If ever there was a title to the current season of human civilization, endless collapse is it and this collaborative album between Denver-based experimental electronic/ambient artist bios+a+ic and Seattle-based avant-garde soundscaper noisepoetnobody (under the name Entropic Advance) is a musical analogue to what seems like a pervasive feeling that just when we think we’ve hit a new low as a species we keep showing ourselves that we haven’t seen anything yet. There are no grand political statements or observations on this album, just that mood of seeming to be caught up in the flow of society’s static as institutions, norms, formerly generally agreed to beliefs about what constitutes truth and a reliable path to knowledge and so much of what makes up the world as we know it erodes into insolidity and an ambient white noise of what can only be described as not just future urban decay but the kind of prolonged collapse Edward Gibbon described in his colossal 1976-1789 masterpiece The History of the Decline and Fall of the Roman Empire but this time a global, interconnected civilization, the collapse of which will spare no one in the end. Humanity will probably survive but the successors to the Roman Empire never had nuclear technology, advanced biological weapons and so many of the other fun stuff awaiting us if and when global hegemon’s fragment and pass into history with a massive power vacuum filled by groups and leaders we can’t yet imagine.
This album seems to have been based on contemplating the dark future that even the most cynical and dystopian cyberpunk never really considered and how realistic it is for a collapse to not feel like one until it’s well under way. The sheets of processed white noise, the organic yet fragmented rhythms and distorted drones of the title track and “behind the projected” is reminiscent of a dark negative image of Tangerine Dream’s “Thru Metamorphic Rocks” from Force Majeure Those familiar might even flash back to the stark, gray, deeply haunting imagery of Andrei Tarkovksy’s 1979 film Stalker and it’s air of mystery and yearning for dream fulfillment in the face of existential peril. The titles of the songs tell a tale of a similar voyage of waking up one day (“sunrise”) and becoming aware that you’re living in apocalyptic times except it’s not as dramatic or as sudden as science fiction and mythology has lead you to believe (‘endless collapse”) and you try to figure out a way to preserve your sanity while reconciling yourself with the tragic reality and envisioning what it might be like to exist on the other side of this time (“a bridge between worlds” and “from the ashes”) only to hit upon the oddly comforting idea that we all go through these shorter cycles in life as part of bigger trends and often only get a brief period of respite that we should treasure (“catch a breath”). Despite these heady themes it is a soothing listen and one that also perfectly embodies the melancholic yet faintly hopeful mood of the world today. Who knows where we’ll end up in the next year or ten but this album is also a reminder that being paralyzed by those concerns isn’t going to derail the worst possibilities and that creative work can be a cathartic way to break that psychological freeze.
Listen to endless collapse on Bandcamp and also, if you’re so inclined, give a listen to noisepoetnobody’s excellent 2021 album Insanity Mirror on Bandcamp as well. Connect with Entropic Advance at the links below for more information and to stay appraised of Wesley Davis’ various creatie endeavors.
What:Reverend Dead Eye w/Vic N’ The Narwhals and DJ Rett Rogers When: Thursday, 06.06, 8 p.m. Where: Hi-Dive Why: Reverend Dead Eye now lives in Switzerland and mostly tours Europe but on occasion he graces his old stomping grounds (literally and figuratively) of Denver and treats us to a set of wild-eyed gospel blues post-punk. He will be joined this evening by rock and roll band Vic N’ The Narwhals with a DJ set from Blue Rider and Bad Licks guitarist Rett Rogers.
What:Honduh Daze, Moon Pussy and Demoncassettecult & Junior Deer duo When: Thursday, 06.06, 8:30 p.m. Where: Lion’s Lair Why: Vachco Before Horses is celebrating his birthday doing a duo set as Demoncassettecult and Junior Deer so it’ll be a bit of weirdo hip-hop and ambient soul. Moon Pussy is like Denver’s industrial-esque equivalent of a noise rock band like Shellac but with some on board guitar processing to help sculpt those sounds into the bands already eruptive, angular and cathartic groove.
