Best Shows in Denver and Beyond May 2022

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

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

Mudhoney, photo by Niffer Calderwood

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

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

Moodlighting in April 2022, photo by Tom Murphy

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

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

BleakHeart November 2021, photo by Tom Murphy

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

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

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

Dorothy, photo by Courtney Dellafiora

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

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

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

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

Slow Crush, photo by Kat De Laet

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

Moon Pussy, photo by Tom Murphy

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

MXMTOON, photo by Lissyelle Laricchia

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

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

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

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

Fozzy, photo by Adrienne Beacco

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

ADULT. circa 2018, photo by Tom Murphy

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

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

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

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

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

Collen Green, photo by Jason MacDonald

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

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

Author & Punisher, photo by Becky DiGiglio

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

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

Molchat Doma, photo courtesy Sacred Bones Records

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

Elder Island, photo by Nick Kane

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

Kurt Vile, photo by Adam Willacavage

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

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

Spoon, photo by Oliver Halfin

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

Bauhaus, photo by Gary Bandfield

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

A Place To Bury Strangers, photo by Heather Bickford

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

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

Built to Spill, illustration by Alex Graham

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

Wild Pink, photo courtesy the artist

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

Animal Collective circa 2013, photo by Tom Murphy

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

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

Ezra Furman, photo by Tonja Thilesen

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

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

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

The Body, photo by Zachary Harrel Jones

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

To Be Continued…

Queen City Sounds and Art Best Albums of 2019

All Your Sisters | Trust Ruins

This best of list was intended for publication in 2020 and parts of the entries with comments were published in my year end best list for the print edition of Birdy magazine in Denver for the December 2019 issue. The full best of list is presented here with those short reviews included with the appropriate album and the rest included without comment and several album covers shared as well. The album of the year was All Your Sisters’ Trust Ruins (listed first) because it encapsulated the mood of the year and the band put on one of the best shows of 2019 and the record felt like a leap forward in style and execution for the band. Soon I’ll publish the full best of 2020 list too in a similar format with the commentary for those items that made it into the print edition of Birdy for December 2020.

All Your Sisters | Trust Ruins | The Flenser
A brutal, maximalist summation of the turmoil, conflict, sense of chaos and confusion, rage and frustration and overwhelming flood of negative input from world and societal events of the previous few years. In articulating those feelings and experiences and more alone as powerfully as it does, this album by All Your Sisters transcends genre by providing an example of how industrial and darkwave music can burst beyond established conventions with the sharp-edged and precise percussion framing and channeling the fiery energy at the core of the songwriting.

Adia Victoria | Silences | Atlantic

Adrianna Krikl | Celestial | Self-released

Aldous Harding | Designer | 4AD

Alex Cameron | Miami Memory | Secretly Canadian

Altas | All I Ever Wanted Was | Self-released
A lush deepening of the band’s sweeping, cinematic aesthetic.

Anamanaguchi | [USA] | Polyvinyl

Andre Cactus | Dune Juice | Multidim Records

Andy Stott | It Should Be Us | Modern Love

Angel Olsen | All Mirrors | Jagjaguwar
Poignantly dreamlike examination of identity in an age of universal scrutiny.

Bestial Mouths | INSHROUDSS | Rune & Ruin

Bellhoss | Geraniums | Self-released
Buoyant, lo-fi slowcore love songs for inner awkward nerd.

Bethlehem Steel | s/t | Exploding in Sound
The utter exorcism of oppression through bursts of melodic/atonal poetry.

Big Dopes | Crimes Against Gratitude | Self-released
Captivating indie pop earworm vingettes of American malaise and hope.

Big Thief | U.F.O.F. / Two Hands | 4AD

Bison Bone | Take Up the Trouble | Self-released

Black Belt Eagle Scout | At The Party With My Brown Friends | Saddle Creek

black midi | Schlagenheim | Rough Trade Records
A primer for the new avant-guitar rock revolution.

Black Mountain | Destroyer | Jagjaguwar

Blanck Mass | Animated Violence Mild | Sacred Bones

Blood Incantation | Hidden History of the Human Race | Dark Descent

Boy Scouts | Free Company | ANTI-

Briffaut | A Maritime Odyssey: Heaven is Only a Boat Race Away | GROUPHUG

Calexico and Iron and Wine | Years to Burn | Subpop

Cat Tyson Hughes | Gentle Encounters With Things | Self-released
Ambient, aural snapshots of memory fragments from the hypnogogic state.

Cau5er | The Tower | Self-released

Ceremony | In the Spirit World Now | Relapse Records

Chastity Belt | Chastity Belt | Hardly Art

Cheap Perfume | Burn It Down | Snappy Little Numbers

Chella and the Charm | Good Gal | Self-released

Chelsea Wolfe | Birth of Violence | Sargent House

Chimney Choir | (light shadow) | Self-released

Chromatics | Closer to Grey | Italians Do It Better

clipping. | There Existed an Addiction to Blood | Sub Pop

Consumer | In Computers | The Flenser

Control Top | Covert Contracts | Get Better Records

Cop Circles | Vacation for Hurt | Self-released
Subversive, Laurie Anderson-esque, New Age, No Wave send-up of corporate seminar jingles.

Cosey Fanni Tutti | Tutti | Conspiracy International
Heavy and hypnotic industrial rave autobiography through sound.

Curse | Metamorphism | Fake Crab Records
Eight, powerful, darkwave, prophetic warnings of our potential future.

Danny Brown | uknowhatimsayin¿ | Warp Records
Relentlessly inventive beats and tragicomedic, self-immolating swagger, sci-fi autobiography.

Davi Valois | Bátraquio | Space Cow Music

Deafkids | Metaprogramação | Neurot Recordings
Immersive, ambient-industrial death grind.

