Something Like Sound

Of all the shows I could have attended to mark my return from Chicago there are few that could hold a candle to Denver Does Denver. Not only did I get to see (nearly) everyone from the Denver music scene, but I also witnessed some truly excellent art. For those unfamiliar with the premise of Denver Does Denver, here’s the low-down: Local bands covered 3 to 5 songs from other Colorado musicians (there was also a graphic-art portion of the evening too). I could not do every set its due justice, so I’ll just be covering the highlights.

Safe Boating Is No Accident (covering Pee Pee): Dedicated to the “departed” Doo Crowder, SBiNA played a tribute to folk-collective Pee Pee. Starting with a high-energy rendition of “Jaroline,” SBiNA displayed the same amount of energy and musicianship you’d expect from the ~10-person Pee Pee, but with a concentrated 4-piece. The jammer “Pee-Pee Song” may have been a loose interpretation of the original, but I’m not really sure that a meticulous copy would be an effective way to channel the song’s namesake. (SBiNA also gave out copies of their forthcoming EP, expect a review soon! Release show 9/3 at Hi-Dive).

Night of Joy (covering Lust Cats of the Gutters, T. Rex): The normally reserved crowd at DdD got loose when Night of Joy ripped through covers of fellow Denver femme-punks Lust Cats of the Gutters. Even without their signature eye make-up, Night of Joy kept things at a “face-melting” level (see above photo) as they transitioned into playing a couple T. Rex covers (not technically a Denver-band, but at that point nobody cared).

Pink Hawks (covering Bad Weather California): The 11-piece Pink Hawks took on one of Denver’s beloved underground band Bad Weather California in a stunning display that earned my nod as “best set of DdD 2010.” Festival organizer Yuzo Nieto and his big band breathed a distinct latin-flavor and energy into BWC classics such as “New Religion,” “Two Ways,” and “This Is My Country Too,” ending with the most frenzied version of “Let’s Go To Bed” ever performed.

Flobots (covering Tickle Me Pink, Hot IQs, The Pirate Signal): For a band that has found success on the national level, the Flobots certainly haven’t lost connection with their roots. Playing a set at the packed-out Flobots.org Community Space the group started off with a spoken-word rendition of Tickle Me Pink’s “Typical” (the performance felt slightly jestful, in the same vein as Pictureplane’s take on 3Oh!3 at last year’s DdD). The highlight of the Flobots set was certainly their take on the late Hot IQs- complete with a rap-rhyme segment worked in during the bridge on “Retromuff.” Closing out with a couple Pirate Signal tunes, the entire crowd got down to the hip-hop beats that filled the small space.

For many more photos (including Key of D, Tom Murphy, Hunter Dragon, Houses, and more) click here.

It was a Hot Congress invasion on the Windy City Wednesday night as Achille Lauro came through to play Martyrs’ as part of their midwestern summer tour. The group, as always, brought a unique blending of styles which resulted in a set that turned out to be rather danceable (a couple ballroom-style-danced during most of the songs). My personal favorites “No Brakes,” “Summertime,” and “Unicorns and Consent” made appearances in addition to a new song called “Technicolor Heartache.” Denver-based poet Ken Arkind opened with an extended version of his poem about Los Angeles titled “Maggie.”

For more Achille Lauro and Ken Arkind visit Hot Congress. While you’re there, download Hot Congress #1, a compilation featuring both artists. To see more photos from the show click here.

Following Pennywise we were hoping to catch Sum 41, but their set time had been switched with The Word Alive, another post-hardcore band. After taking a few photos (click here to see one), we realized that we could still make it to Andrew W.K.‘s set.

Upon arriving at the stage where Andrew W.K. was playing, the party had already started. In what I will describe as “the strangest, craziest, and most fun” set of the afternoon, Andrew W.K. & Co. had the entire crowd pulsing to their brand of heavy-metal infused, 4-on-the-floor, party music.

Music aside, the performance aspect of this set was mind-blowing (literally). Andrew W.K. and his wife danced around the stage and head-banged nearly the entire time. It was intense physically in addition to being a heavy-hitting listening experience.

I feel that I would have enjoyed staying around for more of Face To Face‘s set, unfortunately the group was scheduled to go on just 10 minutes before The Reverend Peyton’s Big Damn Band.

