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

Photo Credit: Kelci Newlin

Photo Credit: Kelci Newlin

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

Give “Soft Spot” a listen:

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

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

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

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

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

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

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

How did Feral Suits navigate such a range of material? 

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

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

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

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

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

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

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

By: Brody Coronelli

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

Kind Hearted Strangers. Photo Credit: Charla Harvey

Kind Hearted Strangers. Photo Credit: Charla Harvey

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

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

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

The artwork for the single.

The artwork for the single.

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

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

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

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

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

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

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

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

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

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

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

This BolderBeat Writer Missed Concerts, So She Threw Her Own

By: Mirna Tufekcic

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

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

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

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

Molly Kollier. Photo Credit: Franki3lee Productions

Molly Kollier. Photo Credit: Franki3lee Productions

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

Hunter Stone. Photo Credit: Franki3lee Productions

Hunter Stone. Photo Credit: Franki3lee Productions

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

Paul Kimbiris. Photo Credit: Franki3lee Productions

Paul Kimbiris. Photo Credit: Franki3lee Productions

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

Thomas LaFond. Photo Credit: Franki3lee Productions

Thomas LaFond. Photo Credit: Franki3lee Productions

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

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

-Mirna

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

Julian Fulco-Perron Fully Embraces Psychedelia on ‘Dreamland’

By: Brody Coronelli

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

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

Julian Fulco-Perron. Photo Credit: Austin Salazar

Julian Fulco-Perron. Photo Credit: Austin Salazar

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

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

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

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

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

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

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

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

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

Julian Fulco-Perron. Photo Credit: Austin Salazar

Julian Fulco-Perron. Photo Credit: Austin Salazar

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

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

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

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

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

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

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

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

Chill Out & Vibe with Forest Porridge's New Track & Video, "What You Mean To Me"

By: Samantha Camp 

While it might seem like the world has come to a halt, local band Forest Porridge invites you to chill out and take a second for yourself with their new song and video, “What You Mean To Me.” 

The duo, composed of guitarist and vocalist Colin Martin and drummer Dan Costello, formed after starting school at Regis University in Denver. The two credit Bon Iver, Ben Howard, Andy Shauf, and friends they grew up playing music with as inspiration. 

“What You Mean To Me” is one of two releases from their upcoming album Forest Porridge: Live At Colorado Sound Studio, which is set to release this Thursday, May 21st. The album was recorded at the iconic Colorado Sound Studio under the label Manor Records.  

Forest Porridge.

Forest Porridge.

The track starts with beautiful and complicated finger-picking, soon joined with a nice jazz-style beat. Martin’s low vocal register bears resemblance to Bon Iver's silky tone, creating a warm atmosphere in the listener's mind. The lyrics woven into “What You Mean To Me” tell a story of inner conflict with lyrics like, “I know (...) who you want to be” later followed by, “I know you don’t belong to me/ I know, yes I’ve seen/ I’ma set you free.” The bridge that connects the two choruses showcases Martin and Costellos' talent as musicians, and the song wraps up with the chorus and a jazzy symbol ringing through the end of the song.

Keep up with Forest Porridge on their Instagram, Facebook, and Spotify pages, and make sure to support by checking out their new record this week!    

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

Rainbow Militia Hosting Virtual Rainbow Ruckus This Saturday

By: Samantha Camp 

Come one, come all! Local performing arts and circus collective Rainbow Militia is hosting Rainbow Ruckus, an online show where local musicians are able to perform and earn money via donations. Each showcase will be unique, featuring different artists and performers. The showcases will be a mixture of pre-recorded and “live” performances from 8-10 artists. 

Aerial performer Amber Blais. Photo Credit: Nicholas Caputo

Aerial performer Amber Blais. Photo Credit: Nicholas Caputo

The artists and performers had a short turnaround to submit their work for this show, and to come up with a creative routine. Musical artists only had three days to submit their entry, and performing artists had 16 days to craft the perfect performance.   

Headlining musical performers include Flobots, Chimney Choir, Retrofette, Lady Gang, El Javi, and Tom Hagerman’s new project, Post Truth Serum. Selected circus acts are performing aerial dance, contortion, cyr wheel, acrobatics, fire dancing, magic, juggling, and more. The whole event is being hosted live by Rainbow Militia co-founders, Amber Blais and Staza Stone.

Staza Stone. Photo Credit: Table Mountain Films

Staza Stone. Photo Credit: Table Mountain Films

Check out Rainbow Rucks on Zoom this Saturday, May 2nd. Click here for more information about the event and consider donating to support local artists via the Colorado Artists Relief Fund or via the Rainbow Militia’s PayPal.   

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

Ploom's Debut EP Blooms With Funky Riffs and Retro Tunes

By: Samantha Camp 

Ploom’s self-titled debut EP has hit the interwebs with psychedelic sounds and a space-adventure experience that keeps listeners hooked. The five-piece rock band from Denver follows in the footsteps of artists like Tame Impala, The Strokes, and MGMT in their latest release. 

Kicking off the record with a surfer rock jam titled “Tuscon Sun,” Ploom brings listeners along for a smooth, intergalactic drive through a beachfront planet. While the song isn’t techno, listeners are transported to a place that goes beyond our atmosphere with psych-y guitar riffs and a changing tempo that keeps listeners on their toes. 

