s then unfashionable level of self-examination.
Tuesday | September 21 What:Torres w/Ariana and The Rose When: 7 p.m. Where: Larimer Lounge Why: Torres has from early in her career blended a more electronic pop aesthetic with a raw and gritty folk-inflected songwriting style and dynamically emotional vocals. Her 2021 album Thirstier is brimming with high contrast sounds that give the songs a forcefulness that was always there in her music but made unmistakable this time around.
Wednesday | September 22 What:Waltzer w/Vision Video, Voight, Lord Friday the 13th When: 8 p.m. Where: Hi-Dive Why: Waltzer is Sophie Sputnik who fronted punk band Killmama for more than a few years. But her music theater background seems to have been yearning for greater expression if the debut Waltzer album Time Traveler is any indication and the bizarre music video for “Destroyer” which is like a humorous horror movies as a backdrop to soulful, R&B pop. Maybe Sputnik got to listening to a lot of Erykah Badu, Harry Nilsson and Todd Rundgren but she makes that lush, almost orchestral sound seem spare as well. Athens, Georgia-based post-punk/pop band Vision Video is an interesting contrast with its 2021 album Inked in Red reminiscent of 80s jangle pop, XTC and Pink Turns Blue. Voight is a Denver-based band that collides together noise rock, industrial/techno beats, emotionally-charged vocals and caustic shoegaze-y soundscapes.
Wednesday | September 22 What:Front 242 w/Consolidated, Blackcell and DJ N810 When: 7 p.m. Where: The Oriental Theater Why: Front 242 is one of the pioneers of the EBM wing of industrial music of the 80s with its stark visual style akin to a stylized Futurist aesthetic. Claiming to be apolitical and even amoral, Front 242’s pulsing, atmospheric dance music nevertheless takes aim at corrupt religious and political figures without an explicitly verbalized critique, rather choosing to present them as absurd and cartoonish. By contrast the overtly political industrial band Consolidated is part of this tour and from its album titles, to its music and confrontational performance style the group from San Francisco leaves no doubt about its leftist politics and activist cultural orientation while also injecting very pointed commentary with humor that also manages not to distract from the message. Denver’s long-running noise/industrial/EBM duo Blackcell opens the show with its own richly imagined and immersive soundscapes.
Wednesday | September 22 What:Ratboys X Wild Pink w/Bellhoss When: 7 p.m. Where: Globe Hall Why: Earlier in 2021 Wild Pink released A Billion Little Lights, a pop album of lush orchestration and sage and sharply observed comments on one’s changing perspectives and priorities as one ages into adulthood physically and psychologically and the subsequent realization that the sureties of now will sometimes seem like the follies and cringe-worthy moments of the future. While songwriter John Ross wrote the album from the perspective of a single human life the themes seem to resonate strongly with society overall in the past decade and coming to terms with blind spots, injustice, inequality and chronically bad habits that have a fallout for oneself and others.
Saturday | September 25 What: Lost Relics and Never Kenezzard When: 9:30 p.m. Where: Tooey’s Off Colfax Why: Two giants of Denver sludge metal, Lost Relics and Never Kenezzard both demonstrate how heavy, doomy metal can be dynamic and even expansively psychedelic while hitting hard. Expect a new Lost Relics EP soon and Never Kenezzard’s follow-up to the excellent 2016 album Never Say…
Monday | September 27 What:Esmé Patterson When: 7 p.m. Where: Globe Hall Why: The beginning of the global pandemic in March 2020 landed just in time to thwart plans for Esmé Patterson and her band to tour in support of her then new album There Will Come Soft Rains. The new record showcased Patterson’s ear for subtle emotional dynamics in songwriting and for expressing the complexity of one’s feelings in an uncluttered way. The spare melodies of the new batch of songs also demonstrate an attention to space in the songs perhaps as a symbolic way of honoring the need to such in one’s life in order to make sense of what can feel overwhelming. Not a pandemic record but sure seems like one that addresses little things in life we often ignore in our rush to push through everything when we need to and never really taking the time to feel what we need to in order to maintain a healthy state of mind.
Wednesday | September 29 What: Judas Priest w/Sabaton When: 7 p.m. Where: Mission Ballroom Why: Perpetually underrated yet highly influential, Judas Priest is one of the pioneering bands of heavy metal that still occasionally tours and is still a powerful live act due in no small part to singer Rob Halford’s expressive and operatic vocals. With hits like “Breaking The Law” and “Living After Midnight” from its 1980 album British Steel, Judas Priest started to break into the mainstream with subsequent regular rotation on MTV. Getting to see Judas Priest at a theater like the Mission Ballroom with its excellent sound and seating layout is likely to be the most enjoyable environment to take in the band’s broad range of moods and highly charged dynamics.
Thursday | September 30 What: Fat Tony and Cadence Weapon When: 8 p.m. Where: Hi-Dive Why: Fat Tony and Cadence Weapon are rappers from Houston and Edmonton, Canada respectively but who both draw on an electric palette of sounds and influences and their use of imaginative beats and production have set them apart from many peers from early on in their respective careers. Their individual blends of classic rapping with free associating sounds and textures in the beat with an ear for songwriting and impassioned delivery make this one of the hip-hop shows to see this year in Denver. Fat Tony is touring following the 2020 release of his album Exotica and Cadence Weapon with his 2021 album ParallelWorld.
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.
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.
What:The Shivas w/The Savage Blush and Slynger When: Thursday, 2.27, 8 p.m. Where: Hi-Dive Why: The Shivas were pushing the modern garage psych aesthetic forward before it became a played out quantity in the 2010s. But because the band was always weirder and willing to explore the noisier, more extreme ends of the style its music has remained refreshingly different and genre bend-y up to and including its 2019 album Dark Thoughts.
What:Susto w/Whitacre and Molly Parden When: Friday, 2.28, 8 p.m. Where: Globe Hall Why: Susto’s 2019 album Ever Since I Lost My Mind finds the indie rock band branching into more urgent and gritty songwriting territory without losing the thoughtfulness. Maybe the tenor of the times has seeped into the drive behind the new material but the band’s gorgeously languid vibes seem ticked more than a bit toward a focused intentionality with the music. Not that it lacked intensity at moments before, it’s just palpable this time out. Also on the bill is Denver-based band Whitacre. Paul Whitacre has made a name for himself since moving to the Mile High City in 2016 for his introspective yet brightly upsweeping songs. The group’s new album Seasons, out on April 17, finds its songs, produced by Joe Richmond (who has worked with Tennis and Churchill), polished and shining with a warmth and sincere optimism.
What:Modern Leisure w/Ashley Koett and Big Dopes When: Friday, 2.28, 8 p.m. Where: Lost Lake Why: Modern Leisure’s Casey Banker’s keen ear for dynamic and entrancing pop melodies is matched only by his similar gift for sharply observed turns of phrase. Big Dopes’ 2019 album Crimes Against Gratitude is brimming with vivid portraits of life in a generation whose future has been compromised but trying to maintain a sense of hope for better times ahead without succumbing to nihilistic despair.
What:Chuck Prophet When: Friday, 2.28, 7 p.m. Where: Swallow Hill – Daniels Hall Why: Chuck Prophet was one of the pioneers of alt-country as a member of Green On Red from its genre-defining 1985 album Gas Food Lodging through the early 90s. During his career as a solo artist his knack for crafting poetic imagery and dusty power pop has seemed endless. His most recent record, 2017’s Bobby Fully Died for Your Sins is a meditation on the passing of musical giants and maintaining a vision for hope in dark times.
What:Howard Jones acoustic Trio performance w/Rachael Sage When: Friday, 2.28, 7 p.m. Where: Oriental Theater Why: Synth pop pioneer Howard Jones will perform as part of an acoustic trio for this show interpreting his iconic hits of the 80s in a format that will likely surprise. Anyone that has witnessed Jones in the more electronic incarnation of the music knows that his songwriting is at the heart of the appeal of his songs. Opening the show is Rachael Sage. The New York City-based artist has been releasing music on her own MPress Records for two decades including fourteen of her own albums distinguished by an eclectic range of sounds and styles that have informed her imaginative pop songs. He latest album Character, out March 6, came out of her time recovering from endometrial cancer throughout 2018. The record is informed by a sense of humility, realistic yet poetic assessments of life’s possibilities and horizons when facing your own mortality. Sage discards the bravado we hear too much in American music in the face of adversity, it acknowledges the frailty and fragility of the situations we may find ourselves when you can’t just magically snap back and be okay. It wisely takes a sensitive and deeply compassionate yet honest approach to every subject and reveals itself to be a deep record about life’s challenges in general whatever your situation.
