Best Shows in Denver and Beyond December 2022

Palm performs at Larimer Lounge on December 6, 2022, photo by Eve Alpert
Wild Pink, photo courtesy the artist

Thursday | 12.01
What: Wild Pink w/Trace Mountains and Knuckle Pups
When: 7
Where: Globe Hall
Why: Wild Pink’s John Ross wrote one of the great story albums of recent years with 2021’s A Billion Little Lights and its themes of coming to terms with adulthood while staying connected with one’s creative life and navigating the temptations to ditch music as the occupation of adolescence. And how through creative work one can explore an evolving sense of meaning that hits you throughout your thirties and the rest of your life. 2022’s ILYSM (an acronym for “I Love You So Much”) takes that perspective to examine the details of life that deepen one”s bond with the people in your life. Knuckle Pups in from Denver released a deeply self-reflective album with 2022’s TV Ready in which the ambitious pop band fuses radical vulnerability with a compassionate honesty that is not nearly common enough in the realm of indie rock or any form of music today. Sometimes earnestness can seem like a pose but with Knuckle Pups it seems inspirational in its lack of pretension.

Cold Cave in 2011, photo by Tom Murphy

Friday | 12.02
What: Cold Cave w/Voight and Hex Cassette
When: 7
Where: The Oriental Theater
Why: Wesley Eisold of Cold Cave has been mostly been releasing singles and EPs since the most recent full length album Cherish the Light Years came out in 2011. His most recent Fate in Seven Lessons (2021) is well within the realm of modern darkwave post-punk with his usual gift for teasing grit and darkness out of the songwriting although plenty of the music has a beautifully melodic melancholia reminiscent of New Order. Eisold has also been involved in a bit of writing including his work with the late, great Mark Lanegon on the book of poetry Plague Poems (2020). Opening the show are two Denver acts. Hex Cassette’s confrontational industrial dance music challenges notions of the role of artist and audience and breaking that barrier for a collective experience. Voight seems to be making good on its threat of completely injecting techno into its own searing shoegaze-infused post-punk and emotionally intense music.

Cannibal Corpse, photo by Alex Morgan

Friday | 12.02
What: Decibel Magazine Metal & Beer Fest Denver 2022 Day 1: Cannibal Corpse, Dark Funeral, Immolation, Black Anvil, Onyx and In The Company of Serpents
When: 5
Where: Summit Music Hall
Why: This unique event includes some pretty extensive beer tasting for those so inclined but the real reason is to get to see some of the great extreme metal acts of today. That includes death metal legends Cannibal Corpse whose over the top gory lyrics have been banned in various countries despite how obviously absurd they are in the vein of the most demented horror movies of the 80s but really just more creative than a lot of those films. And the music itself stands up well in upholding the brutality of the lyrics with a technical proficiency worthy of the name of the band. Get there early to catch the bluesy, cinematic doom band from Denver In the Company of Serpents who don’t play Denver as much as they once did these days.

Wayfarer, photo courtesy the artists

Saturday | 12.03
What: Decibel Magazine Metal & Beer Fest Denver 2022 Day 2: Pig Destroyer, Skinless, Wayfarer, Of Feather and Bone and Wake
When: 4
Where: Summit Music Hall
Why: Day two of this event includes more noteworthy acts out of the broad world of extreme metal including performances from Denver’s masters of cinematic doom, Wayfarer, the caustic death grind onslaught of Of Feather and Bone, the blackened grind of Calgary’s Wake and grindcore legends Pig Destroyer whose contorted and savagely brutal music is a fitting companion to JR Hayes’ darkly incisive lyrics about human experiences on the edge.

Soccer Mommy, photo by Sophie Hur

Saturday | 12.03
What: Soccer Mommy w/TOPS
When: 7
Where: The Ogden Theatre
Why: Sophia Allison has been writing music and performing as Soccer Mommy since she was in college before dropping out and moving back to Nashville to pursue her career as a musician full time. It helped that she had a record deal with Fat Possum which released her debut album Clean in 2018 before she turned twenty-one. The album’s emotional openness and unabashed embrace of unconventional melody and song structure while crafting undeniable hooks garnered the record widespread critical acclaim. The most recent Soccer Mommy album Somtimes, Forever (2022) was produced with Daniel Lopatin aka Oneohtrix Point Never and the team-up brought to Allison’s particularly confessional lyrics and always imaginative guitar work an experimental edge and sound design element for the songwriter’s most musically adventurous recording of her career thus far. Additionally, the lyrics probably startled listeners that expect artists to be vague in their sentiments in a pop song setting but hasn’t Allison been poetically pointed and vivid in her words all along? Opening the show is Montreal’s indie pop band TOPS whose gentle yet passionate compositions seem like they’d be pretty light and airy live as well but at the show the band seems to exude an unexpected vitality.

HaemoGoblin, photo courtesy the artists

Saturday | 12.03
What: HaemoGoblin and Fast N Loose at L. Lazer art opening
When: 9
Where: The Crypt ($10 cash)
Why: HaemoGoblin is an electronic duo that will be performing what it calls a ritualistic invocation. Calling the performance “Inauguration” what you will see is a “mini stage play set to music, designed to disorient, disturb and ‘shake awake’ the audience for a half hour or longer.” What will this look like? Well, veteran carnie frontwoman Ortenzia von Deadworry and S.S.G. her “summoned demon” synth player will definitely bring some theater to an often very predictable local music scene. Also on the bill for this art opening featuring the work of L. Lazer is Fast N Loose is a Motorhead tribute band.

The Soft Moon in 2015, photo by Tom Murphy

Sunday | 12.04
What: The Soft Moon w/Nuovo Testamento and Kill You Club DJs
When: 8
Where: Hi-Dive
Why: Luis Vasquez was a little ahead of the curve when he launched The Soft Moon in 2009. Originally a solo project, The Soft Moon evolved to become more of a live band that brought Vasquez’s songs of nervy energy and anxiety-purging urgency to life. His most recent album is 2022’s Exister which in the wake of one of the most challenging periods in recent world history on a wide scale is a catharsis of overcoming the enervating influences that come your way and considering the mere continuation of existence a triumph in itself. The songs seem to have leaned more into the industrial side of Vasquez’s songwriting with some real visceral power driving the moody atmospherics. Los Angeles-based darkwave/synth pop band Nuovo Testamento opens the show.

Hembree, photo by Jonny Marlow

Sunday | 12.04
What: Hembree w/Little Hurt, False Report and Mae Mae
When: 7
Where: Larimer Lounge
Why: Hembree from Kansas City, Missouri that formed in 2015 and its big break to a national audience was the placement of its single “Holy Water” in an Apple ad during Super Bowl LII. The group’s tight rhythms serve as a foundation for the rest of the songwriting to stretch out whether into focused, unadorned rock songs or expansive, moody pieces and the techno-underpinned indie funk that is at the core of its sound. The group’s new album It’s a Dream! is a record tinged with nostalgic examinations of the roots of current anxieties and insecurities expressed in hazy melodies and resonating tones driven by a hypnotic beat. On the surface it may sound like another current indie rock offering with more than its fair share of more imaginative songwriting but Hembree really charts an internal journey in which one is prepared to exit the gauntlet of lucid dreams trapped in feeling everything until it makes sense and after one is able to move through tangled emotional memories.

The Lemonheads, photo by Barry Brescheisen

Monday | 12.05
What: The Lemonheads w/Bass Drum Of Death and On Being an Angel https://www.bluebirdtheater.net/events/detail/443688
When: 7
Where: The Bluebird Theater
Why: The Lemonheads are one of few still extant bands to have come to prominence during the alternative rock era that didn’t quite fit in with the more trendy subgenres that made that era one of the most vibrant in the history of popular music. Its own brand of power pop was a vehicle for the songwriting of only constant member, singer and guitarist Evan Dando. The latter seems to have an ability to look into situations and people and extrapolate poetic insights with a compassionate perspective. The title track of the group’s 1992 breakthrough album It’s A Shame About Ray isn’t just about a troubled person who doesn’t fit in with any school and its politics, it’s about feeling like a perpetual outsider and the rest of the songs on the record are vivid stories about people we all know and might even be in a way that didn’t comport with the tales of desperation one heard in a lot of grunge and too “dark” for more faux posi faire of that era to now. Ever since The Lemonheads went on hiatus in 1997 and returned to operations in 2005, the group hasn’t been prolific with original material but Dando’s interpretations of artists that have influenced him on Varshons (2009) Varshons 2 (2019) have been a peek into what Dando’s brain has latched onto for inspiration and perhaps for this performance we’ll get to hear what the veteran songwriter has been up to in recent years. One thing is for certain his own songs have aged far better than those of many of his contemporaries owing in part to the gentle but raw honesty of the songwriting. Also on this bill is Bass Drum of Death originally from Oxford, Mississippi whose blues tinged noisy garage rock has a refreshing level of grit and menace befitting the name of the project.

Monday | 12.05
What: W.A.S.P. w/Armored Saint
When: 7
Where: The Oriental Theater
Why: W.A.S.P. is the kind of band out of the glam metal era in Los Angeles of the 1980s that more than any other group out of that world that courted controversy. Its music was and is a spirited, melodic hard rock with a strong sense of theater even in the songwriting. Sure its cover art for its debut single “Animal (Fuck Like a Beast)” with the circular saw codpiece offended people that took it more literally than could even remotely be intended. Certainly former guitarist Chris Holmes looked the buffoon drunk in a pool with his mother sitting by in the 1988 documentary The Decline of Western Civilization Part II: The Metal Years seemed to affirm the extreme and self-destructive hedonism associated with the band. But at its best W.A.S.P. were avatars of a music scene that could be cartoonish, bombastic and puerile while offering an alternative to a conformist puritanical culture with its lurid and triumphant storytelling. Perhaps co-headlining though less notorious is Armored Saint who also started in 1982 in Los Angeles and also pre-dated glam metal though often associated with that world of music due to the big hair and knack for solid melodic hooks. But like W.A.S.P. there was something with more edge than most of its glam rock contemporaries. While never quite having any mainstream breakthrough hits, Armored Saint was a staple of 1980s metal that has held up better than much of the music out of the 1980s Los Angeles heavy metal scene has.

Water From Your Eyes, photo by Ana Fangayen

Tuesday | 12.06
What: Palm w/Water From Your Eyes
When: 7
Where: Larimer Lounge
Why: As Water From Your Eyes, Nate Amos and Rachel Brown have made a career of using an eclectic and ever evolving palette of sounds to explore ideas and concepts through what could be considered dance pop. That is if your frame of reference might be the experimental electronic and punk out of New York and Los Angeles of the last fifteen years. Its 2020 album 33:44 is something you’d expect more out of a band on the Northern Spy label with its beautifully dire, ambient and modern classical soundscapes that are almost an homage to Penderecki’s “Threnody for the Victims of Hiroshima” crossed with Howard Shore’s work for the films of David Cronenberg. But the duo’s most recent album Structure at times sounds like what might have happened if Aphex Twin in writing Selected Ambient Works Volume II had decided to turn those into pop songs. Except that Water From Your Eyes inserts enigmatic spoken word elements that serve as a a meta narrative that re-configures traditional album structure and gives the whole album a non-linear quality made cohesive by reimagining the nature of how creative work is structured. Fitting that this arty yet incredibly accessible group is sharing the stage with Philadelphia’s art rock weirdos Palm touring in support of Nicks and Grazes, an album that sounds like the band challenged its members to go on separate retreats to clear their minds of contemporary influences and to immerse themselves in non-musical art forms and come back to make the kind of psychedelic rock record that comes across like a collage of playful daydreams and arranged in a way that brushes aside conventional structure itself.