Next up on the EP is “Don’t Let It Show,” an upbeat song that is a mix of distortion and a driving beat, and the third track, “Bora Normal,” continues the band’s journey through the beachfront planet and brings listeners along for the ride. This one is more easy-going than the previous tunes, with the same distorted vocals, and a simple but efficient bass line. “Swish” moves the EP from higher energy beats and guitar riffs to a more chill sound and invites listeners to slow down and savor the journey to the end.

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Ploom is making waves in the Denver rock scene, and invites you to come along for the ride. Check out their debut self-title EP Ploom on Soundcloud, and keep up with them on their Instagram or Facebook.            

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

VYNYL’s “Sleepless in LA” Is a Sleeper Hit

By: Sam Piscitelli

We’ve all had that one person we’ve tried relentlessly to let go of, whether by meticulous calculation of avoiding them or by numbing yourself to their very presence and how they’ve particularly altered you. But regardless of the circumstances that play out, sometimes we’re never really able to shed ‘em. VYNYL’s new single, “Sleepless in LA,'' depicts this excruciatingly helpless and lovelorn aspect of the human condition.

VYNYL.

VYNYL.

The approach taken for “Sleepless in LA'' lays within the intimacy that love itself offers: one that is blunt about the idea that love isn’t something that allows for an unoccupied room and instead demands to be paid attention to. It’s this wise self-awareness that breathes life into the song itself. VYNYL welcomes its listeners into a refreshing modern pop ballad; compact into a beautiful mix of dreamy vocals and lush production. To put it simply, “Sleepless in LA'' is a sleeper hit.

In Pop, it's easy to point out over-saturated material, the obvious chart-toppers, the songs written just for the airwaves. It’s harder to find Pop that has a beating heart. But just in time for the holiday of hearts, VYNYL’s “Sleepless in LA” is a cure. It’s pure pop perfection in a time when carefully curated and heartfelt pop tunes can be hard to come by. Give this one a spin this week, and keep up with Denver’s VYNYL here.

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

Hawktail Create Some Unbelievably Profound Storytelling Without the Use of Language on Their Latest Record

By: Trevor Ryan

Hawktail, the four-piece folksy Americana outfit, have released their sophomore record Formations, co-produced with Chris Eldridge of Punch Brothers. The release shows the group putting a well-needed spin on what it means to be a songwriter. 

Scrolling through the tracks after the initial listen, I can’t help but feel that I’ve still missed a lot. I found my way back around to "Padiddle" first, and noticed that this whimsical and dramatic acoustic melody had drawn me in so much, that the peak breakdown, which includes a lovely mandolin picking solo, had come across almost as a chapter change. Altering the dynamic entirely into an almost literary experience, this song’s one for the keeping. 

In “Dandelion,” you’ll find impressive riff progressions, and soft melodic breakdowns, setting the tone for the record’s melodically constructed mellow passion. This piece also adds a different key structure to help build a more eerie feel. Tracks like "One hour in Hungary" and "Annbjørg" express true originality, in that they really accentuate a haunting use of the fiddle that will have you mentally grazing through Celtic lands. Speaking of haunting, "Eddie's Attic," is yet another piece from this one-of-a-kind soundtrack that will bleed your heart out with climactic emotion accompanying every pleasantly tear-felt strum and glissando. 

Hawktail.

Hawktail.

While Formations may come across initially as a Jompson Brothers meets Steel Drivers revival, most listeners will be surprised with how deeply they’ll fall into this project. From beginning to end, Hawktail use some of the most diverse, and tightly fit instrumental work that I've heard since Tides of Man dropped Young and Courageous. With every track, you'll dive more into a story that can be as relatable as you need it to be, and may prove to be exactly that. 

Simply put, this band is collectively creating some unbelievably profound storytelling, without the use of language, and that can not be easy. Find Hawktail on Facebook, Spotify and their website here, and be sure to lookout for Hawktail playing near you for what I'm sure is one hell of a live show.

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

Motion Trap's "Alaska" Cover Gives Us a Taste of the Duo's Evolving Sound

By: Trevor Ryan

Up and coming indie pop act Motion Trap are back at it again with their new cover of Maggie Rogers’ "Alaska," and to answer your question, yes: it's exactly the follow up to "N2U" that we were hoping for. The duo’s cover, which dropped on January 17th, has officially set the tone for what this listener is personally hoping will be part of a bigger project from the group. 

Starting with production, this mellow, yet funky cover begins with a series of synth blends that melt ears. At first listen it is adamantly clear that these two have stepped up their game in terms of instrumental clarity since some of their previous work. Experimenting with what appears to be a subtle, yet progressive new sound for the project, the "Alaska" cover is bleeding with new age Bon Iver vibes along the lines of "Holocene." However, the beauty of this cover comes through with its groovy time signature, and a smooth Phil Collins meets Tame Impala vocal transcendence. Imagine that The XX had a baby with Happy Body Slow Brains "Dreams of Water," and you'll be sure to stumble upon this progressively new age bedroom indie pop cover. 

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I would personally love to hear even more of this sound in the future from Motion Trap, while also listening to them continue to experiment with more intricate percussion and maybe even a little more distortion with their synth use. Motion Trap has flawlessly secured my attention with their cover of "Alaska."

Find the Denver band on Facebook and Soundcloud, and keep up on their future shows and releases on their website here

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

Jason Myers' Top 10 Albums of 2019

By: Jason Myers

The fact that the 2019 calendar year has all but elapsed is mind-boggling. It seems like just yesterday that we were all laughing at the mere premise of “Old Town Road” (look who’s laughing now...) or being forced to watch our President use copyrighted Game of Thrones imagery to threaten sanctions on other countries. And yet with all the clutter and chaos that defined the world of media in 2019, we were gifted with yet another amazing year of new music. 

