Dec 072009
 

Excerpted from my article on Examiner.com

Sunday night, A.F.I. (a.k.a. “A Fire Inside”) headlined a night of modern rock at “Not So Silent Night”, hosted by local Denver radio station Channel 93.3. University of Denver’s Magness Arena was at about half-capacity for the four-band showcase.
I Fight Dragons launched the evening at about 6:00 PM. With a distinct video gamer theme, this band’s claim to fame is that they incorporate game controllers as musical instruments. Honestly, it comes off as a gimmick that doesn’t work well–little more than a novelty attention-grabber tactic. Not much musical substance to back it up….

Dec 022009
 

This is expanded coverage from my article on Examiner.com.
As I begin to write this, I’m sitting at Arvada’s popular D-Note, watching a young band called iconoClass.

Basically all they’ve done for the past 45 minutes is jam. Almost all of it is guitar solos over rock beats and repetitive chords. There is one microphone set up, but nary a lyric has been sung. Which is okay–if your instrumentation carries it. But being an instrumental-only band takes more concentration, in-depth songwriting and technical skill than most folks realize. And iconoClass isn’t there–at least, not yet.
I went into this gig not knowing anything about iconoClass except their name, because I’d seen some flyers around town. At first, after a song or two, I was tempted to say I had nothing to write about. When I write reviews, especially of local talent, I tend to steer clear of guys who are just jamming to have fun and don’t really care whether they go places. But I don’t get the impression that this is what iconoClass is about; I think they want to go places. As I’ve sat here listening to them (and writing), I have actually heard some good musicianship, some awesome rhythms, some striking sounds from these guys. Right now, they’re four guys taking up space and time on a stage–but there is actually potential here. If I were to fast forward a couple of years–who knows where these guys might be?

So I decided I have something to write about after all: bands in formative stages. Because this is the best way I could describe iconoClass. It’s like I’ve caught a glimpse of an embryo band, or a band in an incubator. Put another way, iconoClass is still in their garage phase. A group of guys who can sort of play, and have found out they can make some really cool sounds–but haven’t really learned yet how to be a band.

But it’s not like these guys are just gonna stay off the map. That remains to be seen. They could really become a band people would want to come out and see. It’s just too early to tell.

Since I began writing this post, the band has wrapped up, and I went and talked to a couple of the guys–and found out I was exactly right in my assessment of them. They are a band in the embryonic stage; they’ve been playing together for six months, and this was their debut public performance. The reason no one sang is that their bass player hasn’t worked up to it yet.

But what impresses me–and I’ll explain this momentarily–is that these guys have no delusions about where they are at. They know they are a band in formation, and they don’t think they are better than they are–and they want to grow. That impresses me because when musicians don’t see their weaknesses honestly, they can’t grow. Frankly, I have little regard for bands who think they are more than they are.

The fact that these guys know their weaknesses tells me iconoClass will go places. How far they go, will still be up to them.

So here is some free advice for my new friends in iconoClass (I told them I was going to post this):

  • Yes. Get some vocals going. You won’t be able to carry an audience without them. And be willing to explore some options with vocals, and don’t be afraid to admit if your vocals suck. :) Again, being honest with yourselves will help you grow.
  • Concentrate on playing with one another. Listen to each other. This is happening a little, especially with your drum/bass combo, but it needs to happen more. Practice a bit more give and take with one another–when someone has the lead, everyone back off a bit and give them room.
  • Network with other bands; form some relationships with local bands you respect, and try to open for them. Being around musicians who are more advanced will challenge you.

So for the rest of you who were listening in on my iconoClass pep talk–the band will be playing their next show at Old Curtis Street Bar in downtown Denver on January 7, 2010. Don’t take my word for it; go hear a band in formation. (They promised the audience here they would sing next time.)

Best to you guys. Looking forward to watching your journey…

Nov 172009
 

Waking Up, the second full-length recording by OneRepublic, hits record stores today.

With origins here in Colorado, this band–one of my favorites–has a tale more complex than the typical “local boys make good in LA” story. A tribute to the power of new media, OneRepublic had a hit single, was making live prime-time television appearances, and was one of the biggest bands on MySpace–and had no record label. Their recording contract with Columbia had gone south months before. Their breakout hit, “Apologize”, was actually introduced to America as a feature track on a Timbaland record, and Timbaland signed them to his new label shortly afterward. The result was their long-anticipated debut record, Dreaming Out Loud.
Waking Up was recorded here in Denver, and is described on OneRepublic’s MySpace page as “the band’s most sweeping, cinematic effort to date, with even more strings and movie-like moments.” OneRepublic is also currently offering a collector’s edition package online, including an autographed copy of the lead sheet of the single “All the Right Moves” and some other goodies.
You can download the new release on Amazon or OneRepublic - Waking Up (Deluxe Version).

