What:Portrayal of Guilt w/Street Sects, EUTH and Cau5er When: Thursday, 1.23, 8 p.m. Where: Hi-Dive Why: Portrayal of Guilt is a post-hardcore band from Austin that weaves together elements of grindcore and noise soundscaping to create an angular kind of screamo bristling with menace. Its rhythms are more widely dynamic than one might expect from the mix of sounds and influences with chords allowed to hang to establish a mood that crawls to catharsis. Street Sects, also from Austin, is an industrial noise outfit whose confrontational performances may feel hidden in the banks of fog in its performance zone but the band manages to turn that haze into a realm where the tension it builds to unpredictable moments of eruption. Cau5er is a Denver project that comes partly out of hardcore but is firmly in the worlds of noise and power electronics with an impassioned delivery that belies notions of noise artists all being knob twiddlers. Schedule for the evening below provided as this show is being conducted in cooperation with the show at Mutiny across the street from the Hi-Dive.
Street Sects 10pm
Portrayal of Guilt 11pm
What:Red Death (DC), Enforced (RVA), Chair of Torture and Wide Man When: Thursday, 1.23, 8 p.m. Where: Mutiny Information Café Why: Washington DC’s Red Death is a modern crossover band whose synthesis of thrash and hardcore is reminiscent of a more aggro version of what Megadeth was doing earlier in its career. If that sounds appealing, Enforced from Richmond, Virginia and Chair of Torture from Denver are mining similar territory with the latter with more than a leg in grindcore. See schedule for the evening below as it is being done in conjunction with the show mentioned above at the Hi-Dive.
7:30-7:50 Chair of Torture
8:05-8:25 Wide Man
8:40-9:10 Red Death
What:Use the Sun (Reunion), Old Sport and American Grandma When: Saturday, 1.25, 7 p.m. Where: Seventh Circle Music Collective Why: Denver’s Use the Sun is reuniting for one night to bring forth its joyous mixture of melodic punk and surf rock. Also included is a lately relatively rare show from Old Sport who have been part of that resurgence of bands that were influenced by the better, mathier end of emo and post-hardcore. American Grandma is a slowcore band whose elegant and introspective guitar compositions blur the line between folk, ambient and dream pop.
What:Neil Haverstick When: Saturday, 1.25, 7 p.m. Where: Swallow Hill Why: Neil Haverstick is Denver’s biggest proponent of microtonal guitar so much so that he wrote a book about it. His songs, though, come from an emotional place and his roots in blues and folk inform even though his style brings in a great deal of avant-garde thinking into the mix and makes it accessible.
What:Shibui Denver #9: The Vanilla Milkshakes, Lazarus Horse and Pythian Whispers When: Sunday, 1.26, 7 p.m. Where: Mutiny Information Cafe Why: This latest edition of Shibui Denver will feature outsider pop punk band The Vanilla Milkshakes, the earnest, existential, angular indie rock of Lazarus Horse and Pythian Whispers’ psychedelic ambient soundscapes with visuals by Mark Mosher, electro-ambient artist and founder of Rocky Mountain Synth Meetup.
Tuesday | January 28
What:GosT w/Church Fire and Elay Arson When: Tuesday, 1.28, 7 p.m. Where: Larimer Lounge Why: GosT blurs the line between metal and synthwave and definitely for fans of Perturbator. Church Fire blurs that line a little too but more in the tribal, pagan vein without hitting you over the head with the aesthetic and its industrial/dance pop hybrid is one of the most compelling things going on in Denver or anywhere.
What:Poppy w/VOWWS When: Tuesday, 1.28, 7 p.m. Where: Gothic Theatre Why: Poppy’s genre-mashup is not for everyone. But the theatrical presentation of her mix and remix of extreme metal, kawaii pop and surreal psychedelic pop turns on a dime like something John Zorn might have thought of had Naked City come up in the 90s and 2000s and not in the realm of avant-garde jazz and grindcore. Currently touring in support of her new album I Disagree. VOWWS has managed to shed a lot of the previous associations in the last year with retro rockist tendencies. Its sound is more like a hard edged darkwave to post-punk what a band like True Widow is to metal and shoegaze.
What:Deerhunter w/Moon Diagrams When: Thursday, 07.11, 7 p.m. Where: Ogden Theatre Why: Deerhunter’s main contribution to modern rock music is fusing a garage punk energy and sensibility with a knack for otherworldly melodies and a gift for soundscaping straight from the realm of dreams. Oh, and a genuinely emotional intensity that comes from a deep place of alienation and, paradoxically, yearning for connection. Why Hasn’t Everything Already Disappeared? is the group’s 2019 album and a commentary on the seemingly broken world (politically, economically, socially, culturally) we find ourselves in at the moment.
Friday | July 12
What:Froth w/Versing and Shark Dreams When: Friday, 07.12, 8 p.m. Where: Globe Hall Why: Versing’s 2019 record on Sub Pop 10000 is a pointed take on an unwillingness to commit to being on the right side of history at a time when the twin forces of oligarchy and fascism are on the rise and infiltrating and coming to political ascendancy worldwide. Its angular dynamics surge forth with great momentum while remaining tunefully melodic. Froth is a fuzzy psychedelic band whose vocals seem more soulful than bratty and that makes all the difference.
What:The Blasters, Supersuckers and Wayne The Train Hancock and MC Clownvis Presley When: Friday, 07.12, 8 p.m. Where: Bluebird Theater Why: The Blasters are legends of southern California rock whose mix of Americana, rockabilly, R&B and blues effected with impressive musical chops and raw passion made the group respected in circles much wider than the image of a blues rock band might now. Supersuckers moved from from Tucson, Arizona to Seattle in 1989, a year after forming, and became immersed in the then burgeoning alternative rock world but like other significant bands of the era like Love Battery and Gas Huffer never really got big but put on lively performances and produced good records. Not really grunge so much as garage rock and in the past couple of decades they’ve been known to do some more country-oriented shows. Seeing as they’re sharing the bill with The Blasters that is a distinct possibility.
What:Hi-Dive Hug Down: Panther Martin, Super Bummer, Jobless, Night Champ When: Friday, 07.12, 8 p.m. Where: Hi-Dive Why: Group Hug is putting out albums by some of Denver’s best lo-fi indie rock bands and this is a showcase for some of the best of the lot. None of them are much alike and all experimented with a more popular style earlier in their lives as bands but are now making truly interesting music.
What:Esmé Patterson w/FELIX FAST4WARD When: Saturday, 07.13, 7 p.m. Where: Dazzle Why: Esmé Patterson may have made her name as a songwriter in the more Americana vein with her old band Paper Bird. But as a solo artist she has pushed herself in increasingly interesting directions both sonically and creatively. And as a performer, for that matter, all while making poignant social and personal commentary. She is headlining but also on the bill is FELIX FAST4WARD who is one of Denver’s most gifted and imaginative electronic music composers and producers in various realms including dance, hip-hop and ambient.
What:Extra Gold, Bison Bone, Claire Heywood When: Saturday, 07.13, 8 p.m. Where: Hi-Dive Why: A legitimate country show with a few of the Mile High City’s finest including the folksy/Merle Haggard-esque Extra Gold, Bison Bone and its eclectic yet singular blend of psych, country and pop and Claire Heywood’s smoky, grittily soulful country torch songs.