What:Talib Kweli w/Voz 11, 1-natVson-1 and Time When: Thursday, 06.06, 8:30 p.m. Where: Fox Theatre Why: Talib Kweli is one of the reigning poet laureates of hip-hop, politically charged as his is and otherwise. Check in anywhere in his catalog and you’ll find something vital and thought-provoking and outright compelling whether that’s records under his own name or projects like Black Star. As usual the opening acts for one of his shows is quality including Time whose fusion of underground/experimental hip-hop, humorous and organically intellectual wordplay and socio-political insight is never less than mind-expanding and fun. Voz 11 is kind of an industrial rap artist who will be joined for this show by Wesley Davis of Symbolic Insight Records and ambient solo project Bios+a+ic.
Friday | June 7
What: Michael Franti and Spearhead w/Snarky Puppy and Victoria Canal When: Friday, 06.07, 6:30 p.m. Where: Red Rocks Why: Whether you prefer his time in industrial rap groups The Beatnigs and The Disposable Heroes of Hiphoprisy or his current work in conscious reggae fusion folk band Spearhead, Michael Franti has been aiming his creative compass toward critiquing the dominant paradigm with the goal of creating a better, more nurturing and healthier world. As per usual, prior to the concert proper there will be a yoga session at Red Rocks starting at 4:30 p.m.. May seem quaint to some but at least Franti isn’t giving mere lip service to self-improvement. The band is currently touring in support of Stay Human, Vol. II which came out in January. Also on the bill are jazz fusion prog stars Snarky Puppy.
What:Instant Empire w/Anthony Ruptak and Post Paradise When: Friday, 06.07, 8 p.m. Where: Syntax Physic Opera Why: It’s been a minute since we’ve heard from Instant Empire. The indie rock band has been through some changes but has endured to give us Cathedral, a set of the usual thoughtful songwriting and evocative music from the band. Read our interview with Scotty Saunders from the band soon.
What:Amygdala, Caffeine, Euth, Sore Eyes and Herse When: Friday, 06.07, 7 p.m. Where: Seventh Circle Music Collective Why: A show that proves that current hardcore is not all the same or trying to mimic the sound or style from something 35+ years ago while not skimping on the energy and sense of danger that made that music exciting in the first place.
What:Pete Tong When: Friday, 06.07, 9 p.m. Where: Bar Standard Why: Pete Tong is an influential figure in modern electronic music and EDM. Early in life he was something of a soul music DJ on radio in the UK and then as the 80s moved on, a pioneering DJ of Acid House and the Balearic beat that his friend Paul Oakenfold helped to popularize. Oakenfold, joking, coined the expression “It’s all gone Pete Tong” in 1987 to indicate things have gone a bit wrong. Through his ongoing electronic music shows at the BBC (Essential Selection and It’s All Gone Pete Tong) and his efforts at curating and making accessible electronic dance music in the USA. Tong has done big shows in Ibiza and all around the world but this night he’s doing his thing at a small club like Bar Standard.
What:My Life With the Thrill Kill Kult w/Curse Mackey and Church Fire When: Friday, 06.07, 7 p.m. Where: Marquis Theater Why: My Life With the Thrill Kill Kult is not just the horror carny pioneering industrial dance band but also, on most nights, one of the greatest, most fun live bands of all time. Denver’s Church Fire is not nearly as camp but there is an element of playful theatricality to its performances of its own brand of industrial music that is really more a kind of politically-informed synth pop. No down side.
What:Altas w/Plume Varia and Voight When: Saturday, 06.08, 7 p.m. Where: Rhinoceropolis Why: With its new album All I Ever Wanted Was, Denver-based instrumental rock band incorporated the electronic/synth side of the band more completely with keyboard player Meghan Lillis contributing full in the songwriting and arranging process with the core and founding trio of Enrique Jimenez, Israel Jimenez and Juan Carlos Flores. The group’s 2014 album Epoca De Bestias lived up to its name and the cinematic scope the band has always conjured with its songwriting. But there is an even greater cohesion and focus this time out with some tongue in cheek titles from a band whose membership has always been on point with the humor. “Cosas Nunca Dichas” is Spanish for “Things Never Said.” The dual meaning including the fact that there are no lyrics in an Altas song is pretty good. “Glasgow Smile”? Surely a significance beyond suggesting it’s a nod to Mogwai exists but that’s also pretty choice as Mogwai use plenty of inside jokes and humor for songs that need no spelling out of meaning. “Valentin Trujillo (An Unsung Hero)” is presumably a reference to the famous Mexican actor who was a major star in the 1980s and whose films often dared to make thoughtful commentary on the politics and culture of his home country and beyond. The final song on the album “Rattenkönig,” or “Rat King” in German. There’s got to be a story there and we hope to bring that to you at some point. The more you delve into the new record and its gorgeously expanded dynamic and sonic palette the more there is to discover as with all great albums. And hey, you get to see the great dream pop band Plume Varia and industrial post-punk soundscapers Voight while you’re at it.
