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.

Premiere: Denver's Boot Gun Debuts with a Bang with Two Singles & a New Music Video

Denver’s Boot Gun have entered the Colorado music scene with a serious bang. Today, the three-piece are releasing their debut single and video for “Virginia,” a high-energy rock’n’roll track with a Southern twang, and a rebellious video featuring a slew of Denver haunts to match. And folks, one thing’s for sure, the trio comprised of Keith Lawrence (guitar/vocals), Davie Landry (bass/vocals), and Cody Hart (drums), have brought the party.

“Virginia” was recorded and mixed by Todd Divel (The Yawpers, In The Whale, The Velveteers) of Silo Sound and mastered by Hans Liburd of Burdhouse Mastering. The video was directed and filmed by Colin Anders of Slice Cinematics (Nathaniel Rateliff & The Nightsweats, A Shadow of a Jaguar, Dragondeer). Boot Gun also featured several friends on the track’s instrumentals including Bullfrog Baugh on harmonica, who makes an appearance in the video about 40 seconds in, Sam Janik on guitar, and Bill McKay on organ and piano.

Says frontman Keith Lawrence about the track, "Virginia came to me in multiple dreams last summer. I showed the boys the main riff and they said ‘Sounds great. Where's the rest of the song?' I told 'em I had to go back to sleep to hear [and] see the rest of it. A few months and a couple of disco naps later, we had us a rock’n’roll ripper."

A ripper it is indeed. “Virginia” is a boot-stompin’ tune rife with slashing rips, harmonica twang, and a jangly toe-tappin’ keys solo that will force you on your feet. Some of that energy didn’t enter the track until the boys rounded things out in the studio though.

Says Keith, “As a band, we all believe that a song isn't finished being written until we record it. Todd at Silo pushed for certain creative ideas that we were able to let shine on these tracks. Having Bill McKay sit in on keys helped round out the sound and bring our musical intention into fruition."

Boot Gun. Photo Credit:  Mountain Trout Photography

Boot Gun. Photo Credit: Mountain Trout Photography

Along with “Virginia” and their debut music video, Boot Gun also released their B side “Feels Like A Storm” today. While “Virginia” takes you on a wild ride, quite literally in the video, “Feels Like A Storm” is the moodier, heavy-hitting track from the trio.

Says Davie, “‘Storm’ is a song that we wrote collectively. It started with Keith singing but never felt completely right. So we argued and laughed, and laughed and argued, and I was forced to sing it… In the end, it became the beast that you're listening to today."

You can listen to “Virginia” and “Feels Like A Storm” on all major streaming platforms and catch Boot Gun live at Cervantes with Dave Watts & Friends on Friday, April 12th.

Says Davie on Boot Gun’s debut, “It’s a young band's take on all the rock’n'roll we love and grew up on. We go from A to Z, then back to A just make sure you're still with us."

Join that trip and keep up with Boot Gun here.

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

Lightning in a Bottle Releases Incredible Lineup, Offers Much More Than Just Music

By: Benjamin Tillis

Now taking place in Buena Vista Lake in central California, two hours north of Los Angeles, Lightning in a Bottle will host 20,000 attendees from May 8th-13th this year, instead of its typical Memorial Day Weekend dates.

After festival creator DoLab announced a new date, location, and capacity for their “transformative festival,” LIB fans were anxious to see the Phase 1 lineup released February 15th. It is safe to say people were pleased.

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The biggest names on Lightning in a Bottle’s Phase 1 lineup for its Lightning, Woogie, and Thunder stages include Disclosure, who went silent after releasing their last full album, 2015’s Caracal, along with Big Gigantic, Santigold, Lane 8, G Jones, and Polish Ambassador.

This year the festival also seems to appeal to a more indie jazz vibe with musicians like Toro y Moi, Khruangbin, and a much anticipated “3D” set from Flying Lotus topping the lineup.

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There are still two stage lineups that have yet to be announced, Pagoda and The Grand Artique, which bring one of a kind musicians and theatrical acts you won’t see at any other festival.

DoLab does a great job year after year of bringing in unique and up and coming artists, but they also curate a festival with so much more than music. With a focus on sustainability, social cohesion, personal health, and creative expression, there is so much to experience at Lightning in a Bottle, including yoga classes, sound baths, and creative workshops. It truly creates its own culture that encourages you to express yourself however you feel.

For more information on the festival and for tickets, check out LIB’s website.

-Ben

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

The Strange American's "Till You're Told" Music Video Is Symbolic Of The Musician's Journey

By: Sam Piscitelli

As a musician, whether you’re a solo artist or in a band, there is this acknowledgement that comes with garnering a certain amount of fans or receiving positive praise. It’s as though you are no longer a lone act playing your songs in your bedroom; instead you seem to be a well-known somebody. From there, all seems like it will move upwards rather than careening into a haze of obscurity. But, what people don’t know is the long-haul you’ve placed yourself in; the countless times you  practice your craft, the stomach-turning preparation of every interview or review of you and your art, and the unnerving fear that as quickly as your dreams were made, they can just as easily disappear. In their music video for “Till You’re Told” the Strange Americans symbolically covers the landscape of the music business while also relying on the talent that brought them their success.