Doo Crowder | One For the Losers (& Other Pilgrims) | Self-released
The greatest art pop record since the death of Harry Nilsson.

Dog Basketball | s/t | Self-released

Drab Majesty | Modern Mirror | Dais Records
Moodily heartbreaking deep dive into the essence of love, memory and beauty.

Drowse | Light Mirror/Second Self | The Flenser

Dude York | Falling | Hardly Art

Earl Sweatshirt | FEET OF CLAY | Tan Cressida

Elizabeth Colour Wheel | Nocebo | The Flenser
Majestic, urban-tribal, noise-sludge dream psych.

Empath | Active Listening: Night On Earth | Get Better Records

Entrancer | Downgrade | Multidim Records

Ex Hex | It’s Real | Merge Records
Cosmic New Wave power pop gems beginning to end.

Facs | Lifelike | Trouble In Mind

FEELS / Shannon Lay | Post Earth / August | Wichita / Sub Pop

FM Cubgod | Handsome? | Self-released

Foxes in Fiction | Trillium Killer | Orchid Tapes

Frankie Cosmos | Close It Quietly | Sub Pop

French Kettle Station | Over X Millennia | Self-released
Retro-furturist, New Age pop shade jams on contemporary wack culture.

Future Sound of London | Yage | Fsol Digital

Gila Teen | Doesn’t | Self-released

Glissline | Digital Bipolarism | Multidim Records

Gold Trash | Quiet Violence | Glasss Records
Collage glitch industrial hip-hop daggers into misogynist culture.

Goon | Natural Evil | Convulse Records

Guerilla Toss | What Would The Odd Do? | DFA
Mind-altering, subtropical, disco punk dance pop.

Guidon Bear | Downwardly Mobile: Steel Accelerator | Antiquated Future Records

Gun Street Ghost | Battles | Self-released

Half Shadow | Dream Weather Its Electric Song | Illusion Florist

Haunted Horses | Dead Meat | SIXWIX

Have a Nice Life | Sea of Worry | The Flenser

HEALTH | Slaves of Fear Vol. 4 | Loma Vista Recordings

HIDE | Hell is Here | Dais Records

Holly Herndon | Proto | 4AD

HTRK | Venus In Leo | Ghostly International
Love songs from downtempo dance clubs in the future urban decay.

Jamila Woods | Legacy! Legacy! | Jagjaguwar

Jenny Hval | The Practice of Love | Sacred Bones

Kal Marks | Let the Shit House Burn Down | Exploding in Sound

Kid Mask | dead sore(s) | Self-released
Dispatches from the industrial glitch techno hard rave revolution.

Kim Gordon | No Home Record | Matador Records
Scathing jazz cool poetry set to hip-hop-inflected noise.

Kristin Hersh | Possible Dust Clouds | Fire Records

Kyle Emerson | Only Coming Down | Swoon City Music

Larians | Looming Boy EP | Self-released
Loneliness and isolation distilled as shimmering IDM nuggets.

Legendary Pink Dots | Angel in the Detail | Metropolis Records
A brilliant synthesis of classical sonic architecture, emotionally charged ambient and deep social critique.

Lightning Cult | EP 2: Ether Waves | Cloud Command Sound

Lingua Ignota | Caligula | Profound Lore
Caustic, industrial fusillade against patriarchal fragility.

Lisa Prank | Perfect Love Song | Father/Daughter Records

Little Fyodor | Pithy Romantic Ballads | Self-released
Arch punk cynic and curmudgeon begrudgingly admits affection and survives.

Lot Lizard | s/t | Different Folk Records

Lower Dens | The Competition | Ribbon Music

Malibu Ken | s/t | Rhymesayers

Mannequin Pussy | Patience | Epitaph

Mdou Moctar | Ilana: The Creator | Sahel Sounds
Intricate African prog suffused with the joy of the creative act.

Moon Pussy | Band Meating | Self-released
Eruptive, searing, angular, anti-pop exorcisms.

Muscle Beach | Charms | Sailor Records

Necropanther | The Doomed City | Self-released

New Standards Men | Field Recordings From Late Capitalism Vol. 10 | Self-released

No Gossip in Braille | Bend Toward Perfect Light | Cercle Social Records
The transmogrification of sorrow into transcendent melodies.

NoSwoon | s/t | Substitute Scene Records
Effervescent yet introspective dark wave synth pop.

Nots | 3 | Goner Records

Nuancer | I Hardly Know Her | Self-released

Obtuse | Who’s Askin’? | Self-released
Gloriously earnestly meaningful, off-the-cuff, utterly unpretentious pop punk.

Oh, Rose | While My Father Sleeps | Park The Van

Oko Tygra | Assistoma | Grey Market Records
Masterfully executed emotionally stirring downtempo dream pop.

Old Time Relijun | See Now And Know | K Records

Orbit Service | The Door to the Sky | Self-released

Pedestrian Deposit | Dyers’ Hands | Monorail Trespassing
The sonic analog of places we don’t want to visit but are drawn to anyway.

Pharmakon | Devour | Sacred Bones

Pinkish Black | Concept Unification | Relapse Records

Pile | Green and Gray | Exploding in Sound
Furiously poetic, orchestral and thoughtful blueprint for arty, noisy post-punk to come.

Plaid | Polymer | Warp Records

Pop. 1280 | Way Station | Weyrd Son Records

POW! | Shift | Castle Face Records

Priests | The Seduction of Kansas | Sister Polygon

Redwing Blackbird | Too Klaus For Comfort | Self-released

Rowboat | Birchwood Halls | Self-released

Secret Shame | Dark Synthetics | Portrayal of Guilt Records

Sheer Mag | A Distant Call | Wilsuns Recording Company
Modern blues punk’s equivalent of Judas Priest’s Stained Class.