What:Get Your Ears Swoll 7: Sliver, Married a Dead Man and Hate Minor When: Saturday, 06.08, 8:30 p.m. Where: The People’s Building Why: Hate Minor is an artsy prog duo with former Nightshark and Aenka saxophonist Becca Mhalek on drums. Married a Dead Man is a death rock/post-pun/darkwave four-piece that came out of hardcore. Sliver, how a band that mapped out and deconstructed and reconstructed “Break Stuff” as inspiration for all their songs is on a bill like this it’s difficult to say. Good thing singer/guitarist Chris Mercer’s bandmates are patient, understanding, indulgent people and when he, as promised, he gets around to writing the next album around “Sick of Life” because it “nearly got [him] to join the Navy, dude,” some people can join in on the intervention.
What: Gun Street Ghost album release w/Jeff Cramer and New Mexican hi-dive.com/event/1855201-gun-street-ghost-album-release-denver When: Saturday, 06.08, 8 p.m. Where: Hi-Dive Why: In calling the new Gun Street Ghost album Battles it seems as though the band is preparing us for a record brimming with great stories of the struggles we’d rather avoid or skip but which we fight every day without knowing it. Thinking person’s pop written in the language of honky tonk Americana.
What:Johnnascus, Karhlyle, Causer, Kid Mask, HXCMIDI and Henny Graves When: Saturday, 06.08, 8 p.m. Where: Thought//Forms Gallery Why: Austin’s Johnnascus is an industrial rap artist whose videos are not only interesting but borderline scary in the way Creepy Pasta videos can be. It’ll be a good pairing with Detroit’s Karhlyle and his downtempo techno/hip-hop, Kid Mask’s own genre bending noise/industrial hip-hop beatmaking and the electronic/breakcore hardcore of HXCMIDI.
What: Bobcat Goldthwait and Dana Gould gothictheatre.com/events/detail/372302 When: Sunday, 06.09, 7 p.m. Where: Gothic Theatre Why: A lot of people probably remember Bobcat Goldthwait as that crazy guy with the piercing whine from the Police Academy movies. But he never would have got there if not for his brilliant work as an alternative comedian in the 1980s when he would pierce hypocritical pieties with confessional and surrealistic observations and bits that helped to push comedy in a more interesting direction at arguably the early peak of the popularity of stand-up. He has gone on to be a noteworthy filmmaker whose movies (e.g. Shakes the Clown, God Bless America and World’s Greatest Dad) not just darkly humorous but which shine a light on aspects of our culture that are often ignored and if we stopped doing so we might have a healthier society. Dana Gould has been performing his own brand of borderline surreal comedy since the early 80s as well and coming to be known by a more mainstream audience though a comedian of choice for those with a taste for left field humor for decades.
What:Fuck Your Birthday w/Those Darn Gnomes, Narcissa and Galleries When: Sunday, 06.09, 7 p.m. Where: Thought//Forms Gallery Why: Fuck Your Birthday is an American and Chinese, noisy math/garage rock band. That means it has elements of early 90s emo and harder-edged garage rock but doesn’t really fit in with either to well. More like Rainer Maria or Japandroids than some post-hardcore or screamo band. Those Darn Gnomes are somewhere betwixt a free jazz performance art band, grindcore and art folk. Narcissa is a like-minded band from Denver and Galleries is sort of a psychedelic hard rock band.
