Our Top Picks to See at Denver's Underground Music Showcase 2019

By: Adrienne Thomas 

During the last weekend in July, the Underground Music Showcase brings out Denver’s local music scene, along with a handful of national headliners. Affectionately known around town as UMS, the festival came to life in the early 2000s when The Denver Post decided to ask local music experts to name the region’s “Top 10 Underground Bands” in an effort to rouse more interest and support for the local scene, as well as to cultivate a city that successful bands want to stay in. The festival’s evolution continued last year, when Two Parts took ownership of the festival under the direction of Tobias Krause, exciting supporters at the potential for new spins by the local event and marketing agency.

Headlining names this year definitely worth checking out include Chicano Batman, Black Mountain, Still Woozy, Y La Bamba, and Earthgang. Also worth checking out are two hip-hop wild cards from Chicago: Rich Jones and RapperChicks. Let’s dig into these acts, shall we?

Y La Bamba.

Y La Bamba.

Chicano Batman is a Latin psychedelic soul and funk four-piece, so bring dancing shoes to this wildly percussive show. Stoner rockers Black Mountain will show up for the lovers, heady beach followers, and spirited grunge rock fans inside all of us. Still Woozy joins soul/pop melodies and raps together with smooth electronic bounces for a uniquely lovable style. Y La Bamba is an incredibly diverse indie folk/pop outfit from Portland featuring eclectic, female-fronted jams. Earthgang, the fresh and unrivaled hip hop heroes from Atlanta known for collabs with J. Cole, 6LACK and J.I.D., will definitely be a UMS highlight to close out Sunday night.

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The lineup of local bands is beautifully long, and sometimes overwhelming, but mostly a glorious scroll through the talented musicians who walk our Broadways and Colfaxes every day. The heart of UMS is really just a big party where all the best local shows you’re invited to all year happen again- this time all at once- throughout the course of one weekend. Don’t sleep this time. Organize an interactive schedule of your own for the weekend here. But if that’s too much, here’s a list of favorites: 

FRIDAY 07/26

6:00 Corsicana @ Skylark Lounge - Ambient shoegaze that will make for a smooth start to the festival

6:20 Sophie Meiers @ Showcase Stage at Goodwill - Dreamy electro-pop from Durango

7:00 Extra Gold @Hi-Dive - Kickass country y’all

7:20 Still Woozy @ Showcase Stage at Goodwill - Playful and melodic chill-hop with a devoted following

7:20 RapperChicks @ Odyssey Stage at Import Mechanics - Self-described as “3 badass women who rap, sing, play & melt faces all by ourselves” from Chicago

8:00 Claire Heywood @ South Broadway Christian Church - Raspy bird songwriter known for poetic lyrics and soulful vocals and melodies

8:30pm Black Mountain @ Showcase Stage at Goodwill - Stoner rockers, go for a worthy rock show

9:00 f-ether @ Blue Ice - Electronic compositions, house music, dance party and big mountain energy

10:00 Motion Trap @ Denver Drumz & Music - Dreamy synth dance grooves 

11:00 The Velveteers @ 3 Kings Tavern - Heavy grunge-rock trio, double drummers, powerful female lead

11:00 The Hollow @ The Hornet - Alt rock with horse blinding attitude 

11:00 LITELVL @ Denver Drumz & Music - Triptastic soundscapes 

12:00 Oko Tygra @ The Irish Rover Pub - Dark and dreamy 80’s pop

1:00 @ Skylark Lounge - Shred rock with indie, Latin & ska feels

SATURDAY 07/27

12:40 Kiltro @ The Irish Rover Pub - Experimental folk mixes with Chilean guitar, makes dance party

2:00 Oxeye Daisy @ Showcase Stage at Goodwill - A nod to the 90’s, youthful synth/guitar rock band

2:40 Slowcaves @ The Irish Rover Pub - Indie rock with beach vibes 

3:00 Whole Milk @ Skylark Lounge - Surf jazz

4:00 Erin Stereo @ Blue Ice - House/Club DJ extraordinaire

5:00 Chicano Batman @ Showcase Stage at Goodwill - Latin psychedelic soul/funk 4-piece

6:00 Sur Ellz @ Blue Ice - Future space funk R&B

7:00 OptycNerd @ Blue Ice - Electro indie pop 

7:30 Rich Jones @ Odyssey Stage at Import Mechanics - Prolific Chicago hip hop artist and evolving pop/soul creator, legendary presence

8:00 Decollage @ Denver Drumz & Music - Kaleidoscope avante-garde pop

9:00 Whiskey Autumn @ The Irish Rover Pub - “Prom jams from the future” meets indie psych synth surf rock

10:00 Anthony Ruptak @ Denver Drumz & Music - One of Denver’s singer/songwriters that we just can’t get enough of

10:00 Definitely, Maybe @ Moe’s Original BBQ - Lush percussive and vocal layering makes this psych rock duo very important to experience live

11:00 Random Temple @ Denver Distilling Co. - Electronic and acoustic instrumentalist known for diverse harmonies and eclectic, high-energy sets

12:00 The Cosmic Ball @ 3 Kings Tavern - A mix of Denver bands partnered with psychedelic production company Synesthesia which is likely to promise awesome visuals and glitter vibes

1:00 Retrofette @ 3 Kings Tavern - Part of the Cosmic Ball lineup, this synth group is not one to miss

SUNDAY 07/28

12:00 Laura Goldhammer @ Ross-Broadway Branch Library - Classic Americana merges with quirky styling to create socially-conscious folk music often accompanied by her stop-motion videos

1:00 Katie of The Spirettes @ Ross-Broadway Branch Library - Ethereal guitar-driven rock

2:20 YaSi @ Odyssey Stage at Import Mechanics - Much like her Iranian-American upbringing, her music is a melting pot, with a mix of R&B, hip-hop, and pop 

3:20 Kyle Emerson @ Goodwill - Buzzy indie rock

4:00 Bellhoss @ Denver Drumz & Music - Female-led folk meets DIY punk

4:30 Flaural @ Showcase Stage at Goodwill - Spacey psych-rock band best known for drifting and dancing

5:00 Levi Double U @ The Irish Rover Pub - NuDisco beats 

6:00 Moon Hammer @ 3 King Tavern - A ragtag supergroup of unpredictable and wavy tunes

6:20 Y La Bamba @ Knockout State at Punch Bowl Social - Diverse indie folk/pop outfit from Portland featuring eclectic, female-fronted jams

7:00 Big Dopes @ The Hornet - A modern 90s alt-feel with steady grooves 

7:55 Earthgang @ Odyssey Stage at Import Mechanics - Hip hop duo from Atlanta known for collabs with J. Cole, 6LACK and J.I.D

8:00 Bun Bun @ Baere Brewing Company - Future Shock Bee Wave G-House

9:00 Cheap Perfume @ Denver Drumz & Music - Long-standing feminist punk-rock band from Colorado Springs

9:00 Emma Mayes & The Hip @ 3 Kings Tavern - “Highly Important People” making highly important music, a soul/funk/jazz band joining complex horn arrangements with lush harmonies

10:00 Los Mocochetes @ 3 Kings Tavern - Latin gypsy-funk band

11:00 Ramakhandra @ 3 Kings Tavern - Hip hop/soul fusion, with a pedal harp!

12:00 The Guestlist @ 3 Kings Tavern - Modern blues & soul

1:00 Ned Garthe Explosion @ Hi-Dive - Kind bad, kinda rad but definitely a party to end the weekend

Whether you create a guide this year for your own UMS, follow ours, or just wander, discover, and repeat, give my Underground Music Showcase playlist a listen on Spotify. And if you haven’t yet, get your UMS tickets here!

-Adrienne 

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

Westword Music Showcase's 25th Anniversary Brought Together Artists, Friends & Powerful Frontwomen

By: Taylor Naiman

On Saturday, the Westword Music Showcase overtook the streets of Denver’s Golden Triangle. Though it was a 97-degree day with the sun overhead at all times, everyone had a beer in hand and seemed to be unbothered by the heat. People were happy and excited just to hear some brand new music from local and national artists alike. From the bars to the clubs, there were plenty of venues along Broadway and Lincoln Street to escape the heat while enjoying some good tunes. Rather than occupying a bunch of stages outside, Westword Music Showcase nurtures local businesses, with a majority of the sets taking place at various bars and clubs including Bar Standard, Stoney’s, 100% De Agave, Mirus Gallery, #VYBE, Club Vinyl and The Church. This amalgamation of local businesses and bands allowed people to discover new venues, new music, and new people along the way.

Bishop Briggs. Photo Credit: Adrienne Thomas

Bishop Briggs. Photo Credit: Adrienne Thomas

Celebrating its 25th anniversary this year, this one-day music festival is a staple of the Denver community. It has been a successful launch-pad for many local artists over the years, including the likes of DeVotchKa and 3OH!3. This year, we caught some big-name acts such as Jai Wolf, Bishop Briggs, Yasi and CHVRCHES, among others on the main stages. Bishop Briggs was a fan-favorite, with her powerhouse voice and contagious smile. The last time she was in Denver was for her set at the now defunct Grandoozy. At Westword, Briggs was loving every minute of her Mile High set, running from one end of the stage to the next, unphased by the altitude or the heat. The audience was treated to some of her new music, while also hearing  the entirety of her Church of Scars album. 

