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MUSIC reviews
BandWagon Magazine
dead man's ailibi PG. 4 big brooklyn PG. 6 thom lafond pG. 9
BandWagMag BandWagMag
BANDWAGMAG.COM Publisher
ELY CORLISS
Editor
PG.20
PG.11
RIGHT BACK INTO IT GREELEY'S BEN PU STAYS TRUE
KEVIN JOHNSTON
art director
PG.24
CARTER KERNS
CONTRIBUTORS GABE ALLEN DAN ENGLAND VALERIE VAMPOLA MICHAEL OLIVIER
Math Rock and the Immigrant Struggle
ZETA “DANCES IT ALL”
BANDS AND MUSICIANS Submit your MUSIC for review:
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DEAD MAN'S ALIBI Dead Man's Alibi EP
Valerie Vampola
BandWagon Magazine
Fort Collins-based Dead Man’s Alibi keeps a post-grunge metal sound while tossing in some blues on their debut, selftitled EP. They have a classic early 2000’s sound you’d expect from that era, with some Alice in Chains mixed in, on tracks like “Hole In A Hat,” and “Lowly Saint” which feature roaring guitars and rowdy drum grooves. The vocals show some grit but shy away from the screaming and
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growling most bands these days employ. As you might expect they have epic and screaming guitar solos that call up Judas Priest, but what makes Dead Man’s Alibi cool is the blues influence in their sound. Their opening track “Broke Down Blue” features a southern rock guitar riff that could open a drama like Sons of Anarchy. The track opens with twangy arpeggios, loosely reminiscent of a Boston song, that might make listeners assume it’s straight blues until the rhythm guitar roars in. “Needy Breed” opens with chugging that Muddy Waters could have played, but even with an underlying acoustic guitar, the metal is prevalent, with fat riffs and blaring cymbal crashes. It’s like Lynyrd Skynyrd went metal. Many great rock artists incorporate the blues in their music, and even bands like the Rolling Stones went to the
lengths of writing an entire blues album before slapping on “Sympathy for the Devil.” So it’s cool for contemporary artists to follow the lead, even in the metal world. It’s hard to find true contemporary metal bands but it can’t be denied that Dead Man’s Alibi’s comes close.
The eponymous EP from Dead Man’s Alibi is out now. Catch them live at the Moxi Theater on Friday, March 25 with Gemini Syndrome. Tickets at BandWagonPresents.com
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BIG BROOKLYN
Everyone Everywhere Valerie Vampola
BandWagon Magazine
Denver based Big Brooklyn begs the question “what is jazz?” with their new album Everyone Everywhere, in which every track dips a toe into different subgenres underneath the jazz music umbrella. Big Brooklyn has enough “straight ahead” stuff that you would expect on an ordinary jazz album, like the swing track “Send It To Me” or the ballad “A Little Faded,” and it explores more traditional subgenres such as bossa nova with “Choro Futuro I.” But they also share some funky fusion you might hear in Herbie Hancock’s Head Hunters era, and some John Scofield influences on “Crazy Owl.” They have a pretty standard instrumental jazz combo set up, with acoustic bass, guitar, drums, and a sax player, but their incorporation of Melody Dornfeld on clarinet (and bass
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clarinet) lends a quirkier sound for a group that doesn’t focus on gypsy jazz or 1920’s repertoire. The clarinet gives many of the tracks an eastern European flavor, which makes sense since Dornfeld herself tips a hat to klezmer music with fast runs and bebop licks. Tracks like “Every Eye” and “Hollow'' feature prominent klezmer-styled harmony and riffs. Dornfeld finds ways to sneak in some klezmer even in other tracks, such as the opener, “Brought Near,” which mixes a rock beat with the eastern european melodies. Even with the heavy influence of the klezmer sound, it’s hard to put a finger on what kind of music Big Brooklyn makes, aside from loosely calling it “jazz” because of the group’s improvisational nature. But most jazz musicians also have a hard time concretely defining what “jazz” music really is: Big Brooklyn’s Everyone Everywhere is another expression of that search.