OFF! photo by Jeff Forney

Thursday and Friday | 12.08 and 12.09
What: OFF! w/Zulu
When: 8
Where: Hi-Dive
Why: OFF! is of course the newer hardcore project fronted by legendary vocalist Keith Morris formerly of Black Flag and of Circle Jerks. The current lineup includes founding member Dmitri Coats of Burning Brides on guitar and as of 2021 Autry Fulbright II on bass and Justin Brown on drums. After an eight year hiatus on releases, OFF! released Free LSD in 2022. It’s still the searing hardcore sound you’d expect from the group but there are some clear differences with what sounds like synth and other ambient sounds giving the songs a psychedelic feel that wasn’t so much a part of its earlier sound. A refreshing update for a band that still maintains the intensity and edge without being stuck in a stylistic rut. Opening both dates at the Hi-Dive is anti-racist powerviolence band Zulu which injects its music with R&B samples and eschews the tough guy stance of hardcore.

Pond, photo by Matsu

Friday | 12.09
What: Pond w/Cryogeyser — rescheduled to April 16, 2023
When: 8
Where: Gothic Theatre
Why: Pond has shared membership with Tame Impala over the years with lead singer Nick Albrook being involved with both bands for a few years and Kevin Parker serving as drummer in earlier years and as a producer until 2020. The polished psychedelic pop of its first eight albums was helped in no small part due to Parker’s influence in the production department but with the 2021 album 9, Pond has given us its most interesting record to date with more grit in its overall sound, some edge to its funk elements and a willingness to embrace some rawness in its sound as well as take its atmospherics into a realm flirting with space rock. Los Angeles-based jangle fuzz trio Cryogeyser opens the show with its melancholic, lo-fi dream pop.

Obituary, photo by Tim Hubbard

Friday | 12.09
What: Obituary w/Amon Amarth, Carcass and Cattle Decapitation
When: 5:30
Where: The Fillmore Auditorium
Why: Obituary is touring ahead of the 2023 release of its new album Dying of Everything. After nearly 40 years as a band exploring the outer edges of the death metal format and pioneering some of that aesthetic it can be challenging to have something new to say with your music and a return to form can be tedious. But Obituary this time decided to stick to writing a strong set of material worthy of its pre-1997 split output. The dire messaging delivered with still convincingly brutal vocals but without cartoonish lyrics. Rounding out the bill are Seattle grindcore outfit Cattle Decapitation who are somehow both keenly aware of the absurdity and cruelty of modern human civilization and the need to ridicule the hubris of our species without making light of the situation in which we and other animals find ourselves due to a tolerance for savage forms of economic and social organization. And yes, grindcore/death metal legends/pioneers Carcass and Swedish, melodic death metal group Amon Amarth and its proclivity for lyrics about the Viking Age and a time before the Christian domination of Nordic culture.

The Smile, from the band’s Facebook page

Saturday and Sunday | 12.10 and 12.11
What: The Smile w/Robert Stillman
When: 7
Where: Mission Ballroom
Why: The Smile is Thom Yorke and Jonny Greenwood of Radiohead fame with drummer Tom Skinner of Sons of Kemet. The trio made its debut at Glastonbury Festival in 2021 and its music produced during the limitations of association and collaboration during the COVID-19 lockdown emerged as an intimate and spacious, lonely set of melodies and fragile emotional expressions. In 2022 the group released its debut album A Light for Attracting Attention. The record is contemplative as one might expect with the musicians involved but also vulnerable and open in sentiments embracing a massive level of uncertainty and peril that continues to flow seemingly unchecked in a world beyond the ongoing pandemic and perpetuating a sustained anxiety that will have untold impacts for decades to come and written about in history books or their equivalent in some future time should such indulgences be permitted in a post-authoritarian era. The Smile seems to have written a record from the perspective of people keenly attuned to these concerns and not knowing if they’ll live long enough to see better days but not being attached to a sinking spirit of despair.

Bartees Strange, photo by Luke Piotrowski

Wednesday | 12.14
What: Bartees Strange w/Pom Pom Squad and They Hate Change
When: 7
Where: The Bluebird Theater
Why: Bartees Leon Cox Jr. has worn various hats in his career both musical and otherwise. But he is perhaps best known for his music under the moniker Bartees Strange following his stint in in the post-hardcore band Stay Inside. With the release of his 2020 debut Live Forever, Cox has proven himself a master of writing emotionally nuanced and vulnerable pop songs that incorporate elements of indie folk and, synth pop and hip-hop but with a production element that seems to make the music and its complex arrangements hit with a stirring immediacy. Fans of Twin Shadow will hear some similar sonic touchstones and the sophomore album Farm to Table (2022) revealed more of Cox’s gift for genre bending to great effect in delivering songs that are at once deeply personal and politically charged.

Twin Tribes, photo from Bandcamp

Thursday | 12.15
What: Twin Tribes w/Dancing Plague and Plague Garden
When: 7
Where: HQ
Why: Twin Tribes from Brownsville, TX have garnered no small amount of buzz for its blend of minimal synth and post-punk and a kind of vitality amid melancholic tones. Its most recent studio album Ceremony (2019) sounds like songs written during a flurry of peak emotions and capturing the urgency and desperation of a recent breakup. In most cities of size, Twin Tribes is performing in medium sized clubs but in Denver we’re fortunate to be able to catch the popular band in a small club like HQ. Dancing Plague is a darkwave solo act from Portland, OR whose dusky synth pop is like a darker OMD with some touches of influence from John Maus. In the interest of full transparency, the author of this blurb is in Plague Garden, a noteworthy post-punk/New Wave band from Denver.

ABANDONS, photo by Tom Murphy

Thursday | 12.15
What: ABANDONS w/Old Soul Dies Young, Almanac Man and Fainting Dreams
When: 7
Where: Hi-Dive
Why: This show is a nice split of experimental noise rock and shoegaze. ABANDONS might at another time be considered a post-rock band but in its mix one hears bits of post-metal, noise rock and ambient and it live shows have a visceral quality with music that one might more expect to be performed in a more meditative spirit. Old Soul Dies Young is the kind of band that happens when guys who were way into post-hardcore and doom drop that sound palette for something more melodic and atmospheric but with the same level of sonic bombast. Almanac Man is like a collision of doom and borderline aggressive, Chicago style noise rock. Fainting Dreams is the kind of dream pop band that comes about when its members maybe came up through hardcore and death metal and are shedding the aggression and mathematical precision and heaviness for radical vulnerability and dreamlike tones.

Organ, photo by Tom Murphy

Friday | 12.16
What: Sounds for Charity: Avarice, Organ, No More Cheering, Gabriel Albelo
When: 7
Where: Glob
Why: Proceeds from this show go to Colorado Coalition for the Homeless. Warm weather gear and hand warmers also accepted. For your donation you can catch the glitch industrial dance stylings of Organ, Gabriel Albelo’s solo performance of his heavy psychedelic rock, Avarice’s dark, menacing industrial techno and the prepared noise environment soundscapes of No More Cheering.

Meet the Giant in 2022, photo by Tom Murphy

Saturday | 12.17
What: Love Stallion w/Shanghai Metro Temple and Meet the Giant
When: 8
Where: Lost Lake
Why: Love Stallion is basically an 80s style glam metal band and if that’s your thing they’re definitely on the better end of the modern version of that with of course stage antics and style and the level of musicianship you’d expect. Shanghai Metro Temple is a fairly straight ahead indie rock band that sounds like it is heavily influenced by late 90s alternative and hard rock. Meet the Giant fuse downtempo electronic pop with post-punk, heavy shoegaze and imaginative soundscapes on the production end.

Wave Decay in 2022, photo by Tom Murphy

Saturday | 12.17
What: Bluebook w/Wave Decay and Mon Cher
When: 8
Where: Globe Hall
Why: Bluebook these days isn’t the experimental indie folk jazz band of its early days. Instead there is a darkness and not so buttoned downed, controlled intensity to the performances. Seems like Julie Davis is letting her flaws, anxieties and dreams hang more loosely with this version of the band and that has just meant its music has blossomed more and its sound palette greatly expanded with the inclusion of formery Monofog and Snake Rattle Rattle Snake singer Hayley Helmericks on drums and backing vocals, Jess Parsons on keys and other instrumentation and maybe even Anna Morsett on guitar. Wave Decay is the kind of band that sounds like it took the door through psych garage into more shoegaze sounds and all the better for it. Mon Cher’s music is a particularly transporting and lies somewhere between dream pop and downtempo jazz.

Milk Blossoms in 2021, photo by Tom Murphy

Saturday | 12.17
What: Milk Blossoms w/Meek and Knuckle Pups
When: 8
Where: Hi-Dive
Why: Knuckle Pups write radically vulnerable and thoughtful indie pop in the classic mold and its 2022 album TV Ready is both heartbreaking and uplifting. Milk Blossoms play a rare show with Michelle Rocquet now that she spends much of her time in New York City for professional and academic pursuits. So with this configuration of the band you’ll get the full dual vocal effect of powerfully rendered, tender pop songs that are irresistibly twee and cathartic.

Master Ferocious in 2021, photo by Tom Murphy

Sunday | 12.18
What: Never Kenezzard w/Zingaro, Sea of Flame and Master Ferocious
When: 3
Where: Globe Hall
Why: Never Kenezzard don’t really fit in with the metal scene so much though its blend of progressive rock sensibilities, doom and psychedelia finds it in a particularly more interesting corner of that realm of music. Sea of Flame are a sludge rock/doom band whose epic arrangements are not the rote edition of what doom has become. Master Ferocious somehow mix classic power metal with glam rock without seeming corny because the musicianship is so strong and the performance bordering on theatrical.

Alaska Thunderfuck, photo by Albert Sanchez

Sunday | 12.18
What: Alaska Thunderfuck Presents: The Red 4 Filth Tour
When: 7
Where: The Bluebird Theater
Why: Alaska Thunderfuck is perhaps best known for her competing in RuPaul’s Drag Race but over the last several years she has cultivated a pop music career. Steeped in modern electronic pop and a showcase for her outsize stage persona. Her latest album Red 4 Filth leaves behind some of the camp and humor of previous releases with a more obviously sincere set of pop songs that bring together sounds from hip-hop and classic modern pop including a cover of “All That She Wants” by Ace of Base.

