Best Shows in Denver and Beyond August 2022

The Wild Hearts Tour featuring Sharon Van Etten, Angel Olsen and Julien Baker at Sculpture Park August 7, 2022, photo by Alysse-Gafkjen
Horse Jumper of Love, photo from Bandcamp

Monday | 08.01
What: Horse Jumper of Love w/Cryogeyser, Cherished and Fainting Dreams
When: 7 p.m.
Where: Hi-Dive
Why: Boston’s Horse Jumper of Love is that rare band that can somehow be simultaneously a post-punk band and a psychedelic Americana band. Its new album Natural Part has a haunted grittiness that is at times reminiscent of Big Star at its gloomiest and Built to Spill in an introspective mood. Cryogeyser might be considered a bit of a slowcore band even though plenty of its songs aren’t so slow and employ jangly guitar in the way Lush did in its more pop songwriting. Cherished used to be called Lowfaith and thus an intense deathrock band with knack for moody atmospherics. Fainting Dreams is a Denver-based slowcore duo whose introspective/melancholic songs shimmer and incandesce and bloom with lingering moods.

Psychedelic Furs in July 2016, photo by Tom Murphy

Tuesday | 08.02
What: The Psychedelic Furs w/X
When: 7 p.m.
Where: Mission Ballroom
Why: The Psychedelic Furs and X probably need no introduction as bands who in the first case popularized post-punk for a mainstream audience and in the second made arty, literary punk that didn’t shy away from its own roots in country and rockabilly while embracing the ferocious energy of the scene in which it found itself. Both began in 1977. The Furs in London, X in Los Angeles. The former had songs on movie soundtracks most notably the title track, as it were, of the 1986 John Hughes film. The latter were stars of the first underground punk movie of long lasting influence and notoriety, 1981’s The Decline of Western Civilization. Both wrote some of the most memorable songs of their time and genre. Both had many years off between their heyday and their most recent albums but with the most recent albums being among their best. And both still put on a compelling and powerful live show that will sound good in a place like Mission Ballroom.

Florist, photo by Carl Solether

Friday | 08.05
What: Florist w/Marc Merza
When: 5 p.m.
Where: Larimer Lounge
Why: Florist returns with a full band album with 2022’s self-titled album. Though the band is often dubbed with the indie folk label, fair enough, its gently atmospheric music sounds like it was written while contemplating deep feelings and thoughts while having the time to let the mind stretch out in a calm place and replicating that mood in the songwriting. The textural elements of the instrumentation, even when Emily Sprague has composed with her analog synths, are part of the appeal of the band’s music as it establishes a tactile as well as sonic intimacy that sets the band well apart from many other artists whose work is described as indie folk and on the new album there are parts that sound like musique concrète and field recordings used both in the mix and recreated with instruments. It makes for a different kind of listen than the usual pop arrangements that inform the music of most bands. Fans of Mega Bog will appreciate the unconventional style yet immediate accessibility of what Florist has to offer.

The Derelicts, photo by Christina Rogers from thederelicts.net

Friday | 08.05
What: The Derelicts w/Cyclo Sonic and Cease Fire
When: 8 p.m.
Where: Lost Lake
Why: The Derelicts are a punk/garage rock band from Seattle that formed in 1986 around the same time as Mudhoney who had similar musical roots and sensibilities. Maybe they both listened to a lot of The Saints and Radio Birdman. Known for bombastic performances and frontman Duane Bodenheimer’s irreverent stage banter, The Derelicts have remained a bit of an underground legend known among connoisseurs of late 80s and early 90s punk. Chances are The Derelicts encountered The Fluid during that late 80s period when the Denver-based band toured to the Pacific Northwest and played shows with like-minded groups among bands that would go on to form the core of grunge because The Fluid too was a band influenced heavily by the Stooges, garage rock and the like and arguably the most influential punk/post-punk band out of Denver in the 80s and 90s whether other bands know it or not. Matt Bischoff was the bass player for The Fluid but he’d also been in an earlier punk great Frantix from Aurora, Colorado whose single “My Dad’s a Fuckin’ Alcoholic” definitely strikes an immediate chord. These days Bischoff plays guitar in Cyclo Sonic. Sure musically it’s not a big leap from his other bands but fortunately for us Bischoff and his bandmates including Arnie and AJ Beckman formerly of garage punk band The Choosey Mothers and Jif Jipers of punk legends Rok Tots have written a some vital slabs of incredibly catchy punk which can be heard on their 2020 album Candied Rats and the earlier EPs. Cease Fire is a street punk band from Denver that includes former members of The Purple Fluid including Richard Kulwicki, one of the sons of the late great Fluid guitarist the senior Richard “Ricky” Kulwicki.

Angel Olsen at Larimer Lounge 2014, photo by Tom Murphy

Sunday | 08.07
What: The Wild Hearts Tour: Sharon Van Etten, Julien Baker and Angel Olsen w/Quinn Christopherson
When: 5 p.m.
Where: Mission Ballroom
Why: The Wild Hearts Tour is a showcase of three of the greatest songwriters to have emerged in the past fifteen years. Sharon Van Etten, Julien Baker and Angel Olsen are all artists who earned their reputations with strong songwriting and an inventive take on their specific musicianship styles establishing their own artistic voice early on in their respective careers. And each has gone on to push the boundaries of expectation for what they would do creatively with a body of work that is inventive and emotionally rich. As performers all three women have an openness and freshness of presentation that lends the show an air of the spontaneous that is consistently strikingly compelling. Van Etten’s 2022 album We’ve Been Going About This All Wrong is a bit of a departure from some of her earlier work with a sound that’s so spare it might throw off older fans but it also has an intimacy that has always been a part of her appeal as a songwriter but this one feels so very up close and direct. Julien Baker’s early releases proved she is a gifted songwriter able to take a very stripped down presentation of the music and letting her powerful and emotive voice speak for itself with wit and perceptive observations of self and of being a human navigating a life often fraught with challenges and discouragement. Her 2021 album Little Oblivions greatly expanded her sonic palette as a songwriter with extensive use of electronics and deep atmospheric elements and yet none of it hid and rather enhanced the expression of a startling and thrillingly raw lyrics that just hit so powerfully with an urgent and honest exploration of conflicted feelings and working through emotional trauma in a way that felt maybe a little too real for some listeners. Angel Olsen has been refining and reinventing her songwriting style and sound since her 2011 debut EP Strange Cacti and with her first full-band release 2014’s Burn Your Fire For No Witness her career seemed to take off. Her creatively expressive vocals lent itself well to stories drawn from her own life and observational songs about the impact of culture and one’s own history on the psyche. Her evocative and pastoral guitar work and voice have worked powerfully in tandem across her career as she freely incorporated aesthetics and musical ideas into her work but always somehow being able to speak to underlying emotions that often defy cogent expression but which Olsen has been able to bring forth across six albums including the classic country flavored 2022 album Big Time which does draw upon an older aesthetic but is fully modern in execution which is no mean feat. Won’t be a subpar moment of music on stage for this show.

Julien Baker, photo by Alysse Gafkjen
White Hills, photo by Alex Carter

Sunday | 08.07
What: Telekinetic Yeti w/White Hills and Hashtronaut
When: 7 p.m.
Where: Globe Hall
Why: When one thinks of gloriously epic psychedelic metal Dubuque, Iowa is probably not where you’d expect a band like Telekinetic Yeti to come from though the state has long been home to many musical surprises over the years. The duo’s new album Primordial released July 8 on Tee Pee Records, home to some of the cooler heavy psychedelic and doom bands of recent years. “Stoner rock” started getting super stale around 18 years ago but fortunately some of those musicians evolved in to doom metal and then the weirder musicians recognized that Black Sabbath and Sleep both didn’t bother with splitting up heaviness and psychedelia and in fact saw how they could complement each other well in creating mind-altering music. Telekinetic Yeti is of that vintage. White Hills has long been one of the best heavy psychedelic bands going since forming in 2003. Also a duo, White Hills has fortunately been impossible to pigeonhole because yes there are elements of metal, krautrock, space rock, post-punk, ambient, noise and the avant-garde in the group’s music the entirety of its career and each record has been an attempt to do something different in terms of sonics, songwriting, structure, emotional colorings and the potential for performance that goes beyond simple songwriting. The forthcoming The Revenge Of Heads On Fire out September 16 on Cargo Records UK is definitely a stretch into the kind of space rock territory fans of Hawkwind will appreciate. Denver’s Hashtronaut are also fellow travelers of the tripped out, slow burn, heavy psychedelia.

Death Bells, photo by Kristopher Kirk

Sunday | 08.07
What: Death Bells w/Pendant and Candy Apple
When: 7 p.m.
Where: Hi-Dive
Why: Death Bells formed in Sydney, Australia in 2015 but moved to Los Angeles in 2018 in search of greater horizons of developing and sharing its unique brand of post-punk. The sophomore album New Signs of Life was a refreshingly spare and stark set of songs with hushed moods and strong melodies. Its new album Between Here & Everywhere seems to have incorporated even more synths and electronic drums for an album that has even further refined the band’s use of repetition as an emotional mnemonic element that has an effect like connecting with ripples of water in the mind all while one hears in the arrangements an element of haunted folk. But one thing is for certain, Death Bells is not really making music in line with the more trendy sounds of modern darkwave and post-punk.