What:Slugger w/Possum, After the Carnival and more When: Sunday, 06.09, 7 p.m. Where: Seventh Circle Music Collective Why: Toronto’s Possum is a fuzz-toned, heavy psych band. And while that sound is basically old hat at this point except to later comers to modern psychedelia, Possum’s version of that is not the kind that comes off like neo-Laurel Canyon vibe worshipping indie rockers discovering the use of a Memoryman and a Big Muff with a tiny bit of wah. It’s mind-melting epics take a deep dive into drawn out melodic grooves that take some chops and commitment to sonic exploration to craft. Also the band has a song called “Wizard Beard” so it’s not all without a sense of humor. Sharing the bill is a band with a tentacle or two in 70s hard rock and psychedelia with Slugger. But as with Possum, Slugger’s strength is in the songwriting and being of that world rather than wearing it like a trendy outfit.
Tuesday | June 11
What:MONO w/Emma Ruth Rundle When: Tuesday, 06.11, 7 p.m. Where: The Marquis Theaterthos Why: Tokyo’s MONO makes post-rock with a classical music sensibility that makes a lot of other bands working in that realm of music seem safe and quaint. Emma Ruth Rundle’s heavy, dark, doom folk is somehow both intimate and majestic. Her latest album On Dark Horses is a trip to, as the title suggests, the shadowy places of the psyche in search of an inner truth that can be elusive unless you’re willing to go all in and face the buried pain and your dark side with compassion and acceptance. It’s her heaviest record to date and her most daring to date.
Them Are Us Too’s gift to its listeners is a nearly unmatched ability to distill all the pain, disappointment and sadness of a lifetime of unrequited love and rejection by others, by society and ourselves into soaring melodies that sublimate those feelings into ethereal shadows that can no longer overwhelm us even if they can still haunt us. Amends may be the final record from the band due to the tragic death of guitarist Cash Askew in the 2016 Ghost Ship fire. But the music’s power to take gentle yet strong rhythms and couple them with intertwining melodies, luminescent and melancholy, as a vehicle for honoring genuine emotional expression is a testament to the duo’s enduring alchemical ability to soothe the spirit.
Pretty much impossible to say when this album was written and recorded post-1980. Its sensibility and aesthetic points to 80s and 90s synth pop. The guitar on “Celeste (Can You Feel It)” sounds like something out of a more ambitious New Wave band but set inside a song that could have come out in the past 10 years among artists tapping into 80s pop sounds to capture a sense of nostalgia. But NEON RESiSTANCE isn’t mining nostalgia. It is doing something more interesting and meta by using an older set of musical parameters and sounds with modern production to evoke a personal style of songwriting that looks forward as many bands of the 80s seemed to be doing but avoiding getting that all wrong by really giving the songs an unusual emotional dimensionality and nuance with nostalgia-tinged melodies as relatable self-reflection and not self-obsession. Sonically it’s difficult to compare this multi-faceted pop record to much of anything else but perhaps Nina Hagen’s 1982 experimental rock/New Wave masterpiece NunSexMonkRock. There was little like that then, there’s little like this now and every track is worth your time.
Wesley Davis seems to generate his albums around themes that express the essence of ideas that have taken up residence in his imagination. 2015’s cloudLanD has an airy, drifty feel suggesting a sense of space and peace. Vaccine’s claustrophobic drones and repeating circular phrases spawn others that intersect in ominous, dissonant patterns suggestive of one set of sounds mutually infecting another to produce a third sound that’s darker with descending tones. Not an anti-vax abstraction, but more a comment on not trusting corporations and moneyed interests to provide a cure. In that way, it’s a bit of a cyberpunk ambient album but one that doesn’t make the dystopia seem kinda cool.
Jake Danna minces no words in his critique of American culture in general and his local community in particular. From the self-appointed expertise on all things and the lives of other people due to the internet and social media (“Ghost Milk”) to the limitations of bravado to dignify one’s life and art (“Prop Comic”) and the poisonous, self-eroding qualities of unreigned-in/unexamined cynicism (“I’m Still Cool, Right? (feat. WC Tank), Danna’s observations are a cogent assessment of the root ills of modern America’s writhing cultural anomy beyond platitudes of left and right. 4Digit’s production as further brought into detail by ManMadeMadMan’s mastering is what shines just as brightly. The beats, the streaming details of sound to accent the mood, tone and texture, the vibrant atmospheres and the masterful flow of melodies to suit the moment are not subtle so much as fully integrated and you get a to take in 4Digit’s imaginative composition with the 26+ minute closing track, “The Life of 4Digit Vol. 1.”