The video begins with each band member on their own, forging their individual paths. They all carry one item with them, the items being symbolic of who the band is when they come together. The symbolism in the music video is very subjective, but to me each item plays off one another. For example; the lantern is for the fire the band has inside of themselves, the sticks are the framework of the band, the amp is the way in which they express themselves through music, the shovel is about burying the past, and the suitcase is for the accomplished dreams they wish to carry with them one day. With their now unified front, the Strange Americans then begin to traverse the land together. To me, this shows that while they are further than they’ve ever been before, they’re still on the journey. It’s a music video that reflects upon anyone’s time in the music industry. You can walk for miles with the passions you have, the items you bring along for the ride and create as much as you want, but nothing is certain.

While the symbolism can- and mostly likely will be debated- we can’t ignore how this video catches the heart of the struggling musician. It’s a message that no matter how much you go through from the very beginning till the end of your make or break career, that nothing will be set in stone, especially your reputation “Till You’re Told” otherwise. In a business that is continuously changing, the only thing you can be sure of is the work you put out into the world. Once it’s out there, it represents you and that’s what matters. For a video that has a lot of hidden meanings, it’s untold truth is undeniable.

Keep up with the Strange Americans here.

-Sam

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

Review: American Grizzly's "In The Distance" Is A Journey Of Letting Go & Letting Be

By: Sam Piscitelli

In the course of our lives, we find ourselves repeating the cycle of dating: letting someone in just to realize later on that they aren’t right for us or that we aren’t right for them. If we’re lucky the cycle can be halted, if not we can become restless while pining for a long, overdue break. Rather than focus on the journey what love has set itself up to be, we focus on the peaks and valleys it provides. American Grizzly’s new single “In The Distance” beautifully depicts the acknowledgement of this bittersweet hardship through the lenses of letting go and letting be.

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While a myriad of breakup songs are delivered as either searing letters of revenge or false betterment, “In The Distance” withdraws from the normalcy that is placed before it. Rather, it relishes in the luxury of time, the perspective it’s given and the ability to move forward knowing that, this one particular love is buried and in the past. It’s a strong shot of truth and accountability, followed by understanding and acceptance. American Grizzly’s execution is not only flawless and refreshing, but showcases that the band is willing to go the unseen route to pursue what their truth is rather than capitalizing on current music trends for fame or fortune.

American Grizzly is a shining example of the difference between creating music and curating it. They write for their music to be sustainable through the years, not to just be a flash in the pan. “In The Distance” is a testament to that, through emotional intellect and a heart on the sleeve approach we are introduced to a song that is well-crafted and forged with the utmost care and respect. If “In The Distance” is only the single released so far, then the forthcoming album will be a record to remember.

Keep up with American Grizzly here.

-Sam

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

Hat Trick Debuts Video Launch Featuring Arkansas' Couch Jackets

By: Julia Talen

Hat Trick, based out of Silver Street Studio in Ashland, Nebraska, is a new, promising recording and film project featuring up-and-coming musical artists. The production and film crew shoot artists performing three consecutive songs in their studio, free of charge for musicians. The bands that perform then receive equally split earnings from the video, which is posted on Youtube. Hat Trick recently released their first session with Little Rock, Arkansas-based psychedelic indie rock band Couch Jackets.

Hat Trick engineered a really nice sound quality in this short session. We can clearly hear the builds in each track, the folksy, lineal drum (played by Hunter Law) in “Elephant Tusk (Helluva Musk)”, the mesmerizing, flowing-and-ebbing interlude that carries viewers into the final song, and the unique and essential twinkly layers of the band’s keyboard (played by Harry Glaeser). Additionally, the video and studio’s sound mixing highlight the unique blending of vocalist/guitarist Brennan Leed’s Mac DeMarco-esque vocals with vocalist/bassist Ben Eslisk’s wide-ranging voice.

The session’s film quality also deserves a mention. Viewers don’t just get a shot of the entire band recording. We see different angles of the band, close ups on solos, and Hat Trick’s film quality captures the band’s versatile, super funky vibe, one that’s been described as, “progressive psych rock with a groove that… sounds like an alligator's eating [the band].”

Couch Jackets.

Couch Jackets.

For newer musical artists looking for a sweet studio experience as well as the opportunity to progress in the music scene, and for music-junkies searching for new music, scope out Hat Trick’s creative project and endeavor and look out for more sessions in the near future.

