Showing posts with label denver music scene. Show all posts
Showing posts with label denver music scene. Show all posts
01 December 2010
23 March 2010
"Sun and Moon" Wentworth Kersey
It's been a while since the last Wentworth Kersey listening opportunity. If you haven't heard them before, today is a good day to start.
As the sun turns to snow today, I'll be taking some time to listen to the beautiful and comforting combination of Joe Sampson's unmistakable song-writing and song-singing and Jeffrey Stevens signature ambient styling. Treat yourself to a listen.
The thoughtful gentleman have today released "Sun and Moon" for your listening enjoyment. It is the first song released from their third of three EPs, forthcoming this summer.
14 May 2009
Shakedown on a Saturday Night
I love Radio 1190. Even the times I don't care for what they are playing at the minute, I appreciate their eclectic, subjective, and what I reckon to be, truly honest selections. I dig that they play what they dig, not only what might sell some ads. However, as you know, listener supported radio still has to pay the bills.
So be a good listener and get to the Hi-Dive on Saturday night for Radio 1190's Local Shakedown Volume 3 compilation Benefit Show and you can shake your own self down to some of Denver's most fabulous talents. I can't wait to hear the haunting and adrenaline-inducing new songs Bad Luck City has been recording performed live on stage. The much talked of Overcasters will be there to dazzle with sounds and projections. And for goodness sake don't get there late or you'll miss the long-awaited return of live music from Cowboy Curse.
Only $6! And kids, you can come too. It's a 16+ show.
So be a good listener and get to the Hi-Dive on Saturday night for Radio 1190's Local Shakedown Volume 3 compilation Benefit Show and you can shake your own self down to some of Denver's most fabulous talents. I can't wait to hear the haunting and adrenaline-inducing new songs Bad Luck City has been recording performed live on stage. The much talked of Overcasters will be there to dazzle with sounds and projections. And for goodness sake don't get there late or you'll miss the long-awaited return of live music from Cowboy Curse.
Only $6! And kids, you can come too. It's a 16+ show.
11 January 2009
this is not a show review
I had the best of intentions to go listen to Ross Etherton sing his songs at the Meadowlark last Thursday, but I just couldn't make it. Well, I made it to the show, just not to hear Ross, which is pretty lame as he was billed to go on second, but I couldn't make it a minute more. I hope it works out better next time.
There were four or five acts on the line up and none of them had started yet. Okay. I had been working two shifts at the book store, filling in for two different people. First shift in the basement in the children's section, then second shift closing the coffee shop. I was achy and tired. I thought perhaps I should probably skip it and just go home, but I telephoned JZ, who was already at the place and he told me that the show hadn't started yet. I went.
I arrived at the Meadowlark a little after 9:30. Nobody had begun to play. I contemplated whether or not I wanted to get a drink with the following internal conversation: I'm really tired and drinking alcohol will only make me sleepier but then I am feeling thirsty and, well, a little edgy. Edgy? Yes, rather edgy in fact. Come to think of it, I thought to myself, I always get kind of uncomfortable at the Meadowlark. I've noted this before and chalked it up to other things, but this time I decided to try to analyze it. I looked around at the stone walls and remembered when this bar first opened. It was a quiet unfinished basement bar that was useful for escaping the Larimer Lounge. It was good for wanting to have a conversation with a friend or just use a clean bathroom. This was before the LL remodel. I would sometimes get a drink there when I arrived a little too early for a show. But that was a couple years ago. Since then, little by little, it started getting fixed up. Heavy wooden furnishings, mood lighting, animal heads, ultra-bright metallic bathrooms. It became less of a get away from the Larimer kind of bar and one of its own identity. But what is this identity? The best way I think I can describe it is "new yuppie artsy bachelor pad" or at least how I imagine one might be. It has the appearance of comfort, but way too self-consciously to actually be comfortable. At least it's that way for me.
Okay, now I've sorted out that question in my mind and got it off my chest. I can get on to the action of the evening and why I didn't make it to the second act. The first act, called, I think, The Radical Knitting Society, took the stage armed with an upright bass, a rather pretty semi-acoustic electric guitar, keyboards and drums. It looked like a potentially intriguing line up of instruments to me. I listened to several songs start out nice and quiet and a little interesting and then build into something more strident and somehow twist toward grating. I wondered if it was the music or the environment getting to me. I again thought about getting a drink. But decided that wouldn't be enough to calm my agitation. I needed to get outside. Fresh air. JZ agreed he could use a smoke, so we trudged up the stone staircase and stepped out into the brisk night air.
It was barely a few moments before the real entertainment of the evening came ambling, nay, weaving down Larimer Street. A tall black man named Ronnie with a 40 in his left pocket, and a forty in his right fist, arrived at the corner and introduced himself. He rapped some dope rhymes. But I forgot them. He told animated nonsensical tales of adventures in hotels and their pools, women and security officers. His eyes were red and watering. He related comedic family stories about his sister and brother and uncle and nephews and nieces and aunt. He was courteous and pretty well behaved for someone as clearly mashed as he was. I didn't have any change for his bus fare, but he left us with the encouraging words that it ain't over 'til Jesus comes down from the sky and tells us it is. All right? Okay.
I didn't feel all agitated anymore though, unfortunately by this time I was so tired I was about to fall over and really really needed to get home, so we went back inside to offer apologies to Ross. There was also a new songwriter in town, hailing from Illinois I think, going by the name of The Dowry, who introduced himself earlier. I'll keep an eye peeled for another chance. But that was all I could take.
I told you this wasn't a show review. It is a failed-attempt-at-making-a-show review. But kids, that's just how it turns out some nights. Lame, but true.
There were four or five acts on the line up and none of them had started yet. Okay. I had been working two shifts at the book store, filling in for two different people. First shift in the basement in the children's section, then second shift closing the coffee shop. I was achy and tired. I thought perhaps I should probably skip it and just go home, but I telephoned JZ, who was already at the place and he told me that the show hadn't started yet. I went.