I have made it no secret that I’m a big Rev. Peyton fan. Ever since I saw them at Warped last year I have been hooked. There’s just something refreshing about hearing country blues at a punk festival.

Although, despite the difference in genre, Rev. Peyton & the Big Damn Band still kept things fairly punk-rock by ending their set with the “polar bear of death” and a smashed washboard. During our interview with Rev. Peyton, he asked me to consider what genre they might be. My answer: Boot stompin’ fist pumpin’ country music for punk rockers.

Bands are often quoted with saying “This has been the best stop on our tour,” and most of the time they could be lying. For Chicago-based Alkaline Trio, there is no doubt in my mind that this was their best stop on the 2010 Warped Tour.

While the group did play a few songs from their recently released album This Addiction, they were in tune with the massive crowd that had gathered. Digging deep into their catalog, they played a few older numbers including “We’ve Had Enough” and “My Friend Peter.” As the half-hour set ended, the crowd cried out for more; but alas, it was Warped Tour and nobody got an encore.

Then, when I thought I had seen everything, I saw this: Michael Jackson Oompa Loompas. No further description needed.

Reel Big Fish took the stage after Alkaline Trio, bringing with them one of the best ska sets I’ve ever seen. After their first (and second)  songs they proceeded to begin exiting the stage as if the set had ended. This type of fun-interaction continued throughout the set.

In addition to their on-stage presence, Reel Big Fish kept the crowd engaged through several dance-genre short songs and a handful of covers. Their ska renditions of Metallica’s “Enter Sandman” and A-ha’s “Take On Me” were truly a highlight for the end of the day.

We headed back to the main stage to hopefully catch Sum 41. Unfortunately all we got was Warped-founder Kevin Lyman explaining that singer Deryck Whibley had come down with some variety of severe sickness and the group would be unable to perform. At this point my colleague and I were tired, so we headed home from what had been an excellent day.

Day four of the UMS began for us a little later than the day before. The rest of the festival was wearing on us, and we struggled to get to the Baker Neighborhood by 4:00pm. Once we got there, however, the music got us excited again. The day started off with The Conjugal Visits at TS Board Shop. This punk band didn’t have a huge crowd, but those of us who were there really enjoyed the sincere and energetic and incredibly catchy punk music we heard. Next up was The Photo Atlas at the Goodwill stage, filling in for an illness-riddled Hello Kavita. Dancy and passionate, The Photo Atlas is always enjoyable to see. We were sad to miss Hello Kavita’s last show for awhile, but the set put on by The Photo Atlas was a nice consolation.

Next, we crossed Broadway to The Irish Rover, to see Bela Karoli. We hadn’t seen Julie Davis and company for quite a while, and were happy to enter the, literally, overflowing bar to see them. Charming as always, the group always delights with it’s musicality and its relaxed attitude. After a fun and relaxing set, we walked down to the Hi-Dive for some auditory whiplash with Tjutjuna. Loud and weird, we loved this set. Their epic soundscapes filled the venue and the audience seemed to deeply appreciate the music. The only problem was the mere half-hour set, which left us calling for more.

Next, we trekked the 10 minute walk to Club 404 to see Old Radio. This shoegaze group was absolutely excellent. Powerful and well-crafted songs made Old Radio one of our new favorite Denver bands, and we hope they continue to play.

After this set, however, the festival caught up to us and we were too tired to continue. As I drove back to Golden after the Old Radio set, feet and back aching and my ability to appreciate live music temporarily destroyed, it struck me how amazing the Denver music scene really is. Certainly at this year’s UMS, we saw bands which are always fun to see and which we’ll check out every time we can. But there were also bands we’d never heard of that kept us more than entertained. I don’t think we saw a single bad set all weekend, and we certainly saw a fair share of amazing ones. Denver has an amazing set of creative and motivated musicians which make it possible for something like the UMS to be as successful as it was.

Covering Warped Tour in Chicago this year brought about a whole slew of different expectations and experiences. Unlike previous years in Denver, Chicago’s date of the festival felt bigger, both in actual size and in perception.