Big Brooklyn performs Saturday, March 5 at Magic Rat in Fort Collins. Everyone Everywhere will be released Friday, March 18. More at BigBrooklynMusic.com
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THOM LAFOND
The Moon Leans In by Kevin Johnston
BandWagon Magazine
Bird, Shakey Graves and Dr. John’s “I Walk On Guilded Splinters.” “Isolation Hymn” and a few other offerings on the album are more raucous, folk-garage affairs which fill a separate, less elegant energy than “Life as a Sigh,” “Almost Anytime,” “End Of Session” and “The Moon Leans In” which occupy that same, special chamber pop space established in “New Wildfire.” When LaFond gives the music open range to breathe, it’s stunning and unique.
The introduction for “New Wildfire,” track one on Thom LaFond’s The Moon Leans In, follows a well known recording artist’s rule to a tee: “Excite the listener by welcoming them in.” Close, acoustic and intimate speckles of piano, pizzicato violin and nimble upright bass frame LaFond’s hushed, masuline baritone with gorgeous minimalism; a composition on par with a Kandinsky. “Did they take the moon you were after and give it back piece by piece?” the record’s first lyric asks, initiating a song and an album dense with gorgeous prose, artful arrangements and beautiful music. LaFond is most well known as the guitarist and singer in Denver’s four-piece gypsy jam rock outfit Banshee Tree. But on this, his debut full-length, he lets his inner voice shine with a beauty somewhere between Andrew
“Oh, when we fight, the moon leans in for listening. And oh when we die, our mouths wide open, whispering,” he muses on the title track. His mastery of text is to be celebrated, and impressively, LaFond is not only an expert lyricist, but the album’s producer as well. He’s no question a talent, a prolific musician, and an artist truly enriching the Colorado scene. At its most banal, The Moon leans too far towards accessible, crowd-pleasing Jack Johnson or Martin Sexton vibes, which is definitely cool, but at it’s best, it reads like the Nigel Godrich produced A Different Ship by Here We Go Magic – sparse, meaningful, nuanced and perfect – worthy of eavesdropping from celestial bodies and intentional spins from music fans alike. The Moon Leans In is out now. Find Thom LaFond currently on tour with Banshee Tree and visit ThomLaFond.com for more
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Featured ARTIST
OF THE MONTH
B
ig Richard formed specifically to be the token allfemale band at McAwesomefest in Colorado in May of 2021. Lucky for fans of bluegrass, authentic vocals and a little something different, what started as a token quickly alchemized into gold. “When we finally got together, the musical chemistry was through the roof,” Dr. Joy Adams, the band’s cellist tells BandWagon. “We were having too much fun. What started out as kind of a joke quickly turned into a passion project,” she says. “We couldn't quit it. This band is like a drug.”
BIG RICHARD
Adams plays with the likes of Nathaniel Rateliff, but has found a remarkable camaraderie in Bonnie Sims on mandolin, Emma Rose on bass and guitar, and Eve Panning on fiddle. Each of the players have impressive resumes (Daniel Rodriguez, Everybody Loves an Outlaw, Whippoorwill) making Big Richard a true Colorado supergroup. “It is SO FUN,” Adams says. “We're always laughing until we cry, and there's no competition. It's just genuine, supportive fun. I've been lucky to play with all kinds of really cool people, but I always feel like I'm stretching – filling a role expected of me as a female musician. I've come to like that role, but with Big Richard, who I actually am as a human being and artist is lifted up and amplified by the whole band. My voice is accepted and celebrated just the way it is.” The joy, so to speak, and authenticity is palpable in the quartet’s live videos on YouTube; four women gathered around a single microphone in the “off the floor” bluegrass tradition. “I feel like I can play whatever role I want,” Adams says of Big Richard. “I can be masculine, I can be feminine, I can send it, or be understated. That kind of freedom is indescribable.” What we hear in Big Richard is the best version of Simms, Rose, Panning and Adams. “It's 100% us,” Adams says. “We're not trying to fill any role or be anything in particular beyond a whole lot of fun.”