WILLOW, photo by Dana Trippe

Sunday | 08.07
What: Machine Gun Kelly w/Travis Barker and WILLOW
When: 6:30 p.m.
Where: Ball Arena
Why: Machine Gun Kelly is someone whose blend of hip hop and rock you either like or find odd but one thing he has done outside of providing fodder for tabloid news is champion up and coming artists of promise in the realm of pop by bringing them on to his recordings and/or on tour. This time that artist is WILLOW. The latter for sure had a leg up in the realm of entertainment as the daughter of Will Smith and Jada Pinkett Smith. But not all children of famous, wealthy people end up doing anything of interest beyond casual curiosity. Fortunately Willow Smith isn’t just skating by on those connections even though they have certainly helped her out along the way. Her musical career thus far has been one of reinvention and exploration from early, teenage pop music to her 2021 album lately I feel EVERYTHING in which she debuted a knack for writing pop-punk songs that really do articulate the overloaded feelings of adolescence well and with lyrics that go beyond tropes of the genre. Look for WILLOW’s new album <COPINGMECHANISM> due out later in the summer, the early singles of which find the songwriter evolving further in her fusion of styles and incorporating them into her own sound.

Marissa Nadler at Lost Lake in 2016, photo by Tom Murphy

Monday | 08.08
What: Marissa Nadler w/Bluebook
When: 8 p.m.
Where: Hi-Dive
Why: Marissa Nadler is one of the most distinctive voices in modern music. Her musical style that may default to comparisons to folk, Gothic Americana, dream pop and what might be described as pastoral metal has an emotional vibrant and intense yet expansive quality that has rendered her music probably too dark for even the psychedelic and freak folk scene and not hard rock enough for heavy music purists. And yet there’s something compellingly otherworldly about Nadler’s songwriting that has rendered all of her albums and collaborations unique and requiring the listener to enter the songwriter’s emotional universe, one which has direct resonance in a universal sense as Nadler’s mezzo-soprano vocals and intimacy with the roots of her own psychology translates well into a personal myth making and storytelling that is instantly captivating. Her latest album The Path of the Clouds may be her finest yet as she was forced to compose the songs during the depths of the first phase of the pandemic and its companion EP the The Wrath of the Clouds reveals a broad range of emotion and an attempt to move through the anxiety and anomy the ongoing crisis is visiting upon everyone with any level of sensitivity. Bluebook these days is very much in sync with the broodingly brilliant energy of Nadler’s own work especially in the band’s current arrangement like a darkwave-flavored chamber folk band.

Tuesday | 08.09
What: Church of the Cosmic Skull w/Lord Buffalo and Keefduster
When: 7 p.m.
Where: Hi-Dive
Why: Church of the Cosmic Skull sounds like it listened to a lot of Ya Ho Wha 13 along the line of arriving at its unusual brand of psychedelic chamber pop. Lord Buffalo has a vibe like the guys in the band went out into the desert and tried to find signs of the Great Spirit in the dark and forgotten places of the landscape and returned a little haunted, a little mad and a little inspired to make expansive, psychedelic rock to reflect those kinds of journeys outside mundane pursuits.

Ian Sweet, photo by Lucy Sandler

Thursday | 08.11
What: Ian Sweet w/BNNY
When: 7 p.m.
Where: Larimer Lounge
Why: When Ian Sweet released its album Show Me How You Disappear on March 5, 2021 it was right before an extended period of great uncertainty for live music and music careers in general and the industry surrounding all of that. Perhaps it’s a bit too ironic but also oddly good timing for that record to have come out as its psychedelic pop was an exploration of anxiety, the traumas that fuel it and working through the paralyzing guilt that crashes into your brain when you take on the responsibility for the trauma inflicted and overthinking what could have been and what could be in an endless spiral of self-reinforcing, internalized punishment and turmoil. The album’s songs feel like both a realistic depiction of the feelings of processing the aforementioned and a salve on the psychic turmoil that can feel like an inescapable trap. In 2022 Ian Sweet issued the Star Stuff EP which deals with similar emotional territory as Show Me How You Disappear but feels more at peace in its exquisite atmospherics even when it hits some deep melancholic notes. Chicago’s BNNY has been writing similarly emotionally tender material but its own music is more in the realm of slowcore and dream pop. Singer Jess Viscius sounds like she’s singing out of a book of private thoughts and writings drawn from extensive self-examination and deep observation. He group’s 2021 album Everything is reminiscent of both Mazzy Star and Galaxie 500 in its beautifully billowing tonal aesthetic.

HELP, photo courtesy the artists

Thursday | 08.11
What: Red Fang w/Bell Witch & Aerial Ruin: Stygian Bough and HELP https://www.bluebirdtheater.net/events/detail/436500
When: 7 p.m.
Where: Bluebird Theater
Why: Red Fang is the sludge/doom metal band based out of Portland, Oregon who have managed to carve out of a niche for themselves in a crowded field with imaginative music videos, a healthy sense of humor and songwriting that goes beyond simply making melodic heavy music paired with superior tone sculpting. Bell Witch and Aerial Ruin are playing a collaborative set with a performance of the 2020 album Stygian Bough Volume I. In typical fashion there is a lot of delicacy and nuance in the crushing and transporting heaviness of the music like a mini-metal orchestra but without the cheesiness of some of the more melodic death metal bands, just mystical, haunting soundscapes that feel like a heroic journey through dark places. Opener HELP is a noise rock band also from Portland whose songs seethe with a rage against the power structures that have been increasingly making life more challenging and unsustainable for most people and in the end all life on earth as well. Unabashedly political that sensibility can be heard in its clashing, twisting, angular assault of drums, guitar, bass and vocals with a triumphant spirit we don’t hear often enough and the 2022 album 2053 is worthy of Killing Joke at its most righteously caustic.

Jordana, photo by Sophie Gurwitz

Friday | 08.12
What: Local Natives w/Jordana
When: 7 p.m.
Where: Ogden Theatre
Why: Local Natives have thus far made a pretty good career out of writing the modern equivalent of yacht rock but with undeniably great vocal harmonies that incorporate superbly executed falsetto which isn’t easy to pull off. Opening artist Jordana released her latest album Face The Wall. Jordana Nye played all the instruments and did much of the production for the record. It’s a deeply introspective, confessional set of songs that feel open and gently but strikingly honest. What is perhaps most striking about the songwriting is Jordana’s mastery of transitions and orchestrating the layers of atmosphere. A lot of pop music has solid production or it wouldn’t work but Jordana’s work on the album draws you in and while very real about issues of anxiety and uncomfortable truths makes it all seem like something you can survive even if you may or may not overcome your life’s struggles for good or in the ways you had anticipated.

Moon Pussy, photo by Tom Murphy

Friday | 08.12
What: DUG, Moon Pussy, Quits and Almanac Man
When: 7 p.m.
Where: Seventh Circle Music Collective
Why: DUG is comprised of former members of the great noise rock band Buildings from Minneapolis. Noise rock can be a generic term so in the case of DUG it sounded like they took some inspiration from Laughing Hyenas and The Jesus Lizard/Scratch Acid in equal measure. Moon Pussy from Denver has a catharsis embedded in its eruptive and sometimes caustic but also angularly mind-altering riffs. Quits somehow sounds colossal and on the verge of breakdown and breaking out at the same time making its own sonic barrage exciting and engrossing. Almanac Man somehow splices together an unhinged sludge rock with math-y posthardcore. Like if Clutch and Neurosis had a baby.

Saturday | 08.13
What: Lost 80s Live A Flock of Seagulls, Wang Chung, The English Beat, Naked Eyes, Missing Persons, Stacey Q, Animotion, Dramarama, Tommy Tutone and Musical Youth
When: 5:30 p.m.
Where: Fiddler’s Green
Why: Could be kind of a mess, this many bands on one bill but of course all the acts will get limited stage time to play their 80s hits. But it may also be one of the only opportunities you get to see the legendary and pioneering New Wave band Missing Persons who were always different from its peers and still a compelling live band. Also Flock of Seagulls wrote plenty of evocative, moody synth pop beyond its own hits but will they play songs like “Wishing (If I Had a Photograph of You)” or “The More You Live, the More You Love”? Wang Chung is most well known for hits like “Dance Hall Days” and “Everybody Have Fun Tonight” but its score for the 1985 film To Live and Die in L.A. proved that the group was capable of crafting enduring art pop of urgency and intensity. Hope if you see their set they’ll indulge a track or two from the soundtrack.

Hooveriii, photo by Alex Bulli

Sunday and Monday | 08.14 and 08.15
What: Hoveriii (with Moose and The Crooked Rugs on 08.14 and with Nolan Potter and Petite Amie on 08.15)
When: 7 p.m.
Where: Larimer Lounge 08.14 and Vultures 08.15
Why: Los Angeles-based psychedelic rock band Hooveriii (pronounced “Hoover Three”) recently released its new record A Round of Applause. The record is only eleven tracks and all roughly the length of a radio friendly pop song but it feels like a sprawling yet progressive affair of kaleidoscopic tones and a strong streak of experimentation in what sounds and structures the group was willing to indulge as it took the time to explore what it could do in the studio in shaping and crafting a sound that was fairly different from the jam band stylings of its 2021 album Water For Frogs. Urgent yet playful, the new album finds Hooveriii operating with a focus and economy of style without skimping on imaginative sonic excursions outside the established songwriting lines.