CHRVCHES. Photo Credit: Adrienne Thomas

CHRVCHES. Photo Credit: Adrienne Thomas

Denver Westword’s Music Showcase presents an essential platform for artists to share their craft and tell their story. Music delivers a message and over the day, we heard a lot of stories Denver’s local rock’n’roll band Los Mocochetes used their music to address today’s political issues, such as immigration. At the end of their set, they told us, “Dance is a form of prayer.” We definitely love our music out here in Colorado, and it was a blast to see the differing forms of expression coming from the artists and concert-goers.

Photo Credit: Adrienne Thomas

Photo Credit: Adrienne Thomas

Westword Music Showcase is all about supporting the local scene, and thrives on the concept of concert-goers discovering the unknown or what may be an undiscovered talent. The Showcase this year was jam-packed with a culmination of genres curated for diverse tastes. Throughout the day, it was nice walking the grounds, running into friends having a drink together. This fest is a “squad up and see that new band you have not heard of” type of event. It thrives on the idea to not listen to one type of genre, but rather to branch out and hear a new voice. The beauty of this Showcase is that you will, without a doubt, discover a new musician or band to follow on Spotify

The Velveteers. Photo Credit: Adrienne Thomas

The Velveteers. Photo Credit: Adrienne Thomas

Whether rocking out to Cheap Perfume or The Velveteers, it was a breath of fresh air seeing Colorado frontwomen take charge and own the stage. The festival also featured a number of strong national female acts, including Lauren Eve Mayberry, the lead singer of CHVRCHES, and aforementioned Bishop Briggs.

If you didn’t get the chance to go to Westword Music Showcase this year, listen to their festival playlist here! We’re already looking forward to Westword’s 2020 announcement. 

See more photos from this festival here.

-Taylor 

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

Color Red Studios Releases Dragondeer's Latest Digital 45 Record

By: Mirna Tufekcic

Denver’s own Southern-funk disco-blues band Dragondeer dropped a digital 45 earlier this month with two tracks featuring bassist Jeff Franca from Thievery Corporation and guitarist Jordan Lint from Analog Son. The band dove into deep sonic territories during their Color Red Studios session. Color Red is a Denver-based record label and music hub for local and visiting artists to collaborate and create music together. Self-proclaimed to be “more than just a record label, Color Red is; a music scene, a curated artist group, a media outlet, a studio, a genre-fluid music platform, a global launch pad of ideas.”

From the Color Red sessions, Dragondeer’s two new tracks are a true testament to the above statement. “Mirage Á Trois” has a cool-cat sexy vibe that grooves, but listen closer and you’ll hear it’s really talking about the delusional traps one’s own mind can create, you know, the me, myself, and I kind of mind tricks that suck you in and leave you wandering in an illusion. “Max Patch,” a more upbeat, carefree funk groove, is a jam session among the bandmates during their stay at a mountain cabin on the border of North Carolina and Tennessee. Equal parts soul and rock’n’roll, the lyrics speak to the easy vibes of sipping on moonshine and jamming with family and friends while fluffy white clouds pass above a Smoky Mountains cabin. The boys sure did paint quite the scene and ambiance with these two tracks.

Dragondeer has played with the likes of Nathaniel Rateliff & the Night Sweats, Shakey Graves, and Drive By Truckers; they’ve been at the Telluride Bluegrass Festival; and now the band is hitting the road for a summer tour. They will be making appearances at the Firefly Music Festival and Electric Forest (with The String Cheese Incident). Click here for Dragondeer’s full tour dates.

-Mirna

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

Professor Plumb’s "Pleiades" Is Brought to Life in an Epic, Animated Space Odyssey

By: Adam Cabrera

In Professor Plumb’s new music video, their psych-rock song “Pleiades” is brought to life in an epic, animated space odyssey. 

Composed by bandleader Benom Plumb and animated by Jeremy Brown, the blazing rock’n’roll instrumental is illustrated into an adventure out of the solar system and across the galaxy to the distant star cluster known as the Pleiades. 

The track, which was first released in 2018 on their Majic 12 EP, is an example of the band’s compositional side. Plumb argues, “I've always thought of myself as more of a composer, than an artist. So at this very early stage in my solo music journey, it's an important part of my overall sound and style.” 

As for the video itself, Plumb was inspired by an old astrological myth while stargazing one night at his home. “My backyard faces south,” Plumb explains, “and on the clearest winter night, the Pleiades can be seen near Orion. There's a ton of legend and mystery surrounding the Pleiades… that's when I came up with the idea for the video.” Planetary alignment, end-of-the-world prophecies, and other science fiction can be found all over Professor Plumb’s other work in songs like “Red Sky” or “Dark Star,” and this new music video is no exception. 

Professor Plumb Band Poster Four Corners Logo Bigger Centered.jpg

Plumb took his ideas to Brown, initially picturing a fleet of alien spaceships headed home to their star in the Pleiades. However, according to Plumb, they decided to remove the ships in favor of something more visually abstract while still trying to allude to the idea of an advanced alien civilization. In place of spaceships, Brown came up with the concept of an outer space “megastructure.”

“Visually, it’s a hodgepodge of concept art from all over the internet and from some of my favorite sci-fi films, TV shows, and games,” Brown says about the music video’s final image of a Dyson sphere (a colossal space structure built to harness the energy of a star). 

Fueled by Professor Plumb’s high-energy space-rock performance, Brown describes the final cut as “a hyper-real, first-person journey to a distant part of the galaxy” and a “mysterious galactic tour guide.” 

Check out the full interview below if you’re interested in learning more about Professor Plumb, Pleiades, and the creative production behind the video. You can also check out the new video on Professor Plumb's website where you can find more of their music along with more information about the band. They’ll be performing live at Denver’s Underground Music Showcase happening July 26th to July 28th and are also planning to release a lyric video for their new song “Take That!” sometime soon.

Professor Plumb.

Professor Plumb.

In your previous work there is a big emphasis on political or societal themes like in last years Midnight Creep lyric video or this years single Red Sky. But, with Pleiades being an instrumental it seems that you’ve decided to put an emphasis on more of the space rock / psychedelic side of the band. Is this the case or does the song represent more to you as the writer? 

BP: Yes, that's definitely the case with “Pleiades.” I've always thought of myself as more of a composer, than an artist. Pleiades was an opportunity for me to display my compositional side and cosmic wonder. 

What was the reason behind naming the song “Pleiades?” And, What made you decide to produce a music video for this song in particular?

BP: Sometimes I daydream about what it would be like to travel to a constellation that can be seen from Earth with the naked eye. My backyard faces south and on the clearest winter night, the Pleiades can be seen near Orion. There's a ton of legend and mystery surrounding the Pleiades, so that sounded like a good one to visit to me. That's when I came up with the idea for the video. I listened to the song over and over with my eyes closed to try and visualize what an epic space travel video would look like. I relayed these ideas to Jeremy and he made it look even better than I imagined in my head. 

How does Pleiades compare to the rest of your catalog in terms of overall sound and style?

BP: Out of all the songs I've written, I think “Pleiades” is one of my favorites. I was always a fan of rock bands doing cool instrumentals and I had always wanted to do one myself. So at this very early stage in my solo music journey, it's an important part of my overall sound and style. I played most of the instruments on the track, so the overall sound of the recording is me. It hits all the points of my catalog so far: dark, mysterious and hopefully, keeping the listener's head bobbing. 

At the end of the video I noticed what looks like a Dyson sphere is pulled into the shot and I’m wondering what that might have to do with the song thematically? Or, just being a fan of science fiction myself, I’m curious if you have any big influences from the sci-fi genre that make their way into your music?

BP: The Dyson sphere is 100% Jeremy so I'll let him address that in more detail. I'm definitely a sci-fi nerd. The original idea of the video was to have some spaceships flying through space to go home to their star in the Pleiades. In production we removed the ships, but kept the idea of visiting a star of an advanced civilization. After talking through this idea, Jeremy came up with the "megastructure" around the starm similar to what scientists recently theorized could be surrounding a massive star observed in our galaxy. 

JB: It’s definitely inspired by a Dyson sphere, but I think a true one would completely encompass the entire star, the idea being that one could harness 100% of the star’s energy. Benom had wanted it to be clear that this star is home to an advanced civilization, and I can’t think of anything more advanced than an enormous space station surrounding a gargantuan star. Visually, it’s a hodgepodge of concept art from all over the internet, and from some of my favorite sci-fi films, TV shows, and games. The god rays and subtle flickering are definitely a nod to present day exo-planet detection techniques!

When I watch the video I can’t help but be reminded of trips to my local planetarium when I was younger and that natural fascination with outer space that most people have. How much does astronomy and maybe even astrology influence your music? And if so, has that been an interest of yours for a long time?

BP: Astronomy has been an interest of mine since I was a kid. I read and study astronomy as a personal hobby, so that has a huge influence for sure. As for astrology, I don't follow it for spiritual living, but I do have an interest in it. We see the marks of astrology all throughout history and that events have coincided when the planets and stars align into certain positions. That's basically what “Red Sky” was about, when Earth sees this dreadful winged planet in its skies, it means destruction is at hand. It's subtle, but this mysterious winged planet from Red Sky makes an appearance in the “Pleiades” video, just as we exit our solar system and before we go into light speed. 

Jeremy, have you worked on any other music videos in the past? If so, how much or how little did your previous experience influence the final product?

