Denver's Feral Suits Drop New Single; Collaborate with Bun Bun's Snarklet

Photo Credit: Kelci Newlin

Photo Credit: Kelci Newlin

Denver’s Feral Suits are dropping a single from their debut album Drown the Garden this Friday, and we’re stoked to premiere it here first, along with an interview with the band.

Give “Soft Spot” a listen:

Feral Suits came out of nowhere — here’s what we know about them so far: 

Feral Suits takes the idea of a garage band to the extreme. They recorded “Drown the Garden” in a basement and a literal warehouse. But even as a garage band they constantly take shots at breaking the mold and catching the listener off guard. We got to chat with some of the band about bringing “Soft Spot” to life.

First up, how do you guys describe your sound? “Garage band meets….”

Elkins: I guess synthesizers? We’ve also given a ton of attention to rhythm and groove. I remember when I joined the band Brian [Obernesser] said something to me along the lines of, ‘We want to do more hard rock stuff than what you sent us, you up for that?’ and I for sure was. But especially then, after losing their former vocalist, the band was intentionally trying to explore new sounds. I think ‘Drown the Garden’ does a good job of reflecting that goal.

That’s rad. So where does “Soft Spot” fit in with the rest of the record?

Elkins: In early 2019 I started writing about being stuck in some house for no good reason. In all the songs [from “Drown the Garden”] I was trying to flirt with that metaphor in some way or another but when I heard [keyboardist Evan Jorissen’s] opening riff, I was immediately taken somewhere else ... I don’t think I meant to be so on the nose but leaving the thematic home resulted in a song that deals a lot with social anxiety-- the band rose to the occasion with such a beautiful and overwhelmingly saturated track.

So far, every song from “Drown the Garden” side-steps singular genre: “My First Car” has got that indie garage nostalgia, “From a Funk” is one big 80’s mood, and “Spokane & Poughkeepsie” is some sort of city surf rock.

How did Feral Suits navigate such a range of material? 

Jorissen: Recording this record DIY let us really experiment with different instruments, energies, and ideas. Soft Spot is a direct result of that. Like, for David [Bernot's] saxophone solo,  we had him improvise over and over again, and then stitched the parts together to create something really layered.. If that’s not DIY, I don’t know what is.

We also tracked down the intergalactic Snarklet of Bun Bun to talk about collaborating with Feral Suits and asked her about the experience: 

I had been recording with other artists the week of “Soft Spot,” so I walked into [Greyson’s] studio all smug, thinking it’d just be one and done. Oh my god— that session kicked my ass. Feral Suits had written the most deceptively simple rhythms and melody lines. Everything was syncopated. I should’ve known though. I mean, if you listen to the album, it’s clearly got a lot of brain power behind it... I’m literally going to have to hit the books before we play it live, because this song is just much more than it seems. Hearing it back after it was all mixed and beautified'; it just left me awestruck.

Vibing with “Soft Spot?” We are too. Catch this track and many more at Feral Suits’ virtual album release show at Dazzle Denver 3/21. Feral Suits will perform this track, along with the rest of the album, live at Dazzle Denver at 6:30PM on March 21st. Tune in on  Facebook, YouTube, Instagram, or Twitch.

Snarklet and Moon Magnet muses, Deth Rali and Yonbre, have a new song coming out March 26th called “Hot Bots” too! Follow Moon Magnet on the gram for spoilers!

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

The Top 5 Songs of 2020 as Ranked by Local Denver Music News Contributors

On the last day of 2020, a year which has felt like a decade, we’re proud to share a collaborative feature put together by BolderBeat’s own Yoni Gottlieb, a.k.a. Yugs. Below, local contributors from BolderBeat, 303 Magazine, and Taste Culture call out their top five bops of the year, wrapped up in a sweet little playlist package for you to enjoy.  

Listen on Spotify:

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Kori Hazel 

@kovoho 

Music Editor and Talent Buyer at 303 Magazine

”Dobby”  – 1010 Benja SL

 “Dobby” is one of the best love songs I have heard in recent memory. The song speaks about the sacrifices of love, truly needing someone, and giving that love back with no shortage of raw emotion courtesy of 1010 Benja SL’s impeccable tenor timbre. This song is so simple lyrically and production-wise, with nothing more than an acoustic guitar, but that’s the beauty of it. “Dobby” doesn’t rely on grand gestures or elaborate metaphors to thank a person you loved for simply existing in your life— it’s a truly beautiful sentiment, especially when looking through the rearview. 

”Unmoved (A Black Woman Truth)” – Ayoni 

In the wake of Breonna Taylor’s murder this summer, few songs made me as emotional as Ayoni’s “Unmoved (A Black Woman Truth).” Malcolm X famously said, “the most neglected person in America is the black woman,” and this song in particular poignantly illustrates the struggle of black women in this country from a first person perspective. The disrespect our mothers and sisters bare, the white adjacent beauty standards that cast black women on the sidelines, the discrimination and the dismissal, all come to a head in this song when she sings, “I swear down that we love ourselves politically.” I feel that. Loving the blackness they hate is political. Coupled with her socio-political commentary are waves of harmonies and a terrifically moving vocal performance that continues to floor me to this day.

”Boomer” – Bartees Strange

Bartees Strange sounds like the love child of TV on the Radio, Built to Spill, and Trinidad James all adding up to one of my favorite musical discoveries of 2020. “Boomer” is basically the anthem for all the black suburban boys who were too white for the other black kids and too black for the white kids. Bartees raps with trap sounding cadences before diving into the song’s scream-along chorus, but the kicker is when he completely switches gears in the latter half, morphing the whole tune into a roots rock rallying cry akin to Gary Clark Jr. Where the hell was this when I was growing up? 

”Lick in Heaven” – Jessy Lanza

Jessy Lanza’s “Lick in Heaven” came out right in the beginning of the pandemic and may or may not have become the perfect song for getting a little drunk by yourself— such is life in quarantine. Anyway, the incredibly upbeat groove and the almost mall-pop vocals were a godsend confection of instant serotonin. For me this song is an absolute pleasure to listen to and was the light in the darkness of 2020.

”Rain on Me” – Lady Gaga & Ariana Grande

It’s hard to describe how much I needed this track. “Rain on Me” is a shameless pop blowout of a record, but it came at a time when quarantine was looking the bleakest, and to this day, nothing has ever quite felt like this felt like the first time I heard it. I still get chills, thinking back to when this song washed over me and the campiness, and euphoria of Ariana Grande and Lady Gaga harmonizing over that chorus hit. I maintain that it was the closest I’ve ever been to a dry baptism, ironically enough. To understand it is to understand what we lost during the pandemic, those moments we used to take for granted, like the ability to carelessly dance with strangers in a crowded bar or at a festival and not give a damn. I truly haven’t danced since the quarantine began, but when this song came out, I let my feet have the floor and it felt like heaven. “I’d rather be dry but at least I’m alive,” on repeat.

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Chris Garcia

@christianontheinternet

Contributor at BolderBeat

”Stupid Love” Lady Gaga 

Lady Gaga made her triumphant return to the dance floor with this 80s tinged showstopper. Listening to this song is like receiving a shot of serotonin. Try and sit still while this song plays. You can’t! 

”Forever” Charlie XCX 

Glitchy and nostalgic is how I would describe this song. Charlie perfectly captures the weirdness of living through a pandemic while reminiscing on memories of life pre-pandemic. 

”What’s Your Pleasure?” Jessie Ware 

Disco made a return to pop but no one did it quite like Jessie Ware. “What’s Your Pleasure?” is seductive. It’s the perfect song to have a dance party in your room.

”La Luz” Kali Uchis featuring Jhay Cortez 

A perfect Latin pop song. One of the catchiest choruses of 2020. 

”Guilty Conscience” 070 Shake 

Big ambient pop with 80s synths blare throughout with a heartfelt performance by 070 Shake. Add this song to your late night drive playlist! You won’t regret it. 

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Robert Mayper 

@notastenospace

EIC at Taste Culture & Writer/Assistant Project Manager at 303 Magazine

”Breathe Deeper” – Tame Impala  

If there is hope in a bleak world, it must come from within. Tame Impala emboldens us to persevere, and do it in an eternally catchy way. When in doubt, breath deep. 

”Processed By The Boys” – Protomartyr  

From the first strum of the guitar, this song gripped me with inescapable force. It recited at me all the horrible things that permeated life in 2020 until I was hypnotized with apathy. The track is intensely cold like a mechanized punch to the gut. 

”Gospel For A New Century” – Yves Tumor 

Yves Tumor is at the forefront of originality and genre redefining. Their latest album “Heaven to a Tortured Mind” is a testament to their forward thinking, and Gospel For A New Century is the record’s flagship example of how bold this artist can be. 