- by Kevin Johnston
BIG RICHARD'S FIRST SINGLE "THE BLACKEST CROW" WAS RELEASED ON 2.22. LOOK FOR A SEVERAL SUMMER SHOWS FROM THE QUARTET AND HEAR THEM ON 105.5 THE COLORADO SOUND!
REASONS TO LISTEN TO THE COLORADO SOUND • MORE COLORADO ARTISTS • KNOWLEDGEABLE DJS WHO LIVE HERE • NO COMMERCIALS • • UNIQUE PROGRAMMING YOU DON’T GET ANYWHERE ELSE FROM BEASTIE BOYS TO BILLIE HOLIDAY •
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CORB LUND COUNTRY MUSE, CLEAN WATER & FRONTIER JUSTICE BY GABE ALLEN
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n The Solace of Open Spaces, a meditation on ranch life in the intermountain West, Gretel Ehrlich writes, “The solitude in which westerners live makes them quiet… people hold back their thoughts in what seems to be dumbfounded silence, then erupt with an excoriatingly perceptive remark.” Corb Lund, the son of a ranching family that goes back eight generations in Southern Alberta, embodies this archetype. If he can tell you something in three words, he won’t use 20. “Pretty country,” was all he needed to say to evoke the rolling sage brush and winding drainages on his family's ancestral homestead just north of Glacier National Park. While Lund may be conversationally economical, he is lyrically verbose. Over the course of twelve full length LPs, he has become one of Canada – and amercana’s – most beloved songwriters. His music is full of
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stories and rich with metaphor. Both lyrically and sonically, it’s a modern embodiment of life on the range. In “90 Seconds of Your Time,” the lead track from 2020’s Agricultural Tragic, Lund attempts to quell the rage of a hotheaded friend. The conversation which he irreverently outlines is taken directly from a recent elk hunting trip with a friend. On their ninth morning in the Idaho backcountry, Lund woke up to find that three pack mules and his horse had fled camp during the night. “It was strange because we all tie up our own animals, and we know how to do it,” Lund tells BandWagon. “They didn’t break their leads, they got untied. We were thinking maybe a jealous hunter untied them in the night.” Lund’s friend, an ex-army ranger and “someone you want on your side,” saw red. He envisioned summary executions of the
pranksters — their bodies left to the wolves and vultures. Lund nervously chuckled along to his friend’s bellicose fantasies. At some point, he felt the need to interject.
“With a big .44 and killing on your mind, all I’m gonna ask from you brother is 90 seconds of your time,” he sings. “Maybe try to change your mind, buddy. Don’t want to see you get your hands dirty here at home in peacetime.” While some country singers have to rely on fictional characters to conjure up images of the West, Lund doesn’t have to. His music radiates authenticity because he grew up around, drinks with and hunts with the
characters in his songs. When he jokes about the trials and tribulations of running a cattle ranch in the gypsy jazz hit “Cows Around,” the jocular tone betrays a heartbreaking reality. Pressed on both sides by meatpackers and predatory lenders, ranchers have to reconcile their way of life with a system that is designed to fail them. Family ranching may be on its way out, but the archetypal western cowboy is still alive. Lund is living proof that he is still out there, mincing his words, riding horses and singing songs around the campfire. And, like the stoic archetype that he embodies, Lund isn’t afraid to protect the things that he holds dear. Last May, there came a moment when Lund felt the need to make his voice heard beyond his capacity as a songwriter. Quietly
and without public input, the Alberta provincial government rescinded a 1976 ban on open-pit coal mining on the slopes of the Canadian Rockies. The ensuing mining permits that coal companies scrambled to obtain threatened to scar the landscape and taint the water of nearby communities. “It pissed off everybody up here, not just the lefties — ranchers, hunters and the first nations people,” Lund said. “It affects the water I drink. This was too egregious to let go.” Lund collaborated with other Canadian musicians to re-record his 2009 song “This Is My Prairie,” in protest. A few months later, the government backed down and even introduced new protections. Though Lund doesn’t think of himself as an activist, the episode is emblematic of
his character. He won’t berate and belittle someone he disagrees with, but he might sing a song to make them change their mind. All he needs is “90 Seconds of Your Time” to make you see things in a new light. Like many great artists, Lund is observant, impassioned and peaceful. Though he sometimes sings about scraps and bar fights, he admits that he has never caused one. “I’m pretty mellow,” he said. “I’ve seen a few. I have a few friends that are fans of the activity, but you have to watch that they don’t drag you into it.” While the boys are throwing punches, Lund is back at the bar nursing a whisky with an eye on the door. As the fighting settles down, a melody and lyrics come into focus. Soon, Lund is recounting the night to a roomful of hungry faces, guitar in hand.