JB: This is the first music video I’ve worked on professionally. Earlier in my career, I did a few personal music-related projects here and there, but nothing to this scale. Music videos are a lot different than narrative film, which is primarily my background, in that the music should still take center stage and drive the visuals. Throughout the process, Benom and I wanted to make sure that the visual complexity and intensity ramped up or down based on the energy and beat of the music. I’d like to think that the video helps you hear the song more powerfully so that it makes more of an impact. Furthermore, with an instrumental song like “Pleiades,” I think it’s especially powerful to give the listener an idea of what inspired the music in the first place.

How involved were you with developing the idea for the video? Or, how much of the video was your own creative input compared to Benom?

JB: The creative process was very much a collaborative effort between Benom and myself. The original idea and the initial brief were provided to me early on, and I developed some concept art and storyboards. After that, it was a consistent back and forth between the two of us. For example, we both knew the hyperspace effect was going to be a big part of the video, so that’s one of the first things I began working on, and it went through many iterations before it became what you see in the video. Benom is probably the best client an artist can ask for; his feedback is not only clear and visionary, but also practical and actionable. We both brought our ideas to the table and we saw eye to eye on just about everything. When we did have some differing opinions, we reached compromises that satisfied us both.

Do you have a particular style of animation that you like to brand yourself with or do you not like to box yourself in? Is there a personal animation style that characterizes the video?

JB: This is a difficult question for me to answer, but a great one! Professionally, my background is in post-production for live-action film. Working as a digital compositor (think green screens and CG characters) for 8 years before coming to Colorado, I rarely got to exercise my own creativity beyond the very limited freedom given to me by my supervisors and directors. In other words, my style was the style of whomever was signing my paychecks! I suppose I’d have to say that my “style” is invisible visual effects that aren’t supposed to be noticed… now that I’m in a position to be creative in my own right is that no, I don’t have a style that I like to brand myself with… yet! 

What was the initial idea behind this music video? Did that idea change or develop in the production process? And, did it come out how you had hoped?

BP: The initial idea was to have some spaceships flying through space and time to go home to their star in the Pleiades. The idea did change. For example, in production we removed the ships, but kept the idea of visiting a star of an advanced civilization. It came out amazing and I appreciate Jeremy's patience with me during the process. 

JB: After 40+ iterations, it changed quite a bit in some ways, but stayed true to the original idea in all the ways that count. One thing that we eventually cut was the ship itself. At first, I think we both felt it was really important, but after some feedback that Benom got, we realized that the ship was a distraction that kept viewers from being able to enjoy the rest of the frame. Another example that kind of went the other way, was that originally, the solar system fly-through was much shorter. After a few versions, it became very clear that there’s only so many ways you can make hyperspace, galaxies and stars look different before it starts to get a little boring. So, we decided to give more weight to the solar system at the beginning. In the end, I think it was a great choice for the overall pacing of the video.

One thing I liked in particular about the video is the simplicity and far-outness of it. Was that a creative choice either of you made or maybe a stylistic choice?

BP: I believe it was a mutual creative and stylistic choice. We both imagined a sort of light speed tunnel, like from Star Wars, but more transparent so we could imagine all the galaxies flying by, but all the while, the Pleiades is still forefront in our center vision as a reminder of the destination. 

I also notice how the video throws out a lot of common music video tropes and opts for a more abstract approach. How do you think the video compares to the usual rock video format?

BP: I felt the music really just lent itself to something artistically abstract. I suppose the usual rock format is mostly all about the band, the look, the ego, etc. That's not wrong in any respect, I like to see the band too. However, this is about taking people on a trip for two and a half minutes and the audience has no idea, nor do they care, what the band looks like or who they are. I like that about this video. It's just all about the music and artistic creative expression. 

Are there any upcoming plans for the band that people should know about? What’s this summer look like for Professor Plumb?

PB: I'm releasing a new song and lyric video soon titled, “Take That!,” which hits on the heightened state of paranoia and divisions growing in the U.S. and around the world. I'll also be performing at The Underground Music Showcase, date, time and venue TBD. This set will be cool and different because it will be a rock duet. I'll be performing on bass/vocals with John Demitro (The Velveteers; Pink Fuzz) on electric guitar. 

Keep up with Professor Plumb here.

-Adam

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

Dizzy Wright Ended His Recent Tour in Denver with a Nipsey Hussle Tribute & More

By: Moriel O'Connor

If you were like me, you spent your high school days hotboxing in your friend’s Pontiac while banging rap music on back roads. It seemed more badass back then, when you had to steer clear of the cops and put in eyedrops before going back to physics class. Now, cannabis is easy to get ahold of, and you don’t have to worry about the CD scratching and skipping over your favorite lines. Still, there is nothing like lighting up and getting down.

Dizzy Wright.

Dizzy Wright.

For real, name a more iconic duo than weed and hip hop. I’ll wait. Dizzy Wright gets this, and he’s even got his own strain. He rolls his own blunts and keeps it real. Cruising to Colorado from his hometown of Las Vegas, he finished off his recent tour at Cervantes’ last weekend.

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During his set, Dizzy praised to be “a mile high,” saying Denver was his favorite city to visit. He also paid respect to Nipsey Hussle. Dizzy’s music stands out from most modern day rap with authenticity and truth. He is an independent artist whose lyrics and spirit show passion and integrity, encouraging others to take back their power. Dizzy’s been rapping since he was a child and recently released his album, Nobody Cares, Work Harder, collabing with Mozzy, Tech N9ne, Berner, Curren$y, Jarren Benton and Demrick.

So if you weren’t at Cervantes’ this last weekend, or even if you were, roll up, view my shots from the show, and listen to Dizzy’s latest album here. Much love. 

-Moriel

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

Premiere: Watch Pink Fuzz's Murderous New Video for "Turn"

Denver rock’n’roll favorites Pink Fuzz have been hard at work since the release of their 2018 record ‘Speed Demon’. The trio, comprised of sibling duo John Demitro (The Velveteers) and Lulu Demitro with drummer Forrest Raup, just dropped their music video for their single “Turn.” We’re excited to premiere the video here at BolderBeat, which is a follow-up to their last video “Enough” and features some familiar characters including Fast Finger Frank (David Landry of Boot Gun). Prior to the video’s release, we caught up with Pink Fuzz to learn more about their latest cinematic endeavor and their upcoming Midwest tour. Check it out:

Where was “Turn” recorded and who is featured on the track? Did you have a producer involved?

“Turn” was recorded, produced, and mixed by Pink Fuzz and Todd Divel at Silo Sound Studios in Denver. Jim Wilson mastered it.

What inspired the video concept and who all stars in this follow-up video?

 The video for our single “Enough,” which we released in 2017, was part one of the storyline of this tale. “Turn” is the follow-up to that video. In “Enough,” we see a psychopathic serial killer trucker named Fast Finger Frank chasing after a drugged runaway driving a 1975 Firebird down a desolate desert road. Fast Finger Frank collects fingers as trophies, and is on a drug-fueled mission to get every single female digit that he comes across. Inspired by style of Faster, Pussycat! Kill! Kill! and Grindhouse, in the video for “Turn,” we dive into the life and killings of Fast Finger Frank. The band has always been  fascinated by serial killers and what will drive a human being to stoop so low. This is the recurring theme behind our album Speed Demon and our music videos for the record. “Turn” stars Pink Fuzz, David Landry of Boot Gun, The Velveteers, and Noah Shomberg.  

Pink Fuzz.

Pink Fuzz.

Did anything interesting happen during the filming of the video?

Well there are quite a few gory scenes that we shot outside in public places. We had a lot of people walking by or driving by as we were “killing” our victims. That’s always hilarious when you have people genuinely concerned in the background of a shot. Another funny thing was going to the store and buying severed fingers, a turkey baster, fake blood, and then checking out. The cashier’s face was priceless!

Pink Fuzz. Photo Credit:   Vossling

Pink Fuzz. Photo Credit: Vossling

Why did you decide to film a video for this track from ‘Speed Demon’?

This track has a good, fast-driving beat behind it, as well as lyrics that match up to the video content like, “This is the end of the line my friend. Can’t go back now. Seeing life pass on day to day just counting on you. Fading, you’re fading away.” We wrote “Turn” in the perspective of the serial killer. It seemed like the best follow up to “Enough.”

Spooky! What else is Pink Fuzz planning for 2019?

We’ve been working really hard on new a 5-song EP. We wish were able to release it before our upcoming Midwest tour, but audiences will get to hear some of the new tracks live! In our opinion, it is some of our strongest songwriting and best sounds we’ve captured in the studio! We will be releasing it before summer is over. We’ve also got more videos and tour dates to announce sometime soon. For now catch us on the road starting this week at:

6|13 recordBar | KANSAS CITY, KS

6|14 Replay Lounge | LAWERENCE, KS

6|15 AUNTIE MAES | MANHATTAN, KS

6|18 TOTAL DRAG Records | SIOUX FALLS, SD

6|19 The Zoo Bar | LINCOLN, NE

6|20 TBA | COLUMBIA, MO

6|21 TBA | ST. LOUIS, MO

6|22 Liar's Club (ANNIVERSARY PARTY) | CHICAGO, IL

Can’t wait Pink Fuzz! Make sure to check out the band’s video above and keep up with them this summer here.