-Julia

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

Premiere: Spiral Cell Debut New Trippy Music Video for "Consonance"

By: Norman Hittle

“Consonance,” the second official music video from Spiral Cell debuts today. Don’t let the maze in the tree rings keep you guessing- watch it right here:

For those of you familiar with SC’s concepts, this video fits the canon of what you likely already know as far as plot lines go, but for those not fully aware, perhaps a quick trip through The Maze in the Tree Rings will give some perspective.

The video conveys a clean array of artistic shots tied together in a stylistic approach, directed by Noe DeLeon. Contrary to the layout in SC’s debut video for “Prologue” (where the video was centered more on a cinematic approach), “Consonance” highlights more of a taste of the live experience brought to the table featuring the man behind the mask: Scott Uhl. With his myriad of looping pedals and instrumental setups, it’s easy to see how his meticulous work makes for the engaging one man show that is Spiral Cell.

As for the project in general, Scott and his crew sum it up perfectly: “Spiral Cell is an immersive, theatrical, multi-level experience of music, storytelling, visuals, and art. Musically, Spiral Cell combines elements of movie/video game scores, layered vocals, dynamic guitar playing and multi-instrument looping. Add in a storyline with visuals, dialogue, and a synchronized light show and you can begin to grasp the live experience.”

Keep up with Spiral Cell on Facebook, and for the full experience, check out their next live performance January 27th, 2019. Event details 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.

Fast Car Slow Car Has Us Dreaming About "Waffles"

By: Julia Talen

Philly-based bassist Breshon Martzall of The Districts’ offshoot project Straw Hats has ventured into his own side project called Fast Car Slow Car. He recently released a music video for his latest single called “Waffles” and it’s definitely worth a watch. The trippy video embodies a DIY vibe, gritty and not overly-produced, containing intriguing visuals, contemplative themes, humor, and rad wackiness.

The video opens with Martzall standing in front of a blank wall with an animation projected onto it, and corded phones hanging upside down; a very peculiar, inverted world evocative of the track’s lyrics “I feel so upside down on picture perfect days.” The opening shot is a play on perceptions, reality, and truth, priming viewers for the remaining scenes and shots of the film. As the video progresses, multi-colored shapes like circles, squares, and hearts distort, focus in on, or cover up parts of each frame, elevating the videos themes surrounding confusion and search for clarity.

The self-aware intermission in the video made me chuckle, filled with silly factoids about waffles, offering a reminder to not read too deeply into the trippiness of the video and perhaps the world’s general absurdity. Either way, the project evokes, intrigues, and invites a rewatch.

Keep up with Fast Car Slow Car 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.

Premiere: Future Joy's New Music Video for "Thirsty" Is Saxually Satisfying

Denver’s Future Joy are known for their sultry sax sounds. They’re self-proclaimed as a “saxually active glitch hop” outfit and 303 Magazine recently called their new self-titled record the “sweet spot between the heavy hitters and sexy saxophone serenades.” Today, the band dropped their music video for the track “Thirsty” and we’re stoked to premiere it for you here:

Future Joy, comprised of Zach Simms on saxophone (MLIMA) and Frederic Park on percussion, is a seriously tasty combination of all things electronic with sax, funk, and hip-hop thrown in. The result is saxually satisfying, and “Thirsty” feels like a banger from its opening riff.

Annabelle.

Annabelle.

Denver’s Annabelle, whose whisper vocals are featured on the track, stars in the video alongside dancers Gina and Sheridan. Annabelle choreographed the video, which was filmed and edited by Connor Tieulie. She also sings on much of Future Joy’s latest record.

The video’s location may look familiar to some Denverites- it was shot at Tetra Lounge and The Bolt Factory; later Jeffrey Charles Stanley added in the animations and graphics. These give the video a real psych party vibe.

Said Simms of filming the video, “We didn’t have too much planning- we just went with the flow of the locations and let the editors do their thing.”

Simms and Park.

Simms and Park.

The track “Thirsty” was recorded in Simms’ living room before the duo made their way to Side 3 Studios for finishing touches, which included Annabelle’s vocals and her opening a can of seltzer water because everyone knows LaCroix is the best way to booze these days.

Simms and Park have already started working on their next record, and are planning for an early 2019 release. Prior to, they’ve got a Colorado tour in the works, so keep up with their live dates here and turn up with “Thirsty.”

#SheShreds: Rockygrass Celebrates Breaking Through the "Grass Ceiling"

By: Riley Ann

In light of of the #MeToo movement and “The Future is Female” shirts, this year’s Rockygrass certainly took some cues from the times. In addition to the staples of the Planet Bluegrass stages (including Sam Bush, Tim O’Brien, Peter Rowan, and more), a spotlight shone brightly on the women who have become pillars of the “who’s who of bluegrass.”

The First Ladies of Bluegrass. 

The First Ladies of Bluegrass. 