The following list is my personal Top 10 Albums of the Year. Now let me make a distinction: these albums are simply my favorite albums and in no way are “the best” albums that came out this year. I have neither the musical knowledge nor the free time to make a grand assertion of what is “the best.” Most of these albums came as suggestions from friends of mine. So, at the very least, I’d like to think of this list as simply passing along the good news…

Please enjoy! And happy holidays! 

10) Shafiq Husayn - The Loop

Favorite track: “On Our Way Home”

For fans of: Anderson .Paak, Curtis Mayfield, Erykah Badu

Shafiq Husayn is a peoples person. The Los Angeles producer, known for his previous work with hip-hip group Sa-Ra, certainly knows how to bring out the best in his counterparts. Over it’s 71-minute run-time, The Loop twists and turns as Husayn compliments his soulful jazz ballads with the talents of Erykah Badu, Anderson .Paak, Hiatus Kaiyote, and a smattering of others. The album also has a sort-of spiritual heartbeat to it, making for a calming listen that embodies a part of each influence it pulls from (Earth Wind and Fire, Jay Dilla, Curtis Mayfield). With The Loop, Husayn gives the L.A. jazz-beat scene yet another shove into creative, unknown territory. 

9) Floating Points - Crush

Favorite track: “LesAlpx”

For fans of: Four Tet, Nicolas Jaar, FaltyDL

The revolving theme around the new album from English electronic musician Sam Shepherd, or Floating Points, is that of exploration. Crush plays out like a long, winding conversation, often lacking structure or intention. In fact, the only intentional thing about this record is exactly that: its random nature. Shepherd created Crush in 5 weeks using a staunchly improvisational approach. While fans of past Floating Points albums will certainly find hooks to latch onto, the blatant meandering of Crush also provides surprising twists and a unique view of space-driven electronic music. 

8) Crumb - Jinx

Favorite track: “Cracking”

For fans of: Khrunagbin, Mile High Club, Feist

Don’t let Crumb fool you. On the surface, the group present their brand of psych-rock in a rather easy-to-digest format, leading one passively to perceive the band as quasi-one-dimensional. This couldn’t be further from the truth, and their debut album shows that they are anything but normal. Jinx is a dynamic work of art defined by its hypnotical melodies and warm textures. The listener is sent on a smooth ride through indie rock and modern psychedelic that feels both familiar and mysterious in the same capacity. It provides a comforting feeling, but only as much to keep the listener slightly anchored in the present world. Crumb wants you to feel this way too, as this is when they have you, the listener, in their palm of their hand. 

7) The Chemical Brothers - No Geography

Favorite track: “Gravity Drops”

For fans of: Daft Punk, Fatboy Slim, Orbital

Contributing to the world of dance music on a global scale for three decades is no feat to be taken lightly. Yes, The Chemical Brothers have truly stood the test of time, and with their ninth studio album, No Geography, Tom Rowlands and Ed Simons make a statement towards both their legacy and present relevancy. No Geography hits hard on multiple fronts. “We’ve Got to Try” electrifies with a thick layer of acid synthesizers while “Bango” is an absolute onslaught of drums. “Free Yourself” capsizes with a whirlwind of sharp vocal samples over a pounding house beat while “The Universe Sent Me” rockets listeners into an airy world of trance. But for as primed as these tracks are for the nightclub scene, the album plays out with a smooth flow, making it an enjoyable listen both on and off the dancefloor. In classic fashion, The Chemical Brothers have yet again proven their prowess over the world of electronic music.

6) Sheer Mag - A Distant Call

Favorite track: “Blood from a Stone”

For fans of: AC/DC, Screaming Females, Ex Hex

On the opening track of Sheer Mag’s sophomore album, singer Tina Halladay confidently roars, “If you don’t play the game, then you’re sure to lose. If you’re gonna live or die, you better be the one to choose.” For a band that is five years into their career, making a statement like that can only mean one thing: they’re not going anywhere. Which is a good thing, because Sheer Mag seems to only be getting better with time. Successfully building off of their 2017 rager of an album Need to Feel Your Love, A Distant Call feels refined and full of new energy. On A Distant Call, Sheer Mag takes the simple formula of 70s hard rock songs, adds a bit of their signature glossy guitar riffs and sugary vocal lines, and throws it all in a blender to make a lethal concoction. Quite simply, this band fucking ROCKS… and they know it.

5) Tool - Fear Inoculum

Favorite track: “Pneuma”

For fans of: A Perfect Circle, Deftones, Soundgarden

I am the type of person who genuinely tries to not let a live music performance affect the way I think about that artist’s album or visa versa. Undeniably, I fell victim to my own rule after seeing my first Tool show earlier this year. Anybody who has seen the quartet live can attest to the added dimension of psychedelia that gets thrown in the mix during their stadium jaunts. What I didn’t expect from the performance is how much of a different light it would shed on Fear Inoculum for me. The way that this band uses every instrument so percussively and still flawlessly switching through time-changes is mind blowing, and this trait is front and center on the new album. From the choppy, mysterious chord progression of “Pneuma” to the low-end rumbling of “Descending,” Fear Inoculum is a blunt reminder of how deeply satisfying the dark side of modern rock music can be.