I arrived at the Meadowlark a little after 9:30. Nobody had begun to play. I contemplated whether or not I wanted to get a drink with the following internal conversation: I'm really tired and drinking alcohol will only make me sleepier but then I am feeling thirsty and, well, a little edgy. Edgy? Yes, rather edgy in fact. Come to think of it, I thought to myself, I always get kind of uncomfortable at the Meadowlark. I've noted this before and chalked it up to other things, but this time I decided to try to analyze it. I looked around at the stone walls and remembered when this bar first opened. It was a quiet unfinished basement bar that was useful for escaping the Larimer Lounge. It was good for wanting to have a conversation with a friend or just use a clean bathroom. This was before the LL remodel. I would sometimes get a drink there when I arrived a little too early for a show. But that was a couple years ago. Since then, little by little, it started getting fixed up. Heavy wooden furnishings, mood lighting, animal heads, ultra-bright metallic bathrooms. It became less of a get away from the Larimer kind of bar and one of its own identity. But what is this identity? The best way I think I can describe it is "new yuppie artsy bachelor pad" or at least how I imagine one might be. It has the appearance of comfort, but way too self-consciously to actually be comfortable. At least it's that way for me.
Okay, now I've sorted out that question in my mind and got it off my chest. I can get on to the action of the evening and why I didn't make it to the second act. The first act, called, I think, The Radical Knitting Society, took the stage armed with an upright bass, a rather pretty semi-acoustic electric guitar, keyboards and drums. It looked like a potentially intriguing line up of instruments to me. I listened to several songs start out nice and quiet and a little interesting and then build into something more strident and somehow twist toward grating. I wondered if it was the music or the environment getting to me. I again thought about getting a drink. But decided that wouldn't be enough to calm my agitation. I needed to get outside. Fresh air. JZ agreed he could use a smoke, so we trudged up the stone staircase and stepped out into the brisk night air.
It was barely a few moments before the real entertainment of the evening came ambling, nay, weaving down Larimer Street. A tall black man named Ronnie with a 40 in his left pocket, and a forty in his right fist, arrived at the corner and introduced himself. He rapped some dope rhymes. But I forgot them. He told animated nonsensical tales of adventures in hotels and their pools, women and security officers. His eyes were red and watering. He related comedic family stories about his sister and brother and uncle and nephews and nieces and aunt. He was courteous and pretty well behaved for someone as clearly mashed as he was. I didn't have any change for his bus fare, but he left us with the encouraging words that it ain't over 'til Jesus comes down from the sky and tells us it is. All right? Okay.
I didn't feel all agitated anymore though, unfortunately by this time I was so tired I was about to fall over and really really needed to get home, so we went back inside to offer apologies to Ross. There was also a new songwriter in town, hailing from Illinois I think, going by the name of The Dowry, who introduced himself earlier. I'll keep an eye peeled for another chance. But that was all I could take.
I told you this wasn't a show review. It is a failed-attempt-at-making-a-show review. But kids, that's just how it turns out some nights. Lame, but true.
13 November 2008
This ain't no Little Miss Sunshine
But it is a Denver band doing the film scoring thing.
I am really looking forward to hearing what Bad Luck City came up with for the what has to be some of the most elaborate and terrifying clay animation films I've ever seen.
Saturday 15 November 2008, 2:45 pm, I will be at the STARZ Film Center to see An Evening with Bruce Bickford. One of the films, CAS'L', runs as a silent film and will feature live musical scoring from Bad Luck City. Dark music--played in the dark.
If 2:45 pm is too early in the day for you, they'll do it all again on Sunday at 9:45 pm.
I may just go to both.
I am really looking forward to hearing what Bad Luck City came up with for the what has to be some of the most elaborate and terrifying clay animation films I've ever seen.
Saturday 15 November 2008, 2:45 pm, I will be at the STARZ Film Center to see An Evening with Bruce Bickford. One of the films, CAS'L', runs as a silent film and will feature live musical scoring from Bad Luck City. Dark music--played in the dark. If 2:45 pm is too early in the day for you, they'll do it all again on Sunday at 9:45 pm.
I may just go to both.
06 August 2008
cd release: Blue Million Miles
Blue Million Miles cd release this Saturday 9 August 2008 at the Hi-Dive in Denver.
Each time I listen to Blue Million Miles, I appreciate them even more. One part dream-like, one part driving, they kind of creep into your memory and stick. And you're not sorry for the invasion. There are a few Denver bands I've actually felt relieved to find out they were definitely recording their songs, so no matter what happens, they'll always be there for another listen. Friday, I'll be in line to get my own copy of Blue Million Miles newest release, Of Building Walls. And as if that weren't enough reason to get to the show, the fabulously amazing Bad Luck City and consistently spectacular, The Overcasters, will both be playing too. I'd not miss it.
03 August 2008
dpums 2008: a couple lists
Too tired to write in sentences. Mostly. So, lists:
Who I managed to see at least some, and in some cases, all of:
American Relay. Reverend Deadeye. Bad Weather California. Overcasters. Bad Luck City. Orangu-tones. Rachel Pollard. Jason Cain. Aaron Collins. Ellison Park, George Inai, Blue Light. Joseph Pope III. Andy Tanner. Married in Berdichev. Andrea Ball, Jen Korte, Jack Redell. Cowboy Curse. Hearts of Palm. Bela Karoli. Hot IQs. Porlolo. And a few others bits here and there walking up and down Broadway. I didn't get to listen to everything I wanted to hear, but I listened to all I was able.
Some of the worst parts:
People talking louder than Porlolo’s set in the Skylark,
then the jukebox starting up.
Sketchy sound systems.
House music playing at Blue Ice during Cowboy Curse,
and American idol on a wide screen TV.
Trying to see two bands at once.
Not trying to see two bands at once.
Leaving in the middle of a set.
Just missing someone you really wanted to see.
Griping about this stuff.
Blisters on feet.
Being hungry and thirsty.
The hot hot sun.
Sitting on the itchy grass.
Forgetting to bring earplugs for the kids.
Being overwhelmed and overtired.
Sweaty and over-packed Hi-Dive.
Some of the best parts:
I hate being packed in, but it didn’t stop me from enjoying the show.
Friday night, appreciating what a great club the 3 Kings Tavern is.
The Overcasters and Bad Luck City back to back.
