Queen City Sounds and Art Best Albums of 2020

Sex Swing | Type II | Rocket Recordings

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

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

Abrams | Modern Ways | Sailor Records

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

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

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

Anna von Hausswolff | Sacro Bosco | Southern Lord

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

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

Bambara | Stray | Wharf Cat Records

Bestial Mouths | RESURRECTEDINBLACK | RUNE & RUIN

Bison Bone | Find Your Way Out | self-released

Black Wing | No Moon | The Flenser

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

BleakHeart | Dream Griever | Sailor Records

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

Body Negative | Fragments | Track Number Records

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

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

Botanist | Photosynthesis | The Flenser

Cabaret Voltaire | Shadow of Fear | Mute

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

Causer | Hellebore: Demos | self-released

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

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

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

cindygod | EP 2 | Fire Talk

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

Cyclo Sonic | Pile of Bones EP | self-released

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

Dan Deacon | Mystic Familiar | Domino Records

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

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

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

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

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

Down Time | Hurts Being Alive | self-released

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

Drew McDowell | Angalma | Dais Records

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

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

Emerald Siam | Inventions of Ascension | self-released

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

Emmy The Great | April / 月音 | Bella Union

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

Equine | Light Wa/orship | Noise Pelican

Eve Maret | Stars Aligned | White Supulchre Records

Eyebeams | It Means Trouble | Hot Congress

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

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

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

Faim | Hollow Hope | Deathwish

Fearing | Shadow | Funeral Party

Fire-Toolz | Rainbow Bridge | Hausu Mountain Records

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

French Kettle Station | Spirit Mode | Slagwerk

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

Galleries | Resolve | self-released

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

Gold Cage | Social Crutch | Felte Records

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

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

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

Human Impact | s/t | Ipecac Recordings

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

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

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

Jarv Is | Beyond the Pale | Rough Trade Records

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

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

Jupiter Sprites| Holographic | Jupiter Sprites Records

Kaitlyn Aurelia Smith | The Mosaic of Transformation | Ghostly International

Killd By | Neotropical (tape reissue) | Noumenal Loom

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

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

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

Lazarus Horse | Oh the Guilt! | self-released

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

Lone Dancer | Temporal Smearing | Multidim

Mamaleek | Come and See | The Flenser

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

Marissa Nadler | Moons | self-released

Melkbelly | PITH | Carpark Records/Wax Nine

Memory Bell | Solace | self-released

Metz | Atlas Vending | Sub Pop

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

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

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

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

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

Mong Tong | Mystery | Guruguru Brain

Moodie Black | FUZZ | Fake Four

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

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

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

Mrs. Piss | Self-Surgery | Sargent House

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

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

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

No Age | Goons Be Gone | Drag City

Of Feather And Bone | Sulfuric Disintegration | Profound Lore Records

Oneohtrix Point Never | Magic Oneohtrix Point Never | Warp Records

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

Perry Weissman 3 | Backlog | self-released