An always engaging listen akin to an unlikely and thus refreshing synthesis of B-52s, Lords of Acid and breakcore, La vie c’est mort from Bordeaux, France’s Daisy Mortem is a sort of decadent industrial dance pop. A lot of American industrial dance groups fall back too much on mediocre 90s EBM. On this EP, Daisy Mortem taps more into mid-80s New Wave’s melodramatic emotionalism but using the sound palette of modern electronic dance music to craft songs with a giant sonic imprint. Imagine the curiously compelling upbeat and alien quality of Classix Nouveaux minus the schlock and with a sprinkling of influence from Sparks and Fad Gadget. If Fellini had lived to make a movie about Bohemian New York City in the 80s, he would have done well to have tapped Daisy Mortem to score the soundtrack because this band is that exact vibe—bombastic, lush and brimming with vitality.
Easily The Damned’s best record since Machine Gun Etiquette. But it would be more honest to say it’s the band’s best record since it’s debut. Most bands more than forty years into their career are creatively treading water. The Damned apparently found some juice in their collective imagination to write an album in the classic style of writing a cohesive record of quality material beginning to end. Most bands write a record this vibrant early in their careers. “We’re So Nice” rocks harder than but has a similarly deft orchestration of melody and harmony one might expect out of The Zombies. It should come as no surprise that Tony Visconti, one of the minds behind shaping the best Bowie records, was on board for Evil Spirits. But even the most brilliant production can’t make up for subpar songwriting. Even if you didn’t know this was The Damned, so many of these songs are striking and timeless. “Shadow Evocation” is like a long lost cousin to something The Moody Blues might have written in the 60s—a windswept, imagination stirring mini-epic. What makes Evil Spirits such a remarkable album is that The Damned prove track to track that they know that if they relied on only one trick, one tempo, one songwriting style they’d bore themselves as much as us and that should count for something in any band much less one that could easily skate along on the laurels of its older classic material. The Damned have create what should in time be considered new classics with this record.
For its final record, Frog Eyes has refined its raw noir Americana sound to a place of great clarity that brings the conflicted emotions into sharp focus. Carey Mercer still sounds like he’s shaken by the force of emotion even as he delivers his words with the confidence and quaver of a Bryan Ferry. With this album, more than previous Frog Eyes releases, each song sounds like a room, an environment, a psychological space Mercer enters with immediate, cogent commentary. At times, as with “Idea Man,” the music feels like the modern equivalent of an early-to-mid-70s Genesis record with the elegance of sonic detail, mysteriousness and grandeur. Maybe Mercer wasn’t listening to a steady diet of The Lamb Lies Down On Broadway or Foxtrot but this Frog Eyes swan song resonates with the artistic ambition and exploring the possibilities of one’s own songwriting and reach as a musician.
Somewhere in England there’s a high tech train station going to the places where it sounds like Boards of Canada songs take place and this is the gentle effervescent music to put you in the mood to be in a place of peace and disconnect from the rough and tumble everyday world. The cycling tones of “Off Grid” seem aimed to help you reprogram your brain to check out of the ambient anomy that comes with life in the twenty-first century and take a trip through a languidly melodic soundscape for nearly fifty minutes before being dropped off in a beautiful place out in the country.
With heartbreaking imagery throughout, this second album from The Milk Blossoms quickly becomes impossible to resist in drawing you in to tender yet intense emotional experiences that might be off putting to those with an aversion to psychological intimacy at this deep a level. But The Milk Blossoms never seem off putting. The band bares its alchemy of words and sounds with a brave openness borne of knowing you’re speaking truth or at least your truth—a quality that never goes out of style and which can never but completely duplicated as something idiosyncratic to the artist in question. The Milk Blossoms make pop music the way some people make something special for a loved one—with great attention to detail and with a care and affection and without expectation of anything in return. Was this written in an old lighthouse? A treehouse? A cottage in the woods waiting for the winter to thaw? Probably not but it has the feel of taking time out in isolation to allow the nuances and strength of feeling to emerge and find their perfect expression.
