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SENIOR WRITERS Chris Daniels Ryan Edwards Thom Jackson Jessica Moffett Norman Provizer Rag Rabbit Charlie Sullivan The Swami Tim Wenger Torch Tru Blu PHOTOGRAPHY Jenn Cohen Ted Davis Alex Geller Ray Tollison
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The People’s Fair Announces New Concert Series at Lost Highway Brewing Company
by Ashley Brown
Capitol Hill United Neighborhoods (CHUN) is excited to announce that this year’s People’s Fair will be hosting live music at Lost Highway Brewing Co. (520 E. Colfax) every Wednesday in May from 6:00 to 8:00 PM. This free, weekly event is open to all and will feature favorites from the People’s Fair and standouts from The Ultimate Music Xperience (UMX), the official auditions for the People’s Fair. This partnership will celebrate the amazing entertainment of the People’s Fair and showcase an outstanding, new local business. Lost Highway’s Master Brewer, TJ Compton, will be debuting a People’s Fair dedicated brew that is sure to please beer lovers and music enthusiasts alike. The lineup for this weekly series will be announced in early April. Lost Highway Brewing Co. has been thriving since their grand opening in late September 2014. Compton has been consistently producing top-notch brews, each named to reflect the history and experience of Colfax and the Capitol Hill area. In addition to the brewery and tap room, Lost Highway also offers fresh bread, charcuterie, olives and other “picnic” style edibles in its market. The amazing quality of beer, and fun, friendly staff, has quickly made Lost Highway a favorite destination on Colfax Avenue. During the last weekend in March, the UMX, a two-day battle-of-the-bands, rocked the The Celtic Tavern and Delaney’s Cigar Bar (1801 Blake St.). Roughly 40 local, primarily undiscovered solo and group acts competed for the opportunity to play at one of the largest music events in the state: the People’s Fair. The judges for this great event are representatives from the local music scene, People’s Fair Entertainment Committee members, and the general public. After the scores are tabulated, approximately the top 20 bands will be invited to play at the People’s Fair, making this entertainment selection process unique because it allows everyone’s vote to be counted. Now in its 44th year, the People’s Fair has provided an opportunity for Colorado bands to make their impression on the local music scene. Over the years, the People’s Fair has featured bands such as the Flobots, Hazel Miller, Opie Gone Bad, and many others. With over 200,000 fair-goers and numerous exhibitors, vendors and volunteers, Civic Center Park becomes Colorado’s third largest city during the weekend of the People’s Fair. The People’s Fair is famous for bringing together a diverse population to celebrate community and local entertainment. Whether you are looking for unique gifts, want to sip a glass of wine and listen to jazz, enjoy free and low-cost kids and family activities, check out local nonprofits doing important work on behalf of our community, taste a variety of unique menu items, or simply people-watch on a beautiful summer day, the People’s Fair is the place to be. Join us June 6 and 7 for the 44th Anniversary of the People’s Fair and celebrate the kick-off to the summer festival season!
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Finale CMKY Festival for Communikey in Boulder, Colorado USA
Keggs and Eggs Rocks LoDo’s Bar and Grill
Roniit Drops New Video, Gaining Steam in LA
On the eve of our 8th edition, the team behind CMKY Festival has been in deep discussion around what the future may hold. While Communikey has become a vehicle for collaboration and creativity across disciplines and cultures, but still we must ask: What is next? What supersedes ‘festival?’ What is the next platform for interdisciplinary cultural expression?
There’s a certain special atmosphere that comes along with day drinking, pure exhaustion from staying up all night and really good music. Almost like tail-gating for an early Bronco game. An energy that made everyone on March 13th want to be up for 12 plus hours and go see a concert when most of Denver was commuting to work, taking their kids to school, going to the gym or eating breakfast. That energy came from Lodo’s Bar and Grill in downtown Denver for the 10th year of arguably one of the best concerts of the year. I arrived early as hell with a old college friend of mine and what we were doing, really didn’t sink in until we waited in line to pay for parking among a few business men and a construction worker, which almost made me feel guilty, because while they were going to work, my friend and I were going to see 93.3’s Kegs and Eggs.
Last summer, CMB reported on the opening of a Los Angeles office by Denver-based music placement company Lyric House. A boldly progressive move that appears to be panning out well for Jessica Cole and her crew, but one that also took one of the Mile High City’s most unique performance artists out of the state with it. Roniit Alkayam, or simply Roniit as she is known artistically, captured the ears of audiences with a seductively dark style of modern pop that showcases strongly composed and ambient electronic music behind the smooth flow of her stunning voice.
After much evaluation, the Communikey Foundation has decided that the 8th edition of CMKY Festival will be the finale of this series as it has existed in Boulder, USA. “This decision is one focused on saying “yes” to the unknown and an acknowledgement of the countless possibilities that await Communikey,” according to a press release. “These possibilities will be fully realized only if we allow ourselves to take a step back and rethink the framework we have grown so accustomed to over these last eight years. We are ready for the next iteration of CMKY, where our organization and community are enabled to reach our next and greater potential. We are ready to explore the next frontier.” The release went on, “We are dedicated to nurturing the space that has been held by this festival as we recognize that Communikey has been a valuable and even sometimes lifechanging experience for our participants. Within that we encourage all participants to use this finale as a springboard to self-organize ideation spaces within this year’s events to discuss the question, ‘what is next?’” Communikey invites you to join them this year in Boulder, Colorado USA, from April 16-19, 2015, to celebrate both what has been built here and what the future has to offer. “Communikey did not begin with a festival and it will not end with a festival,” the release said. “We wish for Communikey to be an everevolving vehicle for our projects and ideas, for individuals to connect, grow, and learn. We are excited for the next stage in our evolution and we hope you will join us on the journey.”CMKY Festival 2015 will be held at various locations across Boulder, Colorado USA, including: eTown Hall : Madelife : Apex Movement : ATLAS Institute : Shine The Studio (Boulder) : Oddfellows Lodge : Central Park
by Ryan Edwards
Walking into a sea of green clothing and beer, the already busy bar got kicked off with locals One Flew West. The high spirited band got the crowd going at 7:00 am and woke everybody up for Brick + Mortar. The New Jersey locals, known for their live performances got the insanely crowded bar pumped with hits like “Keep This Place Beautiful” and “Terrible Things.” The day rolled on with fists and drinks in the air and daylight shining through the windows as songs like “Locked in a Cage” and “Hollow Tune” round out the night to set up for the much anticipated locals 3OH3!. The hip-hop group from Boulder exploded unto the music scene in 2008 and made every Coloradan proud. That morning they didn’t disappoint as the ecstatic crowd welcomed lead singers Sean Foreman and Nathaniel Motte as they sang their hits “Starstuck,” “Two Girlfriends,” “My First Kiss” and “Richman.” As there set ended, the night just wouldn’t have been complete without “Don’t Trust Me,” which they saved for last. As noon rolled around and patrons of all ages filled up on the breakfast burritos that were for sale in the bar, the much anticipated Huntington Beach, California natives, The Dirty Heads got on stage and it seemed like every person was pushing and shoving trying to get closer. With songs like “Lay Me Down,” the audience sang word-for-word and it was clear to see the loyal fan base. Towards the end of the morning, The Dirty Heads saved some of their best songs for last and the crowd never seemed more awake when they sang “Sound of Change” and “My Sweet Summer.” It’s safe to say that walking out of Lodo”s Bar and Grill that morning is an experience that no one there will ever forget. I only hope next year can somehow top this year.