”We Will Always Love You” – The Avalanches, Blood Orange 

I cannot listen to this track without feeling the wrench turn tightly around my heart. It provided me with a much needed catharsis, and it has allowed me to decompress after an eternal year. 

”Jurassic | Cretaceous” – The Ocean 

This is one of the best progressive metal tracks to come out in the past half-decade. After countless plays, it still gives me goosebumps and doesn’t overstay its classic 13+ minute runtime. 

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Jason Myers

@memorandum_media 

Contributor at BolderBeat

”One More Year” Tame Impala

This track cracks the code of modern dance music. It is electronic psychedelia at it's finest. I will take this song to my grave as one of my all time favorite pieces of music ever made.

”Gemini” Princess Nokia

Princess Nokia has a quirkiness and hip-flow that is simply unmatched. I would be surprised if she isn't on top of the hip-hop world by this time next year.

”Land of the Lush” Lotus

Lotus created quite the vibe-setter with this one. As the last track on their most recent disk, it leaves the listener intensely satisfied.

”Piano Magic” Maya Jane Coles

Using her signature blend of techno and house while blending in samples, Maya Jane Coles has crafted yet another dance floor scorcher.

”Up and Up” Peel Dream Magazine

This group has been an unstoppable force over the past few years. “Up and Up” shows the band's innate ability to create music that is both relaxing and uplifting.

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Yoni Gottlieb AKA Yugs

@yugs__

Contributor at BolderBeat & Music Producer

”Dragonball Durag” – Thundercat 

“Dragonball Durag” is classic Thundercat: fun, hilarious and groovy. Thundercat wears his self-deprecating humor on his sleeve, crooning, “I know I’m covered in cat hair, but I still smell good,” over some funky bass-filled production, and you can’t help but laugh, dance, and smile, all at the same time. It’s a bright spot on It Is What It Is, an album where Thundercat uniquely processes the death of his best friend Mac Miller with vulnerability, humor, and soulful musicality.

”The Void “ –  Kid Cudi 

In the final moments of “The Void”, a seminal track from Man on the Moon III: The Chosen, Kid Cudi blesses the listener with gratitude, reminding us that “it’s gonna be ok” over a warm lush atmosphere of chords. This is a classic deeply heartfelt Cudi track, recalling the magic of songs like “The Prayer”, “Pursuit of Happiness”, “Rose Golden”, and “Reborn”. Cudi brings genuine vulnerable tenderness in a way that is appreciated after one of the harder years in recent memory. 

”Posthumous Forgiveness” –  Tame Impala 

A two-part song from Tame Impala’s long awaited The Slow Rush, the first half of the song feels like sweltering heat from a forest fire, while the second half feels like cooling water from a river. “Posthumous Forgiveness” finds Kevin Parker at his most open and honest, exploring the complicated relationship with his deceased father.

Scottie Beam  –  Freddie Gibbs featuring Rick Ross

“The revolution is the genocide, my execution might be televised.” As far as the social climate, there isn’t a more relevant line to 2020 than Freddie Gibbs’ opener to “Scottie Beam”. This was a line adorned on signs across America while protesters called for justice after the unjust murders of George Floyd, Breonna Taylor, Elijah McClain, and so many more at the hands of the police. The track is smooth but wary, with immaculate production by The Alchemist (who produced all of Alfredo), a video inspired by the film Queen and Slim, and a great feature from an always welcome Rick Ross.

”Jesus Khrysis”  –  Conway the Machine 

“Lyrics written in braille, gotta feel it to understand…” This is one of the many bars that go hard from Buffalo native Conway the Machine’s debut From King To A God. If you haven’t heard the noise that Conway the Machine and fellow rappers Benny the Butcher and Westside Gunn have been making with their homegrown Griselda Records, start paying attention. Conway the Machine and co. embrace the hard-hitting lyricism of old school hip-hop while mixing it with innovative production that pushes the music forward. 

Thanks for tuning in and cheers to 2021! Make sure to give our playlist a listen.

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

Joel Ansett's "Ease" Didn't Come Easily

By: Mirna Tufekcic

A tender heartbeat of the drums and soft echos of a voice make Joel Ansett’s newest single “Ease” almost trance-inducing. It beckons you to stop whatever you’re doing, take a deep breath and give yourself some time and space to relax. Probably Ansett’s best single yet, “Ease” is chill and easy to listen to over and over again. It actually gets better with each listen. Tuning in to the lyrics reveals a more complicated story, though: 

I want to see myself clearly
Like when you’re near me
Showing me who I am
How do I keep forgetting
There’s too many voices
Lights and loud noises
Telling me who I am…

Joel Ansett. Photo per the artist.

Joel Ansett. Photo per the artist.

Joel Ansett resides in Denver, Colorado. He has garnered more than 12 million streams online, a song placed in Marvel's "The Punisher," and a spot at #9 on the iTunes singer/songwriter chart for his debut LP The Nature of Us (2015). For Ansett, finding ease doesn’t come easily. Being a people pleaser, Ansett finds himself exhausted and lost, but it’s not all doom and gloom, thanks to those who are willing to see him for who he truly is and hold up the mirror. 

“Ease” takes just enough time to set the mood, ending at 3:06 minutes. The tempo gives the listener just enough time to soften the breath and relax. The composition of the whole song embodies the meaning of ease with a slow beat pulsing like a soft heartbeat.It’s reminiscent of Ben Howard’s earlier stuff, and brooding under the surface while also bubbling up in places. 

Keep up with Ansett on his website.

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

From Andrew to STURTZ

By: Zach Dahmen

Andrew Sturtz has been in the music scene of Colorado for the past five years making quiet waves. His crooning has made its way through many coffee shops, venues, and festivals. His distinctive and awe-inducing vocals have gaurandered a deep love and following. Some have even called him the folky Justin TImberlake of Boulder, CO. (Let’s all forget Timberlake's Man of the Woods phase). Andrew writes from a personal space, creating a very human portrait of a man searching through relationships and experiences.

STURTZ. Photo per the artist.

STURTZ. Photo per the artist.

This past winter before the pandemic, Sturtz started on a new chapter of his musical career: creating a band. The fuller sound found home with a four-piece including Courtlyn Carpenter on cello, Jim Herlihy (of Augustus) on banjo, and Will Kuepper on bass. The band has aptly chosen the name Sturtz; a reflection of growth and boldness in the crafting of their songs. The quartet’s layered strings and harmonies imbue the songs with a quiet force that never takes up too much space; letting the writing take center stage. The lyrics reflect doubt and hope in the same breath, with his voice melting perfectly in the solemn strings of his band. This is showcased in their latest singles “Avalon” and “Carnival” from their live album Cabin Sessions

Avalon” has vocals that make a cup of coffee on a fall morning feel more rich, mixed with a hook that feels too true to the buzz of being over caffeinated.  The song is a snapshot into a moment of ache. Painting of a picture of late nights, hope, and longing towards creating meaning through a relationship and those moments of seeing what you want, but not knowing if it will ever exist. It is the abstract longings of every millennial. 

On “Carnaval Sturtz writes about a character and a moment of betrayal that slides into your heart strings with ease. It's Halloween gone wrong. Deep swells and understated banjo-picking create a refrain of pain and regret that many of us have felt on an October weekend. With soaring harmonies and a lament that lasts, this song re-creates a scene too many of us have experienced, making it sound like a beautiful lament to youth and poor choices. 

Look for more releases of The Cabin Sessions coming soon. The band will also be going into the studio later this fall to create a full album, something to look forward to in 2020 where that has been more than scarce. Keep up with the band on their website, Instagram, and Spotify.

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

"Red & Blue" is Kind Hearted Strangers' Siren Song for 2020

By: Brody Coronelli

In this current social and political moment, behind the amplified and passionate declarations uttered during conversations between friends, family and acquaintances, most people are quietly wondering the same things: How did we get here? Where did this constant sense of division and conflict arise from? How do we move forward, maintain empathy and connection, and overcome this? 

Kind Hearted Strangers. Photo Credit: Charla Harvey

Kind Hearted Strangers. Photo Credit: Charla Harvey

On their new single “Red & Blue”, the Boulder folk-rock band Kind Hearted Strangers (singer/guitarist Marc Townes, guitarist Kevin Hinder, bassist Marshall Carlson, and drummer Brian Ireland) have set out to address this. Townes emphasizes that they aren't here to tell people what to do or who to vote for; all they want is for people to try to find ways to come together and be kind to each other despite their differences in belief. 