Plack Blague | Wear Your Body Out | self-released

Plague Garden | LEFT IN THE GRAVE | self-released

Pod Blotz | Transdimensional System | Dais Records

Pole | Fading | Mute Records

Primitive Man | Immersion | Relapse Records

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

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

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

Rafael Anton Irisarri | Peripeteia | Dais Records

Raspberry Bulbs | Before the Age of Mirrors | Relapse Records

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

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

Run The Jewels | RTJ4 | Jewel Runners

Shabazz Palaces | The Don of Diamond Dreams | Sub Pop

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

Shocker Mom | The Mediocre Depression | self-released

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

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

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

Spice | s/t | Dais Records

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

Spunsugar | Drive-Through Chapel | Adrian Recordings

Squarepusher | Be Up a Hello | Warner Records

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

Stephen Malkmus | Traditional Techniques | Matador

Studded Left | Sidewalk Vitamins | Girlgang Music

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

Sumac | May You Be Held | Thrill Jockey

Suo and Data Rainbow | s/t | Multidim

SUUNS | FICTION EP | Joyful Noise

Syko Friend | Fontanelle | Post Present Medium

The Drood | Totally Comfortable | self-released

The High Water Marks | Ecstasy Rhymes | Minty Fresh

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

The Paranoyds | Pet Cemetery EP | Suicide Squeeze

The White Swan | Nocturnal Transmission | CockThermos

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

TI-83 | Demo | self-released

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

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

Torres | Silver Tongue | Merge Records

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

Usaisamonster | Amikwag | Yeggs Records

Vivian | The Warped Glimmer | self-released

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

Wayfarer | A Romance With Violence | Profound Lore Records

Wetware | Flail | Dais Recordings

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

Windy & Carl | Allegiance and Conviction | Kranky

WL | ADHD | Beacon Sound

Wolf Parade | Thin Mind | Sub Pop

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

Treefort Music Fest: 25 Great Independent Bands to See

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Mint Field performs Saturday, March 24, at 6:30 p.m. at Boise All-ages Movement. Photo by Maria Fernanda Molins

Treefort Music Fest kicks off tonight in Boise, Idaho. As usual, the festival offers a broad spectrum of indie music with a well-curated selection of headlining acts. Here are some highlights on each night, although you can’t really go wrong with where you end up for the night. Hopefully this listing can serve as a guide to what are some of the most interesting acts each night that maybe not everyone has heard of without bombarding you with too many options. Hopefully you’ll want to explore those other options as you check out various performances. We will also include a guide to the reunion shows and other must-see/legendary stuff you’ll want to catch should you be so inclined as well as a rundown of all the Colorado acts performing throughout the weekend.

Wednesday | March 21, 2018

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Dick Stusso, photo by Cara Robbins

Preakedness – 7:30 p.m. – Linen Building
Bullets Are The Cure – 8:30 p.m. Grainey’s Basement 
Dick Stusso – 10:15 p.m. – The Olympic
Crosss – 11:30 p.m. – Linen Building
Big White – 12:30 – The Olympic

Thursday | March 22, 2018

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Skating Polly, photo by Angel Ceballos

Sun Blood Stories – 8 p.m. – Neurolux
Alien Boy – 8:15 p.m. – Linen Building
Love-Lace – 9 p.m. – Linen Building
Skating Polly – 10 p.m. – Boise All-Ages Movement Project
Kelly Lee Owens – 12:30 a.m. – Neurolux

Friday | March 23, 2018

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Groggy Bikini, photo by Jason Sievers

208 Ensemble – 4:30 p.m. – Boise Contemporary Theater
Twin Peaks – 5:50 p.m. – Main Stage
Groggy Bikini – 6:30 p.m. – The Shredder
Frigs – 9 p.m. – Linen Building
U.S. Girls – 11 p.m. – Linen Building

Saturday | March 24, 2018

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C.J. Boyd circa 2015, photo by Tom Murphy

Prism Bitch – 5 p.m. – Linen Building
Mint Field – 6:30 p.m. – Boise All Ages Movement Project
Moaning – 7:30 p.m. – Boise All-ages Movement Project
C.J. Boyd – 9:40 p.m. – Boise Contemporary Theater
Thunderpussy – 11:30 p.m. – Hannah’s

Sunday | March 25, 2018

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Clarke and the Himselfs, photo by Ellen Rumel

Yardsss – 4:30 p.m. – Neurolux
Spiritual Warfare and the Greasy Shadows – 5:50 p.m. – Linen Building
Clarke and the Himselfs – 7 p.m. – El Korah Shrine
Aan – 9:30 p.m. – Neurolux
Nnamdi Ogbonnaya – 10:4 p.m. – Neurolux

Best Shows in Denver 3/15/18 – 3/21/18

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Mint Field performs at Lost Lake on March 21. Photo by Maria Fernanda Molins