Faceman in 2013, photo by Tom Murphy

Thursday | 12.22
What: FaceMan Western Jupiter vinyl release, Tivoli Club Brass Band and Anthony Ruptak
When: 7
Where: The Skylark Lounge/Bobcat Club
Why: Faceman celebrates the release of its latest album on vinyl as well as making available on vinyl for the first time its 2016 album Wild and Hunting. The band fronted by Steve Faceman has long offered finely crafted pop Americana with an experimental edge though its new album Western Jupiter shows an embrace of a more straightforward approach to songcraft. But every release is fulled with songs that have heartfelt and sharply observed lyrics in stories about life that feel like they’re part of your life because Steve has honed in on an aspect of culture and social reality that seems to be in the air in that moment. In years past Faceman has put on theatrical performances with set pieces and costumes that help to illustrate the music in dramatic fashion in collaboration with local visual artists who have helped to make these outfits and elaborate sets and pieces of artwork like the stage Megalodon of several years ago or the huge tornado of paper made for the epic Faceman’s 100 Year Storm event of 2016 at The Oriental Theater in which Faceman invited 100 bands to perform. So there’s a bit of community involvement and creative vision behind what drives the band even if it’s not necessarily abundantly obvious from listening to its excellent songs on their own.

SORROWS, photo by Tom Murphy

Friday | 12.23
What: Baby Baby, Gila Teen, SORROWS and Ray Diess
When: 7
Where: Enigma Bazaar
Why: Baby Baby is the indie dream pop project of Lily Conrad. Reminiscent of bedroom pop artists of the late 90s and 2000s and has the aesthetics of lo-fi but with better sound production than much of that stuff often had. Gila Teen is the genre defying emo-shoegaze-post-punk band whose eccentric songs nevertheless always seem to be a direct line into the anxieties and affections coursing through the cosmos at the given moment of the performance. SORROWS is an emotionally charged downtempo band comprised of vibrant vocals, elegantly crafted rhythms and electronic production. Ray Diess is one of the Denver scene’s most compelling darkwave pop artists operating today.

Julian Street Nightmare, photo by Tom Murphy

Friday | 12.23
What: Fast Eddy, Julian Street Nightmare and Morning Oil
When: 8
Where: Globe Hall (free)
Why: When garage punk and the more mundane end of psychedelic rock collapsed under the weight of its own hubris and fake excitement some of the people who were on one end of that broader scene with any talent or imagination had to do something different and Fast Eddy came out of that milieu as a solid power pop band. Julian Street Nightmare create music from a thrilling nexus of post-punk, surf rock and art rock. Morning Oil sounds like it took some bit of inspiration from the better part of 80s glam metal and The Dead Boys.

Tuesday | 12.27
What: The Roots and BIG K.R.I.T.
When: 7
Where: Mission Ballroom
Why: The Roots are the influential, jazz rooted hip-hop band from Philadelphia that many may also know for serving as the house band on The Tonight Show Starring Jimmy Fallon. Its use of live musical instrumentation has always set The Roots apart from most hip-hop groups whose use of samples is most often used to craft the beat and thus its live performances have a powerful physical presence that is impossible to duplicate otherwise. Big K.R.I.T. is the acclaimed rapper and producer from Mississippi whose eclectic production and socially conscious lyrics seem to hit at a very grassroots level of appeal with an accessible sound and a way of presenting heady ideas in a way that is both creative and personally relatable.

Voight, photo by Tom Murphy

Thursday | 12.29
What: Watch Yourself Die, Voight, Sell Farm https://www.eventbrite.com/e/sell-farm-voight-wyd-at-the-mercury-cafe-tickets-481076160747?aff=ebdshpsearchautocomplete
When: 8
Where: Mercury Café
Why: Watch Yourself Die is kind of a post-punk supergroup comprised of members of Hex Cassette, Ray Diess and Julian Street Nightmare. Voight has long blurred the line between shoegaze, post-punk, darkwave and techno and infused it with emotionally intense live performances. Sell Farm might be an indiepop band but one that doesn’t see a reason why heavy dub and industrial music can’t be a part of the overall wheelhouse of sounds going into the project’s eclectic but always interesting songwriting.

Thursday | 12.29
What: Discomfort Creature w/Curious Things, Nightfishing
When: 8
Where: Hi-Dive
Why: Discomfort Creature is a punk band from Denver whose lineup includes current and former members of Gamits and Uphollow and this show signals the vinyl release of its 2021 self-titled debut on Snappy Little Numbers now that Chris Fogal is back in town for the occasion from his current residence in Switzerland. The record is an energetic fusion of pop punk and the more angular, Dischord-esque variety of punk.

Brotherhood of Machines at Deep Club event in 2014, photo by Tom Murphy

Friday | 12.30
What: FOANS, Brotherhood of Machines (album release) and Luxury Hearse
When: 9
Where: Broadway Roxy
Why: FOANS is the brainchild of producer Andrew Dahabrah whose melancholic house and techno music has been at the center of Denver’s underground dance music world for several years. Luxury Hearse is the project of Dan Coleman (Blank Human) and Rin Howell (Psychic Secretary) that breaks the barrier between techno, ambient and musique concrète. Brotherhood of Machines is apparently returning with its first new release and album in over six years. The project live has been a mysterious and sonically rich example of where ambient, abstract industrial, techno and noise converge to produce a sound that establishes a deep sense of mood and place.

To Be Continued…

Best Shows in Denver and Beyond October 2022

black midi performs at The Fox on 10.3.22 and The Ogden on 10.4.22, photo by Atiba Jefferson
Amyl and The Sniffers, photo by Jamie Wdziekonski

Saturday | 10.01
What: Amyl and The Sniffers w/Boby Vylan and Cleaner
When: 7
Where: Ogden Theatre
Why: Amyl and The Sniffers may be named after amyl nitrate aka poppers as well as a humorous nod to singer Amy Taylor’s name but its own buzz has lasted much longer than thirty seconds. The group’s early EPs Giddy Up (2016) and Big Attraction (2017) garnered the group an avid cult following in its hometown of Melbourne, Australia as well as abroad where its fuzz-infused proto-punk sound felt like a stripping back of even punk to its essentials. The band’s 2019 self-titled album and fiery live shows cemented its reputation as one of the most exciting live bands of recent years. In 2021 Taylor guested on the song “Nudge It” by influential UK duo Sleaford Mods and Amyl and The Sniffers released the sophomore album Comfort to Me. As noteworthy as the earlier records were, Comfort to Me has the group sounding as massive as the furious energy that seems to be fueling its performances this year thus far.

Abrams, photo by Kim Denver

Saturday | 10.01
What: Abrams album release w/Lost Relics, Vexing and Lord Velvet, poster art by Mhyk Monroe
When: 8
Where: Hi-Dive
Why: Calling Denver metal band Abrams doom has never quite fit the group even though that’s roughly where maybe its music has landed in terms of framing. Its new album In The Dark has such an expansive spirit and deep atmospherics that its surging melodies and weighty hooks might be compared with those of Baroness, especially the newer offerings from that band. But this new record also has a touch of psychedelia on its fringes. The vocal harmonies sound and the incandescent guitar riffs somehow complement each other perfectly guided by elegantly interlocking rhythms. Live the band’s raw power feels almost as much punk as it does metal with turns of musical phrase that take the music into sonic realms beyond both making Abrams one of the most interesting bands in heavy music out of Denver right now.

Saturday | 10.01
What: Daniel Avery
When: 9
Where: 1134 Warehouse
Why: Daniel Avery is poducer from Bournemouth, UK whose work with the likes of synth pop artist Little Boots and nu disco project Hercules and Love Affair garnered him no small amount of cache in the world of electronic music. His latest solo album Ultra Truth is reminiscent of late 90s Underworld but more ambient, more progressive/ethereal deep house.

The Afghan Whigs in 2017, photo by Chris Cuffaro, courtesy subpop.com

Saturday | 10.01
What: The Afghan Whigs
When: 8
Where: Gothic Theatre
Why: Afghan Whigs have long fused R&B and rock in powerful, poetic ways since the late 80s. Early comparisons to the Replacements seem a bit obvious because of the group’s passionate performances even decades later. But there is also in its music a soulful core that offers great distillations of universal human experiences and an evocation of emotion that especially live is irresistible. The group’s 1993 album Gentlemen put it on the map nationally and internationally and even now it sounds like something fairly timeless when a lot of 90s music sounds of the period. The 2022 album How Do You Burn? feels more dark and electronic than previous records but in being so like its expanding on its core sound in a bold way that it began on 2017’s In Spades.

black midi, photo by Atiba Jefferson

Monday and Tuesday | 10.03 and 10.04
What: black midi w/Quelle Chris
When: 7:30 (10.03), 8 (10.04)
Where: Fox Theatre (10.03) and Ogden Theatre (10.04)
Why: For connoisseurs of highly imaginative art rock, London’s black midi has been a go to for finding some of the most wild dynamics and musical ideas this side of Frank Zappa for many years. Its much more than its truly creative and unique guitar and bass compositions and performances its like these guys tap into various sounds in orchestrating a musical experience that exists outside normal time. Its new album Hellfire (2022) feels like a lounge jazz variety show as curated by Anthony Braxton, Zappa or Zach Hill. The group uses its hyperkinetic maximalist approach to songwriting in ways that clearly aim at producing compelling songwriting and not just as an exercise in superior musicianship. Like a Can having come up after being influenced by Women and Hella.

Iceage, photo by Fryd Frydendahl

Monday and Tuesday | 10.03 and 10.04
What: Iceage and Earth
When: 7 (10.03) and 8:30 (10.04)
Where: The Marquis Theater (10.03) and Fox Theatre (10.04)
Why: Danish band Iceage had an immediate cult following with the release of its 2011 album New Brigade and its tour of small clubs DIY spaces including Rhinoceropolis in Denver, Colorado that year revealed a band that sat at the nexus of hardcore and moodier yet cathartic post-punk. But as the band developed its sound it grew into a brilliantly decadent art rock that might have had more sonic kinship with 80s Nick Cave and the Bad Seeds and with its most recent studio offering Seek Shelter it reconciled its various creative instincts for music that had both the forcefulness of its early music and the sophistication of what came after. In September 2022 Iceage released Shake The Feeling: Outtakes & Rarities 2015-2021 including songs that could have easily have been on the records of that time period but which didn’t quite fit in and showcased how Iceage had absorbed power pop and the noise rock of the likes of Dinosaur Jr. Also on this tour are doom legends Earth whose visionary heavy blues psychedelia has been an influence on most doom bands since its own 1989 inception whether they know it or not. Its soundscapes and use of drone has an almost ritualistic, mystical quality that utilizes slow, hypnotic progressions to build dramatic tension and release in a way that draws you further into emotional spaces maybe you had shuffled to the side in the headlong pace of everyday life but are better off experiencing and processing in the ways Earth seems so adept at facilitating with its gorgeous layers of psychedelic heaviness.