She Past Away | Disko Anksiyete | Metropolis Records / Fabrika Records

ShitKid | DETENTION | PNKSLM Recordings

Silence in the Snow | Levitation Chamber | Prophecy Productions

Sleaford Mods | Eton Alive | Extreme Eating Records

Sleater-Kinney | The Center Won’t Hold | Mom + Pop

Slugger | Is Real | Self-released

Sole & DJ Pain 1 | No God Nor Country | Black Box Tapes

somesurprises | s/t | Drawing Room Records

Spirettes | Esoteria | Self-released
An ethereal distillation of deep yearning and determination.

SRSQ | Temporal Love/Unkept | Dais Records

Stonefield | Bent | Flightless

Strange Ranger | Remembering The Rockets | Tiny Engines

Studded Left | Popular Intuition | S/L INTNL.
Psychedelic post-punk portraits of life and love in our dystopic USA.

Summer Cannibals | Can’t Tell Me No | Tiny Engines

SunnO))) | Life Metal and Pyroclasts | Southern Lord

Swans | leaving meaning. | Young God

Tacocat | This Mess Is A Place | Sub Pop

Telefon Tel Aviv | Dreams Are Not Enough | Ghostly International

The Coathangers | The Devil You Know | Suicide Squeeze

The Hecks | My Star | Trouble In Mind Records

The Ocean Blue | Kings and Queens / Knaves and Thieves | Korda Records

The Paranoyds | Carnage Bargain | Suicide Squeeze

The Stargazer Lilies | Occabot | Rad Cult

The Twilight Sad | It Won/t Be Like This All the Time | Rock Action
The sound of a valiant struggle against existential failure.

The Vanilla Milkshakes | Punching Cows | Self-released
Humorous and heartfelt pop grunge odes to perpetual outsider status.

Total Trash | Field Guide | Self-released
Melancholic, post-psychedelic, slowcore, glitter jams.

Turvy Organ | The Ghost at the Feast | GROUPHUG

Tyler The Creator | Igor | Columbia
Dense, gritty, hazy beats and meta-exploration of identity as human and artist.

We Are Not a Glum Lot | The Price of Simply Existing | Self-released
Gripping, emo-inflected, math-y, post-punk bummercore.

Weeping Icon | s/t | Fire Talk
Cathartic, thorny, darkwave doom garage.

Whipporwill | The Nature of Storms | Self-released

Wreck and Reference | Absolute Still Life | The Flenser

Xeno & Oaklander | Hypnos | Dais Records
Heavy/heavenly techno for the dance club on Mount Olympus.

Xiu Xiu | Girl with Basket of Fruit | Polyvinyl

Zealot | The Book of Ramifications | Self-released

Best Shows in Denver and Beyond 10/31/19 to 11/6/19

BethlehemSteel_JeanetteDMoses_crop
Bethlehem Steel performs 11.1.19 at Lion’s Lair, photo by Jeanette D. Moses

Thursday | October 31

What: The Legendary Pink Dots w/Orbit Service, The Drood, DJ Mudwulf and VJ Dizy Pixl
When: Thursday, 10.31, 8:30 p.m.
Where: Ophelia’s Electric Soap Box
Why: The Legendary Pink Dots and its mystical, spectral, ambient psychedelia will turn 40 next August and is currently undertaking a tour celebrating the landmark date along with its new album, 2019’s Angel in the Detail. The new record contains elements of what has always made LPD great including entrancing atmospheres, singer Edward Ka-Spel’s poetic lyrics that articulate deep truths about the human condition and how it manifests in our lives and civilizations. It also comments on the perilous state of things in the world today and especially in “The Junkyard” and how the elites are trying to finish completing a world system that renders those of us not in that upper one percent of one percent as pieces of junk in world civilization. The surreal and beautifully disturbing music video is well worth a view. Also sharing the bill tonight is the likeminded Denver-based ambient psychedelic rock band Orbit Service which has been gracing local stages and well beyond since the mid-90s. The Drood, also from Denver, is like a dark psychedelic prog band with punk-intensity and a sense of theater and the ability to create exorcistic emotional experiences in song. DJ Mudwulf will set the mood with what is sure to be a great set for the holiday and VJ Dizy Pixl will set the visual mood as per her usual level of excellence.

What: Wu Tang Clan w/Jedi Mind Tricks, Immortal Technique and Dillon Cooper
When: Thursday, 10.31, 5:30 p.m.
Where: Red Rocks

What: T.S.O.L. w/Noogy and The Pitch Invasion
When: Thursday, 10.31, 7 p.m.
Where: Oriental Theater

What: Dragondeer w/Dog City Disco and What Young Men Do
When: Thursday, 10.31, 8 p.m.
Where: Cervantes’ Other Side

Friday | November 1

yungbaepinkflamingo-peter dons
Yung Bae, photo by Peter Dons

What: Bethlehem Steel w/Gila Teen and guest
When: Friday, 11.1, 9 p.m.
Where: Lion’s Lair
Why: Bethlehem Steel has been together since 2012 but started garnering national attention for its outstanding performances at the South By Southwest festival in 2016. At that time the group had out a couple of EPs but released its debut full length Party Naked Forever in 2017. Its thrilling collision of fuzzy pop and dynamic atmospheric rock has drawn comparisons to 90s noise pop acts like Weezer and contemporary artists like Courtney Barnett and Waxahatchee. But often enough the group’s expansive, imaginative songwriting and creative ambition has resulted in some music that pushes boundaries of the loud and quiet format that many bands have adopted of late so that its songs will remind some of the emotionally stirring music of older bands like Failure, Slint and Rainer Maria. It has that kind of fire and caustic sound as well as lyrics that delve deep into the darker regions of the psyche with a defiant spirit lighting the way. In September, Bethlehem Steel released its fantastic self-titled full-length for which it is touring in support. Also on the bill is Gila Teen, the experimental post-punk band that brilliantly mixes moody atmospheres with a splintery pop punk.