BANDWAGON PRESENTS
CORB LUND LIVE AND IN CONCERT WITH LAUREN MORROW:
SAT. MARCH 26
AT THE MOXI THEATER GREELEY, CO
SUN. MARCH 27
AT CERVANTE’S OTHER SIDE DENVER, CO
TUES. MARCH 29
AT THE TERRY BISON RANCH CHEYENNE, WY
WED. MARCH 30
AT THE GRYPHON THEATRE LARAMIE, WY
CORB RELEASES SONGS MY FRIENDS WROTE APRIL 29TH. PRE-SAVE THE ALBUM AT CORBLUND.COM AND BUY TICKETS FOR ALL FOUR DATES AT BANDWAGONPRESENTS.COM 17
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RIGHT BACK INTO IT
GREELEY'S BEN PU STAYS TRUE BY DAN ENGLAND
A
t the end of most of his gigs, and in conversations with other musicians or friends, Ben Puchalski gets the question: “Dude, why aren’t you bigger?” Puchalski, these days, answers with a shrug, and that’s not because he’s a little tired of answering it, even though, truth be told, he kinda is.
“I DEFINITELY AM TRYING,” HE TELLS BANDWAGON WITH A LAUGH. “YOU ALWAYS TRY TO INCREASE YOUR FAN BASE NO MATTER HOW LONG YOU’VE BEEN DOING IT.” Puchalski’s been doing it a long time. He just might be Greeley’s longest-running, currently active performing musician. As Ben Pu, he plays several, multi-hour gigs per week in Greeley alone, on the strength of his wizard-level guitar skills, voice and huge repertoire. He’s even turning 40 on March 5, something he’ll celebrate with other musicians in a gig at the Moxi Theater in downtown Greeley. He’s definitely big here, but Greeley, or even Northern Colorado, if we can assume Puchalski reaches at least that far, is not the world, or America, or even the West. And yet he feels good about where he is. He’s a full-time musician, for instance, and still gigs regularly either by himself or with his band. Gigs with “the Crew” aren’t as frequent now that the two other guys in the trio live in Denver, but he’s probably still known more as Ben Pu & Crew. More than a decade ago, he quit his last “job-job” as a coordinator and social work rep at the long term care facility Good Samaritan, and he’s grateful he can play music for a living. “Knock on wood,” he replied when asked about it, as if he still knows how fleeting and precious the opportunity to survive playing music can be. “Every year is staying just as busy,” he said. With that in mind, the gig at the Moxi will be fun – a chance to play with the Crew and others, have a good time and celebrate what, so far, has been a successful career, even if he
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never made it as big as Hootie and the Blowfish. The Blues Party House Band (from Greeley’s weekley, open blues jam event) will open the show and Juice Box will close. He’s not closing, he said, because he wanted a chance to talk to friends and hang out while the vibe was still strong. “This is just for fun, so we’ll play anything and everything,” Puchalski said. “Covers, originals, maybe some old ones or some dance covers too. The Blues Party always brings a good vibe anyway, so we want to keep that going. It’s been a bit with the Crew, so I can’t wait to see those guys and play and hang out with them a while.” Puchalski is hoping to put out a new album by the end of this year, having written a lot of songs during the pandemic.