 

Who: Protomartyr w/Ned Garthe Explosion
When: Thursday, 03.15, 7 p.m.
Where: Globe Hall
Why: Protomartyr apparently didn’t get the memo on what post-punk bands in the current era are supposed to sound like. The vocal delivery hits at weird angles to the fluid rhythms and jagged yet expressive and atmospheric guitar work like Nick Cave singing for a hybrid of The Fall and Sleaford Mods. Its latest record is 2017’s Relatives in Descent. It’s a bit moodier than the group’s earlier albums yet has a headlong quality as though the band is embracing the chaos and disorientation of the world now to see where the broken machine ultimately lands. Ned Garthe Explosion is more of a psychedelic rock band but one of the most gloriously ragged around the edges and one for which you never quite know where the show will go in a way we need to see more often.

Who: Alonerly, R A R E B Y R D $, Claudzilla
When: Thursday, 03.15, 10 p.m.
Where: Mutiny Information Café
Why: Alonerly is the solo project of Antonia Montoya from Albuquerque. Using upright bass, soulful vocals and beats, Montoya creates the kind of spacious yet intimate music that probably gets lumped, and not unjustifiably so, with jazz and hip-hop but is in the end its own thing, a rarity in a time when many musical artists are trying to tap a little too much into an established musical genre. She won’t be alone in bringing something not quite like anything else with keytar weirdo Claudzilla and hypnotic and highly evocative hip-hop/noise crew R A R E B Y R D $.

Friday | March 16, 2018

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Bad Licks, photo by Tom Murphy

Who: Bad Licks 7 inch release w/Vic ‘n’ the Narwhals, The Corner Girls and Soulfax DJs
When: Friday, 03.16, 8:30 p.m.
Where: Hi-Dive
Why: Bad Licks includes former members of The Blue Rider so there’s plenty of the subtle weirdness to the undertones of its psychedelic garage rock. The group is celebrating the release of its latest seven inch of its excellent Lies EP. Because people in the band are very much into genuinely experimental music, the record is worth listening to beyond obvious genre trappings. Joined this night by pastel/surf punks The Corner Girls and surf/blues punk band Vic ‘n’ the Narwhals. All around a post-garage rock genre-bending extravaganza because all of these bands put on an energetic performance.

Who: Clan of Xymox w/Voicecoil and Radio Scarlet w/DJ Svipal
When: Friday, 03.16, 7 p.m.
Where: Bluebird Theater
Why: Clan of Xymox formed in Amsterdam near the height of the first wave of post-punk in 1981. The band’s sound including more extensive use of synths was more in line with groups like Comsat Angels, The Sound, Killing Joke and The Chameleons. Clan of Xymox’s first three albums are considered foundational for what has come to be known as “darkwave” – the blending of early synth pop aesthetics with post-punk. Xymox and contemporaries like Anne Clark, Fad Gadget and Depeche Mode made what might have been considered weird and avant-garde accessible to a broad audience. By the early 90s, however, the band splintered and Ronnie Moorings continued in a direction inspired by the acid house music popular in dance clubs in the late 80s and early 90s. But apparently the project’s fanbase wasn’t into that sound and it didn’t translate well to the rave crowd. And yet Xymox hadn’t completely lost its darkwave cachet and throughout the 90s Moorings experimented with a return to that sort of sound while absorbing the industrial music of bands he had in part influenced. Over the past decade darkwave, industrial and gothic rock has been enjoying the most extensive genuine revival since the first time around and Xymox has enjoyed a little of its own renaissance being invited to festivals catering to the aforementioned genres and with its last eight albums, including 2017’s Days of Black, released or re-issued on Metropolis. Why did the music matter? As someone once said about Joy Division, despite and because of its sometimes gloomy, brooding, emotionally urgent and intense sounds, Xymox and its contemporaries had to come along to articulate complex and sometimes conflicting emotions with a clarity, power and poignancy that wasn’t happening with a lot of rock and roll.