by Tim Wenger
The week of March 26, Roniit premiered a new music video through Interview Magazine. The song “Runaway” is a track that she originally composed nearly two years ago but wanted to wait until she had the opportunity to have it produced and placed in the perfect setting. Through Lyric House and connections made in LA, the right opportunity came this winter. Directed by Hannah Purmort, the video is a perfectly ominous representation of Roniit’s music and artistic leanings. “(Producer) Varien offered to step in and re-do it for me once he heard it,” Roniit says. “I kind of was sitting on it for a while waiting for the perfect moment to release it.” That perfect time came in December, through a placement in the trailer for the movie The Loft. A company called Elitevisions handled post-production. The incredibly large (and diverse) music industry in Los Angeles has given Roniit more opportunity for her dark goth, avant-garde sound than she had here in indie-rock heavy Denver. “I’ve just found that it’s easier for me and my genre,” she says. “I love collaborating. It’s been really good for me to find other people to write with. In Denver I just had one producer, and here I’m able to work with different people to see what works the best for my voice. I can explore different options.” As it turns out, the Lyric House office is located next door to the company that produced her music video, and Roniit has taken advantage of the convenience with this project. “Usually after work I’m hanging out here,” she says. “As soon as I clock out from Lyric House, I go next door and start working on my music video.” “The more people you meet the more things you get invited to, and the more things you get invited to the more people you meet, so it’s exponentially easier the longer you live here,” she says. Despite the higher cost of living, she has found that it is actually easier for musicians to make money in LA as compared to Denver because of the vast amount of networking opportunities. Look for more videos from Roniit in the near future- “This music video is part one of a series that I’m doing,” she says. “We shot part two a couple weeks ago in Evergreen in 5 degree blizzard weather. Every video will be a continuation of the last.” The tracks will be part of a new visual album she is currently working on for later release. Online: roniit.com
UP-TO-THE-MINUTE NEWS ATT COLORADOMUSICBUZZ.COM April 2015 | ColoradoMusicBuzz.com
The Warped GenerationWhat Happened? by Rag Rabbit
The Fabulous Boogienauts Providing Music For 70’s-themed Film, Headlining Herman’s by Jessica Moffett
If you listen to The Fabulous Boogienauts’ 12 Inches Fully Funktional CD, it’s no accident that it’ll remind you of the sweet seductive tales of Curtis Mayfield’s Superfly or even the orgasmic chemistry of Cerrone’s Love In C Minor albums. In the 1970s, most of the Fabulous Boogienauts members were children limited to 3 TV stations, 8-track cassettes, and AM radio. For weekend fun, “American Bandstand” and “Soul Train” exposed them to talented acts and flamboyant outfits not seen in the small towns of Colorado. Twenty years later, a homeless 19-year-old street kid called Rocky had played his share of punk rock gigs as a bassist in Denver. Upon meeting the late Sharon Rawles, a Denver music promoter and manager, Rocky changed for the better. He credits Rawles as not just a mentor, but also for being like a mother to him. Between her inspiration and his vision, he formed The Fabulous Boogienauts. “I had this idea of putting a huge band - literally - together. I would steal as many musicians as I could from other people’s auditions. Think of it - it’s funny - to add as many musicians as possible onto the stage while everyone is dressed (all) crazy,” he laughs. Over the last 15 years, The Fabulous Boogienauts experienced over sixty members come and go while some key musicians remained on board. Singer Jennifer has been in the band most of the time. Within a couple years of joining, she met her husband and trumpet player Kentucky. Both Kentucky and Jennifer, who share the same passion for funk music, have added volumes to the band’s catalog. Some couples become “power houses” when their friendships evolve into romantic relationships, therefore the relationships become a galaxy of creative ideas and projects. Their repercussions foster a sense of legacy. “It’s very cool to be married to the person who’s also one of the band’s main singers. I will help Jen with the vocals and she will help me with the horn parts,” shares Kentucky. Today, there are ten members who take to the stage - all with unique talents. “Each member will suggest an idea - and next, we’re experimenting with lyrics and bass lines. We all have fun. These are not just my band members, but we are also family,“ Jennifer adds.
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How is it possible to get ten musicians together as one band? According to Kentucky, “You’ll hear about bands with four or five members who can’t find the time to get together. And they have families just like all of us. Yet the real answer is we genuinely love playing together. We all look forward to coming together for rehearsal. We try to book shows in advance especially because many of us have kids.” Outside of gigs, there are band projects. The Fabulous Boogienauts joined the cast and music soundtrack for filmmaker M. Van Michaels’ latest movie Hot Lead, Hard Fury, due out in Summer 2015. As independent film making is exploding in popularity due to today’s digital technology, crowd funding, and social media, filmmakers like Michaels are connecting local musicians, models, and artists together outside of the venues and social media. Hot Lead, Hard Fury-a 1976ish era film about cars, bad guys, police, and hot babes, was something Kentucky had considered as a music project for his band. Through a mutual friend, the band met Michaels, who ironically considered their participation. Although Michaels primarily wrote the lyrics to his movie’s theme song, the band came up with the funky disco score – perfect for his car chasing, macho fight scenes. “We thought of what kind of dissertation we wanted to start the song with. The theme. The speed. The style. The song is not fully finished, but the song will piece together when we go into to the studio in late April or early May.” Michael’s film scenes inspired The Fabulous Boogienauts to reconsider their own impact as a band devoted to the 1970s funky sci-fi music era. “Michaels came down with the trailer to his film. He showed us a little segment of one of our songs being played in a scene on 8-track in the Dodge Challenger car scene. It was very surreal and cool to see the Boogienauts on a ‘8-track’ for this 1970’s film. Something we never really envisioned considering the kind of music we play.” In the meantime, The Fabulous Boogienauts welcome you to their next headlining show at Herman’s Hideaway on Saturday, April 11, 2015. The late Sharon Rawles, who managed Herman’s Hideaway for many years, own spirit will be there to greet you. Today the band’s founder and bassist 41-year-old Rocky carries her delicate ashes in his bass case wherever he goes. Online: facebook.com/ thefabulousboogienauts