“You have these very polarizing sides of the conversation, and all the news takes each of those ends of the spectrum and runs with them, but the vast majority of us all feel the same way,” frontman Marc Townes says. “We’re all good people, we all know what’s right, and we all have the best intentions. It’s insane that the people who have become the leaders right now got there— they don’t reflect us.” 

The song’s lyrical, elastic verses describing political disillusionment and confusion build into a shimmering pre-chorus where Townes finds himself “Waiting for the signal/Waiting for the go,”  leading to a proclamation of the song’s title over a percussive, windows-down hook that hits like a fireworks show. 

The artwork for the single.

The artwork for the single.

Townes started writing the song during the 2016 election when he was standing around the TV with friends, baffled by what he was witnessing. Describing the moment as feeling like “the Alamo was being taken,” the only thing he felt like he could do was turn to music. It took until 2020, when political and social division heightened and COVID-19 brought the world to a screeching halt, when “Red and Blue” felt immediate enough to release. 

He talks about how the song was inspired by feeling disillusioned by the polarization and antagonization that continues to swell, making it harder to find kindness and peace amongst others. This is who “Red & Blue” is for— the people who feel left in the dust by the ever increasing, unfiltered noise. 

“The people at the farthest end of the spectrum are the ones with the loudest voices, and we need to end that,” Townes says. The people that are inherently good aren’t as loud, and the people that have these loud, polarizing views are dictating everything, and that’s not right.” 

Kind Hearted Strangers has never been a straightforwardly political band, and Townes emphasizes that they still aren’t. During our conversation, he joked that the rest of the band’s upcoming LP East // West is just love songs, and while that’s only partially true, he also described songs like “The Egoist” (off the upcoming LP)  which was written about conspiracy theories. 

“I will always have to write things about relationships. The experiences that you have with other people are all important, and often far more immediate than something you’d watch on the news or experience politically,” he says. 

“Red and Blue” kicks off the release of East // West, due out in early January, with a big, sparkling firework show. The album was recorded with Todd Divel at Silo Sound Studios in Denver, a studio home to locals like The Velveteers, and also a stop for national touring acts like Cage The Elephant, the late Neal Casal, and Todd Snider. 

Townes describes the album and its songs as all embodying different physical places, all circling back to the band’s formation at an open mic night in Colorado. 

“Red & Blue” is Kind Hearted Strangers’ siren song— a plea for kindness, empathy, and reason in a time where people are more divided and antagonistic than any other time in recent memory. 

“I really hope this song puts good into the world,” Townes says. “You have a voice. [Red & Blue] is asking you to use this voice. Everything you do in life makes a difference, and everyone you interact with is important. Recognize that and be good to people. Kindness is everything.” 

You can stream “Red & Blue” on Bandcamp and on Spotify, and you can keep up with Kind Hearted Strangers on their website. 

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

This BolderBeat Writer Missed Concerts, So She Threw Her Own

By: Mirna Tufekcic

During these uncertain and trying times, we find ourselves living in, one thing is for certain:  music heals. Knowing this, after a long spring of non-existent live music and a hot summer of zero music festivals, I came to the conclusion that if I wanted to enjoy some live music that I like, with the people I like, I had to make it happen myself. So, I made up my mind to create a small, socially-distanced music event in my own backyard with my own musician friends and friends who love music.  

The author at The Backyard Acoustic Sessions. Photo Credit: Franki3lee Productions

The author at The Backyard Acoustic Sessions. Photo Credit: Franki3lee Productions

I reached out to a few of my musician friends to see if they were willing- considering the circumstances- and available to play a backyard house show and then I reached out to some friends to see if they were willing- considering the circumstances- to experience such an event. The answer from pretty much all of them was an excited,”Yes!! On September 20th, a warm and sunny Sunday right before the fall equinox, we all gathered and experienced the magic of an all-acoustic live music show! I named it The Backyard Acoustic Sessions

Molly Kollier. Photo Credit: Franki3lee Productions

Molly Kollier. Photo Credit: Franki3lee Productions

The musical evening kicked off with the young and promising Molly Kollier, a Boulder-based folk-guitar, singer/songwriter. Right away, her eccentric presence demanded we stop settling into our seats and listen closely as the lyrics of her songs used satire and wit to talk about dating, loneliness, and the state of the world. Her vocals were impressive, a folky, twangy chime and a range swinging from bird-like falsetto to belting a big statement on life and how to live it.

Hunter Stone. Photo Credit: Franki3lee Productions

Hunter Stone. Photo Credit: Franki3lee Productions

Next came the talented, Hunter Stone. Hunter is an incredible solo artist, but he is also the frontman of a roots/folk/rock band Famous Men. Hunter is a natural guitar player, inspiring listeners with his own take on the everlasting folk-blues. His ear-perking, raw and gritty vocals are undeniably sophisticated and at-once enchanting. As the day turned to night, Hunter played his upcoming single “Closed for Season,” a timely song about knowing when to shut things down and move on, when to hibernate and wait for the storm to pass, preferably huddled with that special someone to hold on tight to. With his performance, Hunter ensured us that we were in a very special moment in time. 

Paul Kimbiris. Photo Credit: Franki3lee Productions

Paul Kimbiris. Photo Credit: Franki3lee Productions

I can’t say enough about the musician that graced us with his presence next: Paul Kimbiris.  One of Boulder’s best talents, Paul’s performances are tonic. The moment he sits behind the mic, you are transported to another place uniquely designed by Paul's affecting lyrics and riveting guitar. It's a sobering moment. On this magical evening in my backyard, Paul played an electric hollowbody guitar through an old Slivertone amp, creating a retro-vintage atmosphere.  While his guitar sounds echoed a haunting blend of mellotrons, the timbre of his voice had us all feeling our feelings. Paul finished the set with his upcoming single "Queen of Birds," a dreamy tune from the point of view of a man who’s lived a hundred years and recalls a much simpler time of long ago. 

Thomas LaFond. Photo Credit: Franki3lee Productions

Thomas LaFond. Photo Credit: Franki3lee Productions

Thomas LaFond, who you may have seen play at Boulder’s speakeasy License No.1 in a jazzy-dance-jam ensemble Banshee Tree, closed the night with a set featuring his new, original tunes. Seducing us with his discerning guitar skills, which took twenty years to manicure, his playing genuinely lays out the right environment for each song. Thom is known to live his life in service to song. Poised in Nederland, he has been recording and releasing music daily, and this is not an exaggeration! His originals are stocked with details, dissociative feelings, and disconnected phrases. His singing is dark and rich in harmonics. Having him play the final set of the evening was truly a cherry on top of a decadent four-layered cake! 

The Backyard Acoustic Sessions was a smashing success and everyone left with their musical cups full looking forward to the next one, maybe a winter edition!     

-Mirna

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

Ghost Tapes Bare Their Soul on New EP, 'FIG (Ichumi)'

By: Jason Myers 

Ghost Tapes.

Ghost Tapes.

Despite the lack of live music in today’s world, musicians are still finding ways to stay creative and spread inspiration. Case in point: Denver’s alt-soul group Ghost Tapes. The band has taken advantage of the downtime to release their new EP, ‘FIG (Ichumi)’ to the masses, adding color and flavor to the Denver music scene. BolderBeat recently sat down with the band to chat about the EP and all things Ghost Tapes. Read on: 

Ghost Tapes has a very interesting take on modern soul and rock music. How would you describe your sound? What influences would you attribute to it?

Ishka: Tough question. It’s soul, but it’s not. It’s an alternate version of soul; if OG soul had an evil twin, that evil twin is our music’s weird uncle.

Will: We’ve been using the term alt-soul for awhile, and it covers most of the ground we tread. “Alt” is typically associated with darker tone colors and effects like distortion, “soul” being a genre historically based in Black experience, the expression of struggle on top of the catalyzing grooves of R&B, funk, and gospel music. Since we draw a bunch of inspiration from music of that era, it’s important to recognize the lineage of those sounds and the messages they still embody. Our music is certainly a departure from normalcy, and I believe every member of the band feels like our sound reflects our “divergent” individual personalities.  

Nick: I describe it as elements of the 90s contemporary soul movement (artists like Erykah Badu, Jill Scott, D’angelo, etc.) combined with production and tonalities a bit more chaotic, like The Mars Volta. I really credit our producer, Vago, with the latter half of that. While we were in the studio his whole mantra was “embrace the distortion.” As far as other direct influences, I’d say Hiatus Kaiyote for sure. Their music was a guide for us in the very early days of the group.

Tell us about the new EP, ‘FIG (Ichumi)’. Where was it recorded? How was it different from the process of creating your first album?