 

One of the crowd favorites of the weekend was the Friday set featuring Alison Brown, Becky Buller, Sierra Hull, Missy Raines, and Molly Tuttle, each the first woman to earn International Bluegrass Music Association (IBMA) awards on their instruments. They’ve been dubbed “The First Ladies of Bluegrass” for this achievement.

In the set, Sierra Hull acknowledged Alison Brown, who was the first woman to ever earn an IBMA nearly three decades ago in 1991, which happened to be the same year Hull was born. Brown also earned the Distinguished Achievement Award in 2015, which IBMA states is the “highest honor IBMA bestows outside of induction into the Hall of Fame, recognizing forerunners and ambassadors for bluegrass music.” Hull, who is 26, shared that when she was a little girl, she loved Brown’s album Fair Weather and still does, saying, “It’s such an honor to share the stage with Alison- and all of these incredible trailblazing ladies!” The set oscillated from sweet harmonies to rip-roaring bluegrass breakdowns, and between tunes the musicians gave frequent props to each other for what they’ve contributed to the modern history of bluegrass, like in regards to Missy Raines, who has earned an IBMA for Instrumental Performer of the Year on bass seven times. “We like to say that in bluegrass, Missy reigns!” they said.

The weekend featured a variety of women outstanding in their field, including Della Mae, an all-female band that earned a Grammy nomination for “Best Bluegrass Album” for their record I Built This Heart in 2015. During their set on Saturday, Celia Woodsmith, current frontwoman for the band, also gave a shout-out to the “First Women of Bluegrass,” noting the two consecutive days of all-female bands in the lineup. She hollered, “Rockygrass, you’re doin’ somethin’ right!” and the crowd roared.

Sunday’s spotlight included the Lyons Bluegrass Collective, featuring local powerhouses KC Groves (of Uncle Earl), Bonnie Sims (of Bonnie & the Clydes), Natalie Padilla (of Masontown), and Sarah Cole (of Follow the Fox), among others, male and female.

These women were not celebrated because they are women; they are celebrated because they’re good, and despite the odds. While bluegrass music grew from the roots of Black music (even the banjo is actually an African instrument that’s been morphed through industrialization), it has been culturally appropriated by white men who have kept a patriarchal stronghold on it for generations, causing a great deal of sexism, racism, and classism within the genre. I discussed some of this in last year’s coverage of Rockygrass, “The Changing Face of Bluegrass,” and more in-depth information about the history of the banjo and bluegrass music is available via two great documentaries: The Librarian and the Banjo and Bela Fleck’s Throw Down Your Heart.

Although you’ll have to wait until next summer for the next Rockygrass, Folks Fest at Planet Bluegrass is still to come and includes Regina Spektor, Indigo Girls, Los Lobos, Jeff Tweedy (of Wilco), and more. You can learn more about Folks Fest at the Planet Bluegrass website here.

See our full gallery from the fest here

-Riley

Find out more about Riley on her blog.

All photos provided to BolderBeat by the artist. This feature was edited for brevity and clarity by BolderBeat.

Compass & Cavern Release New Music Video For "Before it Begins" ...In Reverse

By: Norman Hittle

Denver-based pop/rock duo Compass & Cavern have been working hard on bringing you quality media since 2015, and their newly released video for “Before it Begins” doesn’t disappoint!

At first you may be thinking this video isn’t anything groundbreaking. I mean, sure the song is cool, but they’re just kind of singing and playing instruments. But then maybe it’ll dawn on you as it did for me, the ENTIRE video is put together in reverse and then reversed again to play forward! And then I really started looking closely: Is frontman Will Timbers playing that solo accurately backwards? Is synthesist Chris Frucci also playing the correct keys in reverse? It seems like it!

Though yes, this technique isn’t their original concept, you have to give them some big props for putting together such a well rehearsed production that most bands wouldn’t spend a quarter of the time on. And it’s especially cool when considering the real-time actions they have in the background of different scenes, like Chris spray painting walls while Will is singing and playing. Moments like these give you the unmistakable knowledge that the band didn’t edit the crap out of their footage to make these things work.

Compass & Caverns. Photo Credit: Jason Neal Menon

Compass & Caverns. Photo Credit: Jason Neal Menon

“Before it Begins” is the title track from Compass & Cavern’s 2017 full length release. As with a decent amount of their music, C&C show a definite influence from other hip-hop-meets-pop-rock acts with nods to bands like 311, Twenty One Pilots, and Fall Out Boy.

The band has a good amount of performances booked for the rest of the month and into June, so check out their dates here and try to make it out to one of their upcoming shows!

-Norman

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

joemurray. Drops New "Greater Than I Am" Music Video

By: Julia Talen

At the end of April, Denver-based indie musician Joe Murray (stylized as joemurray.) released his latest single, “Greater Than I Am” with a music video composed of visual representations reflective of the song’s intent and lyrics. “Greater Than I Am” speaks to the very human experience of wanting to be something “great than” you are in the current moment while grappling with the long journey it takes to get there.