What:SPELLS (record release) w/Drakülas and People Corrupting People When: Saturday, 2.29, 8 p.m. Where: Streets Denver Why: Denver’s SPELLS is releasing its new record Stimulants & Sedatives on Chuck Coffey’s Snappy Little Numbers imprint. In the past one might have described SPELLS as essentially a pop punk band. But on this album there’s more dissonance and grit to the music to go along with the rambunctious tunefulness that has been the hallmark of the band’s sound from the beginning. The lyrics are a sharp mix of self-awareness and self-deprecation with stories of realistic expectations rather than bullish bravado, a very adult approach that contrasts well with the raw energy of the performances.
What:Ceschi and David Ramos w/Gregory Pepper, Midwife, Damn Selene and CFX Project When: Tuesday, 3.3, 7 p.m. Where: Seventh Circle Music Collective Why: Ceschi Ramos is the co-founder of Fake Four, a label putting out some of the most forward thinking hip-hop of the past decade and a half. The confessional intensity of his rapidfire vocal delivery wrapped in atmospheric beats is reminiscent of Sole, with whom he has worked, and his vivid, personal storytelling issues forth in almost pointillistic couplets like a mosaic establishing an informal, organic narrative. On the bill also is experimental hip-hop artist Damn Selene and ambient folk phenom Midwife who is set to tour the US in March and April as well an appearance at the Roadburn Festival in the Netherlands.
Wednesday | March 4
What:Weird Wednesday: DA’AN, Corey Daggers and R A R E B Y R D $ When: Wednesday, 3.4, 9 p.m. Where: Bowman’s Vinyl and Lounge Why: This typically eclectic line-up for Weird Wednesday includes a mix of electronic dance music, punk Americana and soulful hip-hop. DA’ANS is a new project that brings together the luminous vocals of Glynnis Braan of Lady of Sorrows and the electronic production and beat-making genius of Lawrence Snell, drummer of Meet the Giant, with songs and a theatrical performance that is a true synthesis of rave and darkwave. Corey Daggers often performs by himself with a guitar and on occasion with a full band. But either incarnation is a vital flavor of what might be described as dark carnival emo Americana. R A R E B Y R D $ bring a swagger, sensuality and emotional warmth to ambient beats and lyrics that are at turns playful, earthy and deeply, transformatively vulnerable.
What:Kyle Emerson w/Turvy Organ, Panther Martin and Crystal Seth When: Friday, 2.21, 8 p.m. Where: Hi-Dive 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. Tonight he shares the bill with stars of the local indie rock milieu in Turvy Organ and Panther Martin.
What:Stonefield w/Pink Fuzz, SSIIGGHH When: Friday, 2.21, 8 p.m. Where: Lost Lake Why: Amy, Hannah, Holly and Sarah Findlay are four sisters that formed the hard psychedelic rock band Stonefiled in 2006 in Darraweit Guim in Victoria, Australia. Its early offerings (for example Through the Clover) were in the realm of 70s boogie rock with hints of the psychedelia that would characterize their later songwriting. By the time of 2019’s Bent, the group hasn’t shed its infectious tunefulness but its overall sound is much heavier, brimming with expertly sculpted melodic fuzz and at times bordering on a fusion of Krautrock and early 2000s stoner rock. Fans of Stereolab, Trans Am and Hawkwind will find a lot to like about this latest incarnation of the band’s evolution.
What:Ezra Furman w/Kelley Stoltz When: Saturday, 2.22, 7 p.m. Where: Bluebird Theater Why: Ezra Furman’s 2019 album Twelve Nudes is a lush yet somehow lo-fi collection of songs filled with raw emotion and experiences presented with a startling honesty couched in the sound of some 1960s girl group sound fused with fuzzy garage rock production. It’s a fascinating and bracing listen that gets past your filters before the impact of what you’re hearing hits you and the experience awakens you to the playful weightiness of Furman’s songwriting.
What:Shadows Tranquil, Emerald Siam, Midwife and Ophelia Drowning When: Saturday, 2.22, 9 p.m. Where: Mercury Café Why: Dark, shoegaze-y post-punk band Shadows Tranquil performs this night with the brooding yet transcendent Emerald Siam, Midwife’s riveting, ethereal, tender, intimate soundscapes and Danish dungeon synth project Ophelia Drowning.
What:Kendra & The Bunnies When: Saturday, 2.22, 8 p.m. Where: Mutiny Information Café Why: Kendra & The Bunnies brings an unconventional and disarming creativity and sensitivity to a folk psychedelia that seems out of place and out of time. When so many modern indie bands are still mining Laurel Canyon, Kendra & The Bunnies tapped slightly into the vibe of Northern California hippies and made it their own.
What:Cyclo-Sonic, Joy Subtraction and The Pollution When: Saturday, 2.22, 8 p.m. Where: 1010 Workshop Why: Cyclo-Sonic is comprised of veterans of Denver’s great second era of punk in the 80s with former members of The Fluid, The Frantix, Rok Tots and The Choosey Mothers. Which would mean not much if the band wasn’t any good but it turns out that the band’s leftfield reinterpretation of melodic proto-punk and garage is shockingly vital and compelling. Joy Subtraction came out of the more arty end of punk inspired by the likes of Alice Donut and Nomeansno. The Pollution is an unlikely merging of psychedelic prog and punk.
What:Shibui Denver #10: Fern Roberts and Red Wing Black Bird When: Sunday, 2.23, 7 p.m. Where: Mutiny Information Café Why: This edition of Shibui Denver will feature darkwave project Red Wing Black Bird and the latest band from former Emerald Siam and Light Travels Faster bassist Todd Spriggs, Fern Roberts.
What:Chastity Belt w/Nanami Ozone and Hugh F When: Sunday, 2.23, 7 p.m. Where: Bluebird Theater Why: Chastity Belt has been on a great run of seeming to reinvent its aesthetic over the past two or three records. Its 2019 self-titled record has seemingly shed whatever influences informed its earlier work in favor of a more introspective, dream pop-esque, borderline post-punk aesthetic but rooted in a sophisticated expression of emotional complexity, the kind that only comes with processing loss whether personally, or of one’s place in the world or of one’s community or feeling lost in a world where things seem upended and your place in it seems tentative. Who can say is the reason for this change but it is the group’s finest offering to date in its ability to evoke feelings that a more straight ahead rock and roll songwriting style struggles to articulate.
What:Kendra & The Bunnies When: Sunday, 2.23, 4-6 p.m. Where: The Very Nice Brewing Company in Nederland 4-6 p.m.
What:Hannibal Buress w/Al Jackson and Tony Trimm When: Monday, 2.24, 10”:15 p.m. Where: Denver Comedy Works Why: This is a free pop up comedy event featuring Hannibal Buress whose sharp, surreal comedy takes aim at the ridiculousness of modern life and odd ideas we all take for granted. He has also appeared in film and numerous television shows including brilliant turns on the Eric Andre Show and Broad City. For tickets signup/rsvp @ www.hannibalburess.com also text 312-584-5839 for a chance at tickets.
Tuesday | February 25
What:American Nightmare w/Ceremony When: Tuesday, 2.25, 7 p.m. Where: Bluebird Theater Why: American Nightmare is a legit hardcore band in the modern mold. Ceremony was right there with them, though having formed in 2006 during American Nightmare’s hiatus from 2004-2011. But around the time of Ceremony’s 2012 album Zoo its sound if not its raw, confrontational energy as a live band was changing. Hints of a shift from hardcore into something more experimental was all over that record and by the time of The L-Shaped Man from 2015, Ceremony was a post-punk band. Its latest album, In the Spirit World Now has expanded the use of synths in the band’s overall sound has morphed even further in the direction of dance-y darkwave like Devo if that band had somehow emerged following the post-punk revival of the late 90s and early 2000s.
