Good Charlotte's Current Tour Celebrates The New and The Old

By: Nathan Sheppard

Good Charlotte are currently wrapping up their Generation Rx U.S. Tour and made one of their final stops in Denver this past Wednesday at the Ogden Theater. The stacked lineup included up and comers The Dose, along with Knuckle Puck and Sleeping WIth Sirens.

 Good Charlotte.

Good Charlotte.

Good Charlotte started the set out with the first two songs of their latest album Generation Rx, and then really got the party started with “The Anthem.” They then rattled off a few more songs from their break out album The Young and The Hopeless, and reflected in between songs on how the meaning of these tunes have changed for them over the 16 years since the album was released. Frontman Joel Madden reflected on “Riot Girl” specifically, and how being a father made him feel this track has evolved into a women's empowerment song, showcasing the key role women have in making not only the punk scene, but the world, a better place.  

The guys continued with this theme of reflection throughout the set, asking the crowd where they were and what they were doing when a specific song came out. And after each reflection, there was a story about hope and encouragement, since a lot of the songs originally came from an emotional and sometimes dark place. Even though there was a lot of introspection on the night, it was a great celebration of the 20+ years that Good Charlotte has been a band. They capped off the evening with the pop punk classic “Lifestyles of the Rich & Famous”.

The last few dates of Good Charlotte’s tour hit the West Coast, so make sure you get your tickets to celebrate one of the essential pop punk bands of the 2000s. Tickets and dates can be found here.  

-Nathan

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Underoath Embark on 'Erase Me Tour' with a Two-Night Denver Stop at Ogden Theatre

By: Nathan Sheppard

Underoath will be embarking on the Erase Me Tour this November and December in support of their comeback album Erase Me. The tour will be stopping in Denver for a special two-night event November 23rd and 24th at the Ogden Theatre. It is the band’s first album in eight years, and the first album in quite some time with founding member Aaron Gillespie. Underoath will be accompanied by Dance Gavin Dance, Crown The Empire, and The Plot In You.

 Underoath.

Underoath.

With Erase Me, Underoath stick to their roots while experimenting with new modern sounds or “radio friendly” tracks. Aaron Gillespie on drums and back-up vocals is evident throughout the record, an element that fans had been missing in the albums without Gillespie. Lead vocalist Spencer Chamberlain said about Erase Me that the band “had only one rule on this record: to reject the phrase ‘that’s not Underoath enough’ which robs us from growing.” It’s easy to see that they took this to heart with tracks like “On My Teeth” and “Rapture,” where they expand and experiment with new sounds while keeping their signature sound.

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This all-star lineup is a can’t-miss show for metalcore fans, having a diverse lineup with something for everyone to enjoy. You can check out the dates for the tour below and purchase your tickets here.

-Nathan

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Denver's Holiday Bazaar Features Food, Fashion, Fire Pits, & Booze

By: Julia Talen

Denver’s Holiday Bazaar is back, and ‘tis the season! This festive event takes place at the end of November into December. For those anxious to scope out a variety of local vendors while sipping on festive libations, Stapleton’s Shops at Northfield host a Denver Bazaar Pop-Up event on Thursday, November 29th from 4PM-10PM. Admission is free and the Stapleton Holiday Bazaar will feature over 40 fashion trucks and rad vendors, plus attendees will have a wide range of libations to choose from including beer, wine, cider, and spirits.

 The Bazaar.

The Bazaar.

RiNo’s  Holiday Bazaar spans across the second weekend in December- December 7th 5PM-10PM (free admission until 7PM) and December 8th and 9th from 10AM-5PM (free admission until 12PM). For those who stroll in late, admission is $5 at the door which gets you into the giant, trendy Bazaar located at 2845 Walnut Street showcasing 100+ vendors, makers, artists, and more.

Not only can guests shop around, but they can also hang by the fire pits, nosh on snacks from some of Denver’s finests food trucks, listen to music, and check out the RiNo BOOZ Hall centrally located in the Bazaar featuring booze from Rising Sun Distillery and Jack Rabbit Hill Farm (among others.) And don’t worry about snow or icy conditions, because the inside of the Bazaar is heated, so you can soak up all of the cozy, holiday vibes. To learn more about this awesome event visit the website here.

-Julia

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Sylar's Nu Metal Brings Fans Out Early for Denver Stop

By: Nathan Sheppard

New York band Sylar, who is supporting Beartooth this winter on The Disease Tour, made their Denver stop this past Saturday. The band recently released their third studio album Seasons in October as an ode the people “who can’t speak and the people who are too scared to dream” according to frontman Jayden Panesso. The guys have fashioned themselves after Linkin Park, with more modern and updated styles that give the rap-rock genre a breath of fresh air.

 Sylar.

Sylar.

Gaining notoriety from their hit single “Soul Addiction” and a Warped Tour stint in 2017, Sylar have quickly gained a supportive community around them. While most opening bands play to a half-filled venue, people wrapped around the building and down the alley waiting in the cold to get in early for Sylar’s set. The band opened with a few up-tempo songs to get the crowd warmed up and then hit them with “All or Nothing” and “No Way” from Seasons to kick things up to the next level.

While the openers’ set is always on the shorter side, Sylar has definitely gained even more fans on the first leg of this tour with Knocked Loose and Beartooth. Their energetic live show combined with clever hip-hop lyrics from Panesso, and silky-smooth clean vocals from rhythm guitarist Miguel Cardona create a new sound for the metalcore genre.

You can check out Seasons here and get your tickets for upcoming dates on The Disease Tour here. And whatever you do, get to these shows early for Sylar!

-Nathan

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Atreyu Didn't Make It to Their Albuquerque Show But It Almost Didn't Matter

By: Ryan Schultz

The Albuquerque stop on Atreyu's In Our Wake Tour was definitely a memorable show. From an amazing crowd to super humble bands, it was one I won't soon forget.

The night started off with security informing us that Atreyu never made it to the venue (an alleged bus breakdown), but all the openers decided that the show must go on. Sleep Signals was up first, and having never heard of them before, I had no idea what to expect. What we got was a totally independent band (no label, no management, everything done by the band themselves) who not only had a great stage presence and live performance, but made it a goal to really connect with the audience, going so far as hanging outside of the venue before doors opened to talk with people in line.

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Ice Nine Kills was next, and they were one of the reasons why this show was memorable. All members came out on stage wearing horror movie costumes. From Friday the 13th’s “Jason” to “Freddie Kruger “from Nightmare on Elm Street, the band’s theatrical performances and expressions were apt to their characters. The lead singer, Spencer Charnas, was crowd surfing back and forth, all while singing and screaming along with the crowd.