Bodega, photo by Pooneh Ghana

Monday | 08.15
What: Bodega w/The Sickly Hecks and Flora de la Luna
When: 8 p.m.
Where: Hi-Dive
Why: Bodega is a Brooklyn-based art punk/post-punk band whose offbeat sense of humor and fascinating fusion of New Wave rock and the kind of pop band Brian Eno might have started had he not attached himself to Talking Heads and U2 for several years. Its sharply observed lyrics cast modern life in sharp contrast to its historical roots and the legacy thereof at least on its 2022 album Broken Equipment—a title that is such a great metaphor for the tools we’re given to navigate and make sense of the world handed down to us and making do the best we can.

Spaceface, photo courtesy the artists

Tuesday | 08.16
What: Spaceface w/Petite Amie and Pleasure Prince
When: 7 p.m.
Where: Lost Lake
Why: For the past decade Spaceface has been crafting otherworldly, psychedelic pop and its 2022 album Anemoia is a genre swapping, colorful sonic collage of sounds and ideas that seems to free associate styles from across decades. A core of fuzzy guitar and ethereal melodies evoke 70s R&B and funk while the songs often sound like summertime music for a place the band !!! might vacation after being woken from cryogenic slumber in 100 years after a generation as yet unborn has dismantled the foundations of our dysfunctional civilization in favor of something more nurturing and fun for everyone. But really its just gorgeous, retro-furturist psychedelic music that somehow sounds hedonistic without coming off corny. Petite Amie is a similarly-minded band from Mexico City whose own music has lush, downtempo funky vibes like they absorbed the entire ABBA catalog along with heapings of Broadcast, Daft Punk and taking in the films of Sofia Coppola. It has that dreamlike quality that exudes benevolence and mystery like few bands do. It’s the kind of music those of us who remember going to roller skating rinks in the 1970s and 1980s wish we could have been listening to instead of the too often tepid pop hits of the day. The band’s 2021 self-titled album is grand showcase of transporting sounds and soothing soundscapes.

Petite Amie, photo courtesy the artist
…And You Will Knows By the Trail of Dead, photo courtesy the artists

Tuesday | 08.16
What: …And You Will Know Us By The Trail of Dead w/New Candys https://www.eventbrite.com/e/and-you-will-know-us-by-the-trail-of-dead-with-new-candys-tickets-356700158777?aff=odwdwdspacecraft
When: 8 p.m.
Where: Hi-Dive
Why: Forming in Austin, Texas in 1994, …And You Will Know Us By The Trail of Dead has been one of the more interesting guitar rock bands out of the underground that somehow both exerted an influence on modern indie rock while remaining a bit of a cult band. Its 2002 album Source Tags & Codes defied easy classification with its eclectic and inventive range of sounds, a pattern the band maintains up to and including its 2020 album X: The Godless Void and Other Stories. Known for its incendiary live shows contrasted with thoughtful and often high concept lyrics, Trail of Dead may be underrated but always surprisingly vital. New Candys from Venice, Italy released Vyvyd in 2021 and it proved to be one of the best psychedelic rock albums of the year with its hybrid of krautrock and shoegaze.

Wednesday | 08.17
What: The Teaches of Peaches Anniversary Tour
When: 7 p.m.
Where: Summit Music Hall
Why: Canadian electroclash pioneer and producer Peaches is touring for the anniversary of the release of her genre landmark album The Teaches of Peaches (2000). The album broke Peaches aka Merrill Nisker to a more mainstream audience despite its playfully profane and unabashedly sexual lyrics. Perhaps its biggest hit “Fuck the Pain Away” is a classic of modern electronic music and Peaches’ confrontational and genre bending live show blurs the boundaries between hip-hop, electronic dance music and punk in a way that both challenges preconceptions and welcomes listeners and those who are there for the show to open up to new ways of thinking about subjects you thought you already knew your thinking about.

The Weeknd, photo by Brian Ziff

Thursday | 08.18
What: The Weeknd
When: 6:30 p.m.
Where: Empower Field at Mile High
Why: Abel Tesfaye aka The Weeknd has spent the last decade and a half building a career as one of the most compelling songwriters and producers in popular music. Whether he lends his imaginative soundscaping to R&B, hip-hop, pop or his unique and powerful interpretation of synth pop or lending his skills to the works of other artists, Tesfaye seems to bring a creative sensibility that finds and brings forth the hidden potential in the music and helps that to highlight and enhance the work overall. His new album Dawn FM (2022) bridges all his musical worlds while also being one of the great darkwave records of the past decade. Expect a spectacle for this show especially given the of necessity large format venue as the songwriter seems the type to want to give people something extra for the trouble of showing up and following his music in general.

The KVB in 2019, photo by Tom Murphy

Thursday | 08.18
What: The KVB w/M!R!M
When: 8 p.m.
Where: Hi-Dive
Why: UK duo The KVB caught the attention of shoegaze and post-punk heads with its early releases starting a decade ago and garnering a bit of a cult following for its highly stylized multimedia aesthetics and seamless synthesis of electronic music and the aforementioned styles. Its 2021 album Unity is a further exploration of the techno production that has informed the band’s music since its early days as fused to downtempo pop in hazy melodies shot through with a forceful energy. M!R!M is the solo project of Jack Milwaukee whose 2022 album Time Traitor recalls a strange blend of early TR/ST and mid-80s synth pop and thus darkwave style but with some R&B sensibility in the beat making.

Emerald Siam, photo by Tom Murphy

Friday – Sunday | 08.19 – 08.21
What: Down In Denver Fest
When: 6 p.m. – 1 a.m. on Friday, 12 p.m. – 1 a.m. on Saturday, 12 p.m. – 12 a.m. on Sunday
Where: Larimer Lounge
Why: In the decay of local culture curation born of a robust local media covering music and the arts in a systematic and interested rather than neglectful manner local music coverage and festivals seemingly lack an awareness of the history of the community of the arts and the context in which new artists emerge. This festival was conceived of when in 2021 the UMS, which had been an actively communitarian endeavor in years prior, seemed to have lost its mooring and sense of mission and musicians representing a swath of local music cut out of that sprawling event realized they could put something together that was very much about the local scene and the people who make it up. Assembled in about a month to six weeks the 2021 edition of Down in Denver was a well orchestrated showcase of some of the best local music at any festival all year. This year the event is slightly bigger but in the same format of two stages and now the first day is a free pre-party featuring some prime local talent as well. No skimping. Look for our extended coverage with interviews throughout this week with some of the artists performing and photographic shares on the Queen City Sounds IG account throughout the weekend. To purchase tickets and for the detailed and most up to date lineup and schedule check the link above or here.

Saturday | 08.20
What: Barstool Messiah album release show for Whiskey Baptismal featuring Erica Brown w/Cyclo Sonic and Dust Beneath Dirt
When: 8 p.m.
Where: Herman’s Hideaway
Why: Barstool Messiah is celebrating the release of its thunderous and soulful new album Whiskey Baptismal with a performance including legendary soul, blues and R&B singer Erica Brown whose vocals in her own music are reason enough to go see the show but whose talents have graced numerous records including the aforementioned and artists one might think well outside her realm of musical expertise. Also on the bill is the exceptional garage punk band Cyclo Sonic comprised of former members of the Fluid, Frantix, Rok Tots and Choosey Mothers.

Circle Jerks, photo by Atiba Jefferson

Saturday | 08.20
What: Punk in Drublic Craft Beer & Music Festival Feat. NOFX w/Pennywise, Circle Jerks, The Suicide Machines, Adolescents, T.S.O.L., Dwarves, The Bridge City Sinners, Bad Cop/Bad Cop, PKEW PKEW PKEW, Cheap Perfume and All Waffle Trick https://www.fiddlersgreenamp.com/events/detail/429519
When: 11 a.m.
Where: Fiddler’s Green
Why: Until this tour one would have said that the Jawbreaker tour was the punk tour of 2022. But there’s no need for competition in punk or music and this event happening at Fiddler’s Green includes some of punk’s most important bands of both the pop-punk and hardcore era. And also the great Colorado Springs, feminist punk band Cheap Perfume whose powerful and irreverent songs dismantling patriarchal behavior and human cruelty in general are always worth a gander. It would be facile to list off why every band on the bill matters but Circle Jerks, this might be the last time you get to see them on some kind of national tour. The group began after singer Keith Morris departed Black Flag and his combination of deep contempt for vested authority and surreal and pointed sense of humor found a vital outlet in a new band Circle Jerks which produced a body of work so potent and creative beyond simply being foundational to hardcore that its early records still sound fresh and telling it like it is. 2022 marks the 40th anniversary of the release of the group’s Wild in the Streets album and thus the setlist might lean a little heavy in that direction. The tour earlier in the year proved the Jerks still have the fire so maybe, just maybe, they’ll tour in 2023 for the 40 year anniversary of its 1983 classic Golden Shower of Hits.

Nathaniel Rateliff & the Night Sweats, photo by Danny Clinch

Tuesday and Wednesday | 08.23 and 08.24
What: Nathaniel Rateliff & the Night Sweats w/Caroline Rose
When: 6:30
Where: Red Rocks
Why: Nathaniel Rateliff first made waves in Denver with his alternative rock band Born in the Flood. The atmospheric, heartfelt music that came out of that project garnered the songwriter and his bandmates fans far and wide and was poised for at least indie fame when it was invited to be on a live music program Matt Pinfield was helming, recording one of the pilot episodes. The show never aired. Rateliff went on to do some solo music as The Wheel which became a band with local musical luminaries and long time collaborators and friends and it too seemed poised for success in the kind of indie success most bands never quite achieve and that didn’t happen either. Nevermind the quality of the material, the music world is fickle and people just as worthy out of Denver have been overlooked for decades. But then Rateliff got together some friends for a band called Nathaniel Rateliff & the Night Sweats. The name probably came along after the music, as these things go, but the 2015 self-titled debut album yielded a left field and unfortunately locally ubiquitous hit in “S.O.B..” But even if you got sick of hearing it in Denver it finally propelled Rateliff into mainstream success and he took some friends along for that ride that one can tell from interviews he knows can end at any time so now the band is simply enjoying that success while it lasts and is now touring in support of its “COVID” album The Future which is the blues, Americana rock blend that has kept the band in the musical mainstream but there is an interesting spaciousness and stark production at points that point to an acute awareness of the fragility and tentative nature of life and what we take for granted when we allow ourselves to get too comfortable. It’s also the band’s best record of its three thus far.