This is the sound of the world around us crumbling and eroding and our inability or unwillingness to reverse course. Like the manifestation of Derrick Jensen’s Endgame. Oryx could have pummeled us with some doom-y deathgrind but there is simply a greater diversity of musical ideas here than all of that. The dynamics, for one, while often insistent, leave enough space so that the crushing avalanche of sound hits harder. It also means that, unlike some bands in the realm of extreme metal, Oryx’s songs never truly feel same-y. Across this album the duo pushes the boundaries of what the music can be by fully integrating brutal sonics with atmosphere. Stolen Absolution’s long stretches feel like an intense journey but none that leave you worn out for having taken them.
Featuring what might be the album cover of the year for richness of content alone, Gentle Leader is ten songs in the noise pop vein. Upbeat, irreverent, bordering-on-twee-but-confident, Peach Kelli Pop’s songs have great melodic vocal harmonies and wide ranging rhythms. Closing track “Skylight” reveals the band’s experimental guitar edge hinted at earlier in the record confirming that Peach Kelli Pop has more to offer than the exquisite pop gems that have been a large part of its recorded catalog to date.
The retro-futurist sonic flourishes across this album are reminiscent of a sunny Laurel Canyon psych Broadcast in a pop moment. Or perhaps like Death & Vanilla in that the melodies are nostalgic but the undertones and rhythms suggest a grounding outside the English-speaking music world. As the songs on the album fuzz and incandesce one wonders if the band watched a whole lot of reruns of The Ed Sullivan Show and nailed the vibe and the aesthetic when old Ed had on the hippest guests that didn’t have to compromise and could just shine on a program where the evils of the modern music industry weren’t so firmly in place to insidiously influence and water down popular music into the lowest common denominator product, rather when taste makers had taste and a sense of adventure. Do Right may be retro and couched in a sense of nostalgia but the details on album closer “Do You Know The Place,” and throughout the record, those qualities sound surprisingly fresh at a time when looking back four or five decades and more for inspiration is so played out.
The track names on this album from Denver based synth supergroup Synth-Drone collective suggest a collective telling of life in some far flung future akin to Larry Niven’s Tales of Known Space but with the dark cloak of a minimalist, existentialist Tarkovsky science fiction film like Stalker. The name of the album doesn’t spell out but hints at the scientists of the time depicted in this album searching in earnest for the real science equivalent of the mythical first sound, the teleological ground zero vibration, that launched the universe into dynamic life because it has been discovered that the universe is dying and the only thing that can reverse the process is to discover the appropriate wavelengths to stop the impending doom of all and everything. Except someone in the scientific community knows it’s all for naught and just another attempt by sentient beings to interfere with the natural order of things with the hubristic notion that mortals can fix anything if they set their minds to it when in fact by our temporal nature and perspective we can never known enough to impact everything. Which is a downer but in the case of this album, it’s a beautifully compelling, drone-driven soundscape of a time when humans and other intelligent creatures have to learn to accept the inevitable.
There’s always been a bit of a cinematic quality to Wye Oak’s music and one might perhaps clumsily say the new album is to If Children what Fargo is to Blood Simple—not massively better but more sophisticated, more intentionally stylized with its newfound skill set and sonic palette. The melding of acoustic instruments and electronic production is so complete that the band seems to effortlessly bring to bear tones, rhythms, textures, melodies and atmospheres to craft songs as experiences. Wye Oak hasn’t ditched classic songwriting methods and models, it’s just taken those structures and filled them out with rich content. But what does Wye Oak have to say this time around? Refreshingly the band asks more questions than providing a set perspective. At a time when too many bold-yet-curiously-vapid-and-trite statements are made in the public sphere, it’s asking thoughtful questions and pondering issues about life and the world without a sense of one’s own certainty as a nod to the fact that we can’t know everything while not discrediting our own thoughts and feelings that makes this record remarkable. The title suggests chasing after goals while those goals we are encouraged to think of as ends in themselves become elusive and we are forced to really think about what it is we’re all on about and if the chase is worth it in the end. Because of that, The Louder I Call, the Faster It Runs really is the kind of record that needs to be out in the world questioning the dominant paradigm not with firebrand skepticism but compassionate curiosity for ourselves and others.