Monday | March 19, 2018

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Yardsss, photo by Tom Murphy

Who: Screwtape, Wander, Young Lovers, Ridgeway, Yardsss, Brother Saturn
When: Monday, 03.19, 6:30 p.m.
Where: Seventh Circle Music Collective
Why: One of the great things about shows at Seventh Circle is that even if it’s all supposed to be all one thing it never really is. Tonight proves that as local hardcore heroes Screwtape are performing alongside mostly post-rock/shoegaze bands. Brother Saturn’s collage of guitar sounds tracing the outsides of daydreams made up of soothingly hypnotic layers of atmosphere is a good fit with California based post-rock bands Wander, Young Lovers and Ridgeway to send them back home from SXSW in a welcoming show halfway through that journey. Yardsss from Portland, Oregon has a diverse sonic palette but broadly speaking, the band’s core sounds are rooted in droning atmospheres, noise and improvisational electronic composition. Fans of more experimental industrial music will find much to like in Yardsss’ darkly evocative aesthetic.

Who: Mimicking Birds, The Raven and the Writing Desk and Haley Heynderickx
When: Monday, 03.19, 7 p.m.
Where: Globe Hall
Why: Indie rock band Mimicking Birds are making a stop in Denver on their way to Treefort Music Fest (we’ll be featuring some advance coverage in the next few days as well as post-fest coverage in the following weeks). The group recently released its new album, the gorgeously lush and pastoral Layers of Us. If you’re not making it out to Treefort for the 7:40 p.m. set at El Korah Shrine, catch the Portland, Oregon-based band tonight with the like-minded The Raven and the Writing Desk. The latter is one of Denver’s best kept secrets in music as a band that has really pushed itself to explore new vistas in its own sound and breaking with its own musical past in order to make something interesting and fresh. A rarity.

Tuesday | March 20, 2018

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GGOOLLDD, photo by Kelly Bolter

Who: OMD w/GGOOLLDD
When: Tuesday, 03.20, 7 p.m.
Where: The Ogden Theatre
Why: Orchestral Manoeuvres in the Dark, often referred to as OMD, were, like fellow UK artists Gary Numan and Human League as well as Berlin in the USA, instrumental in establishing what became synth pop. After seeing an mid-70s Kraftwerk concert, bassist and vocalist Andy McCluskey started OMD with some friends and from early on the band separated itself from many other bands of the era in having no guitars and but a visceral live show. OMD enjoyed its share of commercial popularity in the UK and the US at various points in its career but artistically it’s arguably greatest achievement was the 1983 album Dazzle Ships. But the mainstream audience didn’t seem to be much into the truly boundary pushing pop compositions. Today the album is considered by many fans to be its best alongside its 1981 predecessor, Architecture & Morality. Now recognized as innovators as well talented masters of pop songcraft, OMD will be headlining a show at The Ogden Theatre with the Milwaukee, Wisconsin-based GGOOLLDD. The latter, fronted by the dynamic and talented Margaret Butler, recently released the TEETH EP in December 2017. Part synth pop, part theatrical glam band, GGOOLLDD has always put on a large theater show in small, even intimate venues, so catch a great, newer band opening for a group in a similar lineage of imaginative yet sincere music.

What: Faster Than Light Fest: Obtuse (1st), Blue Lane Frontier, Old Sport, Granddad (AK/MN), Closer is a Band (Brooklyn), Alien Boy (Portland), Runaway Brother (Cleveland)
When: Tuesday, 03.20, 5 p.m.
Where: Seventh Circle Music Collective
Why: This is a festival put together for bands on their way from SXSW or going through and happening to converge in Denver for one date. It’s also a good cross section of the modern punk/emo/math rock underground in America and naturally it’s at Seventh Circle where a lot of touring if that stripe often plays in Denver these days. Locals Obtuse, Old Sport and Blue Lane Frontier represent a rebirth for the kind of punk that both embraces pop punk, screamo, indie rock and math rock but also advances where that music could have gone had it converged and evolved. Portland’s Alien Boy gets points for naming itself after a Wipers song but also for embodying the kind of moody punk with thoughtful, sometimes wryly humorous, lyrics and the kind of darkness and intensity, not to say anger, that a lot of punk frankly lacks.