Wednesday| 08.24
What: Mizmor w/Heretical Sect, Spiritual Poison, Cronos Compulsion
When: 8 p.m.
Where: Hi-Dive
Why: Mizmor’s 2022 album Wit’s End is a meditation on the caustic effect of superstition gone wrong and the extolling of destructive irrationality above compassion and intelligence. In the language of colossal, atmospheric blackened doom it seeks a path through a time of civilizational darkness. Heretical Sect is a blackened death metal outfit from Santa Fe whose spooky atmospherics are driving and not really cartoonishly menacing and the content of shows 2020 album Rapturous Flesh Consumed shares some thematic sentiments as the new Mizmor record. Spiritual Poison you won’t get to see too often and it’s one of Ethan McCarthy’s always interesting noise projects, this one more ambient and enigmatic than even Many Blessings.

Extra Kool and Time of Calm. August 2016, photo by Tom Murphy

Friday | 08.26
What: Extra Kool album release w/DJ Jon Blaze and Calm.
When: 7 p.m.
Where: Englewood Tavern
Why: Extra Kool almost never performs live anymore but Danny Vincennie aka Extra Kool has been writing some of the most heartbreaking, hilarious, thought-provoking and creative raps of the past two decades and more. This night he’s releasing his latest album Not A Ghost…But Dead Inside and it’s proof that if you do something with integrity for your entire career everything you put out will have artistic merit and this album is on par with his entire catalog. Also playing this night is the political and also intensely creative hip-hop duo Calm. with their own literary raps and some of the most colorful, moving and beautiful beats in the Colorado rap game and beyond.

To Be Continued…

Best Shows in Denver and Beyond May 2022

ADULT., photo courtesy the artists
Dehd, photo by Atiba Jefferson

Monday | 05.02
What: Dehd w/Pixel Grip
When: 7 p.m.
Where: Bluebird Theater
Why: Chicago’s Dehd amalgamated and stripped to their essence strands of surf rock, post-punk and psychedelic garage rock that might have informed the trio’s bands prior to forming this group in around 2015. The result has been a body of work including what tracks have been released for listening of its fourth album Blue Skies (due out May 27 via Fat Possum Recordings) that consistently deconstructs recent trends in indie rock to create something somehow familiar yet decidedly different. Its inventive rhythms seemingly counter to the R&B flavor of some of its songwriting yet works well in spite of fusing styles so otherwise incongruous and as a live band there is a wash of atmospherics and moods that nonetheless comes across as focused and energetic. Sometimes its early records can when listened to in small samples don’t seem to convey this quality of the band but a deep dive on their records seems rewarding for the attentive listener. Pixel Grip is also from Chicago but its mutant blend of industrial disco synth pop would sound like a noise version of commercial pop if not for its eccentric streak in processing sounds and disregard for convention. Like a more accessible Atari Teenage Riot.

Mudhoney, photo by Niffer Calderwood

Tuesday | 05.03
What: Mudhoney w/Cyclo Sonic
When: 7 p.m.
Where: HQ
Why: Mudhoney is arguably the pioneering grunge band that cohered an aesthetic and attitude beyond the earlier explorations of Green River. Its wild dynamics and ramshackle rock and roll is almost like the early Replacements but more rooted in garage rock and punk. Mudhoney is also a charismatic and highly entertaining live band whose music isn’t inherently silly but despite the immense talent of its membership this group doesn’t take itself too seriously. Opening is Cyclo Sonic which includes members of various important Denver punk bands including Choosey Mothers, Rok Tots and of course Matt Bischoff of influential garage punk legends The Fluid who may have been an influence on Mudhoney and countless other bands of that era.

Tuesday | 05.03
What: Interpol w/Matthew Dear
When: 6 p.m.
Where: Mission Ballroom
Why: Most people who haven’t been living under a rock for the last 20 years, unless they’re also too young for it to have mattered, have heard of Interpol. More than most other bands of its time and of the so-called “post-punk revival” in the late 90s and early 2000s its brooding and widely dynamic post-punk reached the widest audience. Its 2002 album Turn On the Bright Lights was probably among the most played record in college dorms, hip bars and indie dance nights of that time outside of The Strokes’ 2001 classic Is This It. Paul Banks’ controlled yet highly emotional vocals jibed so well with Daniel Kessler’s nuanced and expressive guitar atmospherics and Sam Fogarino’s ear for subtle detail in percussion alongside Carlos Dengler’s duskily melodic bass lines. Dengler hasn’t been with the band since 2010 but Interpol continues to make evocative and beautifully moody music including its forthcoming 2022 album The Other Side of Make Believe. Brilliant experimental pop artist Matthew Dear could probably have a headlining tour of his though hard to say it would be at Mission Ballroom but you get to see his scintillating songwriting and performance on the same bill with Interpol so treat yourself and don’t skip the opener this time. It’s been 4 years since the release of Bunny so maybe Dear will treat us to new material.

Moodlighting in April 2022, photo by Tom Murphy

Thursday | 05.05
What: Moodlighting album release w/Mainland Break and Style Animal
When: 8 p.m.
Where: Hi-Dive
Why: Denver dream/twee pop band Moodlighting is released its debut album Boy Wonder at the beginning of April and is now celebrating the occasion on this night. Musically the group sounds like it came out of the more recent bedroom pop aesthetic with strong melodic lines and evocatively vulnerable vocals. The album seems to be an assessment of what it’s been like living your post-college years trying to establish your adult life during a global pandemic on top of the usual struggles and the things that make it all endurable from small joys to creative and personal aspirations that you know won’t manifest now but serve as a beacon to get you through the roughest stretches. Mainland Break is a power pop band with a fuzzy and urgent edge that sounds sometimes like it was influenced by the more psychedelic end of Jay Reatard and of course Ty Segall without being weighted down by the now faded psych garage aesthetic of the 2010s.

Thursday | 05.05
What: Drune w/Only Echoes, New Standards Men and Nightwalker
When: 7 p.m.
Where: Lost Lake
Why: Remember when there was this active organization called the Denver Art Rock Collective that put on shows featuring bands that were either inspired by or by default fit in with bands inspired by experimental rock of the 70s, 80s and 90s? Stuff like New Ancient Astronauts, The Skivies, Action Friend, Mourning Sickness and such? Maybe not. Well these bands would have fit in that milieu nicely. Drune might have had some origins in doom metal but has long since expanded into more progressive, noise and psychedelic territory as it has developed and a more interesting and original group because of it. Only Echoes is a post-metal/post-rock band that includes Austin Minney who has engineered the releases of more underground Denver bands in the DIY scene than most other people you could name as well as Alex Goldsmith who has spent more than his fair share of time in a broad range of music from hard rock band Sharone to the late, great experimental noise pop group Roommates. Only Echos releases its own album Sunsickness at Seventh Circle Music Collective on May 13, 2022 with Endless Nameless, Abandons and Old Soul Dies Young on that bill. But of course one of the current also outstanding and unusual bands out of Denver now is the art rock/prog/post-rock/space jazz group New Standards Men.

BleakHeart November 2021, photo by Tom Murphy

Friday | 05.06
What: BleakHeart tour kickoff w/Matriarch and No Gossip In Braille
When: 8 p.m.
Where: Hi-Dive
Why: Denver shoegaze/darkwave metal band BleakHeart is ready to go on a tour with Blackwater Holylight and marking that occasion with a hometown show with the colossal, doom-drone soundscapes of Matriarch and the elegantly haunted post-punk of No Gossip In Braille.

Friday | 05.06
What: The Cult w/King Woman and DES ROCS
When: 7 p.m.
Where: Mission Ballroom
Why: The Cult were pioneers of post-punk and death rock in an earlier incarnation but by the late 80s were making the kind of bombastic yet moody hard rock that strode the line between heavy metal, alternative rock and the music of its early days. With charismatic frontman Ian Astbury and the surprisingly consistently inventive guitarist Billy Duffy, The Cult remain a forceful live band worth your time to witness. But then there’s also the dark and dramatic metal/folk/psychedelic stylings of King Woman whose 2021 album Celestial Blues was one of the best albums of that year placing her in company with great songwriters who don’t feel the need to fit into a narrow genre yet embraced by fans of experimental music, metal and folk like Emma Ruth Rundle and Marissa Nadler.