What:Oryx, Cthonic Deity and Zygrot When: Thursday, 1.9, 8 p.m. Where: Hi-Dive Why: In the realm of Denver extreme metal it would be hard to find a more solid line-up this month than this. Oryx is perhaps rightfully considered a doom band but its wall of noise is a shifting, mind-altering experience that creatively uses drones and riffs to comment on the world in a way the reflects and exorcises the sense of despair at the way our economic and political system normalizes the ways in which our lives are eroded through the environment, the fake prosperity figures that hide the poverty and desperation that permeates much of society in America and elsewhere and a cultural climate that favors a cultural identity anchored to the fortunes of the world’s oligarchs. And yet it’s not a bummer, there are hopes and dreams in its grinding and harrowing aesthetic. Cthonic Deity released one of the most promising fusions of death metal and hardcore with 2019’s Reassembled in Pain. Zygrot is a crusty grindcore quartet that releases its self-titled debut in September 2019.
What:Origami Angel, Short Fictions, Flora De Luna and Obtuse When: Saturday, 1.11, 7 p.m. Where: Seventh Circle Music Collective Why: Origami Angel is a band from the Washington, D.C. area that is mining a similar sonic territory as bands in the past half decade or more going beyond the neo-pop punk into a hybrid of math-y emo and indie pop. So a bit retro but at least not yet another band thinking it is discovering Laurel Canyon all over again and with earnest, heartfelt performances. Obtuse is a like-minded band from Denver whose 2019 album Who’s Askin’ is a gloriously raw and incisive examination of one’s insecurities as a normal reaction to a society and economic system seemingly designed to make everyone feel like an inadequate failure. Their songs are an acknowledgment of those anxieties and an attempt to not be completely sunk by them.
What:New Ben Franklins and I’m a Boy 7” split release When: Saturday, 1.11, 10 p.m. Where: The Skylark Lounge Why: Long running alt-country/American band New Ben Franklins and power pop sensations I’m A Boy are releasing their split 7” tonight at The Skylark.
What:Total 80s Live with Bow Wow Wow w/When in Rome and The Vanilla Milkshakes When: Sunday, 1.12, 8 p.m. Where: The Oriental Theater Why: Bow Wow Wow is an English New Wave band assembled by then Sex Pistols manager Malcolm McLaren in 1980 when he convinced members of Adam Ant’s band to form a new group that was fronted by 13-year-old Annabella Lwin who McLaren had heard singing along to the radio at her laundromat job. The other singer of the band in the beginning was George O’Dowd who left the group early and became famous as Boy George of Culture Club and as a solo artist. Bow Wow Wow somehow managed to break into the mainstream with hit songs like “C·30 C·60 C·90 Go!” and a lively cover of The Strangeloves’ 1965 recording of “I Want Candy.” This current version of the band will not include Lwin who hasn’t been in this iteration of Bow Wow Wow since 2013, now performing as Annabella Lwin of the original Bow Wow Wow.” So while it won’t be the original line-up except for bassist Leigh Gorman, you can hear those hits as well as When in Rome whose 1987/1988 single “The Promise” has been a staple of 80s synth pop playlists for decades. The Vanilla Milkshakes are a pop punk band with attitude and an offbeat sense of humor that will probably make the nostalgia seekers wonder how they got on the bill but end up liking a lot of the songs in spite of themselves.
Wednesday | January 15
What:Weird Wednesday: Yao Guai, Lady of Sorrows and e-scapes When: Wednesday, 1.15, 9 p.m. Where: Bowman’s Vinyl and Lounge Why: Weird Wednesday this month includes ambient prog project Yao Guai, emotionally expressive darkwave solo act Lady of Sorrows and experimental synth pop composer e-scapes.
What:The Ocean Blue When: Thursday, 12.5, 7 p.m. Where: Soiled Dove Underground Why: Dream pop band and precursors of modern indie pop, The Ocean Blue, makes a stop in Denver in support of its new album Kings and Queens / Knaves and Thieves. Read our interview with singer/guitarist David Schelzel here.
What:Dog Basketball and Dry Ice album release When: Thursday, 12.5, 7 p.m. Where: Old Main Chapel CU 1600 Pleasant St. Boulder 80302 Why: Dual album release show from experimental pop band Dog Basketball and “psychedelic dream punk” band Dry Ice from Denver. A rarity to see any show at Old Main much less something this underground and experimental.
What:She Past Away w/Radio Scarlet and WitchHands When: Friday, 12.6, 7 p.m. Where: Marquis Theater Why: She Past Away is the Turkish post-punk band from Bursa that began in 2006 and making them early adopters of the current darkwave movement. Its synth and bass-driven songs have a different quality than its Western European and American counterparts while sharing that dark, introspective quality that is clearly descended from the likes of D.A.F., Depeche Mode and Clan of Xymox with an aesthetic that isn’t so far removed from its punk roots. The group’s third and latest album 2019 Disko Anksiyete saw a dual release on Fabrika Records and Metropolis Record and with a US tour currently under way it’s proof that its music transcends barriers of language.
What:Altas with Tiffany Christopher When: Friday, 12.6, 8 p.m. Where: Denver Open Media Why: Instrumental rock band Altas performs at Denver Open Media for a free show with Tiffany Christopher. Altas released the powerfully cinematic All I Ever Wanted Was in June 2019.
What:May Erlewine w/Dango Rose When: Saturday, 12.7, 7 p.m. Where: Tuft Theatre (Swallow Hill) Why: May Erlewine is a prolific blues folk artist from Big Rapids, Michigan with fifteen albums under her belt since 2003 including 2019’s In the Night. Erlewine cut her teeth as a live performer, according to a piece on MTV.com, while hitch hiking across North America and performing on the streets. For In the Night Erlewine picked herself up from the state of despair that hit many people in the wake of the Trump presidency and use her music as way to address 45’s ignorant and hateful and destructive remarks and behaviors with thoughtful commentary and observations on life and the American culture she and many of us know to be much more authentic than the spewage from a pampered, narcissistic child of privilege. But expect that music to be delivered with Erlewine’s usual warmth, nuance and strength with her dynamic and elegant voice.
What:Lettuce w/Antibalas and Chris Karns When: Saturday, 12.7, 7 p.m. Where: Fillmore Auditorium Why: Lettuce is an experimental funk band that has crossed over into the realm of jam bands and EDM even though its music has ranged far afield of that for years including its 2019 album Elevate. The group freely borrows from styles and sounds to craft its signature synthesis of funk, Afrobeat, jazz and electronic pop.
What:Anamanaguchi w/Default Genders and Nullsleep When: Sunday, 12.8, 7 p.m. Where: Bluebird Theater Why: Mix an anthemic J-pop band with an 8-bit glitchcore project and a progressive rock/jazz fusion band and task it to make dynamic and engrossing video game music with an uncommon sense of space, composition and emotional impact and you have Anamanaguchi. Particularly on its 2019 album [USA]. Seems gimmicky at first but the New York-based band doesn’t get stuck in the hyperactive songwriting that plagues a lot of “Nintendocore” acts or the dull focus on displays of technical prowess and knowledge of theory that is behind a lot of prog. Just well crafted, expansive pop songs that feel like endless possibilities and the positive ghosts of childhood reverie manifested in sound.
What:Alex Cameron w/Jackladder and Emily Panic When: Monday, 12.9, 7 p.m. Where: Bluebird Theater Why: Alex Cameron’s 2019 album Miami Memory is like a set of vignettes about people in crisis. But the take is one of compassion and understanding without trying to underplay or make light of the struggles. At a time when a lot of synth pop is generic, Cameron’s eccentric and psychologically insightful take on songwriting is strikingly different with a knack for changing up the vibe, texture and tone of his songs throughout an album. Just watch the video for “Far From Born Again” for a bit about Cameron’s keen understanding of the human condition.