Memphis May Fire became our openers for the night, and they took on that role very well. The lead singer, Matty Mullins, had great crowd interaction through the whole set and the band had a great sound overall, even with the absence of their usual sound tech. About halfway through the set, they brought a special guest on stage to sing part of a song: a local named Jayden who sang his part very well and seemed totally comfortable on stage.

 Memphis May Fire.

Memphis May Fire.

While this tour stop came without its headliner, the opening bands stepped it up and filled that gap very well. I would recommend anyone who is a fan of metalcore hit up a stop on this tour; the opening bands alone make the experience worth it, and I can't imagine what the show would've been like with Atreyu's presence added.

The In Our Wake Tour continues to roll through the US until December 13th, and you can keep up and find more info on it here.

-Ryan

All photos per the author. All videos and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Sullivan King's 'Fight Back World Tour' Brought the Heaviest Bass I've Ever Seen

By: Ryan Schultz

Sullivan King's Albuquerque stop on his Fight Back World Tour was one of the heaviest bass events I've ever seen. The local opening acts all played great sets, but the one that stood out to me the most was Navallo's. His set was a very fine balance of heavy-hitting trap remixes and melody filled bass tracks.

 Navallo.

Navallo.

Sullivan King's set was an epic fusion of crushing heavy metal riffs and massive dubstep basslines which shook the entire venue. He played his 7-string guitar along to his music, and he  sang on some parts, all while DJing.

 Sullivan King.

Sullivan King.

Having never seen Sullivan King live before, I was blown away by his performance and would recommend anyone see him live if you haven't already!

You can still catch him on tour until December 22nd and keep up with him here.

-Ryan

All photos per the author. All videos and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Lettuce and The Colorado Symphony Took The Mile High a Little Higher with Special Show

By: Will Baumgartner

I imagine it’s the same for anyone in the arts: collaboration always lifts you higher. The high one gets from creation, no matter how renewable and perpetually fresh it may be, eventually starts asking the artist, “What can you do with me that you haven’t done before?” And the artist looks at their art and says, “Good question! Not that I’m getting bored, but…”

Not to belabor the metaphor of a relationship between the creative and the created, but in a very real sense, artists are in a sort of marriage with their work- and to keep this marriage from going stale, they must continually look for new things to do, new experiences and situations which will help them achieve the ultimate goal of any good relationship: the elevation of the soul. One more metaphorical extension and I’ll leave it alone before I get into trouble: sometimes, maybe the best thing to do is bring in some other creative people in and see what happens…

 Photo Credit:   Tom

Photo Credit: Tom

We’re talking about something beautiful and sacred here, and that’s exactly what the boys from the Colorado-born “Future Funk” unit known as Lettuce achieved Saturday at Denver’s Boettcher Concert Hall when they performed some of their best and most enduring work with the Colorado Symphony. Under the fiery baton work of the young, but already highly accomplished Australian conductor Christopher Dragon, from the selection of material to the inspired orchestration, to the performances of each and every human onstage, it was an ecstatic evening. It was also clearly an elevating experience for everyone involved: the band members, conductor, orchestra musicians, and audience were all beaming and glowing with smiles that just kept getting more beatific through the evening.

Part of that bliss probably had to do with this type of show being a first for the band: at one point, keyboardist/vocalist Nigel Hall said something like, “If you’d told me a year ago that I’d be playing piano with a symphony orchestra…” I missed the rest, as people around me started whooping and screaming. It was a first for me too, as in all my decades of concerts, I’ve never seen a rock band play with an orchestra. As such it was difficult to imagine beforehand what the experience would be like, though knowing how great Lettuce are live and being already familiar with our local treasure of an orchestra, I would have been surprised if it weren’t one of the high points of a lifetime of great shows I’ve been privileged to attend. And sure enough, the only way I was slightly surprised was that the evening exceeded my fondest hopes and expectations. From the opening Lettuce original “Mount Crushmore,” all the way through “The Force,” the last piece in the first set, the way these musicians combined classical precision with the spontaneous fire Lettuce excels in was outrageously wonderful. As layer upon layer of sonic beauty and power was added to the creation, it was an almost overwhelming experience, causing us in the audience to make almost as much noise of our own as we did at Lettuce’s incredible concerts at Red Rocks back in June.

Speaking of Nigel Hall, as great as he is on the keys, that man can really sing. It’s always one of my favorite parts of a Lettuce concert when he opens up that voice, but on Curtis Mayfield’s “Move On Up,” Hall really outdid himself. The song was a perfect choice for this setting, as the original’s string and horn parts were expanded to spectacular effect, driving an already uplifting song to stratospheric heights. This feat that was repeated in the second set’s cover of Tears For Fears classic “Everybody Wants to Rule the World,” another brilliant selection for an evening of orchestral funk-rock. In the middle of “Move On Up” though, we got an extra treat as things got considerably quieter and Hall sang a deeply soulful, gospel-tinged interlude about love, belief, and… I don’t remember everything he sang about, but the extended moment definitely fed my soul. It also felt like possibly the most improvised segment in a program that, by necessity, had to have been pretty tightly arranged. Singing something that powerful and moving in a nearly a cappella setting while allowing oneself to at least partially make it up on the spot- that’s not an easy thing to do and Mr. Hall deserves our appreciation for sharing that gift with us.

 Screengrab via YouTube user coloradojohnsons.

Screengrab via YouTube user coloradojohnsons.

Everyone onstage was in top form: drummer Adam Deitch, guitarist Adam Smirnoff, the always fun to watch bassist Eric “Jesus” Coomes, saxophonist Ryan Zoidis and trumpeter Eric Bloom all performed with joyous brilliance. Mr. Dragon led the orchestra with zest and panache, and the orchestra itself was unparalleled. Extra special credit must be given to Tom Hagerman, who has been getting notice as a film score composer outside of his 20 years of work as a member of Colorado’s legendary band DeVotchKa, for his masterful orchestrations. His talent proves that those who work behind the scenes are often as important and essential as the performers themselves. And what a lot of work must have gone into this production! We can only hope that everyone involved felt our love and gratitude throughout the concert and the multiple and richly deserved standing ovations. The Colorado Symphony have previously done collaborations with Elephant Revival, Warren Haynes, and others. But on behalf of myself and everyone who was there Saturday, here’s a humble request that they do it again with Lettuce!

Next up for the band is a three-night New Year’s run through Houston, Dallas, and Austin Texas. Their 2019 Vibe Up Tour begins in January, with support from Ghost-Note and Greyhounds. For all Lettuce tour dates and news, visit the band’s website here.

-Will

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Verses The Inevitable Are Bringing Their 'Grit & Grace' to Larimer Lounge Tonight!