Friday and Sunday | 05.06, 05.07 and 05.08
What: Henry Rollins
When: 7 p.m.
Where: Aggie Theatre on 05.06, Stargazers Theatre on 05.07 and Boulder Theater on 05.08
Why: Henry Rollins is of course the legendary frontman of the final incarnation of Black Flag in the 80s. And he had his own group Rollins Band from the 80s through the 2000s. But for much of that time Rollins was writing intense poems and observations about life and tales from the road that he published in various books across a prolific career as a writer and parallel to that he also did spoken word shows and arguably it is that work that is his greatest legacy as a cultural figure with insightful commentary on what it means to be a human trying to navigate an often perilous social and political landscape and try to pursue a life exploring what interests you and bring it back to inform and hopefully entertain others. His spoken word shows have always been highly entertaining and he’s usually very generous with his time. The most recent tour found Rollins sharing photographs from his extensive travels in parts of the world most of us will never go as a way to hopefully expand the perspective of people who show up. This time around who can say other than it will be well worth the time and resources invested in making it to the gig. You have three chances in Colorado over this particular weekend.

Dorothy, photo by Courtney Dellafiora

Sunday | 05.08
What: Dorothy w/Joyous Wolf and Classless Act
When: 6 p.m.
Where: Summit Music Hall
Why: Dorothy is a hard blues rock band fronted by the charismatic Dorothy Martin. A lot of bands have been tapping into classic rock and the blues in recent years with mixed and often cringeworthy, laughable results. But there’s some genuine gusto behind what Dororthy brings to the music. Could be an unusual comparison to make but imagine some 80s glam metal band with better songwriting minus the questionable lyrical content but with the bombast and larger than life energy that those bands aimed to put across and you get some of the vibe of Dorothy.

Sunday and Monday | 05.08 and 05.09
What: The Church
When: 6:30 p.m. (05.08) and 7 p.m. (05.09)
Where: Washington’s (05.08) and Fox Theatre (05.09)
Why: The Church may still mostly be known for their 1988 hit “Under the Milky Way” by most people who only pay attention to a band’s Top 40 charting. But The Church has been releasing extraordinary records consistently from its 1981 debut Of Skins and Heart through its most recent record Man Woman Life Death Infinity (2017) and the forthcoming, tentatively titled, In the Wake of the Zeitgeist is likely to not be short of thoughtful, emotionally stirring material as well. And as a live band The Church has a mystique about them that is also relatable like you want to be a part of it and they make you a part of the experience. Their music is hard to pin down for genre but the psychedelic rock is there, the post-punk, the folk roots and one has to assume most shoegaze bands since the 80s has had more than a brush of influence by The Church. Two Colorado shows this tour and maybe you’ll get to hear some of the new material before it finds official release.

Monday | 05.09
What: Fontaines D.C.
When: 7 p.m.
Where: Ogden Theatre
Why: Fontaines D.C. from Dublin has garnered an international cult following since the 2019 release of its debut album Dogrel. A couple of the members of the band met at college and bonded over a shared love of poetry and inspired in part by both the Beats and classice modern Irish poets like James Joyce and Yeats. And that sensibility can be heard in its narrative songs depicting the way the slow moving wrecking ball of late capitalism is crushing the life out of life for most people and their communities. Yet the music isn’t a bummer, just honest and unpretentious. Its fiery live performances early have evolved into something more nuanced and intense without losing that power and emotional resonance.

Monday | 05.09
What: Christian Death w/Luna 13 and Plague Garden
When: 7:30 p.m.
Where: The Oriental Theater
Why: Christian Death was the foundational band of the death rock side of early eighties post-punk and its 1981 debut album Only Theatre of Pain a classic of the genre. Valor Kand wasn’t part of the band at that time but for the group’s 1984 follow up Catastrophe Ballet Kand was the band’s guitarist and only constant member since 1983 including beyond band founder Rozz Williams departing and then doing his other projects and establishing a different version of Christian Death before his death in 1998. Under Kand’s leadership the group has explored a variety of styles and in recent years the sound has been more like a fusion of metallic blues punk and deathrock including its 2022 album Evil Becomes Rule. Luna 13 is sort of a blackened industrial metal band from Los Angeles. Plague Garden is a post-punk group from Denver that in the interests of transparency the author of this piece writes but figures people are really coming out to this show to see Christian Death.

Slow Crush, photo by Kat De Laet

Tuesday | 05.10
What: Slow Crush w/SOM
When: 7 p.m.
Where: Hi-Dive
Why: SOM’s new album The Shape of Everything (2022) picks up where its previous releases have drifted with a colossal yet deeply melodic sound. Like a slow moving fusion of a classic shoegaze group and a doom band. Post-metal and post-rock doesn’t quite cover it because it has hooks like you’d expect out of one of the better emo and post-hardcore bands of the early 2000s except translated to something with exquisite and epic soundscaping. Fitting that SOM is sharing this bill with Slow Crush from Belgium whose 2021 album Hush is a flood of luminous sounds and grainy textures like SubRosa gone full shoegaze or Tamaryn collaborating with members of Kylesa. Clearly the transcendental metal/shoegaze crossover show of the month and likely the whole year.

Moon Pussy, photo by Tom Murphy

Tuesday | 05.10
What: Metz w/Moon Pussy
When: 7 p.m.
Where: Bluebird Theater
Why: Canadian post-punk/noise rock trio Metz has been evolving its beautifully discordant sound since 2008. But its 2020 album Atlas Vending though a bit of a grower showcases the band at its most dynamic, frantic and raw yet fully realized. And in many ways its most overtly political in a general rather than topical sense. Obviously Metz wasn’t able to tour in support of the record so this is your chance to catch the wiry power of the group showcasing its recent work. Opening the show is probably the perfect Denver band for the slot in Moon Pussy. The sheer eruption of sounds and nearly unhinged musical dynamics and scorching yet angular sonic assault always seems like something that could go off the rails at any moment but never does. Fans of Touch and Go noise rock weirdness or that of Amphetamine Reptile should definitely make the effort to see Moon Pussy but your appetite for that kind of sonic savagery will get filled aplenty by this show.

MXMTOON, photo by Lissyelle Laricchia

Tuesday | 05.10
What: MXMTOON w/Chloe Moriondo
When: 7 p.m.
Where: Gothic Theatre
Why: MXMTOON garnered a cult following as a bedroom pop YouTuber but her songwriting chops were clear from early on and her thoughtful lyrics expressing the yearnings of a young, sensitive person examining her own insecurities and the intricacies of her own psychology and observations on life resonate much more broadly than one might expect. Employing mostly a ukulele and her own resonant voice, MXMTOON’s performances are confident yet introspective and imbued with a fresh and spontaneous energy. Her sophomore album Rising is due on May 20, 2022.

Wednesday and Thursday | 05.11 and 05.12
What: Nox Novacula (w/WitchHands and Plague Garden on 05.11 and w/Radio Scarlet and Witch Hands on 05.12)
When: 8 p.m.
Where: Fritzy’s (05.11) and HQ (05.12)
Why: Seattle’s Nox Novacula is a brash and energetic post-punk band whose fast-paced songs are more akin to a classic deathrock group with widely dynamic, propulsive rhythms and passionate vocals. Its 2021 album Ascension is a combination of grit and fire with vividly macabre and inspired lyrics that are dark and dramatic yet never cartoonish.

Thursday | 05.12
What: Front Line Assembly w/Rein, Choke Chain, DJs Paul and Eli
When: 7 p.m.
Where: The Oriental Theater
Why: Bill Leeb the vocalist of Front Line Assembly got his start as a member of an early incarnation of Skinny Puppy but by the late 80s he had branched off with his own with long time bandmate and collaborator Rhys Fulber called Front Line Assembly in 1986. A pioneering band of the EBM movement and then electro-industrial, Front Line Assembly built on the political consciousness of the music with its often dystopian depictions of the effects of commercialized technology and industry on human lives and civilization. But even if you weren’t into that content as much its soundscapes and mix of menacing sounds and hard, danceable rhythms has been a consistent feature of its music from the beginning up to and including its 2021 album Mechanical Soul. Swedish electro-industrial pop artist Rein is also on the bill with her soulful vocals and well-orchestrated synths and textures. Choke Chain’s distorted, ominous songs are reminiscent of early Nitzer Ebb and his 2021 EP Invoking Shadows has an uncommon edge even for the genre with Mark Trueman sounding a little like William Faith at his most unhinged.

Friday | 05.13
What: William Basinksi w/Tripp Nasty
When: 8 p.m.
Where: Hi-Dive
Why: Outside of Terry Riley, Philip Glass, Steve Reich and a few others, William Basinski is likely the most famous avant-garde composer in America and certainly one whose work has been most celebrated in recent years including his now classic 2001 electronic masterpiece The Disintegration Loops. His career has been greatly varied and includes work in modern classical and ambient music and styles that are unique to him though informed by process music and tape collage. He rarely comes to Colorado and not often playing a small club. Opening is Tripp Nasty who is no stranger to classical avant-garde, noise, experimental pop music, noise rock and analog synthesizer composition. You never quite know what to expect from Tripp except that it’ll be interesting and of quality.

Fozzy, photo by Adrienne Beacco

Friday | 05.13
What: Fozzy w/GFM and Krash Karma
When: 6 p.m.
Where: The Oriental Theater
Why: Fozzy is the hard rock/melodic metal band fronted by Chris Jericho. The latter most probably know from his professional wrestling career throughout the 90s and on into the 2010s and his outsized persona like he was auditioning to be the lead singer of a rock band. The early Fozzy records were mainly covers albeit pretty solid as far as that goes but more recent offerings reveal the group’s knack for anthemic hard rock as evidenced on its 2022 album Boombox. The single “I Still Burn” has all the aggression and bombast you’d want from a band like this but its lyrics are also introspective and vulnerable and lacking in the bravado that helped make Jericho a celebrity and yet that’s why it’s definitely a cut above a lot of other hard rock that might get compared to 80s glam metal which this is not yet has a similar appeal I its uplifting dynamics and willingness to indulge a tasty and tasteful guitar solo.