Sunday | July 14
What:Don Felder When: Sunday, 07.14, 5:30 p.m. gates, 7:30 p.m. show Where: Hudson Gardens Why: Don Felder is perhaps best known as the iconic guitarist for the Eagles during one of the most interesting, musically speaking, points in the band’s career. Sure, you may have heard “Hotel California,” the title track of the group’s 1976 album, who can say how many times but those distinctive lead guitar parts were written by Felder and his guitar interplay with Joe Walsh and Glenn Frey helped to define a certain sound of the 70s in southern California. While still in the band he wrote some songs that appeared on the soundtrack to Heavy Metal including “Heavy Metal (Takin’ a Ride)” and “All Of You” lending the soundtrack some brooding darkness and beautifully decadent guitar work. Felder’s guitar style fit in with the country rock thing with the Eagles but what made it stand out was his knack for interesting dynamics and atmosphere even when he writes something more straight ahead rock and roll. His 2019 album American Rock ‘n’ Roll is a tribute to the music that is the title.
Monday | July 15
What:Have a Nice Life w/Consumer, Street Sects and Midwife When: Monday, 07.15, 8 p.m. Where: Hi-Dive Why: Industrial drone, post-punk ambient or whatever one calls Have a Nice Life’s starkly brooding body of work, its dark compositions have proven influential on a generation of bands that have come along since its inception. Also on the bill is confrontational industrial/darkwave band Street Sects and ambient folk soundscaper extraordinaire Midwife.
What:An Evening With Michael McDonald When: Monday, 07.15, 6:30 p.m. Where: Chautauqua Auditorium Why: Michael McDonald’s smooth and soulful vocals have been a part of American rock and pop music for over four decades now. Whether as a singer in Steely Dan (both live and in studio), The Doobie Brothers, as a solo artist and in his numerous collaborations including with the likes of modern hip-hop/jazz genius Thundercat, McDonald brings a deep musicality and keen ear for melody that transcends genre. He will be performing a series of shows in Colorado that we will include on our Best Shows list up to and including his show at the Denver Botanic Gardens on Thursday, July 20.
What:Headboggle, Malocculsion, Page 27, Blank Human When: Monday, 07.15, 7 p.m. Where: Rhinoceropolis Why: Noise shows are a rarity in Denver these days when once you could find them on the regular when it was more possible for artists to have a warehouse to make this kind of thing or where impromptu venues were more open to hosting this stuff forbidding to more mundane sonic sensibilities. This show includes ambient/noise scaper Blank Human and the godfathers of Denver noise, Page 27 in its first show since the departure of long time member Michael Nowak.
What:Imperial Teen When: Tuesday, 07.16, 6 p.m. Where: Twist & Shout Why: Imperial Teen includes current and former members of Faith No More, Sister Double Happiness and The Wrecks. Their left field pop got a boost when “Yoo Hoo” appeared in the 1999 film Jawbreaker. Though the band’s excellent 1996 album, produced by Steve McDonald of Red Kross, garnered no small amount of critical acclaim it was oft found in bargain bins at music stores. The group’s playful songs and interesting and illuminatingly personal takes on controversial themes has set the foursome apart from many of its late era alternative rock/pop peers. In 2019 the group released its latest album Now We Are Timeless. Since Jone Stebbins lives in Denver now, Imperial Teen is in some ways a local band.
What:3TEETH w/Author and Punisher and GosT When: Tuesday, 07.16, 6:30 p.m. Where: The Marquis Theater Why: 3TEETH is one of the better newer industrial rock bands. But the reason to go to this show is to witness Author and Punisher who creates his own instruments and whose cybernetic appearance is no mere affectation as it incorporates controllers of various types that can be executed by a single person. The project’s music is industrial but more raw and experimental than most music calling itself that these days.
Wednesday | July 17
What:The Beths and Girl Friday When: Wednesday, 07.17, 7 p.m. Where: Globe Hall Why: The Beths from Auckland, New Zealand started in 2015 and absorbed some of that worldwide retro-90s fuzz rock vibe of the time. But since the trio is from New Zealand it always manifests differently and its melodies go down unconventional paths and the progressions resolve in fascinatingly unpredictable ways. Plus Elizabeth Stokes’ vocals are bright and strong and not couched in manifesting angst so obviously. The group did title its 2018 album Future Me Hates Me tells you that you’re in for something more interesting than “summer time good time music” and yet the group’s music is upbeat and hopeful.
What:Michael McDonald When: Wednesday, 07.17, 7 p.m. Where: Vilar Performing Arts Center in Beaver Creek Why: See above for 7/15 for Michael McDonald.
What:Dinner Time (GA), Sliver, Gila Teen and Moving Still When: Wednesday, 07.17, 8 p.m. Where: Thought//Forms Why: Atlanta’s Dinner Time is a low-fi indie pop band with some raw and ragged edges to its songwriting so that it can sound a little bratty and snotty like a punk band you’d actually want to listen to. Also on the bill are ex-nü metal wavers Sliver whose covers of 90s Bush songs, at least in essence, are almost as good as the real thing. Somehow Moving Still invited Sliver’s singer to perform with them because they’re good people and taking Chris Mercer under their wing and cultivate the guy’s tastes until he realizes that Nirvana was not influenced by Gavin Rossdale. It’s an uphill battle. Gila Teen is a post-punk/pop death rock band from Denver and one of the Mile High City’s greatest duos whose emotionally vibrant sad songs chase the blues away.
What:The Head and the Heart w/Hippo Campus When: Wednesday and Thursday, 07.17 and 07.18, 8 p.m. Where: Red Rocks Why: Hippo Campus from St. Paul, MN are technically an indie rock band but its beat-making and pop songcraft is more akin to R&B and hip-hop with a focus on mood and atmosphere. Its diverse and imaginative songwriting manifested brilliantly on its 2018 album Bambi and in 2019 the group released a cadre of songs in two volumes called Demos I and Demos II. The song experiments on both show how the band got from the promising songwriting of the 2017 album Landmark to the sophistication of craft heard on Bambi. At the top of the bill for this show is indie folk band The Head and the Heart. Maybe “indie folk” doesn’t apply so much anymore as the band has expanded its sounds and songwriting style in all directions. Its 2019 album Living Mirage finds the band truly utilizing space in its songwriting in a way that allows for the expansive feelings inherent to its specific musical style to stretch out and resolve organically. Which is interesting to see in the music of a band that has reached its level of relative commercial success when there can be pressure for efficiency in delivering satisfying musical hooks. This line-up plays both Wednesday July 17 and Thursday July 18 at Red Rocks.
Who: Mac Sabbath w/Franks & Deans bluebirdtheater.net/events/detail/359843 When: Thursday, 11.22, 8 p.m. Where: The Bluebird Theater Why: Mac Sabbath performs Black Sabbath covers, with fast food themed lyrics, in the guise of fast food characters from some chain gone dark. Are they really aliens from another dimension like Bizarro or escaped mental patients? Who can say, really. But when Black Sabbath gives you the nod of approval maybe your weirdo cover band has some legitimacy. The group has two official music videos released since its inception in 2014 and a flexi disc for the “Pair-a-Buns” single and nothing else yet since singer Ronald Osborne has declared a complete denial of the existence of technology after the 70s. Why not record or, even more quaint, an 8-track? We may yet see such releases from the mysterious band. But for now, and for purposes of the sheer spectacle of the thing, Mac Sabbath is best seen live.