Who:GLAARE, Fearing, Echo Beds and Voight When: Thursday, 01.25, 9 p.m. Where: Mutiny Information Café Why: Los Angeles-based post-punk bands GLAARE and Fearing will bring their lushly dark compositions to Mutiny, sharing the stage with like-minded Denver acts Echo Beds and Voight. GLAARE’s sound is closer to shoegaze bands with a strong electronic production component like Slowdive and Seefeel. Fearing shares some of those tendencies for slow, soaring atmospheres but with a darker flavor. Both bands had 2017 releases, GLAARE’s To Deaf and Day and Fearing’s Black Sand so expect a show that favors that era of each band’s music. Fans of Black Marble, John Maus and The Prids will find plenty to like about this show.
Who:LANDLINES film premiere w/Dinosaur Jr and Thurston Moore DJ set When: Thursday, 01.25, 6:15 p.m.
Where: Ogden Theatre
Why: Vans is releasing its first full-length snowboard film, LANDLINE. Directed by Tanner Pendleton, who made Crazy Loco, about renowned young snowboarder Jed Anderson the screening will be preceded by a panel discussion with filmmakers and others affiliated with the production of the film. The presentation will include a performance from Dinosaur Jr who did some music for the soundtrack as well as a DJ set from Thurston Moore. It’s free but to attend please click the link above or here to RSVP.
Friday | January 26, 2018
Who:Night Grinder album release w/Kid Mask and Muscle Brain When: Friday, 01.26, 8 p.m. Where: Mutiny Information Café Why: Brad Schumacher is a veteran of the Saint Louis noise scene and when he relocated to Denver a few years back his Night Grinder project was a unique combination of experimental bass playing and noisy soundscapes. His new album Animus bridges musical worlds: industrial, noise, ambient, IDM and glitchcore. Although sometimes abrasive and alien, Animus has an undeniable immediacy and intimacy that is the hallmark of Schumacher’s work generally. On the occasion of the release of the album, Night Grinder will be joined by post-punk band Muscle Brain and experimental electronic wunderkind, Kid Mask.
Who:Denver Meatpacking Company, Vic N’ The Narwhals and Waiting Til Three When: Friday, 01.26, 8 p.m. Where: 3 Kings Tavern Why: With the most recent garage rock revival in the rearview with some stubborn holdouts still grinding it out, now increasingly replaced with the inevitable re-invention and resurgence of the kind of fuzzy rock style popular in the 90s, the oversaturation point of the next wave is rapidly approaching. Fortunately, Denver Meatpacking Company is doing it right by writing songs in the quiet-loud vein popularized by Mission of Burma and then Pixies by giving the songwriting a mature but not tamed edge. Vic N’ The Narwhals are clearly influenced by garage rock, psychedelia and more classic rock and roll but blend enough raw energy with sophisticated songcraft to bypass immediate comparisons. Waiting Til Three often seems like the duo took some cues from In the Whale and 2000s garage rock but it has enough genuinely tender material to make you not think it’s not just another band riding that retro music nostalgia train.
Who:EVP, eHpH, Church Fire and Angel War When: Friday, 01.26, 7 p.m. Where: Flux Capacitor 2.0 Why: Some of Denver’s finest darkwave artists will perform at Flux in Colorado Springs this night. The forbidding, darkly luminous industrial pop of EVP, eHpH’s thorny EBM and Church Fire’s politically charged and fiery dance song rituals will make that library building the place to be in the Springs for the duration of the show.
Saturday | January 27, 2018
Who:STRFKR w/Reptaliens When: Saturday, 01.27, 8 p.m. Where: The Gothic Theatre Why: STRFKR has come a long way since starting as a Joshua Hodges solo project. But the components of the bands sound have remained consistent even as it has refined and evolved from a more indie-synthpop sound of its early albums. The band’s first three albums were a great soundtrack to suburban aspirational daydreaming of a more meaningful existence minus the anxiety. By the time of 2013’s Miracle Mile, STRFKR’s sound wended toward the more funk end of its musical instincts, reflecting its full-band lineup at that point. 2016’s Being No One Going Nowhere fully incorporated the robust low-end that buoyed the more laid back melodies for which that band had become known. In 2017 the band delved into its backlog of unreleased material for three volumes of rarities. But beyond just an “odds and sods” collection, the three volumes of Vault trace Hodges’ personal struggles and unguarded moments as a musician channeled into creative endeavors. With any luck, you’ll get to hear some of this material on the current STRFKR tour.