Ishka: It was different from our first album because this time we had a big ol’ studio space and a real live producer to argue with instead of just Nick in his bedroom.

 Nick: We were able to find Vago through a mutual friend, and he mixed the first record. He liked the music and said that he’d be down to work with us again in the future. So after a couple of years, we set up some studio time and bought him a plane ticket. He ended up producing, engineering, and mixing the record. We recorded at Swingfingers Recording Studio, just outside of Fort Collins. Aaron Youngberg is the studio owner and he couldn’t have been nicer and more welcoming. He really allowed Vago the freedom to experiment with the studio and try out some crazy ideas.

Will: It was much more professionally done with good gear. Being together for that week was also an experience that helped cement the attitude that we were there as a unit to accomplish a goal. There was no opportunity to “go home,” as it were. 

COVID-19 has obviously brought a halt to live shows for the time being. What are you guys doing to keep busy during these times?

Nick: Not a whole lot, really. The plan for this time was to be out playing shows and pushing the release; getting in front of new people in new places. We had to scrap our tour and all of our festival appearances were obviously (and rightly) cancelled. We were able to make it down to Durango for the IAM Music Festival in mid July. It was amazing being able to perform again, and honestly just felt really natural and like no time had passed at all. It was bittersweet when the weekend was over, not knowing the next time something like that would even be possible again. The festival was really on top of it with social distancing and mask requirements. It was all outdoors as well.

You guys have played some awesome shows in and around Denver over the past few years. Are there any favorites that stand out?

Nick: So many fun ones! A few that come to mind are pretty much any at the Fox/Boulder Theatre. The Z2 team has an awesome crew and they’re a blast to work with. Last year we had the opportunity to play with some of our besties (Ramakhandra, Moonglade, Kaitlyn Williams) at the Bluebird, and that felt like a really special night. There was a show we did last fall at a cidery in this tiny town outside of Durango called Mancos with our pals in J. Calvin. I think we played for three straight hours with no breaks. It was the last night of our tour and the band felt tight. That was a fun one too.

Ishka: The first time we played the Fox in Boulder, some drunk dude asked if he could have some merch, and he would trade me the shirt off his back for it. I didn’t think he was serious. He was. I still have it. It’s really big and comfy. I wear it to sleep [in] sometimes.

Will: My personal favorite was in early May of 2019 opening for the Revival - a supergroup composed of Cory Henry, Isaiah Sharkey, and Taron Lockett - at the Fox Theater in Boulder. We had just played the Boulder Theater earlier that week in support of Khruangbin, and it was certainly not our best live presentation. I think that fresh trauma fueled us, giving [us] extra incentive to pour our hearts into the performance at the Fox.

Are there any current artists you all are excited by? Any music recommendations? 

Nick: On a Colorado level, my favorite bands are Ramakhandra and Dandu. I feel like both of them really push the boundaries of modern instrumental music and I can’t give them enough praise for that. I think that Wes Watkins and Venus Cruz are pioneers of this incredible scene that’s still being built here, and I can’t think of the Denver/Colorado music scene without them. Joseph Lamar is another artist that has left me speechless with their art. There’s so many Colorado artists that inspire me, it’d be hard for me to list them all.  

Will: Other than Ramakhandra and Dandu, I have mostly been catching up on music that’s been on the to-listen-to list. What I’ve been spinning lately: Björk, Alexander Scriabin, Northern Cree, Chica Libre, Joe Russo’s Almost Dead, Billy Strings

Ishka: My friend’s daughter Esmeralda makes up killer songs on the spot, about all kinds of things. Jean jackets, her feet, wearing earrings on the beach, how dad’s dinner is better than mom’s. She has no chill. She has this attitude that really gives me hope for the future. It’s an “I don’t owe you shit” kind of vibe, complete with side-eye and everything. She’s six years old, and already a true artist. So as far as music recommendations go, I recommend you listen to your inner child right the fuck now.

 If you all could send a single message out that reached everyone in the world right now, what would you say?

Will: Start spending more time with people who don’t hold the same beliefs or political ideologies as you. Not to fight, or to convince them why they’re wrong or you’re right, but to find commonalities, shared experience, empathy. Fuck all this forced division and animosity. Time to make friends, not enemies.

Ishka: In time, the trash always takes itself out.

Nick: Vote.

The ‘FIG (Ichumi)’ EP is available to stream or purchase HERE

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.

Denver's Britney Jane Is Blossoming in Her Solo Career

By: Chris Garcia

Britney Jane wants you to know how special you truly are. With most of her life spent in the background, the R&B/soul singer-songwriter is now in full bloom. Her new song, “Blossom” is a reminder of the strength and power of you.

Jane is an experienced performer, having sung backup for a plethora of Denver artists, including Kayla Marque, Kid Astronaut, Swank Sinatra, and Lee Clark Alle. This time around, she is working with collaborators knowing for certain it is her turn to take center stage. “Blossom” is a taste of what is to come on her upcoming debut EP, In My Feelings

“Blossom” is a chill, almost lo-fi track, with a helping hand from Haitian-American artist Donny Blot. The track is full of pockets of self-love, introspection, and empowerment. The good vibrations continue throughout, with breazy vocals, and a chill groove. The track feels close to a song Colombian singer Kali Uchis would have had on one of her earlier EPs. 

Britney Jane. Photo Credit: Donovan Blot

Britney Jane. Photo Credit: Donovan Blot

Although the track is filled with good vibrations, it hasn't always been that way for this artist. Her upcoming EP draws from experiencing a toxic relationship where she felt she blended into her partner’s life. Instead of withering away, Jane watered her seeds and transformed into who she is today. 

Jane wants you to do the same. As she explains, “We are all queens and we should be valued, protected and loved— there’s nothing wrong with who we are.” But it’s not always easy being who we are either. “Being a black woman I feel like there’s a lack of respect for black women and even just women in general,” Jane continues. 

Photo Credit: Donovan Blot

Photo Credit: Donovan Blot

With a track like “Blossom,” it’s clear Britney is on a mission to deliver her honest message of self-love. “I want everyone to be able to connect to my music— not just black women or black trans women— but all communities,” Jane explains. 

I think we can take a second to mend our soil and blossom into who we are meant to be. Jane is the reminder we need to take time for ourselves today, and everyday. 

Keep up with Britney Jane here

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

Four Local Summer Albums To Escape The Unending Hell That Is 2020

By: Yoni G (Yugs)

This year SUCKS. It doesn’t matter if you’re in Denver or Nebraska or Brazil or Europe (maybe if you’re in New Zealand it’s ok, but that’s besides the point); this year is TERRIBLE. 2020 means you’re probably ANXIOUS, stir crazy, LONELY and upset. Thank god that music is able to give us an escape when everything goes to shit, while  at the same time helping us validate and have a positive outlet for our feelings. Lucky for us, the Denver music scene has graced us with some incredible new albums from a diverse set of hardworking and insanely talented artists like Kayla Marque, theycallhimAP, Ramakhandra, illswrth and Wado Ferragamo, all of whom deserve our support and attention. 

Kayla Marque - Right Brain

Kayla Marque. Photo Credit: Bridget Burnett

Kayla Marque. Photo Credit: Bridget Burnett

Right Brain, a dreamy and meditative alt-pop concept album from Denver staple Kayla Marque, allows the listener to venture through a sonic journey of hope, desperation, tranquility and fragility. “Here today, gone tomorrow” begins the stunning and magnetic opener “Mercy,” with Marque’s oscillating vocals complimenting the hypnotic and propulsive production from Glenn Sawyer of The Spot Studios. Throughout the album, Sawyer’s production is symbiotic to Marque’s vocal and lyrical strength. The airy synths and smooth trap/R&B drums bring the listener closer into the shape shifting musical atmosphere that exists in Right Brain.