Nov 122009
 

When I went last Friday to check out The Rouge in concert at the Marquis Theater in Denver, I found an inspiration–but it wasn’t from The Rouge.

The surprise of the evening was the opening act, a newer band simply called “Churchill.” To tell you the truth, at first, they seemed the most unlikely candidates to win over an indie rock crowd. The four guys and two girls opened their set with “Please come my way, Lord/Please come my way”, in gospelly four-part harmony underlaid only with a bass/snare drumbeat.

Huh? I thought I was at a rock concert, I thought. This looks and sounds like something from my old youth group. But that impression only lasted a moment. From there, they launched into an innovative jazzy sound that still sounded a bit gospelly-bluegrassy, but very, very cool. And things only got better from there.

It’s really hard to describe Churchill’s overall sound; in fact, I spent most of their set trying to figure out how to categorize them. How do you classify a drum-and-bass combo that is decidedly rock, overlaid with mandolin, cello, a little bit of keyboard and acoustic guitar? Was it bluegrass, folk, alt-rock, or what? All I know is–it worked. It worked well. And I wasn’t the only one there who thought so. They won over the gathering crowd in a way I’ve rarely seen a warm-up act accomplish.

I had a brief conversation with Tim Bruns, the band’s guitarist and one of the lead vocalists, after the set. His description of their sound, while still leaving us scratching our heads, actually makes the most sense. He told us they started with guitar and mandolin, and a bluegrass sound; and as they added musicians, the sound evolved into something more akin to rock…”but we didn’t want to get rid of the mandolin.” The result, as he describes it, is a band that plays rock music on acoustic instruments. That definition is still a little simplistic, but it’s a fair description nonetheless.

Based on hearing this one performance, and their freshly-released EP–I’d say Churchill’s strongest asset at the moment is that they have an incredibly solid drum/bass combination. These two instruments form the backbone of pretty much any modern band, and the strength of these pieces (or lack thereof) can make or break a band. That said–this band has one of the strongest backbones of any new band I’ve ever heard, and it gives them a great foundation to build on.

Another thing they have going for them is their songwriting. The tunes are memorable, great melodies, great lyric. I know a song is good when it stays in my head. Their stuff stayed there for days.

Their weak spot–at least that evening–was the vocals. Where the drums/bass were on the mark, the vocals drifted a bit. I say this guardedly because their vocals were much stronger on the EP–so I know they are capable. For whatever reason, it didn’t always translate into their live performance. Whether that’s a consistent issue can’t be determined until I see them play again.

And I would definitely go see them again. :)

If you’re following this blog (thank you if you are), you probably can already tell that good music excites me. So does real potential. I see in Churchill, not a band who has arrived–but a band that is certainly on their way. They have the raw materials, the oomph, to take them places–the potential to really become something special.

Churchill is a band to watch–and I’m going to look forward to watching how things go for them.

OOMPH scale: 7.5

Nov 062009
 


As usual, there is much live music to choose from in Denver this weekend, including lots of local talent. Here are a few of the more promising prospects, to help narrow the search.

FRIDAY, NOVEMBER 6
The Rouge, a local indie band with a growing following, will be playing at the Marquis Theater tonight at 7:30 PM, along with The Still City, Snake Rattle Rattle Snake, and Churchill. This is all-ages event! Tickets are $10 each, available from Soda Jerk Presents. The Marquis Theater is located at 2009 Larimer St. in Denver.

Swallow Hill presents Solas, touted as one of the best Irish/Celtic bands around, at the L2 Arts and Culture Center, 1477 Colombine St. in Denver. Also appearing is Alaskan bluegrass band Bearfoot. Tickets are $25 for Swallow Hill members, $27 for non-members, available from Swallow Hill. Show starts at 8:00 PM.

SATURDAY, NOVEMBER 7
Regina Spektor has made quite a splash in the music scene in the past couple of years with her unique brand of acoustic alternative music. She’ll be appearing Saturday at the Fillmore Auditorium, 1510 Clarkson St. in Denver. Tickets are $32, available from livenation.com. Service charge may apply. This is a show for ages 16 and up; start time is 8:00 PM.