What: Yung Bae w/Birocratic and Jaguar Nights
When: Friday, 11.1, 8 p.m.
Where: Marquis Theater
Why: Dallas Cotton started making music as Yung Bae while living in Portland, Oregon but his production-based future funk started garnering him wider audiences while still a student at Oregon State University. His sound straddles that sort of 70s soul and R&B-inspired sounds and the aesthetic of modern electronic pop music. So while he references classic music it comes off with a more modern sensibility and energy. It hearkens to a previous era and the unsullied excitement of that music but in a way that couldn’t really have been accomplished at the time in terms of how he sculpts sound and edits it together. In 2019 Yung Bae released his fifth album in as many years with Bae 5.

What: Red Wing Black Bird album release w/Plague Garden and Married a Dead Man
When: Friday, 11.1, 9 p.m.
Where: Skylark Lounge
Why: Denver darkwave band Red Wing Black Bird is releasing its latest album produced by DJ Charon of Necromantic/Fenando Altonaga of industrial band eHpH.

What: Future of Bass: smith, Mize, Wriza and Killa Nova
When: Friday, 11.1, 9 p.m.
Where: The Black Box

What: Lucy Dacus w/Liza Anne and Sun June
When: Friday, 11.1, 8 p.m.
Where: Gothic Theatre

Saturday | November 2

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Altas circa 2019, photo by Tom Murphy

What: Dia De Muertos celebration: Altas, Plume Varia and Los Mocochetes
When: Saturday, 11.2, 8 p.m.
Where: Hi-Dive
Why: Denver instrumental rock band Altas is doing its now annual Dia De Muertos show in which the members will dress in the appropriate regalia for the occasion making the show a true event rather than just another gig. The group’s sweeping, cinematic grandeur and fiery musical pyrotechnics and mastery of mood and atmosphere is worth witnessing alone but also on the bill is psychedelic rock band Los Mocochetes and downtempo dream pop band Plume Varia and its emotionally rich and haunted compositions.

What: The Locust w/Disposal Notice and Its Just Bugs
When: Saturday, 11.2, 8 p.m.
Where: Summit Music Hall
Why: The Locust recently reconvened to bring its mutant, death metal inflected, noisy hardcore on a national tour. The group’s surreal imagery and costumes along with its equally bizarre lyrics has made it difficult to lump in with any convenient musical movement. Its Just Bugs (the apostrophe is left off) is an industrial punk hip-hop group from Colorado and just as impossible to pigeonhole.

What: Twin Peaks w/Post Animal and Ohmme
When: Saturday, 11.2, 8 p.m.
Where: Gothic Theatre
Why: Twin Peaks from Chicago weathered the mid-2010s blowout of garage rock and neo-psychedelic rock that was making the underground rock scene of a certain stripe become fairly stale and performatively exciting. What helped was that Twin Peaks was writing good songs and hasn’t stayed stuck in the same sound for its entire career thus far. Its 2019 album Lookout Low sounds like an odd and interesting hybrid of power pop and the weirdo punk of The Fall at its most Lou Reed-inspired, mix in some unusual flourishes of 70s rock with nods to Peter Frampton and Thin Lizzy. All while delivering spirited and sometimes gloriously ragged performances which are much needed at a time when a sanitary quality has permeated too much modern music.

What: Fathers, Limbwrecker, The Munsens and Muscle Beach
When: Saturday, 11.2, 8 p.m.
Where: Lost Lake

What: Dendera Bloodbath, Endometrium Cuntplow, Cau5er, Brother Saturn, Church Fire and Equine
When: Saturday, 11.2, 8 p.m.
Where: Rhinoceropolis

What: Rocket Dust, Tokyo Rodeo and The Slack
When: Saturday, 11.2, 8 p.m.
Where: Glitter City

Sunday | November 3

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Vivian Girls circa 2008, photo by Tom Murphy

What: Vivan Girls w/Down Time, Short Shorts and Backseat Vinyl — CANCELLED
When: Sunday, 11.3, 7 p.m.
Where: Marquis Theater
Why: Vivian Girls caused a stir in the indie underground of the 2000s and 2010s with their lo-fi, noisy pop songs. The group’s ability to mix buoyant dynamics with dark, brooding moods and sounds was a fascinating contrast. The band split in 2014 with members going on to perform in La Sera, The Babies and Upset (all still going concerns). But in summer 2019 the group announced it was reforming with a new record, Memory, on the way and released in September.

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SRSQ, photo by Tom Murphy

What: TR/ST w/SRSQ and DJ Slave 1
When: Sunday, 11.3, 7 p.m.
Where: Summit Music Hall
Why: TR/ST came to prominence as the new darkwave movement was coming together with a sound that seemed to come out of the then renewed interest in vintage synths, that cold, bright, moody sound of Goth-y 80s synth pop and its cousin chillwave. But Robert Alfons’ vibrant, soulful voice and imaginative soundsccaping are the key ingredients that elevated this project above many of its contemporaries. In 2019 TR/ST released The Destroyer (Part 1 and 2), a more experimental and ambient, ethereal set of songs than his previous offerings and a clear product of reassessing directions and ideas to produce something different. SRSQ (pronounced Seer Ess Que as in the lettes for the latter two) is Kennedy Ashlyn the charismatic singer formerly of brilliant dream pop band Them Are Us Too. Her 2018 album Unreality is a moody and emotionally harrowing and cathartic downtempo album that seems to have absorbed the darkness and pain of the underground world in the wake of the Ghost Ship fire and given it a voice that exorcises some of that energy.