What:Zeta (Venezuela), Clarion Void, Disposal Notice, Its Just Bugs When: Thursday, 11.21, 9 p.m. Where: Rhinoceropolis Why: Venezuelan band Zeta has been developing its experimental hardcore sound since 2003. It’s sound is a parts progressive rock and punk but in a way that’s expressive and moody while not sacrificing the intensity. Currently touring in support of its 2019 album Mochima.
What:Mt. Joy w/Wilderado and Adam Melchor When: Thursday, 11.21, 7 p.m. Where: Ogden Theatre Why: Wilderado’s new single “Surefire” sounds wistful and nostalgic in a way that allows for words to develop into an introspective narrative that blooms into an expansive melody alongside the story. Reminiscent of the way The War On Drugs echoes some of the vibe of Bruce Springsteen’s reflective, diary-like lyrics, this offering from the band builds on the atmospheric experiments of its 2018 EP Favors with more electric instrumentation and a more immersive sound without compromising the group’s use of space as a canvass for its emotional colorings.
Friday | November 22
What:Married a Dead Man w/False Report, Dead Characters When: Friday, 11.22, 8 p.m. Where: Goosetown Tavern Why: Denver’s Married a Dead Man is releasing its second album Awakening this night. The group’s sound might be described as somewhere between Xmal Deutschland’s wiry, urgent, dark atmospherics and modern pop melodies. The new set of songs, no doubt honed from live performances, are not just bandwagon new post-punk revival and darkwave. At times Megan Kelley’s performance and songwriting chops from her time as a solo artist infuse the songs with a warmth and coherence that gives the music a broader range than the genre of late can sometimes have with songs like “Burn” having a massive, expansive, dramatic dynamic that stretches the boundaries of what one might this band is capable of at first blush. Worth delving into beyond a casual listen.
What:Wildermiss w/Slow Caves When: Friday, 11.22, 8 p.m. Where: Bluebird Theater Why: Wildermiss is a Denver-based indie rock band that is probably on the verge of much wider circles than simply relatively successful local band status. Its new EP In My Mind captures the spirit of our time now of great contrasts of emotional states and expectations, a mixture of fear and hopefulness that most people are experiencing due to the state of the planet, politics, culture and economics. We stand on the precipice of disaster and promise of a better future if we do not lack the will to make it happen. In My Mind expresses that tension well across its length.
What:Briffaut, Down Time and Inaiah Lujan When: Friday, 11.22, 8 p.m. Where: Hi-Dive Why: Briffaut’s new album A Maritime Odyssey: Heaven is Only a Boat Race Away is a nice capsule of this band’s idiosyncratic songwriting. Fans of both King Krule and Deerhunter will find something to love about the band’s lush and unpredictable song structures and raw, emotional swells of tone and a disregard for whether a song or style or performance fits in with some established aesthetic outside its own. Too much music in the indie world is boringly predictable. Not just the indie world. Imitators of milquetoast artists and already successful formulas are rife in music now as at all times since popular music has been a thing. Thankfully Briffaut and its willingness to embrace its own weirdness has been intact since the beginning and gloriously so on the new album of imaginative soundscapes, completely unconventional songwriting and the ability to utterly transport us outside our usual frames of musical reference.
What:Blood Incantation w/Vermin Womb, Dreadnought and Superstition When: Saturday, 11.23, 8 p.m. Where: Gothic Theatre Why: Blood Incantation recently released its new album Hidden History of the Human Race. The Denver-based death metal band is a big of an enigma in that it has been slowly building a cult following for years and playing few local shows. But its songs, especially live, come across as larger than life, psychedelic although imbued with the technical precision of the best death metal, and as oddly accessible as the genre has ever been. The record is a science fiction concept album but one that has a cover designed by Bruce Pennington who did cover art for A Canticle For Leibowitz and the Dune books after the initial novel. Plus the guy did the iconic cover for Gene Wolfe’s landmark science fiction fantasy book The Shadow of the Torturer. Fine stuff for an album that is a thrilling reminder that death metal can still be fun and not a forbidding drag.
What:Black Star Gang ft. Yasiin Bey, Talib Kweli, DJ Premier w/Brother Ali, Evidence and The ReMINDers When: Saturday, 11.23, 7:30 p.m. Where: Mission Ballroom Why: Black Star is a hip hop duo comprised of Talib Kweli and Yasiin Bey (Mos Def), two of the sharpest critics of American culture and innovators in the genre themselves. The project only has one album up to now, 1998’s Mos Def & Talib Kweli Are Black Star, but rumor has it they have another in the works produced by Madlib. So if you’ve caught the recent live performances maybe you’ve heard some of the new material and it seems likely it’ll be on display for this show.
What:Lisa Prank w/The Tangles (fka The Tickles) and Horse Girl When: Sunday, 11.24, 7 p.m. Where: Hi-Dive Why: Lisa Prank has established refined and thoughtful emo pop songs as a national artist since starting the project in Denver several years back. Her new record Perfect Love Song is a a little fuzzier, more confident but just as wise and as insightful.
What:Shibui Denver #8: Dead Orchids and The Shift When: Sunday, 11.24, 6:30 p.m. Where: Hi-Dive Why: For this edition of Shibui Denver we will have two bands that don’t get nearly the attention they deserve. The Shift is an improvisational, experimental progressive rock band and includes Esmé Patterson and former Bad Weather California bassist Jeremy Averitt. Dead Orchids’ dark, brooding songs are a vital mix of post-punk and Americana but without the trendy habits that often mar bands trying their hand at either.
What:Midwife w/Hogwaller When: Monday, 11.25, 7 p.m. Where: Forest Room 5 Why: Midwife is an ambient folk artist of the highest order who was recently tapped to perform at The Flenser showcase at the Roadburn Festival in 2020 with her debut album on that record label later in the year. See her at these small rooms while you still can.
Tuesday | November 26
What:HIDE w/Echo Beds, Church Fire and Cau5er When: Tuesday, 11.26, 8 p.m. Where: Hi-Dive Why: Confrontational, performance art-oriented industrial band HIDE is the urban dystopian futurist ritual catharsis we need now to burn off the darkness of the modern world. Its new album Hell is Here is a searing, discordant exorcism of the demons that plague the body politic.
What:Pigface w/eHpH, DJ N810, DJ Mudwulf When: Wednesday, 11.27, 7 p.m. Where: Summit Music Hall Why: Pigface is the long-standing industrial supergroup with roots going back to the 80s with members of Ministry, KMFDM and other industrial luminaries. EhpH is a Denver-based duo whose mix of EBM and industrial rock is actually compelling and cathartic and doesn’t come off like its members’ musical imagination got stuck in the early 2000s.
What:Shark Dreams w/Nuancer, The Milk Blossoms and GhostPulse When: Wednesday, 11.27, 7 p.m. Where: Larimer Lounge Why: Best local dream pop line-up in more than a minute with some of Denver’s best. Shark Dreams is more the kind of drifty indie pop with a leg in glittery, slowcore dynamic. Nuancer is as informed by experimental electronic music as pop. The Milk Blossoms are a hip-hop trio disguised as a heartfelt, hyper sincere, experimental indie pop group with a sense of humor and humanity. GhostPulse weaves together downtempo beats, unconventional instrumentation and luminously cloudy atmospherics.
What:The Hu w/Crown Land When: Wednesday, 11.27, 6 p.m. Where: The Black Sheep Why: The Hu is a rock band from Mongolia that performs with traditional instruments, uses throat singing and yet its songs are an exquisite hybrid of Mongolian folk music and heavy metal. Could be corny but it is not, it is powerful, stirring stuff. Fans of Laibach will enjoy the sound of this band even though the styles are so different. Around since 2016 The Hu recently released its debut album The Gereg on Eleven Seven Records.