Sunday | November 25, 2018
Who:Elvis Costello & The Imposters When: Sunday, 11.25, 7 p.m. Where: The Fillmore Auditorium Why: Elvis Costello is probably too famous for any introduction. What he contributed/contributes to music is a gift for perfectly capturing a mood, a moment, a frame of mind with detail and humanity. This doesn’t always mean he’s writing songs that fit in with what some people might think of as the “appropriate” way to think and feel about the subject of the song. You may even listen to one of his songs and think, to put it charitably,“What a jerk!” But that’s the point. Whether a character created for the song or a bit of an abstraction of his actual thoughts, Costello’s songs are compelling because whether or not you share the sentiments the songs are poetic and believable pulling up just shy of being sentimental even if he does often employ a sense of nostalgia. His character sketches are vivid and resonate with an emotive familiarity. Currently the songwriter is touring with his band The Imposters in support of Costello’s 2018 album Look Now.
Who:Centered: Steve Hauschildt, Reighnbeau and J. Hamilton Isaacs When: Sunday, 11.25, 7 p.m. Where: Savoy at Curtis Park Why: Steve Hauschildt probably became first known to a national audience during his 2006-2013 run with experimental electronic trio Emeralds. The group fused ambient music with pop and the minimalist end of Twentieth Century classical music. As a solo artist, Hauschildt has delved further into exploring the possibilities of minimalism in composition and creating an sound environment with depth and texture. His 2018 album Dissolvi is reminiscent of a Squarepusher record with the beautiful level of tonal detail but after any deep house influence. Not an ambient dance record, per se, but it could be considered one of the best. Reighnbeau from Santa Fe, NM is a band that includes Bryce Hample, Colleen Johnson and Madeleine Johnston. So for the uninitiated, heavy hitters in underground ambient and experimental pop. Its sound tends toward an organic tone while employing plenty of sonic material that could only come from a computer or other electronic device. The group has a layered sound suggesting a complex mixture of emotions. J. Hamilton Isaacs has been a fixture of Denver’s experimental music scene for over a decade whether he is often acknowledged for it or not. His own beat-driven electronic experiments blend together sequencing/sampling and modular synthesis. Always different, always interesting.
Who:Textures: Wonderlust, Chromadrift, Crimson Highways When: Sunday, 11.25, 7:30 p.m. Where: Mutiny Information Café Why: This months’ Textures Ambient Showcase features post-rock/ambient soundscape artist Chromadrift whose Drew Miller also composes soundtrack-y music in a more abstract shoegaze vein as Brother Saturn. Also, Daniel Mescher as Crimson Highways uses loops and electronics to compose impressions and textured emotional colorings to transport you away from the tonight’s cold.
Monday | November 26, 2018
Who:Pale Waves w/Kailee Morgue and The Candescents When: Monday, 11.26, 7 p.m. Where: The Bluebird Theater Why: Manchester, UK band Pale Waves doesn’t overtly flout conventional song structure and what makes for solid pop melodies. But the band’s early material, upbeat in tone and pacing, hit some of the same emotional touchstones as artists like CHVRCHES and Lorde. But Pale Waves look like an updated version of a dark post-punk band from the 80s and many of its songs, particularly on the 2018 full-length debut My Mind Makes Noise., explore themes of loss, existential uncertainty and identity with an assurance and sensitivity one might not expect from a pop band with a strong visual aesthetic. About the title, singer Heather Baron-Gracie told us that it is an acknowledgment of how our minds are filled with ideas and emotions and it can sometimes be overwhelming but that we can, to some extent, also choose which noises we amplify and feed. In providing interesting contrasts that challenge assumptions (Goth-ish-presenting band making emotionally rich pop songs, pop songs with deeply melancholic themes), Pale Waves demonstrates to people who care to pay attention that one needn’t adhere to narrow expectations in music or in one’s own life.
Who:Echo & The Bunnymen w/Enation When: Monday, 11.26, 7 p.m. Where: The Paramount Theatre Why: Echo & The Bunnymen didn’t just write that song in Donnie Darko, what was it, “The Killing Moon”? Or for an earlier generation, didn’t just do that Doors cover for the soundtrack to The Lost Boys. “People Are Strange,” though. At any rate, Echo & The Bunnymen for post-punk connoisseurs was one of the most consistently interesting bands of the 80s because until it’s 1987 self-titled album, the one that broke the band to the mainstream, of course, with the hit “Lips Like Sugar,” the group had had a string of fascinating, critically acclaimed records. There was an elegance of sentiment, a poetic sensibility and a deeply imaginative quality to the band’s music. Like it was tapping into the unconscious and creating its own mythology cast in dreamlike detail—shrouded in indigo lights and fog, early morning sunlight and mist. The first four Echo & The Bunnymen records are post-punk canon and for the rest of its career there’s been plenty of strong material, even on 1990’s fan-reviled, Ian McCulloch-less album Reverberation. McCulloch remains an enigmatic, romantic weirdo mystic of rock and roll which some my find confounding at times but, really, don’t we all need someone out there maintaining their own mythology in that way that is not harmful but gives hope to anyone who dared to dream of a more interesting world and had the guts to see making it a reality as an iconic band.
Who:The Body, Author & Punisher and Many Blessings When: Monday, 11.26, 7 p.m. Where: Larimer Lounge Why: Two of the best bands that don’t fit too well into the world of metal or heavy music but don’t really fit into any other realm of music either except for maybe noise are sharing the stage tonight. And with Denver’s Many Blessings, a solo noise project of Primitive Man’s Ethan McCarthy. The Body from Providence, Rhode Island have long blurred any lines between doom, grindcore, hardcore, noise, industrial, electronic pop and ambient music. Just depends on the album. The group has been fairly prolific across its 19 years of existence but perhaps none more so than 2018 when the band produced a split industrial group Uniform as Mental Wounds Not Healing, an early 2018 record I Have Fought Against It, But I Can’t Any Longer (a grinding dirge that never seems to get boring) and the fall release O God who avenges, shine forth. Rise up, Judge of the Earth; pay back to the proud what they deserve. Live, the band unleashes intense energy while keeping it weird. No mean feat and The Body does so brilliantly. Author & Punisher is a one-man industrial band. Tristan Shone is an artist and a mechanical engineer who builds his unique instrumentation. One his early tours he definitely played DIY spaces in Denver but has made a bit of a name for himself outside noisenikdom and recognized for his innovative methods of composition. His latest album, 2018’s Beastland out on Relapse Records, is simultaneously possibly his most accessible and challenging record to date. As a frame of reference, imagine a late 80s Ministry and late 90s Neurosis collaboration album.
Tuesday | November 27, 2018
Who:Street Sects w/Ten Foot Beast When: Tuesday, 11.27, 8 p.m. Where: Streets of London Why: Street Sects fills the room with fog in order to disorient you already before its barrage of sounds, lights, rhythm and, on occasion, a bladeless chainsaw brought forth to make for a performance designed to take you out of your comfort zone. Is it noise? Industrial? Inspired by confrontational punk? Perhaps specifically by tales of Alan Vega swinging that bike chain at early Suicide shows in New York? Who can say. What is certain is that while its live shows are not short on visceral thrills, its records stand on their own as well. Its latest record, 2018’s The Kicking Mule is like a futuristic industrial noir with darkly amusing and hardboiled titles like “269 Soulmates,” “Suicide By Cop,” “Dial Down the Neon” and “Still Between Lovers.”
Who:Sharone (“I Love You, Goodbye” single release) w/Melody In Heart, Blake George, Sean Hennigan When: Tuesday, 11.27, 7:30 p.m. Where: Seventh Circle Music Collective Why: Sharone Borik debuted as a talented singer-songwriter before launching her dark, hard rock band Sharone & The Wind in 2016. For this night, Borik is releasing her new solo single “I Love You, Goodbye.” Given Borik’s gift for songwriting and performing with a theatrical flair it should be interesting to see how she presents her solo work this time around.