Ceremony, photo by Rick Rodney

Wednesday | 10.05
What: Ceremony w/Spy, Restraining Order and Candy Apple
When: 7
Where: HQ
Why: Ceremony was considered one of the great bands of 2000s hardcore with its 2008 album Still Nothing Moves You standing as one of the most potent examples of that music of that decade. But its own musical ideas were progressing rapidly out of hardcore and 2010’s Rohnert Park contained experiments in sound and songwriting that were well out of the hardcore frame. Zoo (2012), though, had Ceremony well into post-punk territory and though its tour for the album had the band in high, ferocious form it was a fascinating contrast with music that seemed to be more in tune with its atmospheric potential rather than merely the visceral. Since then the group has gone straight into arty almost glam rock territory with its most recent album In the Spirit World Now (2019) making Ceremony a band that is forging a creative path that is yielding fascinating results with every release.

Broken Social Scene, photo by Richmond Lam

Wednesday | 10.05
What: Broken Social Scene w/Jasmyn
When: 7
Where: Summit Music Hall
Why: Broken Social Scene is a bit of a supergroup making glorious and epic art pop whose membership has included musicians from Do Make Say Think, Metric, Feist, Stars and other notable Canadian musical projects. For this tour the group is celebrating the twenty year anniversary of the release of its monumental 2002 album You Forgot It In People. While orchestral in its arrangements the album’s lush sound felt like an intimate exploration of personal aspirations, identity and culture through an eclectic run of songs that could be awash in nostalgic ambient pop haze and urgent rock songs that harnessed an exuberant energy that seemed to drive the whole album underneath its inspired moments of reverie. The original record featured eleven members and its tour at that time delivered on the seemingly daunting promise of the recorded album and this is a chance to catch that moment in the group’s development one more time.

Night Moves, photo by Shawn Brackbill

Thursday | 10.06
What: Night Moves w/Free Music
When: 7
Where: Globe Hall
Why: Night Moves is a rock band from Minneapolis that has been honing its blend of power pop, psychedelia and Americana since forming in 2010. Across three albums and now two EPs Night Moves’ eclectic style with one leg in modern American indie rock and the other in soul and R&B has evolved and refined to produce the expansive and bright yet introspective moods you hear in its 2022 EP The Redacted. Its its flow of melodic layers and sonic detail one might hear the touch of the more cosmic end of Gram Parsons and Spirit as well as some resonance with what more modern artists like Whitney and Foxygen have done in melding a classic songwriting sensibility and modern use of electronic production in achieving a depth of atmosphere but accomplished with more tangible instrumentation.

Thursday | 10.06
What: Pusha T w/IDK
When: 7
Where: Gothic Theatre
Why: On his fourth studio album It’s Almost Dry, rapper Pusha T puts his usual commanding string of bars over beats that are a mixture of inspired sampling and deeply evocative and atmospheric melodies. The title of the album he said in an interview with Rolling Stone references the making of a painting and thus an album as it’s being finalized. But also drug culture when you have to wait on the product to dry before it can be distributed. And the album walks those boundaries in terms of them and metaphors brought to bear. Once again, like Pusha T’s 2018 masterpiece Daytona, this new record sounds like a journey through the labyrinth of aspirations and personal ghosts that require creativity and boldness to navigate without getting sunk by the trappings of the former and the enervating power of the latter.

Shame, photo by Sam Gregg

Friday and Saturday | 10.7 and 10.8
What: Viagra Boys w/Shame and Kills Birds
When: 7:30 (10.7) and 7 (10.8)
Where: The Fox Theatre (10.7) and The Gothic Theatre (10.8)
Why: Viagra Boys are a Swedish rock band that has defied easy categorization going back to its audacious 2018 debut album Street Worms. Like if a post-punk band embraced the more glam and art rock roots of that music while giving it a raw edge. With the release of 2022’s Cave World the group seems to have let go of any stylistic restraints that have guided it in established directions. The brash and irrepressible energy heard on the record has garnered comparisons by critics to Iggy Pop and one would presume to IDLES. But Viagra Boys more than dabble in electronics and “Troglodyte” sounds like Devo pushed through a garage rock lens. And live Viagra Boys have earned the Iggy-esque reputation with exuberant performances that sound and feel like they could collapse or go off in unexpected directions at any moment. Co-headliners Shame from South London have had a similar creative trajectory as Viagra Boys. Its own first album, Songs of Praise, also dropped in 2018 to great acclaim. But its much-anticipated sophomore album Drunk Tank Pink more than delivered when it was available in mid-January 2021 during a period when live music was basically at a standstill due to the pandemic but anyone that pre-ordered the record got to see a stream of an intimate and emotionally stirring performance of the songs not only revealing how Drunk Tank Pink was a leap into new directions for Shame but how it was able to take its own raw energy and channel that into sensitive and nuanced yet powerful takes on the sense of desperation and and pent up frustration with nowhere to go but plug those feelings into a rare depth of personal reflection, in particular the track “Human, For a Minute” and its perfect and poetic encapsulation of a kind of emotional solidarity based in universal human experiences that anyone can identify even beyond the circumstances of the enforced life limitations of the pandemic and the emergent sense of personal dignity discovered by most people that had been covered over by the headlong momentum of the fraud that was “normal life.” And if two of the best bands out of the wide realm of post-punk wasn’t enough Kills Birds from Los Angeles is a noise rock trio whose own scorching and unrelenting songwriting has garnered great critical acclaim and fans like Kim Gordon and Dave Grohl. Its 2021 album Married is obviously informed by music from the grunge era but also oddly reminds one of the youthful energetic outburst of Minor Threat combined with the elegant and gritty moodiness of Live Skull.

Friday | 10.7
What: Suzanne Vega
When: 7
Where: Boulder Theater
Why: The a capella recording of “Tom’s Diner” was used as a test track during the development of the MP3 digital audio format. The track was at the end of Suzanne Vega’s 1987 breakthrough album Solitude Standing, bookending one of the most sensitive and knowing and clever records of the 1980s with “Luka,” a song about child abuse, an unlikely mainstream radio hit. But Vega’s idiosyncratic, folk rock songs had already made waves in college radio and would continue to do so long after the mainstream no longer seemed to shine its light on the talented songwriter’s career. Vega perhaps became known to a wide audience with her song “Left of Center” as it appeared on the soundtrack to the 1986, John Hughes penned coming of age film Pretty In Pink.

Verhoffst in 2021, photo by Tom Murphy

Saturday | 10.8
What: Verhoffst, KNEIFFII, Laudanum_quilt, ET Mac & the Alien, DJ URSA and No More Cheering
When: 6, $10 cover
Where: Glob
Why: This is fundraiser for Puerto Rican mutual aid group Brigada Solidaria del Oeste featuring some of Denver’s finest industrial noise and experimental sound sculptors.

Kid Bloom, photo by Diego Andradei

Saturday | 10.8
What: Kid Bloom w/Wizthemc and All Things Blue
When: 8
Where: Lost Lake
Why: Kid Bloom’s style of indie pop seems to be inspired by the sort of chillwave and hip-hop production that The Weeknd has perfected up to this point. But his new album Highway sounds like an introspective journey (street sounds included) through a mood that feels like he’s trying to leech out a malaise and spiritual exhaustion that sits deep inside through a radically self honest look at his own ways of conducting himself and his life from often subconscious and almost always else unexamined motivations as tied with life experiences that can tumble by you into a dark place in your head left neglected in the headlong pace in modern life. In the song “Cowboy” alone when Kid Bloom sings “when desperation pulls me closer” its obvious that he’s become very familiar with a deep place in his own psychology and took the opportunity to explore that territory in his music with an aim to soothing and letting those personal demons go. It’s just that the lush synth work and production like an even more luminous early Twin Shadow makes these feelings seem possible to process with success.

DaiKaiju, photo courtesy the artists

Saturday and Sunday | 10.08 and 10.09
What: DaiKaiju w/TripLip
When: 7
Where: The Squire Lounge (10.08) and 715 Club (10.09)
Why: DaiKaiju is the legendary surf and psychedelic kabuki theater and kaiju themed rock band from Alabama. Its shows involve fire and wildly energetic performances and a transformation of the venue into a ritual space of fun and rock and roll myth come to life. Opening the show as usual is Denver dup TripLip whose fusion of experimental prog, weirdo jazz, funk and punk with elements of performance art is the perfect complement to the strangeness that is a DaiKaiju show.

Psychedelic Porn Crumpets, phot by Matt Puccinelli

Saturday and Sunday | 10.08 and 10.09
What: Psychedelic Porn Crumpets w/Acid Dad
When: 8 (10.08) and 7 (10.09)
Where: Globe Hall
Why: Psychedelic Porn Crumpets from Perth, Australia have certainly chosen a surrealistic and absurd name for the band but it’s one that you don’t forget despite its three words and multiple syllables. It makes no sense and therefore doesn’t automatically suggest an aesthetic or a sound other than something colorful and certainly its brand of fuzzed out guitar atmospherics and sublime vocal melodies swimming in a wavy, expansive dynamic embodies what modern psychedelia should be more like. Its 2022 album Night Gnomes has song titles worthy of Black Moth Super Rainbow and an unabashed playful trippiness in its tonal choices and the visual representation of the music akin to early Mercury Rev. Also on the bill is the surprisingly original and not at all style victim psychedelic rock band Acid Dad whose elegant compositions are enveloping and hypnotic with irresistible whorls of transporting soundscaping.

Sunday | 10.09
What: Cyclo-Sonic w/The Valve
When: 1
Where: Wax Trax
Why: Cyclo-Sonic is an always forceful post-grunge punk band comprised of members of local punk legends like Rok Tots, The Choosey Mothers, Fluid and Frantix. The quartet recently released its most recent album Everything Went Stupid on Big Neck Records and may be available at the show ahead of the official October 21, 2022 release date.

Melt-Banana in 2011, photo by Tom Murphy

Sunday | 10.09
What: Melt-Banana w/Quits and Wiff
When: 7
Where: Larimer Lounge
Why: Melt-Banana is a ferocious ball of sounds and ideas that seem to erupt in multiple directions at the same time live on stage so that its manic energy and dazzling array of noises fits nicely in the realm of noise rock, grindcore, glitchcore, math-y hardcore and really like no other band even from the very rich world of Japanese experimental rock. That the group was inspired by the raw originality of the bands on the No New York compilation as the baseline starting point in being able to carve out its own sound should come as no surprise. Quits from Denver might be simply described as noise rock as well but there is something also primal in its angular and unpredictable musical and emotional trajectories that makes it sound dangerous from the beginning of a song to the end.