ADULT. circa 2018, photo by Tom Murphy

Saturday | 05.14
What: ADULT. w/Kontravoid and Spike Hellis
When: 8 p.m.
Where: Hi-Dive
Why: ADULT. is an electronic duo from Detroit that has been evolving its blend of dark techno, noise and post-punk since forming in 1998. Early releases displayed the project’s affinity for early techno and around the time of its 2007 fourth album Why Bother? you could hear the experiments in production and soundscapes with beats that yielded fascinating results on the 2005 album Gimme Trouble turn into almost set pieces in an album with an almost cinematic aesthetic, like dynamic visual design translated directly into sound design and songwriting. Since then ADULT.’s releases have been more overtly political and commenting on aspects of culture and society that have been corrosive to human culture and civilization in an accelerating way that has also more or less made cataclysmic climate disaster in our lifetimes a foregone conclusion. Since signing with Dais, the hip experimental music imprint, ADULT.’s output has seemed even more intentional and focused in its critique starting with 2018’s This Behavior, to the 2020 album Perception is/as/of Deception and now to the 2022 album Becoming Undone. Nicola Kuperus and and Adam Lee Miller both have a background in the visual arts and punk and both come through in striking visuals for the album covers (mostly if not entirely designed by Kuperus) and promotional material as well as the composition of the music and certainly in the band’s confrontational live performances. With the current underground popularity of what is called darkwave ADULT. seems to have enjoyed a bit of a renaissance after spending more than a decade pioneering some of the modern style of the more electronic wing of that loose movement while also showing what the music can do when there is a unity of aesthetic vision brought to bear with strong concepts and creative commentary on important issues of the day and personal impact of things like the commodification of all areas of life, misogyny, environmental destruction, societal complacency in the face of rising fascism in what were once some of the most democratic nations on Earth. Though the music is accessible it is also challenging and the opposite of dissociation in a time of global crises. In this interview we discuss the band’s early days and its development, its visual elements and the ways in which the new record has delved in novel sonic areas for the project in line with what the title would suggest as the world as we know it seems to be coming apart or certain in a state of perilous flux. Listen to our interview with Adam Lee Miller on Bandcamp.

Orchestral Manoeuvres in the Dark at Bluebird Theater, March 2011, photo by Tom Murphy

Sunday | 05.15
What: OMD w/In The Valley Below
When: 7 p.m.
Where: Paramount Theatre
Why: Orchestral Manoeuvres in the Dark were early pioneers of synth pop in the 1970s and turning the style of music into a mainstream phenomenon throughout the 1980s. Turned off by what today might be called toxic masculinity of too much guitar driven rock in the 70s, singer and bassist Andy McCluskey and keyboardist/vocalist Paul Humphries arrived at their own style of music inspire by Kraftwerk as solidified by their having witnessed the foundational electronic band live (McCluskey has the seat number memorized and mentions it now and then in various interviews, such was the enduring impact). The electronic post-punk of OMD quickly caught attention early on and their 1979 debut single “Electricty” was was released on Factory Records, the imprint started by Tony Wilson to release Joy Division’s records. Following a tour with Gary Numan OMD’s self-titled debut failed to chart commercially but the group had built their own studio and had a place to refine recording and composition. And with the release of their second album Organisation (1980) and the hit, anti-war single “Enola Gay” (named after one of the airplanes that dropped the atom bomb on Hiroshima on August 6, 1945 to great horror and bringing to a swifter end World War II though at what cost, thus the point of the song), OMD garnered international popularity. Through ups and downs of popularity including the lack of love for its arguably most experimental and interesting album Dazzle Ships (1983), OMD persevered until splitting in 1989. But By 2006 interest in synth pop was starting to become more pronounced than it had in decades and OMD re-convened as chillwave, vaporwave and related musical forms gained popularity in the indie music world and then well into mainstream music. Don’t go OMD expecting to see a sedate band performing some of the most gorgeous, most heartfelt electronic-driven pop of all time. OMD plays it like they’re a punk band but with grace and humor.

Sunday | 05.15
What: Cut Copy w/Suzanne Kraft
When: 7 p.m.
Where: Ogden Theatre
Why: Unfortunately Australian band Cut Copy is playing opposite a clear influence in OMD not far from the Paramount at The Ogden. The quartet has made finely sculpted pop songs informed by not just synth pop but modern dance music and shoegaze soundscaping and guitar work since 2001 with a string of albums that seem to have pushed the band into new territory even if in what can sometimes come across as subtle ways but all are beyond a surface level massively different. Freeze, Melt, the 2020 and most recent record, hit a tonal yet highly evocative plateau that sounded like an attempt to reach a place of emotional tranquility and put that across in a set of songs for a time of great turmoil. Also, a consistently surprisingly passionate live band in spite of its ethereal melodies.

Sunday | 05.15
What: Eve 6:The Extreme Wealth Tour w/Field Medic and Jake Flores
When: 6:30 p.m.
Where: The Oriental Theater
Why: Eve 6 had a bunch of hit singles in the 90s and did well for itself with songs like “Inside Out” and “Leech.” Nevertheless, Eve 6 was one of those mid-to-late alternative rock acts that weren’t so bad but nothing as exciting and as innovative as what came much earlier in the decade. And yet, nothing cringey which can’t be said about all the later-era alternative music. So probably the show will be good. The band also named itself after the titular character in the “Eve” episode of X-Files (S1E11). But one thing that is indisputable is that singer Max Collins’ Twitter account is one of the most real and amusing things you’ll read from any musician in social media and that must be honored.

Collen Green, photo by Jason MacDonald

Monday | 05.16
What: Juan Wauters w/Colleen Green
When: 7 p.m.
Where: Hi-Dive
Why: Juan Wauters was once a member of psychedelic, indie garage band The Beets who garnered some critical acclaim and popularity during its heyday of the early 2010s. His albums under his own name show a broad spectrum of musical interests. His 2021 album Real Life Situations is reminiscent of Harry Nilsson crossed with Devendra Banhart. Except that Wauters has his own sound wherein he freely goes off the conventional map. Colleen Green made a solid career out of fuzz pop songs across a handful of releases with songs that seemed like a vivid portrait of personal insecurities discussed with a poetic honesty and sardonic humor. Her 2021 album Cool found Green using her songs as a vehicle for shedding outmoded lifestyles and frames of mind that might have seemed critical to one’s identity at an earlier point in life. Her career got going at the height of the indie/surf punk explosion of the 2010s and the influence of pop punk is obvious in Green’s work but her songwriting has always been more interesting than the prevailing trends and her lyrics consistently more sharply observed.

Tuesday | 05.17
What: Nilüfer Yanya w/Tasha and Ada Lea
When: 8:30 doors 9 show
Where: Fox Theatre
Why: Nilüfer Yanya is a UK-based singer-songwriter whose music is a hybrid of various styles and modes somewhere between what some might call indie folk, synth pop, jazz and trip hop. Her subtly expressive vocals alongside lush arrangements and layered textures give her songs a gentle presence with great nuance of emotional resonance. The artist is now touring in support of her 2022 album Painless.

Author & Punisher, photo by Becky DiGiglio

Wednesday | 05.18
What: Author & Punisher w/MVTANT
When: 8 p.m.
Where: Hi-Dive
Why: Tristan Shone has refined his Author & Punisher project from its early days of using his mechanical engineering skills to modify mechanical and electrical devices as controllers for sound generators and other instruments into a sort of industrial noise project. His latest album Krüller (2021) found Shone pulling back from the colossal wall of sound that characterized a good deal of his previous body of work and the melodic side of his songwriting is more obvious and enhanced as is his expert use of space and overlapping rhythms this time used with even more atmospheric effect so that one might get lost in the gorgeous soundscapes rather than be thrillingly overwhelmed by them. But don’t worry, A&P hasn’t lost its visceral edge and sense that you’re seeing a musical project from an actual cyberpunk future and not the second rate, B-movie version.

Thursday | 05.19
What: Testament w/The Black Dahlia Murder, Municipal Waste and Meshiaak
When: 6 p.m.
Where: Summit Music Hall
Why: Testament is one of the second wave of bands to have emerged foundational to Bay Area thrash metal. Its aggressive precision was rooted partly in progressive/technical metal and jazz fusion except Testament utilized those ideas to make imaginative, thoughtful, politically charged music. With Chuck Billy’s commanding bark and Eric Peterson’s and Alex Skolnick’s intricately interweaving guitar work these days buoyed by Steve Di Giorgio’s bass and now Dave Lombardo’s (formerly of Slayer) paradoxically tastefully bombastic drums, Testament remains one of the greats of the genre.

Molchat Doma, photo courtesy Sacred Bones Records

Friday | 05.20
What: Molchat Doma w/Pompeya
When: 7 p.m.
Where: Gothic Theatre
Why: Considering world events it’s fortunate that Belarusian post-punk band Molchat Doma (“Houses Are Silent”) is touring North America at the moment. Formed in Minsk in 2017, the trio’s sound fuses synth pop, New Wave and the sort of post-punk informed by both as perhaps most notably embodied by classic Russian post-punk band Kino. There is a melancholic and resigned tenor to much of the music as though there is a spirit of not wanting to get your hopes up too much only to have them dashed by circumstances beyond your control. Which makes it a solid soundtrack not just for a band living in Belarus and in the sphere of Russia but life under this particularly crushing version of late capitalism where you’re encouraged to grind yourself to death just don’t cause any major trouble for the powerful and wealthy. The group’s latest album Monument (2020) was to have come out the same year the band was to undertake its first tour of North America with a May 2020 date at the Hi-Dive. But the pandemic hit and the band’s cachet grew dramatically beyond the appeal of a few dozen connoisseurs of post-punk in every city of size in America and beyond. The track titles on the new record spell out a bleak present and future and despite the sound of the music it also points to an ability to resist the inevitable despair which is always key in the toughest times. This show is sold out and has been for weeks but you never know. Maybe it’ll get moved to a bigger venue or will should there be a future tour.