By: Will Baumgartner

Daniel Hertel’s band Verses The Inevitable are in no hurry. They take their time making records, plan their shows carefully, and perform relatively infrequently. All these things, combined with their surfeit of talent and the excellence of their songs, are great reasons to check out their most recent album Grit & Grace, and then get on over to Denver’s Larimer Lounge tonight for an experience you won’t soon forget.

 Verses The Inevitable.

Verses The Inevitable.

Every song on Grit & Grace is a gem, and one of several reminders of how apt the album’s title is: there’s clearly a lot of artistry and polish that went into the crafting of each track but at the same time, nothing is over-polished. These songs, multifaceted and sparkling though they may be, still retain their original natural beauty and rough charm. Like any stone, they were formed from gritty elements, from the hard and dirty places found in any truly beautiful location. There’s a sense of struggle in nearly every song on the album, but also an appreciation of the beauty of life, an acknowledgement that light can often only be appreciated by trekking through the darkness.

The album begins with “Tuscaloosa,” a wistful yet gently-driving song, like a letter to a lover the narrator is determined to return to. Its folk rock feel sets the tone for a lot of the tracks to come- while the band regularly dives into other genres, the overall feel of Verses The Inevitable is that of a folk rock band.

Next up is “Horizon,” a ballad that manages to combine a resigned sadness with more determination. “Hard Times” is a bluesy slow-burner enumerating the problems and challenges of the down-and-out, and the first song on the album where singer Madalynn Rose really steps out and shows her stuff. This young woman can really sing, and is a talent worth watching in her own right. Her harmonies with Hertel also reminded me of another way in which the album’s title feels so appropriate, because while they’re both powerful vocalists, Daniel brings the grit while Madalynn carries the grace.

 The album artwork for  Grit & Grace .

The album artwork for Grit & Grace.

Next up is “Morgan City Blues,” which Hertel says is one of two songs on the album that were written ten years ago, this one because of its “sad personal nature.” That much is obvious from the lyrics, which tell the tale of watching an addict go all the way down, but through rewriting the song with his partner, keyboardist Wil Snyder, they were able to leaven its heavy subject matter into a shuffling blues with classic piano/organ grooves and a killer harmonica solo from great local stalwart Mad Dog Friedman. “Saint Gertrude” is a somewhat pastoral folk song that sounds like a grateful, quiet tribute to some very personal female saint-like presence in the songwriter’s life. “Unclaimed Ground” is, according to Hertel, about acceptance of the end of a relationship, and yet has a bouncy Americana rock feel with some wry humor in the lyrics. For this listener anyway, it ultimately has a hopeful feel- while accepting what is, the singer still seems to be looking forward to what could be.

“Avarice” is a simple little song that sounds like it was written on a sleepless night by a guy who longs to be a better person. As such, it expresses both doubt and faith in a quietly powerful way. The penultimate song, “Nayasa” is a dirty blues-rock piece with hints of the music of Sub-Saharan Africa. It is apropos since Hertel told me it was inspired by a trip he took there, and expresses the helpless anger he felt seeing the pervasive corruption in each country he visited, and that corruption’s very real consequences of death and starvation. The album’s final song, “Presence” is by far its happiest and silliest, a jazzy swing tune with a New Orleans feel complete with barrelhouse piano and horns. The verses lay out all the either/or dilemmas we could focus on in life, but the chorus just tells us, “Get outta your head!”

In short, Grit & Grace takes the listener through some dark places, all the while reminding us that it’s all part of a journey full of surprising beauty and even some good laughs along the way. We’re all in this life and it ain’t the easiest ride, Hertel seems to be telling us (and himself), but we’ve got to keep going- going and watching our surroundings for whatever stones we might find to contain hidden gems.

Verses The Inevitable contains some of the best musicians on Colorado’s Front Range, including aforementioned Wil Snyder and MD Friedman, with drummer Michael McKee, bassist Matt Certosimo, guitarist Zach Adler, and cellist Zack Reaves. They’re all stellar on record and, as your reviewer can attest, they totally bring it live. There’s nothing quite like a concert by Verses The Inevitable, so get yourself on over to the Larimer Lounge tonight! 

Keep up with Verses The Inevitable here.

-Will

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Of Montreal Brought the Theatrics to Denver Gothic Theatre Set

By: Taylor Naiman

Last Thursday night, Of Montreal brought their eccentricity and psychedelic visuals to the Gothic Theatre. This was a change of pace from their routine stops at the Bluebird Theater in past years. It was a new venue for them and they owned it.

 Of Montreal.

Of Montreal.

Of Montreal is synonymous with youth and creativity. This is a group who never fail to create an other-worldly experience and “embrace the weirdness” without hesitation. They are an indie pop band, yes, with their own twist and flair. With quirky song names and unique album titles, it is extremely hard not to enjoy them and dance along to all of their eccentricities. Their setlist at The Gothic included some favorites such as “A Sport and a Pastime,” “Let’s Relate,” “It’s Different for Girls,” “She’s a Rejecter,” and “Gronlandic Edit.”

The production of an Of Montreal show speaks for itself, and there is a high caliber at which it is executed. Attendees cannot help but smile, as they witness the costumes and the innovation comprised on the stage. In fact, this band plays a set that will leave you feeling genuinely happy. Whether it is the dancers donning silver capes and face masks, or the constantly changing visuals in the background, Of Montreal’s shows are theatrical and innovative. To some, it may seem like a strange concert, but this is what makes them unique. It is a stylish time, with sensory appeal and full of fantastic energy. It is all a fantasy; an imaginative experience with characters, such as aliens and robots. At times, you may even feel like you have entered an altered state of mind.

 Kevin Barnes. Photo Credit: Will Elmore

Kevin Barnes. Photo Credit: Will Elmore

Whether it is the graphics, costumes, lyrics or musical composition, it took an extremely creative mind to come up with all of these ideas. A major source of all of this creativity comes from Of Montreal lead singer, Kevin Barnes. On stage, Barnes has crafted his own uniqueness, one that challenges norms and the status quo of what a frontman “should” wear. He exudes individuality and gender-bends every chance he gets. His costume changes included multiple colored wigs, dresses, skirts, nylons, and a bra. Fashioned in a blond wig and false lashes, he rocked the full-faced makeup and was unafraid to do so. Through his ability to embrace this openness, he is also encouraging many men to step out of their comfort zone, whether it means wearing a dress, a wig, or a skirt to an Of Montreal show. This cultivated community of being who you want to be was a serious treat to be a part of.

Overall, if I were to describe an Of Montreal show in three words, it would be avant-garde, elaborate, and wild. They are unlike any other artist or band in the music industry and continue to differentiate themselves. They are dramatic, energetic, and fascinating. From the moment, Barnes stepped on the stage, there was immediately a smile on every concert-goer’s face. They are highly recommended and a must-see concert. Make sure you follow their Spotify.