The most impressive thing about the Vans Warped Tour is the way the machine is run. The Warped roadies work their asses off. Creating huge stages equipped with sound systems and miles of wire. Then tearing it all down, loading the trucks and rushing to the next location, rebuilding it all again, They do this across the country. Working in the night to keep the show on the road and the gates open the next day. For one day they create a rock n roll city for a subculture that likes to say and wear the word ‘ Fuck’. We all say the word Fuck. It’s a word that can express so much by the way it is used. Commonly it is accepted when a friend uses it to express excitement or disbelief. But its frowned upon in public when used out loud. The word is not accepted on the radio, tv or any public platform (under supervision of the Federal Communications Commission). But at the Warped Tour, ‘Fuck’ is the key slogan. Not the let’s get sexy and do it kind, but more like this sucks, you suck and I want to destroy every fuckin thing so fuckin fuck the fuck off. From the stage you hear shouts like ‘put your fuckin hands in the air,’ and ‘thank you so fuckin much,’ and ‘we’re so fuckin stoked to be here.’ In the crowd black t shirts read statements like ‘fuck everything’ and ‘destroy’, ‘fuck off and die’, and ‘I don’t give a fuck so why should you.’ When Punk said fuck off, it meant step back and give respect. Here, Warpers use the word like it is cool. Like it’s the key word to the gang. Maybe it’s their way of rebelling and defying the status quo. Alright, I can back that, but I didn’t see many positive and affirmative slogans about peace and one love and consciousness. Now I know I may be pissing a few people off. I am only generalizing. There are conscious people at the Warped Shows. The booths are an example of raising the awareness towards positive alternatives. Organizations like Save a Breast, Love Hope Strength, Human and Animal Rights and many others build a booth for a day to invite and inform the wandering Warpers. There is potential for education, even at a Warped Show. Now about the music. The smaller stages hosted the most inspiring groups. Eclectic and diverse. But not many sounding original. The groups on the main stages must have takin the same training course at Rox R Us. They wear black, swing their heads, double kick the bass drums, they growl and show as many tattoos as possible and they say ‘Fuck’ a lot. Maybe the more you say ‘Fuck’ the cooler you are. I don’t know. I did stay the whole day. There were a few decent acts, I heard melodies and saw passionate performances. I was able to see the good in it all with the help of humor. There was a buzz about an act coming on stage late in the day. I was anticipating something to give me a window to see where this scene and its music was going. A huge ‘flower of life’ symbol was stretched across the stage to announce this coming act. I was impressed and thought anyone aware of this sacred image had to have something to share. The crowd swelled and the group kicked into their first song. I didn’t
April 2015 | ColoradoMusicBuzz.com
get it, it sounded like they were playing the last song from the band before them. Is this a joke I thought, is the fact that these bands look and sound the same what is really cool? Am I so unhip? I stayed to hear more. There where fists in the air, people were getting it but I was puzzled. I had seen 8 bands before this one and it sounded like they were playing the same set list. Maybe it is cool that this group shared this sacred sybol as a backdrop, but did anyone get the meaning? Like using the word fuck, are we losing touch with the proper meaning of things and therefore creating a subculture of zombies? The Warped Tour has an incredible history in Rock N Roll. Many great bands received their first exposure on its stages. Many relationships built. There is a conscious element to the organization itself. It is well organized and those involved at all levels are professional. So what’s the problem ? Maybe it is simply not my scene. Maybe I’m out of touch with the new rock music. I think not. Maybe it’s too much cooperate influence. It’s a fact that a young man or woman without direction is a perfect candidate for the military. Maybe it makes perfect sense that the U.S. Marines had a full page add in the Warped Tour Official Program?
For Keeps Is Playing For Keeps by Charlie Sullivan
Cody Witsken (guitars, vocals) and Merideth Pryor (vocals) were in China teaching when the duo started writing some music together. It turns out the two were on to something with the new music. On their return to the states in April of 2014 the tandem had it on their minds to put a band together and start performing the music they wrote while abroad. Witsken, who is no slouch on the local music scene, soon tracked down former band mate Luke Hunter James-Erickson (drums) and laid out the game plan. The two had worked together previously in the not to be forgotten The Don’ts And Be Carefuls; a local act who crafted some earnest pop music a few years back. Next on the list was finding a bass player and in no time Witsken located and called another former band mate from Pep*Squad Brett Schrieber. The crew promptly started rehearsing Pryor and Witsken’s material but something was still lacking in the sound. James-Erickson brought up the idea of a keyboard player and quickly found a somewhat bored elementary school music teacher, Justine Sullivan, introduced her to the band and bang the line-up was set. The band is churning out some finally crafted power pop with a punk/ska attitude. It’s the kind of music you just have to groove too; bouncy, bubbly, high energy rock. The band members are calling it tweee or BFF pop; I call it an in your face kick-ass sound with an early 80’s British quality. The outfit has figured out how to throw down cutesy pop with an intelligent well-structured sonic assault. The band takes a unique approach with Pryor and Witsken sharing vocal duties on most of songs creating some great harmonies. There’s nothing down
or dark with the tunes. The band takes pride in the optimistic uplifting quality of the music. “Life can really suck at times,” says Witsken, “But we want people to know we’re going to be happy regardless.”
Higher Ground Music Festival Artist Previews: Morning Bear
“We want people who hear our music to come away somewhat inspired and feeling good,” Witsken adds.
Morning Bear, aka John Runnels, has been spending his due time sweating his ass off driving around the western United States playing gigs and building a reputation. This hard work has landed him a spot on 2015’s Higher Ground Music Festival here in Denver, and CMB took the opportunity to get his story straight from the horse’s (or bear’s) mouth.