“I’VE GOT A LOT OF NEW MUSIC,” HE SAID, “BUT I WASN’T DIGGING THE SOUND WHEN I WAS RECORDING. I’LL JUMP BACK INTO IT. I’D LIKE TO GET INTO THE NEW SONGS – HOPEFULLY SOON.” Like any artist, he has bad days, slow months and the doubts those times bring, but he remains grateful for his fans. It hasn’t crossed his mind to stop playing and get a job. Not even during the covid lockdowns. The pandemic, in fact, wasn’t just a good time to write songs: it was an affirmation of his loyal fan base. Puchalski put on virtual gigs and did well with them through donations he accrued during the shows. He still puts them on now, both because they were successful and because he wants to give his fans a chance to see him, even if some of them are still nervous about coming out around crowds. “I’ve had a lot of good fans, especially through the pandemic,” he said. “Without those people tuning in…they really kept me afloat. They still come out. It’s unfathomable really. I’m very thankful for that.” And that solid fan base is a reason why Puchalski isn’t willing to change his life much just to “get big,” as they say in the industry. He knows what it takes. He’s opened for ZZ Top and other big acts, but you have to keep that ladder-climbing going and stand out from all the new acts coming to Colorado. You have to tour and keep releasing new music. Plus, he’s a self-managed artist, so it’s up to him to book all those gigs. The booking side alone takes a lot of time, and it’s not as fun as writing songs or gigging. Yes, he wonders at times – maybe especially as he approaches this landmark birthday – what he’s doing. But then he plays a gig. “It only takes one or two good gigs every month to reinvigorate you,” Puchalski said. “Then you’re jumping right back into it.”
BEN PU & CREW PERFORM AT THE MOXI THEATER SATURDAY, MARCH 5TH FOR PUCHALSKI’S 40TH BIRTHDAY BASH. THE BLUES PARTY HOUSE BAND AND JUICEBOX WILL ALSO PERFORM. TICKETS AT BANDWAGONPRESENTS.COM 21
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Math Rock and the Immigrant Struggle
ZETA “DANCES IT ALL” BY GABE ALLEN
from Venezuela to Miami to Fort Collins
J
uan "Chi" Yilo Alvarado and his bandmates have been playing music together for their entire adult lives. The Venezuelan percussive post-punk outfit is a band, but they are also a family. When they moved together to the Miami area five years ago, that family expanded. Musicians and artists from the latinx community in their adopted home became frequent collaborators. Eventually, the band’s rotating cast of auxiliary members earned their own name: the Abajo Cadenas Orchestra. “It always mutates, like every orchestra, but it’s always friends,” Alvarado told BandWagon.. For many years, Zeta’s sound was characterized by mathy percussion, cacophonous, fuzzed-out guitars and shout-screamed lyrics. In a live video from a 2016 house show in Monterrey, Mexico, Alvarado and a ball of moshing audience members scream lyrics into one microphone — everyone knows the words. But, as the members of Zeta have
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settled into life in the United States, the rhythms of their home continent have begun to seep into their music. When they began writing Todo Bailarlo, the upcoming LP due out April 22, they wanted it to reflect the diverse musical roots of the U.S. latinx immigrant community.
“EVERY SONG IS A DIFFERENT RHYTHM THAT REPRESENTS A REGION IN LATIN AMERICA. IT WAS REALLY LIBERATING AND REALLY CHALLENGING AT THE SAME TIME,” Alvarado says. On the pre-released lead track “La Flor de la Palabra,” bouncing drums and bass hold down a calypso groove while a wall of affected guitar screeches over the top. A melodic chorus bursts out of the chaos in tight harmony: “¡Guarire!, ¡Guarire! Pa’ curar la tierra con las manos — Heal! Heal! Heal the earth
with your hands.” Zeta has not lost its frenetic exuberance by embracing its roots. This is calypso (and salsa, samba, latin jazz…) that you can mosh to. “It’s still rock and it’s still progressive,” Alvarado assures. While Zeta’s sound might be described as aggressive, the band’s ethos is the opposite. They are compassionate, inclusive and intent on fostering community wherever they go. Dani "Debuto" Hernandez, the band’s other guitarist/vocalist in addition to Alvarado, is notorious for feeding tour mates, fans and anyone else that walks by. In keeping with the band’s shared pacifistic and environmental ethics, his cooking is vegan (with a Venezuelan flair). “After our Audiotree session, Dani started frying up arepas for everyone,” Alvorado remembered with a chuckle. After touring at a breakneck pace for years, the band has friends in every corner of the U.S. as well as much of Latin America.