Not being able to stop smiling.
All those fabulous all-ages venues.
Being able to bring my kids Saturday.
My kids thanking me (so much) for taking them.
The people who stopped chatting and started listening to Porlolo.
Roger Green learning a Porlolo song on the stage,
and it still sounding amazing.
Cowboy Curse playing a great set in spite of the club.
Listening.
My daughter napping on a stack of carpets
Mellow singer/songwriter round sets.
Volunteering. Really.
Just the right-sized outdoor stage.
Nathaniel Rateliff pushing his gear around in a K-mart shopping cart.
Cold drinks.
Aaron Collins child-like-playful solo performance in Rock the Cradle.
Marching my children into the Skylark to hear Porlolo
and nobody stopping us.
Inviting people who don’t usually come out to the shows
and seeing them there.
So many creative and diversely talented folks doing their stuff.
Feeding my kids those yummy Sputnik french fries
one order sweet, one order white.)
Feeling the genuine and impossible-to-fabricate good-will vibe.
All the cool stuff I actually caught.
Realizing some festivals are not so bad.
And all this in Denver.
Who I managed to see at least some, and in some cases, all of:
American Relay. Reverend Deadeye. Bad Weather California. Overcasters. Bad Luck City. Orangu-tones. Rachel Pollard. Jason Cain. Aaron Collins. Ellison Park, George Inai, Blue Light. Joseph Pope III. Andy Tanner. Married in Berdichev. Andrea Ball, Jen Korte, Jack Redell. Cowboy Curse. Hearts of Palm. Bela Karoli. Hot IQs. Porlolo. And a few others bits here and there walking up and down Broadway. I didn't get to listen to everything I wanted to hear, but I listened to all I was able.
Some of the worst parts:
People talking louder than Porlolo’s set in the Skylark,
then the jukebox starting up.
Sketchy sound systems.
House music playing at Blue Ice during Cowboy Curse,
and American idol on a wide screen TV.
Trying to see two bands at once.
Not trying to see two bands at once.
Leaving in the middle of a set.
Just missing someone you really wanted to see.
Griping about this stuff.
Blisters on feet.
Being hungry and thirsty.
The hot hot sun.
Sitting on the itchy grass.
Forgetting to bring earplugs for the kids.
Being overwhelmed and overtired.
Sweaty and over-packed Hi-Dive.
Some of the best parts:
I hate being packed in, but it didn’t stop me from enjoying the show.
Friday night, appreciating what a great club the 3 Kings Tavern is.
The Overcasters and Bad Luck City back to back.
Not being able to stop smiling.
All those fabulous all-ages venues.
Being able to bring my kids Saturday.
My kids thanking me (so much) for taking them.
The people who stopped chatting and started listening to Porlolo.
Roger Green learning a Porlolo song on the stage,
and it still sounding amazing.
Cowboy Curse playing a great set in spite of the club.
Listening.
My daughter napping on a stack of carpets
Mellow singer/songwriter round sets.
Volunteering. Really.
Just the right-sized outdoor stage.
Nathaniel Rateliff pushing his gear around in a K-mart shopping cart.
Cold drinks.
Aaron Collins child-like-playful solo performance in Rock the Cradle.
Marching my children into the Skylark to hear Porlolo
and nobody stopping us.
Inviting people who don’t usually come out to the shows
and seeing them there.
So many creative and diversely talented folks doing their stuff.
Feeding my kids those yummy Sputnik french fries
one order sweet, one order white.)
Feeling the genuine and impossible-to-fabricate good-will vibe.
All the cool stuff I actually caught.
Realizing some festivals are not so bad.
And all this in Denver.
13 July 2008
Top Twenty?
In spite of my skepticism about the relevance of polls, I recognize they've got their place. They tell a little bit of the story, though nowhere near the whole thing, and if we keep that perspective, it can be some fun. One good thing the DPUMS (and other best-of events like the Westword showcase) does is give a concrete occasion to mark and celebrate a portion of the great sounds around town. I really love some of the music being made in this town, and I try to listen to as much of it as I can make time to hear. Being asked to play a little part in this celebration makes me glad.
So, I got my ballot yesterday, and with only three days before it was due, I looked at the alphabetical list of local bands, then set about the work of making my own top twenty. I scanned the list, subtracting bands I knew to be broken up, noting my inability to make judgment on bands that I had yet to hear from and adding a couple for consideration that weren't on the list. Coming up with a ranked list of twenty local bands is a challenge. And truthfully, the unavoidable arbitrariness involved in deciding who is at number six versus seven or even seventeen, makes it less than satisfying work. I needed some guidelines. And since none were explicitly given, I made up my own. This turned out to be the best part of putting together the list.
My guiding factors in voting on my choices for the DPUMS:
1. I have heard them play. Should be obvious, but can't say how many times I've heard someone give an "opinion" about stuff they clearly haven't really listened to but are mimicking what's been said by others. In most cases I've seen each of these bands/artists at least once live and in all cases I've listened even more times to stuff they've recorded.
2. Pleasure. Simply, I enjoy listening to the band. Subjective? Yes. But that's what a personal opinion is: confidence without proof. And it's a place to start.
3. Talent. This really is another obvious one, but still an important factor. They've got to know how to play their instruments.
4. Genuineness. Sincerity is tough to judge and near impossible to prove, but when I recognize it, I'm confident in my judgment. Soul-less sounds soon wear thin. But when the band really means it--you can feel it is substantial. The real thing, as they say.
5. Distinctiveness. Originality is where judgment gets less subjective although is limited by what I'm familiar with. I haven't heard everything out there, and I never will, but I believe I've listened to enough to have an inkling. Many songs sound the same and many bands wear their influences on their sleeve. This isn't bad. It's a place to start. But it's magical when artists take their influences, integrate it into their own work and truly make it a new work. It becomes theirs, not a knock-off or imitation. Listeners can tell.
6. Hard-working. If the task is to rank the best of the past year, in my opinion, the band has to have played out a bit: either locally or even toured outside Denver, or perhaps they've spent time recording and releasing their music. Even if I liked what they did two years ago, if they haven't played out or released anything recently, and especially if I know they are already disbanded I decided I shouldn't be able to vote them at the top of a 2008 poll. Ditto for promising new bands that haven't played enough for me to form a substantial opinion on yet.