Kayla Marque’s pen is honest, thoughtful, authentic and introspective. On “Hurricane,” the emotional crux of the album, she sings, “I’m asking you to trust me even when there is water in your lungs.” Accompanied by shuddering synths which feel like cold waves of water enveloping you, this will give you the CHILLS. The album ends with “Love Should Be”, a kaleidoscopic exploration of self love which ends the journey of Right Brain perfectly by reminding us to love every part of ourselves; the calm, sweet, and fiery parts alike. Where Right Brain is a nuanced and dreamy exploration of the side of our brain that represents our creativity, our spirit, its second half Left Brain should be a darker exploration of the side of our brain associated with our rational side, our ego. With Right Brain and her follow up, Marque is carving herself a legacy of creating deeply meaningful concept albums which bridge both the listener’s mind and the heart in a substantial way. To quote Marque on “Copyrights,” “We own the rights to this future and I ain’t gonna give it back.” Stay tuned to Kayla Marque here

theycallhimAP - Dedicated 

theycallhimAP. Photo Credit: Darko Visuals

theycallhimAP. Photo Credit: Darko Visuals

theycallhimAP was recently named the #1 rapper on Denver podcast Mile High Minute, and as if the veteran Denver emcee needed any more proof, he dropped an epic 32-track magnum opus Dedicated on July 3rd. I usually am wary of albums with long tracklists. Take a look at Drake’s Scorpion; an album that could have been 10 songs instead of 25 and been perfect. This is not Scorpion. This is Dedicated. AP has created a piece of work that is consistent, fun, and heartfelt throughout. The entire album feels as smooth as hot butter on toast. AP’s flow: smooth. The production: smooooooth. His hooks: smooooooooooooooooooth

theycallhimAP’s flow is assertive, calm, eloquent, and versatile. He can rap fast, switch flows casually, and bring it down to earth and sing like he means it, all within a few bars of each other. The beats backing AP’s suave lyrics feel like a slow drive down Broadway watching a dimly lit red and orange Denver sunset. The production utilizes reverbed vocal loops and saturated synths which fill the air, grounded by sleek trap and boom bap drums which bump. Lyrically, theycallhimAP is effortlessly himself. 

Family is a recurring theme throughout the album. His two daughters grace the album cover, and songs like “Dedicated (feat. Keenan TreVon)”, “Voicemails” and “Imagine Peace” are rooted in how his family makes him whole. The TuPac inspired “Blackberries” is his strongest, most expressive take on racial injustice since his iconic 2016 track “Freedom,” which he recently performed at a Denver City Council meeting. The conscious tracks are balanced nicely with fun trap bangers like “Save the World” and “Keep Your Cool”, which are complemented with memorable features from frequent collaborators DJ Luke Nasty, Keenan TreVon, and Trev Rich. Dedicated ends on the aptly titled anthem AND 1, a track that closes out the album as if he was Nuggets’ Nikola Jokic closing out a game. This album is dedicated “to you, to me, to us...to family, to the color of my skin...to my dead homies, to yo dead homies…to my city.” Sleek, profound, accessible and honest, there is something for everyone on Dedicated as AP continues puts Denver on the map. Keep up with theycallhimAP here

Ramakhandra - Ramakhandra

Ramakhandra. Photo Credit: Juli Williams

Ramakhandra. Photo Credit: Juli Williams

“Providing a sonic sound from the other side of the multiverse” is how Denver native psychedelic group Ramakhandra describe themselves on their website. There really is no better way to put it. Calling them Denver’s Hiatus Kaiyote wouldn’t even do them justice. While they share similarities, simply comparing them to the Australian psychedelic neo-soul band diminishes the novelty and musical impact of Ramakhandra’s astonishing self titled debut, Ramakhandra. A psychedelic exploration of the imagination and soul, Ramakhandra is a breathtaking debut which strives to break the rules of music and create its own to take the listener on a spiritual rollercoaster ride. 

Future Garden artist Ramakhandra is composed of incredibly talented Denver musicians who only go by their first names: Annastezhaa on pedal harp and vocals, Clato on bass, Ness on synth, and Nobahdee on drums, with backgrounds in jazz, classical, electronic and reggae music. This musical fusion creates something unlike anything you have heard before. Four out of the albums’ six songs run over 6 minutes on this 44-minute epic, and are filled with arpeggiating harps, polyrhythmic drums, ethereal synths, soul soaring vocals and innovative song structures. Recorded by Bradley Giroux, known for engineering modern-day legends like Terrace Martin and Kamasi Washington, the complex instrumentals sound even and clean. The album’s intro, “E.T. (Extended Technique)”, feels like you’re swimming in a sonic sea of stars, especially when the synths, drums, and lead vocals join together in a truly beautiful moment. Two of the albums’ clear standouts are “Andromeda Soup Dumpling” (best name for a song 2020) and the Lord of the Rings inspired “March of the Ents,” an experimental and meditative journeys filled with soaring vocals, oscillating harps, and transient synths. 

Ramakhandra are not only breaking boundaries musically, they are aiming to break boundaries culturally through creative liberation. “We wanted to create a space for those that are pushing and seeking for more… We’re trying to build that space for us to feel like we have somewhere that’s like home,” drummer Nobahdee explained in an interview with Westword. “We are the fire and the flame, we are the water and the wave that breaks forever more. And though we die, we will always rise with a terrifying force,” sings lead singer Annastezhaa on the final track, “Haku”. These are hopeful and empowering words to keep us moving forward in dark times. Keep up with Ramakhandra here

Illswrth x Wado Ferragamo - In The Nutty Vol. 1

Illswrth.

Illswrth.

Two upcoming Northside Denver producers Illswrth (AKA Silver Needles) and Wado Ferragamo recently released an incendiary trill phonk beat tape The Nutty Vol. 1. In Illswrth and Wado’s words, this is “a beat tape that captures the spirit of Memphis rap, and the heart of the Northside.” Hip hop subgenre 101: Trill phonk is a subgenre of hip hop and trap that is heavily influenced by 90s Memphis rap, otherwise known as Phonk, which was known for using repetitive samples of vocals. Some of the most influential 90s Memphis artists include Three 6 Mafia, Tommy Wright III and Lord Infamous, and more contemporary trill phonk include artists like $uicideBoy$ and songs like ASAP Rocky’s “Gunz N Butter” ft. Juicy J. Illswrth and Wado grew up in the Northside of Denver, and describe it warmly as a “loving barrio” very influenced and connected to the culture of the 90s/2000s Memphis scene before the area started to become more gentrified in the last 15 years. 

A bandcamp banger that will absolutely knock your socks off, In The Nutty Vol. 1 is a hard beat tape that will potentially blow your car speakers out. Some of the hardest hitting tracks include Illswrth’s “I Aint A Pimp,” “Packin’ A Weapon,” and “Hangin’ With My Clique,” the latter of which has a mind-blowing beat slowdown in its second half. These tracks, like many on the album, use hypnotic and dissonant bell melodies that mesh perfectly with unforgettable 808 slides and distorted snares that you can literally feel slap. Wado Ferragamo’s standout track “No Case” repeats the lines, “Mask on my face so I won’t catch a case” over a gorgeous piano arpeggio, shimmering pad, and a gentle punchy bass. Songs like “No Case” and “Pop My 9” provide a lighter contrast to the rest of the album, with “Pop My 9” beginning with an amusing intro describing Bigfoot, and “No Case” bringing a smile to your mask-wearing face. This is a tape that provides a hopeful sense of escapism while still tapping into the collective feeling of frustration and anxiety experienced in 2020. Energetic, dystopian, and beautifully poignant, In The Nutty Vol. 1 feels like an album trying to bust a hole through this shitstorm of a year and rocket us all collectively into a better 2021. Keep up with Illswrth here and Wado Ferragamo here

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

New York City's The Velvicks Release Hard-Hitting Track "Lockdown NYC"

By: Samantha Camp 

New York-based band The Velvicks recently released their single “LDNYC (Lockdown NYC)” amid the lockdowns that have swept the nation due to the COVID-19 pandemic over the past couple of months. The song is a hard-hitting, garage punk tribute to the heroes of the pandemic and to the band’s experience in lockdown. I chatted with Vick Nader, the bands lead singer, songwriter, and guitarist, about the song and its unique production. The band is made up of bassist Apoena, guitarist Vinny, and drummer ED.

The Velvicks originated in Brazil, but found themselves in the colorful Brooklyn music scene when they were scouted by a booking agent at a party and show they threw in their drummer ED’s basement. At the time, the band didn’t have any songs released, but that didn’t stop their impressive debut at the iconic Irving Plaza in New York City. After two years of playing gigs in New York City and a tour on the West Coast, the band found themselves in the studio recording hit singles, including “Hit Me Like Sugar” which has already amassed over 100k streams on Spotify; an impressive feat considering that the song was released in early March of this year. 

When talking about the song, Nader emphasized that the band never met in person during the jam and production of the track. With the band being in different places and in lockdown, you can imagine that jamming over Zoom might create a different atmosphere than jamming in person, but Nadar says that the band enjoyed being able to play together even when they were apart. 

The Velvicks.

The Velvicks.

“LDNYC” is a typical underground punk-style anthem, one with distorted effects on the guitar and vocals, and loud, crashing drums. The lyrics, “lockdown New York City” ring true in a song centered around the CORD-19 pandemic, where we’ve all been stuck inside due to mandatory lockdown. When asked about his favorite lyric, Nader chuckled and noted that he threw in a lyric about how spring hadn’t sprung because we were all in our houses and couldn’t enjoy the beautiful weather. 