Local Americana-folk band Jonny Woodrose & the Brokenhearted Woodpeckers is having a CD release party at Larimer Lounge, 2721 Larimer St. in Denver. Also scheduled to appear are Tailored Rags, The Widow’s Bane and Murcureria. Cover charge is $7.00; show starts at 9:00 PM. (Jonny Woodrose is scheduled to start playing around midnight. Count on ages 21 and up for this show.)

Also remember…this weekend is the start of Denver Arts Week! Support the arts by supporting your local musicians.

Nov 032009
 

Excerpted from my article on Examiner.com:

Bigwheel Electrosoul, an active Denver band combining soul and electronica, has been invited to participate in the first ever Japan Music Week, an international music festival taking place in Tokyo November 9 through 15. To represent Denver and Colorado for the event, they need to raise their own funds, and they are asking you, the public, for your help….

Read the rest here…

Oct 272009
 

So last Saturday I went to the Meadowlark to catch Danielle Ate the Sandwich (whom I profiled here and here). Her set was great, as expected. Go see her. Buy her records–“or die!” (as she comically warned the audience).

But that’s not what I want to talk about. I pretty much knew Danielle would be entertaining. The surprise of the night was these guys shown in the video below–an indie band from Wisconsin called The Daredevil Christopher Wright, who breezed in for the night and opened the bill.

Several things impressed me about this band. First, they pretty much defied labeling–you just haven’t heard anyone quite like them, and none of their songs seems to sound quite the same. There is a retro vibe pervading their stuff, but also a great deal of innovation and integration of styles. It was sort of like Buddy Holley meets Death Cab for Cutie, and together they sort of crash into an unknown rockabilly band. In the jungle. And this is what comes out. I dig that.

Second–they were tight and accurate. Despite the hodgepodge of styles and experimentation, they were on beat together, and were playing together, not separately. The mark of great musicianship.

Third–I love it when bands focus on their vocals. Too many upstarts just want to jam on their guitars and think that if they play loud enough, no one will notice their vocals suck. These guys not only sing well, but they all sing well together. Three strong vocals, on pitch and on cue. You just don’t see that very often.

I’m not saying everyone will like them. But they are interesting. Don’t you think?

The only downside: none of them is named Christopher Wright. Kind of confusing.

Not really. :)

OOMPH Scale: 6.8

Oct 122009
 

This is expanded analysis from my article on Examiner.com

To anyone who took my weekend picks and went to see rock/power-pop band Regret Night play a free concert at the D-Note on Saturday, October 10…if you didn’t make it past the two regrettable opening acts…I was there. My profound apologies.
Although the concert began at 9:30, Regret Night didn’t actually take the stage until almost two hours afterward. All Bets Off (just renamed One Too Many) made a passionate attempt at punk rock, but could not keep the beat; T-Shirts 4 Tomorrow were only slightly less painful. Both openers’ sets went too long, and T4T even negotiated from the stage to play two more songs instead of one.

Nevertheless, Regret Night’s fans were ready and energized even during the quick sound check. True to reputation, the band was lively, animated, and engaging–and much more together musically than their predecessors. Stage presence is definitely their strong suit; they were aware of their audience, and attempted to connect with them at every turn–and they had fun doing it. When a band enjoys playing their own music, their enthusiasm can be infectious. Regret Night had that in their favor.
Even so–having Regret Night be the best among these three bands, isn’t saying much. By the time they took the stage, I was relieved to finally hear a band that could at least play well together. But that only puts Regret Night in the not horrible category. There were still sloppy moments (including a train-wreck ending when they tried to play one of their songs over a drum loop), and their songs weren’t quite strong enough musically to back up the hype behind them. The potential is there, but Saturday night, the substance was not.

To their credit, it’s obvious these guys work hard, and it has paid off; they have a following, particularly among the younger set. This was a free concert, so nothing was lost but time; it would even be worth a modest cover charge to see them. But if Regret Night wants to take it to the next level–and their enthusiasm would suggest that they do–they are going to have to challenge themselves a bit more. If I were managing them (and I’m not), I’d suggest the following to them:
  1. Spend some quality time writing stronger songs with better hooks. That might even mean hitting a few workshops, or it might mean finding original tunes from other writers, or collaborating with outsiders. But they need a stronger showing in this area.
  2. Spend more time in the practice room. There is stiff competition out there, lots of bands with less zeal who can play much better. Tightness and accuracy really matter. Learn even more how to play together.
  3. Speaking of competition…headlining with bands far below them is not going to make them competitive; it’s only going to build their ego. Regret Night needs more bookings as the opening act for stronger bands–bands that will spur them to be better–not lesser bands that make them look good by playing bad. That tactic won’t work oustide the local scene. Keep the friendships, if possible, but find a more challenging circle of mucisians to hang with.
OOMPH scale: 5.0.
Oct 092009
 

I’ve had a house full of the flu this week, and I am not feeling too hot myself…but this is something I’ve wanted to get going, and somehow I found the time to start.