4) Brittany Howard - Jaime

Favorite track: “Stay High”

For fans of: Alabama Shakes, (Sandy) Alex G, Eric Krasno

I think it’s easy for one to look at this record and note it as a logical extension of Howard’s work with her iron-clad rock collective Alabama Shakes, which it most certainly is. Yet, a dip just below the surface shows her first solo full-length to be a unique work of art, displaying an artist who is poised and confident in exploring new territory. Jaime feels familiar yet fresh at the same time. Over it’s 35-minute span, Howard drapes her velvety vocals over soulful southern-rock ballads, covering topics from having faith in love to learning from past experiences. If Jaime proves anything, it’s that Howard is as strong of a song-writer as ever and that her creativity is formless. 

3) Lapalux - Amnioverse

Favorite track: “Earth”

For fans of: Shigeto, Floating Points, Bonobo

This album is quite literally a dream. With downtempo producer Lapalux’s fourth full-length, we are presented with 45-minutes worth of misty atmospheres, sharp synth textures, and the ever-present heartbeat of electronica. Each track flows fluently into one another, creating a cohesive work that differs stylistically from track-to-track while also moving together as one body of music. Opener “Oblivion” is a lesson in ambience, immediately steeping the listener into a colorful world of warm and tense melodies. “Limb to Limb” feels like a glitched-out dreamscape lying somewhere in the space between predecessors Flying Lotus and Air. “Earth” is a spectacle laden with angelic synth tones layered over a steady breakbeat rhythm that crescendos creating a tidal wave of euphoria. Get the picture?

2) Yves Jarvis - The Same But by Different Means

Favorite track: “That Don’t Make It So”

For fans of: Thundercat, Cornelius, Bon Iver

Yves Jarvis seems like the type of guy who throws all of his song ideas at a wall just to see which ones stick. The blessing (and possibly curse) of this is that his walls seem to be covered in super glue. That is to say that his sophomore album, The Same But by Different Means, is chock full of 26 songs that all differ in style, approach, and sound. It ends up working out for Jarvis, though, as everything he creates is quite literally solid gold. From the 14-second choral praise of “The Plight Comes” to the lo-fi funk jam “That Don’t Make It So,” Jarivs bends and contorts the unwritten laws of music to make an album that truly covers all bases. One need not look any further than opening track “To Say That is Easy” to see Jarvis’ true intentions with this record: to have the listener see the world as he does, a scattered and imperfect structure bound by beauty and melody. I haven’t enjoyed an indie rock/folk album as much as I have this one in quite some time.

1) kenny segal & billy woods - Hiding Places

Favorite track: “Red Dust”

For fans of: Madlib, Cannibal Ox, Samiyam

This is it. No other disk got more spins from me this year than the devilishly satisfying debut collaboration between downtempo producer Kenny Segal and rapper extraordinaire Billy Woods- an unlikely duo that, with Hiding Places, has made a statement towards rap’s dark and chaotic side. This album is as dizzying and disorienting as it is calming and sedative. Billy Woods lays down a verbal attack for the ages, criss-crossing tracks with lyrical wisdom and profane realities. The rapper’s dark and often very dismal style is front and center on Hiding Places, as Woods forces listeners to swallow ugly truths ranging in topics from death to bankruptcy. The harsh lyrical content is matched only by the gloomy sluggishness of Segal’s unsettling beats. As uncomfortable of a listen as this album might sound like, the duo have truly created something beautiful here. If Hiding Places is an imperfect picture displaying all of the world’s ugliness, listening to it should be a stark reminder that even in darkness there is light.

HONORABLE MENTIONS

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

Elektric Animals' "Just Like You" Is a Dark Heartbreaker

By: Sam Piscitelli

With their latest single, “Just Like You,” Elektric Animals tackle a different kind of heartbreak, one that is all too real, but rarely discussed. I refer to it as the kamikaze heartbreak. This particular kind of ache is oftentimes done by someone who is so entrenched in their own misery that they try to bring everyone else’s turmoil to the forefront, and Elektric Animals capture it vividly in all its ugly and hard-to-swallow glory.

Here is my impression of “Just Like You” in all its madness: A man is reflecting back on the conversations with someone close to him. In the verses, there’s a sense of false happiness in his memories whereas in the chorus, he’s feeling the destructive nature of a close friend. It’s a mixture as bittersweet as it is portrayed, because it’s written in such a clever way, formed as a genuine letter but opening to gaslighting and manipulation. It’s a song where the imagery and details tie in perfectly to show the whole picture. This isn’t a friend or lover. It’s someone who wants to see you fail; someone who causes kamikaze heartbreak in the most grueling way, even if the intentions aren’t clear.

The impression “Just Like You” leaves is difficult to come to terms with, because while the story is linear, the take away isn’t just about a single, represented moment. It’s about the whole relationship between these two characters. Much like when a relationship, whether romantic or not, comes to an end, it’s not as simple to digest. It’s deeply layered, multi-faceted and most of the time spans the months or years of that time spent with someone. That surreal kind of complexity can’t be boiled down to something that can just be plainly stated. It’s realism in its purest form, and it’s utterly brilliant.

Keep up with Elektric Animals here.

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

Kim Petras Hit the Sweet Spot of WOO-AH at Denver's Ogden Theatre

By: Chris Garcia

Born and raised in Germany, transgender pop star Kim Petras gave Denver a performance that was anything but icy on this past cold Wednesday night. The singer gained popularity after releasing her debut single, “I Don’t Want It All” produced by Dr. Luke in 2017. In support of her debut full-length album, Clarity, she brought her tour of the same name to Ogden Theatre this week.