Elder Island, photo by Nick Kane

Friday and Saturday | 05.20 and 05.21
What: Elder Island w/JORDANN
When: 8 p.m. (05.20) and 8:30/9 p.m. (05.21)
Where: Bluebird Theater (05/20) and Fox Theatre (05.21)
Why: Elder Island is a trip-hop influenced trio from the home of that downtempo electronic music that emerged in the 90s in Bristol, UK. Starting life as an experimental folk act its members had access to seeing the great electronic artists of their early days and inspired by the power of that music and its ability to stir emotions in ways different from the types of instruments you’d use to make even experimental folk. But fusing the styles completely and arranging the music almost like a trip hop jazz lounge group, Elder Island’s debut album The Omnitone Collection was a set of lush, soulful, deeply atmospheric pop with surprisingly spare arrangements that left a great deal of room for experimenting with dynamics that invited the listener to project their imagination on to the open spaces of the music. The 2021 album Swimming Static was completed on either end of the 2020 (and ongoing) pandemic with work done in between since Elder Island all lived together or nearby. The record reflected the band’s expanding access to analog synthesizers and the ability to freely incorporate those elements into the songwriting resulting in pop songs that have resonance with early analog synth artists like Kraftwerk, Giorgio Moroder and OMD as well as synth pop groups of the 80s and modern practitioners of the art of dramatic tonal and dynamic arrangements like Nation of Language and Perfume Genius.

Kurt Vile, photo by Adam Willacavage

Monday | 05.23
What: Kurt Vile and the Violators
When: 7 p.m.
Where: Ogden Theatre
Why: Kurt Vile has more than proven himself as one of the foremost songwriters to have emerged from the American indie underground with a thoughtful and evocative body of work that traverses and transcends simple categories like psych, Americana and garage rock. His new album (watch my moves) (2022) isn’t too much of a surprise to long time fans of his songwriting and its homespun charm. But where it perhaps departs a bit from expectation is in the subtle sonic details. None of Vile’s albums seem overproduced but this one, granted recorded in his home studio OKV Central, really feels like Vile was honing in on a sound like his own version of what Bruce Springsteen did on Nebraska—relatively stripped down production, spare arrangements, a sense that this could have been done on a four track with few overdubs. Which is saying something considering multiple collaborators worked on the album including Stella Mozgawa (Warpaint), Cate Le Bon, Julia Shapiro (Chastity Belt), Farmer Dave Scher (Beachwood Sparks), Annie Truscott and Lydia Lund (both also from Chastity Belt) among others. It’s a deeply introspective and layered album that sounds disarmingly intimate so it should be interesting to see how it translates to a big stage.

Monday | 05.23
What: Weedeater w/High Tone Son of a Bitch and J.D. Pinkus
When: 7 p.m.
Where: Hi-Dive
Why: A lot of sonic brutality for the small stage at the Hi-Dive this night with Wilmington, North Carolina’s kings of stoner rock Weedeater. Its doomy, grindy music is like a flood of caustic sonic tar like Thrones but even more metal. J.D. Pinkus will probably bring his heavier solo material rather than his excellent country tunes to this show but you just never know and either way the Butthole Surfers/Honky bassist will be entertaining and fit in somehow. Veteran, Bay Area psychedelic doom band High Tone Son of a Bitch rounds out the lineup.

Spoon, photo by Oliver Halfin

Tuesday | 05.24
What: Spoon w/Geese
When: 7 p.m.
Where: Mission Ballroom
Why: Lucifer on the Sofa (2022) is Spoon’s latest album and its most arduous in terms of production and release mostly because of the whole pandemic thing that’s still going on. But, as with every other Spoon album, it finds the group exploring new songwriting and stylistic territory. Its previous album 2017’s Hot Thoughts at times sounded like an old synth pop album but with modern sensibilities informing the songwriting architecture. The new record has an immediacy that was always part of the group’s sound but the production makes the music seem very up close and its blend of soul and Americana in the more raw rock and roll songwriting with touches of the unusual around the edges and at times what seems like a sound design approach to arrangements gives the song a different dimension and aural depth than most of its previous output. Of course live Spoon has always been a lively and charismatic group of performers all around. The inclusion of Brooklynite post-punk band Geese on the bill may be a label or management arrangement but it’s also an inspired selection of an opening act as its soul, funk and psychedelia-infused post-punk is reminiscent of something Factory records would have signed in the late 80s. That or a band that would have fit in at 99 Records because its sound is so richly eclectic and its 2021 album Projector a refreshingly different entry in the post-punk canon. Fans of Parquet Courts will indubitably appreciate what Geese is offering.

Bauhaus, photo by Gary Bandfield

Wednesday | 05.25
What: Bauhaus w/Automatic and Vinsantos — postponed
When: 7 p.m.
Where: Mission Ballroom
Why: Bauhaus is one of the most influential albums in post-punk and like the best of that first wave of bands they borrowed heavily from dub, early glam rock, psychedelia and the avant-garde. Its gloomy and often hypnotically otherworldly music immediately set itself apart from other bands from a similar background with not just the art school influence and conceptual soundscaping but also the theatrical aspect of its performances as manifested in the songwriting. Its use of melodrama never seemed corny and only enhanced its mysteriousness. Of course it got boosted into a wider circle of fame by basically opening the 1983 vampire film classic The Hunger with its own enduring classic “Bela Lugosi’s Dead.” But Bauhaus never rested on its creative laurels with its albums and each one expanded what not just post-punk could be but was essentially an art rock band without the progressive rock baggage. Nearly four decades hence Peter Murphy’s haunting and dramatic warble can still give you chills, David J and Kevin Haskins’ unconventional and fluid rhythms expand the brain with compound time experiments and Daniel Ash’s guitar-as-soundscape approach to the instrument hits like few other guitarists of the era. One of the most imaginative bands of the post-punk era, Bauhaus could just be going for a cash grab, nostalgia tour but it’s not that rote a thing and its new song “Drink The New Wine” (2022) is vintage Bauhaus weirdness and inspired dreamlike moodiness. New wave-esque, minimal post-punk band Automatic, which includes Kevin Haskins’ daughter Lola Dompé on drums and vocals, is also on the bill. Their turn opening for IDLES in April 2022 revealed a band more visceral than its excellent new album Excess might immediately suggest.

A Place To Bury Strangers, photo by Heather Bickford

Thursday | 05.26
What: A Place to Bury Strangers w/Glove and Polly Urethane
When: 7 p.m.
Where: Larimer Lounge
Why: A Place to Bury Strangers is often lumped in with the resurgence of shoegaze around the turn of the 2010s and the exquisite sound sculpting with noisy, atmospheric guitar shaped into evocative melodies definitely fit in that loose realm of music. But the knack for employing raw, nearly uncontrolled or not always reigned in noise in the mix made the music have an edginess closer to some kind of old noise rock band like Big Black or even the most unhinged guitar wall of noise that The Jesus and Mary Chain perpetrated so brilliantly on Psychocandy. This group could have skated on those core ideas but its body of work has evolved without compromising an individual vision for how music can occupy psychological spaces with not just organized tones and sonic textures but with the sheer physicality of that sound. Its most recent record See Through You (2022) on initial listen seems more pop oriented in some ways than the more avant-garde Pinned or even earlier records but with it definitely goes off into realms of experimentation that has more in common with some 2000s band that might have not decided to choose between styles and influenced by the most anti-music No Wave, the lowest of lo-fi psychedelic garage rock/punk you might find on the Siltbreeze imprint and menacing, scuzzy post-punk but with lyrics that give glimpses into a head space where a person is trying to pull themselves back together after having their heart stretched thin and feeling like they’ve hit the point of no return and finding some shred of meaning and truth in that low place as a thread to crawl back to something resembling normalcy. It’s both vintage APTBS and the next step in its sonic evolution. Glove is a post-punk band from Tampa that apparently didn’t get the memo that you can’t combine disco with synthpop, glam rock and post-punk and its music all the more interesting for it since the style side of its performance isn’t lacking either. Polly Urethane is a darkwave/industrial artist from Denver whose music has an enveloping vulnerability that feels like a memory of a dream at times even when evoking painful memories while transforming those strong emotions into catharsis. Think The Knife or Jenny Hval but perhaps inspired by the likes of SRSQ.

Thursday | 05.26
What: Faster Pussycat w/Love Stallion and Grind Cat Grind
When: 7 p.m.
Where: The Oriental Theater
Why: In the bloated haze of Los Angeles and international glam metal in the 80s a few bands stood apart from the rest of the Aquanet-teased hair fashion victims wishing they were Led Zeppelin but couldn’t even pull off Aerosmith or Hanoi Rocks with any integrity. One of those was Faster Pussycat whose hedonistic, sleazy glam rock had a core of good songwriting and strong stage presence. It didn’t hurt that lead singer Taime Downe is one of the few people in Penelope Spheeris’ The Decline of Western Civilization Part II: The Metal Years (1988) to not look silly and whose band in retrospect isn’t incredibly cringe. After the band split in 1993 Downe formed an industrial band called The Newlydeads but reformed Faster Pussycat in 2001.