What: Keytar Fest IV: The Jinjas, R A R E B Y R D $ and Claudzilla
When: Sunday, 11.3, 4 p.m.
Where: Glitter City
Why: Just like the title of the event suggests, this is a mini festival featuring all projects that incorporate keytars as an essential part of the songwriting and this includes weirdo synth punk Claudzilla and experimental hip-hop/IDM-inflected trio R A R E B Y R D $.

What: Danny Brown w/Ashnikko and Zeeloperz
When: Sunday, 11.3, 7 p.m.
Where: Cervantes’ Masterpiece Ballroom
Why: Ever since the larger world outside of Detroit started cluing into Danny Brown’s genius following the release of 2010’s The Hybrid, the rapper has garnered a large cult following for his eccentric yet sharply cogent and thoughtful yet raw lyrics and production that incorporates a wide range of sounds that one hadn’t often heard in hip-hop outside of the underground and alternative circles of the 90s and early 2000s. Brown picked up where that left off and pushed things further particularly on his 2016 album Atrocity Exhibition which borrowed its title from a science fiction novel by J.G. Ballard and whose beats sounded almost like a new hybrid of industrial and rap that reflected the atmospherics as much as the textures and rhythms. With his new album, 2019’s uknowhatimsayin¿ Brown follows a similar sonic path but brings together more organic, almost found sounds with processed layers of atmosphere. Intact is his gift for surreal imagery and wordplay that gets under your skin.

Monday | November 4

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GRÜN WASSER, photo courtesy the artists

What: GRÜN WASSER w/Natural Violence, French Kettle Station and Night Shift DJs
When: Monday, 11.4, 9 p.m.
Where: Rhinoceropolis
Why: GRÜN WASSER is a Chicago-based electro-pop/industrial whose pulsing rhythms and dreamlike moods sound like endless nights wandering a menacing urban landscape and commenting on the culture of the nightlife. That is if the group’s new album Not OK with Things (Holodeck Records) is any indication. There is an almost claustrophobic quality to its densely atmospheric beats contrasted with Keely Dowd’s lightly echoing, ethereal vocals. French Kettle Station has been through more permutations of his sound than many artists bother to explore but of late he’s been developing a sound that’s still rooted slightly in 1980s No Wave disco and modern glitch dance pop but also influenced by 1980s adult contemporary music and its unexpectedly newly influential use and voicing of drums and vintage synths in a way that in any other contexts would be utterly wack but takes on an almost spiritual cast in certain underground electronic artists including that side of what FKS has been up to in the past year or two. His latest album, Over X Millenia takes those ideas and injects them with non-western rhythmic ideas and a New Age music aesthetic for something new yet strangely familiar. Its closest cousin that comes readily to mind is Brian Eno and David Byrne’s 1981 classic My Life in the Bush of Ghosts.

Tuesday | November 5

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HTRK, photo by Kate Meakin

What: HTRK w/Midwife, Echo Beds, Human Tide
When: Tuesday, 11.5, 8 p.m.
Where: Rhinoceropolis
Why: Since 2003 HTRK, originally from Australia, has been making music inspired by the brooding, otherworldly atmosphere of the films of David Lynch. Though the name of the band is pronounced “Hate Rock” it’s not so much rock except in the experimental sense as much as downtempo and ambient soundscaping. In 2010 founding musician Sean Stewart passed away leaving Nigel Yang and Jonnine Standish to carry on and as a duo HTRK has released a handful of some of the most fascinating music mixing electric music with an electronic aesthetic being made today. The group’s latest album is Venus in Leo with its exquisitely subtle dynamics and cinematic approach to its composition and sound design with lingering, impressionistic guitar riffs drifting around Standish’s hushed and soulful vocals.

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Minami Deutsch, photo courtesy the artists

What: Kikagaku Moyo w/Minamu Deutsch
When: Tuesday, 11.5, 7 p.m.
Where: Gothic Theatre
Why: Kikagaku Moyo from Japan is a true synthesis of 70s Krautrock, classic Japanese psychedelic rock and more traditional Japanese folk. Currently the group is touring with the like-minded Tokyo band Minami Deutsch. The group’s urgent rhythms, mesmerizing drones and hypnotic dynamics sound like what it is to travel through Tokyo and its subtle but odd mixture of old world and high tech metropolis side by side in all of the city’s giant districts. On the group’s new EP, Can’t Get There that dynamic often takes you to a place of anxiety and then release as it draws you into its irresistible groove.

What: Jeffrey Lewis & The Voltage w/Adam Baumeister
When: Tuesday, 11.5, 7 p.m.
Where: Hi-Dive
Why: A rare chance to see eccentric, genius freak folk and comic artist legend Jeffrey Lewis and his band along with local star of experimental folk and psychedelia, Adam Baumeister, head of Meep Records and former member of Navy Girls and Bad Weather California.

What: Cannibal Corpse w/Thy Art is Murder, Perdition Temple
When: Tuesday, 11.5, 6:30 p.m.
Where: Boulder Theater

What: Arc Sol, Slugger and Gothsta
When: Tuesday, 11.5, 9 p.m.
Where: Mercury Café

What: 1349 w/Uada and Cloak
When: Tuesday, 11.5, 6:30 p.m.
Where: Oriental Theater

Wednesday | November 6

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Dinosaur Jr, photo by Levi Walton

What: Negative Approach w/Blood Loss and Tuck Knee
When: Wednesday, 11.6, 7 p.m.
Where: Lost Lake
Why: Negative Approach from Detroit was one of the bands out of that early wave of American hardcore than seemed particularly seething and intense and fronted by John Brannon who went on to noisy psychedelic blues band Laughing Hyenas and Easy Action. Easily one of the greatest frontmen of rock music because he seems to actually be losing his mind swept up in the moment.