Keep up with Of Montreal here.

-Taylor

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Nobide Chats with Us About Their New Single & What It Means to Be "Organic Electronica"

By: Norman Hittle

Nobide is a Boulder, CO based live electronic band who classify themselves enigmatically as “organic electronica.” Their new single “Wildin’ Out” was just released, so we decided to catch up with band founder Nick Vann to discuss their brand of music as well as what the future holds.

Listen to “Wildin’ Out”:

Nobide is an interesting name and doesn’t seem to hint at its meaning. Would you guys care to elaborate on your project name a bit?

The name Nobide originated in 2015 when I was reading an Eastern philosophy book. There was a chapter exploring what happens when we die, and a particularly poignant part of that suggested that as humans we shouldn't waste our time so that when we meet death we don't go full of regret. I wrote down in my journal ‘no biding time’ and the name sort of came to life. What's really cool and special to us is that Nobide isn't a word, so we get to totally shape and explore the concept and meaning.

What’s the origin tale of Nobide?

Nobide originated as my solo project in 2015. From inception, the focus has been on organic electronic music; walking the line between totally produced pieces and live recorded pieces. The fusion is where the magic happens; it's like you're human but not. Nobide continued to develop and expand into live performances as time moved forward. I was simultaneously studying at CU Boulder and created an independent study major called ‘sociomusicology’ which allowed for a more academic side of exploring with Nobide as well. For graduation, my thesis included the album Contrary To Popular Belief, a written exploration of the project, as well as a live performance of some of the songs. The thesis was the first time Nobide music was performed by a band, and within six months, the Nobide band as it lives now had settled into place. The members now include Nick Vann, Matt McElwain, Ted Kleist, and Tanner Fruit.

You classify yourselves as “organic electronica” and right out of the gate that sounds fun and interesting. Can you go into detail as to how you arrived at that classification and what that entails?

Organic electronic was kind of poking fun at Boulder's hyper-health conscious culture, but it really stuck and we think it's a great description of our sound. We're influenced by people like Lettuce, Snarky Puppy, Pretty Lights, Bassnectar, Bonobo, etc. and when describing their sound to others, ‘organic’ is often a term that pops up. We think it's a good description for our sound as we're very focused on bringing a sort of natural sound and texture to electronic music. The potentials of electronic music are incredible, but so much of it feels one-dimensional today. We're interested in maintaining a natural feel and sense of space/development in our recordings and live shows; not being tied to traditional instruments or to computers. It's an incredibly exciting place to be exploring. We can't wait to hear what we're making in two years, five years, ten years!

 Nobide.

Nobide.

“Wildin’ Out” is a very eclectic mix of dance and live instrumentation - as could be suggested by your genre classification - and it makes me wonder, what is the writing process like for you guys? Do you start out all electronic and branch out to live instruments? Or go the live route and then add the electronic elements? Or something else altogether?

The writing process varies. As the band lineup still quite new, we don't have an established method of working. Most songs start as riffs or beats that I produce, then bring to the band. We're big fans of working out songs live. From the second we have an arrangement that's cohesive, we're playing it live and figuring out what works and what doesn't. It's a very iterative process. We'll write a new section, then discard it two weeks later after trying it out. We get together for practice and we'll jam one song for half an hour and find all sorts of new places to take it, and that's incredibly inspiring. As we move forward it seems everyone will be pretty involved with the production/writing processes. Matt and Ted are just learning to navigate the Ableton universe, so they'll be able to write more as well. What's especially killing about having an electronic heartbeat is that we can write wherever we are. We're heavily influenced by our travels and people we meet; to be able to put that right into sound is a huge opportunity for us.

Is “Wildin’ Out” a part of a full LP or EP, or is it specifically a single? Can we expect more to be released from Nobide soon?

Wildin' Out’ is just a single, but it's pretty definitive of the realm we're exploring. We do have several more releases slated for this year, and then LOTS for 2019. We're trying to be strategic about all of it and give each song/project the attention and care they deserve.

Looking at your past discography, it seems like you guys have been working hard for a few years on your craft. What’s in store for the future of Nobide?

The future of Nobide is really exciting. We really don't know what's going to happen, but we know we're on to something with this sound. We really just want to get deeper into exploring its potentials, possibilities, and crossovers with other art forms/mediums/artists. We're at a really exciting place as a band right now in that we're starting to get some attention, but we have no expectations yet. We've got a completely blank page we get to start with, which means we have lots of room to explore. At the end of the day, everybody wants more good music, and we want to be making some of the best organic electronic out there. So the immediate future for us looks like lots of time in the studio and lots of shows just working to be the best we can be.

Catch Nobide’s upcoming live performance with Mimosa next Wednesday, November 7th at Cervantes. Event details here!

Keep up with Nobide here.

-Norman

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Augustus Got A Way of Changing

 Augustus.

Augustus.

Augustus began in 2011 when frontman Colin Kelly wrote, recorded, and posted to Youtube his song, “North.” This was years before he met the other two founding members of the band, Jim Herlihy and Jesse Wright, and before they began as a trio named “Tusk.”

This was their first mistake (with many more were to follow), as another band already had the name somewhere out in Musicland. As they would countless times in the following years, they adjusted and moved forward, now as “Augustus,” forgoing that which didn’t work while maintaining that which did: their original “Tusk” logo— two entwined animal bones jutting upward against a black backdrop. Without fail since, Augustus has done with failure what we all wish we would at our best: They’ve used it to become something new, fresh, and better. Today, the group features founding members Colin Kelly on vocals, Jim Herlihy on guitar and vocals, along with Marshall Carlson on bass, and Ryan Healy on drums.

I note the release of “North” as the true beginning of the group because they still play the song. I believe it’s on its fifth iteration now. And that is the real story of Augustus. This is a band in a constant state of reinvention. This has never been more evident than in their recent release, “Idle,” which is wholly different in style from previous releases and qualitatively advanced by a good bit. It is through this lens of growth that I approached a recent interview with Colin Kelly around a fire in my backyard, accompanied by BolderBeat contributor and scene veteran Zach Dahmen. Augustus will perform at the Fox Theatre this Saturday, November 10th and tickets are available here.

PL: So you’re new to Colorado, determined to write and be in a band, and you find two guys, Jesse Wright and Jim Herlihy. You start “Tusk,” which was kind of “mountain-y” and not really rock and roll. Not your forte, but it seemed to fit into the Colorado scene. Why didn’t you stick with that?

CK: Jesse always thought of us as a prog folk band.

PL: Did you really want to be in a prog folk band?

CK: I just wanted to be in a band so I was going to do anything I could with the instruments we had then.