7. My boyfriend is not in the band. To avoid the presumption of a conflict of interest, I am not voting for Bad Luck City or Overcasters. Even though they are two of my favorites, for the reasons listed above, not just because of my affection for someone in them.
The showcase has been a fun time the past two years I've attended.
I expect this year will be too.
So, I got my ballot yesterday, and with only three days before it was due, I looked at the alphabetical list of local bands, then set about the work of making my own top twenty. I scanned the list, subtracting bands I knew to be broken up, noting my inability to make judgment on bands that I had yet to hear from and adding a couple for consideration that weren't on the list. Coming up with a ranked list of twenty local bands is a challenge. And truthfully, the unavoidable arbitrariness involved in deciding who is at number six versus seven or even seventeen, makes it less than satisfying work. I needed some guidelines. And since none were explicitly given, I made up my own. This turned out to be the best part of putting together the list.
My guiding factors in voting on my choices for the DPUMS:
1. I have heard them play. Should be obvious, but can't say how many times I've heard someone give an "opinion" about stuff they clearly haven't really listened to but are mimicking what's been said by others. In most cases I've seen each of these bands/artists at least once live and in all cases I've listened even more times to stuff they've recorded.
2. Pleasure. Simply, I enjoy listening to the band. Subjective? Yes. But that's what a personal opinion is: confidence without proof. And it's a place to start.
3. Talent. This really is another obvious one, but still an important factor. They've got to know how to play their instruments.
4. Genuineness. Sincerity is tough to judge and near impossible to prove, but when I recognize it, I'm confident in my judgment. Soul-less sounds soon wear thin. But when the band really means it--you can feel it is substantial. The real thing, as they say.
5. Distinctiveness. Originality is where judgment gets less subjective although is limited by what I'm familiar with. I haven't heard everything out there, and I never will, but I believe I've listened to enough to have an inkling. Many songs sound the same and many bands wear their influences on their sleeve. This isn't bad. It's a place to start. But it's magical when artists take their influences, integrate it into their own work and truly make it a new work. It becomes theirs, not a knock-off or imitation. Listeners can tell.
6. Hard-working. If the task is to rank the best of the past year, in my opinion, the band has to have played out a bit: either locally or even toured outside Denver, or perhaps they've spent time recording and releasing their music. Even if I liked what they did two years ago, if they haven't played out or released anything recently, and especially if I know they are already disbanded I decided I shouldn't be able to vote them at the top of a 2008 poll. Ditto for promising new bands that haven't played enough for me to form a substantial opinion on yet.
7. My boyfriend is not in the band. To avoid the presumption of a conflict of interest, I am not voting for Bad Luck City or Overcasters. Even though they are two of my favorites, for the reasons listed above, not just because of my affection for someone in them.
The showcase has been a fun time the past two years I've attended.
I expect this year will be too.
03 May 2008
show review: Hearts of Palm, Velella Velella and Bad Weather California
I really wanted to make it to this show, but I was tired. Inertia and anxiety pulled and threatened to keep me home and put me to an early bed as they have many times before. But I fought it. I have more "favourite" bands than I can count on my fingers but two who have never failed to affirm my faith in the magic of music were playing together yesterday, Friday the 2nd of May 2008.
I was tired as everybody else these days, but I am glad I made it to this show.
Never knowing when a show is actually going to start at the hi-dive, and knowing Bad Weather California was coming on first, I aimed for a conservative 9:00 arrival and relieved to find I hadn't missed a note. I had time to chat with some friends I hadn't seen in a while, and then awkwardly stand around waiting for the music to begin. When Chris, Joe, Adam and Xandy took the stage, I was ready to listen, and anxious to hear how they'd play the songs this time. Every time I've heard "My Brave Friend" or "I'm Not the Poet" or any of them songs that don't have a set name, they reach my ears sounding somewhere between a little and a lot different. It makes me think of those great chefs who don't follow a recipe but make what is structurally the same dish using what's in season, never failing to come up with a slightly different but consistently spectacular dish just right for that moment. And it always is good. You always leave the table grateful for such fine sustenance. These are some of my consistently favourite sustaining things about a Bad Weather California show: songs that you never know the name of, but still always know how to sing along with; genuine playfulness; instruments I never see other people use but still sound like the song was meant for it; fierce sincerity; adding and changing lyrics on the fly; optimism in the face of it all. But mostly I love those smiles they deliver that are surely leaving cracks on our faces.
I had never heard Velella Velella before, who I learned are currently on tour from Seattle, but since they were playing in between Bad Weather California and Hearts of Palm I would soon find out what they sound like. I had a little clue from watching them unpack the full-size xylophone, vintage organs, and electronic things. I suspect someone who's more knowledgeable about such gear that I can at best ignorantly refer to as "electronic things" would be more excited than I was, but it looked interesting. With these previously mentioned things, some hand held percussion, a flute and a Rickenbacker bass, (no guitar) they turned out some danceable sounds. They are an energetic foursome, sometimes reminding me of catchy Michael Jackson riffs and other times kinda falling out of time in a discordant muddle. If you are in a dance club mood and want the feeling of a live performance this band might be just the thing for you to check out.
It was getting late, I was sleepy and wanted to go home, but was determined to hang in there for Hearts of Palm. I wish it was easier than it is to switch to calling them Hearts of Palm instead of Nathan & Stephen, because I respect the inclusion the name change reflects, but I know I still slip up. It was announced that last night was to be Jonathan's last night playing as a regular member of the band. Matthew is reportedly going leave Stephen and Dan to carry all the guitar duties and take up his brother's bass duties for the group. I wouldn't be surprised to see Jonathan sharing the stage with them again, but seems to be a case of only having so much time in the day, and a lot of other good things going on. So the stage will have one less person on it but that still leaves eight people up there, who play remarkably nicely together. In Hearts of Palm, there's a sense of celebration of many people and things, threaded through with strands of sorrowful realisations. Overwhelmed with joy, so much that you have to watch out for elbows of exuberance up near the front of the stage. But I don't mind. I made it to the show! And I left happy that I did.