Kim Petras. PHOTO CREDIT: CONNOR GASKEY

Kim Petras. PHOTO CREDIT: CONNOR GASKEY

Alex Chapman opened with a DJ set full of pop cult classics. His turntables pushed pop songs spanning from Britney Spears to Lady Gaga to Mariah Carey to Grimes. The hour-long set made fans feel right at home, where people danced and sang along to songs they probably heard on the radio years ago, before streaming made its imprint on culture. The throwback pop sing-alongs were a precursor to Kim Petras’ music, which has a knack for bringing retro elements into the future of pop music. 

The main attraction, Kim Petras burst onto the stage in front of a massive light display alongside collaborator and DJ, Aaron Joseph. In true fashion she opened the night with “Clarity” in thigh-high boots and a black tutu. After the song, fans cheered for what felt like ages. Kim paused for a moment to take in the energy with a smile on her face and sparkles in her eyes before asking the crowd to stop because the applause was “making her emo.” A trifecta of top-tier pop songs came soon after with “I Don’t Want it All,” “Hillside Boys,” and a mashup of songs “Unlock It” and “Click,” both of which she is a featured on with Charli XCX

The first half of the show, Kim was sweet, shy and smiley. She settled into her element when she returned from an outfit change to perform “There Will Be Blood” on a rotating platform. This is where Kim Petras is at her best: singing dark pop songs with thumping beats and a light show reminiscent of an underground rave. The next slew of songs, Kim was sassy, sexy and confident. The crowd sang along, jumped up and down and felt the music pulse through their bodies as the ice princess pranced around the stage. The flashing light show, thumping beats, and hot ,crowded floor made me feel like I was at a club. We were only missing a disco ball. 

A tender moment occurred towards the end of the show where Kim stripped down to a baby blue t-shirt. She sat next to Aaron, who strummed a guitar as she sang an acoustic cover of The Killers’ song “Human.” She explained that pop music has always been her escape, and “Human” was a song she loved to escape with. Her voice carried the track, as fans sang along and swayed their hands in the air with the house lights on, a drastic change from the last section of songs. The show ended with a sugar rush, with Kim closing on “Sweet Spot,” a disco-tinged, feel-good number. 

Kim Petras. PHOTO CREDIT: CONNOR GASKEY

Kim Petras. PHOTO CREDIT: CONNOR GASKEY

Throughout the show, Kim Petras dominated the stage with her signature WOO-AH!’ moments. She offered everything one looks for in a pop show: dance, art, pop, lights and technology. Even with blaring beats pulsing through the theatre, her voice reached heights that matched the 5280-foot elevation in the Mile High City. At the end of the night, it was clear that for Kim Petras, this is only the beginning of a long-lasting career in the music industry. 

See more photos from this show here.

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

Freddie Gibbs Closes 'The Album of the Year Tour' at Cervantes in Denver

By: Yoni G (Yugs)

“Warning. The surgeon general has determined...that the sounds you are about to hear… will always be devastating to your ear.” 

Freddie Gibbs. Photo Credit: Connor Gaskey

Freddie Gibbs. Photo Credit: Connor Gaskey

At around 10PM on a brisk Tuesday night at Cervantes Masterpiece, these words blasted through the concert speakers, signaling to a packed and roaring crowd shouting, “Freddie! Freddie! Freddie!!” that Freddie Gibbs had arrived. Most Gibbs fans recognized this as the opening to “Freestyle Sh*t,” the second track on Bandana, a collaborative album by “MadGibbs.” “MadGibbs” is composed of Gary, Indiana rapper Freddie Gibbs and iconic producer Madlib, a.k.a “The Beat Konducta.” Madlib is a highly renowned producer who has worked with MC legends like MF DOOM and Talib Kweli. Freddie Gibbs has released 4 studio albums and 2 collaborative albums with Madlib (2014’s Pinata, 2019’s Bandana) since starting his own label, ESGN, in 2013. 

The Album of the Year Tour, undoubtedly named after the duo’s critically acclaimed album Bandana, ended its country-spanning tour in Denver on Tuesday night with a bang. Opening for Gibbs was New York rapper Conway the Machine, who gave a rousing and impactful performance where his cult following joined him onstage, as he shared his life story through his commanding lyricism. Boston rapper Cousin Stizz followed soon after with an energetic performance which perfectly introduced “Gangsta” Gibbs. 

Gibbs. Photo Credit: Connor Gaskey

Gibbs. Photo Credit: Connor Gaskey

When Freddie finally came on, he was as cool as a cucumber, showcasing his signature sense of humor by trading insults with his own DJ, and remarking on how strong the edibles were in Colorado. Jokes aside, Freddie Gibbs boasts a calm confidence rare among many MCs today. Throughout the course of the show, he started and finished song after song in acapella, smoothly rolling through bars on bars that highlighted his conscious lyricism, unique rhyme schemes, and out-of-this-world flow. With impeccable breath control, Gibbs sounded just as good as he does on his records. His sense of rhythm and stage presence were so strong that he kept the crowd transfixed even when his DJ went in and out of playing beats.