MAITA, photo by Tristan Paiige

Sunday | 10.09
What: MAITA w/Allison Lorenzen and Moodlighting
When: 7
Where: The Skylark Lounge Bobcat Club
Why: MAITA released one of the most poignant and astute set of songs on the deleterious effects of overstimulation through the bombardment of information and the demands of that constant flow on psyche with I Just Want To Be Wild For You (2022). But the songs hit deeply personal notes with a gentleness of spirit that also conveys a coherence of creative vision that comes from serial realizations about the world around you. MAITA’s pairing of exquisite vocal melodies and evocative counter melodies in the music lend the music an intimacy of tone that feels like MAITA has given voice to some of your own anxieties and discovered a way to make them explicable and easier to untangle. Allison Lorenzen has created some of the most compellingly and emotionally stirring ambient and experimental folk of recent years out of Denver. Moodlighting’s blend of shoegaze and dream pop is delicate and vulnerable and in being so draws you into its poetic commentary on life in this tentative and confusing era.

Front 242 in 2019, photo by Tom Murphy

Sunday | 10.09
What: Front 242 and The Revolting Corpse
When: 7
Where: The Oriental Theater
Why: This is the final North American tour for the foundational, influential and legendary EBM band Front 242 who despite some of their martial sounds and hard industrial visual aesthetic have made songs about the human condition with humor and insight. The Revolting Corpse is a bit of an industrial music super group that for this iteration, the last of its kind, will include founding Revolting Cocks members Paul Barker and Chris Connelly.

Kaelan Mikla i 2019, photo by Tom Murphy

Monday | 10.10
What: Kaelan Mikla w/Kanga and Midnight Marionettes
When: 7
Where: HQ
Why: Icelandic post-punk trio Kaelan Mikla returns to Denver following the release of its 2021 album Undir K​ö​ldum Nor​ð​urlj​ó​sum. Its suffusion of the otherworldly and ethereal into its primal sound gives its melodies a visceral quality that renders its signature styles in cool colors and tonal stark yet bleeding contrasts. The sublime and the feral in its vocals playing off each other gives it the flavor of a Viking epic that wouldn’t be out of place in a future show about Vikings that are versed in magic and mysticism.

Tuesday | 10.11
What: The Mars Volta w/Teri Genderbender
When: 7
Where: Mission Ballroom
Why: The Mars Volta is the influential art rock band that formed after the split of the also impactful arty post-hardcore group At the Drive-In. The Mars Volt combined the angular dynamics and raw power and energy of punk with the creative ambition and histrionics that informed Led Zeppelin and the progressive rock of King Crimson. With a new, self-titled album out that reveals an outfit that has pared back some of its inspired, sprawling workouts of politico-mystical poetry and elongated phrasings in favor of songs that cut with the intro and get into the heart of the songwriting and seem to have incorporated more straightforward pop songcraft and gentleness of textures into its soundscapes. It doesn’t sound like a group of artists that are trying to recapture previous glory but pushing forward toward musical ideas that may once again be ahead of the tastes of previous fans.

Otoboke Beaver, photo by Mayumi Hirata

Tuesday | 10.11
What: Otoboke Beaver w/Cheap Perfume
When: 7
Where: Globe Hall
Why: Otoboke Beaver from Kyoto, Japan takes cultural references, tropes and frustrations and shreds them and reassembles them in a surrealistic yet cathartic bursts of mutant punk rock fury. That this process is set to hypermanic melodies that are undeniably catchy and even infectious is a testament to their deep resonance with anyone that has had to tangle with the alienation of modern hypercapitalism and the way it warps culture and consciousness unless you make a break with it and turn it in on itself the way Otoboke Beaver has done not just with that particular brand of psychological conditioning but also with the baked in misogyny of Japanese and Western culture. But this band makes it seem fun and revolutionary by virtue of making that critique seem exciting. None more so than on its 2022 album Super Champon. It’ll be in good company with the radical yet immediately relatable subject matter and the energy of Colorado Springs punk band Cheap Perfume who mince no words in their deconstruction and dismantling of sexist tropes.

Superorganism, photo by Jack Bridgeland

Tuesday | 10.11
What: Superorganism w/Blood Cultures
When: 7
Where: Meow Wolf
Why: Superorganism’s 2022 album World Wide Pop is another exploration of the outer edges of where accessible pop song can occupy in its ever-expanding aesthetic. From the beginning it has a production style and pacing that feels like constant weirdo advertisement for some strange variety show with a level of sampling and manufacturing of samples nearly on par with a hip-hop record of old. To merely dub what the band does as psychedelic pop doesn’t do justice to how genuinely strangely its songs come across. Like if Elton John co-wrote an album with Cut Copy as produced by Charli XCX inspired to make an album that tapped into the cheesiest of 1980s synth pop and turned it inside out. It’s the kind of music that washes through your brain and lingers for longer than average with so many unusual song ideas it might take your brain a minute or ten to catch up and appreciate what you’ve just heard.

Why:

Tuesday | 10.11
What: Kris Baha w/Mvtant, Modern Devotion and DJs Moody and Wngdu
When: 9
Where: Glob
Why: Kris Baha got his start in the Melbourne, Australia club scene with the industrial weekly event Power Station. But these days Baha calls Berlin home but his crafting of dark, hard techno with a leg in EBM has been on a steady arc of development that these days intersects aesthetically with the likes of darkwave artists likes Kontravoid and hardware-based industrial techno like Mvtant who is also on the bill and Modern Devotion, which is the techno project of Adam Rojo from post-punk group Voight.

Alex G, photo by Chris Maggio

Wednesday | 10.12
What: Alex G w/Barrie https://www.ogdentheatre.com/events/detail/434815
When: 7
Where: Ogden Theatre
Why: Alexander Giannascoli aka Alex G is one of the most gifted pop songwriters of his generation with a respectable track record of orchestral indie folk that is sharply observed and widely eclectic and inventive in production and swapping and collaging styles. This unorthodox aesthetic is very much to the fore on the new Alex G record God Save the Animals where the songwriter free employs processing on all sounds and at times casts his voice in different modes including some of the only cool use of autotune in “Cross the Sea” where he also uses surreal and bizarre tones to establish a mood of resigned melancholy. But the whole record sounds like an exercise in fascinating experiments making catching him on this tour look promising in getting to see a lot of the new material live.

Clutch, photo by Dan Winters

Thursday | 10.13
What: Clutch w/Helmet, Quicksand and JD Pinkus
When: 6
Where: Fillmore Auditorium
Why: Over thirty years into its career Clutch continues to defy easy categorization in being too close to the spirited drive of punk to be strictly metal, too sludgy and groove oriented in its riffs to be punk. Too charged with momentum to truly be a “stoner rock” band and too willing to experiment with its core sound and ideas to stay stuck in the same musical rut for decades because something worked with commercial success years ago resulting in an ossified style. Its new album Sunrise on Slaughter Beach doesn’t reinvent Clutch’s aesthetic so much as show how the band still knows how to write hard rock with a clarity and economy of style without compromising its ability to stretch out and get weird, the title track being a prime example. Also on the bill are noteworthy practitioners of sludgy heaviness from the alternative rock era with Helmet and Quicksand who on their own would be worth catching live. And JD Pinkus who some may know for his tenure in Butthole Surfers on Honky.

Thursday | 10.13
What: The Peculiar Pretzelmen, Vampire Squids From Hell and Plastic Rakes
When: 8
Where: Jester’s Palace
Why: The Peculiar Pretzelmen from Los Angels is a band that took the challenge of making its own instruments sometimes parted out from other instruments or from everyday objects in order to craft music so idiosyncratic yet accessible one wonders how there hasn’t already been an eccentric documentary about the band. Musically its somewhere betwixt Bob Log III, Flat Duo Jets, a steam punk version of Dead Moon and Pere Ubu. Fitting enough that psychedelic, noisy surf rock weirdos Vampire Squids From Hell are opening as are prog pop trio Plastic Rakes.

Zombi, photo by Matt Dayak

Thursday | 10.13
What: Om w/Zombi
When: 7
Where: Gothic Theatre
Why: Om might be described as ritual doom as its songs combine sonic elements you might more readily associate with devotional music. Compound time signatures that make the music resolve in ways that sink into the mind and move you in ways that feel like they’re coming from a primal place and processed drones that serve as a meditative preparation and backdrop to the direct action of each song. With the high volume of the live setting Om’s music comes off both cosmic and channeling the energies of an ancient and largely forgotten mother civilization to those we know now. Pittsburgh’s Zombi is perhaps best known for its true fusion of heavy rock with synthesizer music in crafting music that at times might remind one of the psychedelic progressive rock of Goblin who composed music not only for Dawn of the Dead (named Zombi in Italy from which this project borrows its own moniker) but multiple Dario Argento horror classics. Chances are this performance will feature that end of the group’s music. The duo’s most recent album is Zombi & Friends Vol. 1 which is a set of fairly faithful covers of songs by The Eagles, Alan Parsons Project, Dionne Warwick, Eddie Rabbit, The Doobie Brothers and more soft rock and pop artists whose work primarily emerged prominently in the 1970s. Somehow it works and the record itself includes appearances from members of The Sword, Trans Am, Pinkish Black, Zao and others. Maybe you’ll get to see some of that too.

Friday | 10.14
What: Honey Blazer vinyl release w/Body and Jasper Adkins
When: 8
Where: Lost Lake
Why: Denver’s Honey Blazer is the kind of band that seems to have unabashedly come out of that flood of indie psych and 1970s folk rock revival of the 2010s. But like many of those bands at least the songwriting is deeply attentive to craft and tight performances that give its sound great range and nuance. Its debut album Lookin’ Up has an elegance and poetry of composition that transcends any of the aforementioned considerations like if a group of guys took threads of the Dead and The Velvet Underground at their most pop and countrified and absorbed late 60s Flying Burrito Brothers along with Joni Mitchell of that same era and infused it with a touch of Bob Dylan with The Band and Fairport Convention but all translated through the lens of modern sensibility. Like what indie Americana wants to be but rarely achieves.

Maude Latour, photo courtesy the artist

Friday | 10.14
What: Maude Latour w/Charlie Hickey
When: 8
Where: Globe Hall
Why: Since 2019’s Starsick, Maude Latour has been releasing a series of inventive pop EPs including her latest, 001 from 2022. Her take on indie R&B and dream pop has an layer of complexity with thoughtful personal observations and her willingness to experiment with the composition of her beats and melodies freely borrowing from experimental electronic music and vocal processing. At times her music is reminiscent of what Alice Glass has been doing since going solo but Latour’s vocal style is very much her own and wide-ranging and inventively eclectic.

Guerilla Toss performs at Lost Lake on October 15, 2022, photo by Vanessa Castro

Saturday | 10.15
What: Guerilla Toss w/Forty Feet Tall and Hex Cassette
When: 8
Where: Lost Lake
Why: For the past decade Guerilla Toss has been pushing the envelope of the fusion of experimental electronic music and art rock. From its artwork to its music videos and stage show, Guerilla Toss has always put a personal touch to how it engages with a potential audience. In putting forth an idiosyncratic creative vision the band has in its way encouraged anyone encountering its music to forge their own path whether as fellow creatives or someone just getting through life and resisting a beige compliance with a standard issue existence. The latest Guerilla Toss album Famously Alive is somehow simultaneously its most adventurous and accessible album to date with songs that sound like they’re coming from the edges of dreams and expressive of a spirit of hopefulness and acceptance, of a will to use imagination to explore the potentials life has to offer if your existence wasn’t limited by practical considerations.