I was tired as everybody else these days, but I am glad I made it to this show.
Never knowing when a show is actually going to start at the hi-dive, and knowing Bad Weather California was coming on first, I aimed for a conservative 9:00 arrival and relieved to find I hadn't missed a note. I had time to chat with some friends I hadn't seen in a while, and then awkwardly stand around waiting for the music to begin. When Chris, Joe, Adam and Xandy took the stage, I was ready to listen, and anxious to hear how they'd play the songs this time. Every time I've heard "My Brave Friend" or "I'm Not the Poet" or any of them songs that don't have a set name, they reach my ears sounding somewhere between a little and a lot different. It makes me think of those great chefs who don't follow a recipe but make what is structurally the same dish using what's in season, never failing to come up with a slightly different but consistently spectacular dish just right for that moment. And it always is good. You always leave the table grateful for such fine sustenance. These are some of my consistently favourite sustaining things about a Bad Weather California show: songs that you never know the name of, but still always know how to sing along with; genuine playfulness; instruments I never see other people use but still sound like the song was meant for it; fierce sincerity; adding and changing lyrics on the fly; optimism in the face of it all. But mostly I love those smiles they deliver that are surely leaving cracks on our faces.
I had never heard Velella Velella before, who I learned are currently on tour from Seattle, but since they were playing in between Bad Weather California and Hearts of Palm I would soon find out what they sound like. I had a little clue from watching them unpack the full-size xylophone, vintage organs, and electronic things. I suspect someone who's more knowledgeable about such gear that I can at best ignorantly refer to as "electronic things" would be more excited than I was, but it looked interesting. With these previously mentioned things, some hand held percussion, a flute and a Rickenbacker bass, (no guitar) they turned out some danceable sounds. They are an energetic foursome, sometimes reminding me of catchy Michael Jackson riffs and other times kinda falling out of time in a discordant muddle. If you are in a dance club mood and want the feeling of a live performance this band might be just the thing for you to check out.
It was getting late, I was sleepy and wanted to go home, but was determined to hang in there for Hearts of Palm. I wish it was easier than it is to switch to calling them Hearts of Palm instead of Nathan & Stephen, because I respect the inclusion the name change reflects, but I know I still slip up. It was announced that last night was to be Jonathan's last night playing as a regular member of the band. Matthew is reportedly going leave Stephen and Dan to carry all the guitar duties and take up his brother's bass duties for the group. I wouldn't be surprised to see Jonathan sharing the stage with them again, but seems to be a case of only having so much time in the day, and a lot of other good things going on. So the stage will have one less person on it but that still leaves eight people up there, who play remarkably nicely together. In Hearts of Palm, there's a sense of celebration of many people and things, threaded through with strands of sorrowful realisations. Overwhelmed with joy, so much that you have to watch out for elbows of exuberance up near the front of the stage. But I don't mind. I made it to the show! And I left happy that I did.
28 April 2008
Saturday -- A Wild Slew Indeed
I've been meaning to get out to one of these Anarchist Variety shows, otherwise known as Louis Vuitton Night at the Mercury Cafe, but something always gets in the way. Last time I tried to go I got lost in Commerce City after dark (trying to avoid that giant sinkhole on I-25) and once I finally found my bearings I was too rattled. Kids, Commerce City is no place for me to be lost after dark. But this Saturday, barring mishaps, I will be here:
Saturday May 03, 2008 at 9:30 PM
Mercury Cafe at 2199 California Street
Saturday May 03, 2008 at 9:30 PM
Mercury Cafe at 2199 California Street
$3 optional donation for the Denver Zine Library
Fashion Theme: JURASSIC PARK (enough said)
As usual, we have a wild slew of amazing bands and stunning acts but to lubricate your whistle here's a few of the highlights: Tom Murphy presents the Surprise Headlining Band, Royal Rush Dance Troupe performing Janet Jackson, Susan Susan, Israel-San's DIY Shibari, Sparrow of Cirkus Dorkus, Bellydancing by Khalijah, Frieda's Violin Modern, Dr. Meg presents cutting edge research on the Chaos Theory, Druglas' Fast and Fucking Furious Performance Art, Denver Community Group Ditties and much much more!
18 April 2008
10 April 2008
Monday, Pretty Songs, Some About Animals
The best part about local artists opening for bands touring from places yonder is that, when paired with knowledge and thoughtfulness, it can turn you on to one or the other that you might not have otherwise given a listen.
It's no secret that I love Porlolo, so when they open for another band, I'll make time to give them a listen. With the convenience of MySpace, it's hardly a time commitment, but as it is, I gave a click and a listen and decided I do indeed like Blitzen Trapper. I thought they sounded a lot like they'd been listening to a lot of Big Star, but since I've loved Alex Chilton's band ever since I heard Paul Westerberg croon the name, this is all good with me.
I recommend:
At the hi-dive
Monday 14 April 2008
Radio 1190 presents
Blitzen Trapper
Fleet Foxes
AND
Porloloville
(Porlolo and Placerville)
Wish I could be there, but Mondays are a no show night out for me. Maybe you can go and tell me all about it?
It's no secret that I love Porlolo, so when they open for another band, I'll make time to give them a listen. With the convenience of MySpace, it's hardly a time commitment, but as it is, I gave a click and a listen and decided I do indeed like Blitzen Trapper. I thought they sounded a lot like they'd been listening to a lot of Big Star, but since I've loved Alex Chilton's band ever since I heard Paul Westerberg croon the name, this is all good with me.
I recommend:
At the hi-dive
Monday 14 April 2008
Radio 1190 presents
Blitzen Trapper
Fleet Foxes
AND
Porloloville
(Porlolo and Placerville)
Wish I could be there, but Mondays are a no show night out for me. Maybe you can go and tell me all about it?
28 February 2008
CD review: Bad Luck City - Adelaide (2008)
"I am stealth, I am secret, I've got a cover and I'm going to keep it."
So goes the line in Bad Luck City's song "Stealth." But it's hard to imagine this band's music really staying secret any more than one could imagine anybody staying seriously undercover "hunting ETs and chupacabras...by moonlight and candelabra."
