Fighting the Force Not so long ago in a galaxy somewhere nearby, an alien empress walked down a boulevard lined with her adoring subjects on her coronation day. Before she could reach the dias, a …
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If you’ve kept up with the rock scene in Northern Colorado for the past several years, you’ve undoubtedly heard of Plasma Canvas. And, if you’ve happened to be fortunate enough, you’ve had the outfit rock …
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Unless you’ve been living underneath a rock in a compound with no electricity, you’ve more than likely heard of the phenomenal force of nature that is Colorado’s Inthewhale. Inthewhale is the loudest two-man operated rock …
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NOT A TOY’s new album, PRBLMS, is a thrilling, genre-defying gem. Lead singer and producer, Branson Hoog, brings a unique vocal timbre to every track, delivering an authentic sound, while exploring an array of musical …
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The Burroughs Don’t Settle For Singles In Their Second Full-Length Album Even with attention spans reduced to 15-second blurbs on TikTok and indie artists spacing out their music releases to one single at a time, …
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Let’s face it. For many, the past couple of years have been pretty garbage, in a lot of ways. However, for Colorado’s progressive pop-punk outfit Trash., it would seem the past two years have been about growth and preparing a sophomore release that, in every sense of the word, is quite the opposite of what the band’s moniker projects.
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Progressive rock is certainly its own multi-tentacled beast. Its key characteristics align with virtuosic musicianship and a sort of refined taste which, as with caviar or any stereotype, can lend itself to negative connotations.
But the debut release from Colorado’s Jellyfish Farm could not be further from any preconceived notion of “stuffy” progressive rock. Rather, it’s a delightful and abstract breath of fresh air for not only the state’s local music scene, but modern prog as a whole.
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Following in the Soft-Croon tradition of fellow Colorado folkers Covenhoven and Gregory Alan Isakov, Fort Collins’ Farmer paints with a palette of little more than acoustic guitar and vocal. But a flutter of woodwind textures, flecks of orchestral harp and thoughtful string arrangements elevate the album’s eight songs to a 10.
Fans of Bon Iver will love A Mold For The Bell, but expect a few unique brush strokes in this impressionist piece, namely, the pointed, trembling timbre of Farmer’s vocal: It’s hushed and rife with vibrato yet convinced with a determined grit.
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