A highlight of the show was Gibbs’ stage-stopping performance of “Fake Names,” a Bandana single whose signature beatswitch had much of the crowd bumping along. To the amusement of the Denver audience, Gibbs humorously reminisced on the story behind a particular lyric about an escapade with a woman that he flew out to Denver. Continuing through other cuts from Bandana, Gibbs sang the entire second half of the soulful “Gat Damn” without any music to accompany him, demonstrating his skills as a singer as well as a rapper. Near the end of the show, Gibbs turned up the energy with a performance of his popular 2015 cut Careless,” as everyone in the room sang, “Got a lot, got a lot” and bopped their heads in unison. For being The Album of the Year Tour, some of the deeper cuts from the album like “Half Manne Half Cocaine” and “Cataracts” were absent from the set, as Gibbs instead performed a handful of songs spanning his illustrious career so far. Ending his encore on the Killer Mike and Pusha T featuring “Palmolive,” it was clear that Freddie Gibbs alongside Cousin Stizz, Conway the Machine and the rest of the ESGN crew brought an authentic, interactive, and wildly entertaining show that kept a packed Cervantes bumping until midnight on Tuesday. 

See more photos from this show here.

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

Music is Good For the Soul, But Our Musicians Are Struggling

The first week of October each year is Mental Illness Awareness Week. It is a time dedicated to advocating for better mental health care, spreading awareness about the widespread prevalence of mental illness, and fighting the stigma that is often associated with mental health. Despite how far-reaching mental illness is, people who suffer are often met with misunderstanding and a lack of adequate mental health care.

Musicians are no exception to suffering from mental illness. It is no secret that living the life of an artist can be challenging, but if music is supposed to be good for the soul, why do so many musicians struggle with mental illness? After all, music has the ability to calm the mind and allow people to relate to circumstances that they are going through. Many people also promote the healing effects of music therapy for behavioral health. If music is really that good for health, musicians should be some of the healthiest individuals on the planet. However, this misconception couldn’t be more wrong. 

The 73 Percent Report

The Record Union conducted a survey of 1,500 independent musicians asking them about their mental health. Unfortunately, the results were staggering. The study found that 73% of independent musicians claimed to have experienced difficulties with their mental health - including stress, anxiety, and depression. In addition, 33% claimed to have experienced panic attacks and 69% suffer from depression. 

Although the numbers of musicians who struggle with mental illness are devastating, only 39% sought treatment for their symptoms. Similarly, only 33% of struggling musicians aged 18-25 sought mental health care. On the other hand, 50% claimed that they self-medicate with drugs and alcohol.

These numbers are substantially higher among musicians than they are among the general population. The National Alliance of Mental Illness reports that 1 in 5 U.S. adults experienced mental illness in 2018. In conclusion, musicians are far more likely to suffer from mental illness than the general population. This poses the question: If music is commonly used as a form of holistic therapy, and is so good for the soul, why are so many musicians suffering?

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Musicians and Mental Illness

Many well-known artists have also spoken up about how mental illness has affected them. One of them, who is constantly in the media, is Demi Lovato. She was diagnosed with bipolar disorder in 2011 and has struggled with substance abuse as well. Unfortunately, co-occurring mental illness and addiction are not uncommon. After all, people who suffer from mental illness are twice as likely to suffer from substance abuse, and nearly 50% of people with a substance use disorder have a co-occurring mental illness. In fact, we hear about co-occurring disorders among musicians all the time, from Kurt Cobain, Amy Winehouse, and Mac Miller, just to name a few. 

While many artists struggle with it, sometimes to death, others use it as a method of empowerment. Take Kanye West, for example. He claims that his mental health condition is more like a superpower- it fuels his creativity. In addition, Kendrick Lamar, Kid Cudi, and J. Cole have also openly spoken up about having depression. Instead of fighting it or letting their mental health silence them, they speak out to encourage others to share their experiences with one another. Regardless of how musicians deal with their mental illness, the list of artists who struggle with their mental health is endless. 

Culture Shock

If you’ve ever moved to a new country, or from a big city to a small town, you are familiar with the term culture shock. It refers to a feeling of disorientation someone experiences when he or she is suddenly exposed to an unfamiliar way of life, culture, or attitudes. Culture shock can occur as a musician takes a leap into the spotlight. Between the stress of trying to get a big break in the industry, the constant criticism from producers, crowds, and media alike, the anxiety of performing, and the overwhelming fans that refuse to back off, it is no wonder that problems with mental health can take a serious toll on the well being of artists. 

The music industry is brutal, and many will spend years making the effort to achieve their dreams just to be told they aren’t good enough. Negative emotions can trigger self-doubt, depression, and even poor decision making. 

On the other hand, there are the ones who finally break through the industry into the spotlight. First, there are the media, following, dissecting, and often criticizing every decision made by artists. While there is plenty of good publicity, it is way more common to see bad publicity arise when a star is less than perfect. The media and the fans sometimes idolize the stars, dehumanizing them and expecting them to behave impeccably. These ideas put a lot of pressure on celebrities.

On top of the media and overwhelming fans, there also comes the pressure of performing. When performing, the stress response is heightened, provoking a fight or flight response that leads to increased awareness and adrenaline levels. Sometimes, this makes for better performances. For others, however, prolonged stress can lead to panic attacks and long-term anxiety. 

The combination of stress, lack of privacy, and pressure that comes from being a famous artist can lead many to self-medicate or neglect seeking appropriate treatment to care for their mental health. It is clear that the climate of the music industry can be toxic for some, so what can be done to improve it?

