Denver’s femme trio, mon cher, explore synth-driven dream pop in their new EP tell me baby. It’s meditative and vibey, reminiscent of synth-pop groups like Washed Out (the group that wrote the “Portlandia” theme) and the Minecraft’s ethereal composer, C418.
When you find yourself on the old familiar quest for heavy, ethereal, instrumental music that takes you on a sonic journey through space and time, look no further than the latest effort from Colorado’s Pathos & Logos, “Cult.”
Pathos & Logos is a two-man operation that sounds like a galaxy of performers smearing a solar system of sounds together.
To say that Musuji’s reputation precedes them would be an understatement. Known for their “wild with madness” moniker, Musuji mash together layer upon layer of sound and energy to create their own blend of funky, intense indie rock that is equally as chill as it is disastrous – and that’s in a good way.
Since making his mark with his 2021 album and over 1.5 million streams on Spotify for his hit “Body Low,” Hutty has been exploring different genres and influences, using hip-hop as his foundation.
Eufórquestra’s recent single, “Arizona to Georgia,” leans into groovy funk-rock, with jammy vibes and a big sound, reminiscent of early Steely Dan or Steve Miller’s “Fly Like an Eagle.” This song has a lot of potential to extend to a full jam, pushing audiences to have a “little less talk, a little more listen” as the lyrics demand.
Guitarist Connor Terrones debuts his solo project with his first single, “What Can I Do?” giving listeners a peek into the lofi tastes of the long-time Colorado soul and R&B sideman.
We last heard from Denver hip hop up-and-comer Jelie in May when the rapper / producer released the pandemic-inspired “Cope” to coincide with mental health awareness month. Today, she’s back, premiering the music video for “Just Like You” via BandWagon – and it cuts just as deep.
Knock, knock – It’s Nick Sanville and Dugan’s group I In Team ushering you into your living room, commandeering the nearest bluetooth speaker and showcasing cuts from their freshly minted project Bad Neighbors – a rap album made with intention. Not the intention of doing something on purpose – rather, something done with purpose.
It’s barrel aged and small batch, but without the pomp of a soft launch for some hipster yerba maté bar. It’s meticulously crafted hip-hop refined by a pair of artists who take their music – not themselves – quite seriously.
During the pandemic, Joy Scout’s Paul Beverage brought home a tabby named Josie, wrote a punk-infused 12-bar blues about her and he wants you to know about it. Mee-ow!
Fort Collins based identical twin sisters Sophia and Jo Babb, otherwise known as Companion, release their debut folk/americana album Second Day of Spring with vocal harmonies that match as perfectly as their DNA.
They find creative ways to use their voices throughout, processing the trauma of their father taking his own life and their own feelings of isolation. Their unisons are striking, the balance and the carefully constructed harmonies giving the illusion that they are coming from the same person.
Denver synth-pop resident Neoma brings her Ecuadorian influences to the Front Range with her new album Hyperreal. Her definitive style brings a welcome slice of musical diversity to Denver’s predominantly americana/rock scene, and her ‘sad-girl’ aesthetic doesn’t stop listeners from wanting to dance-it-up like they’re at the club.
There’s nothing subtle about Spliff Tank’s latest single. In the opening measures of “Lie,” an uptempo beat collides with droning guitars and a soaring melodic synth lead.
Colorado mainstay metallers Draghoria have long been a force to be reckoned with. Their latest effort, Dangerous Species, has not only maintaineed their place on the mountain but have effectively secured their territory at the top.
Draghoria is known in the Colorado community for sheer, sonic brutality, creating an amalgamation of old-school thrash and modern metal held together by forceful melodies, unmatched musicianship, and nods to a plethora of styles that scream (pun intended) pure metal.
Denver’s Elektric Animals ring in the summer via the upbeat rock sound of their new EP Channels. They guarantee that every song, no matter how few, is a bop you will dance to as the weather warms up.
“Come Clean” pulls listeners right in with a fast, dancy drum groove and rhythmic guitar and Nick Sanders’ gritty vocal is sent boiling into a fevered scream. If they haven’t already, 93.3 needs to put this track in their rotation now.
Like Ruptak’s earlier work, Backrooms is emotionally charged, but themes of anger, regret and despair are balanced by love and connection.
“The overall arc is one of evolution and healing,” Ruptak explained.
Scenes that play out over fragile, haunting melodies include a funeral for a well-loved dog, an ambulance ride to a hospice center and a white-knuckle drive to the house of a suicidal family member. On “Angie,” Ruptak proposes to his wife. Literally.
Ronan Andrews’ new solo EP Quarter Life Crisis features upbeat and bright pop with some groovy jazz and soul undertones that should please fans of Mayor Hawthorne or Silk Sonic.
There’s a happy, feel-good air about his songs, like the upbeat opening track “Dancing Like a Fool,” featuring a bouncing piano groove, full vocal harmonies and cool guitar licks. It gives “Sunday Morning” by Maroon 5 feelings, especially when the piano plays lush, jazz-influenced chord changes.
Holdfast.’s new album Movies brings their expected electro dark-pop and rock aesthetic but leans into other styles that open their doors to new fans.
Singer Charlie Maddocks demonstrates a dramatic contrast in dynamics, one that MUSE’s lead Matt Bellamy is well known for, though Maddocks’ tone is undoubtedly his own, becoming one of Colorado’s most recognizable lead vocals. Holdfast. continues to deliver strong songs while experimenting with new sounds and textures.
Music seldom tells you what to imagine in a concrete, absolute way. It requires you to fill in the gaps — sometimes thin, sometimes wide. Young Habitat’s debut EP In First Person Perspective, is a meditation on this idea.
Riley Sbarna and saxophonist Hayden Farr (Trash Cat, The Burroughs) have long riffed about a potential musical collaboration, but the inspiration to finally follow through came from an unlikely source: the pandemic.
Though In First Person Perspective retains the emotional vulnerability of Sbrana’s previous work, the sonic landscape is a left turn. Understated vocals often devolve into heavily affected opacity. The instrumentation is reminiscent of lo-fi hip hop with frequent saxophone odysseys provided by Farr. It’s one part contemporary Bon Iver and one part Porches with a sprinkle of neo soul. It’s both melancholic and beautiful.
“Under These Lights,” the new album from Denver’s Kaitlyn Williams, walks the line between neo soul and music for the masses, departing from the bedroom pop she showcased in her 2019 album and subsequent singles. A contributing factor to this shift in style is the live recording, which leaves less room for glittery production and more room for natural musicianship.
Fort Collins-based Dead Man’s Alibi keeps a post-grunge metal sound while tossing in some blues on their debut. They have a classic early 2000’s sound, with some Alice in Chains mixed in on tracks like “Hole In A Hat,” and “Lowly Saint” which feature roaring guitars and rowdy drum grooves.
The vocals show some grit but shy away from the screaming and growling most bands these days employ. Epic guitar solos call up Judas Priest, but what makes Dead Man’s Alibi cool is the blues influence in their sound.