What: Weird Wednesday: FangFuck, Zealot and Bolonium
When: Wednesday, 11.6, 9 p.m.
Where: Bowman’s Vinyl & Lounge
Why: Weird Wednesday includes left field indie rock local supergroup Zealot and Bolonium a band inspired by Devo and which comes off like an odd combination of band, cheesy game show and Troma film.

What: Kurt Vile and the Violators w/Dinosaur Jr
When: Wednesday, 11.6, 7 p.m.
Where: The Mission Ballroom
Why: Dinosaur Jr is the missing link between gritty classic rock like Neil Young, hardcore and 90s alternative rock and more influential on modern music than is often obvious. The mixture of sheer volume with tunefulness reconciled eras of music in a way that is often taken for granted and which bands like Nirvana and other massively commercial successful bands took to topple the music industry marketing machine and culture. Apparently modern folk/psychedelic artist Kurt Vile has felt this influence and thus has Dinosaur on this tour and for its part, the members of Dinosaur Jr have continued to release music, some of the best of its career in the past decade.

What: (Sandy) Alex G w/Indigo De Souza and Tomberlin
When: Wednesday, 11.6, 7 p.m.
Where: Marquis Theater

Torche Writes “A Lot of Riffs Inspired By Synths,” Performs at Larimer Lounge on September 18

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Torche, photo by Dan Almasy

Torche (performing tonight, September 18, at Larimer Lounge) started in Miami in 2004 after the dissolution of Floor, the band guitarist/vocalist Steve Brooks and former guitarist Juan Montoya had played in through much of the 90s and early 2000s. Torche picked up some of where Floor left off but took the heaviness in a more melodic and experimental direction across several albums including 2019’s Admission (N.B., Floor has reunited since its 2004 split and is technically still active). The new record reflects the band’s eclectic influences and roots as a band. New bassist Eric Hernandez or heave noise rock weirdos Wrong has played with Torche on and off filling in for drummer Rick Smith when the latter was not able to tour including, according to Brooks, a 2006 European tour. So the new role simply meant Hernandez was still playing with his friends in a new capacity. “After we lost two guitar players Jon [Nuñez] started playing guitar and he said we should get Eric to play bass,” comments Brooks.

Torche has never really fit the mold of a heavy metal band and Admission sounds more like a heavier neo-shoegaze album or noise rock record than heavy metal even though there are plenty of moments when the band plumbs those sonic depths that are part of its overall aesthetic. Part of this is accounted for by the fact that Brooks and the other members of Torche came up in Miami. Earlier in life, according to Brooks, he saw Melvins in 1991 and Godflesh on its early tours in 1989 or 1990. “I thought this was the type of stuff I wanted to do,” says Brooks. But finding like-minded musicians was a challenge and the guitarist moved to Atlanta in 1995 for a few years because the drummer of Floor lived there. Then the band got another drummer who lived in central Florida posing another challenge in the commute and Brooks “would drive three to four hours to practice on weekends.”

Locally Floor would play a club called Churchill’s often and frequently drove to Gainesville, Florida to play where a sizable audience might be found but back home it was playing to friends. So Floor and then Torche built up an audience well beyond their respective home towns out of necessity and have since cultivated a national and international fan base on a fairly grassroots basis.

Perhaps reflective of Torche’s non-genre purist sound is its current tour with experimental synth and heave drone band Pinkish Black for the bulk of the journey and ethereal yet emotionally charged darkwave project SRSQ (Kenndy Ashlyn formerly of Them Are Us Too) for the first leg of the tour. Torche’s current sound seems more introspective than one would expect from its previous offerings and when bringing Hernandez up to speed for the kinds of things to have in mind for moods and tones, Torche recommended listening to the first three Gary Numan albums for inspiration.

“We write a lot of riffs inspired by synths,” says Brooks. “Gary Numan is a big influence on us. So we threw that out. It’s the same thing except we’re playing guitars. The vibe.”

Admission has the evocative Richard Vargas cover art with a simple design favored by Torche this time out rather than anything too intricate. The image is of a head with the lower face intact but the upper head having exploded into the aftermath of a volcanic eruption suggesting either blowing minds of having one’s mind blown.

Although Torche has been around for fifteen years and toured internationally and it supports the members of the band, the group still operates like an underground outfit but one with the cachet to have albums released on the likes of Relapse with its two most recent records. But as with a lot of bands who are still playing small clubs and theaters Torche does its own driving and selling its own merch most of the time. Although its name is known among connoisseurs of heavy music the band isn’t so far removed from the challenges of its early days.

“It was really challenging when we first started because we weren’t making any money,” says Brooks. “Now we’re able to survive. The challenging part is actually all the traveling, trying to get sleep. Last night we partied and then I ended up going home and woke up at six o’clock in the morning and my band was in my room and I was like, ‘What the fuck are you all doing here?”’They were staying with friends before but they were in my house. They had broken into my house because I wasn’t waking up. I woke up naked because I took an Uber home, took a shower and went straight into bed. I woke up thought ‘Fuck, there are people in my room!’ The challenge is having privacy.”

Torche performs on September 18, 2019, at Larimer Lounge with Pinkish Black and Green Druid. Doors 7 p.m., show 8 p.m., tickets $23, ages 16 and over welcome

Best Shows in Denver 03/14/19 – 03/20/19

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Adia Victoria performs at Larimer Lounge on 3/15

Thursday | March 14

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The Drood circa 2015, photo by Tom Murphy

Who: The Drood, Church Fire, blackcell, Mudwulf and dizypixl
When: Thursday, 03.14, 8 p.m.
Where: Ophelia’s Electric Soapbox
Why: The Drood could be described as a horror ambient band with a penchant for subverting the dark music paradigm with wry humor and deeply imaginative reworking of tropes into new shapes. It’s what gives the band a kind of timeless and otherworldly quality even as it uses familiar sounds and moods to weave its unusual narratives. Church Fire similarly uses the vocabulary of dance and industrial music to enter mythic psychological spaces to comment on culture and political issues without boring us with didactic and topical platitudes. Blackcell is the longest running industrial/EBM band in Denver but one that has evolved so much since its early days as essentially and industrial noise act into one of the great the abstract/ambient dance/darkwave bands today. Mudwulf will bring an unpredictable collection of underground electronic music to DJ and Dizypixl, known for her work with Skinny Puppy, will provide brain-stirring visuals.