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

Lettuce's New Record 'Elevate' Will Help You Do Just That + See the Band Live This Saturday, June 15th at Red Rocks

By: Mirna Tufekcic

What happens when a group of award-winning musicians conspire and take three years to incubate a new album? Pure awesomeness, that’s what! I had the privilege to preview Lettuce’s upcoming album Elevate, which drops this Friday June 14th, and boy oh boy, am I excited to share the news! Elevate is a sweet nectar of melodies and sounds emitting only the good vibes you can groove to, hoop to, clean to, and live to! Finally, a spankin’ new, sparklin’ fresh album of 11 songs that make you want to hear more than the record can hold. It’s not often that a band can pull that off these days, so when it does happen the feelings felt are undeniable. Yep, that’s how good it is. Elevate is f*cking awesome.

Lettuce. Photo Credit: Casey Flanigan

Lettuce. Photo Credit: Casey Flanigan

Oh I’m sorry, was it too presumptuous of me to assume you already knew who Lettuce are and jump right into raving about their upcoming album? Forgive me. I’ll start you off on your discovery right here: If you love funky music, then get yourself acquainted with these dudes. They’re super. Lettuce has released something like seven or eight (if you count a live recording session) albums since 2002, and each record has its own wonders and musings, but Elevate really pops, snaps, and crackles with funk and hip-hop, a distinguished horn section, and all-around playfulness in primo artistry.

Based out of Denver, Colorado, Lettuce is a six-member collective of Grammy-nominated drummer and percussionist Adam Deitch, guitarist Adam “Shmeeans” Smirnoff, bassist Erick "Jesus" Coomes, Grammy Award-winning keyboardist and vocalist Nigel Hall, Grammy Award-winning saxophonist Ryan Zoidis and Grammy Award-winning trumpet player Eric “Benny” Bloom.  The band exudes an eclectic, free-wheeling style while embracing a progressive and futuristic vibe, thanks to their love of improvisational music. What I said earlier about it being hard to come across a band today that produces a superb album from start to finish still holds, and Lettuce is a testament to the fact that when you follow in the footsteps of musical giants like Pink Floyd, The Grateful Dead, Miles Davis, and modern-day ensembles like Snarky Puppy, you are bound for greatness. If you want to get to know the members of Lettuce a little more, then are you in luck! A six-part series called The Krewe – A Lettuce Documentary Series is up on the band’s YouTube page and even features an in-depth interview with bassist Erick “Jesus” Coomes, plus behind-the-scenes vignettes filmed during the recording process of Elevate.

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Now, back to the album review of Elevate. Sophista-funkated with oozing swagger, Elevate opens with “Trapezoid” and sets the mood reminiscent of a universe only possible because of Lettuce. “Royal Highness,” the second track on the record, continues deeper into lounge-funk. “Krewe,” the single off the album, keeps the groove in more of a swaying, beachy vibe and you notice yourself grooving a little faster. “Love is Too Strong” is a bluesy funk tune with all the feelings, provided by those undeniably rock-blues guitar riffs. Right smack in the middle of the album is “Gang Ten,” a 13-minute tune you don’t even realize goes on for that long because, yep, you’re still grooving in a sort of perpetually-compelling state of motion. But if you know Lettuce, you know they are not shy about lengthy tracks. There are plenty of those throughout the album.

Elevate also features a couple of tasteful cover tracks, namely “Ready To Live” and “Everybody Wants to Rule the World.” I most love “Purple Cabbage;” in my opinion it’s thee signature Lettuce track on the album. The record ends with “Trapezoid Dub,” and yes it’s got the same name as the first track, but it’s different because it’s, well, like the title implies, tastefully dubby. You see, it’s not just the distinct Lettuce funk that puts you in a trance when you listen to Elevate; there are expanded trip-hop sounds and space-age audio-samples creating a unique atmosphere as the instruments come in together and explode out into the listener’s mind. Boom!

If you’re not compelled by my enthusiastic review of the album, I’m not offended. I would just encourage you to have a listen yourself. Trust me, your ears and soul will thank you. I know mine did. Lettuce is also on a massive tour in lieu of their new album release, so you can see them across the nation. If you want to stay local, they’re playing Red Rocks Amphitheatre this Saturday, June 15th. Check out their website for more deets and dates.

-Mirna

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

Visit 1969 This Weekend at "Quiet No More," A Choral Celebration of Stonewall at King's Center

By: Moriel O'Connor

For the 50th anniversary of Stonewall, the Denver Gay Men’s Chorus and Denver Women’s Chorus are joining forces to commemorate and celebrate this iconic uprising. This Friday June 7th and Saturday June 8th, head to the King’s Center at the Metropolitan State University to time-travel to the Greenwich Village of NYC in 1969.

The riots at Stonewall. Photo credit unknown.

The riots at Stonewall. Photo credit unknown.

Before the uprising, police raids in this village were common and officers were often paid off to dispel violence. It was illegal in New York to be “sexually defiant.” Even dancing together or not wearing gender conforming clothing was seen as an opportunity for arrest. On June 28th, 1969, the New York City police raided the Stonewall Inn and were met with rebellion. A group of people began throwing various objects at the police officers who were harassing them, and the fight for freedom began. This led to future protests and marches throughout NYC. Thousands came together to demand equality and respect. Signs, such as “Gay is Good, “SMASH SEXISM,” and “We are Everywhere” were raised with strong hands.

After Stonewall, the Gay Liberation Front put out a notice that they were organizing. From there, anti-gay legislation was fought for in New York and beyond. The Stonewall Inn became the first national monument that honors the history of LGBTQ rights. This weekend’s chorus will represent the movement through song and visuals with historic and modern projections. Together, they have embodied the struggle into a grand presentation entitled “Quiet No More.”  These Denver performances are in preparation for something remarkable. On June 28th, both the Denver Gay Men’s and Denver Women’s choruses will travel to Carnegie Hall in NYC for the largest collaboration in the history of LGBTQ choruses.

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So come out, come out wherever you are to support marginalized musicians and to partake in the celebration. This show will also remind you that we are not done yet. Fifty years after Stonewall, Colorado is one of only twenty-one states that has full protection for LGBTQ individuals. In states like Alabama, Texas, and Wyoming, it is still legal to deny housing, employment and access to public accommodations to someone based on their sexual orientation or identity. According to the Human Rights Campaign, in 2018, 26 deaths of transgender people, primarily trans women of color, were reported due to fatal violence in the U.S.A. The LGBTQ community deserves to be honored and protected. We must continue to rebel against discrimination and spread truth, acceptance and resilience.

Learn more about “Quiet No More” and purchase tickets here.

-Moriel

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

The River Arkansas Releasing New Record & Embarking on Colorado Tour

By: Mirna Tufekcic

Just when you think there is no room for more blues, folk, country & Americana music in this world, another band pops up and proves its undeniable lure and creative spin on what’s already been done. The River Arkansas is one of those bands that fit that genre, but play with crossing and blurring boundaries as to where they fall exactly. Their sound is just another testament to today’s melting pot of genres that go beyond the box of just blues, just folk, or just country.

The River Arkansas. Photo Credit:   Art Heffron

The River Arkansas. Photo Credit: Art Heffron

The band started in 2014 as a solo project by Mike Clark of The Haunted Windchimes from Pueblo, Colorado. Shortly after laying down some tracks, Clark brought in his friend and bassist Macon Terry. After spending some time playing together, they realized there was something bigger there than just one project. Since then, the band has expanded to include a fiddle player Rachel Sliker, Benjamin Gallagher on the piano, and Robin Chestnut on drums. Each of these musicians is a very talented addition to the band. Together, they give off a heartfelt and wholesome sound which resonates with the Colorado lifestyle of mountain life meets pavement.

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The River Arkansas has played with other Colorado local gems like Grant Farm and the Gasoline Lollipops. The band has released two albums since 2014, and on May 30th they’re releasing their newest album Any Kind of Weather at Syntax Physic Opera in Denver before embarking on tour to several other local mountain venues including the Jamestown Mercantile, Brues Alehouse in Pueblo, Elevation Brewing in Salida, and Deerprint Wine in La Veta.

Any Kind of Weather is a continuation of the band’s effort to blend folk, country, blues and Americana into a smooth concoction. I had the privilege of previewing the album for BolderBeat in lieu of the album release party this week and here are my two cents: The album is certainly country-forward, if not for Clark’s distinct, heartfelt, growling, and raspy country vocals than most certainly for the fiddle, harmonica and banjo sounds that predominate songs on the album, like “Bury Me,” “Big Bald Buddy,” and “Lady Luck.”

Photo Credit:   Art Heffron

Photo Credit: Art Heffron

Many of the songs are easy listening, either moving the listener to a gentle sway, or a light stomp of the feet. Tasteful peppering of the piano throughout the album gives the songs depth that a lot of country music doesn’t experiment with. The drums and guitar of the more upbeat songs like “Balloon Girl,” “Gone in the Morning” and “Mona” add a bit of a rock’n’roll vibe to the mix, allowing some of the songs on the album to break away from a heavy country/folk feel and move into the Americana realm. The slower songs like “Cuernavaca,” “SF Bay” and “Slow Down” take on more of that folky-country-blues tune, giving the album a hardy dose of all the goods. Reminiscent of The Band, Sturgill Simpson, and The Sam Chase, fans of country and Americana are surely going to enjoy The River Arkansas’ junior album Any Kind of Weather.