PL: You had lots of early success and hype in those days. And yet, it didn’t work out in the long run. Why?

CK: We had some bad gigs now and again. Jim was doing too much. [He was] going full sprint all night on banjo, guitar, drums… And Jesse was always a wild card. Sometimes totally brilliant, sometimes couldn’t remember how to play the songs. I was still an ametuer in a lot of ways. We’d have these five-minute breaks between songs sometimes at shows, just trying to pull it together.

ZD: I remember those early shows of yours at Johnny’s. In the scene at that time, Whiskey Autumn was No Name Bar, Augustus was Johnny’s, and sometimes on the same night you’d be catching the first half of one show then jumping to the other. It was a captive audience. People were excited at what was happening. But it was always going to be just experimental.

PL: Who was the other band really wrapped up in that?

ZD: The Almond Butters?

PL: Yup, but another one, too… You know who I’m talking about.

ZD: The Ridgelings!

CK: There was a lot of bluegrassy shit going on then. Everybody was all like, “Mumford and Sons!”

PL: Ah yes, the Mumfordy era.

CK: If Mumford could do it, we were like, we could do whatever the fuck we want. (Colin turns to the recorder). Hey, future Pete, do you read me? This is Colin, don’t quote me on that…

PL: I’m totally going to.

CK: Don’t!

PL: But anyway, on those early recordings of yours, there were a lot of great songs, but one phenomenal song in particular that a lot of people still talk about and request called, “Return.”

CK: We still play that a lot. We’ve re-written it like five times. We finally found a version we like with the quartet that we’re keeping. The first records were pretty desperate things for me musically. I liked the songs, but I didn’t really know what I was doing in a studio yet. None of us did. The only reason we could get through it was because Jim was always so prepared. He practices his ass off. And Jesse had some moments of blinding brilliance. But it was a struggle for all of us. Being under a microscope for the first time. On the second record, I was also really sick, and we had to rush through. We had to be decisive and learn to live with flaws. Some have more character than others. Sometimes you have to be OK with not being very good.

PL: Which flaws can you live with… That sounds like some earned wisdom right there. So let me flip it around. Which flaws can’t you live with? Musically? Personally?

Colin gets up to chop some wood, as these sorts of questions make him antsy.

ZD: I can say, on the spot…

CK: That’s a really fucked up question, Pete. Do I have to answer that?

PL: Yup.

ZD: For me, diving deeper into the eye of who I am, as opposed to trying to look more outward… I need to find the thing to make me sufficient and happy, and I have to look inward for that.

CK: That’s very theological.

PL: He’s got a background in it (Zach majored in theology at college)

.Colin chops at another log.

PL: So let’s go back to that time specifically, what couldn’t you live with then?

CK: I couldn’t live with my guitar sounding shitty, my vocals being out of key… I wasn’t always prepared with all the arrangements. I didn’t know what stories I was telling with my vocals. I can’t say I’m any more confident now, but I’ve logged a lot more hours. We all have. And that definitely helps.

PL: Give me a specific story that speaks to all that.

CK: We were playing this show in 2015 and we were being scouted by this guy who had some connections, and who we couldn’t afford, but arrogantly thought we were confident about getting his help, and we realized that night that we couldn’t play a whole three hours live. We didn’t sound like we knew what we were doing at that show. Especially when we started bringing in more electric. We weren’t really acoustic listeners. We were individually more into rock and roll sounds.

 Laffin, Kelly, and Dahmen (left to right).

Laffin, Kelly, and Dahmen (left to right).

PL: Tell me about The Mercury EP that came next. I know you were proud of those songs, but I remember you weren’t too happy about how that turned out.

CK: We had a thing, we thought it was working. We thought we were going to continue to get closer to the concept, the feeling of what we wanted to make, but we didn’t get there.

PL: So after that, there seemed to be a great retooling of things that led to your latest release, which couldn’t be more different than where you began, and if I may say, couldn’t have had a better outcome, at least on a critical level. It seems that in the lead up, you wanted to stabilize your group, add permanent players after Jesse left (which was around the Mercury release). You mentioned earlier that you wanted to make the best out of the instruments you had access to, but this one feels very intentional from top-to-bottom.

CK: We had to do everything different when Jesse left. We had to change the sound. It was worse than I assumed it would be at the time. I was really bummed when Jesse left. There was a vacuum, and Jim and I had to start over. Retooling to us meant trying a bunch of different shit till we got somewhere. We couldn’t really do the acoustic shit anymore.

ZD: Sonically, you seemed to completely transform from one space to another. How did that happen?

CK: Jesse used to play a lot of lead on the cello. And now suddenly I was in the position to write lead for electric guitar. I still don’t know if I’ve got that down, but again, I’ve got more hours logged. We used to have a banjo and an acoustic guitar, and now we’ve got two electric guitars. The foot-kit suddenly made no more sense for Jim, and he wanted to do more singing and more lead guitar. So then we had to bring in drums, a new bass…

PL: You sound frustrated just remembering all that.

CK: You go from a three piece folk band to a four piece rock band, and there is going to be some really ugly shit that goes down.

PL: The new album has a song on it called “Things Got a Way of Changing.”

ZD: When it came out, Pete and I listened to it a few times and knew it was going to be the song people gravitated toward. That song to me was just a fucking, “Woah!” Better than anything else you’ve done. It felt like something different to us.

PL: I know it has nothing to do with the changes in the band over the last couple of years. But so many of our motivations are subconscious, and to me it just seems so clearly like a cathartic piece. That from beneath the surface, this theme emerged on its own. What was your experience like making it?

CK: We always wanted to swing back around to playing electric music. We were tired of the half-baked folk thing. I started demoing stuff by myself more, got more organized, and I could hear better when something just wasn’t going to be a song anyone would want to listen to. We started more from the bottom of the song to build up, not just “start with guitar and vocals and then add bass and drums.” I started the old stuff more from a lyrical standpoint. But with this song in particular, we wanted to build it from the ground up. And it took months to write. I sat on it for three months. And the guys did just an amazing job with it.

PL: Aside from the mechanics of it all, there must have been a cathartic moment for you guys with this song, especially after the lull of “Mercury.” You came out ahead when maybe you thought you were falling behind.

CK: Well there was a lot of change in mine and Jim’s life around that time (both got married within that same year) and I stopped working my same old job. A lot of things personally changed. Things stabilized. Life finally felt a little less on the brink of disaster on a daily basis. Which was fun when you’re in your twenties. But from all that was a lot of failure, which created a lot of intensity. We had to find out how not to fuck up anymore. Obviously something was missing, and we had to figure out what that was… We had to find it. It’s tough to say.

PL: I think you said it.