Who:Glenn Jones and Janet Feder When: Tuesday, 11.27, 7 p.m. Where: Baur’s Why: Two of guitar’s avant-garde greats on one bill. Glenn Jones has been a member of experimental rock band Cul de Sac since 1990 but he was also a collaborator and friend of John Fahey and he has written a film score for Roger Corman. His solo work is often very much in the folk vein but more elaborate and imaginative than too much of what passes as folk these days. Janet Feder was born in Boulder, raised in Denver, and has been pushing the guitar envelope in a variety of ways with form and composition for decades now. While her work might rightfully fall under the umbrellas of prog, the avant-garde, experimental folk and modern classical music, her actual songwriting is fairly organic and highly imaginative. This is a rare chance to see both artists on the same bill.
Wednesday | November 28, 2018
Who:Blockhead w/Yppah, Arms and Sleepers, Mikey Thunder and Jordan Polvina When: Wednesday, 11.28, 8 p.m. Where: Cervantes’ Other Side Why: Tony Simon has been making some of the most interesting and transporting beats in hip-hop for nearly 20 years including his collaborations with Aesop Rock, Ilogic and Murs. His solo releases on the respected Ninja Tune imprint paint a tapestry of New York daydreams of the Big Apple of myth and journeys far beyond to places exotic to a city dweller. His compositions, part immersed in classic sampling tradition of taking bits of jazz and funk records and recontextualizing them, part weaving in experimental electronic music—his own and those possibly borrowed., are immediately captivating and mostly on the downtempo vibe. Live the music can be a bit like the DJ on a laptop sort of affair but on the sound system at Cervantes’ it’ll have a full sound.
Who:Cult Leader, God Mother, Call of the Void and Kenaima When: Wednesday, 11.28, 8 p.m. Where: Lost Lake Why: Salt Lake City’s sludge-grind band Cult Leader recently released its second album A Patient Man. While some of the material is what you might expect of a highly energized band out of its expected realm of music, the group took some hauntingly introspective turns on the record including the track “To: Achlys,” which sounds more like a dire, metallic, brooding post-punk song akin to a late 80s Swans song with a visually stunning music video depicting a man seeking solace in the arms of a stylized figure that resembles a Kali-esque death goddess. The group has been making waves lately and in December is taking Denver-based organo-industrial legends Echo Beds on a short tour. On the bill for this night is the great Denver death-grind outfit Call of the Void and adrenalized mathrcore band Kenaima.
Who:Screwtape EP release w/Noogy, World Movement, Dox and HYFY When: Wednesday, 11.28, 6 p.m. Where: The Oriental Theater Why: Screwtape, one of Denver’s greatest political hardcore bands, is finally releasing its second EP and celebrating the occasion at this show at The Oriental Theater with some of its like-minded peers. By hardcore don’t take that to mean a young band imitating some earlier era of the music but taking those roots as inspiration for making something vital and of the now.
Who:Glasss Presents Speakeasy Series Season 2: Atari and Pythian Whispers When: Thursday, 04.19, 7 p.m. Where: Hooked On Colfax Why: This latest edition of the Speakeasy Series Season 2 will be an early and short show from Denver ambient artists Atari and Pythian Whispers. Being in the latter, no comment. Atari, though, is David Bridges, a DJ who manufactures records to create truly unique beats in an analog format. He uses some electronic components in his beatmaking but its that he has been known to cut records apart and put them together in different arrangements for a show or recording. The result sounds like tape collage, ambient industrial but the craft involved is a step beyond what most musicians making similar music would be willing to undertake.
Who:Glasss Presents: Gold Trash, Church Fire, EVP and Mirror Fears When: Thursday, 04.19, 8 p.m. Where: Syntax Physic Opera Why: Sort of an all-star experimental electronic pop lineup. Mirror Fears set a high bar for emotional intensity and a complete synthesis of dream pop, industrial and noise with her 2018 album Eaten. Church Fire similarly doesn’t skimp on the emotional singing in its live show and on its albums but its style is more embodied in the band name because Shannon Webber has a fiery performance style that is impossible to ignore. EVP channels a lifetime of anger into its music even though some of it sounds like it could be a companion piece to what Grimes has been up to lately. Gold Trash sounds a bit more raw and chaotic than the other acts on the bill, it’s sound seeming to have been informed by the sonic brutality and, yes, trash culture embrace vibe of both Atari Teenage Riot and Royal Trux.
Friday | April 20, 2018
Who:Front 242 w/Blackcell, EVP and DJ Slave 1 When: Friday, 04.20, 7 p.m. Where: Summit Music Hall Why: Front 242 was the first band from Belgium most people outside of Belgium had ever heard about. Which is interesting because Front 242 remains a bit of a cult band. But the group pioneered the style of electronic industrial music called Electronic Body Music, or EBM. Developing alongside peers like Skinny Puppy, Ministry, Nitzer Ebb, D.A.F. and Front Line Assembly, who were making likeminded music from the early to mid-80s going forward, Front 242 enjoyed a brief period of commercial success by the early 90s. Its single “Rhythm of Time” appeared in the 1992 thriller Single White Female boosting the band’s profile at a time when alternative rock had opened the doors into the mainstream for all sorts of leftfield music that could fit under that umbrella including Front 242.
After 1991’s Tyranny For You, Front 242’s musical style evolved rapidly and dramatically as embodied on a twin 1993 release of both 06:21:03:11 Up Evil and 05:22:09: 12 Off. The big beats that were the driving engine of the band’s earlier music seemed gone but not the robotic, distorted vocals. The tracks seemed less stark and revealed the influence of more sample based composition. Through the rest of the decade and into the 2000s, when Front 242 released music it was obvious the group was learning from the new electronic groups or the era including the IDM, “Big Beat” and house/techno/rave artists that dominated the electronic music world of the 90s and 2000s. Front 242 hasn’t released a new full album worth of material since 2003’s excellent Pulse, its then first album in a decade. But that means that if you’re going to the show you’ll probably get a nice slice of its classic material.
Who:Afroman w/David Frederick, SwizZy B and guests When: Friday, 04.20, 4:15 p.m. Where: Gothic Theatre Why: Since April twentieth in Denver is basically a punchline for a fake holiday there are too many events “celebrating” legal recreational cannabis. Afroman, more than many artists of the past two decades, made more of his 2001, what might be considered a novelty, hit “Because I Got High” than anyone had in years. Since then Afroman has been kind of a mascot for legalization of cannabis so even if this show is basically about that it should be entertaining anyway.
Who:Zigtebra, Gort Vs. Goom and f-ether When: Friday, 04.20, 9 p.m. Where: The Skylark Lounge Why: Chicago’s Zigtebra has blended the aesthetics of 8-bit video game music composition, EBM and indie pop. It’s the sophisticated lo-fi musical equivalent of inspired collage art. Gort Vs. Goom is a bass and drums prog punk band. Probably sounds counterintuitive but this duo makes it work and comes off more like Minutemen than Primus. F-ether’s musical output is fairly diverse. But one might describe the overarching sound as one of minimal synth environments reminiscent of a less abstract Pole or of early IDM artists. Except there’s more modern glitchcore to some of his denser songs. But all within the realm of modern underground dance music.
Who:Coastlands w/Altas and The Leshen When: Friday, 04.20, 8 p.m. Where: Streets of London Why: Coastlands is a Portland, Oregon-based post-rock band. It’s sound is more melancholy and downtempo than its more rock-oriented kin. More Hammock than Explosions in the Sky. Also playing this show is Denver’s Altas. The instrumental rock band is like its own traveling sonic cinema rooted in guitar and synthesizer music. The group’s 2014 album Epoca De Bestias was full of songs that suggested short, epic science fiction films in miniature themselves. As in not inspired by film but inspiring them. We’ve heard lots of post-metal/heavy post-rock and The Leshen fits under that umbrella fine. But intentionally or otherwise the duo has brought in elements of industrial and sludgy blues rock without compromising an interesting sound.
