Album Review: Dead Man’s Alibi

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.

Album Review: Big Brooklyn – Everyone Everywhere

Denver based Big Brooklyn begs the question “what is jazz?” with their new album Everyone Everywhere, in which every track dips a toe into different sub-genres underneath the jazz umbrella. 

They have enough “straight ahead” stuff,but they also share some funky fusion you might hear from Herbie Hancock’s Head Hunters era. Their incorporation of Melody Dornfeld on clarinet (and bass clarinet) lends a quirkier sound for a group that doesn’t focus on gypsy jazz or 1920’s repertoire.

Album Review: Thom LaFond – The Moon Leans In

Nederland, Colorado’s Thom LaFond is most well known as the guitarist and singer in Denver’s four-piece gypsy jam rock outfit Banshee Tree. But on this, his debut full-length, he lets his inner voice shine.

Close, acoustic and intimate speckles of piano, pizzicato violin and nimble upright bass frame his hushed, masculine baritone with gorgeous minimalism; a composition on par with a Kandinsky.

“Did they take the moon you were after and give it back piece by piece?” the record’s first lyric asks, initiating a song and an album dense with gorgeous prose, artful arrangements and beautiful music.

Album Review: One Peace – A GLORIOUS ONE

A GLORIOUS ONE from rapper One Peace finds itself at the crossroads of trunk-knocking production, emotion-soaked sampling, and vivid, unapologetic songwriting.

Released on independent Fort Collins-based record label Lion League Music, it’s a nostalgic yet relevant album that feels as diverse as it does cohesive. Sonically, it could stand in as the score to a Tarantino flick or the tracklist for a forthcoming Grand Theft Auto radio station with OP’s speaking voice alone commanding more presence than the average MC yelling full volume into the mic.

Single Review: The Burroughs – “My House My Car”

The Burroughs continue to progress their sound while retaining some of the retro vibe that first captured the hearts of Northern Colorado: 70’s and 80’s musical tropes, a flirtatious female response chorus, loud synth and their 4-piece Stax-style horns. A rap from baritone sax player Hayden Farr adds a fun new bit too.

Album Review: The Matterhorn Project – Traveler

When the phrases “prog metal” and “solo studio project” occupy the about section of a band’s website, a couple of red flags go up. But Zahari Tzigularov, a Bulgarian-born long time Denverite and the mastermind behind The Matterhorn Project, has used his studio time well. Though his musicianship is apparent, his artistry is front and center. The 5-song EP is at once lush and foreboding. Tzigularov’s compositions weave between sludgy bass-driven riffs, wandering clean guitar melodies and fantastical whisper-growled lyrics.

Single Review: Branson Hoog – “No Vacancy”

Intimate and sexy, Branson Hoog’s nimble, close-up vocals evoke an alluring darkness. The NOT A TOY (fka Shatterproof) frontman employs deep and minimalistic beats on “No Vacancy,” the second release under his own name.

Single Review: Co-Stanza – “20 Minutes”

Dropping realness like a reference to FaceTime helped folks relate to FoCo’s Co-Stanza (to the tune of nearly 2 million streams on “I Don’t Mind”) and by the sound of this hooky new toe tapper, Co-Stanza will continue racking up fans with each tick of the clock.

Album Review: Crescent City Connection – Yeah You Right!

Fort Collins based Crescent City Connection brings New Orleans flavor to the Colorado funk-rock scene with their new album Yeah You Right! Powerful rock organ, scratched rhythm guitar and horn lines infuse their niche sound with characteristics popular in Nola Brass and Dixieland traditions.

Single Review: DEBR4H – Cassi-0-Peia

It’s 2022 and yes, it’s possible that your garage band owns 100 synthesizers. Out January 20, “Cassi-o-Peia” pushes DEBR4H’s blipping to a full-on synth stomp at the outset, thickening things up to a dense sparkle as intricate as the Milky Way on the chorus.

Album Review: N3ptune – RENAISSANCE

N3ptune’s RENAISSANCE is an appropriate title for an album by an artist who does it all: acting, singing, modeling, producing and performing. It is a birth of style that combines elements of trap, dark dance pop, and heavy blues rock and there’s nothing else like it.

Album Review: Magpie the Band – Under The Maple Tree

Folk trio Magpie the Band emerges into the Northern Colorado scene with their debut ‘Under The Maple Tree,’ featuring more Celtic and Eastern European sounds than the western Americana commonly heard in the Colorado scene. Balancing the amount of slow, introspective songs, and bouncy foot-stompers, the album plays like an intimate house concert put on by close friends.

Album Review: This Broken Beat – Far From Home

Julio Perez, lead singer of This Broken Beat has the kind of pop-rock cross-over voice that would make Adam Levine turn his chair around. Perez’ tenor shows clear Ed Sheeran influences, and with such an asset at the heart of their sound, it’s no wonder This Broken Beat shot for the stars on Far From Home.

Single Review: Poinciana – Focus

“Focus” features tender vocals by lead singer Sawyer Davis and beautiful acoustic guitar picking, but Poinciana doesn’t abandon high-energy rock.

Album Review: Mr. Fredo – Movement

Fort Collins-based Fredo The Rapper brings intricate layerings in his new EP Movement, featuring his long-time collaborator, producer (and step-brother) Suburb based in Chicago, IL. The movement is chill, and his relaxed tone glides over the complex trap and lo-fi beats.

© BandWagon Magazine 2024