The Velvicks are dropping their debut album RUN July 24th, and they are a band to have on your radar. With inspirations stemming from Pink Floyd, The Black Keys, and Radiohead, the band is rising fast and deserves to be in rotation on your playlists. 

Keep up with The Velvicks on Spotify and Apple Music and be sure to follow them on Instagram, Facebook, and Twitter. If you want to catch up with the band over social media, Nader hosts a weekly Instagram live Thursdays on the band’s Instagram page.  

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

Denver Psych-Rock Stalwarts Eldren Release New Single "Fell In"

By: Jason Myers

Denver psych-rock stalwarts Eldren are back at it this summer with their new single, “Fell In”. The song stands as a testament to what it feels like to be swept away, as it embodies a bright and relaxing vibe. Being advocates for racial and social justice, the band has collectively decided to donate a portion of streaming royalties to the NAACP Legal Defense Fund and Color of Change. I recently caught up with the band’s Nasir Malik to chat about the new single, what it’s like operating as musicians during COVID-19, and what the future holds for them.

You guys hold a lot of weight in the Denver music scene, but for those who are unfamiliar with your music- can you give a quick description of your sound?

Our sound has always been something we have struggled with putting an exact label on. The focus and consistent sound of Eldren is in our voices. The genres sort of bend around psych, pop, rock, electronic, and more.

You guys just recently released a new single called "Fell In". What can you tell us about the song and the reception you've gotten from it so far?

Fell In” is a song that chronicles the human experience of newfound enthusiasm for a person or a place. So far people seem to reciprocate.

Eldren. Photo Credit: Memorandum Media

Eldren. Photo Credit: Memorandum Media

Obviously the music world has been flipped upside down with the arrival of COVID-19. How are you guys staying active and motivated as a band during this time? Can we expect more new music in the near future?

We’ve been busy writing and recording. We just finished a 16-episode season of our “Separation Sessions” cover videos which, are all available to watch on our YouTube page. Currently we are working on our next album and beyond.

Let's talk about your guys' influences. It's easy to pick out hints of psychedelic rock, dream pop, and even some indie rock sensibilities in your guys songs. What are some bands that you feel have influenced your sound the most? 

Elliott Smith has been a big influence for both of us for a long time. More than a decade ago, I remember touring for our friends solo act with Tyler [Imbrogno] and finding out how much we both loved Smith’s music. It was a big factor in how our musical tastes clicked instantaneously and we began writing together thereafter. Other notable mentions: Sufjan Stevens, MGMT, Tame Impala, Gorillaz, and all the classic rock stuff.

Eldren. Photo Credit: Memorandum Media

Eldren. Photo Credit: Memorandum Media

What are you guys listening to right now? Any album recommendations for the masses?

I’ve been going back to some of my old favorite albums. [I’m] currently spinning “The Hour of the Bewilderbeast” by Badly Drawn Boy.

Anything else you’d like to add?

Everyone be safe out there; learn to love and appreciate each other. Wear a mask, vote, eat an apple, go for a hike, and call your parents, and tell them you appreciate them-- and listen to our new single “Fell In.”

Keep up with Eldren here.

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

Julian Fulco-Perron Fully Embraces Psychedelia on ‘Dreamland’

By: Brody Coronelli

For the past four years, Julian Fulco-Perron could be found fronting 21 Taras, an eclectic, Denver-based rock outfit, leading with a swagger and performative charm that rendered the band a sight to see. 

The band’s sound deliberately isn’t easy to nail down, but their willingness to experiment-- often through Beatles-esque transitions and studio wizardry-- weaves a common thread through the band’s sound, whether they’re playing the stylings of roaring, early-seventies rock, bee-bop, or 60s psychedelia. 

Julian Fulco-Perron. Photo Credit: Austin Salazar

Julian Fulco-Perron. Photo Credit: Austin Salazar

On Dreamland, Fulco-Perron’s debut solo album out on July 11, he leans fully into lush, beautiful, and disorienting psychedelia. The genre-fluid sensibilities of 21 Taras (who are currently on an indefinite hiatus) remain, but the edges are rendered softer. Dreamland is a virtuosic and arrestingly visual concept album that traces its way through the order and disorder of his dreams. 

“Around the time of writing this album I was having some very weird dreams. Sometimes I would just wake up scared and have no reason why. I wanted to make a record that reflected those feelings and emotions that I felt, and the rapidness in which they would change from one to the next. This also gave me some freedom to play around with genres; matching different emotions up with different styles of music from around the world,” Fulco-Perron says.

Inspired by the low-fi and experimental styings of Paul McCartney and Todd Rundgren, Fulco-Perron set out to make an album that captured the pace of a dream, which he describes a journey in pieces, often with no explanation why you’re moving around. The result is ten unwaveringly psychedelic songs that each occupy a different space, but are held together by surrealism and virtuosity. 

“Paul [McCartney] is one of my bigger influences in general, and I guess that came through on this record as well. Just his writing style and the way he bounces from parts of a song to the next and not really sticking to a structure all of the time is how I like to operate. There are also a lot of instruments on this record that are actually from the 60s and 70s. I have a Baldwin Fun Machine organ that is from the early 70s. It’s featured as the lead instrument on the track ‘Extraordinary Display of Spectacular Spectacles’. I also have a Crumar synth from the late 70s, just to name a couple. So that definitely contributed some of the sounds, but I also think I was able to create my own sound and style within the context of these older instruments,” he says. 

The rumbling lead single “Swamp Song'' puts a psychedelic twist on Swordfishtrombones era Tom Waits. The song was built from the ground up by effects and subverted recording techniques. Pianos are played through guitar pedals, vocals are sung through a bass amp, and the vocals are layered on top of a previously recorded instrumental that was slowed down. “Lost At Sea'' is a modern take on Bossa Nova, a Brazillian style of pop music. The song croons through a compressed vocal that simulates the feeling of being underwater. 

“Inner Quest Parkway” was inspired by Indian music, describing a character waking up before a dreamlike deity who tells him that everything he needs is right in front him-- all he needs to do is wake up. 

“[Inner Quest Parkway] is the epitome of my inspiration from Paul,” he says.

Dreamland wasn’t only inspired by dreams; Fulco-Perron cites his own experiences with psychedelics as a huge piece of inspiration behind these songs. 

“Psychedelics changed the way I listened to music, and in turn, that changed how I started to make it. I attribute it to a filmmaker learning about film and noticing deeper, more interesting things over time,” he says. 

Julian Fulco-Perron. Photo Credit: Austin Salazar

Julian Fulco-Perron. Photo Credit: Austin Salazar

Fulco-Perron’s adventurous sound isn’t something he’s always had the equipment or skills to create, but it’s been in his music DNA since he started writing and recording. He describes wanting to make a jazz album, a rock album, and everything in-between as a kid, not being able to wrap his head around one genre. These days, he’s found a way to do it all at once, thanks to his talent as a producer. 

The songs on Dreamland are deeply nuanced and layered, building skillfully and brimming with audiophiliac layers of sound and vision. The album was written entirely in the studio, with Fulco-Perron playing, arranging, and recording nearly every instrument in a process that he estimates took over 150 hours. 

“Before I saw the studio as an instrument, I just saw it as a way to record some already finished ideas and call it good. But now everything I write begins in the studio. It completely opened up the creative process. I like pushing effects to the limits and songs are often built on how far I can push a certain delay or reverb before it explodes in my face. The way I produce is very much intentional with the right amount of accidental luck,” he says. 

Dreamland can be appreciated by any fan of psychedelia, but Fulco-Perron carefully crafted this album to be dense, nuanced, and suited for multiple listens. It’s an album by an audiophile for audiophiles, with layers of easter eggs and hidden moments waiting to be discovered. This kind of production and deliberation is becoming more and more rare as streaming has taken over, making Dreamland an album inspired by the ‘60s in more ways than one. To support this, Fulco-Perron is releasing a limited run of vinyl so Dreamland can be heard through the medium and era it was inspired by. 

While the future of 21 Taras remains up in the air as its members focus on other projects, and live music is on hold entirely, there are more deterrents than ever to being a performing musician. Despite all this, Fulco-Perron has made an album without any sonic or creative limitations. 

“If I’m sleeping, and this is my vision, I see myself going through the swamps, the quicksand, the desert. I wanted to use the concept of a dream to experiment with different genres, regional styles, and moods, and this road to going solo was a perfect time to dive into that,” he says. 

Keep up with Julian on Bandcamp, Facebook, and Instagram.