What:The Legendary Pink Dots w/Orbit Service, The Drood, DJ Mudwulf and VJ Dizy Pixl When: Thursday, 10.31, 8:30 p.m. Where: Ophelia’s Electric Soap Box Why: The Legendary Pink Dots and its mystical, spectral, ambient psychedelia will turn 40 next August and is currently undertaking a tour celebrating the landmark date along with its new album, 2019’s Angel in the Detail. The new record contains elements of what has always made LPD great including entrancing atmospheres, singer Edward Ka-Spel’s poetic lyrics that articulate deep truths about the human condition and how it manifests in our lives and civilizations. It also comments on the perilous state of things in the world today and especially in “The Junkyard” and how the elites are trying to finish completing a world system that renders those of us not in that upper one percent of one percent as pieces of junk in world civilization. The surreal and beautifully disturbing music video is well worth a view. Also sharing the bill tonight is the likeminded Denver-based ambient psychedelic rock band Orbit Service which has been gracing local stages and well beyond since the mid-90s. The Drood, also from Denver, is like a dark psychedelic prog band with punk-intensity and a sense of theater and the ability to create exorcistic emotional experiences in song. DJ Mudwulf will set the mood with what is sure to be a great set for the holiday and VJ Dizy Pixl will set the visual mood as per her usual level of excellence.
What:Bethlehem Steel w/Gila Teen and guest When: Friday, 11.1, 9 p.m. Where: Lion’s Lair Why: Bethlehem Steel has been together since 2012 but started garnering national attention for its outstanding performances at the South By Southwest festival in 2016. At that time the group had out a couple of EPs but released its debut full length Party Naked Forever in 2017. Its thrilling collision of fuzzy pop and dynamic atmospheric rock has drawn comparisons to 90s noise pop acts like Weezer and contemporary artists like Courtney Barnett and Waxahatchee. But often enough the group’s expansive, imaginative songwriting and creative ambition has resulted in some music that pushes boundaries of the loud and quiet format that many bands have adopted of late so that its songs will remind some of the emotionally stirring music of older bands like Failure, Slint and Rainer Maria. It has that kind of fire and caustic sound as well as lyrics that delve deep into the darker regions of the psyche with a defiant spirit lighting the way. In September, Bethlehem Steel released its fantastic self-titled full-length for which it is touring in support. Also on the bill is Gila Teen, the experimental post-punk band that brilliantly mixes moody atmospheres with a splintery pop punk.
What:Yung Bae w/Birocratic and Jaguar Nights When: Friday, 11.1, 8 p.m. Where: Marquis Theater Why: Dallas Cotton started making music as Yung Bae while living in Portland, Oregon but his production-based future funk started garnering him wider audiences while still a student at Oregon State University. His sound straddles that sort of 70s soul and R&B-inspired sounds and the aesthetic of modern electronic pop music. So while he references classic music it comes off with a more modern sensibility and energy. It hearkens to a previous era and the unsullied excitement of that music but in a way that couldn’t really have been accomplished at the time in terms of how he sculpts sound and edits it together. In 2019 Yung Bae released his fifth album in as many years with Bae 5.
What:Dia De Muertos celebration: Altas, Plume Varia and Los Mocochetes When: Saturday, 11.2, 8 p.m. Where: Hi-Dive Why: Denver instrumental rock band Altas is doing its now annual Dia De Muertos show in which the members will dress in the appropriate regalia for the occasion making the show a true event rather than just another gig. The group’s sweeping, cinematic grandeur and fiery musical pyrotechnics and mastery of mood and atmosphere is worth witnessing alone but also on the bill is psychedelic rock band Los Mocochetes and downtempo dream pop band Plume Varia and its emotionally rich and haunted compositions.
What:The Locust w/Disposal Notice and Its Just Bugs When: Saturday, 11.2, 8 p.m. Where: Summit Music Hall Why: The Locust recently reconvened to bring its mutant, death metal inflected, noisy hardcore on a national tour. The group’s surreal imagery and costumes along with its equally bizarre lyrics has made it difficult to lump in with any convenient musical movement. Its Just Bugs (the apostrophe is left off) is an industrial punk hip-hop group from Colorado and just as impossible to pigeonhole.
What:Twin Peaks w/Post Animal and Ohmme When: Saturday, 11.2, 8 p.m. Where: Gothic Theatre Why: Twin Peaks from Chicago weathered the mid-2010s blowout of garage rock and neo-psychedelic rock that was making the underground rock scene of a certain stripe become fairly stale and performatively exciting. What helped was that Twin Peaks was writing good songs and hasn’t stayed stuck in the same sound for its entire career thus far. Its 2019 album Lookout Low sounds like an odd and interesting hybrid of power pop and the weirdo punk of The Fall at its most Lou Reed-inspired, mix in some unusual flourishes of 70s rock with nods to Peter Frampton and Thin Lizzy. All while delivering spirited and sometimes gloriously ragged performances which are much needed at a time when a sanitary quality has permeated too much modern music.
What:Vivan Girls w/Down Time, Short Shorts and Backseat Vinyl — CANCELLED When: Sunday, 11.3, 7 p.m. Where: Marquis Theater Why: Vivian Girls caused a stir in the indie underground of the 2000s and 2010s with their lo-fi, noisy pop songs. The group’s ability to mix buoyant dynamics with dark, brooding moods and sounds was a fascinating contrast. The band split in 2014 with members going on to perform in La Sera, The Babies and Upset (all still going concerns). But in summer 2019 the group announced it was reforming with a new record, Memory, on the way and released in September.
What:TR/ST w/SRSQ and DJ Slave 1 When: Sunday, 11.3, 7 p.m. Where: Summit Music Hall Why: TR/ST came to prominence as the new darkwave movement was coming together with a sound that seemed to come out of the then renewed interest in vintage synths, that cold, bright, moody sound of Goth-y 80s synth pop and its cousin chillwave. But Robert Alfons’ vibrant, soulful voice and imaginative soundsccaping are the key ingredients that elevated this project above many of its contemporaries. In 2019 TR/ST released The Destroyer (Part 1 and 2), a more experimental and ambient, ethereal set of songs than his previous offerings and a clear product of reassessing directions and ideas to produce something different. SRSQ (pronounced Seer Ess Que as in the lettes for the latter two) is Kennedy Ashlyn the charismatic singer formerly of brilliant dream pop band Them Are Us Too. Her 2018 album Unreality is a moody and emotionally harrowing and cathartic downtempo album that seems to have absorbed the darkness and pain of the underground world in the wake of the Ghost Ship fire and given it a voice that exorcises some of that energy.
What:Keytar Fest IV: The Jinjas, R A R E B Y R D $ and Claudzilla When: Sunday, 11.3, 4 p.m. Where: Glitter City Why: Just like the title of the event suggests, this is a mini festival featuring all projects that incorporate keytars as an essential part of the songwriting and this includes weirdo synth punk Claudzilla and experimental hip-hop/IDM-inflected trio R A R E B Y R D $.
What:Danny Brown w/Ashnikko and Zeeloperz When: Sunday, 11.3, 7 p.m. Where: Cervantes’ Masterpiece Ballroom Why: Ever since the larger world outside of Detroit started cluing into Danny Brown’s genius following the release of 2010’s The Hybrid, the rapper has garnered a large cult following for his eccentric yet sharply cogent and thoughtful yet raw lyrics and production that incorporates a wide range of sounds that one hadn’t often heard in hip-hop outside of the underground and alternative circles of the 90s and early 2000s. Brown picked up where that left off and pushed things further particularly on his 2016 album Atrocity Exhibition which borrowed its title from a science fiction novel by J.G. Ballard and whose beats sounded almost like a new hybrid of industrial and rap that reflected the atmospherics as much as the textures and rhythms. With his new album, 2019’s uknowhatimsayin¿ Brown follows a similar sonic path but brings together more organic, almost found sounds with processed layers of atmosphere. Intact is his gift for surreal imagery and wordplay that gets under your skin.