The band has already comprised an album’s worth of songs which will be produced by Low Fidelity Laboratories. The plan is to have the album ready by the end of the summer or early fall. Pryor and Witsken have already begun writing songs for a follow-up EP before they start the process for the next album. Pryor and Witsken craft the songs and lyrics and the band provides the vehicle to deliver it to the listeners. The band does cover an obscure Chubby Parker folk piece, “King Kong Kitchie Kitchie Ki-MeO”, retrofitting the music and lyrics effortlessly into a power pop dynamo that rocks the house. Even when they slows it down a bit with the melodic rocker “Telescope” the music is still vibrant and full of energy. The band will be releasing a single in about a month to wet your whiskers. This is definitely an up-and-coming local act that is already catching fire in the clubs. For Keeps already has half a dozen shows under their belt and more on the books. Don’t miss out, this act will take definitely take you for Mr. Toad’s Wild Ride. “I love pop music. It’s not easy to write a good pop song.”- John Lydon Skylark Lounge 140 S. Broadway, April 3, 2015 with Stella Luce & Nathan Brazil, doors open @ 8:00 PM Online: facebook.com/ ForKeepsMusic?fref=ts/
by Tim Wenger
CMB: First things first. Give us the story of Morning Bear. JR: Morning Bear’s very first material was in the works as far back as 2011. In that year I planned my first trip to Spain, and the events surrounding that trip were a turning point in my life and my music. It took until last year to for all of the pieces to come together, but when they finally did I quit my job as an engineer and took a one way ticket to Europe with nothing but a backpack and guitar. I spent over six months traveling, playing in the streets, and writing new material. Morning Bear is the culmination of all of these events, concepts, and emotions: wanderlust, pursuing your dreams, regrets, love, and loss. CMB: How hard has it been to gain traction in a one-man band? Has the touring been helping that a lot? JR: Being solo is a double-edged sword. My uprooted life has given me the freedom to travel, to make spur of the moment decisions, and to meet many new people. In this way I think I am gaining a different kind of traction than a band can - I have friends and fans across the US and Europe, and often even farther than that, in large part because of my mobility. That said, every aspect of being an artist is resting squarely on my shoulders. Booking, creating, managing, outreach… it becomes an incredible amount of work. But it is worth it, and I feel like things are taking off. CMB: What direction do you see indie rock heading this year? JR: The indie rock scene is one of the my favorite genres of music. The
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April 2015 | ColoradoMusicBuzz.com
umbrella is so large that there’s an incredible amount of diversity. For a while there was a great deal of innovation, sometimes even more than what I found palatable. More recently I notice a lot of inspiration from older music; bands like Alt-J, Temples, and Tame Impala are channeling the psychedelic rock era. Locally in Denver, Sunboy is following a similar path and it is sounding great. There also seems to be a resurgence of good old-fashioned rock music here - The Outfit, Viretta, and Red Fox Run for example. As for me, I’m writing a song that I feel was inspired by Fleetwood Mac and The Beatles (which I’m very excited for by the way). Writing new music is often about that balance between new technology/ideas and being inspired by the best of what has come before us. That’s where indie rock will shine in 2015, in this balance. CMB: Other than HGMF, what is Morning Bear up to this year? JR: April 10th will be my first physical release as Morning Bear, “Celeste”, at the Lost Lake Lounge. Also performing will be Tommy Freed and the Sound (also having a release that night) and Joe Cutshall. I am so excited for this show - we’re all Grandview High School alumni so it’s going to be a reunion of sorts, as well as the double release. Later in April I head out on a West coast tour to promote the album. I’m planning to do a small tour through Northern Europe in July, and then I’ll hit the midwest, East coast, and South later in the year. In between all of that I want to get in the studio to record some of my new material - I feel it is the best I’ve come up with yet. CMB: What is the best place to check out your tunes? JR: My music is on Spotify, iTunes, Rdio, etc… On April 10th I’ll have some bonus tracks available exclusively on the physical release of Celeste and on MorningBear.bandcamp. com. I’ll be posting some covers, new videos, and other things on Youtube. com/morningbearofficial every now and then, and Soundcloud.com/ morningbearofficial is where I post ideas, rough recordings, and other goodies that aren’t polished enough to show anywhere else. Finally, you can always follow me on twitter, instagram, tumblr, or vine @johnmorningbear.
Why Jazz Matters: Track 13
by Norman Provizer
Back in 2002, the Smithsonian’s National Museum of American History began promoting April as Jazz Appreciation Month. The idea, with the appropriate acronym JAM, caught on and there now exists a wide-range of activities connected to the month-long celebration. Of course, jazz, America’s great contribution to global culture, should be appreciated more than one month a year. And in some quarters it certainly is. Interestingly enough, one of those quarters is the television world of fictional CIA agents where Homeland’s Carrie Mathison, Covert Affairs Annie Walker and her handler Auggie, as well as other such characters are unapologetic jazz fans. As a former reallife, covert CIA agent Valerie Plame Wilson noted in writing about actress Claire Danes for Time magazine ‘s “The 100” list in 2012, Carrie Mathison (played by Danes) appears to have no hobbies “with the exceptionofappreciating the complexity of jazz.” In this sense, April is a good month to get into bed with Mathison when it comes to appreciating jazz. Fortunately in Denver, there are ample opportunities to appreciate jazz in all of its forms every month of the year. At the city’s premier jazz spot, Dazzle (303-839-5100), the month begins on April 1 with the fine bassist Mark Helias and his adventurous Open Loose trio, followed by guitarist Dale Bruning and narrator Jude Hibler exploring the timeless music of the Modern Jazz Quartet’s pianist John Lewis on April 5. Skip ahead just a few days to April 9-10 and Dazzle has Trio M, a trio (made up of pianist Myra Melford, bassist Mark Dresser and drummer Matt Wilson) that dials up killer music just before saxophonist Ernie Watts takes the stage with trumpeter Brad Goode on April 11-12. Then the “beyond category” band Kneebody is at the club on Lincoln on April 18, followed by saxophonist Dick Oatts on April 23 and Rekha Ohal doing the sounds of Radiohead on April 26. Outside of Dazzle, Mount Vernon Country Club in Golden has the super guitarist John Abercrombie on tap as part of its Winter series on April 8 (303-526-0616), while the Soiled Dove Underground (303-830-9214) has the well-known crossover-jazz group the Rippingtons featuring Russ Freeman on stage on April 4 and the Newman Center at DU has a classics-meet-jazz evening with pianist Donal
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Fox and his Inventions Trio on April 2 (303871-7720). And down in Colorado Springs, the annual Weekend of Jazz put together by guitarist Earl Klugh hits the Broadmoor on April 9-11 with Klugh, fellow guitarist Lee Ritenour, pianist Dave Grusin, saxophonist Kirk Whalum, Jeff Lorber Fusion, Canadian-born singer Nikki Yanofsky and Burt Bacharach (866-8379520). Also, traveling north of Denver April 16-18, you’ll find the annual UNC/Greeley Jazz Festival (970-356-5000) with performances by the Vanguard Jazz Orchestra and monster saxophonist Chris Potter among others. And back in downtown Denver on April 19, singer Catherine Russell performs as part of the new music series at Baur’s Listening Lounge (baursmagic.com). Additionally, pianist Lenore Raphael is making several stops in Colorado during late April, including one at Boulder’s Caffe Sole on April 25 (303-499-2985). On the subject of new, Nocturne, a more upscale jazz lounge and restaurant on the edge of RiNo, has opened and April is the jazz spot’s first full month of operation. Drummer Jeff Hamilton’s trio was in town for Nocturne’s grand opening in March. During April, the new nightspot on the scene features six different area-based groups, each performing for one night through May. Mondays have guitarist Sean McGowan paying tribute to Wes Montgomery, Tuesdays find saxophonist Josh Quinlan doing the music of John Coltrane and on Wednesdays, it’s the Big Swing Trio doing hard bop sounds. Moving on through the week, pianist Annie Booth does originals on Thursdays, the Funky Fresh Trio does funk on Fridays and Manuel Lopez and Jeremy Wendelin perform modern, Afro-Cuban sounds on Saturday. On the play front, Ain’t Misbehavin’, the Fats Waller musical, is at the Vintage Theater in Aurora through April 26, while Motown: The Musical is at the Buell Theater in the Denver Performing Arts Complex through April 19. In case you are wondering about the connection between Motown and jazz, just remember that the house rhythm section for the famed Detroit label was made up of musicians who considered themselves jazz players. And if all this is not enough, remember that day or night during Jazz Appreciation Month and the other eleven months as well you can catch the sounds on Denver’s NPR jazz station, KUVO (89.3 FM). There aren’t many all-jazz stations left and unquestionably one of the best is right here in town.