Like many of the songs on the album, "Stealth" is serious and spooky, but balanced with a smart sense of humour, albeit something of a tragic sort of giggles. Light and dark take turns so deftly they almost seem the same thing. "Stealth" is about a self-proclaimed demon hunter, drink by drink and verse by verse, becoming more blurred as the story moves along until the demon and hunter blur into union. The layering of Hayley Helmerick's (Monofog) and Dameon Merkl's vocals brings a captivating and insidious execution to this song. But with no less than ten guaranteed FCC censor's heart attacks, this song won't be sailing the public airwaves.
From the slow and haunting melodies to the heart pumping, crescendo rising ones, every song on Adelaide is threaded with a delightful sort of creepiness. Weaving the line between recitative and ballad, the lyrics deliver stories of a longing stalker in "Suffer the Day," the forlorn "Widow Frances Colver," a regretful morning after "The Night Before" (a great cover of the Lee Hazlewood song) and the tragic tear-jerker end of a race horse "Distaff." All these, vignettes and snapshots of dark but lightly familiar characters and scenes. The music likewise, inseparably surrounds and carries the words. Even the artwork on the cover reflects Adelaide's setting of mysterious and dramatic places captured in a manner of playful yet elegant pencil-line accuracy.
With six people in the band not counting the additional vocalists and players of piano, trumpet and such on the recordings, you might think there'd be some unruly scrapping for attention and center spotlight. But no. Musical deference prevails. Pair that musical courtesy and talent with the remarkably clean mixing of sound and everything comes out sounding great.Photo courtesy of Bad Luck City.
Album cover artwork designed by Jonathan Till.
22 February 2008
Round 'em up for the Cowboy Curse show
I’ve heard from reliable sources that this’ll be Cowboy Curse's last show for many a month as they take time to tend to other creative endeavors… so you might should get up and go. I’ll be there.
That's at Bender's this very Friday evening.
That's at Bender's this very Friday evening.
15 February 2008
Planes Mistaken For Stars Final Show
Yet another chunk of marble is being carved
For the illustrious Denver Music Scene Graveyard.
What could be the epitaph for Planes Mistaken for Stars?
Perhaps, "We're glad for all that time spent in bars."
If they've been a part of your personal music history too
Stop by and tell the boys, "Hey" and "Thank you"
09 January 2008
CD review: Bela Karoli, Furnished Rooms
Double-posted at The Donnybrook Writing Academy
Bela Karoli is complicated simplicity, a paradox. But this is a band that makes songs out of Emily Dickinson and T.S. Eliot poems for goodness sake. So complicated simplicity makes a kind of perfect sense.
Furnished Rooms, Bela Karoli’s debut release, will make you pay attention and listen to familiar sounds like they were new.
In the first track, “Snow,” the rich and warm signature upright bass sound of Julie Davis is followed by the artful bow strokes of Carrie Beeder’s violin and then by the recognizable airy tones of Brigid McAuliffe’s accordion. The music is as inventive and playful as you might suspect with that admittedly unusual orchestration.
The sense of warmth and palpable life that reside in these twelve songs will make you feel the air passing through vocal cords, in and out of accordion bellows, bringing oxygen to blood pumping through arms that move bows, fingers that pluck strings. I could wax on in this vein but then paradox arises again. There in the background is a machined rhythm of programmed drum tracks. Like in the song “Invertebrate” where the lyrics, “we are soft cells; we have metal shells” suggest a duality, the songs themselves also feel as if existing as a cellular life of their own though encased in that hard and cold shell. It’s a compelling contrast, though I have to admit I miss the presence of a human drummer.
Bela Karoli is like nothing you’ve heard before. Not exactly. Like their version of “Summertime” you’ll recognize it as familiar, sort of, but it’s not an instantaneous recognition. Like no other, this is a furnished room you’ll find yourself glad to be sitting in.
02 December 2007
Oh! It's like that Falcon
All of a sudden the spaceship styled bar stools and the moonscape murals made sense. The Falcon is not just yet another Denver music venue named after a bird. (Bluebird, Meadowlark, et al.)
Somebody told me that they heard owner talking about wanting to have a model of Han Solo's famed spacecraft crashing through the front of the building. That would be cool. But, alas, to run a business, priorities must be made, and undoubtedly to use anything Star Wars, royalties would have to be paid. Fortunately The Falcon made good choices in its priorities for opening night. Bowling was not operating, but the brand spankin' new sound system was set up so musicians on stage could hear each other and the audience got a refreshingly clean clear sound as well. Cowboy Curse broke in the new stage with an energetic and tight performance, a pleasure, as usual.
There didn't appear to be food yet, but the bar was stocked and the tenders of it were nice. My main complaints? Way too much light at the bar, it's like Denver Diner bright, and that's just very unsettling. The stage area was acceptably dim, but it's got the Larimer Lounge set up of being way at the back and I've noticed that setup seems to keep the timid away from the music. Though by the time the second band, Dirty Sweet, hit the stage a number of people who'd spent a bit of time at the bar were lured to the back with some familiar-ish 70s rock sounds.
It'll be interesting to see how this venue develops and what sort of niche it carves out for itself. One thing I'm sure of, if they keep good music on the stage they won't go too far wrong.
Somebody told me that they heard owner talking about wanting to have a model of Han Solo's famed spacecraft crashing through the front of the building. That would be cool. But, alas, to run a business, priorities must be made, and undoubtedly to use anything Star Wars, royalties would have to be paid. Fortunately The Falcon made good choices in its priorities for opening night. Bowling was not operating, but the brand spankin' new sound system was set up so musicians on stage could hear each other and the audience got a refreshingly clean clear sound as well. Cowboy Curse broke in the new stage with an energetic and tight performance, a pleasure, as usual.
There didn't appear to be food yet, but the bar was stocked and the tenders of it were nice. My main complaints? Way too much light at the bar, it's like Denver Diner bright, and that's just very unsettling. The stage area was acceptably dim, but it's got the Larimer Lounge set up of being way at the back and I've noticed that setup seems to keep the timid away from the music. Though by the time the second band, Dirty Sweet, hit the stage a number of people who'd spent a bit of time at the bar were lured to the back with some familiar-ish 70s rock sounds.