-Mirna

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

ZEMBU's Latest Track "Human" Reveals How Transformative Art Can Be

By: Julia Talen

Colorado based musician and producer ZEMBU recently released an inspiring and deeply poetic music video for her latest single, “Human”. ZEMBU shared that the song, “Human,” is about the day she learned that her mother had died by suicide. The verse of this indie-pop tune contains lyrics that examine various realms of human nature, and the video itself enhances the single in a variety of ways.

ZEMBU.

ZEMBU.

It opens up with celestial “ooo’s” and flashes of ZEMBU’s body, backgrounded by overexposed landscape shots. The video immediately sets a sort of seeking and inquisitive tone for this art project, as ZEMBU’s “Human” takes us on a journey.

Series of elegant shots of ZEMBU dancing against the sun near the water and the forest roll as she begins to sing. ZEMBU’s vocals have a rich hollowness to them, like there is space for listeners to move deeply into the facets and dimensions of her voice. Her lyrics in this song, such as, “She won’t say goodnight no more/simplicity comes in a haunting form,” invites a similar dive into the subject of suicide and its connection to our humanity.

The use of light in the video also reflects the shadows, undertones, blurriness, and fluidity of the song’s themes. In some shots ZEMBU is over exposed, the light blurring out pieces of her body and creating new shadows, while in other shots we cannot make out the features of her face in the dimmed lighting, as she blends further into the natural background.

Additionally, ZEMBU’s use of dance and the way she organically moves her body in the shadowy and overexposed images and shots of herself in nature also evoke the embodiment of humanness that the song navigates. Her words continue to match the visual vision of this project with lines like “I was so ready to take the blame,” “What if, what if, what if, what if, what if,” and “We are human after all.”

This project uses music, poetry, dance, and film to express and explore, to capture a piece of what it means to be human, and how open and raw that can be for all of us in different ways. ZEMBU’s latest release reveals how transformative, trascendental, and truly powerful all avenues of art can be.

-Julia

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

Dynohunter Ending Their Spring Tour at Cervantes' with New Music

By: Mirna Tufekcic

Live tech-house music is not a frequent occurrence, even if you find yourself attending a lot of music festivals. However, if you are one of the festival goers who really enjoys electronic music, then live tech is what you ought to seek out if you haven’t already! What I’m getting at here festheads is Dynohunter, a live tech-house act you might have seen perform at music festivals across the country including Electric Forest, Summercamp, Joshua Tree, Sonic Bloom, Arise and others. They've opened for some of the biggest names in livetronica including Papadosio, Eoto, Opiuo, Sunsquabi, Ott, and The New Deal, and supported world renowned DJs Shpongle, Bonobo, Infected Mushroom, Klingande, and The M Machine. The trio has been on a six-week nationwide tour as of late, and they’re closing it out on May 22nd by headlining Denver’s homegrown music event Re:Search Wednesdays at Cervantes’ Other Side.To add to the shenanigans, the event will also feature Casual Commander (Sunsquabi), Aaron Bordas (Late Set), Mikey Thunder and Jordan Polovina. Needless to say, if you’re a tech-house fan, this will be one for the books!

Dynohunter.

Dynohunter.

It’s an added bonus if you like to dance fellow festi lover, because a live Dynohunter show is a sure way to be moved. With a sound embraced by fans of house and techno, and a live performance fueled by the organic energy of live instrumentation, their music is undeniable on the dance floor. Trust me, I’ve seen a few myself. The group’s sound is dark and tribal, peppered with worldly rhythms and deep hypnotic grooves tastefully mixed in with hard-hitting dance tracks, uplifting melodies, and soulful improvisations. This trio is truly a breath of fresh air to the world of electronic dance music. The band’s creative ways of blending deep electronic influences with live saxophone (Clark Smith), bass (Fred Reisen), and drums (Nic Thornsberry) forges a new path in the vast expanse of electronic music.

Dynohunter has released 12 EPs and three full-length records in the past four years with no sign of slowing down. Their newest releases “Third Rock from the Sun,” “Lyra” with Eli Spiral, and “Ectoplasm” have been running hot during their current tour. They’re also keeping it fresh with a single, “Night Tripper”, due for release on May 31st which you may just get to hear early if you stop by their Cervantes’ set. Come and get your electro fix on Wednesday, May 22nd and experience Dynohunter for yourself! It’s bound to be a non-stop tech-house dance party. See you on the dance floor!

-Mirna

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

Spread the Word Festival Takes Over Denver this Weekend for Its Biggest Year Yet

By: Will Baumgartner

A testament to the vision, drive, persistence and commitment to musical community of its founder and mainstay Alex MacKenzie-Low, Spread the Word Festival (StW) returns to Denver this weekend with an absolutely explosive lineup at top venues Cervantes’ Masterpiece Ballroom, Levitt Pavilion, and the Denver Coliseum. Now in its seventh year, Spread the Word has grown from its rather humble beginnings to an unstoppable force, bringing international superstars like Karl Denson’s Tiny Universe, and BoomBox to head up another powerhouse lineup of local luminaries including Analog Son, Gasoline Lollipops, TNERTLE, Juno What, Magic Beans, Rob Drabkin, and Mackenzie-Low’s own fantastic band A-Mac & The Height. Colorado up-and-comers like The Reminders, Graham Good & The Painters, Eldren, Jaden Carlson Band, Mama Magnolia, Morsel, Dog City Disco, Float Like A Buffalo, Zagriculture and more will join as well.

Alex Mackenzie-Low.

Alex Mackenzie-Low.

It’s hard enough to keep moving forward and upward in the music business as a bandleader: to add the tremendous responsibility and challenges of putting on a festival, do it year after year and keep it growing, seems almost superhuman. As a member and avid supporter of the Front Range music scene, I’ve watched with considerable awe and respect as Alex has struggled with challenges and disappointments, and still managed to persevere. This year’s Spread the Word looks like a substantial breakthrough, so I was happy to sit down with him and get some insight into the process and rewards.

How did StW get started?

I started it in 2013 because I was really into Denver's music scene and enjoyed promoting shows. I loved the layout of the old Quixote’s on 23rd & Lawrence and got comfortable incorporating all three stages in a single event. From there I decided to launch the first Spread the Word Fest at Quixote’s True Blue on 13th Street in April 2013.

That was [also] the year I graduated UCD with a bachelor's in music business so putting on the festival was also my way of launching out of the college world into the music industry. My old band Green River Vibe had just released an album called 'Spread The Word' and I thought it made a lot of sense for the grassroots Colorado-centric festival I was envisioning.

Had you put on festivals before starting StW, or was this your first?

Aside from the aforementioned mini-festivals, StW Fest is the only festival I put on. This is the 7th year of StW Fest and I'm 27 so I've been working on it the majority of my career in the music industry.

StW has consistently grown over the years, from being comprised entirely of local bands with moderate regional recognition playing in small venues, to the nationally and internationally known headliners and top regional acts in huge local concert destinations like the Denver Coliseum and Levitt Pavilion. How did you get from there to here?

Honestly it mainly comes down to putting in a ton of hard work year after year and making the right connections and keeping relationships strong. I try to keep respect and integrity with everyone I work with and believe it all comes back around when talented people work together. I definitely feel blessed to be working with the team we have this year.

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 What acts are you most excited about at this year’s festival?

 Wookiefoot is my favorite band, so that is an honor, especially with Mike Love. BoomBox headlining the main stage after The Werks will be epic, as well as round two of Spread the Word Family Band. Last year's family band was a treat and this year's super group features members of SunSquabi, String Cheese Incident, Thievery Corporation and Pretty Lights Live Band. Karl Denson to end the weekend will be the perfect finale. Stoked!

What advice would you give to fledgling impresarios trying to put their own festivals together? 

Believe in what you are doing and why you are doing it first and foremost. More practically speaking, find an investor. It’s not cheap and it’s a very risky business. Once you have the funding, vision, location, team, plenty advance notice and the drive to see it through… give it a shot!

A-Mac and The Height.

A-Mac and The Height.

You also lead one of the best bands in the Denver area, A-Mac and The Height. Isn’t it a tremendous amount of work to run your band and a festival of this magnitude? How do you balance the two?

It’s very hard. My free time from January to May is extremely limited. I also book the shows at Moe's BBQ, which is my main day job, so it’s definitely a balancing act. A-Mac & The Height is building our management/booking team, and the team supporting StW Fest has grown which helps. Either way, it’s a labor of love which pushes through all the long days.

The proof that MacKenzie-Low’s labor of love has yielded some spectacular fruit, as the old saying goes, is in the pudding. Get out at and taste it this Friday through Sunday May 17th-19th. Tickets and more info available 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.

Will Buck Returns to Colorado with New Solo Tunes & Old Bandmates

If you were involved in the Colorado music scene four years ago, it was nearly impossible to miss rock’n’roll outfit West Water Outlaws. What started as a Boulder house party act in 2010 soon found themselves selling out The Fox Theatre and touring nationally with acts like The Meter Men, Royal Southern Brotherhood, Jerry Joseph, and Rival Sons. But just as things really started to take off for the Colorado band, they split when frontman Blake Rooker moved to Nashville to pursue a solo career. The members all went their own way and the band dissolved.

Notably, drummer Andrew Oakley joined several successful Colorado rock acts until he formed A Shadow of Jaguar with Brian Hubbert. But guitarist Will Buck had a harder time trying to find his future in music until recently, when he decided to release his debut solo single “Fuse”. Next Thursday, May 23rd, Buck will return to Colorado for a show with A Shadow of Jaguar and Denver’s Boot Gun at Larimer Lounge. We recently chatted with Will about his new music, his plans for 2019, and why he’s excited to be returning to Denver next week:

You’ve had quite the journey since West Water Outlaws’ breakup. Talk to us about how your current solo project came to be.

