This weekend marked the first annual Bandwagon People’s Choice Awards hosted at the Moxi Theater. Modeled after, you guessed it, the People’s Choice Awards, Greeley’s own music and culture magazine founded the event in order to recognize your favorite bands and the people who are transforming the Northern Colorado music scene.
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Born Teren Delvon Jones, Del didn’t stumble into it by accident. As Ice Cube’s cousin, he had plenty of influences surrounding him during those early years. Yet Jones was always a bit of an anomaly and decidedly went a different route than his West Coast gangster rapping contemporaries. When he was just 18-years-old he released his 1991 debut, I Wish My Brother George Was Here. He took a more tongue-in-cheek approach to hip-hop, sampled a lot of Parliament and it was obvious he was a having a lot of fun with it. That album produced the single “Mistadobalina,” now a cult favorite. A couple of years later, he came out with 1993’s No Need For Alarm, which also introduced the entire Hieroglyphics crew. It showcased a style that was unparalleled to what was coming out of the Bay at that time.
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No two people explore loss in the same way, particularly when it comes to musicians. Whether it’s the dichotomous musical and lyrical tandem of Mike Ring and the Connection, the raw anguish of The Antlers, or the sprawling light-in-the-dark hopefulness of Arcade Fire, music as a coping mechanism is a powerful thing. Chicago-based City States uses their newest release, Geography, to do the same thing in honor of frontman Joel Ebner’s father. Joel was kind enough to answer a few questions about the band and the album.
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Imagine Speed Racer has just collided with a cargo train full of toxic sludge and candy. Dead and injured are everywhere, fire wrecks the countryside, as a shambling, stumbling figure emerges from the carnage. It’s the entity known as Deerhoof! Candy coated and chaotic, Deerhoof is here to lay waste to your musical comfort zones. They come armed with a 20-year discography, and minds that pump out frenetic, frenzied noise. Basically, you don’t stand a chance.
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After some much needed down time the trio reformed with a new and refreshed outlook on the project and proceeded to lay down the most raucous addition to their discography yet. On February 17th, APTBS released their new album, a perfect representation of why we need pop music and all its predictability. Transfixation exists, if only as a measuring post against the aural insanity that is Transfixation.
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If the music of Pink Floyd is a journey that takes its listener to a destination only accessible by spinning on a table under the just so perfect pressure of a needle its live performance …
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In late 2006, Kristian Matsson charmed listeners with his debut selftitled EP The Tallest Man on Earth. The sounds present were mournful, bluesy, folkloric, and odiously recorded. Despite the tinny quality present in the tracks, Matsson’s command of sound was clear. Almost two years later Matsson released his full length debut, Shallow Grave, which traded in the Ozarkian twang for a sweeter folk bend, and redolent, flowering lyrics. Now, at the tail end of nearly a three year break, The Tallest Man on Earth returns with his fourth record, Dark Bird is Home.
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