Northern Colorado is no exception to the rule. The last time they played at Pinball Jones in Fort Collins, a friend who they had met during a previous tour surprised them with a spread of vegan food inspired by Hernandez’s cooking. “He had food for all of us,” Alvarado exclaimed. Many of the friends that they meet on the road, like the members of Zeta, have come to the U.S. from another country. “We’ve connected to, not only to latinos, but also to immigrant people from other countries and ethnicities,” Alvarado explained.
“WE ALL FEEL VERY IDENTIFIED WITH THE IMMIGRANT STRUGGLE. IN THE BAND AND ORCHESTRA WE ARE ALL EITHER IMMIGRANTS OR THE KIDS OF IMMIGRANTS.” “Todo Bailarlo,” which means “to dance it all” in Spanish, is a tribute to these immigrant communities. Rhythms are just one aspect. The album’s lyrics, energy and musicality weave together in celebration of forging a new path, while, at the same time, remembering where you came from. “Our communities dance through everything: sadness, happiness, the good, the bad,” Alvarado said. “We are always dancing through life, moving and adapting and looking for better opportunities in remote places.” Like many U.S. immigrants, the members of Zeta have not seen their home country in years. Alvarado says that the immigra-
tion process has discouraged them from visiting Venezuela since they moved to Florida in 2016. Though they have family in America, they left many memories behind. Zeta’s debut performance was on February 1, 2003 in a living room in Puerto La Cruz, Venezuela. The close-knit crew of teenage schoolmates lurched their way through a set of metal and pop punk covers at a friend’s birthday party. “I remember playing Blink-182 and then standing up there tuning our guitars down so we could cover the Deftones,” Alvarado said. While many young bands lose focus, Zeta’s dedication only deepened. “We were very committed from the beginning,” Alvarado remembers. As the teenagers grew into young men, the band began to venture further away for gigs. At this point, the Latin American indie music scene was truly underground. The band played at houses, unsanctioned DIY events and pop up concerts. “It was really exciting, because it really felt like we were building something,” Alvarado said. “We were connecting scenes and people and places that later on created a little web of DIY music.” This formative experience — manifesting a network that thrives on creativity and inclusivity — has shaped what Zeta has become. Two decades after their debut concert, the band still thrives on bringing people together to make something greater than the sum of their parts. You can feel it in the crowd at a Zeta concert as audience members sway in collective catharsis. You can taste it in a warm arepa, fresh off of Hernandez’s grill.
Dani "Debuto" Hernandez’s Vegan Carrot Sausage Recipe INGREDIENTS:
• Whole carrots (try to get ones that match your desired sausage size)
• Smoked paprika • Toasted sesame oil • Mushroom soy sauce or regular soy sauce • Whole onion • Vegetable bouillon or vegetable oyster sauce • Apple cider vinegar or rice vinegar
DIRECTIONS:
for about 15 to 20 carrots (you can make lot)
Put the carrots, full onion (cut in quarters), a spoon of vegetable bouillon, a spoon of smoked paprika and a teaspoon of salt in a large pot. Fill the pot with water until all the carrots are covered and bring to a boil. Cook until tender (Don’t destroy them!! Just get a softer texture. Remember you will cook them again after). Now put all the carrots in a new pot with 1/4 cup of toasted sesame oil, 1/2 cup of mushroom soy sauce and a splash of apple cider vinegar. Fill the pot with water until the carrots are covered again. Let it marinade for at least 12 hours. Grill them up!!
Zeta and the Abajo Cadenas Orchestra perform at The Lyric in Fort Collins Friday, March 18 and Lion’s Lair in Denver, Saturday, March 19 as part of a full US tour. They play Tree Fort Music Fest March 23 - 27 in Boise, Idaho and release the LP Todo Bailarlo April 22. More at joinzeta.com 25 25
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CALL ME KARIZMA @ THE COAST | PHOTO: GARRETT MOGEL
BANDWAGON PHOTO OF THE MONTH
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