In the wake of the West Water Outlaws (WWO) split, I went on my first-ever solo road trip of California in February of 2015. I was lost, shattered and completely open to anything and everything that took me out of reality and into ‘the flow’ as I call it. Aside from writing and the inevitable destructive coping mechanisms that I developed, I found that traveling and really winging it or ‘drifting’ was really the only way [to live]. I would go on to live an entire year of my life ‘drifting’ but that’s a completely different conversation.

Anyway, on that first fateful trip I stopped at an old friends place in Orange County and recorded a demo of this song in one day. I’d had that guitar riff in my head since the end of WWO and I needed to get it out. After that, the song sat dormant for 3 years.

Will Buck. Photo Credit:  Summer Taylor Mosher

Will Buck. Photo Credit: Summer Taylor Mosher

What happened next?

After I finally learned to sing, which by the way was one of the most humiliatingly frustrating, yet absolutely, amazingly freeing experiences of my life, I returned to this song. I wrote lyrics and self produced the rest of the song in 2018. However, I still kept the original recordings of the guitar tracks. Something about them just had the angst of a desperate man about to explode that I couldn’t recreate. Even the original guitar solo, which was done in one take, made the song. I couldn’t have come at that solo with as much heartbreak, anguish and sheer destruction as that day, even if I tried. It was like a song in captivity that finally broke free.

Did anyone else work on “Fuse”?

I cut the vocals at Speakeasy Recordings in North Hollywood with a groovy guy by the name of Ross Newbauer. Ross got a great performance out of me and pushed me in a good direction, so I've since started tracking most of my vocals for the upcoming EP with him. Justin Peacock, who I know from my Colorado days, mixed the track and seriously brought it to life, those original, grungy basement guitars and all! He mixed a lot of the West Water stuff so I knew he would kick ass on this one. Brian Gardner mastered, who is a total legend and I'm lucky to even have that connection. I think some pretty notable hip-hop guys gave him the nickname Big Bass Brian in the early 2000s for his work and I must say he doesn't disappoint! With the exception of my great friend Wyatt Strassner’s rhythm guitar part, the rest is me on the loose.

You also recently released a video for “Fuse”. Tell us about that.

Marshall Miller shot and directed the music video at The Public Works in Denver. He has the creative eye of a hawk and the patience of a stalking lion. I came up with this crazy idea for the video and he was down! He made all of my creative visions come true and then some. It was also quite fun planning and shooting the whole thing together over the span of 4 days, which was amazing. Normally video shoots are a one day, 14-hour ordeal in my experience, so I felt very fortunate to take our time with this one.

“Fuse” is about a relationship that has gone toxic. It's neither persons fault, but the sad truth is that even though you crave being around each other, the whole thing just blows up every time you do. Each person holds the power to ignite the other and sometimes you can't resist being lit up by them even though you know it's going to end badly. I think a lot of people have experienced this conflicted mindset in one way or another, so I wanted to portray that in the video.

What inspired the story of the video?

I've had the necklace in the video for years- it was actually a piece I found at the Boulder Art Mart on Pearl [Stree] and I wore it so much people started calling it my "signature piece." Overtime it started to mean more and more to me, almost like my soul if it were portrayed in an image. So like the song alludes to, I'm sort of at the mercy of my soul’s captor after I hand over the necklace to the two masked women in the video. I call them "the experimenters" as they then start to run trials on me once they've retrieved the key to my subconscious. The shots of me sort of floating in an abyss with a light on my face are supposed to represent just that- my subconscious. Marshall sent me some prototype shots of him in this world we described as "the box" early on and that's what sparked the whole idea for the video. Then we came up the other worlds as we referred to them as "the observatory" which is the room where the masked women are viewing me on surveillance footage inside the "container" where I've been stowed away. Only the one female wearing my necklace possesses the power to transfer between the worlds. That female’s name by the way is Bailey Turner and her partner/leader in crime is MJ Szymanski; they did a terrific job and were total pros in front of the camera.

Photo Credit:  Summer Taylor Mosher

Photo Credit: Summer Taylor Mosher

What else will you be releasing this year?

I have a ton of plans for the rest of the year- I don't want to give away too much but I am definitely releasing a four-track EP this summer that I recorded in New York City at Figure 8 Studios with Andrew Oakley on drums and Wyatt Strassner on guitar and backing vocals. And I will be touring surrounding this release! I can't wait to see where it all takes me now that the song is out on all platforms!

Sweet. How do you feel about returning to your old musical stomping ground this week?

I am extremely excited to return to Colorado. I lived in Boulder for 8 years and miss it all the time. It is one of the best places in the world and holds so many special people in it! I am most excited that Andrew Oakley (drums) and Vince Ellwood (bass) from West Water Outlaws’ original lineup are going to join me onstage for my set. That is a dream come true for me- to stand on stage in Colorado with two of my best friends again and rock out for a room of radical people.

We can’t wait to join in the rockfest. Tickets for Will’s show with A Shadow of Jaguar and Boot Gun are here. Keep up with Will Buck and his adventures here.

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

A Fireside Chat with The Beeves on Their Debut Record & More

From left to right: Dahmen, Laffin, Ehrheart & Sease. Photo Credit:  Courtney Farrell

From left to right: Dahmen, Laffin, Ehrheart & Sease. Photo Credit: Courtney Farrell

Since the first installment of “Zach and Pete’s Fireside Chats” went to print a few months back, Zach Dahmen and I had both been itching to get local rock dynamos The Beeves over for a night of campfire, bourbon, and forthright conversation. Coming off the heels of their raw, raucous, and renowned self-titled debut EP, the trio is in the process of rolling out its new full-length record, Adam and Beeve in the runup to their release show on May 17th at The Fox Theatre. We were especially stoked to host them at this poignant moment (with members Ian Ehrheart and Matthew Sease) in our backyard. Also joining us for the evening to take photos was local creative guru Courtney Farrell. The following is a transcript of what went down:

PL: So what’s a Beeve?

IE: Well, technically, a Beeve is just, you know, a Beeve. Slang for vagina.

MS: No, that’s a beaver.

IE: Yes, and beeves is the plural of beeve, meaning one beeve.

ZD: How did you come to this name?

MS: My understanding is that we took this dictionary down to my mom’s basement...

IE: It was a bible.

MS: No, it was a dictionary. I have the dictionary. And we decided the one word we hit was going to be the name of the band, and we had to stick with it. And we did it like three times.

IE: Really? I don’t remember that.

MS: Yeah, because we got, like, “crack.”

IE: It doesn’t say crack in the bible.

MS: That’s because it wasn’t a bible. And we did it again and it was another ridiculous word. And then we hit “beeves,” which was plural for beef, and we were like, oh, that’s actually pretty cool. So we used it the next day for our volleyball team in middle school.

PL: This goes back to middle school?

MS: This was like seventh grade.

IE: This was just after our band The Purple Zebras.

MS: We were going to be The Sun Kissed Nips.

PL: I think you guys made the right call.

MS: So that’s my interpretation of when we got the name. But Ian seems to think we found it in a bible?

IE: We did! It’s in Leviticus. But that wasn’t it. When we actually came up with The Beeves we were looking into a fire quite like this, and in the fire, when we were peeing in it together to put it out, and when the smoke cleared, the red hot embers spelled out “Beeves.”

ZD: So the story here is, they refuse to give us the real story.

MS: Ian and I did go to bible camp together. And we had to stay with the priest the whole time. All of the other kids got to sleep in their own dorms, but we had to stay with the priest and talk to him and confess things.

IE: One time I confessed to touching myself unlawfully.

PL: And I hope you said it just like that.

MS: The only reason I think Ian’s story might be somewhat true is because we were in the religious ed class together.

Photo Credit:  Courtney Farrell

Photo Credit: Courtney Farrell

ZD: How long have you guys been in a band together?

MS: Ian and I have been playing together since sixth grade.

IE: We’ve known each other since elementary school.

MS: I didn’t really like Ian then.

IE: We never got to be friends until sixth grade, when I learned he had a guitar, and we both played guitar. We were in a rivalry until then.

MS: I never liked Ian throughout elementary school because he was really good at sports. And all the girls liked him.

IE: I had the right hair. The swoop.

ZD: You had the Bieber swoop?

IE: It was just at the right time. But then we realized we had guitars and we hung out, and we did it every single day after school. And then we formed The Purple Zebras.

ZD: So when did the third member join?

MS: We had a couple drummers before Will [Erhart]. But he was always part of the picture.

IE: We had some guy who wanted to record us one time when we were in seventh grade and Will did the drums… this creepy guy in Erie who lived in a trailer and just sat there and chain smoked next to us the whole time.

MS: We recorded an AC/DC cover.

PL: When did you know that you wanted to do this seriously?

MS: We always knew we’d do this. We’ve stuck to the same mentality since seventh grade.

IE: We were writing lyrics together in math class.

MS: It’s all we wanted to do.

IE: The first show we did was an open mic in Louisville.

MS: We did our own punk rock version version of “Wagon Wheel.”

IE: Pete, cut that part out.

PL: I talked to your father after your last Fox show, when you guys packed the place, and he was all teared up and he told me this story about how you [Ian] got tossed out of the Fox when you were in early high school.