Who: Ian Svenonius’ Escape-ism with his “FoundSoundDreamDrama”
When: Thursday, 03.14, 9 p.m.
Where: Lane Meyer Products
Why: Even though The Lost Record, the debut from Escape-ism, the latest project from Ian Svenonius, the frontman of The Nation of Ulysses, The Make-Up, Weird War and other noteworthy musical entities over the years. Musically it sounds like lo-fi electroclash (or an even more lo-fi take on that musical movement). But that jibes with what is obviously a concept with music videos that look like its borrowing the aesthetics of an un-cool era, particularly the Super-8 vibe of the video for “Nothing Personal,” to pull listeners, and presumably those attending the show, out of everyday consciousness. Across his career as a musician, Svenonius and his partners have attempted to make music to engage both body and mind whereas much of modern culture and entertainment seems aimed at atomizing us as people from each other but also within ourselves. That the show is booked at something outside the usual purview of a bar or conventional venue should be telling as well regarding the aims of the performance.

Friday | March 15

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Josh Ott, photo courtesy the artist

Who: Adia Victoria wNina and the Hold Tight and Brother Sister Hex
When: Friday, 03.15, 7:30 p.m.
Where: Larimer Lounge
Why: Adia Victoria’s 2016 album Beyond the Bloodhounds introduced the world to the songwriter’s brooding, expressive, bluesy songwriting. Her 2019 album Silences finds Victoria expanding her sound, now operating in a realm somewhere between Rubblebucket’s soulful pop and Nick Cave’s smoldering intensity.

What: LEAF Night 1: Performances
When: Friday, 03.15, 7 p.m.
Where: Colorado Music Festival & Center for Musical Arts
Why: This year’s edition of the Lafayette Electronic Arts Festival kicks off with a bevy of visionary avant-garde electronic music. This year’s programme of performances will inclue: Derek Holzer – Vector Synthesis AV Performance, Janet Feder and Joshua Ott – Prepared Guitar & Electronic Image, L’Astra Cosmo – AudioVisual Vector Synthesis, Sean Winters & Angie Eng – Piano and Electronic Image. In the cozy yet spacious performance space that is the Colorado Music Festival & Center for Musical Arts, these performances showcase some of the new ways in which creative people are integrating technology in both the musical and visual realm with concepts driving their application. Curated by David Fodel, LEAF strives to bring unique experiences that connect cutting edge artists with audiences/participants open to experiencing something you’re not likely to at a conventional music venue of any kind or all that much in academia either. Heady stuff.

What: Meet the Giant, Dead Orchids and Altas facebook.com/events/326517057982697
When: Friday, 03.15, 8 p.m.
Where: BarFly
Why: A free show and a bill that includes some of the best bands in Denver. Meet the Giant is an emotionally charged dream pop/rock band who are playing music with atmosphere and delicacy and nuance but delivered like its three members spent a youth in punk. Dead Orchids is a beautifully gloomy, bluesy, experimental rock project. Altas may be collectively the funniest band in Denver but the electrifying grandeur of its visceral instrumental rock lacks not for serious explorations of inner space.

Saturday | March 16

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Janet Feder, photo courtesy the artist

What: LEAF Night 2: artistTalks
When: Saturday, 03.16, 7 p.m.
Where: Colorado Music Festival & Center for Musical Arts
Why: This second night of the Lafayette Electronic Arts Festival includes the presentations/artistTalks, rather than performance, component of the event with a programme as follows: Derek Holzer – A Media Archaeology Of Vector Graphics, Jason and Deborah Benagozzi – What IS Signal Culture? The Signal IN the Culture, libi rose striegl – Digging In: A hands-on Guide to Media Archaeology, Janet Feder – Trip Sitting: A guided journey along the timeline of psychedelia.

What: Lipgloss pressents: Alice Glass DJ set w/Boyhollow
When: Saturday, 03.16, 9 p.m.
Where: Ophelia’s Electric Soapbox
Why: Alice Glass’s musical output since her departure from Crystal Castles in 2014 has been a showcase for a gift for poignant expressions of agonizing emotional turmoil and strength in the face of being torn up from the inside out.

What: Johnlukeirl fka DJ Clap, Techno Allah, Kid Mask, DJ JFK, Timelord SFX, Blank Human and Wayzout
When: Saturday, 03.16, 8 p.m.
Where: Thought//Forms Gallery
Why: A night of music where ambient, experimental dance and noise meet. A bit more on the bright tones and compositions bordering on an updated version of chillwave on the beats with Johnlukeirl and downtempo ambient noise and glitchcore with Kid Mask along with analog-synth driven ambient with Blank Human so definitely not all of a piece.

Sunday | March 17

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Motherhood, photo by Emulsion Lab/Kyle Cunjak

What: Sliver, Motherhood (CAN), Weep Wave (Seattle) and Thatcher
When: Sunday, 03.17, 8:30 p.m.
Where: Lion’s Lair
Why: This’ll be an eclectic bill with Sliver’s post-grunge bursts of arresting emotional intensity, Weep Wave’s lo-fi psychedelia akin to the likes of Caustic Resin and some of the weirder bands on the Siltbreeze imprint, Motherhood’s math-y art punk rendering of high concept pop songs (see our interview with the band here) and Thatcher’s Velocity Girl-esque shimmery melodies.