Wednesday | March 21, 2018

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Kelly Lee Owens, photo by Kim Hiorthøy

Who: Kelly Lee Owens
When: Wednesday, 03.21, 9 p.m.
Where: Bar Standard
Why: With her 2017 self-titled full-length, Kelly Lee Owens displayed a keen ear for electronic composition and a knack for translating that into accessible dance tracks. Her mastery of mixing hypnotic and deep low end with melodic drones interweaving with her ethereal vocals across the record was stunning. Fans of IDM, dub techno and deep house, do yourself a favor and at a minimum pick up the album. Also, fans of dream pop/shoegaze acts unafraid of jumping straight into abstract atmospheres such as Slowdive, Seefeel and Sound of Ceres will find much to like with Owens’ output as well. Owens performs tonight at Bar Standard before setting off for Treefort Music Fest in Boise, Idaho where she performs Thursday night 3.22 at 12:30 a.m. at Neurolux

Who: Mint Field w/Neighbor Lady and American Grandma
When: Wednesday, 03.21, 7 p.m.
Where: Lost Lake
Why: Mint Field’s 2018 debut album Pasar De Las Luces is being touted as a great modern shoegaze album. And it is, but it is one that isn’t particularly beholden to an older sound. The minimalist aesthetic of the music bears a stronger resemblance to ambient and downtempo dance music than to rock. At its most “rock” the band comes off as more post-punk and Krautrock like Neu! or Faust than worshippers of Lush or My Bloody Valentine. Although the band is from Tijuana its gauzy layers and swirling melodies are a far cry from that city’s reputation as one of the party capitals of the world. Mint Field also performs at Treefort Music Fest in Boise, Idaho on Saturday, March 24 at 6:30 p.m. at Boise All Ages Movement.

Who: U.S. Girls w/Rubedo and Michael Rault
When: Wednesday, 03.21, 7 p.m.
Where: Larimer Lounge
Why: Meghan Remy’s U.S. Girls has thankfully been pretty much impossible to chalk up to a single genre of music since the project’s inception. It’s always pop songs whether those have a leg in noise, punk, garage rock or whatever. Her latest album, 2018’s In a Poem Unlimited, sounds, interestingly enough, like a reinvention of 90s hip-hop as a funk and soul record. It has that lush production with grit and a melancholic undertone. “Pearly Gates” in particular is reminiscent of Warren G’s 1994 hit “Regulate.” Which, considering the themes of the album, is an interesting allusion. But whatever ideas and sounds informed the record, it is a literate and insightful exploration the various manifestations of toxic masculinity, its effects throughout culture and society and what life might be like without it’s wearying, destructive influence.

Who: Ed Schrader’s Music Beat w/Naked Giants and Hairclub
When: Wednesday, 03.21, 8 p.m.
Where: Hi-Dive
Why: If you listened to Ed Schrader’s Music Beat’s albums and other recorded releases prior to 2018 and didn’t see live, the appeal can be a bit of a head scratcher. A floor tom, scream-ish vocals and bass? Live it all made sense and the records relatable. But the band put out its most accessible album to date with Riddles. Having worked with Dan Deacon didn’t hurt and as the band’s producer, Deacon helped to shape a sound that took the duo’s avant-garde urban tribal contradictions and into the level of recorded coherence the project has always warranted. Ed Schrader’s Music Beat also performs at Treefort Music Fest in Boise, Idaho at 10:30 p.m. at Boise All-ages Movement Project.