IE: That’s why we’re doing the release at the Fox. That was where we first saw live music and the potential of what we could do.

MS: The first concert we ever went to by ourselves was at the Fox. We took the bus to the Boulder and we just kind of knew that the Fox was on The Hill. We didn’t even know where it was.

IE: We didn’t even have a ticket because we didn’t know we had to buy tickets to shows. So we just went up to the box office and we were like, “Hi, we’re here for the show.”

MS: We went up to the front, hands on the stage, watching the show.

IE: We told ourselves, “We are going to play on this stage someday.”

MS: That’s why we used to play on Pearl Street. We thought someone from the Fox would like, willy nilly, walk by and ask us to open up at the Fox someday.

IE: We were more lucrative [busking] on Pearl Street than anywhere.

MS: One day we made like $350 and a pack of cigarettes and a condom. But let’s get back to that show Ian got kicked out of. That was at The Expendables. It got a bit rowdy and we’d never crowd surfed before. And Ian was dead set on crowd surfing. So he got up on the stage and fell backwards, and they pushed him back up on the stage.

IE: And then I ran into the bouncer.

MS: And the bouncer immediately throws him out, and I’m like this eighth grader standing there alone.

IE: And from my point of view, somebody just grabbed me and literally pushed me as hard to the curb as they could. And I was like, “What’s happening right now? Is this part of the show?”

ZD: So you definitely weren’t drinking there?

IE: We didn’t even know what alcohol was.

ZD: So this is just sober Ian being pretty extra?

MS: And then we were trying to re-stamp my hand outside on your hand…

The Beeves’ Ian Ehrheart and Matthew Sease. Photo Credit:  Courtney Farrell

The Beeves’ Ian Ehrheart and Matthew Sease. Photo Credit: Courtney Farrell

PL: Let’s talk about the studio recordings. The first one was super lo-fi, and you pretty much did it yourselves.

IE: Oliver from Slow Caves recorded us because we didn’t know shit about microphones or recording. He just loved the songs and really wanted to help us out.

PL: I fucking love that album. But you never play those songs anymore.

MS: Well we kind of got labelled as a “ska” band and that kind of turned us off to a bit, because we never saw ourselves as that.

ZD: You don’t even have any horns.

MS: But we got labelled as a ska band! Fuck!

Photo Credit:  Courtney Farrell

Photo Credit: Courtney Farrell

PL: Who is the best musician in the group? The easiest one in the studio?

IE: Matthew is the best musician and is the best at his instrument.

PL: Who do you rally around in the studio?

IE: It’s equal.

MS: It’s interesting to see when Will chimes in because his input his valuable. Because Ian and I are always butting heads and trying to come up with an answer.

IE: Will has become such a good drummer. At this point he knows probably the most about music. I’ve always been the one who doesn’t know shit but has big ideas. Matthew can usually flatten that out and make something out of it with his bass lines.

ZD: It sounds like elements of conflict are part of your process.

IE: It’s all about compromise. Which is valuable, even though it’s hard.

Photo Credit:  Courtney Farrell

Photo Credit: Courtney Farrell

MS: I think you and I after all these years trust each other’s instincts.

PL: Are you guys going to be together in five years?

MS: Yes.

IE: Oh, yeah. Undeniably.

MS: With all sincerity.

ZD: That’s the right answer. They say if you know someone for seven years, you’ll know them the rest of your lives. You guys kind of have a brotherhood at this point.

IE: It is like that.

MS: Ian is the most important person in my life.

PL: So Nate Cook. Let’s hear it. He’s lifting you guys up quite a bit the past year or so.

MS: He’s just a tornado of creative destruction.

IE: He pushed us in a different direction. We were so surprised he even wanted to do this. I was the biggest fucking Yawpers fan in the whole world. When they asked us to open for their album release show, I was like, “Oh my god…”

PL: In a sentence or two, what has the experience of working with him been like?

MS: He put us on a platform and he didn’t stand for any bullshit in the studio. He just kept pushing us and pushing us until we broke.

ZD: That sounds really intense.

IE: For me, it was every single song. Anyway anything I did was fucking terrible.

MS: It was terrifying to perform for someone like that who we’d idolized like that. But he had a respect for us. We played raw like him. We weren’t musicians who were trained theoretically.

ZD: So this album must have a lot of spontaneity.

MS: It was only five days of recording, and we had ten tracks. Some of the songs weren’t completed when we went into the studio.

IE: I lied to him and told him we had enough songs to record an album. I was going upstairs from the studio in between when I had to play and writing lyrics.

MS: Part of the beauty of the album was that it wasn’t put together before we went to the studio. We had to write it in those five days.

Photo Credit:  Courtney Farrell

Photo Credit: Courtney Farrell

IE: Every day we had to get a certain amount done, so we just did it.

PL: What does this release mean to you?

IE: It means moving on. Letting shit go, and getting onto the next thing. I’m so fucking over it.

ZD: What are you proud of about it?

IE: I think it’s going to be a base for us. I think these songs are good.

MS: I agree. When I look at is as a whole, I think it’s a full entity, ten full songs, and I’m proud at how much we put into that and how hard we pushed each other. We’d never been put under that kind of stress before. I think I’m a bit more proud of it than Ian in that way. I’m proud of what I did in the studio.

PL: That’s refreshing to hear. The default answer when you ask a musician is that they could have done better. But for the most part, people are proud of what they make. It’s nice to hear someone say it.

MS: I really want people to listen to the album. Sit down and listen to all ten tracks. And then actually give us the time of day. Half the time we are trying to get people to just take us seriously because we’re so fucking young. But we’ve been doing this for a long time. It shouldn’t matter anyway. If you care about what you’re doing and care about this art, and you really value the music, it doesn’t matter how old you are.

The Beeves self-titled debut record drops everywhere this Friday, May 17th. Catch them at The Fox Theatre the same night. Tickets 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.

Denver's Underground Music Showcase Announced Their Entire Lineup Today

Denver’s favorite music event of the summer is back for 2019! Get all of the details:

Who: The Underground Music Showcase (UMS), Denver’s largest and most iconic music festival, just announced the full 2019 lineup and will once again bring an array of acclaimed national and local artists, creatively curated stages, and host endless surprises across the three-day showcase.

From Friday, July 26 through Sunday, July 28, the 19th annual Underground Music Showcase will return to the historic and hip Broadway corridor just south of downtown Denver.

What:  The just announced 2019 UMS lineup, with performances by more than 200 artists, includes national headliners Honne, Chicano Batman, Black Mountain, Tuxedo, Earthgang, and Still Woozy.

Supporting artists include Empress Of, Yves Tumor, DRAMA, Sophie Meiers, LEIKELI47, Y La Bamba, Gardens & Villa, William Elliott Whitmore, Miya Folick, Tessa Violet, Haviah Mighty, Liza Anne, Spooky Mansion, Greyhounds, Dressy Bessy, DBUK, SWSH, Kainalu, Jackie Mendoza, Clavvs, Rapperchicks, Rich Jones, Divino Niño, Parallelephants, Deezie Brown, Garrett T Capps and more and more than 200 acts from across Colorado. View the full lineup here.

When: Friday, July 26 – Sunday, July 28

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“UMS is a strong representation of all types of music. This year’s lineup of national and local bands was strategically designed to showcase the volume of musically talented individuals Denver has grown while also inviting some national acts to crash the party. Denver’s music scene is growing and shaping into something special, something worth putting Denver on the map as a nationally recognized ‘music city.’ We have put our heart and soul into ensuring UMS helps grow that positive image for all Denver artists while keeping the soul of this underground music community alive.”

— TOBIAS KRAUSE, EVENT DIRECTOR OF UNDERGROUND MUSIC SHOWCASE

Photo Credit:   Nikki Rae Photography

Photo Credit: Nikki Rae Photography

Where: The Underground Music Showcase takes place in a multitude of venues along Broadway, in Denver, Colorado. More details on specific stages and locations will be announced closer to the festival.

Three-day weekend tickets are now available for $50. The three-day weekend tickets include general admission access to all musical performances and all stages, all weekend long. To purchase tickets, please visit: https://www.undergroundmusicshowcase.com/tickets.

Why: Denver is on its way to becoming a globally recognized music city with locally organized festivals like UMS leading the shift towards more immersive, live music events. UMS is the perfect representation of the vastness of incredibly talented artists from in and around the Denver metro area, showcasing the city’s growing music scene.

Two Parts purchased UMS from The Denver Post Community Foundation in January 2018. Since taking over the festival, Two Parts has worked to expand the number of outdoor stages and experiences and to continue building on the success of the past 18 years.

Grab your presales here!

Premiere: LiteLvl's New Music Video Is an Ambisonic Audio & 360-Degree Visual Experience

LiteLvL released their debut single “Boost Your Immunity While You Sleep/Inspire Photosynthesis In Plants” last week. The duo, comprised of Katey Sleeveless (Eros & the Eschaton) and Jay Marz (King Eddie), are self-described as “installation soundscore.” Today, we’re proud to premiere their debut music video for the track:

“Boost Your Immunity While You Sleep/Inspire Photosynthesis In Plants” was mixed with ambisonic audio, which means just like the video itself, the sound is also three-dimensional. Filmed at Moon Magnet Studios, the video features LiteLvl members Katey Sleeveless and Jay Marz, Andy Ai & Kevin Netz on visuals/projections, and dancers Kailani Dobso & Holly Seidcheck. Videographer Ben Tyson of DenVR is behind the entrancing, psychedelic video experience.