Who:Cigarettes After Sex When: Friday, 04.20, 8 p.m. Where: Boulder Theater
Why: Despite a completely underwhelming showing opening for Garbage in the summer of 2016 and a fairly sparse eight years of output prior merely hinting at what was ahead, Cigarettes After Sex released a respectable self-titled full-length in 2017. It can sound of a piece and yet the dusky tone and Greg Gonzalez’s androgynous vocals are engaging and interesting enough to warrant repeated listens. Even if the live show hasn’t improved, but chances are it has, being enveloped in the ghostly embrace of this music should reward the effort to show up.
Who:4/20 Funk Fest: Rowdy Shadehouse w/Log and DJ Lucky Luck When: Friday, 04.20, 7 p.m. Where: Globe Hall Why: At least if you come to this show, overtly state them aside, it’ll be enough of a celebration of the bombastic and absurd to be fun. Jon Thursday’s melodramatic, hypersexualized stage persona may split the crowd but at least it won’t be boring or forgettable. His band Rowdy Shadehouse has been through some lineup changes but Thursday is able to bring together some real talents to execute his version of funk.
Who:Esmé Patterson w/Slow Caves and Silver & Gold When: Friday, 04.20, 8 p.m. Where: Downtown Artery | Fort Collins Why: Esmé Patterson will bring her literary and penetratingly insightful pop songs to the Downtown Artery for a show with hometown heroes, the surf-y garage rock band Slow Caves and Greeley’s Silver & Gold, a band that sounds like it worked through its emo, alt-country and neo-classic rock roots to make a the kind of alt/indie rock band with an earnest energy and big hooks.
Saturday | April 21, 2018
Who:MC Chris w/Bitforce and An Hobbs When: Saturday, 04.21, 8 p.m. Where: Cervantes’ Masterpiece Ballroom Why: MC Chris and his music has been a part of a certain segment of modern American counterculture through his association with Adult Swim through the Aqua Teen HungerForce, Sealab 2011 and The Brak Show. Among other projects. Though MC Chris is with some people synonymous with nerdcore, his music goes beyond nerd culture and the nerdly events at which he has performed. Yes, there are 8-bit sounds all over his music and references to video games and RPGs but his production and songwriting is much broader and sophisticated than a narrow subgenre straightjacket could fully encompass. In that way his songs have more in common with other hip-hop than nerdcore. MC Chris’s music may be steeped in and a product of nerd culture but not limited by it. His most recent album, 2017’s Marshmellow Campground, is an irreverent collection of songs about the perils and challenges of childhood and its rituals and experiences that many of us share.
Who:Sugar Skulls & Marigolds album release w/Muscle Beach and Cult of the Lost Cause When: Saturday, 04.21, 8:30 p.m. Where: Hi-Dive Why: Sugar Skulls & Marigolds is celebrating the release of its new record, ‘Til Death Do Us Part on Sailor Records. The hard rock duo would probably be considered metal by most people that see them but for the past few years, and probably from the beginning, the band has created some songs that transcend limiting genre labels by taking the harder edged sounds into more atmospheric vistas. When Sugar Skulls & Marigolds opened for Xasthur in 2017, it was supposed to be an “acoustic” show but it just sounded like a great shoegaze or dream pop band with more grit than usual and revealed these guys had more to offer than being just a talented extreme metal band. The new record is finds both creative impulses informing each other for one of the most interesting heavy albums of the last few years. Also, two of the best heavier bands in Denver or anywhere share the bill with the more punk oriented Muscle Beach and the more instrumental metal/posthardcore Cult of the Lost Cause.
Who:The Book of Love w/Eloquent and The Siren Project When: Saturday, 04.21, 7 p.m. Where: Herman’s Hideaway Why: The Book of Love is a band from the 80s and early 90s synth pop world that like groups from that era like Let’s Active and Game Theory who were maybe big on college radio with flirtations with mainstream success, including two tours with Depeche Mode in the mid-80s, but never quite broke through to the audience one might think would be obvious. It wasn’t for lack of quality material and its music was not even as dark as that of Depeche Mode. So The Book of Love became a bit of a cult band in the Goth world of the 90s even after its initial 1994 breakup. Since 2013, The Book of Love has been touring on the strength of its back catalog. Joining The Book of Love for this show is Denver-based Euro-dream-pop-post-punk band The Siren Project, a band that has also yet to garner the attention it richly deserves for its body of work that conjures imagery of hanging out in a fog-enshrouded café in some romantic city on the Continent contemplating the meaning of life and dreams of the future.
Who:Diners, Dingbat Superminx, Petite Garçon, Wrinkle and The Tickles When: Saturday, 04.21, 8 p.m. Where: Dateline Gallery Why: The term indie pop may have lost some of its meaning or significance since the early 2000s when some of the most inspired and idiosyncratic pop music made was coming out in the underground. Well, these bands all embody that spirit of not looking to the mainstream to define what makes pop music and Wrinkle, even though clearly a punk band, is not short on hooks. Denver’s Petite Garçon is mostly difficult to categorize except that its songcraft is a not so self-conscious to be a deconstruction of pop but a use of that structure employing sounds in a way most bands in the classic mold would not. It’s also a chance to see a show at the excellent Dateline Gallery so it is for sure all ages.
Who:Oddfellas, Drink Drank PUNK, Sliver, The Pollution and Church Van When: Saturday, 04.21, 9 p.m. Where: Bar Bar Why: Is this a punk show? Pretty much except that Sliver draws a great deal from DC posthardcore and late 80s and early 90s grunge and northwest punk in general: Nirvana (from whose song the band got its name, natch), Tad and Wipers. And The Pollution includes DC punk band United Mutation’s bass player Jay Fox and thus an unusual and interesting mix of punk, psych and krautrock.
Sunday | April 22, 2018
Who:3Teeth w/Ho99o9 and Street Sects When: Sunday, 04.22, 6:30 p.m. Where: The Marquis Theater Why: 3Teeth wears some of its influences on its sleeve pretty heavily: Nine Inch Nails, KMFDM, Stabbing Westward and Marilyn Manson. But it lacks the utter camp of Manson and KMFDM. Just abrasive, crunchy industrial rock guitar and a bit of a throwback to the 90s in that regard yet still not really coming off like a band tapping into nostalgia. Street Sects is almost a performance art band in how confrontational it sounds and the nature of its fog-enshrouded live shows. Like a breakcore band with more identifiable and visceral low end. Ho99o9 is what might be called an industrial hip-hop act. Obvious comparisons have likely been made with Death Grips and Dälek, none of the three groups sound at all like each other except in their use of sounds in a hip-hop context most other hip-hop artists wouldn’t use like industrial beats and darker undertones in the synth lines. Maybe Sole, The GZA, Eyedea & Abilities, Earl Sweatshirt, Tyler the Creator, Vince Staples and the like. Wherever Ho99o9 fits in, its menacing and socially critical music has been the perfect soundtrack to the last few years. It’s latest release is 2017’s United States Of Horror, a title that just about sums up the national and international mood of late.