Built to Spill, illustration by Alex Graham

Friday and Saturday | 05.27 and 05.28
What: Build to Spill w/Sunbathe and Distant Family
When: 7 p.m.
Where: Aggie Theatre (05.27) and Boulder Theater (05.28)
Why: Built to Spill like contemporaries Pavement established that jammy, psychedelic guitar was not antithetical to authentic alternative rock rooted in punk and the 80s underground beyond punk. Singer/guitarist Doug Martsch had been in the more overtly psychedelic post-punk band Treepeople at the same time Built to Spill was forming but the latter became Martsch’s going concern after 1994. The singer’s unconventional yet melodious voice served as a consistently interesting and elegant contrast to the sometimes amped ocean of sound that the band could unleash during the climax of a song and as the embodiment of the music’s more tender moments. BTS’s 1997 album Perfect from Now On was a masterpiece of late era alternative rock with a wide-ranging style of songs that unabashedly indulged in thought-provoking, heartbreaking epics like “Randy Described Eternity” and the bombastically celebratory “Stop the Show.” The band has consistently provided a soundtrack to introspective exploration and contemplation on the meaning of life up to and including its 2022 album When the Wind Forgets Your Name. Most live albums are not as good as the studio albums but BTS’s 2000 Live might as well be a greatest hits album performed at the near peak of its powers surpassed perhaps only by witnessing the band in the flesh.

Wild Pink, photo courtesy the artist

Friday | 05.27
What: The Antlers w/Wild Pink (solo)
When: 7 p.m.
Where: Bluebird Theater
Why: When Brooklyn-based indie folk project The Antlers released its first full band offering with 2009’s Hospice it immediately established itself as a band that could make powerful emotional statements with great delicacy and simplicity. The concept album is about a hospice worker and his relationship with a patient suffering from terminal bone cancer. After a hiatus of five years until 2019 due to primary songwriter and singer Peter Silberman experiencing hearing loss. While in recovery Silberman discovered he could still write music and following the 2017 release of the solo album Impermanence The Antlers returned with 2021’s Green to Gold. Opening the show is John Ross of Wild Pink performing solo. His band’s 2021 album A Billion Little Lights is one of the most affecting albums out of the indie rock milieu to be written from the adult perspective with adult concerns without waxing into self-parody or “dad rock” territory.

Animal Collective circa 2013, photo by Tom Murphy

Friday | 05.27
What: Animal Collective w/The Spirit of the Beehive — postponed
When: 7 p.m.
Where: Ogden Theatre
Why: Animal Collective is one of the most influential bands of the past 20 years. Its amalgam of psychedelia, folk, electronica, ambient and the avant-garde has yielded a rich and prolific body of work across several albums that has been oft imitated but rarely in a way equal to the group’s truly idiosyncratic songwriting and eccentric methods of composing and performing music with an almost live orchestration/remixing live during performances. It’s truly transporting music, an otherworldly pop. Its new album Time Skiffs (2022) marks the return of Deakin and a robust organic tonal element in the group’s signature, unconventional percussion and what appears to be its most sonically interesting record since Strawberry Jam with its arrangements sounding like weather events coming together to make songs through a purely intuitive process that likely involved a great deal of work to make sound effortless. The Spirit of the Beehive has been making pop music that sounds like something from another dimension like Black Moth Super Rainbow turned into more of a rock band but with a live show that sounds like it’s been orchestrated like a set of medleys and remixes performed in real time.

Friday | 05.27
What: Fiddlehead w/Flower Language, Destiny Bond and Public Opinion
When: 8 p.m.
Where: Hi-Dive
Why: Boston’s Fiddlehead is an anthemic, melodic post-hardcore band that for the uninitiated sounds akin to an emo band that was more influenced by Fugazi and Jawbreaker than what you might expect. Destiny Bond and Public Opinion are both post-hardcore bands from Denver whose songwriting stretches beyond the too often self-imposed limitations of hardcore.

Ezra Furman, photo by Tonja Thilesen

Saturday | 05.28
What: Ezra Furman w/Grace Cummings
When: 7 p.m.
Where: Gothic Theatre
Why: Ezra Furman and the Harpoons was an excellent band in the more indie folk vein but Furman herself had more to say in music than that loose format. And since writing and releasing music under her own name as a solo artist she’s seemed to have slowly shed obvious stylistic influences like Bob Dylan and Lou Reed among others across several albums since the literary, haunted Americana of 2012’s The Year of No Returning. With the new album All of Us Flames Furman takes into the consideration the concept of the end of the world, certainly the world as we know it, and examination the assumptions and hopes and dubious freedom from thinking the world is over and even finding proof of that with the pandemic and the failure of all political parties in America to deal adequately with the crisis even to this day nevermind the ecological disaster slow crashing through human civilization, the perils of right wing extremism entering into governments worldwide posing a threat on its own and compounding all others as fascism is completely unprepared to actually deal with the crises we face and establish a sustainable response to issues those types fail to comprehend to the detriment of all. The lead single from the new album “Forever In Sunset” is a fiercely compassionate presentation of that whole backdrop as the ambient weight that amplifies whatever mood we’re feeling but suggests we don’t have to be overwhelmed while in survival mode and the meaning and significance of our lives can and will continue beyond the immediate brace of crises at our collective doorstep. Sonically it’s like a great glam rock song with an elevated folk flavor layered with enveloping atmospheres. Which is reason enough to go see how Furman pulls this music off live. But you also get to see Australian singer Grace Cummings whose 2022 album Storm Queen has a brooding grit and fiery passion that is a little reminiscent of Jeff Buckley. But Cummings isn’t ethereal like the latter yet both songwriters have an almost spiritual immediacy and an instinct for crafting the kind of guitar rock that burns from within like the ghost of another era of music trying to manifest through her performance. For instance one hears in the single “Heaven” shades of Big Star, Tommy Bolin and Zeppelin. The rest of the album proves that Cummings isn’t just a rocker, her expressive voice and songwriting chops range far from bombastic heights to tranquilly introspective songs with emotionally vibrant performances. Fans of Aldous Harding will find much to like in Cummings’ rich repertoire.

Grace Cummings, photo courtesy the artist
Causer in 2019, photo by Tom Murphy

Monday | 05.30
What: Bestial Mouths w/CXCXCX and Cau5er
When: 7 p.m.
Where: Hi-Dive
Why: It’s difficult to limit Bestial Mouths to a narrow genre of music as vocalist/producer Lynette Cerezo has been experimenting with what the project is and how it should sound since its inception in 2009. While one hears across that span of time and multiple releases a foot in industrial, post-punk, noise, transcendental metal and other presumed influences like Diamanda Galas whose own music is a pure fusion of noise, No Wave, classical and blues there is an element of performance art as a vehicle for expressing concepts and ideas that unifies what Bestial Mouths has been about. At this point Bestial Mouths is a solo project of Cerezo’s and the albums INSHROUDSS and RESURRECTEDINBLACK might be considered a kind of darkwave dance music with an aspect of ritual drone. Cerezo is a prolific collaborator who has worked with the likes of Boy Harsher, Zola Jesus, Mick Harvey and Mater Suspiria Vision and out of that her impact on modern, underground music in the realm of post-punk is indisputable. Seems as though Bestial Mouths hasn’t played in Denver since a performance at now long defunct DIY space Mouth House in 2013 so this is a rare chance to see the now Berlin-based artist up close and personal along with industrial noise dance phenom Cau5er and Denver-based power electronics artist CXCXCX.

The Body, photo by Zachary Harrel Jones

Tuesday | 05.31
What: The Body w/Midwife and Polly Urethane
When: 7 p.m.
Where: Larimer Lounge
Why: With its extensive history of touring since starting in 1999 there’s a good chance that if you’ve been involved in underground music since that time you’ve seen or had a chance to see The Body from Providence, Rhode Island. The experimental duo might in a reductive way be described as a doom metal band crossed with a grindcore band informed by harsh noise. But drummer Lee Buford and guitarist Chip King really push their art into different sonic territory and in different formations with a fairly long list of collaborative releaes with the likes of Thou, Full of Hell, Unform, BIG BRAVE, and Krieg to name a few. The 2016 album No One Deserves Happiness was inspired by synth pop music and sounds it while also being one of the heaviest and most raw albums of that year that had an inexplicable and undeniable sonic nuance. Its most recent release is a split record with OAA called Enemy of Love and is harrowing fusion of doom, power electronics and intensely pointed social commentary fitting the state of the world today. But it’s not all just the sound of civilization crashing into a burning heap, there are moments when the record uses an almost ambient aesthetic to arrange the denunciation of the world’s destructive bastards and humanity’s seemingly unending instinct for self-destruction. By contrast though completely fitting Midwife is also on the bill with Madeline Johnston’s heartbreaking and soul soothing soundcapes that express a similar pain and rejection of a horrifying situation in the world in a broad and not topical sense while doing so through deeply personal songs about loss and trying to make sense of losses so deep they leave you shaken to the core. Midwife’s 2021 album Luminol provides some of the most transcendent and cathartic passages of music to address the aforementioned to have come out in the past decade. Opening this show is Polly Urenthane mentioned above opening the A Place to Bury Strangers show and will bring to this event her own music to transform trauma into inspiration.

To Be Continued…