Tickets for “Turn Over the Keys” are on sale now a coloradosymphony. org. All seats are $25, general admission. Service fees and taxes apply. “Turn Over the Keys” is the first of its kind - and a chance for promising artists to realize a musical vision; the “keys” to the orchestra are in each artist’s creative control. That’s an exciting prospect, they say.
Colorado Symphony Orchestra Bringing In Local Celebrities as Guests The Colorado Symphony will be welcoming a handful of Denver’s top talent. On March 18, the CSO announced the lineup for “Turn Over the Keys,” which comes to Boettcher Concert Hall on Thursday, May 28, at 7:30 pm. Emerging Colorado artists Ian Cooke, Land Lines, and Megan Burtt will perform individual sets with musicians from the Colorado Symphony, each with a unique style, sound, and symphonic approach. Longtime CSO collaborator Jay Clifford, leader of the seminal South Carolina-based band Jump Little Children, will work with each artist to create original orchestral arrangements of their music for a complement of 26 string players. Clifford will also perform.
“We’re on the verge of releasing a new album of dense, classically-influenced music, so this opportunity to work with the Colorado Symphony comes at the perfect time,” says Ian Cooke. “To this day, one of my favorite sounds is of a symphony orchestra tuning up,” says Megan Burtt. “It’s profound; just a few notes can unite everything and everyone in that space, and induce the kind of anticipation a child has on Christmas Eve. I have always considered symphony players the epitome of musicians, and I’m beyond humbled for this opportunity to share the stage with such talent. It is certainly a dream come true.” “I can’t think of a single reason not to be excited to play with the Colorado Symphony,” says Martina Grbac of Land Lines. “As a band, we’ve been playing around with arrangement and harboring hopes of performing with larger groups for some time; some of our songs have had string arrangements waiting in the wings for years. This is something we’ve wanted
“Turn Over the Keys” builds on a tradition of creative collaboration with emerging independent artists in Colorado, which boasts one of nation’s liveliest music scenes. Beginning with a now legendary pairing of the orchestra and DeVotchKa in 2012, the Colorado Symphony has joined with up-andcoming regional musicians including the Lumineers, Gregory Alan Isakov, Nathaniel Rateliff, Otis Taylor, Flobots, Elephant Revival, and more. The Colorado Symphony’s collaborative spirit has helped to cement the orchestra’s reputation as one of the most innovative and artistically adventurous in the United States. Westword has twice selected CSO collaborations for “Best of Denver” awards. “Colorado has an incredibly vibrant and talented pool of artists who live and work in our community, and ‘Turn Over the Keys’ provides us with unique opportunity to work with some of these amazing musicians,” says Tony Pierce, Senior Vice President of Program Innovation for the Colorado Symphony. “It’s also a chance to give back. The community makes a huge investment in us, and in Boettcher Concert Hall, and we want to make everyone has access to the hall, and to the music.” “Turn Over the Keys” closes the inaugural Colorado Symphony Presents contemporary concert series, which opened in November 2014 with a performance from Preservation Hall Jazz Band. Los Lobos, The Chieftains, and Chick Corea and Herbie Hancock are among the artists who have appeared at Boettcher Concert Hall under the Colorado Symphony Presents banner. “Zappa Plays Zappa,” featuring Dweezil Zappa performing music of his iconic father, Frank, will be presented April
April 2015 | ColoradoMusicBuzz.com
to do for a very long time and we are thrilled and overjoyed about getting an opportunity to share such an incredible stage with such an incredible ensemble.”
The Manager’s Corner by Chris Daniels
I’ve managed my own band for 31 years and I’m in the Colorado Music Hall of Fame. All that’s nice but today’s music business is changing at light-speed and you have to be more engaged in the ‘biz’ than ever. Some things have not changed, careers are still built on some tried and true elements: great music, performance and timing. But today’s artists must work harder than ever to succeed. The good news is that we have new tools to help young musicians grow their fan base. The book I wrote for the course I teach at CU Denver on artist management is called “DIY: You’re Not in it Alone.” While you are ultimately responsible for your own career, these days it’s essential to make the most of all the help that is offered along the way. DIY album funding means that, unless your rich Aunt Sue decides to invest, you’re going to be “slapping the plastic” (a bad idea), or dive head first into the world’s most interesting new source of venture capital: crowd funding. Whether it’s Indiegogo or PledgeMusic, ArtistShare or the grandmamma of them all, Kickstarter, they all have specific rules, niche markets, dangers and advantages. For the past five years I’ve taught the fundamentals of crowd funding at CU Denver. But I’d never run a big campaign until now. Last month I completed a successful 30-day - $15,000 Kickstarter campaign for our new album and boy-howdy was that an education for me. Probably the biggest lesson I learned is that crowd funding or ‘fan funding’ is not the right name. It should be called something like “social media fan-based engagement” (pretty awful but that’s what it is). It’s social-media based patronage AND fan-engagement like you’ve never done before! It is also not “money for nothing” - you are going to have to work your ass off for their support. Ground rules: (a) You have to have an engaged fan base that is willing to come to shows, interact with you on social media, buy your mix tape or t-shirt at your merch booth and tell their friends about your music. (b) The number of people who contribute will be a tiny fraction of the number of people who “like” or follow you on Twitter, SnapChat, Instagram or Facebook. A safe bet is between 1% and 3%. Amanda Palmer has about 500,000 likes and roughly 4% contributed 1.2 million dollars to her record-breaking campaign. (c) Your goal and ability to achieve it has to be viable: meaning you have a project worthy of funding, a goal that is realistic when compared to your fan base and a set of rewards for your patrons that are of real value. You must also be capable of delivering the rewards and the fan-connection you promised. You have to be willing to spend time – a butt load of time - making the campaign look and sound great and function properly including all the technical aspects. I’m going to assume that you have built a social media and/or live performance-network that is 1000 or more real fans. I am also going to assume that you understand the basic rules of social media. To review: (a) it’s not always about you - where you’re playing next, how much you like tequila, what you’re listening to today… (b) I am assuming that you are interested in what others are doing and posting and liking and sharing their posts and are “social” with them (c) I’m assuming you have a ratio of followers to people you follow that is minimum of 2-to-1 or greater and that you aren’t stupid about what you do on social media
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- basically, you are a pro. With that in mind here is what I’ve learned about Kickstarter that I think will be helpful.
pie in the sky $1,000 or $5,000 rewards that none of your fans can afford. Have 5 rewards between $30 and $200 and forget the $5,000 reward.