Monday | November 4
What:GRÜN WASSER w/Natural Violence, French Kettle Station and Night Shift DJs When: Monday, 11.4, 9 p.m. Where: Rhinoceropolis Why: GRÜN WASSER is a Chicago-based electro-pop/industrial whose pulsing rhythms and dreamlike moods sound like endless nights wandering a menacing urban landscape and commenting on the culture of the nightlife. That is if the group’s new album Not OK with Things (Holodeck Records) is any indication. There is an almost claustrophobic quality to its densely atmospheric beats contrasted with Keely Dowd’s lightly echoing, ethereal vocals. French Kettle Station has been through more permutations of his sound than many artists bother to explore but of late he’s been developing a sound that’s still rooted slightly in 1980s No Wave disco and modern glitch dance pop but also influenced by 1980s adult contemporary music and its unexpectedly newly influential use and voicing of drums and vintage synths in a way that in any other contexts would be utterly wack but takes on an almost spiritual cast in certain underground electronic artists including that side of what FKS has been up to in the past year or two. His latest album, Over X Millenia takes those ideas and injects them with non-western rhythmic ideas and a New Age music aesthetic for something new yet strangely familiar. Its closest cousin that comes readily to mind is Brian Eno and David Byrne’s 1981 classic My Life in the Bush of Ghosts.
Tuesday | November 5
What:HTRK w/Midwife, Echo Beds, Human Tide When: Tuesday, 11.5, 8 p.m. Where: Rhinoceropolis Why: Since 2003 HTRK, originally from Australia, has been making music inspired by the brooding, otherworldly atmosphere of the films of David Lynch. Though the name of the band is pronounced “Hate Rock” it’s not so much rock except in the experimental sense as much as downtempo and ambient soundscaping. In 2010 founding musician Sean Stewart passed away leaving Nigel Yang and Jonnine Standish to carry on and as a duo HTRK has released a handful of some of the most fascinating music mixing electric music with an electronic aesthetic being made today. The group’s latest album is Venus in Leo with its exquisitely subtle dynamics and cinematic approach to its composition and sound design with lingering, impressionistic guitar riffs drifting around Standish’s hushed and soulful vocals.
What:Kikagaku Moyo w/Minamu Deutsch When: Tuesday, 11.5, 7 p.m. Where: Gothic Theatre Why: Kikagaku Moyo from Japan is a true synthesis of 70s Krautrock, classic Japanese psychedelic rock and more traditional Japanese folk. Currently the group is touring with the like-minded Tokyo band Minami Deutsch. The group’s urgent rhythms, mesmerizing drones and hypnotic dynamics sound like what it is to travel through Tokyo and its subtle but odd mixture of old world and high tech metropolis side by side in all of the city’s giant districts. On the group’s new EP, Can’t Get There that dynamic often takes you to a place of anxiety and then release as it draws you into its irresistible groove.
What:Jeffrey Lewis & The Voltage w/Adam Baumeister When: Tuesday, 11.5, 7 p.m. Where: Hi-Dive Why: A rare chance to see eccentric, genius freak folk and comic artist legend Jeffrey Lewis and his band along with local star of experimental folk and psychedelia, Adam Baumeister, head of Meep Records and former member of Navy Girls and Bad Weather California.
What:Negative Approach w/Blood Loss and Tuck Knee When: Wednesday, 11.6, 7 p.m. Where: Lost Lake Why: Negative Approach from Detroit was one of the bands out of that early wave of American hardcore than seemed particularly seething and intense and fronted by John Brannon who went on to noisy psychedelic blues band Laughing Hyenas and Easy Action. Easily one of the greatest frontmen of rock music because he seems to actually be losing his mind swept up in the moment.
What:Weird Wednesday: FangFuck, Zealot and Bolonium When: Wednesday, 11.6, 9 p.m. Where: Bowman’s Vinyl & Lounge Why: Weird Wednesday includes left field indie rock local supergroup Zealot and Bolonium a band inspired by Devo and which comes off like an odd combination of band, cheesy game show and Troma film.
What:Kurt Vile and the Violators w/Dinosaur Jr When: Wednesday, 11.6, 7 p.m. Where: The Mission Ballroom Why: Dinosaur Jr is the missing link between gritty classic rock like Neil Young, hardcore and 90s alternative rock and more influential on modern music than is often obvious. The mixture of sheer volume with tunefulness reconciled eras of music in a way that is often taken for granted and which bands like Nirvana and other massively commercial successful bands took to topple the music industry marketing machine and culture. Apparently modern folk/psychedelic artist Kurt Vile has felt this influence and thus has Dinosaur on this tour and for its part, the members of Dinosaur Jr have continued to release music, some of the best of its career in the past decade.
What:Sun Blood Stories, Space Jail, The Teeth of the Hydra and Prayer Hands When: Thursday, 10.17, 7:30 p.m. Where: Glitter City Studio Why: Sun Blood Stories from Boise, Idaho, has been creating its experimental psychedelic music since 2011. Though the band emerged around the time when the most recent wave of psychedelic rock was headed toward its peak, Sun Blood Stories seemed to come from a different place. Its shows feel a bit like you’re seeing what a traveling, shamanistic musical ceremony might be like. Its songs, some rock, some weirdo folk, all informed by an attempt to create a mood and an experience as much as, or more so, than melody. The group is now touring in support of its 2019 album Haunt Yourself.
What:Temples w/Honey Harper When: Friday, 10.18, 8 p.m. Where: Gothic Theatre Why: Temples from Kettering, England made big waves with its debut album Sun Structures at the apex of the neo-psychedelic era. But one thing that has set Temples apart from its peers is its mastery of layered dynamics like an orchestration of oil projections. The Krautrock-like rhythms, the sheets of luminous ethereal sounds, the haunted and the soaring vocals, guitars carrying both melody and texture shimmering throughout, Temples didn’t get stuck playing in an indie folk band that discovered weird pedals one day and jammed out to “Anemone” by the Brian Jonestown Massacre endlessly. Temples perfectly weds pop songcraft with mind-altering sound experiments. Its 2019 album, Hot Motion, finds the band exploring new vistas of evocative soundscaping mixing a palette of classic psychedelic era rock sounds and strong songwriting with modern sensibilities.
What:Riceboy Sleeps (Jónsi & Alex Somers) w/Wordless Orchestra When: Friday, 10.18, 7 p.m. Where: Paramount Theatre Why: Most people probably know Jónsi as a member of Sigur Rós and thus no stranger to transcendent, orchestral music. With his partner Alex Somers he makes experimental ambient music and their latest album, their first with this project in a decade, is 2019’s Lost & Found. The show will be an evocative production with Wordless Orchestra conducted by Robert Ames with orchestra arrangements by David Handler. A mixture of classical, ambient and the avant-garde, the footage from this tour so far has shown a moving performance of uncommon grace and hushed intensity.
What:Aldous Harding w/Hand Habits (solo) When: Saturday, 10.19, 8 p.m. Where: Larimer Lounge Why: Aldous Harding’s weirdo folk songs and compellingly eccentric performances is definitely for fans of Kate Bush and Joanna Newsom. Her 2019 album Designer is a showcase for her storytelling genius.
What:Guerilla Toss w/cindygod and Corner Girls When: Saturday, 10.19, 8 p.m. Where: Hi-Dive Why: A brilliant collision of dub, post-punk and psych-synth imbued disco, Guerilla Toss brings an upbeat yet surreal sensibility to its shows. It’s new record, What Would The Odd Do?released October 18 and this is more or less the band’s tour kickoff show.
What:Get Your Ears Swoll 11: The Vagrant Sea, Landgrabbers When: Saturday, 10.19, 8:30 p.m. Where: The People’s Building Why: The Vagrant Sea is a punk-inflected noise rock band or a noisy punk band. Either way its members are veterans of Denver’s underground rock scene including former members of The Symptoms, Dirty Lookers, Tarmints and many others. Landgrabbers is a honky tonk punk band with emphasis on the latter. At a time when most punks are aiming for a niche subgenre, Landgrabbers refreshingly focus on writing solid songs and leave the fashion show, sonically and otherwise, to those more inclined.
What:The Distillers w/Death Valley Girls When: Saturday, 10.19, 7 p.m. Where: Ogden Theatre Why: The Distillers’ brash punk rock burned bright and flamed out between starting in 1998 and breaking up in 2006 leaving behind a few records of songs about raging against feeling like being kicked to the bottom rung but making that kind of scrappy underdog status seem glorious. Singer Brody Dalle cut a commanding figure and after the band split she spent some time writing music in Spinnerette and under her own name. But as of 2018, The Distillers are back together at a time when maybe its ferocious performances with snotty yet tuneful songs will find a wider audience hungry for something that vital. Also on the bill is Death Valley Girls whose inspirationally bizarre blend of surf rock, post-punk and psychedelia is truly born of an individual collective imagination channeled into spirited performances.