Who:Joe Jack Talcum w/Coolzey, Mister Zach and Daywish When: Sunday, 04.22, 7 p.m. Where: Herman’s Hideaway Why: Joe Genaro aka Joe Jack Talcum is perhaps most widely known as the guitarist and one of the vocalists in punk rock band Dead Milkmen. But since 1984 he’s written songs and albums and performed live as a solo artist. Not folk, not conventionally singer-songwriter, but more akin to Robyn Hitchcock or Billy Bragg in that he can be political but also write about love and life in a way that goes beyond tropes. And hey, he may do a Dead Milkmen song or two.
Monday | April 23, 2018
Who:Carpenter Brut w/Jean Jean When: Monday, 04.23, 7 p.m. Where: Gothic Theatre Why: Franck Hueso, aka Carpenter Brut, is a French synth artist who has been on the forefront of making the kind of music that one might have heard in 80s horror and science fiction movies, and thus perhaps an explanation of part of the project’s name by invoking director John Carpenter whose own synth-based soundtracks for his own films are a clear inspiration to Carpenter Brut and his musical peers in Perturbator, Magic Sword and Kavinsky. On the 2015 release Trilogy, the titles suggestive of horror storylines and the strong, bright compositions nail the combination of camp and compelling songwriting. Hueso has done some soundtrack work but the vast body of his songs are separate from that context and those songs suggest narratives and aesthetic that recent films like Drive, The Guest and others have manifested. 2018’s Leather Teeth pushes the absurdity factor further in terms of subject matter (“Inferno Galore” and “Hairspray Hurricane” being clear indicators) but Hueso’s mastery of the musical form has progressed even further and the live show looks like an immersive experience.
Who: Khruangbin w/The Mattson 2 bluebirdtheater.net/events/detail/348081 When: Monday, 04.23, 7 p.m. Where: Bluebird Theater Why: Khruangbin’s website airkhruang.com offers visitor a playlist for a trip from any place in the world to another which one can also save to Spotify. Asked for various aspects of the trip, the curated selections are uncannily apt. It also more than hints at the band’s cross-cultural appeal. The trio got started when bassist Laura Lee and guitarist Mark Speer were on tour with Yppah in 2010 during that artist’s run with Bonobo and recognized similar musical interests. After recruiting drummer Donald “DJ” Johnson the group started writing its earliest songs and garnered some attention for its early singles. With what looks and sounds to English-speaking eyes and ears as an exotic name the expectation for the project might have been some resurrection of non-Western versions of Western pop. Instead, Khruangbin’s sound is that of downtempo jazz, surf-rock-esque-yet-smooth-and-moody guitar and smoky funk. Currently touring in the wake of the release of its 2018 album Con Todo El Mundo, Khruangbin has brought along like minded, San Diego-based duo, Mattson 2, a band comprised of identical twin brothers Jared and Jonathan Mattson. The brothers released a collaborative album with Chaz Bundick of Toro Y Moi fame in 2017 and in March 2018, an album of covers of Japanese jazz originals called Vaults of Eternity: Japan.
Who:Impiety, Gravehill and Divine Eye When: Monday, 04.23, 8 p.m. Where: Hi-Dive Why: Impiety started in 1990 as a kind of black metal band. But in Singapore being in such a band was probably a dicey proposition and remains so in a country that banned “Puff the Magic Dragon” in 1963 and the 2001 Janet Jackson album All for You due to its racy album cover and lyrics. Nevertheless, Impiety and other extreme metal bands have operated out of Singapore for years. Since its earliest releases, Impiety has evolved a bit from its early black metal roots to its current deathgrind style. But its musical vision of audio-violence and lyrics that combine an irreverent attitude toward organized religion with cartoonishly occult imagery will ensure Impiety will alienate casual metal fans. Gravehill from Anaheim, California and its 2018 album The Unchaste, The Profane & The Wicked is a bit of a throwback to a time when thrash and death metal weren’t so far apart in sound and the brutal imagery of the lyrics.
Tuesday | April 24, 2018
Who:Das Mörtal w/Church Fire When: Tuesday, 04.24, 9 p.m. Where: Streets of London Why: Das Mörtal often gets lumped in with the modern synthwave movement and not without reason. His sensibilities as a songwriter are, according to a July 2017 interview with Get Some Magazine, inspired in part by 80s movie soundtracks as well as 8-bit and 16-bit video game music. But this project sounds less like other synthwave stars like Carpenter Brut, Com Truise, Kavinsky and Perturbator and more like a pop-oriented rock band like Cut Copy whose New Order and OMD influences showed pretty strongly on its 2004 album Bright Like Neon Love. And like Cut Copy, Das Mörtal has evolved into his own sound as evidenced by his 2017 album Always Loved. With nods to mid-90s IDM and mid-80s EBM, Always Loved is packed with songs that pick up where nostalgia isn’t enough of an appeal with an updated take on electronic dance music grounded in songwriting rather than merely well-crafted beats.
Wednesday | April 25, 2018
Who:King Krule w/Standing On the Corner When: Wednesday, 04.25, 7 p.m. Where: Ogden Theatre Why: In a time when genre bending and multi-genre artists are becoming more common, King Krule is a standout. Like Deerhunter more than a decade ago, King Krule’s music invites you into a universe of its own as it is not simply rock or a subgenre of electronic pop music or hip-hop. It has elements of all of that and more but is not limited by a need to fit in with something other than Archy Marshall’s expansive imagination. 2013’s 6 Feet Beneath the Moon probably got interpreted as being part of the psych-and-punk-garage revival of the time. But Marshall sounded like he was channeling Old Dirty Bastard singing for a weirdo jazz band making its own version of indie rock. Four years later, The Ooz finds the band weaving in more musical DNA to mutate its sound further. Bossa nova and dub underpin the “Dum Surfer” single and the beatmaking compositional element is stronger across the whole album, giving it a soft and hypnotic quality even in its moments of peak emotional intensity.
Who:Whores, Bummer, Bland Canyon When: Wednesday, 04.25, 8 p.m. Where: Hi-Dive Why: Whores is a sludgy noise rock trio from Atlanta. Reminiscent of Big Business, KARP (naturally) and a less sonically surreal Jesus Lizard, Whores perform with the edgy energy of a posthardcore band rather than with the quickened tar pace of many bands projecting a similar aesthetic. Not as overtly so, Whores shares KARP’s proclivity for humor and irony. After all, on its latest album, 2016’s Gold. there are song titles like “I See You Are Also Wearing A Black T-Shirt” and “Mental Illness As Mating Ritual.” Bummer is a sludge rock band from Kansas City that sounds like what would have happened had Ministry followed a trajectory suggested by the Filth Pig album. Bland Canyon from Denver comes right out of the local post-hardcore scene with former Mustangs and Madras members Nick Krier and Tom Chagolla as well as Matty Clark from Trees. Danny Aranow from Sugar Skulls & Marigolds and Justin Hackl who has played in several local bands including in Native Daughters with Chagolla. It’ll be heavy but also oddly catchy.
Who: Dreamdecay, Product Lust, Weaken, Old Sport When: Wednesday, 04.25, 8 p.m. Where: Bar Bar Why: Dreamdecay is a noise post-punk band from Seattle. Its urgent, thorny songs don’t fit in with the hardcore scene one might expect the band to come from though it probably plays a number of those kinds of shows. Its grittily atmospheres and meditation on the quandaries of existence in a pre-apocalyptic society should appeal to fans of Silver Daggers, Live Skull and Arab on Radar. Its 2017 album YÚ isn’t all the same tempo, tone or texture throughout making it rewarding repeat listening experience. All the bands on this bill have their roots in punk but did us the favor of exploring sounds, rhythms and styles beyond the outworn fashion of punk circa any “classic” year of the past.