The video opens with a bird’s eye view of cars moving through a circle drive, as well as opening credits that introduce the strong accompanying font that will run throughout the video with the lyrics. As Murray begins singing the lyrics, “I can’t breathe when I’m underwater/But I can see all the way to Mars,” each syllable of a word pops onto a black background in bold white font. The syllables don’t come on the screen in the same places, or even in left-to-right linear order, and your eyes can’t seem settle on one focal point when you’re watching. This visual element to the video emphasizes the theme of taking a spiralized pathway toward your goals, rather than something straight forward. Additionally, because the words to the song are segmented on the screen, the step-by-step process of building and reaching one’s goal is further showcased.

As the tune moves toward the refrain, the backdrop changes to a tape of fireworks lighting up the night’s sky within a frame of water moving over rocks and swimming fish. Murray’s careful to put the fireworks video inside the frame because the end goal (or to the “moon” as Murray references lyrically) is enveloped in experiences of feeling stuck (“underwater”) and moving through those emotions.

As the track progresses, and our eyes search the screen for the next syllable of a lyric, images- like a pathway up a mountain, a band playing for an audience, the carp swimming, a train passing, a bird- become layers of one another, mixing and meshing, like the instances that bring us to our achievements.

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It’s no doubt that Murray’s music video has been intentionally crafted to accentuate the meaning of his new single. Viewers don’t miss a beat trying to understand where Murray is coming from. If fact they’ll relate to the human experience of moving through life, wanting something more, but having to be patient and work a little bit each day to get to where they want to 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.

 

King Eddie's New Music Video Was Inspired By A Family Member's Life Saving Liver Transplant

Last November, psych rock and multimedia group King Eddie released their second full-length record Holographic Universe. The album is “reminiscent of some of the more lo-fi Britpop concepts of the late 70s mixed with perhaps a touch of Tame Impala’s signature modern version of psychedelic rock.”

Recently, the band unveiled their latest music video at Alamo Drafthouse Cinema in Denver for their track “ENTER THE MAN,” the sixth tune on the record. Teeming with the trippy visuals the band is known for, the video was shot at Denver’s Globeville Riverfront Art Space “on a very cold day in January.” It was directed and edited by Steve Besette & Kendal Hurst and costumed by Jacqueline Cordova, who stars in the video alongside Nick Ellingson. King Eddie’s members also make painted appearances.

The song, which was remixed for the video by Mike Schulze (director of the University of Denver's Recording Arts program), also has a powerful story behind it which heavily influenced the direction of the video creatively.

Velvet Adams of King Eddie. 

Velvet Adams of King Eddie. 

Shares frontman Jay Mars, “‘ENTER THE MAN’ started as a song I wrote in Atlanta shortly after my father's life saving organ transplant. The summer of 2016, he was diagnosed with an aggressive liver disease, and by Thanksgiving, I was headed to Georgia to either witness a miracle or say goodbye. The disease exposed a lot of fault lines within my own family, and power struggles that made my ability to care for him and my own search for answers even more difficult. His boss called me a week before Thanksgiving… I didn't realize how sick he was, and I needed to get there as soon as possible. I felt like the situation was being covered up, and I didn't know why or what for. I was stunned to see what the disease had done to his body in a few months. I didn't even recognize him… ”

Jay Mars.

Jay Mars.

As he waited for his father in the intensive surgical recovery center for over a week after the transplant operation, Mars began writing “ENTER THE MAN.”

Says Mars, “I wrote what become the chorus, and the lyrics, ‘Faith enter the man, through a hole inside his head.’ I see this song as a psychedelic drama about staring down your own mortality. The lyrics ‘in a white room stripped to your own, you'll find out yourself’ were inspired by something he said about heading into the surgery, at the 11:59:59 of his life, knowing there was no going back, and he would either die or have a second chance at life. The surgery room was white, circular, surrounded by doctors, and he was lying naked in the center of the room, surrounded by unfamiliar experts in liver pathology. It's hard to imagine what that must have felt like. My best guess is the hallway scene in the video, racing toward something… and on the other side: he miraculously wakes up. ‘ENTER THE MAN’ is a song that explores mortality, the relationship between mind and body, life and death, condemnation and rebirth. We live often completely wrapped up in stories we've projected onto ourselves, about ourselves, about others, the way life is and ought to be. I wanted to explore that space because I thought that's where dissatisfaction might instinctively arise. ‘ENTER THE MAN,’ and the rest of our album Holographic Universe are furthermore inspired by the writings of Michael Talbot in his book The Holographic Universe, asking: If reality is maya, or illusion, can we create our own hologram?”

Whether or not we can, King Eddie sure try. Watch their psychedelic experience above and keep up with King Eddie here.