It'll be interesting to see how this venue develops and what sort of niche it carves out for itself. One thing I'm sure of, if they keep good music on the stage they won't go too far wrong.
21 November 2007
Denver Music Matters
No, Denver is not the next Seattle, because no place is, but damn, saying it gets people talking. Really, it's an impossible task to analyze a scene and call it about to become national. But people sure get excited thinking about the possibility.
I have friends who moved their band to Seattle in 1986 and everybody was like, Seattle? Why Seattle? When one of my friends moved back to Kentucky a couple years later he said it was a surprise to see people wearing t-shirts of one of his favorite old "local bands" in Seattle, Mudhoney. (Fun little article here about an earlier sparsely attended Lexington Mudhoney show at Babylon Babylon.) I gather it really wasn't obvious then that Seattle was about to become what it did.
I've heard a number of different people who listen to Denver's local music and have been listening here for a while say that it feels like something special is going on here right now. And that's very cool. The Denver artists I consistently make the effort to see perform, I really truly love. What gets me out there is that when I listen, I feel like it matters. It sounds sophomoric opining to say it, but when you first hear music that matters, the world is irretrievably changed. It feels extraordinary. It feels great. And you never want it to end.
So when all these people living in Denver who listen to the music talk and write about it, word travels. Denver gets some looks and listens from people who don't live here, people looking for good music. They listen and hear excellent music being crafted here and they also get excited. There are always discerning music listeners who will search the best stuff out, and then there are those who are always looking for stuff they can package and sell. Some people do happen to be both. We could make a Venn diagram showing the little intersection of quality music and marketable music. There's overlap, definitely, but don't forget the two attributes are not correlative.
The only other thing that gets people as agitated as bandying about "the next Seattle" is saying there is such a thing as "the Denver Sound." I think even people who say it know better. There are so many people creating so many different sounds in Denver that one person couldn't keep up with it all (though I know a couple who make a good effort at it) much less have it contained in one descriptor. For instance, some of the many Denver bands I love to see like Porlolo, Cowboy Curse, Bright Channel, Tarmints, Nathan & Stephen, Overcasters, Bela Karoli, Munly & the Lee Lewis Harlots, George & Caplin, Bad Weather California, just to name a very few, don't sound anything like the others. There are circles that cooperate and collaborate with each other, but they can not honestly be grouped into one.
I understand the marketing value of being reductive, but when it comes to a music scene, it positively makes me cringe to hear about a place having one sound. What happens is that it starves everything and everyone that doesn't fit in the "sound" by feeding that and those which does. When the grunge wave got to tidal proportions there were many other talented Seattle artists who didn't sound like the others who were left cold in its shadow. Not to mention some who gained the most distance from the wave only ended up drowning in it.
Even so, no place can be the next Seattle for a number of reasons. One, it was unique, but also things are not like they were in the 80s. The music industry is just not like it was 20 years ago. I can't imagine major labels have many bulging suitcases of money to hand out for the "next big thing" because, I think, there really isn't going to be a "next big thing" more than there are going to be more a number of " next pretty big things to this group or that group sort of things."
My unsolicited advice: If you are in a position to be wringing your hands over whether you want major label attention or not, keep sight on what you are making your music for in the first place. If you want to make money running a music-making business, think about bringing someone in who knows how to run music-making businesses to help you. If you want to make music and definitely don't want to make a business out if it, don't. But either way you must pay attention to the music first, the incidentals last. That's the only way any of it will continue to matter.
I have friends who moved their band to Seattle in 1986 and everybody was like, Seattle? Why Seattle? When one of my friends moved back to Kentucky a couple years later he said it was a surprise to see people wearing t-shirts of one of his favorite old "local bands" in Seattle, Mudhoney. (Fun little article here about an earlier sparsely attended Lexington Mudhoney show at Babylon Babylon.) I gather it really wasn't obvious then that Seattle was about to become what it did.
I've heard a number of different people who listen to Denver's local music and have been listening here for a while say that it feels like something special is going on here right now. And that's very cool. The Denver artists I consistently make the effort to see perform, I really truly love. What gets me out there is that when I listen, I feel like it matters. It sounds sophomoric opining to say it, but when you first hear music that matters, the world is irretrievably changed. It feels extraordinary. It feels great. And you never want it to end.
So when all these people living in Denver who listen to the music talk and write about it, word travels. Denver gets some looks and listens from people who don't live here, people looking for good music. They listen and hear excellent music being crafted here and they also get excited. There are always discerning music listeners who will search the best stuff out, and then there are those who are always looking for stuff they can package and sell. Some people do happen to be both. We could make a Venn diagram showing the little intersection of quality music and marketable music. There's overlap, definitely, but don't forget the two attributes are not correlative.
The only other thing that gets people as agitated as bandying about "the next Seattle" is saying there is such a thing as "the Denver Sound." I think even people who say it know better. There are so many people creating so many different sounds in Denver that one person couldn't keep up with it all (though I know a couple who make a good effort at it) much less have it contained in one descriptor. For instance, some of the many Denver bands I love to see like Porlolo, Cowboy Curse, Bright Channel, Tarmints, Nathan & Stephen, Overcasters, Bela Karoli, Munly & the Lee Lewis Harlots, George & Caplin, Bad Weather California, just to name a very few, don't sound anything like the others. There are circles that cooperate and collaborate with each other, but they can not honestly be grouped into one.
I understand the marketing value of being reductive, but when it comes to a music scene, it positively makes me cringe to hear about a place having one sound. What happens is that it starves everything and everyone that doesn't fit in the "sound" by feeding that and those which does. When the grunge wave got to tidal proportions there were many other talented Seattle artists who didn't sound like the others who were left cold in its shadow. Not to mention some who gained the most distance from the wave only ended up drowning in it.
Even so, no place can be the next Seattle for a number of reasons. One, it was unique, but also things are not like they were in the 80s. The music industry is just not like it was 20 years ago. I can't imagine major labels have many bulging suitcases of money to hand out for the "next big thing" because, I think, there really isn't going to be a "next big thing" more than there are going to be more a number of " next pretty big things to this group or that group sort of things."