See for yourself how Augustus has changed and grown as they co-headline the Fox Theatre this Saturday November 10th at 9PM with Foxfeather, Hugh Manatee, and Famous Men.

Keep up with Augustus here.

-Pete

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Where to Find the Best Ukulele Straps for Your Ukulele

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If you’re a fan of the convenience and comfort a ukulele strap offers then the only decision to make is where to find the best one for both you and your instrument.

Where to buy the perfect ukulele strap for your instrument

There are hundreds of online sites offering a wide variety of ukulele straps. These include big name marketplace sellers like Amazon or auction/selling sites like eBay, specialist music equipment related sites and small crafter selling stations such as Etsy. Town centre music shops are good places to look too.

Ukulele straps are made from several different types of material, including tween, nylon and linen, however leather straps are perhaps the most popular.

What type of strap is best for you?

As there are so many places to browse for ukulele strap before you start looking seriously it’s best to know exactly what type you want to buy. There are several styles available, and they serve different purposes, so this is an important decision.

Standard ukulele strap

This style of strap is very popular, and it is attached to the ukulele in two places (the neck and the end) by strap buttons. As most instruments don’t have these as a standard feature at least one will need to be added. (A pickup jack can be used as the end button if needed.) This is a comfortable strap to wear and most are adjustable to get the best possible fit.

Semi-guitar strap

This also works with just one button, (on the end), while the other end is tied between the tuning pegs and strings.

Folk guitar style strap

The strap wraps in a loop around the player’s neck and under the ukulele – secured by a hook in the sound hole. No strap buttons are needed.

Half strap

Designed especially for ukulele use this need no buttons, instead one end of the strap is fastened to the instrument’s headstock and the other to the player’s arm, leg, or wrist, allowing the body of the ukulele to be held as normal.

Clip on strap

As the name suggests this literally clips on to the instrument. These are perfect for younger players as they can be attached in seconds, but they also come in larger, adjustable style to fit all sizes.

Mobius strap

Another very simple strap that can be attached very quickly and needs to buttons or other adjustments making on it. To use it you simply loop the strap around the ukulele’s body and then over your shoulder, just like a regular strap. The ukulele is held safely against your body by the loop’s twist.

The other option which may appeal to keen crafters is to make your own ukulele strap. There are lots of video tutorials and examples on YouTube or elsewhere online, and with a little imagination and effort you can be sure your strap will definitely be one of a kind.

For more advice on choosing a strap for your ukulele, check out Sound Chime - ukulele strap the best you can get.

Alex Blocker Releases New Video from 'Heartbreak Radio' for "French 75" Single

 Alex Blocker.

Alex Blocker.

Durango-based artist Alex Blocker is beginning to make quite the name for himself and has become an integral part of the hip-hop community in Colorado. His music can be thought of as an urban travel guide. Influenced by his Chicago roots, Blocker breaks boundaries with a genre-fusing style of contemporary production, songwriting, and violin which combines elements of hip-hop, R&B, and jazz. Influenced by artists like Pharrell, Erykah Badu, and The Internet, Blocker is constantly creating, curating, and releasing new music, as well as collaborating with artists around the country.

Blocker’s most recent album Heartbreak Radio sends the message that life has to be seized at every moment. A collaborative album with LA/Denver emcee RizeThaRebel, it dives into the beauty and pain that can simultaneously come from relationships. Blocker is all about increasing creative output and continuing to strike a balance between digital and acoustic in live performance.

His newest video release, “French 75,” is in reference to the night that this gin-based cocktail became a favorite of Blocker’s: a magical night turned hazy with a long lost friend in Chicago’s Lincoln Park neighborhood. Currently, Blocker finds himself in Colorado, dealing with similar situations from 1000+ miles away.

Be sure to keep an eye out for an upcoming music video for “Makes Me Wonder II,” the first track on Heartbreak Radio and two other singles Blocker plans to drop before the end of the year.

Keep up with Alex Blocker here.

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Mayday Parade Rolled Through Denver All Smiles for Their 'Sunnyland Tour'

By: Nathan Sheppard

Denver was treated to a Warped Tour reunion this past Wednesday as Mayday Parade’s Sunnyland Tour made its stop at Summit Denver. Mayday was joined by Oh, Weatherly, William Ryan Key, and This Wild Life, all of whom played at least one date on this past year’s final Warped Tour.

 Mayday Parade.

Mayday Parade.

Oh, Weatherly kicked things off with an up-tempo pop-emo set. They had a good stage presence and were able to keep the crowd engaged by sharing the stories behind a couple of their songs, mixed with a joke or two. While they’ve only been a band for two years, they are already road veterans. William Ryan Key followed up with a very mellow acoustic set. While the songs were enjoyable, the set was a bit slow for the energy in the room. Key amped it up with a sing-a-long of “Ocean Avenue,” but finished with an unreleased song that no one knew which was a questionable choice after playing something everyone was grooving to.

Self-described “Hot Topic meets Mumford & Sons” two-piece This Wild Life followed up Key’s performance with fun, upbeat acoustic songs from their latest record Petaluma. The duo had a happy-go-lucky attitude that was infectious and spread a smile to everyone's face. Midway through the set, lead singer Kevin Jordan gifted us with a Blink-182 ukulele medley as the drum set was rearranged onstage, which was a highlight of the set as well. This Wild Life have gained a pretty strong following over the last couple of years and it is easy to see why; they have a unique sound that is appealing for everyone.    

Mayday Parade topped off the night with an epic 17-song set with tunes from their debut EP Tales Told By Dead Friends to their most recent, Sunnyland. It was truly a celebration of the band’s 12-year-old discography. The crowd was a mix of teeny boppers, twenty somethings, and “grown men who are still emo kids” according to lead singer Derek Sanders. But it showed that Mayday Parade’s songs music spans generations. The set itself had everything Mayday fans could ask for, from singing along to the oldies and a couple covers, it was an enjoyable time for all.

You can listen to Sunnyland and check out the rest of the the band’s tour dates here.

-Nathan

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Premiere: Dream Feed's Music Video for "Hey Now" Is a Raw, Animated Look at Their New Music

 Dream Feed.

Dream Feed.

Denver’s Dream Feed, formerly known as Miguel Dakota and the Differents, have had a busy year. You may remember frontman Miguel Dakota from season nine of America’s Got Talent, where he was a “Top 6” finalist and was offered a national tour with a backing band, but declined to remain in creative control of his work. Dakota continued on with his former project Miguel Dakota and the Differents, and this year, launched Dream Feed. The current band is comprised of Dakota on lead vocals and guitar, Ryan Wagner on lead guitar and vocals, Brian Nolan on drums, and Will Gaines on bass and vocals.