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

John Lensing Releases New Music Video For "Joanie"

By: Trevor Ryan

John Lensing, the Minneapolis bred turned Colorado singer/songwriter released his new video for the heart-wrenching, soulful “Joanie” this month and it’s everything you wanted it to be.

You may know John for his street performing on the streets of…. well everywhere, or maybe you’ve caught a show or two. No matter how you may have stumbled upon Lensing’s tunes, you one thing you’re sure to get when listening is a moment of sincerity and brilliance. Flowing with influences such as Passenger, and all while gripping you with an awe-inspiring take of his own is exactly where you’ll find his newest folk gem “Joanie.” Lensing has this incredible ability to take the world and tell you what it means with raw emotion and simplicity.

The song itself portrays the story of a young woman who has “her picture taken every week,” who is surrounded by everyone that “made” her, and yet who remain the perfect strangers. A powerful take on the struggle between self loathing and worth, you can expect lyrics like, “they took something beautiful, and made it just ‘bout selling things” describing the events of Joanie’s life as “the holiest of sins.”  

John Lensing.

John Lensing.

The video, a project that Lensing describes as “always meant to be simple” became exactly this, and so much more. You find Joanie, despondent and worn, carrying out day-to-day life without notice and lost to the world. Elegantly shot by the ever talented Zoë Keeler, the focus is always on “Joanie,” with the same vacant but beautiful expression, with the world in full motion around her. There are different places with different people filling the background with their own lives and memories, and then there’s Joanie, with eyes as far away as possible.

Check out the full John Lensing experience here, where you can find show dates, new stuff, and a even a newsletter. Toss him a like on Facebook here while you’re at it and don’t forget to catch the video for “Joanie” above.

-Trevor

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

J.D. King Just Wants Your Love In New Music Video

By: Hannah Oreskovich

LA’s J.D. King recently release his new video for “Love Me Back,” the single from his upcoming record 'Moon Gardens,' which was recorded entirely in J.D.’s home studio. The “Love Me Back” video, which was directed by his longtime collaborator Avery Wheless (HUSH) stars King, director and actress Kansas Bowling, and cameos from Parker Love Bowling, JuJu Sorelli, and Linda Ramone. It was filmed entirely at Ramone Ranch (yes, Johnny Ramone’s place) in Los Angeles, a place that you’ll want to party at with J.D. (or maybe more so with Kansas?) after watching the video. After a few views, we caught up with J.D. to talk about his most recent release:

Let’s start with a bit about your background. Where are you from and how has that environment shaped your music?

I’m from the city of Norco in Southern California. The environment for music there was interesting [growing up]: oldies radio, learning piano, Catholic hymns, gospel hymns, Gregorian chants, saxophone/flute classes, bluegrass, cowboys, and rock’n’roll. One of my earliest memories is trying to sing into recorders to have a reproduced sound. I made cassette tapes from the radio. I'd also make tapes from vinyl and CDs that I would borrow from the public library and transfer them. I had a genuine thirst to listen to a lot of music and gravitated mainly to pre-1973 stuff. My father found a nice collection of Beatles and Elvis vinyl albums on the beach one time, and I listened to those a lot. I would also watch Hard Days Night often. I found skateboarding videos to have some tasteful music to sample as well. Skateboarders are more often appreciators of non-mainstream music.   

I can definitely feel some of these styles coming together musically and visually for “Love Me Back.” What was the concept behind this video? 

[It’s] “The Fool” who needs love. You’re vulnerable when you love. You fixate, focus, and place your bets; you need the validation of another person to love you back. You are torn to shreds sometimes if they don’t. Make your own happiness and the rest will follow.

J.D. King.

J.D. King.

 Sound advice. What else are you working on?

Paintings, writing more songs, motion films, poems...

Sweet. Any other special plans for 2018?

More beautiful holograms with sound and visions. Probably some live shows.

Speaking of those, when you perform live, what type of environment are you trying to cultivate?

The “I’m gonna take all my clothes off!” vibe. I want the free people to come out, let loose, and listen.

You heard the man. Take off your clothes and give J.D.’s new video a view below:

Keep up with J.D. King here.

-Hannah

Follow Hannah on Instagram 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.

Premiere: J.W. Schuller's Signature Humor Is Apparent In New Music Video For "No mud in Joyville"

By: Hannah Oreskovich

BolderBeat first caught up with Boulder transplant and singer/songwriter J.W. Schuller about a year ago when he released his tongue-in-cheek video for “When I’m President.” Schuller is well-known for injecting his sense of humor into his work, and his recent release for his single “No mud in Joyville” is no different.

“No mud in Joyville” is the title track from Schuller’s newest record, which dropped this past January. The song’s somewhat nonsensical verses and catchy chorus are of Schuller’s signature style, one which keeps the listener wondering what he’ll say next and simultaneously has them singing along after a minute or two. In the song, Schuller imagines a place where there won’t be hate, deer ticks, and of course, mud among other things.

