Saturday night, I had the privilege of catching an up and coming Boulder folk band called Gipsy Moon. They combine bluegrass, soul, alternative rock, and a little bit of gipsy jazz, weaving an intricate aura of acoustic song.
Perpetual Groove has been a staple of the Jamband scene for almost 15 years now. Their studio recordings have been received with success, but it is really their live shows and dedicated fans that have kept P-Groove on top of the scene and riding that momentum into their sophomore decade.
Band of Skull's new record, quite an improvement over their previous full-length album (2009's Baby Darling Doll Face Honey), showcases a more emotional and lyrically complex side of the band. Entitled Sweet Sour, the album lives up to its name. The group mixes hard-hitting, heavy rock and roll with intellectual, soft, at times psychedelic alternative rock songs.
Since 2003, Los Angeles based post-rockers El Ten Eleven have been creating some of the most unique music around. The duo, composed of bassist/guitarist Kristian Dunn and drummer Tim Fogarty, combines elements of pop, electronic, rock, and dance music into soundscapes that often defy description.
Every good student knows oil doesn’t mix with water, the greater density of the water pushing it to the bottom as the oils rises and floats to the top. Los Angeles band RACES displayed such a dynamic on stage at Boulder’s Fox Theatre, one half of the band rooting the music down with a heavy rhythm section, the other floating just above that with glossy harmonies and melodies.
Erika Wennerstrom, lead vocalist and guitarist for the smashing rock band Heartless Bastards, spoke to Billboard Magazine this past November to promote the February release of the group’s new album, Arrow. She said, “I feel like this is the strongest record I’ve ever done. I’m really, really happy with it.” She made a damn good point. The record rocks, plain and simple.
The biggest sham perpetuated by mainstream rock and pop music magazines is the narrow “greatest guitarists of all time” annual issue. In the editor’s defense, it’s probably a dreaded task. Most of these sorts of publications (none specific come to mind, of course) tend to focus their top picks on the straightforward rock guitar heroes.
Lacking both the alluring eccentricity of Arm’s Way and synth drenched electro pop driving Vapors, Islands’ A Sleep & A Forgetting is unmistakably the least compelling album overextended singer/songwriter Nicholas Thorburn has ever hatched.