LiteLvl. Photo Credit:   Julianna Photography

LiteLvl. Photo Credit: Julianna Photography

“As you move, you'll hear different things. When you look at one guitar amp, you'll hear more of it. When you turn around, it'll feel like that amp is now behind you, and you hear the second amp in front of you louder.” frontman Jay Marz said of the trippy, mylar-fueled experience.

The band play FoCoMX - Fort Collins Music eXperiment this Saturday, April 27th at 4PM at Art Lab Fort Collins.

Keep up with LiteLvL here.

Denver's Major Glen Release Two New Singles, “Violent Streets” & “Weathervane"

By: Norman Hittle

Major Glen, the lo-fi/alt-punk rock trio from Glendale, have just dropped a couple of new singles, “Violent Streets” and “Weathervane.”

The first of many songs from Major Glen since 2018’s self-titled debut, the band will be releasing a new single each month from March to June, and then will be releasing the entire album on vinyl.

Says band member Barrett, “The nature of streaming has forced us to rethink how we submit our music to the public. The new single methodology seems to be working out better than just dropping an entire album and hoping for the best.”

Major Glen.

Major Glen.

Aside from some new sounds, Major Glen will be headlining Streets of London Pub in Denver on Friday May 3rd with The Jinjas and Octopus Tree. Snag event details here.

Keep up with Major Glen 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.

More Than 20 Years Later, The Acid Mothers Temple Continues to Carry On Their Free-Spirited Way of Life

By: Adam Cabrera

Though perhaps far past their prime, The Acid Mothers Temple & The Melting Paraiso U.F.O. continues to carry on their free-spirited way of life pertinent to the beatnik soul collective that the group helped found over two decades ago.

The Japanese psychedelic/noise band, who have played a significant role in the psych revival of the past two decades, performed at the Larimer Lounge on Monday night. Though I had the feeling that the band may have lost some of its muster since their heyday in the ‘90s, their bohemian personality and genuine passion for live performance made for a unique show experience.

Yamantaka // Sonic Titan opened for the headlining act, a five-piece psych/metal band whose diabolic guitar meddling, dark organ sounds, and powerful vocals effortlessly captured the attention of the crowd and got them moving. Faces painted and wearing decorative costumes which resembled traditional Japanese attire, their performance had a theatrical and often menacing tone as if the music was tapping into some ancient oriental mysticism. But the strange and experimental attitude of the band was only the tip of the iceberg compared to the following act.

AcidMothersTemple.1.jpg

The Acid Mothers group is just a small part of the larger collective led by founding band member Kawabata Makoto. “A group of social dropouts of every description – musicians, dancers, artists, farmers, channellers, ex-yakuza, mermaid researchers and professional vagrants” as the band describes it. So, as the group began to gather themselves onstage to set up their equipment, it was clear each member jived with the nonconformist mantra of the collective.

Kawabata, with a head of long unkempt hair and casually touting a pair of paisley bell bottoms, oddly unpacked his gear out of a grocery basket showing perhaps how he never felt the need to buy cases for his equipment. Likewise, the band’s vocalist, Mitsuko Tabata adorned themselves with a purple cape and orange wig while Higashi Hiroshi played synthesizer; not touching a single key throughout his performance. It seemed he much preferred the alien-like whirring of the machines pitch generator.

Drummer Satoshima Nani humorously came dressed in runners shorts and a loose workout shirt. During the show he pounded relentlessly behind the kit; so much so that he broke his sticks halfway through the set and by the end of the night, he was drenched head to toe in sweat, which explained the runner’s getup.

Together the band was a curious group of misfits who in every action displayed just what the AMT collectives motto states, “Do Whatever You Want, Don’t Do Whatever You Don’t Want!” In their largely improvised set they similarly denied any of the usual trappings of traditional rock performances. And in winding psychedelic jams, they would regularly devolve into ear-splitting noise freakouts or relax comfortably into tranquil sonic meditations.

However, despite the youthful energy of the music at certain points during the evening, the oldest members of the group did show their age. Kawabata often would lean against the wall providing relief from standing for so long. And on one occasion, amid Higashi’s long white hair, you could see him wince as he rubbed his sore back. They may have been long past their prime, but their performance surely was one of the most energizing I’ve seen in recent months.

Before the show, I spotted Kawabata hard at work on his computer, most likely plugging away at the multiple AMT projects he is apart of, and as soon as the show ended the band ran to the front of the club to run their merch table. It’s plain to see that nearly 24 years after their start in 1995, they remain true to their carefree and untroubled beginnings with the AMT soul collective as the band continues to tour the U.S. independently. Over the next few months, be sure to catch them live as they make their way across the country as part of their 2019 North American tour.

Keep up with The Acid Mothers Temple here.

-Adam

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

LA's Balto Making Two Stops in Colorado This Week

By: Mirna Tufekcic

Balto is a brave Americana-rock band hailing from the City of Angels who will grace us with their presence right here in our own Denver, Colorado this week. They are playing in Loveland at 5030 Local this Friday, April 12th, and then coming to Denver on Saturday, April 13th to play at the Black Buzzard. Oskar Blues’ Denver bar is the perfect setting for this band, and for you to go enjoy local brews while lubricating your ears with the boozy, swaggering style of American music rooted at the intersection of Motown, Big Star, Plastic Ono Band-era Lennon, and Jackson Browne. When you’re listening to Balto’s music, it paints an open-road landscape of nostalgia. Basically, they make you feel like a character from one of Jack Kerouac's novels.  

Balto.

Balto.

And these guys are going places. They’re already on their way, actually. Balto’s newly released single “Black Snake, Mojave Blues was featured in Rolling Stone’s 10 New Americana and Country Songs. They have over 3 million listeners on Spotify, and have supported nationally touring bands including The Revivalists, Blind Pilot, David Nail, and Current Swell.

Balto is also on the “Top 20 Sessions”of 2018’s Jam in the Van. You can check out their video above, or watch their new live video from BalconyTV. Make sure to catch their Colorado shows this week and keep up with Balto here.

-Mirna

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

First Listen: Whiskey Autumn's 'Modern Doubt' Is a Synth Pop Hollywood Dream

Today, we’re proud to premiere Whiskey Autumn’s new record ‘Modern Doubt.’ The Denver four-piece are releasing the record this Friday, April 12th at Lost Lake Lounge with fellow Denver bands The Milk Blossoms, OptycNerd, and a DJ set from Motion Trap. Synesthesia, who hosted The Pink Party earlier this year, is presenting the show. Take a listen:

 ‘Modern Doubt’ is the follow-up to Whiskey Autumn’s 2017 EP Ice Cream In The Sun. The first single from the album “Birds That Flew,” premiered with 303 Magazine, followed by the premiere of “Let’s Go Sailing Instead” on CPR’s OpenAir. The studio recording of “Monochrome Actress” premiered with our friends at Ultra5280 recently, and the band’s live music video for that song just debuted with Westword last week. Whiskey Autumn will also be on CPR’s OpenAir this Friday for a live session in support of their release and Lost Lake show. Clearly, this is a Denver band with a trajectory worth watching.

Whiskey Autumn. Photo Credit:   Vossling

Whiskey Autumn. Photo Credit: Vossling

Overall, ‘Modern Doubt’ is a psychedelic pop rock album with an overarching theme rooted in modern anxieties such as technology, political doubts, and navigating an always connected world. The album features dancey synth lines, jangly beach guitars, a Hollywood film noir sample, natural sound interludes, and produced hip-hop drum breaks. The record was written by frontman Greg Laut, produced by band members Laut and Jason Paton, mixed by Chris Scott (OptycNerd, Young The Giant) and mastered by Jim Wilson (David Byrne, Neko Case, The Yawpers). Recently, Laut answered a few questions for us about the band’s new record, Friday’s show, and Whiskey Autumn’s 2019 plans:

Tell us more about ‘Modern Doubt’.

Modern Doubt was written and recorded throughout 2017 and 2018 and reflects my experience of the tumultuous landscape of our current times. My bandmate Jason Paton and I threw out any preconceived notions of what our sound is supposed to be and challenged ourselves to create a record that transports the listener to the world that each song exists in, whether it be a dreamy beach, an old Hollywood film, or a crowded airport. For us, that meant looking at the songs through a cinematic lens and setting the scene with natural sound samples and production choices that catered to the storyline.

That’s really cool. It seems like you’ve already had a lot of attention surrounding this record. What else can you tell us about the release show this Friday?

This will be a Whiskey Autumn show like you've never seen before! We have a new rhythm section and a batch of new songs that will be played live for the first time. Synesthesia is presenting the show and they're bringing along Andy Ai and Kat Phenna who will be providing dystopian, film noir visuals that tie into the themes of Modern Doubt. It's going to be a wild night!

What else can we expect from Whiskey Autumn in 2019?

You can expect a vinyl release of Modern Doubt later this year, summer tour dates to be announced soon, and more surprises coming your way in the next few months!

Catch Whiskey Autumn live this Friday, April 12th at Lost Lake Lounge for the release of ‘Modern Doubt’. Tickets are $10 right now if you Venmo @whiskeyautumn; $15 day of show. Find more information on Friday’s gig at this link and keep up with Whiskey Autumn here.

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