What:Clay Rendering, Weathered Statues, French Kettle Station, Prison Glue When: Saturday, 10.19, 9 p.m. Where: Rhinoceropolis Why: Clay Rendering is often called a mix of dream pop and black metal and that’s fair enough but it might also be considered a rebirth of synth infused death rock. Its 2019 album California Black Vows sounds like what Iceage might have sounded like if it went more darkwave and less in the direction of The Bad Seeds.
What:Jonathan Richman w/Tommy Larkins When: Saturday, 10.19, 7 p.m. Where: Daniels Hall at Swallow Hill Why: Because Jonathan Richman is the godfather of twee pop and radical sincerity in vulnerability in rock music. And he hasn’t exactly toned down that approach as a performer in nearly fifty years. He’s a national treasure.
Sunday | October 21
What:All Your Sisters, Weaken, Voight and Fatal Fantasy (DJ) When: Sunday, 10.20, 8 p.m. Where: The Zodiac (Colorado Springs) Why: All Your Sisters from Los Angeles and Denver’s Echo Beds (playing the Monday show in Denver at Rhinoceropolis) are headed out on a tour to the East Coast. The former released the album Trust Ruins in April 2019 and re-established itself as practitioners of harrowing, industrial death disco. Voight are a jagged machine of sound and sometimes convulsive, sometimes broodily intense sounds that erupt with a barrage of cathartic energy to purge the dulling effects of late capitalism.
What:All Your Sisters w/Echo Beds, Midwife and B|_ank When: Monday, 10.21, 9 p.m. Where: Rhinoceropolis Why: For All Your Sisters see above on October 20. Echo Beds is an alchemical combination of stark hardcore aesthetics and organic industrial post-punk.
What:Whitney w/Lala Lala When: Monday, 10.21, 7 p.m. Where: Ogden Theatre Why: Whitney’s debut album Light Upon the Lake (2016) benefited from both hitting a trend early of the sort of Laurel Canyon, countrified psychedelic pop embraced in the American underground and from its exquisite arrangements and ear for dynamics in a way that has been missing from far too much modern pop music. The follow-up album, 2019’s Forever Turned Around is a tender and sensitive meditation on the fear and confusion hanging in the collective psyche of late complicated by issues of addictions of various kinds, a heavier than expected set of subjects from music that sounds so spacious and heavenly.
What:Chelsea Wolfe w/Ioanna Gika When: Tuesday, 10.22, 8 p.m. Where: Stanley Hotel Why: What could be more perfect than the haunting intensity of Chelsea Wolfe’s songs, performed acoustically as is the style of at least one of her albums, at the haunted Stanley Hotel in advance of Halloween? Wolfe recently released her new album Birth of Violence which features some of her more acoustic songwriting than the heavy drones and atmospheric black metal of her last few offerings. It showcases a more intimate side of Wolfe’s deeply personal storytelling rather than the nightmarish visions with which you might be more familiar with the artist and a testament to her enduring talent.
What:The KVB w/Numb.er and Eventually It Will Kill You When: Tuesday, 10.22, 8 p.m. Where: Larimer Lounge Why: The KVB’s synth-driven post-punk is reminiscent of Fad Gadget’s dark avant-pop with its distorted, urgent soundscapes and brooding, introspective vocals. Currently touring in support of its 2019 album Submersion.
What:Shovels & Rope w/John Paul White (of The Civil Wars) When: Tuesday, 10.22, 7 p.m. Where: Ogden Theatre Why: John Paul White one half of bluesy Americana duo The Civil Wars with Joy Williams. In 2019 he released his third solo album The Hurting Kind. Its flavor is a little more introspective than some of his previous work with The Civil Wars. But the level of detail and warmth of tone is there. Apparently he was inspired by the almost orchestral production and songwriting of early 60s Nashville acts and he brings that sensibility to this new batch of songs by taking his gift for turning simple and spare elements into a lush sound that touches on fine emotional notes. Exquisitely crafted songs by one of America’s premier songwriters. Shovels & Rope is the alternative country band from Charleston, South Carolina comprised of Cary Ann Hearst and former Denverite, and former Tinker’s Punishment frontman, Michael Trent.
What:mxmtoon w/Alexander 23 When: Wednesday, 10.23, 7 p.m. Where: Larimer Lounge Why: mxmtoon went from bedroom pop musician to international renown from 2017 to 2019 initially releasing more humorous songs and moving on to more sincere expressions of feeling. Her 2018 debut EP plum blossom garnered her critical acclaim for her finely composed pop songs that feel spontaneous and insouciant. Through social media and other internet outlets like TikTok, Vine, Snapchat, Soundcloud, mxmtoon, or Maia, has made comedic videos and shared her work connecting with hundreds of thousands of fans. In 2019 she released her debut full-length, self-released, the masquerade. There’s something lighthearted but genuine about her songs and her intuitive knack for an earworm melody and wordplay is consistently impressive.
What:Free Music, Koto Robo, Cop Circles album release, French Kettle Station, J. Hamilton Isaacs When: Wednesday, 10.23, 9 p.m. Where: Rhinoceropolis Why: Cop Circles is the weirdo afrobeat/avant-garde jazz influenced project of one Luke Leavitt. He is releasing his latest album Penultimate Conclusions at this show. Also on the bill is eccentrically brilliant experimental pop project Free Music from Minneapolis, the relentless and inspired adult contemporary/glitch/synth pop hybrid of French Kettle Station, J. Hamilton Isaacs’ transporting modular synth compositions and Koto Robo’s synthesis of 80s video game sounds (though not 8-bit) and synth pop.
What:Curse w/Echo Beds, Church Fire and Gruesome Relics When: Thursday, 10.03, 9 p.m. Where: Rhinoceropolis Why: Baltimore’s Curse has been touring the US for the past eight years playing its alchemical mix of doom, darkwave analog synth pop, electro-acoustic industrial beats and hardcore. Its commanding and spirited performances and DIY ethos has earned the band a fanbase in the American underground where its gritty, emotionally charged and dream-like music needn’t appeal to a narrow spectrum of musical tastes. Also on the bill are like-minded Denver locals. Echo Beds and Church Fire both bridge the worlds of hardcore, industrial and darkwave with both groups incorporating live drums and physical sound generation with an electronic music aesthetic.
What:Bleached w/Dude York and Pout House When: Thursday, 10.03, 7 p.m. Where: Globe Hall Why: Seattle’s Dude York recently released its new album Falling out on Hardly Art. The band’s been writing fun, thoughtful music since its inception but on the new record the songwriting seems somehow fuller and the tone nostalgic like the members of the band have reached a point in their life that everyone gets to where you can embrace the music of your youth that maybe in your late teens or twenties you rejected a bit because you outgrew it. Except that you can appreciate it on your terms as someone who has some life experience and has more insight as to why you you can either still love that music or aspects of it or appreciate how it made you feel even if that music doesn’t have that level of impact on you now. The problem with a lot of rock music is that it gets emotionally stuck in a rut of stunted adolescence. Falling sounds like a band that acknowledges the importance on a deeply personal level of not letting your heart fully harden to weather the blows of life with a shield of knowing jadedness when some sensitivity and openness would be a better way to navigate the world with curiosity and humanity intact. Bleached not so long ago went through its own transformation after some years of exploring what it wanted to sound like, even as the songwriting was always strong, to get into a groove of gritty, atmospheric pop that grew out of the Clavin sisters’ past in noise punk band Mika Miko and the garage surf sound of the early 2010s.
What:Half Moon Run w/Tim Baker (former Hey Rosetta!) When: Friday, 10.04, 8 p.m. Where: Bluebird Theater Why: Tim Baker the charismatic singer for Hey Rosetta! released his debut solo album Forever Overhead. When the band went on indefinite hiatus in October 2017 Baker went on tour as a solo artist playing the unconventional types of venues he had probably when he was coming with the songs that were the backbone of the early era of his Hey Rosetta!. The songs are the warm, introspective but yearning, anthemic pieces that garnered the band a wide audience from early on. The album seems to sketch a journey of personal rediscovery and reconnecting with the everyday experiences and epiphanies that make for vivid lyrics that resonate with feelings we’ve all had.