On Fridays, whenever it’s feasible, I plan to post “weekend picks” for live music in the Denver area. Among the many, many bands and artists who have shows around town (even during the week), I’m going to try and select a few weekend shows that look promising. This won’t be a comprehensive list, but if you’re in Denver looking for some live music on the weekend, this feature of the blog should (hopefully) increase the likelihood that you’ll be catching a good show.

So here’s the first go-round. Obviously I won’t be at all these, but if you go see one of these acts, be sure to leave me a comment afterward and tell me how you thought the show went. (By the way…you’ll also be able to see this list posted on my page at Examiner.com. And the list will likely get longer as the weeks go by, giving you more to choose from.)

Ready?

FRIDAY, OCTOBER 9

Danielle Ate the Sandwich
Walnut Room, 3131 Walnut Street, Denver
Quirky, funny, and entertaining, Ft. Collins folk singer Danielle Anderson has gained a considerable following with a ukelele and a good dose of attitude. Appearing with Dan Craig, Benyaro and Dovekins. Tickets are $12, available from The Walnut Room. Show starts at 8:30 PM. Ages 21+.

Hot Buttered Rum
Fox Theatre, 1135 13th St., Boulder
They’re acoustic-bluegrass; no, more like rock; well, make that jazz…you just have to hear them play. They’re actually in town for two nights; Friday’s show is for all ages, and Saturday’s is 21+. Tickets are $16.50 advance purchase, or $20 day of show, available from Fox Theatre. Shows start at 9:00 PM nightly.

SATURDAY, OCTOBER 10

Tempa and the Tantrums
Blue Moo’d Lounge, 5950 S. Platte Canyon Rd., Littleton
Blending blues and soul, the passionate lead singer of this local band is reminiscent of greats like Aretha Franklin or Janis Joplin, and is getting plenty of attention lately. $5 cover charge, show starts at 8:00 PM. All ages until 9:00.

Regret Night
D-Note, 7519 Grandview Ave., Arvada
Local alt/rock/pop band Regret Night has a reputation for putting on a lively stage show. Also appearing are TShirts 4 Tomorrow and All Bets Off. According to the band, this is a free show, but donations are accepted. Show begins at 9:00 PM. All ages.

Sep 222009
 

This post is an adaptation from my recent article on Examiner.com.

September 17, 2009
Appaloosa Bar and Grill

This past Thursday in downtown Denver, the By All Means Band lit up an otherwise dark stage.

Based in Boulder, Colorado, By All Means calls its sound an Afro-beat/Funk fusion, or “Ghanerican”. Central to the band is drummer Paa Kow, a Ghana native, and three of the other bandmates studied music in Ghana. This is the second incarnation of By All Means, Kow being the only original member. Although they occasionally vocalize, the band focuses mainly on the instruments, with a clear emphasis on drums and percussion.

In the chic Appaloosa Bar and Grill, lit only by ambient room lighting and the street lamps from the windows, the stage sits just inside the front entrance so the music can spill out into the Sixteenth Street Mall. I took a seat inside, out of the way, but in view of the stage.

The band launched into its first set at 10:00 PM with a friendly number, followed by a funky cover of one of those old jazz tunes everyone recognizes but no one really knows.

With the third song, the band came to life.

Seemingly out of nowhere came the catchy opening rock riffs from guitarist Aaron Fichtner–the band’s almost-hidden hunk of dynamite–followed by a powerful blend of African and American rhythms, a strong bass line, and a trombone/saxophone duo fronting the effort. This was the first song where the band showcased the “Afro-beat” part of it’s Afro-funk fusion–complete with a head-turning percussion solo near the end. The results were captivating.

Not too long after, people were crowding the front area, and I was craning my neck to see past them. A few brave souls turned what space there was into a dance floor. Had there been room for it, certainly many more would have been dancing.

Among the few detractions from the performance, the first wasn’t entirely the band’s fault. While the street vibe of the Appaloosa is hip, the venue isn’t very conducive to dance, which this band’s sound definitely invites; so their stage presence was a bit muted because the audience didn’t have enough room. Additionally, I think By All Means would do well to stay away from cover songs, because they have enough clout with their original material to take them places covers just can’t.

That said–should you go see these guys next time they do a show in town?

By all means.

OOMPH scale: 6.5

See where By All Means is playing by visiting their MySpace page.