Who:Big K.R.I.T. W/Cyhi the Prynce, Childish Major When: Wednesday, 04.25, 7 p.m. Where: Cervantes’ Masterpiece Ballroom Why: Justin Scott a.k.a. Big K.R.I.T. has always used interesting beats to go along with his words and he has aimed at making poignant observations about life that transcend the specific context and situations he references. And he’s mostly made good on that ambition. For his 2017 album, 4eva Is A Mighty Long Time, Scott delivered twenty songs divided into two sides of the record, the Big K.R.I.T. side and the Justin Scott side, with each embodying a side of Scott’s songwriting identity. The title is a clear nod to Prince’s “Let’s Go Crazy.” Though that song is a celebratory party song it is also a fascinatingly thoughtful and insightful exploration of what one must do to propel yourself out of life’s lowest moments. It is that spirit that flows through Scott’s record as well with an eclectic array of music to set the mood for both the party and contemplation of the meaning of it all.
With disaster and political malfeasance plagueing the world, not helped by an American president filled with the insufferable hubris to troll not just a dictator with nuclear capabilities and a proven delivery system as well as an American territory hit hard by a hurricane it’s difficult to think how anything less serious matters much. But getting no enjoyment out of life won’t make things better for anyone so what follows are a list of some of the best shows happening in Denver this coming week.
Who:Atriarch, Fotocrime, Echo Beds and Palehorse/Palerider When: Thursday, 10.12, 9 p.m. Where: Meadowlark Lounge Why: Portland’s Atriarch creates the kind of ominous, bluntly forceful yet elegant music that shows you where noise, deathrock and black metal intersect to create the soundtrack to an epic post-apocalyptic horror film soundtrack. It’s new record, Dead As Truth, should appeal to fans of Neurosis, Swans and Wolves in the Throne Room. Fotocrime includes members of Coliseum and Young Widows. Not too surprising considering Coliseum’s latest, and best, material is a reinvention of dark post-punk. Fotocrime is even more in that vein but with the forcefulness of a post-hardcore band. And that would be reason enough for going to this show but you’ll also get to see Denver’s great industrial/noise band Echo Beds and Palehorse/Palerider who are on that post-punk vibe but more in the vein of colossal, atmospheric doom metal. That is if Kevin Shields got into that game. It’s 2017 album, Burial Songs, is a sprawling science fiction and fantasy epic in its own right.
Who:We Should Have Been DJs (WI), Once A Month (WI), Guts and Obtuse When: Thursday, 10.12, 9 p.m. Where: Mutiny Information Cafe Why: Madison, Wisconsin’s We Should Have Been DJs are that kind of noisy, sloppy and relentless weirdo punk brings their show to Mutiny with fellow Wisconsinites Once a Month, a lo-fi, fuzzy punk trio that is so bratty and irreverent it’s worth listening to for that alone. “Ghosting” and “Boys Oughta” from their new split with We Should Have Been DJs are brilliantly pointed pieces of commentary. Denver emo punks Guts and Obtuse put out two of the best EPs/splits of the year out of that world that has been re-emerging over the past half decade or so. Flavorwise, Guts is more DC-esque emo and Obtuse more midwest/Chicago/Champagne-Urbana style.
Who:Candace w/Eyebeams and Boat Drinks When: Thursday, 10.12, 8 p.m. Where: Hi-Dive Why: Candace is “country shoegaze”? Maybe the shimmer from certain kinds of country and the solid songwriting. But the Portland band’s music could have come out 26 years ago of at the height of slowcore in the 90s or today with a fresh take on all of that. Opening are Denver dream pop band Eyebeams and Boat Drinks, a band whose melancholic pop songs suggest maybe the songwriters listened to a lot of Chisel (though probably Ted Leo & The Pharmacists) and Wilco but that is no knock on the excellent songwriting.
Who:Battalion of Saints, The Nobodys and The Cryptics When: Thursday, 10.12, 7 p.m. Where: The Marquis Theater Why: Battalion of Saints was part of the first wave of hardcore when it launched in San Diego in 1980. Sure it had the edgy furiousness of other hardcore bands and thus part of the appeal. But Battalion of Saints always had a melodic quality to even its heavier songs that has aged better than some of the music of its contemporaries. Colorado Springs-based melodic hardcore veterans The Nobodys opens the show alongside Dover, New Hampshire’s The Cryptics.
Who:Jonwayne w/Danny Watts and Grigsby When: Saturday, 10.14, 8 p.m. Where: Lost Lake Why: Jonwayne was one of the youngest performers at Low End Theory when he started performing at the legendary hip-hop showcase in 2010. He started attending the night when he was still a teenager in 2009 and he became friendly with Diaba$e and later Peanut Butter Wolf who has since signed the rapper and beatmaker to his Stones Throw label. Jonwayne garnered early attention for his mixtapes including 2011’s I Don’t Care and Cassette and Cassette 2 from 2012 and 2013 respectively. His lyrical deftness was reminiscent of Aesop Rock but his beatmaking has always been creative in his use of musical samples in synch with unusual field recordings to craft truly unique rhythms. 2017’s Rap Album Two further confirms Jonwayne’s gift for storytelling and imaginative soundscapes. Jonwayne discovered Danny Watts when the latter contacted him through Soundcloud. Watts, originally from Houston, had been working at a Costco optical department with no realistic prospect of taking his music to the professional level but there was a creative connection between the two artists and Jonwayne was very involved in making the music for Danny Watts’ 2017 release Black Boy Meets World, a powerfully vulnerable and honest set of songs that spell out some of the downbeats of modern life with a rare sensitivity.
Who:D.I., Redbush, The Hacks and Amuse When: Saturday, 10.14, 8 p.m. Where: Streets of London Why: D.I. is indeed the hardcore band that was in Penelope Spheeris’ Suburbia. Or at least vocalist Casey Royer is still in the band. The group had a memorable scene in the film where they perform “Richard Hung Himself,” which was originally written when Royer was in The Adolescents. But D.I. Had plenty of other material and its sing-along, poppy punk sure seemed to have an influence a generation or more of punk bands to follow. Denver’s The Hacks are cut from a similar cloth including an irreverently self-deprecating sense of humor as evidenced by the title of its 2017 album: Three Chord Cliché.
Who:Black Out—Solar Powered Show w/Ned Garthe Explosion, The Amphibious Man and Colfax Speed Queen When: Saturday, 10.14, 7 p.m. Where: 7th Circle Music Collective Why: This show is going to be drawing on solar power, presumably stored in the kind of battery that can provide ample power for three rock bands to play at least partial sets. For this show Ned Garthe Explosion and Colfax Speed Queen will demonstrate how bands that in some ways came out of the garage rock and psychedelic resurgence of the past 8 years or so can take the threads of the music that informed a lot of other bands and do something genuinely interesting with it. Ned Garthe and Stuart Confer playing off each other and the crowd provide some hilarious stage banter.
Who:The Bronx w/Plague Vendor and ’68 When: Saturday, 10.14, 7:30 p.m. Where: Globe Hall Why: The Bronx is often referred to as hardcore but its sound is like someone found a way to inject Aerosmith by way of L.A. glam metal into a punk band. Somehow it works. But if you’re not at all into Turbonegro or the the glammy end of The Refused, you probably won’t like The Bronx. Plague Vendor is in a similar vein and apparently calls its sound “voodoo punk.” Which is fitting since there seems to be some trippy-ish surf rock in its aesthetic that makes you think these guys listen to a lot of The Cramps and, in its noisier more hectic moments, At The Drive-In.