Monday | March 18

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JPEGMAFIA, photo courtesy the artist

What: Vince Staples w/JPEGMAFIA and Trill Sammy
When: Monday, 03.18, 7 p.m.
Where: Ogden Theatre
Why: Vince Staples and JPEGMAFIA are two of the most incisive critics of modern culture and the music industry. With a massive knowledge of music far beyond hip-hop both artists have some of the most sonically interesting beats going.

What: Endless, Nameless, Balms, Wander, YUFI64, Old Soul Dies Young
When: Monday, 03.18, 8 p.m.
Where: Seventh Circle Music Collective
Why: Denver-based, introspective math rock band Endless, Nameless celebrates its return from its most recent tour this night. Also on the bill is Balms from San Francisco whose fuzz-tinged shoegaze sounds like the melodic analog of waves crashing against jagged rocks. Fans of Ceremony’s most recent music or True Widow will find much to like about Balms. Its debut full-length Mirrors was released in February 2019. Wander is a post-rock band from the Bay Area (San Leandro) whose own dynamic buildups are reminiscent of the subtle yet irresistible flow of ocean tides and coastal breezes.

What: Blood Incantation, Of Feather and Bone, Black Curse, Prison Glue and Many Blessings
When: Monday, 03.18, 7 p.m.
Where: Syntax Physic Opera
Why: Blood Incantation is a band that sounds like its members are having fun with the sonically absurd possibilities inherent to an over-the-top-yet-technically-challenging genre like death metal. The result is one of the most unusual and powerful live bands you’re likely to see in the realm of metal or anything else. But the band and everyone else on this bill is coming together for a fundraiser for James Trejo of Cadaver Dog and various other projects who was assaulted on tour resulting in a broken orbital floor in his face. Some people’s children.

Tuesday | March 19

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The Black Queen, photo by Jen Whitaker

What: The Black Queen w/Uniform and SRSQ
When: Tuesday, 03.19, 7 p.m.
Where: The Marquis Theater
Why: The Black Queen is a darkwave band from Los Angeles comprised of former members/associates of The Dillinger Escape Plan and Nine Inch Nails (including Joshua Eustis who also writes and performs music as Telefon Tel Aviv). Its sound combines ethereal dream pop guitar sounds with the sort of soulfulness found in a lot of 80s synth pop. But with a more modern take as though vocalist Greg Puciato wasn’t just familiar with Talk Talk and Heaven 17 but Perfume Genius and Big Black Delta. In 2018 the group released its second album Infinite Games the day it played the prestigious Cold Waves festival (the Los Angeles edition). But this bill isn’t short on noteworthy artists out of the new industrial and darkwave era. Uniform’s confrontational and political minimal synth and industrial assault is along for this show as well as SRSQ (pronounced seer-skew), the now project from Kennedy Ashlyn, the vocalist and keyboard player of Them Are Us Too. The new music is ethereal with emotionally arresting vocals as one might expect but also with more a downtempo, yet majestic, after-hours dance club vibe. The SRSQ album, Unreality, came out on Dais Records in 2018.

What: Mike Krol w/Vertical Scratchers and Slugger
When: Tuesday, 03.19, 7 p.m.
Where: Globe Hall
Why: Mike Krol did it right. Emerged during the wave of the recent garage rock/psychedelic rock revival of the 2010s where his fuzz-drenched, wiry melodies fit in with the biggest movement in underground rock in years. Then came out the other end of the wave with his knack for snappy, wiry melodies and charmingly lo-fi production intact. Sure maybe you can hear the touches of Jay Reatard and the Oblivians in the music but Krol’s own spiky highlights and tonal gyrations are his own and his 2019 album out on Merge Records, Power Chords, showcases all of that as well as the songwriter’s keen psychological insight and gift for poetic turns of phrase.
What: Remain and Sustain, Meth., Motherhood, Its Just Bugs and Non Systemaddict
When: Tuesday, 03.19, 7 p.m.
Where: Seventh Circle Music Collective
Why: Seventh Circle gets plenty of experimental music through the door but this night is one that’ll be fairly mixed. Meth. is a Chicago-based noisecore band that mixes some genuine soundscaping into its set. Its Just Bugs is a confrontational hip-hop band from Colorado that often uses industrial beats and noise. Motherhood is a trio from Fredericton, New Brunswick that combines high concept songwriting with playfully intricate art rock. Remain and Sustain is a sort of deathgrind/hardcore band from Denver. To name a few.

Wednesday | March 20

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Better Oblivion Community Center, photo by Nik Freitas

What: Metric & Zoé w/July Talk
When: Wednesday, 03.20, 6:30 p.m.
Where: The Fillmore Auditorium
Why: Metric’s latest album, 2018’s Art of Doubt, crafts a complex narrative commentary on the factious times in which we live. Rather than something so heavy-handed and topical., the lyrics explore the psychological and existential gyrations that seem to have been reflected on the backdrop of a time of great peril, tension, hope and a desire for relief knowing that tough decisions can no longer be put off as we sit on the brink of climate disaster and extinction. That, in fact, an overwhelming sense of doubt blooms from everyone’s psyche inspiring extremes of feeling and the expression thereof. Across the album the band channels those feelings and rides out the eddies of the flow of feeling and the maddening peaks of heightened emotion. In the live setting Metric manifests its colorful and passionate songwriting in a cathartic and captivating manner so this might be a tour to catch.

What: Better Oblivion Community Center w/Lala Lala and Christian Lee Hutson
When: Wednesday, 03.20, 7 p.m.
Where: Gothic Theatre
Why:Better Oblivion Community Center is the latest band from Phoebe Bridgers and Conor Oberst. So yes, literate, thoughtful, refreshingly rough around the edges and emotionally vibrant and warm.