Church Fire in 2021, photo by Tom Murphy

Saturday | 10.15
What: Church Fire album release w/Xadie James Orchestra, Dragon Drop and Sell Farm
When: 8
Where: Hi-Dive
Why: Wildly energetic and intense industrial dance trio Church Fire is celebrating the release of its album puppy god on Witch Cat Records with this show sharing the stage with like-minded weirdos and comrades in deconstructing popular musical styles and infusing it with a social analysis that is both inspirational and in which its easy to get swept up in the moment. The new album itself is like a science fiction novel in which one imagines a better future in spite of the time of troubles we’re experiencing at this moment. It’s an embrace of a perhaps foolish hope that the collective us can endure the onslaught of authoritarian politics and culture and outlast its momentum.

Metric, photos by Justin Broadbent

Saturday | 10.15
What: Metric w/Secret Machines
When: 7
Where: Fillmore Auditorium
Why: Keeping your band going for twenty-four years is challenging enough but even more so is to sustain a band with some artistic ambition and inventiveness across a similar period but that’s what is obvious from Metric’s 2022 album Formentera. The dream-like atmospherics and lush soulfulness of the music is still there. But this time around, perhaps more so than on previous albums, Metric takes aim at some of the serious issues that are coming crashing into human civilization that are impacting us all in a direct and personal way. The band is calling this tour the “Doomscroller Tour” after the first song on the album and how the very common habit of scrolling through social media and the news and being confronted with the horror, oppression, violence, despair, deprivation, disaster and much more that has come to be considered the norm and a generalized dissociation seems like a feature of modern life as a coping mechanism that can be psychologically paralyzing when it becomes a generalized state of mind. The album in its grand vistas of beauty and menace aims to disrupt that process with some choice commentary and music that inspires movement and challenges complacency in listeners as well as in the creation of the songs that seem to mark a new era for the long-running band.

Meet Me @ The Altar, photo by Lindsey Byrnes

Saturday | 10.15
What: Meet Me @ The Altar w/MUNA at Boulder Theater
When: 7
Where: Boulder Theater
Why: Synth pop trio MUNA could have gone a different route since two of the three members are guitarists but having met in college at the University of South California they decided on taking a different route. And the result is an electronic pop sound with great momentum in its rhythms and vocal harmonies that soulful and vital. Opening act Meet Me @ The Altar is a pop-punk group from Florida that is really combining musical styles in an exuberant mix that takes that emotionally expansive and open and self-affirming spirit of pop-punk and blends it with joyful pop production for a sound that is genuinely exciting and uplifting. Earlier in the year the group released an acoustic version of its 2021 EP Model Citizen.

Taleen Kali, photo by Scarlett Miranda

Sunday | 10.16
What: Taleen Kali w/Tuff Bluff, Galleries and Princess Dewclaw
When: 7
Where: Hi-Dive
Why: Taleen Kali spent the early part of the 2010s in the experimental, exuberant garage/shoegaze outfit TÜLIPS. But for the past few years with the project under her own name, Kali has been establishing her own sound that draws on some of those early influences but might be considered in the realm of post-punk, raw psychedelic rock and dream pop in a vital fusion of elements. Her forthcoming album Flower of Life is an emotional and musical journey from a fiery and direct energy to something more contemplative and tranquil. This tour may feature a good deal of that material before you can hear it in full in early 2023 and the group has a certain forceful and charismatic quality that makes the music hit harder than one might expect. Also on the bill is s Sarah Fischer’s latest project Tuff Bluff and noisy and political post-punk group Princess Dewclaw.

Molly Nilsson, photo by Graw Böckler

Sunday | 10.16
What: Molly Nilsson w/Water on the Thirsty Ground and French Kettle Station
When: 8
Where: Glob
Why: Molly Nilsson is a Swedish born electronic pop artist now based in Berlin. Since 2007 she has been creating a rich body of work including ten albums starting with These Things Take Time (2008) which yielded her first widely recognized single “Hey Moon” and covered by experimental electronic artist John Maus on his 2011 album We Must Become the Pitiless Censors of Ourselves. The introspective sounds and luminous melodies with measured yet accented beats of Nilsson’s early work and her poetically illustrative lyrics brought to the songs a mystique that has endured throughout the songwriter’s career. Her embrace of a lo-fi aesthetic and organic noise in her songs also gives the music a sense of immediacy and intimacy that other artists at her level of accomplishment, development and influence might have chosen to edit out in pursuit of a kind of fictional purity. This core humanity to Nilsson’s work is one of its perhaps often unspoken appeal and it helps to ground some of the heady concepts she infuses into her lyrics. There is a political element in much of her music that explores concepts of power, our notions of identity and the foundation of what we aspire to achieve and do with our lives and how that is so often driven by the prevailing economic system controlled by the interests of elites until we learn to disentangle our dreams and psychology generally from the ongoing process of commodifying every aspect of our lives. This examination always seems to be carried out in a compassionate and imaginative way and never comes across in didactic fashion. Her 2022 album Extreme brings together Nilsson’s various impulses and instincts as a uniquely creative musician who imbues accessible pop songs with rich conceptual content that most directly yet not explicitly explores the place and role of power in the world and how it manifests in society and in our own consciousness and how we can challenge the less savory aspects of it in the world and in our own hearts. It’s a thematically deep record that works on the level of a poignant social critique and as pure pop songcraft. It is yet another chapter in Nilsson’s ever-evolving artistic journey and one worth taking in from beginning to end. This marks her first performance in Colorado.

The Wrecks, photo by Shervin Lainez

Saturday and Sunday | 10.15 and 10.16
What: The Wrecks w/CARR
When: 7 both nights
Where: The Black Sheep (10.15) and Fox Theatre (10.16)
Why: The Wrecks are a pop band from Los Angeles, California that formed in 2015 when Nick Anderson and Aaron Kelley put their pop-punk band Coastbound on hiatus in favor of a more straight ahead pop project they would call The Wrecks. Though technically more of an alternative rock band the pop sensibility of what The Wrecks have put into the world across its two albums including the 2022 offering Sonder is undeniable even though one is reminded of the better end of late 90s alternative rock with some taking of those threads further and genre bending in the modern mode of blurring genre lines to keep the sound from getting stale and aging better rather than getting pigeonholed to a particular era of music.

King Princess, photo by Collier Schorr

Monday | 10.17
What: King Princess w/Em Beihold https://www.missionballroom.com/event/428147-mission-ballroom-denver-tickets
When: 7
Where: Mission Ballroom
Why: For her sophomore album Hold On Baby, King Princess (aka Mikaela Straus) dispenses with the pretense of pretending everything is okay or going to be okay as one often hears in pop music. She also leaned into an eclectic and instrumentally rich songwriting and recording process that somehow also didn’t hamper how raw the record feels because it is artfully truthful about the struggle of dealing with the world as we have it and if you’re a touring musician that depends on live music and the industry for your livelihood the past three years and really much longer have been challenging as evidenced by Santigold’s recent statement on why she canceled her upcoming tour. Santigold, a very established and respected artist. Straus captures that moment in multiple ways on the new record and the fact that the late, great Taylor Hawkins played on the pointed social critique of “Let Us Die” is particularly poignant. Seems that song might be hard to play live but it’s such a powerful song hopefully Straus doesn’t skimp on it for this tour.

Wednesday | 10.19
What: L7 – Bricks Are Heavy 30th Anniversary tour w/FEA
When: 7
Where: Summit Music Hall
Why: L7 benefited from the alternative rock explosion of the early 90s without really sounding much like any of the more popular styles. Its mix of metal and punk with a irreverent sense of humor and ferocious energy paired with sensitive takes on subjects that might not be obvious from the band’s image as hard rocking hellions but a deep dive into its catalog reveals some choice moments of poignant character portraits and social commentary against war, sexism, abuse and psychological turmoil. Its 1992 album Bricks Are Heavy catapulted the band briefly into mainstream radio and certainly stations catering to the alternative music format at a key time when the music industry was in disarray in trying to keep up with the flood of music rock and otherwise becoming popular beyond what was already calculated to perform well in a commercial sense. Bricks Are Heavy yielded at least two stone classics of the alternative era with “Shitlist” and “Pretend We’re Dead” but you’ll get to see probably the whole album live for this show.

Brujeria in October 2016, photo by Tom Murphy

Wednesday | 10.19
What: Napalm Death w/Brujeria and Clusterfux
When: 6
Where: Bluebird Theater
Why: Napalm Death is one of the foundational bands of grindcore but its music imbued with always on point political and socially critical content. It also has to be admitted that Napalm Death doesn’t just have brutal, noisy music, it’s catchy and isn’t short on hooks and melody for one of the bands who has a reputation for pointed and electrifyingly challenging music. Brujeria is also a sort of death metal and grindcore band that has a wicked sense of humor and political commentary couched in the character of some kind of revolutionary drug gang writing songs in Spanish about illicit substances, Satanism, the occult and populist politics aimed at authoritarian impulses. Clusterfux is one of the absolute classic Denver skate punk and hardcore bands still in operation since 1995 and still putting on a spirited live show.

Pink Lady Monster in July 2022, photo by Tom Murphy

Thursday | 10.20
What: Antibroth w/Supreme Joy, Pink Lady Monster and Endless Nameless
When: 7
Where: Lost Lake
Why: Sometimes an all local bill can be a bunch of the same thing or not all excellent bands but fortunately that’s not the case for this show. Endless Nameless blurs the line completely between math rock, emo and death metal in an impressive display of musical chops with an equally impressive emotional range. Supreme Joy’s lo-fi psychedelic garage inflected post-punk sounds like something that had to have come out in Los Angeles’ weirdo art punk world of the early 80s but having landed in the 2020s absorbing the influence of decades of experimental pop. To say its music is reminiscent of Savage Republic gone psychedelic pop Americana or The Feelies having done the same might be a bit much but it gives you a sense of what you’re in for. Pink Lady Monster appears to have skipped trendy sounds of the past decade and crafted a deeply imaginative style of music that is rooted in more left field rock but comes off like an indie pop version of Broadcast and thoroughly entrancing because of that. Antibroth is definitely in the broad galaxy of post-punk but freely associating ideas from No Wave, math rock and noise rock into the mix. Like they grew up listening to a lot of Protomartyr, Pere Ubu, Palm, Lithics and the Contortions but decided to make their own mutant version of the kinds of sounds that leaked into their brain in a society in which we’re constantly bombarded by content and doing something different was one way to be free.

