Why The UMS is the Only Festival That Matters
It’s a pretty bold statement, to be sure. But I’ll stand by it. The UMS – taking place this week…
Weaving through Denver Music, Art, Culture, and Life
It’s a pretty bold statement, to be sure. But I’ll stand by it. The UMS – taking place this week…
Night of Joy, Achille Lauro, Black Postcards (Local); Lee Ranaldo, Willis Earl Beal, Jeffrey Lewis (not local)
Well – This post we’ve got a bucket of sounds, and none too soon (having missed a while – our apologies)…. This one features a slew of locals – two from the same label (Hot Congress) and another totally DIY group that’s almost too new … but has promise. It also features a pile of national acts – a few coming to town soon, but all should be traversing your grey matter between you headphones – if not already, then soon….
Night of Joy – Hardcore Girls are a Hoax
Night of Joy has been around the Denver scene doing everything themselves for a bit – and have always been mighty impressive. Pulling its sound from somewhere amidst the part of New York’s late ‘70s No-Wave scene led by Lydia Lunch’s Teenage Jesus and the Jerks, Glenn Branca’s Theoretical Girls and of ‘80s Post-punk like UT and Big Black, and ‘90s Breeders and Bikini Kill, Hardcore Girls are a Hoax (available now on Hot Congress Records’ site, officially released March 21st) is a solid, visceral ride.
So I guess it’s customary to pull a quote from the interview in question for an appropriate headline – but…
Starting a new job can suck – especially for your online magazine. That’s the explanation for my long absence on…
After last Monday night’s show at the Ogden Theater, I’m convinced that Sonic Youth are immortals – beings that refuse to age. What else explains their uncanny ability to remain constantly relevant, prescient – and continuously young – in the face of a culture hell bent on replication of the popular, and often the most vapid? Of course, we could agree that the members of this group of musicians – more a family than a band, really, after nearly 30 years – are intuitive charlatans, well-versed in manipulation of guitar strings, effects, anti-rhythms and atonality, but also steeped in the pop ethos that breeds automatic acceptance – or intrinsic danceability.
But then, you’d also have to explain short lives of other bands that sprung from that same NYC, post-post-punk, “no-wave” noise scene that attempted to espouse that same musical ethos. The truth is, Sonic Youth has proven they’re not only the only surviving band from that movement – but that they’re the most deserving.
They’re the only band that mastered the ability to turn pop sensibility on its ear, wrestle it through dissonant filters, and still know how to present the outcome in an irresistibly accessible way, without giving up any of their D.I.Y., no-wave roots.
. . . saw a Gangcharger onstage that has mastered not only its sound, but also its whole rhythmic philosophy. The sound entwines early, frantic and noisy Sonic Youth rhythms inside Kevin Shields chord habits and unleashes a sound that feels like it’s locked you in the trunk of a 1981 Camaro, as it drives at 145 MPH deep into the Western Slope towards Utah, and forces you to enjoy every minute of it.
. . . the five-piece showed the surging Denver throng that it has reached a sort of musical plateau, one where it can perform just about any collection of new, old and really old material with aplomb and brilliance. They can whip any crowd into a throbbing fury, and then easily coax it back into placidity.