One: the set-up is crucial; it’s time consuming and involves real creativity. I’ll use the term “programming” but it’s not the right word – there’s no coding involved. You are going to have to enter a ton of info and uploads into your campaign’s shell. You will have to keep active during and AFTER the campaign on all your chosen social media networks plus at gigs and through direct contact with family and friends. Kickstarter gives you a pretty good platform but you have to populate it with everything that matters to potential backers.
Your programing will include the set up of an Amazon payment account, linked to your bank account. I used my band’s business account. Once you complete the campaign, it will take Amazon 15 days to process the funds. Once your “net” funds are available you go to your Amazon banking account to authorize a transfer. Then, Amazon will tell you that the transfer takes an additional seven days so plan on three weeks to get your money. Also essential to understand, any dead-beat backers who’s card’s can’t be billed will still have the Amazon and Kickstarter percentages taken out (even if you don’t get that money from that pledge). Kickstarter and Amazon service percentages come off the top first.
The Story: It starts with the “story.” Go to Kickstarter and search ‘music’ and look at how “stories” are done right – and how they’re done wrong (plenty of examples of both). Key elements include a video that is compelling, represents both the need for funding and your ability to follow through, and a sense of humor. The Video: There are enough examples of good videos (and bad ones) on the site so I will not belabor that point. (My favorite is one by Steve Taylor). A video IS worth a thousand words. While it’s important to talk about the rewards in the video, the most important thing is to convey the real need and the viability – oh yeah – and make it fun!! Rewards: The second key element is the “rewards” for backers – cool stuff they will receive for funding your project. And let me stress this again, all this programming needs to be done by you in a creative and engaging way…and it needs to be functional…there are a number of Kickstarters with broken links.
Reaching your goal is an all-or-nothing proposition with Kickstarter and some others. If my campaign had come in at $14,800 – I would get zero! There are crowd funders who don’t do that - you get what’s pledged. Why use Kickstarter or sites like it? Two reasons (1) early studies on crowd funding suggest that well designed campaigns reach their goal more often with the urgency of an “at risk” based campaign: “WE NEED YOUR HELP – WE ONLY HAVE 48 HOURS LEFT!!!” It is a huge motivator. The trend-lines Kickstarter exhibit are an initial one-week launch-surge followed by relative quiet (depending upon how active you are on social media) and a last 7-day closingsurge. (2) There is almost no reason not to make your goal if you have done your homework. How can I write that? Because, when well-managed
Do not over-promise. Start by setting up an entry level (“$1 to $100”) with a “no reward” option (some people want to help and don’t want anything for it). The next level should be for a $10 gift. That donation gets your backers the artist’s thanks (a hand written thank you note is cool) sent through the mail with a download card. The cost is around $.57 per download card, an envelope and a stamp. There is a section in the programing that allows you to add shipping costs and that amount is tacked onto the top of the pledge. So a $10 donation and $1 for card, envelope and stamp nets you about 10 for an $11 total donation. For $20 you get a signed CD and a thanks note - and make sure you add shipping. (Bulk bubble packs from Office Depot cost about $1.50 per unit, your CD probably cost you between $1 to $2 to replicate and bulk-rate mail is $2.50 for sending a bubble pack anywhere in the US…so charge $5 shipping and you will net $20. From there you want to get progressively more creative. As many different offerings you can do between $30 and $200. Typical extras include CDs from back-catalogue, stickers, posters, t-shirts and more. Check out Kickstarter for examples but don’t over promise. Extras I did included a Zoot Suit, a signed guitar (went for $1,000) guitar lessons via Skype and vinyl. Again, be careful of things that are too time consuming or too costly. Don’t offer to come DJ or perform at somebody’s party unless you structure the price and the workload so that it makes sense for you – the goal is to fund the project not exhaust your resources. Show Me The Money: Kickstarter takes 5% off the top but backers must open an account with Amazon in order to complete their transaction – and Amazon is going to take between 3% and 5% additional off every pledge for processing. Some crowd funders use Pay Pal, but it works out to be about the same. Rewards need to be set around what your fans are comfortable putting on their credit card. Don’t clutter your page with a lot of
April 2015 | ColoradoMusicBuzz.com
projects get close to the end of their campaign and the project-manager sees evidence that the campaign will not reach the goal – he/she can make a pledge that closes the gap. People do this all the time. Example: A fan base contributes $4,000 to a $5,000 campaign. The manager pushes like crazy in the last 24 hours and gets to $4,800 three hours from deadline. Is he/she going to lose the $4,800 or are they going to pledge $200 that net’s them $4,500 after Kickstarter and Amazon take their 10%? It takes some subtle maneuvering, the designer cannot contribute, but it’s done all the time. In my case, some of my fan-base dislikes Amazon. They sent me checks (almost $5,000) directly in the mail. That is legitimate support but not registered through Kickstarter. So I called Kickstarter and they showed me how to make a pledge in my check-donor names and use my credit card to cover it...that is legal and OK with Kickstarter. I have heard of some artists who have “tricked” the system by having friends pledge the “closing” amounts on cards that have a credit limit of – say $300 – and they made a $600 pledge. The campaign still showed that they reached their goal and the project was funded. This is just scratching the surface of how involved crowd funding campaigns are. In an era when artists are going to be making albums themselves, either because they are just starting out or because they choose to go DIY, crowd funding is replacing what used to be called the “demo deal” and the “development deal” from labels. It takes thought, time and energy but you can succeed.
New Non-Linear, MultiMedia Novel/Music Project Debuts This Month by Tim Wenger
Eric Suzanne has been busy, and that’s an understatement. April 2 saw the release of his new non-linear novel Riding Side Saddle through Spring Gun Press, which coincides with his band Teacup Gorilla through a multi-media presentation of the novel. One of the most ambitious projects that has come across our desk recently, CMB decided to get the lowdown on what exactly this “multi-media novel” is, and where it is going. Eric was happy to catch us up. CMB: Give us the background on this “multi-media novel.” What is it, how did the idea come to be, and what type of collaboration happened with the musicians? ES: The initial spark comes from Jonathan Ned Katz in The Invention of Heterosexuality. Briefly: what does it mean to identify with a gender, and what does that have to do with our bodies? I combined that with my own conflicted experience of gender, some research on dissociative (out-of-body) experiences, eating disorders, and the Greek myth of Hermaphroditus — not because these things are comparable, but because they all highlight the relationship between your identity and your body. The idea for a novel on notecards had been growing on me for some time, and felt like a perfect fit. There is a perceived disconnect between the genre identity of a “novel” and the physical format of shuffled cards. I want to take that further in the online version, with the addition of multimedia/ hypertext features: animations, links, tags, music, etc. Most “multimedia” work I’ve seen starts with a choice of media and develops from there. I don’t work that way. First I generate material, and then I start playing with different ways to present it. What does it look like as a book, or as music, or as a website? That may come from my background in theatre, where there is a more distinct line drawn between what is “script” and what is “performance” — one script can be performed in multiple ways. The same is true in my job as a web designer: one html document can be styled in many ways using CSS. Why should a novel be any different?