Saturday | 10.22
What: Juliet Mission w/Plague Garden, SORROWS and DJ Katastrophy
When: 9
Where: Broadway Roxy
Why: Juliet Mission are still a bit of a secret great modern shoegaze band and out of Denver including current and former members of jazz-inflected dream pop rock band Sympathy F. This might be the first show for SORROWS, a downtempo duo with beautifully orchestrated soundscapes and deeply emotionally expressive songs that seem like a cathartic expression of just what the name of the band suggests without wallowing overlong in the dark end of that as the music is ultimately about embracing the broad spectrum of experiences life presents us. Plague Garden bridge the gap between death rock inflected post-punk and synth infused New Wave and full disclosure the author of this piece plays second guitar in the group.

Spacey Jane, photo by Sam Hendel

Saturday | 10.22
What: Spacey Jane
When: 8
Where: Gothic Theatre
Why: Spacey Jane’s 2022 sophomore album Here Comes Everybody is like the catharsis of the depression, anxiety and uncertainty everyone with any level of sensitivity has undergone in the last few years with of course the pandemic (ongoing) and really for a working musician the way things already felt precarious but were amplified by the various ways the pandemic has affected the ecosystem of the music industry from independent local artists and their own way of operating to even famous, commercially successful artists and definitely artists like Spacey Jane who are in that middle tier of renown where they can play middle sized theaters internationally but touring out of Australia to the rest of the world can be a dicey proposition. Musically its lightly psychedelic pop rock style makes that exploration of life challenges directly relatable even if you’re not a musician. Songs like “Lots of Nothing” are about self-acceptance of your flawed and what you might perceive as incomplete self and “Clean My Car” and “Haircut” point out some basic everyday things we must force ourselves to do to have a scaffold out of the emotionally paralyzing end of depression.

The Jesus and Mary Chain, photo by Steve Gullick

Sunday | 10.23
What: The Jesus and Mary Chain w/Scott Von Ryper
When: 8
Where: Paramount Theatre
Why: Indeed it’s The Jesus and Mary Chain performing in a fancier theater than usual for a Denver show. The legendary band predated and completely informed the sound of shoegaze in the 90s with its mastery of both volume and fragmented melodies that still hit a sweet spot so that it could never be saccharine nor dismissed as discordant. JAMC blurred that line completely with beautiful vocal melodies, emotionally intense yet nuanced songwriting and the ability to deconstruct musical conventions while reassembling them for the modern era in a way that reconciled a pre-classic rock 1960s pop era with the sonic possibilities open to a band from the 1980s willing to not follow prevailing trends to forge a vital sound often imitated, rarely if ever equaled. There is no A Place to Bury Strangers, no My Bloody Valentine, no modern dream pop and noise rock really without the root inspiration of The Jesus and Mary Chain.

Spelling, photo by Erik Bender

Sunday | 10.23
What: Spelling w/Ramahkhandra and BODY
When: 7
Where: Bluebird Theater
Why: In a 2021 interview in Under the Radar by Jordan J. Michael, Christia “Tia” Cabral who performs as Spelling cited her favorite albums were by artists as disparate as Minnie Ripperton, Kraftwerk and Iggy Pop. That tells you a lot about the kind of music and show you’re in for if you decide to come out to this show in support of her 2021 album The Turning Wheel. It’s baroque pop with an art rock underpinning. Opening is experimental pop/performance art band BODY from Denver and the eclectic psychedelic world music inflected jazz of Denver underground greats Ramakhandra.

Sunday | 10.23
What: EXTC featuring Terry Chambers of XTC https://www.eventbrite.com/e/extc-tickets-403543699067
When: 7
Where: Soiled Dove Underground
Why: Terry Chambers was the drummer for the legendary pop/post-punk band XTC from 1972 until it stopped touring and playing live shows in 1982 though his work appeared on the 1983 XTC record Mummer. Afterward he ended up living in Australia for many years where he did session work behind the drum kit before returning to the UK and recorded an album called Great Aspirations (2017) with ex-XTC member Colin Moulding and another bandmate Steve Tilling under the project moniker TC&I. Shortly after Chambers and Tilling formed EXTC which performs classic songs by Chambers’ old band from the period in which he was an active participant. This is a rare opportunity to get to see any of this music live by one of the people who made it happen.

Monday | 10.24
What: The Chills w/Unwed Sailor
When: 7
Where: Marquis Theater
Why: The Chills are touring in support of the thirtieth anniversary of its album Soft Bomb. But regardless of the occasion it’s The Chills, the legendary New Zealand pop band whose songwriting helped to define the “Dunedin sound” branch of New Zealand rock music with jangle guitar sounds that one has to assume helped to inform what became C86 and thus indiepop as we know it. New Zealand bands rarely come through Denver much less a foundational group like The Chills whose leader Martin Phillipps has made such a deep impact on popular music his influence would make an interesting book or documentary.

Mr. Pacman in August 2022, photo by Tom Murphy

Monday | 10.24
What: Bit Brigade w/Mr. Pacman and Adam Newman
When: 8
Where: Hi-Dive
Why: Bit Brigade performs on somewhat standard instrumentation very legit renditions of the music from various 8 and 16-bit video games. So who from Denver makes sense to open the show but Mr. Pacman whose own musical connection to video games is not so obvious except for the name and how its members dress up as characters from a long lost super hero team cartoon themed after Pacman but the music is like a fusion of punk, performance art and synth pop in a way that is intense and mysterious and always entertaining.

Dayglow, photo by Dana Trippe

Tuesday | 10/25
What: Dayglow w/Ritt Momney
When: 7
Where: Ogden Theatre
Why: Sloan Struble of Dayglow got his start recording and producing music at eleven years old with Garageband. While still a teen he had a project called Kindred that released one self-titled album in 2016 and in that music you hear his knack for crafting electronic pop with a sense of vulnerability and self-awareness. A lot of bedroom pop is fairly lacking in production chops but even that Kindred record though fairly minimal and lo-fi demonstrates a clear working within the limitations of available resources to make something that is clearly more ambitious. So when Struble began his next project called Dayglow by the time of his second release Harmony House (2021) there is of course the creative growth but also much more development in how the music is recorded. All of that evolution as an artist can be heard and pushed further in terms of songwriting and sound palette on the 2022 album People In Motion. The blend of R&B, psychedelic pop and indie rock on the album sounds like the modern equivalent of yacht rock but with a much more expansive array of sounds and an accessible immediacy. It may sound like the opposite of a focus on the conflicted energy and tragedy of the current period in human history but having a respite from that heaviness and intensity is what you need at least once in a while and Dayglow offers that aplenty for the duration of a show or an album.

Priest, photo courtesy the artists

Tuesday | 10.25
What: Minuit Machine and Priest
When: 7
Where: HQ
Why: Minuit Machine is an industrial darkwave duo based in Paris, France. Its particular brand of brooding dance music is a modern take on EBM with soulful vocals that wouldn’t have sounded out of place in the 90s era of downtempo and trip-hop or on a The Crystal Method record. Priest includes former members of the Swedish heavy metal band Ghost but this project is not some campy prog metal. But the sense of theatrical presentation of the music is very much there including costumes. And the music is infused with a futuristic aesthetic akin to Nitzer Ebb if that band made industrial disco for cyborgs. Its 2022 sophomore album Body Machine fuses beautiful synth melodies with hard edged, almost martial rhythms like the equivalent of Kraftwerk having emerged in the world of The Terminator and operating in secret underground dance clubs for the discerning cyborg.

Peel Dream Magazine, photo by Samira Winter

Wednesday | 10.26
What: Peel Dream Magazine w/Calamity and Duck Turnstone
When: 7
Where: The Skylark Lounge Bobcat Room
Why: Joseph Stevens has released three fine full length albums over the past few years under the moniker of Peel Dream Magazine including the 2022 record Pad. The 2018 debut album Modern Meta Physic presented a sound that had obvious musical touchstones in My Bloody Valentine, Velvet Underground and Stereolab as well as their own sources of inspiration. The hypnotic drones and fuzzy melodies over steady beats an obvious ear for crafting textural aesthetics that helped to shape the structures in the music. 2020’s Agitprop Alterna cemented Stevens’ reputation as a songwriter and artist who could combine heady atmospherics and widely dynamic music with poetic and insightful personal and cultural commentary. With Pad Stevens broke his own mold by swapping in a different sound palette including banjo, chimes, vibraphone and more extensive use of keyboards to create a softer sound that is more reminiscent of Harry Nilsson’s early 70s psychedelic pop albums and like those records there is a creative concept that runs through the album which is a journey in which Stevens is ejected from his own band, which is in most ways a solo project, and undertakes a journey to find a way back in. Though the soothingly dreamlike melodies and free weaving in elements of Bossa Nova and ambient folk gives the album an immediately palatable quality it is about the disconnect and anxieties that have careened into the general culture while taking a chance in finding ways to make connections again and to process the anxiety and trauma in a way that lands us in a better place. It reflects Stevens’ own journey from being a bit of a New York-based outsider to a member of the Los Angeles creative community. The album is worth a deep dive and allow its retro-futuristic sounds and style to sink into your brain with its therapeutic frequencies.

Eliza & The Delusionals, photo by Luke Henery

Wednesday | 10.26
What: Eliza & The Delusionals w/BODY
When: 6:30
Where: Lost Lake
Why: Australian pop band Eliza & The Delusionals release its debut full length album Now And Then in May 2022. The album came along as many have in the wake of the recent and ongoing global pandemic. The songwriting had begun in various stages of development prior to the pandemic and some prior to the group having embarked on the first leg of a big tour of North America in January and February 2020 with The Silversun Pickups. But the period of lockdown and then the prolonged time of not being able to tour with anything resembling reliability left the band with time to hone the songs and create an album that is brimming with a sense of nostalgia and reconnecting with a time in life and a time period in the early 2000s when perhaps if you were a kid in Australia or the USA, depending on life circumstances, you had the time and the ability to allow your imagination and your heart to take in experiences that stimulated both. Connecting with that headspace lending your current self the tools to navigate bringing a bit of that mindset into life today. In the fuzzy and chiming guitar work and singer Eliza Klatt’s melodious and exuberant vocals one hears an introspective articulation of a desire to liberate one self from one’s own limitations and of those imposed on you by circumstance. Opening the show is experimental psychedelic pop band BODY from Denver which includes former members of Ned Garthe Explosion but in a band that is fully embraces its chops and songwriting craft as well as its idiosyncratic sensibilities.

Snail Mail in 2022, photo by Tom Murphy

Thursday | 10.27
What: Turnstile w/JPEGMAFIA and Snail Mail
When: 6
Where: Mission Ballroom
Why: This is a very eclectic bill of all bands from Baltimore. Lindsey Jordan as Snail Mail has been writing some of the most heartfelt and vulnerable, even raw and honest pop songs of recent years as heard perhaps most powerfully on her 2021 album Valentine. Jordan takes painful experiences and transforms them into the kind of songwriting that normalizes the struggle and the will to persevere. JPEGMAFIA is one of the most boundary pushing artists operating today whose work can generally be described as hip-hop but in his beats there is a spirit of experimentalism so that it can weave in the elements you might expect but also industrial music and noise. Turnstile manages to blend what might be described as nü metal and hardcore in a way that is incredibly accessible and subverts the tropes of those genres. Sure there’s the electronic component and aesthetic in its beats and angular guitar riffing and vocals that are melodic even in the shouting. But Turnstile delivers it with more imagination and genuine excitement than most bands coming out of those realms of music in many years.