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

Oxeye Daisy's Newest Is Raw, Gutting, & Perfect

By: Julia Talen

Denver’s favorite dream-grunge band, Oxeye Daisy, premiered a new single and music video recently in conjunction with CPR Indie 102.3 and Night Lights Denver. The video for Oxeye Daisy’s “Wanting” was projected on the Daniel & Fisher Tower (the clocktower building), and an abridged version of the stunning artistic project will be mapped onto the tower’s facade throughout the month of July. Viewers are encouraged to practice social distancing while engaging with this project, near the 16th Street Mall.

Hello, World!

The group’s new song, mixed by Patrick Riley of Tennis, highlight’s an intense longing for physical connection and contact, a fitting theme for a track that was written and recorded prior to the COVID-19 quarantine. Lead vocalist, Lena Roy, discussed some of the background and inspiration behind the tune sharing, “I wanted to write something that really embodied sensuality and female sexuality in a raw but un-exploitative way. That idea felt rebellious and edgy to me, but it took me a long time to actually get the courage to show anyone this song. It seemed almost too personal and explicit to share.”

That vulnerability infuses the new single and guts listeners and viewers. Roy’s painfully raw vocals, the track’s psychedelic layers, and the thread of silvery drums carrying all work to mold this exposed and tender track. The video opens up with a frame of Roy’s portrait, and a pittering rain in the background that also paints Roy’s face. The rain looks like it’s falling and being pulled back into the sky simultaneously, emphasizing the tension in desire that the lyrics of the tune speak to.

Lena Roy of Oxeye Daisy.

Lena Roy of Oxeye Daisy.

To add to that push and pull of embodied sensuality, the song builds, and rich pink light gradually saturates the video before blinking into green then back to warm pink. The juxtaposition of warm and cool colors flashing as the camera moves in and pulls back out also stresses the billow of desire. Synchronously, rain falls, tumbling more swiftly while the tune swells. The lights flicker faster as Roy’s voice overlaps with supple and aching “ooo’s” paired with lyrics like, “I just want to kiss you/ You don’t have you call me anything/  You don’t have to take me anywhere/ I just want to feel your fingers running through my hair.”

The tune then drops off and pitters out with the rain, the pink and green lights cut out, and the crest of desire mirrored sonically ebbs, as Roy holds herself and lowers her head with the final verse, “Come back to my house,” which feels like a call for something that’s no longer there.

Named “Best New Rock Band,” by Westword last summer (and I couldn't agree more), the group’s latest project pierce’s listeners with vulnerability, and highlights Oxeye Daisy’s explosive and evolutionary talent, precision, and sonic versatility. Oxeye Daisy’s next album is slated to release this fall, and if this single is any indication of what’s to come on their forthcoming record, I’m eagerly waiting through pandemic summer for this one.

Keep up with Oxeye Daisy 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.

Viewfinders' Latest Will Have You Howling at the Moon

By: Samantha Camp 

Denver-based Viewfinders recently released their debut EP Moonlight. The EP is a collection of eccentric beats and whimsical lyrics wrapped into a 3-song experience. 

The first track, “Cherrywine,” starts with distorted guitar-picking, which builds into a dreamy rhythm section comparable to The Cure’s “Friday I’m In Love.” Vocalist Arily Hernando paints scenes of hardship and resilience as she sings, “I'm bent out of shape but I'm/Doing just fine/Drunk on my daydreams and cheerwine.” What follows is“Chamomile,” a slower jam that tells the story about moving along and moving on. And finally comes the closer, “Moonlight,” a love note to the literal moon with btis like, “Dear moon/Will you be my muse/Give me the strength to choose/The freedom I thought I was born to lose/If I lost you.” 

67503594_433322714190353_7136655965570465792_n.png

Make sure to give this Denver band your support! Checkout Viewfinders on Bandcamp, YouTube, Instagram, and Facebook.  

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

Corsicana Breaks Down Their Walls In Newest Single "Wreath"

By: Samantha Camp 

Denver indie rock band Corsicana is back with a brand single “Wreath.” The single was mixed, produced, and recorded by lead singer Ben Pisano in his home, giving the track a warm and welcoming feel. 

The track itself is an emotional tribute to trauma, filled with smooth finger-picking and vocal reverbs that haunt the track. Pisano’s vocals carry the listeners through an autobiographical journey of breaking down one’s walls to another, a journey that is difficult to do alone.

The lyrics are draped in layers of revelation as Pisano sings, “All at once, I am all my best and all my worst.” The song continues its dreamy trope with the lines, “Crown the depths/ unsteep your guilt and your unrest/ reach around that remembrance, still/ hold me down until I do not speak anymore, and let it go.” 

Ben Pisano of Corsicana.

Ben Pisano of Corsicana.

When asked about “Wreath,” Pisano notes that the single carries heavy themes of trauma and how it connects to identity… or doesn’t; how it defines it, or how it doesn’t. “I use it through this lens of two shared people who have this shared trauma and one person (antagonized) the other.” he says. 

When compared to the last record, “Wreath” is less conceptual and more along the lines of getting thoughts and feelings out. “I didn’t want to have a barrier between the listener and I,” Pisano says. “I didn’t want to say, ‘Here’s the concept for this song, and here’s this big metaphor for it’. I still wanted to have this degree of separation for it.” 

All June proceeds made from the single will be donated to Black Visions Collective, a nonprofit organization committed to intersectional Black liberation. 

Check out Corsicana’s newest single “Wreath” and keep up with them via Bandcamp, Facebook, Instagram, Spotify, and Twitter.

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

OK Go's Newest Videos Reminds Us We Are "All Together Now"

By: Samantha Camp

 You may recognize the name OK Go from the band’s wildly popular music video created for hit songs “Here It Goes Again” and “This Too Shall Pass.” After a 3-year lull, the band recently released a new song titled, “All Together Now,” along with a letter surrounding COVID-19 and a band member's experience while fighting it. Read the heartfelt letter here.  

 While the song isn’t their usual style of indie rock, it has received positive feedback, earning half a million views in just 2 weeks. The track was initially released on the band’s YouTube channel, where they’re known for elaborate, and mostly one-take music videos. 

The music video itself is a fun, home-video style setup with various camera angles coming from the band members. The edit is cut together to emulate an acapella-style video, where the members are playing their respective parts and are overlapped together to create the final song.   

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 The lyrics of “All Together Now” highlight the uncertainty that we’re all feeling during the pandemic, but remind us that community is important now more than ever. The song itself is layered with harmonies, and an upbeat tone with a special appearance of a child's piano to add to the mix. 

Keep up with OK Go on Facebook, Instagram, Spotify, Twitter, and YouTube.

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

Cyrus Vurciaga on His New Self-Titled Debut, Rainbow Blankets, & Anti Gravity

By: Yoni G (Yugs)

Just off the release of his self titled debut album, ‘Cyrus,’ Cyrus Vurciaga is a Colorado native artist, producer, and clothing designer bound to make more waves in the local Denver scene. A remarkable debut, ‘Cyrus’ is a hypnotic, warm, and vibrant album that seamlessly mixes house, lofi, and electronic dance music all into Cyrus’s own genre which he labels, “anti-gravity.” We recently met Cyrus Vurciaga at Confluence Park to learn more about his debut album, his influences, and what his plans are for the future. 

!

In your own words, what’s the story behind your new record? 

At first, the album wasn’t supposed to be an album. I started producing six years ago and this past year I was like, “Yah know- I have enough material where I can compile all these songs I’ve made and put it into an album or project.” I had no intention to be making an album. 

To me, the album feels like a sunset at a funeral, both somber and beautiful. How would you describe the album? 

I would describe it as anti-gravity. The album feels like you’re floating in a rainbow blanket, a throw blanket, and the music is pulsating through you. And there’s no gravity, so you’re floating.

Cyrus Vurciaga. Photo per the author.

Cyrus Vurciaga. Photo per the author.

Taking a nap in space in a rainbow blanket! I really felt that; it's got such a warm vibe to it. I could sense the house and lofi influences throughout the album but wanted to know what genre you would label this record? And what were your past and modern influences for it? 

I really can’t put it into a specific genre, but I can tell you my influences. I’m really inspired by 80s music. I grew up listening to Depeche Mode and U2, as well as New Order, that’s a big one. All of that music, mixed with Jungle Music. I grew up with 80s and Jungle Music, and then I got into House. As far as modern influences, I’m really inspired by Nosaj Thing, Odesza, and Sam Gellaitry. Those are my main inspirations and genres for this album. 