The day started off slowly, beginning with a backed-up single-entry-point parking system. Despite the slow going getting in to the festival, the parking was free and the venue staff were friendly and helpful. After getting settled in and booking our requested interview with Rev. Peyton, it was off to Haste The Day. The post-hardcore act was just that, a frenzy of heavy-metal guitars, some screaming and some singing. It might just be me, but I feel as though this type of music has become pervasive on the Warped Tour within the last few years, often to the chagrin of old-school punk fans.

Up next was The Summer Set, a markedly poppier group that drew a crowd of mostly teenage girls (it didn’t help that they had girls lining the back of the stage, just to reinforce who their primary audience was). In either case, I definitely felt out of place and decided to wander around the festival grounds after getting a few photos.

Wandering led us to the Kevin Says Stage, a small spot where up-and-coming, mostly unsigned acts have a chance to play. While there we heard Gardening And Architecture, a one-woman band with a sound strongly reminiscent of The Postal Service. Electro-pop beats mixed with live bass and thoughtful lyrics to produce music that matched the hazy atmosphere. The highlight of her set came at the end when she was joined on stage by a full band, giving her song a fuller, more rounded sound.

Finding our way back to the main stage, I was overcome by the sounds of Mike Posner‘s “Cooler Than Me” a pop-dance radio single that has been receiving substantial play on local stations. None of the politics of punk-rock really mattered though, everyone was too busy dancing. Directly after Posner was I Can Make A Mess Like Nobody’s Business, the side project of Ace Enders from the now-defunct The Early November. This set was another that showed the diversity on this year’s tour. The songs were soft and blue, a bit like Pedro The Lion, but with an electric guitar. At one point Enders asked the crowd to “squaredance !@$#”

Having sufficiently mellowed out from I Can Make A Mess, it was finally time to go old-school. Most of the traditional punk bands occupied the afternoon and evening sets, beginning with Pennywise. Still singing about rebellion against authority and war after over 20 years, Pennywise struck a chord with the audience, a mix of impassioned youths and laid back-tattooed 20-to-30-somethings.

Stay tuned for a review of the rest of my day at Warped Tour, including more photos and sets from Andrew W.K., Alkaline Trio, Reel Big Fish, and more!

Saturday began at the Goodwill stage with Houses. Having missed their set the previous night, I was excited to see them again. While it was certainly a worthwhile set, the previous night (and the illness which had broken out among certain Houses members) had an obvious affect on the band’s performance. Normally engaging and fun, this set seemed tired. With this slight disappointment and because we’d seen Houses so often, we headed across the street to Michelangelo’s Coffee & Wine Bar for Eleanor. An acoustic solo set, the music was fresh and relaxing. It coupled perfectly with the relaxed atmosphere of the venue, and was very enjoyable.

We continued on, next to Maudlin at Illiterate Magazine. This trio paired catchy hooks with wall-of-sound techniques for a very interesting combination. Though not a style we’d often heard, it was very enjoyable to listen to. After a brief dinner at the Walnut Room, where the sundry tones of Rob Drabkin filled the air, we continued on to Jim McTurnan and the Kids that Killed the Man. Among our favorite Denver bands, McTurnan and crew were as delightful as always on Saturday. The group’s interesting and powerful songs filled the Hi-Dive much to the delight of entertained fans.

Following McTurnan’s set, we couldn’t refuse seeing fellow-Golden residents, The Gromet. Bluesy, fun, and excited, it’s always fun to see this group. Their music matched well with the venue – The Irish Rover – and we enjoyed the 3 or 4 songs of theirs we stayed for. After the Gromet, we crossed the street to the Goodwill parking lot to see The Heyday. Always an enjoyable act to see, The Heday are certainly good at what they do. Next, we walked down to TS Board Shop for Seattle’s Tea Cozies. At first, the group intoxicated us with their charm. By the end of the 4 or 5 songs we heard them play, they had won us over with their talent and musicality.

Next, we went back to the Hi-Dive for Porlolo. Always a fun show, Porlolo certainly delivered on Saturday. Though it was their second set of the weekend, the energy Erin Roberts carries with her carried through at the Hi-Dive. After a few songs from the band, we were off to the Goodwill parking lot stage for Snake Rattle Rattle Snake. Driven by pounding beats from dual shockingly-in-sync percussionists, Snake combines dance rhythms with a walloping bass-line and passionate guitar playing and singing to great effect. The outdoor stage, however, wasn’t a great setting for this group which is more suited to a room overflowing with excited and sweaty people than a roomy, slightly cool parking lot. That aside, the set was excellent as always.