Something Needs to Change

Any great change takes time. The media isn’t going to stop condemning mental breakdowns of artists any time soon. Fans aren’t going to stop idolizing stars just because we tell them to, and artists are always going to face pressure before putting on a performance. The good news is that some artists are speaking up about mental health. More and more people are beginning to show compassion for mental health rather than judgment. 

Johan Svanberg, CEO of Record Union, stated after publishing the 73 percent study, “It’s time to put the state of our artists’ mental health on the agenda, before streams and commercial success.” After all, the music industry is well aware of the toll that fame, fortune, and rejection alike takes on the mental health of artists. 

Instead of treating artists as a money-making product, they should be recognized as human beings who have feelings and needs. Record producers and managers should implement regular mental health checkups and take action to prioritize the mental health and well-being of their musicians. 

Similarly, fans and the general population should start speaking up about mental health, too. It is crucial to learn more about mental illness and how symptoms may appear in order to gain an understanding of what others may be going through. Most importantly, allow yourself to see the person, rather than the illness. Share your own story about your struggles with mental illness and how you have found healthy ways of coping. The more it is spoken about with compassion and understanding, the more awareness can be spread. Fighting the stigma of mental illness is essential to encouraging people who are suffering to get the help they need. 

If you or someone you know is struggling with their mental health, reach out. You can call 1-800-622-HELP to speak with someone immediately. Learn more about this hotline here.

Additionally, if you’re one of our Colorado readers, consider joining the Mental Wellness Meetup and check out this Colorado Crisis Services website too.

BANKS Took Us Out of the Greyzone and Brought Us Into the Light at Recent Denver Show

By: Taylor Naiman

Last Thursday night, avant-pop singer Banks, a.k.a Jillian Rose Banks, brought her lighting ensemble and edgy synths to the Fillmore Auditorium for her III Tour. Named after her most recent album, III, she chose this particular moniker “to symbolize a lifecycle.” After a small hiatus since her last album, with this release it’s clear that Banks has honed in on her vision and what she values as an artist in this industry. 

BANKS. Photo Credit: Luis Castro

BANKS. Photo Credit: Luis Castro

During her set, she took some time to share a beautiful poem she wrote called “Ode to the Greyzone,” and a quiet fell across the room. She added that this title was a potential contender for the album title before III was chosen. Banks does not define her chapters by a single word or title, but rather she wants to characterize it by the stage in life she is in. She has found an outlet through poetry and uses it to influence her songwriting. 

BANKS. Photo Credit: Luis Castro

BANKS. Photo Credit: Luis Castro

Onstage, Banks was youthful and fun, with many people in the audience cheering, “I love her!” and “She is so cute!” Her Denver fans clearly appreciated this unique opportunity to gain a deeper insight into her spirit, personality, and the happiness she shared with the crowd while performing.

One captivating aspect of her performance was her light show; it appeared as though she was controlling it. Her light rig was other-worldly and vibrant, reminiscent of being in a hip, new nightclub where the lights constantly changed to match both the mood and tempo of every track. From the lights to the dancing, her set was purposeful. An emphasis of glow was placed on every color of the light spectrum, while Banks looked as if she was manipulating the placement of the light as she moved. Her movements guided these lights and she continued to influence their motion. Every component worked well in unison, and cohesively. Supported by her two matching backup dancers, there was a strong interpretive dance presence and a well-executed choreography.

BANKS. Photo Credit: Luis Castro

BANKS. Photo Credit: Luis Castro

Banks’ set was sultry and undoubtedly classy. All of her dancers were dressed in black, and with a combination of lace and leather, Banks donned shiny thigh-high boots and a slicked-back bun. These fashion choices were definitely meant to look chic to match the edgy tones within her voice. 

BANKS. Photo Credit: Luis Castro

BANKS. Photo Credit: Luis Castro

The audience was able to hear a vast and expansive setlist from a few of her singles, and her albums The Altar, Goddess and a majority from III. Her music gave us all the R&B and alt-pop feels, but it was nice to see both variety and a sense of evolution over the course of her releases. Some of the best tracks from her show included “Till Now,” “Gimme,” “Underdog,” “Waiting Game,” “Propaganda,” “Gemini Feed,” and “F*** With Myself.” And if you weren’t dancing along, did you even feel the groove? To balance the mood, she sprinkled in some slower tunes too, including “Better,” “Contaminated” and “Drowning,” among others. Her encore ended with “Beggin for Thread,” and even though she seemed slightly worn out by this time, the audience was still full, and appeared pleased with a great performance. With a powerful voice that exudes a combination of soul and harmony all by itself, Banks has a voice that has to be heard live to fully appreciate it. 

Head over to Spotify and follow Banks for some more seductive slow jams, and to hear some of our favorites. Her tour continues here.

-Taylor

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

Day N Vegas Just Might Have the Ultimate 2019 Festival Lineup

By: Luis Castro

With a star-studded lineup, Day N Vegas is bringing together some of the best names in hip-hop, and is making a strong case for festival of the year. Dreamville, Astroworld, and Top Dawg Entertainment will join forces during the weekend to bring fans the best experience possible. Kickstart the weekend with Dreamville's J. Cole, J.I.D, Bas, Earthgang, and Saba. The energy will only continue with Juice Wrld, Denzel Curry, Lil Mosey, Comethazine, and Lil Uzi Vert (who, if he drops Eternal Atake beforehand, fans are in for a treat.)

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Saturday, we'll be left stargazing after Travis Scott, Migos, 21 Savage, Da Baby, and Sheck Wes, who are definitely must-sees as their festival experience has taught them how to master a crowd and keep the energy high. Lil Nas X proved he's way more than just a one hit wonder with his new 7" EP this year too, and we can't wait for this young talent to perform it! 