Recently, Dream Feed won the grand prize in the KTCL 93.3 and Pabst Sound Select “Demo Derby” contest with their track “Push and Pull.” Then, after this year’s Underground Music Showcase, Jimmy Siler of Tri Lakes Radio declared Dream Feed, “the best surprise of the festival.” The band also won the grand prize in last summer’s Road to Velorama contest (as Miguel Dakota and the Differents), beating out over 200 local bands and being awarded a performance spot in the Velorama Festival. Last month, on September 14th, the band dropped their debut track “Hey Now” from their self-titled record and subsequently sold-out their show that night at Syntax Physic Opera. Needless to say, their buzz has been building.

Today, we’re excited to premiere the band’s video for “Hey Now,” which was animated by Gary Tussey. Tussey is known for his work depicting musicians like Bob Marley and Miley Cyrus.

Said the band about working with Tussey, “We're a fan of all of Gary's work and saw some sketches he did of other musicians. We thought that the rough style fit well with the gritty, raw vibe of the track ‘Hey Now.’"

Though “Hey Now” is rather lyrically ambiguous, the band wants you to “focus on the raw, gritty, go-getter energy of it,” and there’s plenty of that to go around.

“Hey Now” was recorded at RiverRock Studios in Minneapolis by Eric Blomquist with the rest of the band’s upcoming debut record. The track was mastered by Randy Merrill at Sterling Sound in NYC.

Said Dream Feed, “[‘Hey Now’] was a lot of fun to record. At one point, we stood at one end of the studio screaming at the top of their lungs with the mic at the other end of the room.”

As for the rest of their 2018, the band is heading back in the studio at Third and James in Denver to continue recording new tunes. They’re planning shows and tours, and you can keep up with Dream Feed here.

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Yaeji's Current 'One More' Tour Is As Explosive As the Beats She's Dropping

By: Elizabeth Lee

It’s 10:23 PM on a Friday night in downtown Los Angeles, meaning there is no shortage of sweaty bodies swaying on the crowded floor of the Regent. The crowd is a strange spectrum of sunglass-wearing hipster chicks and nerdy teens, mixed with everyone in between. But that’s the thing about Yaeji. She is an enigma that straddles the border between cool and obscure with both her music and quirky style, proving that music knows no constructs. Tonight is her second of two sold out shows in LA on her current One More headlining tour.

 Yaeji.

Yaeji.

Born Kathy Yaeji Lee, but known in the music world simply as “Yaeji,” the 25-year-old Korean-American singer, DJ, and producer has been seducing the electronic music world beat by layered beat. Her music is a mix of 4x4 traditional house rhythms mixed with hip-hop influences, laced with her half-whispered Korean/English vocals. She first started making music in her home state of New York while she was in college, after being introduced to Brooklyn’s underground music scene and throwing techno parties with her friends. Fast forward a few years later and Yaeji is in god mode after releasing two EPs and playing major festivals like Coachella and Sonar.

The crowd’s raucous screams as she finally appears onstage are as loud as ever, a testimony to the cult following she’s built over the years. Her live show brings a kind of magic that you can’t get simply by listening to a track. Experiencing a Yaeji set is like following her into one of the hazy Brooklyn basement parties where she traces her roots. She opens with beat-heavy tracks like “Feel it Out” and “Guap” to invite you to dance with her, then puts you under her spell with feelsy, quiet vocals in tracks like “New York 93,” “Feelings Change,” or her popular cover of Drake’s “Passionfruit.” She saves her most well-known track “Raingurl” for last. Her audience is so entranced that they try to scream the lyrics, even though they’re in Korean and it comes out as gibberish for most attendees.  

What many of them don’t realize is that a lot of Yaeji’s music is heavily influenced by her feelings of isolation and culture clash as she was growing up, and her eventual discovery of freedom and belonging in music. Onstage she is unpretentious and almost goofy, with her slightly awkward dancing and infectious smile. She serves as an inspiration to her fans or other aspiring artists, being one of the few Asian-American females in the electronic music scene.

Yaeji is currently on her One More in North America and still has shows scheduled through 2018. Keep up with her here.

-Elizabeth

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Knuckle Pups' Debut Record 'San Panino' Drops This Weekend

By: Julia Talen

Knuckle Pups, a Denver-based five-piece band, are releasing their first ever musical project, San Panino digitally and on cassette tape this upcoming Saturday, October 27th. And to be honest, after a listen, I was shocked that this is the first project the group’s produced.

 Knuckle Pups.

Knuckle Pups.

Texture deepens each track on San Panino, perhaps because of the exceptionally layered vocal harmonies and the dynamic instrumentals. Bare and percussive elements echo, while dialogue with airy and ethereal synths glides listeners through this original project, filled with movement. The movement feels adventurous and exciting, and it carries listeners into unique yet comforting musical realms.

San Panino opens with the track “Last Whim,” a tune bursting at the seams with energy which explores coming of age, youth, and relationship complexities. The tune runs, and listeners run with it, cruising through the song’s wonderful syncopation. You also get a taste of the group’s exceptional vocal blends, which thread throughout the cassette.

The next track, “New Reckless” opens up with playful synths. The tune feels whimsy, in an infectious way as Oliver Holloway (principal songwriter) croons questions like, “So what/am I/ today?” The title gets at the recklessness of relationships- new relationships- and the wondering and questions of one another which comes along with that freshness. The tune builds and listeners hold on through its progression, reflective of the song’s final lyrics, “Hold on.”

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“Bottom Baby” is perhaps the most poetic and inquisitive track, with lyrics like, “Down to the bottom baby/out of control/ upside the inside maybe.” My favorite part of the track is the bridge, a mixture of catchy percussion, and “ooo’s” which flood the track like waves drifting through various facets of the tune to what feels familiar.

San Panino finishes with “Wealthy Diner.” We linger in the slow verse on this one, accompanied by Holloway’s shaky, raw, and refined vocals. He sings, “Lovely the way you lie with me/just where we’re supposed to be/and across the moonlit line/we would watch the wealthy dine,” and the instrumentals take off, lifting us into that “moonlit line.”

Knuckle Pups emerges in a vast sea of Colorado indie music with an extremely original and enticing project, a project that elevates the group, showcasing an originality that’s difficult to compare. The casette’s rich layers and imagination compel listeners to hold on for the ride and get lost in the sublime landscape of the music.

See Knuckle Pups for yourself this Saturday, October 27th, at Larimer Lounge as they take the stage with Saintseneca and Trace Mountains for their release show.

Keep up with Knuckle Pups here.

-Julia

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Join BolderBeat for a Balanced Breakfast at The Mercury Cafe in Denver This Saturday

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This Saturday, members of the BolderBeat community have been asked to speak at the Balanced Breakfast Denver chapter about their experiences in the Colorado music industry and their work with BolderBeat.