Who:Listener w/Levi the Poet and Comrades When: Sunday, 10.15, 7 p.m. Where: Marquis Theater Why: When Listener first started touring through Denver over a decade ago, it was the spoken word/hip-hop project of Dan Smith. His rapping and beats was in a similar vein to that of artists on the Rhymesayers and Anticon labels meaning sharply observed lyrics and a mastery of delivery. These days, Listener hasn’t ditched his poetic sensibilities but the music is provided by a live band whose introspective music has more in common with post-rock and Daniel Lanois than Smith’s organic and electric beatmaking of old and in many ways the better for it. 2017’s Being Empty: Being Filled finds Smith in an especially emotionally vibrant and impassioned mode.
Who:Imelda Marcos (Chicago) w/Body Meat and Club Soda When: Sunday, 10.15, 9 p.m. Where: 3 Kings Tavern Why: Imelda Marcos is a math rock/avant-garde noise rock band from Chicago whose 2017 album Dalawa might be compared to the likes of This Heat, Laddio Bolocko or Don Caballero. At least in its use of space in the songs and willingness to employ unorthodox rhythms and methods of playing guitar strings. Denver’s Body Meat might be similarly described except there seems to be more of a jazz component to Body Meat otherwise maybe its disorienting and angular flow of rhythms would be difficult to pull off.
Who:Boris w/SubRosa at Endon When: Tuesday, 10.17, 7 p.m. Where: Globe Hall Why: Boris is the long-running metal/avant-guitar rock band from Japan. Its music helped to define stoner and doom rock for the past 25 years. While influenced heavily by Melvins (the band took its name from a Melvins song), Boris seems to just explore whatever realm of sound and rock and roll suggests itself to the band. Whether it’s broad vistas of sound with 2000’s Flood, crushing fuzz sculpting with 1998’s appropriately titled Amplifier Worship, the heaviest of heavy shoegaze and psychedelia with 2005’s classic album Pink or 2017’s eclectic Dear, Boris always seems to be reaching in different directions for inspiration. Live, Boris will remind you why so many other guitar bands are playing it safe in terms of both the sounds employed and the level of energy put into the show. Opening is SubRosa, the mystical/atmospheric doom band from Salt Lake City. Since its inception, SubRosa’s imagery and music has seemingly drawn upon primal, earth energies to put into its whole aesthetic. 2016’s For This We Fought the Battle of Ages is classic SubRosa in its weaving together organic, almost folk elements with epic, heavy, densely atmospheric guitar work and pummeling tribal rhythms that carry your imagination into the mythological realms that are at the heart of the music.
Who:Chromadrift and Victoria Lundy When: Tuesday, 10.17, 7 p.m. Where: Hooked On Colfax Why: This latest installment of the Speakeasy Series hosted by Glasss Records in the basement of Hooked on Colfax features two of Denver’s most accomplished ambient/experimental electronic artists. With Chromadrift, Drew Miller has found a way to tap into the same well of transcendent and transporting sound and rhythm that seems to inform the work of Boards of Canada. Except that Miller’s song titles seem more grounded in immediately relatable themes rather than the suggestive mysteriousness of BOC. And this cozy setting would be the perfect place to experience his music live. Victoria Lundy has been a veteran of various facets of the Denver expermental music scene since at least the 90s. She uses the theramin the way other musicians play their classical instruments and she has in fact adapted classical pieces for her performance. Ultimately, though, Lundy is a nerd and that finds its way into her elegant way of expressing those impulses such as her 2015 electro/ambient album Miss American Vampire. Every Victoria Lundy show is different so expect something well-composed but leaving room for intuition to guide the sound where it may go this evening.
Who:Dälek w/Street Sects, Echo Beds and It’s Just Bugs When: Tuesday, 10.17, 8 p.m. Where: The Marquis Why: Dälek formed in the late 90s and from the beginning its use of sound and samples was markedly different from most other hip-hop acts. In retrospect the group’s most obvious peers in beatmaking and soundsculpting (i.e. Sole, cLOUDDEAD, Cannibal Ox, Aesop Rock, El-P) started getting off the ground to a national audience around the same time. But it was Dälek that seemed to be embraced by more open-minded fans of heavy music who could appreciate what one might call the My Bloody Valentine meets Godflesh sound of the group. In 2011 the project went on hiatus for a few years before reuniting to write and record 2016’s Asphalt for Eden on Profound Lore, a label that generally releases metal in a more experimental vein. In 2017 Dälek released Endangered Philosophies on Ipecac, an imprint also well known for its catalog of arty, innovative heavy music. Austin’s Street Sects is one of the opening acts and its gritty, dark and aggressive industrial punk has garnered it an international audience. The 2016 album End Position blurred all lines between hardcore, industrial and breakcore. 2017’s Rat Jacket takes the band into even darker thematic territory. Apparently hard political and economic times is a good time for music that gives no fucks about peeling back the scab of society’s sins. Speaking of which, two Denver bands are also on the bill. Echo Beds has been developing its own synthesis of punk, industrial and noise since 2010 and these days have honed strong ideas into sharp songs that articulate and embody the desperation of the current era. With its visceral live show, Echo Beds is pretty unforgettable. It’s Just Bugs is an industrial rap band whose forays into noise are a refreshingly developed use of sounds as samples.
Who:Pixies w/Mitski When: Wednesday, 10.18, 7 p.m. Where: The Fillmore Auditorium Why: Pixies probably got its greatest boost into mainstream popularity oddly with the release of the 1999 film Fight Club. Because if you went to see the band during its 2003-2004 reunion tour cycle a lot of the crowd seemed largely lukewarm to and confused by the band’s other classic material but when “Where is My Mind?” came on the crowd went wild. Some of us got to be confused by Pixies during its earlier era when the 1988 album Doolittle was offered in the metal section of tape/CD clubs and when it turned out that it wasn’t metal didn’t know what to think of it. But once everything clicked the genius of the band’s unusual and imaginative lyrics and its willingness to go off the standard time signatures and roll with the moment became something to be cherished rather than dismissed. This version of the band is without founding bassist Kim Deal but Joe Santiago’s truly eccentric and brilliant guitar work will be there along with Black Francis’ alien yet melodious and intense vocals and David Lovering’s expressive and propulsive drumming. Also, if you’re going to get a bass player Paz Lenchantin is no slouch and her talent has elevated other artists like Jarboe, A Perfect Circle, Jenny Lewis, Queens of the Stone Age and Silver Jews. Opening the show is Mitski whose emotionally charged rock songs are cathartically confessional and some of the most strikingly honest music of the past few years.
Who:Girlpool w/Palm and Sweater Belly When: Wednesday, 10.18, 7 p.m. Where: Larimer Lounge Why: Seems like any guitar band that has a tinge of distortion and any whiff of DIY credibility is called “punk” like a sound rather than an attitude. Or, worse, when said music isn’t particularly aggressive and the band is all or mostly women, “pastel punk.” Girlpool probably gets painted in that light often and if the band chooses to embrace that sort of thing, it’s certainly entitled to because who gets to tell a band whether or not it’s really punk. But fans of dream or indie pop will find much to like in Girlpool’s expansive melodies and fluid song dynamics, particularly on its excellent 2017 album Powerplant. Philadelphia’s Palm toured with LVL UP earlier in 2017 and its precise, spidery guitar interplay was reminiscent of a band like Young Marble Giants had the members gone on to be members of 90s math rock bands and then ditched the sound but not the musical skill and ended up like some weirdo neo-No Wave jazz band. Its 2017 album (EP?) Shadow Expert is a nice reminder that a band can be completely weird and completely accessible at the same time.