After a quick bite to eat, we entered a packed Hi-Dive to see Gregory Alan Isakov. We overheard a fan describing Isakov as “a combination of Leonard Cohen and Iron and Wine” before the show, and the performance lived up to that expectation. The music was powerful, while retaining its relaxed quality, and it was among our favorite sets of the night. Playing at the same time, at the Goodwill parking lot stage, were the Flobots. While the music the group plays is among my least favorite in the Denver (or national) scene, they certainly know how to put on a show. The parking lot was packed for the act and the audience hung on every movement of the 7-piece group. Their musicianship was more than quality and the set was a fun experience, despite my opinions on their music.

Next, we heard the end of the Radical Knitting Circle’s act at the Skylark – while not enough was heard to make a proper judgment, the group seemed interesting enough to take another look in the future. Next at the Skylark was Lubbock’s Thrift Store Cowboy. The group masterfully combined their Texas western roots with indie rock. Steel guitar was matched with traditional rock riffs and at-time haunting singing. A sound unlike anything I’d ever heard, we were surprised – very pleasantly – by the group.

Next, we continued on to the Hi-Dive for their last set of the night, The Widow’s Bane. We’d not heard of this Boulder-based group before Saturday night, but were excited to find out what they were all about. When a group, dressed as 1700s zombies came on stage, we knew seeing this set was a good idea. The group’s music was simultaneously Irish folk music and Tom Waits. The huge crowd enjoyed themselves greatly, and everyone in the Hi-Dive seemed to be dancing.

Finally, we returned to the Mayan Theater for the last set of the night – Ukulele Loki’s Gadabout Orchestra. The music was self-described “indie acoustic chamber pop,” but the act was more of a vaudeville show than anything. It included circus performers doing their acts to music, as well as singular music performances. While it was obvious that the act was very good and interesting, it was too laid back for 1:30am after a day of a music festival, and we left halfway through the act. The crowd was obviously not very into it either. It was a good idea, and a cool act, but should’ve been put at a different time.

Day one of the UMS is always a little more relaxed than the rest of the festival. Only 8 venues featured music Thursday night (compared to 22 on Friday, 24 on Saturday, and 15 on Sunday) and shows didn’t start until 8:00pm. Even so, it was one of the most eventful and exciting Thursday nights I’ve had in recent memory. Despite staying between Ellsworth Ave and Cedar Ave (read: between the Hi-Dive and the Skylark) the whole night, I managed to catch at least segments of 8 or 9 (mostly great) sets and explore the wonderful Baker neighborhood; It was a great way to start one of Denver’s best weekends.

I started off my night at the Skylark Lounge for Fort Collins’s Sour Boy, Bitter Girl. This indie-folk band performed really well, and was a good start for the UMS – a local band who shows their passion for music each time they play, reminiscent of all the great local bands performing this weekend. After the FoCo group, I strolled to the Hi-Dive to see the solo act of Jeremy Messersmith. Messersmith started off his set playing acoustic guitar and singing over a recorded drum beat. His relaxed tunes at times channeled Neil Simon.

After 4 or 5 songs of Messersmith, I decided to head back to the Skylark and check out FoCo band Paean. This group was very intriguing; featuring occasionally non-standard instruments (at one point, there were 3 guitars, a violin, and a bass on stage), the band made a lot of noise. They created brilliantly-structured soundscapes, and filled the Skylark with their avant-rock sounds. I when Paean had finished, I stuck around for Good Evening Titan. Their bright and poppy melodies were another great addition to the night’s shows. I had never heard this group before, but am looking forward to seeing their dancy and upbeat guitar and synth-driven music again.

Next, I ventured back to the Hi-Dive for Shapes Stars Make!, a band from Texas which gave my favorite set of the night. The group draws easy comparison to Explosions in the Sky, if Explosions occasionally sang. Despite their similarity, watching the intensity with which they played was fantastic. I was very sad when they stopped play, after having only heard a few of their songs.