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Sunday really will be a fun day for Day N Vegas’s close-out with a TDE heavy lineup. Ab-Soul, Isaiah Rashad, Jay Rock, School Boy Q, and Kendrick Lamar will put the cherry on top to an already amazing festival lineup. Tyler the Creator will pay Red Rocks Amphitheatre in Denver a visit just a month before Day N Vegas, which will likely be a great preview to what will surely be an energetic set. Brockhampton, Ski Mask the Slump God, and Flatbush Zombies will make sure all the jumping and hype is well alive throughout the day too.

Overall, this is one fest we can’t wait for! Close out the 2019 music season with us in Vegas for more than just a day. Get your tickets here

-Luis

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

Kiltro's 'Creatures of Habit' Is Enchanting, Mysterious & Masterful

By: Julia Talen

If you haven’t heard Chilean-American musician Chris Castillo’s music project, Kiltro, now is the time. This past July 6th marked the release of the latin-indie group’s latest LP, Creatures of Habit, on which listeners can catch the single, “The Hustle,” named best new song by NPR.

Each track on Creatures of Habit tells a story that travels through intimate corners of Chile. The way Castillo builds each song and connects the tracks makes this album feel like a rich, musical novel of sorts, haunted with a variety of interconnected characters and scenes.

The first track off the album titled, “If I Lead,” immerses listeners into the ambient quality of Castillo’s music. The way Castillo layers and loops his instruments gently coerces listeners into an imaginative scene in South America where the narrator hauntingly asks another, “If I lead, would you follow?,” almost asking the listener the same thing. The transitions between almost every song on the album collapse the notions of beginning and end, folding each track into the other and highlighting the album’s cohesion. The second track, “Curicó,” which follows an unreliable narrator having seen a ghost, before flowing into a favorite of mine, “Mi Capitán.”

“Mi Capitán” opens with an upbeat guitar that Castillo loops to create dimension as his dynamic voice sings about a character’s reckoning with proving their own worth. His quick-paced, upbeat voice softens, slows, and wails as the song perpetuates, straining to keep up with the instrumentals. His vocals then drift into a ghostly, alluring moaning and crooning, cushioned in a high pitched, soft ringing.

Kiltro.

Kiltro.

The song spills into a slower, sparse tune, “Corner Beat (Hair of the Dog),” before heading into “Lovers,” an echo-y, dreamy track that reiterates the first song on the record with lyrics, “wherever you lead I’ll follow.” The guitar and percussion build and become almost volatile, engulfing the song before pittering out delicately and returning to its original melody and tempo. 

The only breath of silence on the album hits before the next song, “Julia,” begins, again, echoing a character we meet in “Curicó,” earlier in the album. “The Hustle,” a song about navigating difficult relationships and the self-assurance that breaking from it requires, follows “Lovers” and “Julia,” returning to a more upbeat, rhythmic tone.

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The album ends with odes to “Ursula,” who reminds me of an enchanted figure, as well as “The Drunk,” about an inebriated individual pondering assumptions about himself. These final tracks circle back on this motif of the album that questions what is real and what is an apparition, and how does memory and time construe these concepts and create stories in our minds, and, furthermore, how can the way music builds mirror these ideas.

This LP is honestly masterful. Kiltro forms songs that are each their own gems and has joined them into a beautiful first LP. It’s no surprise this band’s been getting a lot of buzz lately- it’s well deserved and Creatures of Habit proves that. Listen to this album now and keep up with Kiltro 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.

Denver's Underground Music Showcase Proves It's Once Again Unlike Anything Else in Denver

By: Adrienne Thomas 

Denver’s Underground Music Showcase truly is the highlight of the year for many local music lovers, and this year was no exception. As far as multi-venue festivals go, UMS is a well executed one, and was a smooth experience for concertgoers. The “official” UMS venues spanned about 7 blocks down South Broadway, and included 3 separate outdoor stage areas. Most venues had their own vibe, like the punk and modular synth daytime-dark shows at the Hi-Dive, late-night crooner showcases at Skylark Lounge, house and techno dance parties at the 303 Magazine “Green Rom” below 3 Kings Tavern, and the intimate singer/songwriter serenades at South Broadway Christian Church. Simply put, there was always a place to go for everyone, with plenty of food trucks and friends to run into along the way. The heat, once accepted, couldn't hinder the excitement of seeing dozens of local gems and national touring favorites. 

Some of our UMS 2019 local highlights included Anthony Ruptak, Maya Bennett, and Kiltro, who drew devoted fans out in large crowds. Claire Heywood sang to us in church, Pout House jammed out at the Hi-Dive, and Ramakhandra and Emma Mayes & The Hip gave all their energy to a packed 3 Kings Tavern crowd. Favorite touring acts included Earthgang, who included the new J. Cole collab “Dreamville” in their set and even brought crowd members on stage for a very real dance-off. The latin rhythms and energy of Y La Bamba and Chicano Batman also made for a great time, and LA-based soul duo Annabelle Maginnis smiled in a furry two-piece through a killer R&B, upbeat soul set. Still, while the national touring acts may help sell tickets, we all know it’s the local artists who make the UMS something special. There’s no Colorado festival quite like the UMS, so here’s ‘til next year!

See more photos from UMS 2019 here.

-Adrienne

All photos per the author. 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.