J.W. Schuller.

J.W. Schuller.

The video for “No mud in Joyville,” which we’re premiering here today, brings Schuller’s goofy sensibilities to light. The video features scenes of Schuller and his bearded nephew Jens Larson playing in front of an old stove in a living room of sorts, interspersed with abstract skeleton art sequences, and at one point a scene where they launch skittles from a drum in Larson’s mouth.

Said Jeff about the video, “I conceived and directed the video and it was shot on an iPhone 6 by the abstract artist Jaci Lee Reno, who I'm also lucky to call my wife. The flower and skeleton imagery in the video is an offshoot of my idea for the album cover. I've always been struck by Mexican Day of the Dead folk art and the juxtaposition of skeleton figures and flowers have been a recurring theme in videos and gig posters for me. It’s kind of an off-puttingly cute way to reflect on our mortality, I guess."

Schuller and Larson.

Schuller and Larson.

No mud in Joyville is the second release from Schuller as a solo artist, and is a follow-up to his 2013 release All Important Artists. His latest was recorded and mixed at Underwood Studios in Minneapolis by Mark Stockert, which are Schuller’s old stomping grounds.

J.W. Schuller’s album release show is slated for Saturday, March 10th at The Walnut Room in Denver with Red Petals and Kait Berreckman. Snag tickets here and make sure to keep up with Schuller on Facebook.

-Hannah

Follow Hannah on Instagram 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.

Premiere: Denver Meatpacking Company Release Chaotic New Video For "Warning Shot"

Last fall, Denver Meatpacking Company released their second record Escape, “a throwback to the early 90s rock scene, with a unique blend of indie and a little grunge, creating an old school sound with hints of The Pixies and The Presidents of the United States of America.

The Denver rock three-piece have been busy since then, releasing videos for several of the songs on the album and playing area shows. Today, we’re premiering the band’s newest music video for their song “Warning Shot,” the third track on Escape.

The video opens with what looks like the aftermath of a night partying on the beach. There’s a pause as the waves crash, and then the video moves on to city-scapes and shots of the nighttime sky. Interspersed with these is a DMC live performance and actors getting pummeled with water, pillows, and even a hand slap for the song’s chorus. The video closes with a rewind scene on a mushroom cloud. Much of the video was actually filmed and created by the band.

DMC.

DMC.

Said member David Simutis about the video, “The inspiration [for the video] was very much related to the meaning behind the song. While the song isn't really overtly political, it's hard to avoid the climate we find ourselves in. So you have this sense of nature and calm being interrupted by chaos and people everywhere, and sometimes something just wakes you up from the day-to-day drudgery- it's like a slap in the face. And the live footage is just so people know we're actual real people playing in basements and garages and not robots. Or something like that…”

Denver Meatpacking Company’s next show is this Friday, 01/26 at 3 Kings Tavern with Vic N' The Narwhals and Waiting ‘Til Three. After you check out their new video, make sure to catch the band live and keep up with them on Facebook.

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

Premiere: Kyle Emerson Invites You Into His Living Room In New Video For "Wise Blood"

By: Hannah Oreskovich

2017 was arguably a breakout year for Denver’s Kyle Emerson. The former Plum member released an EP, Worth It, in May of last year, which he followed up just a few months later with Dorothy Alice, his debut full-length album via Guilty Pleasure Records. OpenAir CPR called Worth It one of the best records of the year, and both Denver Post’s The Know and Marquee Magazine listed Dorothy Alice as one of the top Colorado albums of 2017.

Kyle Emerson.

Kyle Emerson.

Though Emerson’s solo sound careens with components of his former life as a psych-rocker in Plum, there are more traces of jazz and folk in his latest work. He’s combined drippy guitars with synth sounds, a slide guitar with Beatles-esque pop harmonies, and soft, Elliott Smith-like vocals with upbeat and catchy melodies. These elements paired with the slacker-rock revival vibes of someone like Kurt Vile and the production work of Sunboy’s Justin Renaud have formed much of what you’ll hear on Dorothy Alice, and more specifically on Emerson’s single “Wise Blood.”

Today, Emerson has released a video for “Wise Blood,” which you can check out in our exclusive premiere below. It showcases Emerson and his bandmates (who are somewhat of their own Colorado supergroup, with members from Paper Bird, Shady Elders, Bluebook, and Sunboy) in a living room performance interspersed with scenes of the band cruising around Denver and generally hanging out. The video has a vintage film look in certain parts and meanders with the song’s melody from scene to scene.

Kyle Emerson has arguably made more noise in the Denver music scene in mere months than most, and is a Colorado artist you should be following if you weren’t already. Make sure to give Dorothy Alice a listen here and “Wise Blood” a view above.