was a dance/theatre collaboration with Vicious Trap in 2010, followed by a series of poetry readings around Denver and Boulder. Dan and Sondra are both writers as well, so sometimes they’ll give feedback on what I’m doing, or sometimes they’ll contribute directly. Sondra has several cards in the deck, and some of Dan’s song lyrics will appear in recordings for the digital version. The other musicians (Jen Korte, Jessica DeNicola, and Open to the Hound) have joined us over the last month to help make the release a big event, and they’ve been great to work with. We want the evening to flow around a theme, without forcing everything into a single box — so everyone will play their own set, but we’re incorporating the novel into some of their music, and we’re bringing their musical talent into some of our songs. There will also be readers joining us — Jacob & Aaron Liechty both contributed to the text of the novel, while Erin Rollman & Brian Colonna (from Buntport Theatre) are just in it for the performance. CMB: How did you begin working
with Spring Gun Press? They have published some great books! ES: I agree! I met the SpringGun editors a few years back, when I was first looking for ways to get involved with the Denver writing scene. I was overwhelmed with the number of writing/reading events in the area, but Erin Costello’s bio stood out to me because she mentioned “electronic literature” and multimedia writing. I had never heard the term before, but it described a lot of my work, so I went to her reading and we started talking. They’re such an amazing group of artists, it’s been an honor to work with them. CMB: Where will the book be available in Denver and online? ES: Short answer: Everything will be available at ridingsidesaddle.net — we’ll keep that up to date with all the relevant news and links. Long answer: City Stacks Cafe & Bookstore downtown is planning to
One performance of this novel involves physical cards in a box; another performance exists online, with multimedia features that can change and grow more organically; and a third version exists at “readings” where music becomes the central medium, and the words take a supporting role. By making it open-source, we’re giving you the option to invent new performances, or contribute back to ours for future renditions. Teacup Gorilla has been involved from the beginning. This has always been a part of what the band does, and part of how I write. Our first gig ever
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carry the book. Other bookstores will be able to get it through Small Press Distribution, and we may talk to a few more about keeping it in stock. You can also order the physical version through the SpringGun’s website. The online version will be launched using OddBooks, the tool we’ve been developing with OddBird and used to write the novel. Hopefully we’ll have an initial, simple version live by Thursday. Advanced features will come as we get them working. The great thing about multimedia open-source work is that it’s never “done” — you just keep making it better, and updating the version number. CMB: Any further projects planned at the moment? ES: It’s hard to know where one project ends and the next one starts. As soon as this show is over, we’re going into the studio to record our debut EP. Some of those songs may get added to the digital novel when they are ready. We’re also planning a joint book/band Novel Affair tour for the summer. That should keep us busy for a while.
Local White Whiskey Develops Strong Bond With Big Head Todd & The Monsters by Tim Wenger
I’m sure that somewhere there is an adage about the long-standing relationship between rock musicians and whiskey.
have a real Colorado connection, and you can go downtown to the distillery and actually see where they make it if you want to,” says Jeremy Lawton, who handles pedal steel guitar and keys for the band. The opportunity to finally work with a respectable local liquor finally presented itself. “All kinds of visual images popped through my head. Bota Bag, skis, Campfires, and the cup holder on my riding mower.
as the brand gains more name recognition. Watson knew that naming his whiskey after the state where it was born would play into the continuing popularity of all things Colorado, and the decision has paid off. “Everybody loves Colorado,” Watson says. “Nobody has anything bad to say about (it).” They have been identifying their brand with the state and gaining traction with businesses that focus on Colorado-made products such as the bar Society in Denver,
As the official whiskey of Big Head Todd & The Monsters, local product Colorado Sun‘Shine is a brand carrying on that tradition. Crafted here in Denver and originated by entrepreneur Jim Watson, Colorado Sunshine is a white whiskey- which all things considered is basically just a ‘nicer’ term for moonshine. The recipe, which Watson and his crew hold as close to their hearts as they do to their safe deposit box, was discovered by a man that would become Watson’s partner, along with his crew that was doing work on the property, in an old schoolhouse near Toponas, Colorado. Over a night of drinking, Watson and his partner, who wishes to remain anonymous, decided to give the recipe a shot. With only slight moderations (to make it potable for today’s drinkers), Colorado Sun ‘Shine was born November 1, 2014. The connection with Big Head Todd & The Monsters is as natural as the product itself. Watson has a long-time friend named Peter Johnson, known to friends as Pony, who owned a bar in Boulder, the Monters’ hometown. Over time Pony had become friends with front man Todd Park Mohr, and during a conversation in which Watson expressed a desire to incorporate music into the marketing of his new whiskey Johnson offered to run the idea of sponsorship by Mohr to get his thoughts. “When I first heard of Colorado Sun’shine I was surprised and curious that a great moonshine could be made in Colorado,” says Mohr. “We were open to working with Colorado Sunshine because we loved the beverage and the fact that such a stunning moonshine had local roots.”
“And the fire-breather guy at the carnival,” he adds. Big Head Todd & The Monsters have been known to enjoy a few nips from the flask now and then. If for noting more, to get the creative juices flowing. “First you drink whiskey,” says Lawton. “Then you don’t write songs- songs write you.”
which according to Watson has been a hot spot for Colorado Sun ‘Shine sales. For our readers in Capitol Hill, Oblio’s Cap Hill Tavern also carries product. The growth of the product is catching up with the small crew at hip brand development, Watson’s company that brands both Colorado Sun ‘Shine and the flavored distilled grain beverage Wicked Hard. “We have to be careful
“Whiskey and music go together perfectly,” Mohr says. “Moonshine and blues are a particularly potent combination indeed.” Colorado Sun‘Shine can currently be found in about 50 bars around Colorado and 125 liquor stores, and that number looks to continue rising
The rest of the band was equally excited about the opportunity to work with the product. “They
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with bars just because we’re a 1 and a half guys and 1 and a half trucks,” Watson says. “We’re starting to stretch our seams.” Watson plans to continue growing his business to meet demand, however. The product is distilled in downtown Denver by Mile High Spirits. As Watson notes, many modern products that consider themselves ‘moonshine’ weigh in at 80 proof or less. “(They’re) watered down, and usually flavored to make the taste more appealing,” Watson says. Colorado Sun ‘Shine is 105.6 proof, and according to the company’s motto, ‘You’ll never find a watered down 80 Proof White Whiskey in our bottles.’ At long last, the company will be hosting its launch party at the end of April with Todd and the gang in attendance and will be doing a set for the attendees at the private event. Watson and the Colorado Sun‘Shine crew will be auctioning of twelve special bottles of the whiskey starting at $500 a piece with a portion of the proceeds going to charity. “We always have a slant towards giving back,” Watson says. Learn more about Colorado Sun‘Shine at cosunshine.com. As for Big Head Todd & The Monsters, look for them to be hitting the festival circuit this summer as well as other outdoor gigs. “All while drinking Colorado Sun‘Shine, of course,” Mohr says.