What:Ride w/The Spirit of the Beehive and One Flew West When: Friday, 10.04, 7:30 p.m. Where: Boulder Theater Why: Ride was one of the earliest of the UK shoegaze bands. Its sound was aswirl with elements of a colossal neo-psychedelia but rocked with a momentous drive. Currently the group is touring in support of its 2019 album This is Not a Safe Place.
What:Pythian Whispers album release w/RAREBYRD$, SOMNILOQUIST and nervesandgel When: Saturday, 10.05, 8 p.m. Where: Rhinoceropolis Why: SOMNILOQUIST is an ambient/drone artist from Albuquerque whose 2019 album Perpetual Fall is a collection of vivid sonic sketches of a scene, a sensation, a mood captured by the song titles including the humorously titled “How Long Are You Going to Leave Those Jack-o-Lanterns on Your Porch?” Majestic, enigmatic, impressionistic, introspective but always conveying the emotional experiences behind them eloquently. Nervesandgel hasn’t performed a show in over six years but the Denver-based experimental electronic artist has a vast back catalog that explores depths of experimenting with the form of ambient music and psychedelia beyond the tropes implied by the latter designation. He, Johnny Wohlfahrt, has releases on various imprints including a record out on indie pop label Best Friends Records but most of his work is self-released including the darkly moving Cometcrash and the more than three hour long epic 333. He may make ambient music but his performances are always richly emotional. R A R E B Y R D $ took the root of underground hip-hop and imbued it with personal mythology and a willingness to push the weird end of electronic beat-making to craft some of the most entrancing and evocative, sometimes inspirationally brash, sometimes cathartically heartbreaking happening in the world right now. Pythian Whispers is a Denver-based ambient band that Queen City Sounds and Art editor and writer Tom Murphy started as a solo project in 2009 but which became a band in 2011 when David Britton joined followed by various other long term and short term collaborators including renowned photographer/film-maker Charles DeGraaf, Titwrench MC Piper Rose, former Dangerous Nonsense bassist and current Umbras Animas member Harmony Fredere, Brad Schumacher of Night Grinder, Melissa Bell formerly of Rasputina and Howling Hex, Victoria Lundy of The Inactivists, Darren Kulback formerly of Hot White now Quits and The Lifers, former Action Friend drummer Paul Alexander, Misun Oh formerly of French Chemists, Tripp Wallin of The Lifers, comic artist Sara Century, photographer Joel Dallenbach and likely more. The band’s new album Lullabies For the Way of St. James is its first full length album since 2012’s The Dark Edge of Hippie Life. The band will have enamel band logo pins for sale for $12 that come with a download or a bundle with a forthcoming cassette with extra tracks for maybe $20.
What:Franksgiving: Church Fire, Little Fyodor, Ralph Gean and Gort Vs. Goom When: Saturday, 10.05, 9 p.m. Where: Lion’s Lair Why: Franklin Bell is a local character and weird music afficionado who DJs many events featuring gloriously odd music. This is his yearly benefit for the Crohn’s Foundation of America. It features some of Denver’s best including tribal industrial dance phenoms Church Fire, punker than your average fashion victim punk band Little Fyodor & Babushka Band, Denver’s OG rock and roll hero Ralph Gean and irreverent bass thrash post-punkers Gort Vs. Goom.
What:Sam Fender w/Noel Wells When: Sunday, 10.06, 7 p.m. Where: Globe Hall Why: You may not know who Sam Fender is now but the singer/songwriter from the UK has had his musical star on the ascent for several years now and his new album Hypersonic Missiles hit the number one sport on the UK Albums Chart last month. His earnest songwriting and candid portraits of working class life, the struggles, the aspirations, the frustrations and the triumphs, elevate his upbeat and anthemic songwriting to something more ambitious and meaningful than much of what is passing for pop and rock music in the mainstream these days.
What:Dave Bixby w/Midwife and Scott Seskind — canceled When: Sunday, 10.06, 7 p.m. Where: Rhinoceropolis Why: In 1969 Dave Bixby released his debut Ode to Quetzalcoatl, inspired by a spiritual revelation after wrecking his mind with drugs and transcending that experience. His second album, Second Coming, commissioned by a cult called The Movement, was released in 1970 and he subsequently disappeared from the world of music until 2011. This is a rare chance to catch this legend of psychedelic folk. [This show was canceled due to Dave’s gear being stolen. Possible reschedule at some point]
What:Emotional Oranges w/Chiiild When: Monday, 10.07, 7:30 p.m. Where: Fox Theatre Why: Chiiild is the kind of R&B we need now that is identifiable as such but which has absorbed modern music and while maintaining an appreciation for the eccentric sound and musical ideas from yesteryear with no prejudice toward where it belongs in conventional notion of genre. The group’s songs sound like they were written without notions of musical tradition weighing it down, only the pressure of writing meaningful and transporting music the way its obvious influences weren’t aiming to borrow so heavily from an earlier era either.
What:Tame Impala w/Altin Gün When: Monday, 10.07, 7 p.m. Where: Mission Ballroom Why: Tame Impala could have done fine for itself basically soundtracking modern yacht rock for young people and had a commercially successful music career. But Kevin Parker’s songwriting reveals some more imaginative combinations of sounds and moods layered into the music so that even if sometimes a song will remind those in the know of a later era Supertramp track with more luxuriant synth work it’s an example of Parker’s penchant for weaving together modern sensibilities and pop songcraft from previous or current times with equal aplomb.
What:Stereolab w/Wand When: Monday, 10.07, 7 p.m. Where: Ogden Theatre Why: Stereolab took French pop, Krautrock, avant-garde synth music, dub and psychedelia and infused it with the radical left politics to make some of the most compelling yet accessible music of the 1990s and 2000s. Reunited after a decade apart “The Groop” will not fail to dazzle.
What:Tyler, The Creator w/Blood Orange and Goldlink When: Monday, 10.07, 6 p.m. Where: Red Rocks Why: Tyler the Creator made a name for himself crafting experimental hip-hop as a member of Odd Future and under his own creative moniker. But in recent years, particularly with his 2019 album Igor, he’s been writing works that explore themes of identity and a deep examination of what drives our desires. While nothing new per se, for this record Tyler has dispensed with the aggressive character that was a manifestation of his anxieties and insecurities writ larger than life in favor of a compelling vulnerability with production that complements that unmasked sensitivity perfectly. Also on the tour is Blood Orange whose own experimental beat-crafting and creative approaches to cultural narratives reached a peak thus far with 2018’s Negro Swan with its lush jazz and downtempo sound and lyrics that took an honest yet nuanced look into the way society and conventional mores impact racial, gender and sexual identity. Heavy stuff for a show at Red Rocks and yet both artists make these subjects accessible and fun without downplaying their seriousness.
What:Claudio Simonetti’s Goblin performs Deep Red for movie screening When: Monday, 10.07, 7 p.m. Where: Oriental Theater Why: Claudio Simonetti is a founding member of Italian progressive rock band Goblin and for this show he and his band will perform a live soundtrack to the 1975 Dario Argento splatter horror thrill Deep Red.
What:Jakob Ogawa w/Niña When: Wednesday, 10.09, 7 p.m. Where: Larimer Lounge Why: Swedish singer-songwriter Jakob Ogawa’s songwriting seems steeped in jazz-inflected pop but there’s something unusual about the angle with which he approaches the music. Almost like it incorporates elements of childhood music and fairy tales into the mix. For instance the music video for his single “April” features a sasquatch type figure who wakes up one morning and has some adventures including trying out surfing and night driving. Some fishing, visiting the graves of pets. Hanging out in a hammock. It’s subtle but it really does tell you Ogawa’s gift for chill synth pop and his own idiosyncratic vocals is coming from a place of individual imagination that immediately sets him apart from the rest of the modern crop of indie pop artists.