Throughout “Untitled” and “Untitled - Slowed,” I noticed that you really vary your snares, claps, and snaps throughout. These two tracks are like the central anchor of the album, and this production choice really gives them a dynamic feel. What was the creative process?

I’m so happy you asked me that; you’re the first person to pick up or even hear that. The reason being is, I was kind of getting sick at the time of hearing the consistent snare or consistent kick, that would be like boom-clap, boom-clap. I felt it would be more interesting if every snare was a little different. That was my first song experimenting with that, and I loved how it turned out. 

Take me through “Yippie a,” one of the standout tracks which features Xionaja.

Xionaja is one of my good friends and we made that in 2017, and sat on it for a year. At the time, we were sick of hip hop music, and I was thinking it would be cool if we could mix house music and rap. That was one of the fastest songs, creative process-wise, on the album that we did, because there was so much energy. In the moment it was like, “we feel this, we truly feel this.”

Cyrus Vurciaga. Photo per the author.

Cyrus Vurciaga. Photo per the author.

There’s a manic energy to it, I definitely felt that. What’s it like performing that song live in non-coronaland?

People lose their mind to that song and that’s what it was intended to do. Its aggression and just a lot of passion at the same time.

Do you feel like when you’re releasing this album, it doesn’t represent where you are sonically now, but you want to get it out? 

Yeah man because the tunes have evolved, but you have to make that first step. The album is Phase 1, but now we’re at Phase 2.

So where is it going? What’s Phase 2 for Cyrus?

Phase 2 is spreading the sound around. I’m gonna take my rainbow throw blanket and wrap it around everyone. And we’re all just gonna be dancing beneath it, you know in gym class where you play “Parachute.” And then people will be like, “Oh sh*t I’m floating- I’m not even on the ground!”

Lift off with Cyrus here.

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

J GRGRY's New Music Video Thrives in a Dichotomous World of Pain & Pop

By: Julia Talen

Seattle-based queer pop artist J GRGRY (pronounced Jay Gregory) brings us all a boost of optimistic energy in his latest single, “Don’t Ever Give Up,” preceding a highly anticipated album out later this year.

The premiere music video for the bubbly tune uses a forest and tree house as spaces to explore the ups and downs of various journeys. In the process of writing the song J GRGRY shares, "I banged out the entire song, lyrics, melodies, and rhythms in less than 30 minutes before I collapsed in bed for the rest of the day. I had to go to the hospital the next day [because] I had pneumonia in both lungs. This song was a beacon of light for me through some really hard days... I feel like it came to me from a future self that knew I needed these words and melodies somehow."

The music video begins with a heavy dance-inducing bass as J GRGRY peers down over a forest from a shadow-laden tree house that’s lit up from the inside in flickering purples and oranges. As J GRGRY begins to sing, the frame cuts to a shot of the forest, as though we are behind the camera walking along the dirt path. J GRGRY comes into the frame dressed in a signature costume, a pale pink pair of pants with one leg missing, and we follow him through the trees, along with the overlay of lyrics, “If you wanna go back through the forest they just put you through?/ You're welcome but I'm not going to/ If you wanna know about the courage that it takes to walk through? /Their fires and come out smiling/Look in your heart and you'll see ruby red birds are flying oh so high.” While J GRGRY sings “ruby red birds,” the camera catches a glimpse of a red cloth that J GRGRY holds up, blowing in the breeze, signifying the repeated lyric throughout the video.

J GRGRY.

J GRGRY.

As the energetic refrain drops in, we’re back in the treehouse with a series of shots strung together. J GRGRY sings, on keyboard, on a variety of guitars, on drums, all dressed in different pairs of half pants, and different painted body parts, highlighting the multiplicity of the self as well as J GRGRY’s multiplicity as a musical artist influenced by the likes of Peter Gabriel, St. Vincent, and Portugal the Man.

In the second refrain, the shots of J GRGRY playing all of the instruments are collaged together, stressing again the myriad of self, embodying memory and time, after coming out on top of a challenge. The refrain is brimming with energy and optimism, and the vitality that GRGRY brings to the screen thrills and inspires.

The camera cuts to a new shot during the more slow-paced, lo-fi bridge, in which J GRGRY sits under a low-drooping tree with a stand-up bass, evoking an image of a past self as J GRGRY sings, almost to a younger self, “I know what it feel like/ It hurts even when you're asleep/ Oh, you, you can't imagine/ what people mean/ When they say they have dreams/ You think of nothing.”

The bridge tumbles into the upbeat refrain, as J GRGRY takes that pain and transforms it into pop. The video ends how it began, with J GRGRY looking out the window of a tree house reflecting on the past and its trajectory towards the present.

This music video evokes the ethos that J GRGRY thrives in a dichotomous world, one of pain and pop, sadness and energy. Learn more about this multi-instrumental artist 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.

Paul Babe's "Lasso" Will Reel You Into an Indie Neo-soul Soundscape

By: Chris Garcia

Denver-grown but Brooklyn-based Paul Babe dropped “Lasso” on May 15th from their upcoming project. Much like its namesake, “Lasso” reels you in, with a cool yet soulful soundscape. Take your time and ride out the vibe on this one. 

Paul Babe is composed of lead singer Seth Evans, with production help from Denver drummer Carl Sorensen, Five-Points bass player Kramer Kelling and creative visionary Joseph Lamar. Together, the crew met playing under the name Rossonian in Denver. “Lasso” is their first take going in a different direction. 

The song begins minimalistic, with a synth and hand-clap, creating movement complimenting Seth’s shy vocals. Then the hook creeps into a seductive soundscape of desire with a buzzing bass and a chilled shaker. Seth’s slow-motion take and airy backing vocals add a dreamlike quality to the chorus. 

In the second verse, Seth sings about laying in his lover’s stable and being kicked out the next morning. When the hook creeps in this time, it feels as though he’s so enamored that he doesn’t mind being caught up in their lasso. He frequently references their feathered nightgown, showcasing that they stay in his mind. “Lasso” is about falling under the spell of someone even when they don’t want you back. 

Photo credit: Scott McCormick

Photo credit: Scott McCormick

Sitting at five minutes long, this track contains a multitude of layers to keep its listeners engaged. Experimental electronic sounds fuse in and out on the bridge, immersing the listener into Seth’s headspace. The bassline is one of the most enjoyable parts about the song: it’s cool, sexy, and interesting all at the same time. “Lasso” is the first of many for Paul Babe’s upcoming project, and this crew is sure to reel you in for more indie/neo-soul tunes. 

Keep up with Paul Babe here.

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

Quality Living's Video for "Marathon" Is Sunny, Sarcastic & Mystical All at the Same Time

By: Yoni G (Yugs)

Ringwood, New Jersey’s indie rock band, Quality Living, are back with an unabashedly lofi, supernatural, and abnormal video for their song “Marathon,” off of their March 2020 album Something Softly Caught Me

Quality Living’s sound is breezy, sunny and colorful; reminiscent of recent acts like Boy Pablo, Gus Dapperton, and No Vacation. Unlike Boy Pablo and Gus Dapperton, two dream pop coming of age youngins, Quality Living is a group of suburban-bearded late 20-somethings, all with a knack for the supernatural and a snarky sense of humor. 

Lead singer Darrel Norrel has an impeccably clean and beautiful voice, complemented by Harrison Bieth’s lush saxophone, and keys from Danny Augugliaro, which fills out the rest of the band's sound. The juxtaposition between plain suburbia and supernatural visuals, sunny music and dark lyrics, makes Quality Living a distinctive presence in the saturated DIY scene.

Quality Living.

Quality Living.

Quality Living’s video for “Marathon” has a very “One Another” by Mac DeMarco feel to it, with a bright suburban setting contrasted with themes of death, and also featuring people wearing funky and scary masks. The “Marathon” video starts with two strange female magicians beckoning the band’s pianist into a stall, giving him a goblet to drink. Soon enough, a very bro-ey looking guy wearing a Hawaiian shirt and two sets of sunglasses throws a dart at him. He responds, “What the duck!” and they start fighting. But there’s a twist! Balls of light come out of their widening mouths as their souls are taken from them…? 

The video moves to “elsewhere in suburbia,” where the drummer walks into the bathroom and soon enough two more souls are taken. Next thing you know, yellow lofi font is flashing “Demon Time” on the screen and saxophonist Harrison Bieth is wearing a plague doctor mask while playing a smoooooth saxophone solo and chasing the rest of the band into the house.

Supernatural fuckery” is the best way to explain this video, and Quality Living’s general persona. They are sunny, sarcastic, and mystical all at the same time. 

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Most importantly, they have a lot of fun being authentically themselves and it shows in both the music and video for “Marathon.”

Keep up with Quality Living here.  

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