Balanced Breakfast Denver meets monthly, and meetings are open to anybody that is passionate about the music industry. Breakfast hosts Reed Fox and Mona Magno invited the BolderBeat team to attend for October and we’re thrilled! If you weren’t already familiar with our publication and community, here a snippet on what we do here at BolderBeat:

Founded in 2016, BolderBeat covers both local and national artists and events. Our site features single and video premieres, concert reviews and photography, and artist interviews written by a volunteer contributor network which extends from Colorado to Los Angeles. BolderBeat also works with industry insiders, record labels, and musicians themselves on event promotion, tour sponsorships, and content placement. BolderBeat has cultivated an amazing community of artists working with artists in its short time as a publication- writers and photographers work regularly to expose and promote the work of musicians, artists, and industry creatives whom they’re passionate about.

Our founder, Hannah Oreskovich, will be on site to answer questions at Balanced Breakfast about how your band should approach media for features, what the past and future of BolderBeat look like, and more. BolderBeat live event producer Zach Dahmen will also be available for a discussion and questions, and our whole Colorado contributor community has been invited to tell you about their experiences in the music industry and their work with BolderBeat.

Brunch will be had by all from 11AM-1PM at Denver’s:

The Mercury Cafe

2199 California St, 80205 Denver, United States

Full details on the Facebook event here.

More on Balanced Breakfast:

Originally started in San Francisco by Stefan Aronsen, Balanced Breakfast brings together local music industry artists and professionals to meet for breakfast on a regular basis. Now with meetings in 27 cities around the world, attendees talk about actions they can employ that will help the local scene become a place where musicians & industry professionals can make substantial progress doing what they love: music.

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Review: The UK's Arliston Release Debut EP 'Hawser'

By: Norman Hittle

UK-based Arliston has just released their debut EP Hawser October 5th. The EP embodies the dirge-like marriage between folk and hip-hop made popular by bands such as X Ambassadors, with nods to greats like Radiohead and The XX.

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The band consists of George Hasbury (keys/guitar/backing vocals), Jordi Bosch (drums/synth/backing vocals) and Jack Ratcliffe (guitar/lead vocals); a group of East Londoners who initially got together in the flickering halogens of the London underground under the name “Hawser” and through a period of eight months of trials and fallout with former bandmates, eventually came out the other side as Arliston.

Although it was meant to be their band’s name, Arliston admits Hawser is an unwittingly fitting title for the EP because of the band’s connection to its roots; the rope which moors them to the past, but also pulls them forward, out of failure and (hopefully) into some degree of success.

Keep up with Arliston from across the pond on their Facebook and check out their new tunes on their official website.

-Norman

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.

Fans Braved the Cold for Last Weekend's "Rezz Rocks" and It Was Worth Every Minute

By: Franz Hilberath

Is Rezz the most iconic woman in electronic music today?

It would’ve been hard to argue otherwise standing in a half-rain, half-snow flurry drizzle at Red Rocks Amphitheater late Saturday night, where Rezz had just finished up her sold-out, headlining debut at Colorado’s most historic venue.

Rezz Rocks” had been a notable date on the ever-exciting Red Rocks concert lineup since it was announced earlier this year, hype that would only grow with her exceptional 2018 career.

 “Rezz Rocks.” Photo Credit: Jason Siegel

“Rezz Rocks.” Photo Credit: Jason Siegel

In September, she released her sophomore album Certain Kind of Magic, hitting her highest charting position to date at #12. On the global festival circuit, she’s made waves headlining main stages at events like Electric Forest, Lost Lands, and most-recently ACL Festival in Austin, TX.

Her well-reputed ability to create event-catered experiences for crowds in addition to the spell-binding nature of her music has made her one of the more clamored for electronic acts worldwide, and more often than not her billing demands a primetime night set wherever she goes. This reputation for creating an experience each time out boded well for her largest show to date, and her first headlining gig at Red Rocks Amphitheater, a venue noted for making concerts like these special.

On Saturday, the concert doors opened up to fans at 4:30PM, an earlier start time enacted due to fears of light rain and snow coming over the mountains later on in the night. “Rezz Rocks” featured a slew of enticing openers in Fytch, Charlesthefirst, Digital Ethos and Bleep Bloop, but the main lead up spot was reserved for LA-based DJ/producer Tokimonsta. The fellow lady — real name Jennifer Lee — took the stage later in the night, playing some of her lighter tunes and remixes before following suit with a bass-heavy themed set. As that set neared its end, the sun had all but abandoned the park as the cooler weather and breeze began to set in, with temperatures diving down into the 30s.

At 8:30PM, as if on cue with total darkness, Rezz made her way to the stage, booting on her patented-LED goggles as both the music and visuals for “Life and Death” began to play. Within minutes the 10,000-plus in attendance found themselves entranced in one of electronic music’s more captivating shows.

With an hour and a half set time, the Canadian producer dished out all the tools in her arsenal, debuting new tracks, visuals and stellar remixes. During a slowed-down version of Liquid Stranger’s “Creature,” a giant eyeball with tentacles sprang to life on screen, while other tracks like “H E X” and “Teleportal” utilized geometric shapes and patterns on the LED-board to help bring the music to life. On a night that dipped below freezing, Rezz seemed mostly unbothered while only sporting a hoodie, regularly dancing or swaying along with the slow-bass drops.

 Rezz. Photo Credit: Jason Siegel

Rezz. Photo Credit: Jason Siegel

Around 10PM the weather began to make a turn for the worse, as the temperature continued to drop and the winds spiked, sending droplets of rain dancing above the crowd. It was here the night began to come to a close, as Rezz met the crowd at the lip of the stage to acknowledge both their energy and the cold.

“Thanks for sticking with me in the cool,” she gleamed while looking out at the sold-out amp crowd, struggling to form her trademark third-eye hand gesture. “I can barely feel my hands.”

To the delight of everyone, Rezz dropped back in for one more song, asking fans to “put all [their] energy into” a high-powered, unreleased, unnamed track that we can't wait to hear on record.

In a world where we’re constantly working towards a climate where women are celebrated for their uniqueness and individuality, Rezz serves as an early champion. On what she claimed to be “the best night of her life,” Rezz proved that she is well ahead of her peers, and at only 23, she’s just getting started. She hasn’t achieved this level of status or fame by following others. Instead her rise has fed off the energy she puts out there for fans, grown by her humbled dedication in being the best version of herself regardless of what others would say.

If that isn’t iconic, what is?

-Franz

All photos, videos, and embedded tracks per the artists featured and those credited. This feature was edited for brevity and clarity by BolderBeat.