Thursday | 10.27
What: The Chameleons w/Shadows Tranquil and Emerald Siam
When: 7
Where: HQ
Why: The Chameleons are the post-punk band that emerged out of the 1980s with a unique and atmospheric guitar sound that one assumes plugged more directly into the sound of groups like Slowdive and Kitchens of Distinction and other shoegaze bands than other groups of the era. For years a version of the band that included only singer Mark Burgess from the original lineup. But this time out brilliant guitarist Reg Smithies is back in the mix so expect some of those classic Chameleons dreamlike guitar wizardry.

Dubble Trouble in 2022, photo by Tom Murphy

Thursday | 10.27
What: Free Music (Minneapolis), Dubble Trouble (cassette release), Yenan Form (debut performance), Goo Age (Orange Milk Records)
When: 9
Where: Glob
Why: This is going to be the kind of experimental electronic show that is part glitchcore and part that Orange Milk weirdo ambient and New Age strangeness. But it’s also the cassette release of dub and free jazz/glitch/ambient duo Dubble Trouble.

Friday | 10.28
What: Wngdu, Ray Diess, Church Fire and special guest
When: 8
Where: Jester’s Palace
Why: Denver Blood Cult is presenting this Halloween show featuring charismatic industrial dance group Church Fire who recently put out their powerful new album puppy god. Ray Diess will deliver his sincere and thought-provoking synth pop. DJ Wngdu will officiate the music outside the live music sets proper and likely a surprise guest. All at one of the weirdest newer venues in Downtown Denver.

King Bee, photo by Kenzi Everitt

Friday | 10.28
What: King Bee’s METAMORPHOSIS w/The Milk Blossoms (duo) and DJ Camp Love
When: 7
Where: Mercury Café
Why: King Bee is the latest project of Fox Linnea Drickey from high concept art pop band Chimney Choir. This current performance is the fifth installment of a multi-episode semi-autobiographical allegory called “Tugboat vs. Tidal Wave” and involves Greek chorus-style theater, performance art, costumes and DJ dance party afterward. Includes David and Carl from Chimney Choir and Cassidy Bacon from The Whimsy of Things/Ghost Tapes and Ben Weinrich of Dandu/Retrofette. Expect inspired and insightful storytelling and a theatrical performance unlike most things most other bands have to offer. Opening is the duo version of experimental pop band The Milk Blossoms whose music makes a true virtue of vulnerability when channeled through richly imagined songwriting.

Captured! By Robots, photo by Raymond Ahner

Friday | 10.28
What: Captured! By Robots w/Axeslasher and Valiomierda
When: 8
Where: Hi-Dive
Why: Captured! By Robots is a grindcore band unlike any other in that the vocalist is human (JBOT) but the musicians in the band are all robots built by JBOT after other human musicians failed him in putting together a reliable project.

Friday through Sunday | 10.28-10.30
What: Front Range Noise Fest
When: 6 p.m. each day
Where: Glob
Why: This is the closest Denver is going to get to one of the noise and experimental electronic festivals that used to happen in the Mile High City regularly. It would be too much of an undertaking to write a blurb on every artist performing but below are the dates with the artist lineups each date.
Friday Oct 28th @ Glob
Caged Grave
Mumble
Foans
A Light Among Many
Solypsis (AZ)
New Aged Karen
Night Grinder
Granular Breath (IA)
Lore
Saturday Oct 29th @ Glob
Boar (IA)
Compactor (NY)
Demonsleeper (CA)
Fleeting Breath (KY)
Ghost Dance (MI)
Man.Moth (MI)
Scuzz Nun (WA)
Fresh Bait
Maltreatment
Many Blessings
MPW
Sunday Oct 30th @ Glob
Rush Falknor (IL)
Magical Mind (IL)
0rgan
Sounding
Gate Fog
May Leitz
Bunny Showstopper
Staff of Loss
Herpes Hideaway

CO2 Ensemble, photo b Tom Murphy

Saturday | 10.29
What: Scream Screen with Carbon Dioxide Orchestra
When: 5:30 p.m.
Where: Sie Film Center
Why: Carbon Dioxide Ensemble (CO2 Ensemble) is an avant-garde trio from Denver composed of the electronic music composer and the Mile High City’s premier Theremin player Victoria Lundy, her husband and mathematician Thomas Lundy and fellow practitioner of the electronic music arts Mark Mosher whose work in electronic music technology and visual synthesis has been a part of local music and art culture for over a decade. The three met through Mosher’s Rocky Mountain Synth Meet-Up events around 2012 where enthusiasts of that technology and methods for utilizing it in making music would meet up to network and share their passion for synthesizers generally. Shortly into their friendship the Lundys helped to organize an event called Concrete Mixer that has happened a handful of times over the past eight or nine years and a showcase for musique concrète, a type of music composition pioneered by French composer Pierre Schaeffer in the early 1940s with that term coined by Schaeffer in 1948. Those theoretical principles Schaeffer put into practice attracted the interest of composers Pierre Henry, Edgard Varèse, Iannis Xenakis, Karlheinz Stockhausen and others including a popularizer of the art form with one of Schaeffer’s students, Jean-Michel Jarre. The technique of manipulating recorded sound can be heard in looping techniques and the use of samples. CO2 Ensemble hearken back to the earlier method but utilize unconventional sound sources including a large, copper heart that Thomas Lundy rubs with pieces of dry ice to generate frequencies that Mosher processes to enhance and render into different musical forms. Victoria Lundy playing Theremin utilizes one of the oldest electronic music technologies having been patented by Leon Theremin in 1928 with a device that is controlled without physical contact by the performer. Everyone has heard one if they’ve watched any 1950s science fiction film with a spooky soundtrack. Working in tandem the CO2 Ensemble generate highly evocative compositions that suggest textures and primal emotional experiences. Victoria Lundy co-founded what was called the Carbon Dioxide Orchestra in the mid-90s employing similar methods but with less emphasis on the electronic production end and in the 2000s and 2010s she was the Theremin player in experimental pop band The Inactivists who are currently, what else, inactive. The Carbon Dioxide Orchestra concept she revived when Concrete Mixer started up. Mosher was the keyboard player for New Wave cover band Head Full of Zombies based in Colorado Springs from 1989-2003 before branching out into making his own music. The group’s current performance will be the live musical portion of Noche de Terror, a double feature of Rubén Galindo Jr’s Cemetery of Terror (1985) and Don’t Panic (1987) presented by Scream Screen creator and host Theresa Mercado. The trio has a shared affection for B science fiction and horror and cult movies as well as the musical avant-garde and their piece prior to the film screening suits well the Halloween season and the films at hand.

Voight, photo by Tom Murphy

Saturday | 10.29
What: Julian Street Nightmare, The Savage Blush and Voight
When: 8 p.m.
Where: The Skylark Lounge
Why: Julian Street Nightmare is a post-punk band from Denver whose sound draws not just on recent darkwave but surf rock and psychedelia. But its songwriting has developed into its own flavor that has a freshness and intensity colored by a moodiness and energy that lends it an edge of unpredictability. The Savage Blush is a local psychedelic garage rock band. Voight bridges the gap between dark, industrial post-punk and techno with a pointed yet self-effacing sense of humor.

Pinkshift, photo by Leigh Ann Rodgers

Saturday | 10.29
What: Pinkshift w/Jigsaw Youth and Yasmin Nur
When: 8
Where: Lost Lake
Why: Baltimore’s Pinkshift recently released its debut full-length album Love Me Forever. The record sounds like a lifetime of frustration and processing trauma and oppression put into songs that sound like something Sleater-Kinney might have put out had its members come up a couple of decades later and influenced by the riot grrrl bands that existed prior to and in parallel with S-K as well as early 2000s post-hardcore and emo. There is an irresistible emotional vitality and joy of release of pent up feeling on the record and a directly relatable yearning for a life in a world where you can live free of the yoke of a pervasive authoritarian patriarchal culture. Also on the bill is NYC’s Jigsaw Youth who last came through Denver as an opener for art noise metal group SASAMI. It felt like seeing a band that absorbed the irreverent humor and scorching guitar anthemics of L7 and Betty Blowtorch in finding a true fusion of punk and metal that isn’t rooted in crossover or metalcore. Feral and electrifying stuff.

White Rose Motor Oil, photo courtesy the artists

Sunday | 10.30
What: Smokestack Relics w/White Rose Motor Oil
When: 1 p.m.
Where: Wax Trax
Why: Smokestack Relics are a bluesy Americana duo whose vagabond honky tonk aesthetic that seems obviously influenced by Tom Waits, likely a bit of Hasil Adkins is in there and Scott H. Biram. But the presentation is so eccentric and energetic its definitely not mere imitation. White Rose Motor Oil somehow makes a kind of Americana that isn’t tied to any particular strain of the Colorado variety and for that alone always worth a lisen. But its shows have a warm energy and its music is more akin to country punk-esque bands like Lone Justice and The Beat Farmers. Its beautifully atmospheric 2021 album Oh Lucretia was recently re-released and on cassette.

Vision Video, photo by Scarlet Lewis

Monday | 10.31
What: Vision Video w/Radio Scarlet, Redwing Blackbird and Witchhands
When: 8
Where: HQ
Why: Vision Video is a post-punk band based out of Athens, Georgia whose self-styled Goth pop is infused with gorgeous melodic hooks and emotionally raw and honest lyrics. Visually the band looks like what you might imagine a Goth band from a movie might look like with the appropriate make-up and sartorial flair. But there is something darker and different yet also welcoming about that appearance and in performance, reflecting the ethos of the members of Video Vision who recognize the band and fan dynamic as being one of community. There is disarming earnestness in the songwriting coupled with a clear sense of humor and self-awareness in how Video Vision conduct themselves as people that signals an approachable quality that doesn’t undermine the serious and meaningful content in what the band is putting into its art. In recent years frontman Dusty Gannon has been releasing videos on the Video Vision TikTok in which he adopts the persona of “Goth Dad” who presents information about the Goth subculture in which he came up as well as real life issues with a sense of humor, affection and sincerity in a way that comes across as wholesome, a quality one doesn’t always associate with Goths. In 2022 Vision Video released its second album Haunted Hours, the much anticipated follow-up to its 2021 debut Inked in Red. Fans of The Cult and The Cure will find much to like about the flavor of both records as will anyone looking for modern post-punk with solid production, urgent dance rhythms and songs that really tell it like it is with the state of the world and the importance of embracing your own humanity and that of those around you even and especially as the world seems to be crumbling.

To Be Continued…