My unsolicited advice: If you are in a position to be wringing your hands over whether you want major label attention or not, keep sight on what you are making your music for in the first place. If you want to make money running a music-making business, think about bringing someone in who knows how to run music-making businesses to help you. If you want to make music and definitely don't want to make a business out if it, don't. But either way you must pay attention to the music first, the incidentals last. That's the only way any of it will continue to matter.
16 November 2007
Nathan & Stephen, Dan Craig Band at the Lion's Lair
Before last night I didn't realize Dan Craig is a very funny guy. Yes, he does smile a lot when he's strumming for Nathan & Stephen, thus exhibiting a good humour, but after thanking fellow N&S band mate Phil for playing trumpet on his opening song by announcing "Phil's in another great Denver band" and pausing to let those at the bar chuckle and smile at the rest of Nathan & Stephen in the audience, Dan continues, "...Born in the Flood." And then after delivering an especially folksy rendition of "Happier" he credits the cover by encouraging the crowd, "You all should really get out to see that Photo Atlas..."
Funnies aside, I am glad I made it out to this show. Lately I've been reluctant to get out much, cold weather, being tired and well, as much as live music elates, sometimes being at a show is too overwhelming for me. So, I almost didn't go, but the Thursday show at the Lion's Lair was more than just a show, it was a benefit for Prax(us), an organization that works on fighting human trafficking in Colorado. I'm all for any effort against exploiting people as commodities. The added social pressure got me to head to Colfax instead of going home and crawling in bed for more sleep than I actually need. I got a music fix and got to feel all warm and fuzzy that my $8 cover was going to a good cause.
My anti-social tendencies have had me feeling like I'm a little out of the loop lately, and last night I received affirmation that, yes I am. The spoken word and slam poets were just finishing up their part of the evening when I was looking at the flier for that evening's event. I asked Stephen Till if he knew the Dan Craig band. He looked at me a moment, maybe trying to figure out if I was kidding or really that dense, before kindly replying that, um, Dan Craig is in Nathan & Stephen. Oh. Yeah. Of course. That's why that name looked familiar.
The Dan Craig Band is more on the folksy, singer-songwriterly side of things than the indie-pop fare of Nathan & Stephen. I'm not one who can decipher lyrics very easily in a live setting but the gist of the songs feel like they dwell in the sphere of those angst-y human emotions. Though that ground is well worn and all too often comes out as annoying and self-indulgent, Dan Craig isn't. I held my breath when they started in on Neutral Milk Hotel's "In the Aeroplane Over the Sea" because I'm tetchy about covers of songs I love already. But even without saws, they pulled out a fairly true to original and very pretty version that I could enjoy. Excellent mandolin, cello, accompanying vocals, drums, five string bass, and trumpet made a really beautiful surrounding for Dan's songs. I think they are playing at the Meadowlark next Friday night. If any of this description sounds the least bit interesting you'd be happy to give a listen.
Nathan & Stephen always make me smile. They radiate good will. It is really astounding to me. When a band can harness positive energy and make it into catchy songs, it generates a force of its own. A good one. Even recovering from a lost voice, Nathan McGarvey sang with no less than he ever does. Sincerity goes a long way with me and Nathan & Stephen are chock full of it. I haven't heard them play in a while and I noticed that the songs on the EP are all played spot on professional, though even without looking I could tell that Stephen Brooks wasn't on the skins. And even the newer songs are clearly gems that with a little more polishing will be as glowing as the rest. Denver, even if Nathan & Stephen isn't your thing, we are lucky to have these kids around.
Funnies aside, I am glad I made it out to this show. Lately I've been reluctant to get out much, cold weather, being tired and well, as much as live music elates, sometimes being at a show is too overwhelming for me. So, I almost didn't go, but the Thursday show at the Lion's Lair was more than just a show, it was a benefit for Prax(us), an organization that works on fighting human trafficking in Colorado. I'm all for any effort against exploiting people as commodities. The added social pressure got me to head to Colfax instead of going home and crawling in bed for more sleep than I actually need. I got a music fix and got to feel all warm and fuzzy that my $8 cover was going to a good cause.
My anti-social tendencies have had me feeling like I'm a little out of the loop lately, and last night I received affirmation that, yes I am. The spoken word and slam poets were just finishing up their part of the evening when I was looking at the flier for that evening's event. I asked Stephen Till if he knew the Dan Craig band. He looked at me a moment, maybe trying to figure out if I was kidding or really that dense, before kindly replying that, um, Dan Craig is in Nathan & Stephen. Oh. Yeah. Of course. That's why that name looked familiar.
The Dan Craig Band is more on the folksy, singer-songwriterly side of things than the indie-pop fare of Nathan & Stephen. I'm not one who can decipher lyrics very easily in a live setting but the gist of the songs feel like they dwell in the sphere of those angst-y human emotions. Though that ground is well worn and all too often comes out as annoying and self-indulgent, Dan Craig isn't. I held my breath when they started in on Neutral Milk Hotel's "In the Aeroplane Over the Sea" because I'm tetchy about covers of songs I love already. But even without saws, they pulled out a fairly true to original and very pretty version that I could enjoy. Excellent mandolin, cello, accompanying vocals, drums, five string bass, and trumpet made a really beautiful surrounding for Dan's songs. I think they are playing at the Meadowlark next Friday night. If any of this description sounds the least bit interesting you'd be happy to give a listen.
Nathan & Stephen always make me smile. They radiate good will. It is really astounding to me. When a band can harness positive energy and make it into catchy songs, it generates a force of its own. A good one. Even recovering from a lost voice, Nathan McGarvey sang with no less than he ever does. Sincerity goes a long way with me and Nathan & Stephen are chock full of it. I haven't heard them play in a while and I noticed that the songs on the EP are all played spot on professional, though even without looking I could tell that Stephen Brooks wasn't on the skins. And even the newer songs are clearly gems that with a little more polishing will be as glowing as the rest. Denver, even if Nathan & Stephen isn't your thing, we are lucky to have these kids around.
04 October 2007
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