Because Shapes Stars Make! had finished a bit earlier than expected, I was able to catch The Swayback at 3 Kings Tavern. The venue was packed, filled with fans who fully appreciated the energetic punk-rock sounds of the group. After a few songs, however, their set was also over, and it was back to the Skylark for SLS-favorite Candy Claws.

I’ve seen Candy Claws a number of times this summer, heard reviews from friends of their recent sets in Chicago and Somerville, MA, and each time it seems like their a different – but better –  band. The dream-pop landscapes they produce are joyous and relaxing, and it seems like they’re finally getting their due. The Skylark was absolutely packed with people eager, and pleased, to hear FoCo’s newest buzz band.

After a great Candy Claws set, we stuck around for Roger Roll. Eric Peterson (who will have played at least 5 sets when the UMS ends on Sunday and receives the honor of Denver’s hardest working  musician) fronts this band, which also features Corey Teruya (of Hello Kavita) on bass and a viola and cello. We saw Roger Roll not too long ago at the Hi-Dive, where potential for brilliance was obvious, with the performance not quite matching the song-writing. At the Skylark, however, the group was much more cohesive and the beautifully-written lived up to their promise. It’s exciting to hear such deliberately well-crafted songs, and I’m looking forward to more Roger Roll music in the future.

Finally, it was back to the Hi-Dive for one last band – Paper Bird. As always, this Americana band is fun to listen to and a joy to see live. The Hi-Dive at midnight, however, wasn’t the sort of place where they really shine through. So, after a long first day at the UMS, I ventured back to Golden after 4 or 5 Paper Bird songs, excited to hear them again later on Friday.

Words and photos by Jake Rezac. More coverage from the UMS to come…

“I feel like reviews are going to be written about this song,” said Candy Claws front man Ryan Hover before the group dove in to their set’s finale, “Lantern Fish.” After all, the sold-out show was an official after party location for the Pitchfork Music Festival. Coming on the heels of being featured a couple times on the Chicago-based music-blog-giant, there were expectations that had to be met.

Jumping back to the beginning of their set, the side conversations humming through The Empty Bottle became hushed as “Sunbeam Show” basked the venue in dreamy sound. From there it was a beautiful and hypnotic experience.

The Chicago date of Candy Claws’ “Eternal World Tour” came just days after the group was dealt an unfortunate loss. While driving on I-76 through Pennsylvania, one of their cars caught fire, consuming much of their gear, merch and possessions. They have been pressing on, playing the remaining dates with borrowed equipment.

Having seen them before (and being quite familiar with their recorded works), I feel it sufficient to say that Candy Claws sounded like… well, Candy Claws. Being able to perform under the given circumstances and maintain such a positive outlook and cohesive sound has definitely brought this group up a notch in my book.

Bird Talk  (a local Chicago group) and Best Coast (a surf pop trio from L.A.) also played that night. Both groups were enjoyable, though definitely not of the same ilk as Candy Claws. Bird Talk reminded me of The Beach Boys mixed with a little Jan & Dean (with more attitude); while Best Coast was just a really solid indie-pop-rock band.

Click for more photos | Candy Claws | Bird Talk | Best Coast

Candy Claws still needs your help to recover from their car incident. Please consider donating here.

Chicago’s Grant Park was the place to be on the 4th of July. For those courageous (or stupid) enough to venture downtown there was no shortage of people, food, music, and sunshine. Perhaps the fact that I even went downtown shows that I’m an out-of-towner, but I still stand by my decision: it was the best 4th of July I can remember.

Arriving at the Petrillo Music Shell, a friend and I were able to catch a good portion of the opening act Robert Randolph and The Family Band. Randolph is always a great set (see my coverage from last year’s MHMF), and his performance was certainly a treat. However, I wasn’t really there for his particular brand of music; I was there to dance.

Passion Pit took the stage and the crowd hopped to their feet and commenced dancing in the scorching heat. I was fortunate enough to find a seat close to the front so there was some shade, but it was still hot and sticky. Playing through nearly every song from their album Manners, Passion Pit kept the crowd’s energy up.

After playing a full set there was a short break before the encore. Chants ranging from “One more song” to “U.S.A!” resounded throughout the crowd (I would wager there were ~50,000 people there). The security simply couldn’t hold back the enthused concertgoers as Passion Pit played their final song, the radio-hit “Sleepyhead.”