Sub Station- Crack In The Mirror
Luna Sol – Blood Moon [LP]
Sub Station has continued doing what they do well with the new record Crack In The Mirror. An interesting fusion of Americana and jazz with smoky trumpet lines and coupled with soothing, heartfelt lyricism. The only problem is, I cannot seem to figure out when would be the optimal time to listen to it. The songs are arranged well, but often come across as too mellow and not appropriate for the after-work dance parties I like to have in my living room. They may, however, be perfect for at work.
“We like it loud, dark, and heavy.” Yes, they do, and a successful achievement at that. Fans of Queens of the Stone Age, Mondo Generator, and Alice in Chains will surely be rotating these guys in their devices.
In The Whale- Full Nelson
by Thom Jackson
by Tim Wenger
In The Whale brings the over-thetop energy of their stage show and momentum of the last year+ spent on the road into their new EP Full Nelson. I went back and listened to the opening track “Radio” again two additional times after a full listen thru of the five tracks and actually erased the sentence I had written about it being a cunning attempt at a mainstream altrock album intro track that fell short of its goal, far away from what we expect from the current front runners of Denver alt-rock. In actuality, that doesn’t appear to be what Nate Valdez and Eric Riley were going for at all. Quite the opposite, it seems, and the same can be said of the entire EP. What stands out the second time through is a sound that has broken free of the tight constraints of Denver’s music scene corps. At times hitting heavy on the ear drums, at others tugging at the tear drop about to fall from the right eye, what In The Whale is doing is keeping it fresh. Uncle Nasty told me a couple months back that as he sees it, Denver’s scene has more artists than fans. The more I’ve thought about that, the more it seems true. While our scene is strong and very community oriented, a breath of fresh air now and then is nice. Any readers continually trolling the A-Sides page in Colorado Music Buzz every month looking for the new hip sound may have noticed my pen becoming sour, which is due to an inbox incresingly filled with bands that have little more to offer than an emphatic attempt to please the talent buyers at Hi-Dive and Larimer Lounge. As for In The Whale, touring with bands that come from other worlds and inserting themselves into the ears and judgments of new hordes of people each night seems to be doing good things for their music. The offering’s somber and emotional final tune, “Mail,” seems to explore that second guessing that can come along with exploration and progress. Variety is good, as all trends die. In The Whale has figured that out. The record drops May 12. Online: inthewhalesucks.com Richie Allen Buchborn- Live At Swallow HIll Music
by Thom Jackson
With their new live record, Richie Allen & The Bad Ideas have captured the soulful intimacy that concert goers at Swallow Hill Music have come to embrace. In their quest to be a band known for a stellar live performance this collection of 11 tracks serves as a holdover to quell the jonesing of fans between gigs. Allen and his crew allow the audience to play a vibrant part on the record. Through cheers, laughs, and the occasional ‘ooh’ or high-pitched screech, the spirit of this live show provides the perfect accent to the band’s mellow brand of acoustic folk.
Online: facebook.com/substationband Susie FitzgeralRestless
by Tim Wenger
While the album may not be pushing any envelopes creatively, Susie Fitzgerald has filled the lyric sheets with raw emotion on her latest effort Restless. A little bit country, a little bit folk, a little bit pop, this singer/songwriter speaks from the soul and has put to music many thoughts that people never get the opportunity (or guts) to say out loud in regards to friendships, relationships, and life in general.
by The Swami
by Tru Blu
Lucky to have these guys in the state lines of CO…Album drops on 4/20. Not a coincidence and sonically would fit in very nicely with some partaking amongst friends on this upcoming new Colorado holiday.
Fresh off their top eleven spot in KTCL’s annual “Hometown for the Holidays” competition with the song “Faces and Colors”, Ivory Circle unleashes the rest of their 5 song EP, Isosceles. I swear Faces and Colors could easily be the next James Bond theme song! Lead singer Connie Hong draws you in immediately with her carefully crafted melodies and tender delivery. Track 2, “Holding On” is the epitome of a love affair gone on too long that eventually drags you down to your knees and darkens your hopes for anything related to future love, “past the breaking point…” is how she states it. Isosceles is polished lovelorn storytelling and well worth your attention and our praise. It was produced by Chis Beeble at The Blasting Room. Beeble is coincidentally a founding member of Ivory Circle along with Hong. Rob Spalding, Sean Palmer and Jesse Spencer round out Ivory Circle. “Isosceles” is the second installment of 3 EPs set to release in 2015 with their EP release show at the HiDive on April 17th.
Online: lunasol.bandcamp.com
Online: ivorycircle.com.
Hailing with a damn good description of “High Mountain Stoner Rock” really sums up the unique hook laden heavy groove that Luna Sol descends on. With help from a very impressive line-up of friends including John Garcia (Vista Chino, Hermano, Kyuss), Nick Oliveri ( Vista Chino, Kyuss, Queens of the Stoneage), Greg Martin (Kentucky Headhunters) and and Dizzy Reed (Guns and Roses), Luna Sol replicates a style of full blown dark rock that hasn’t crossed theses desks in a while.
Her style is the emo of folk music. The strongest song is the leading track, “The Hardest March,” which paints a dark picture of an even darker story- a theme commonly employed by Fitzgerald throughout the album. Online: susiefitzgeraldmusic.com Trout Steak RevivalBrighter Every Day
by Tim Wenger
In Colorado, there is no shortage of bluegrass music. Quite the opposite in fact, and from what we have seen cross the desk here at CMB the groups that stand out have two things in common- knockout vocal harmonies and the ability to showcase solid lead parts on instruments other than the banjo. Trout Steak Revival is the epitome of both of those traits. On the groups long awaited new record Brighter Every Day, a sharpeared listener can pick out those and more- the traditional mountain-style bluegrass elements dominate the group’s sound but many of the songs including the title track have a strong mainstream pop influence as well. This gives the band some crossover appeal in the fashion of The Lumineers while not straying them too far from their mountain pickin’ roots. The record is upbeat from start to finish, the perfect end to a day on the slopes or to blast through the speakers at a backyard BBQ. Online: troutsteak.com
Online: richieallenmusic.com
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Ivory CircleIsosceles
April 2015 | ColoradoMusicBuzz.com