Who:Circuit Des Yeux w/Howling Hex When: Saturday, 01.27, 8 p.m. Where: Larimer Lounge Why: 2017’s Reaching For Indigo is the latest album from Chicago’s Circuit Des Yeux, the more or less solo project of Haley Fohr. With the project, Fohr has explored human relationships, including socialized roles and identity, in a deep way paired with accessible yet boundary pushing music that is beholden to neither pop or avant-garde conventions. The live show is performance art as much as musical so go expecting to see something different from the usual sort of thing you’d see at a small bar/venue like Larimer Lounge. Also on the bill is Denver’s Howling Hex, the long-running project of Neil Michael Hagerty who some may know from his days in Royal Trux and Pussy Galore. Howling Hex finds Hagerty and his collaborators taking concepts and rhythms pioneered by ranchero and norteño artists in making repetition of theme and meter a hypnotic and creative form of songcraft. Of course Hagerty injects other elements of sound into the mix making Howling Hex really unlike any other band with his own roots in music and not much obviously like a Mexican folk style band either.
Who:Church Fire, Eyebeams and Milk Blossoms When: Saturday, 01.27, 9 p.m. Where: The Skylark Lounge Why: Church Fire never bores with its compelling, inspiring shows with music that mixes fiery punk attitude with noise, synth pop and electronic dance music. The Milk Blossoms turn vulnerable, fragile musical and emotional elements into powerful, deeply affecting songs that are somehow both cathartic, gentle and thought provoking. Eyebeams prove that psychedelia had places to go that were not rooted in the garage rock of the past decade. Songwriter and singer Suzi Allegra’s words creatively suss out the intricacies of identity and dreaming with immediacy and insight.
Sunday | January 28, 2018
Who:Dirty Fences w/Sliver and Fast Eddy When: Sunday, 01.27, 7 p.m. Where: Summit Music Hall Why: Brooklyn’s Dirty Fences sound like the group immersed itself in classic power pop, 70s Oz rock and American proto-punk and carved its own sound out of that raw material. Its latest record, 2017’s Goodbye Love sounds like an homage to life in its ups and downs, to taking risks for fun and experiences beyond everyday mundanity and to the stories that come out of being willing to saying yes to promising opportunities as they come your way. Sliver melds the vitality and aggression of East Coast post-hardcore with the darkness and edge of early 90s grunge into a surprisingly effective amalgamation.
Who:Josh Ritter & The Royal City Band w/Nicki Bluhm When: Monday, 01.29, 7 p.m. Where: Ogden Theatre Why: Josh Ritter sounds nothing like Neil Young. But he shares Young’s knack for having a consistent, identifiable sound while seemingly never allowing himself to get stagnant or stuck in a boring rut. He also has a similar ability to find ways to talk about everyday life in a way that provides insight and an intimate view into his own psyche, flaws and all without getting maudlin. His latest record, Gathering, is warmly upbeat and almost celebratory while giving a sense of an introspective mood—like you’re being invited into a series of private moments with a friend who isn’t trying to hide or isolate but is still a little emotionally raw from life’s slings and arrows of late.
Who:Breakdancing Ronald Reagan (album release) w/Stye, Docile Rottweiler, Ancient, INC., DJ Anime Love Hotel When: Monday, 01.29, 7 p.m. Where: Syntax Physic Opera Why: Breakdancing Ronald Reagan aka Jonathan Cash is releasing his first album as a Denver resident. Even while based in Austin until 2017, Cash was no stranger to the Denver noise scene as a performer at Denver Noise Fest and other events in town. His combination of harsh noise and surrealistic sound collage along with a sometimes confrontational but always visceral performance has made his shows a hit with noiseniks beyond his usual bases of operations. Also on the bill is Stye, the solo project of Nick Salmon of Voight, H. Lite (formerly Bollywood Life) and other local luminaries of the noise world.