What will 2018 hold for Emerson and his supergroup? We’re stoked to find out.

Keep up with Kyle Emerson here.

-Hannah

Follow Hannah on Instagram 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.

Premiere: Spiral Cell Releases Eerie Music Video For "Prologue"

By: Norman Hittle

Near the end of 2016, Scott Uhl, the man behind Spiral Cell, brought us his first full release with The Maze in the Tree Rings, a highly conceptual album blending the lines of progressive rock with contemporary video game soundtracks that had us questioning artificial intelligence versus reality. Now at the crest of 2018, he’s released the premiere video for the first song of from that record, aptly known as “Prologue.”

I won’t go into too much detail, but my first impressions of the video were that it was either: A) a post apocalyptic world with someone visiting from another planet perhaps to gain knowledge of Earth's demise, or B) someone surfacing from a sci-fi bunker after some cataclysmic world event. Either way, it’s mysterious, thrilling, and seems to fit well with the actual music.

I got a moment to catch up with Scott via a phone interview, and though he admits the video fits nicely into his conceptual creation for The Maze in the Tree Rings, he also wasn’t about to spoil my own interpretations of his music and the video. Spiral Cell is highly conceptual through and through, and though Scott admits he has a vision for what the story of the video is, he stands true on the ideal that “art is in the eye of the beholder,” which means he wants us to have the freedom to take from what he creates instead of telling us what Spiral Cell is fully about.

What Scott was willing to tell us about Spiral Cell and the video for “Prologue” without spoiling any surprises were some behind-the-scenes details:

First and foremost, the same people involved in the recording of the music are featured in the video. Scott’s wife Danielle, who is featured singing on some tracks of his last record, was the makeup designer and a body double; the “woman” creature is Mackenzie Beyer, who was the voice of “the guide” on several tracks;  and of course, Scott himself is the hazmat suit-wearing, flashlight-wielding explorer.

Scott also shared that though the video was filmed on three different locations on three different nights, each night of filming, observers called the police to the film scene due to the creepy nature of him walking around with a flashlight and hazmat suit and because the fog machines used were mistaken for fires. Yet, he said in each situation the police allowed them to continue their production and wished him well in its completion.

Scott Uhl. Photo Credit: Underexposed.

Scott Uhl. Photo Credit: Underexposed.

One of my favorite behind-the-scene hints came up when I asked Scott about how he was structuring “Prologue” into the storyline of the The Maze in the Tree Rings concept. The end of the video seems open-ended, as if it could be a finality or just the beginning, and “Prologue” in name and as the first song on the album begs the question: Is it the actual beginning, or is he telling a story in reverse Tarantino-fashion? Scott of course was enigmatic about all of it, but informed me that “Prologue” is not necessarily the beginning nor end of the story. “There are some subtle hints in the actual song that allude to where in the story ‘Prologue’ actually falls,” Scott told me, but he wants to leave it up to the listener to decide. Challenge accepted!

If you have yet to check out The Maze in the Tree Rings, I would liken it to a solid union between The Dear Hunter and Stephen Wilson. Take a listen below:

Spiral Cell may also have more for us on the horizon. “Though I wish I could make a video for every song, that’s not likely within my budget, but there will be more,” Scott said. He’s already planning a live performance video for one of the songs, but does not have a date set for its release.

Keep up with Scott and Spiral Cell on Facebook.

-Norman

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

Premiere: Indigenous Robot Take You To Space With "One World"

By: Norman Hittle

Denver’s Indigenous Robot are not your run-of-the-mill “out there” sort of band. Instead, they’re more a culmination of "out there" ideals ranging from hints of indie legends The Flaming Lips to psychedelic rock legends The Doors. Even better, they just released a video that sums up their artistry for their latest song “One World.” Check it out:

As you can see, Indigenous Robot doesn’t hesitate to put it all out there. Their video (which looks to be filmed at none other than Colorado Springs' own Garden of the Gods) highlights a retro Star Trek vibe while managing to include some modern day video tech, which is fitting because a lot about Indigenous Robot and their sound is modernly retro. The video has already won "Outstanding Music Video" by Zed Fest Film Festival

Indigenous Robot.

Indigenous Robot.

Regarding their song “One World,” the band does well both grounding the listener with their gritty dirge-like bass and guitar while also allowing the mind to wander with shimmering vocal effects over calm singing and synths. Interestingly enough, the band’s ability to create an almost mundane, yet groove-laden arrangement manages to hook the listener and leaves a haunting reverie throughout the experience. It reminds me a great deal of some of Queens of the Stone Age’s deeper cuts and fan favorites “I Think I Lost My Headache” and “Gonna Leave You”.

If you enjoy “One World” check out Indigenous Robot's 2014 release Revolting and their 2013 EP Castles.

Keep up with Indigenous Robot 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.