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Due to our publication’s community focus, article content and advertisements containing nudity, drug references, profane words/visuals, or sexually exploitative material will not be accepted. Please feel free to voice any concerns you may have and collaborate with us to adapt what you would like to present in a way that respects both our all-ages audience and your artistic integrity. We are here for the music, and we are here for you. Artists may submit press kits/CDs for review by mail. Please email requests for coverage directly to the editor and copy the writer of your choice in your musical style. Colorado Music Buzz Magazine, LLC P.O. Box 2739, Littleton, CO 80161 Colorado Music Buzz Magazine is published monthly by Colorado Music Buzz Magazine LLC (Publisher) and distributed to over 650 locations throughout greater Denver, Boulder, Colorado Springs, and surrounding areas. Reproduction in any manner in whole or in part without express written consent of the Publisher is strictly prohibited. Views expressed herein do not necessarily reflect the opinions of the publisher or its staff. Colorado Music Buzz Magazine LLC does not limit or discriminate based on ethnicity, gender, age, disability status, spiritual beliefs, familial status, or national origin, and does not accept editorial content or advertisements that do. 6 April 2012 | ColoradoMusicBuzz.com Interviews The Word on the Scene, From the Inside her innovative and emotional lives shows, and creative producer sensibility. Roniit: Interview by Corey Blecha [email protected] As electronic music continues to press into mainstream culture, there are certain acts that bridge the gap between the new-age digital world of music, and the traditional pop tunes we have become accustomed to hearing on the radio. One local act that has been integrating electronic influences into her highly polished pop songs is Roniit; a rapidly rising star in the local scene who has been turning heads with Attending the College of Arts and Media at the University of Colorado D e n v e r , where she studied music business under some of the most esteemed professors in the state, Roniit Alkayam has been able to develop her unique style in the past year or so, resulting in some stunning electro-pop compositions, including “Now or Never” and “Stronger”, off her new album--available on her Bandcamp page. Pristine production, coupled with smooth and whimsical vocals, result in a style all her own, and one you will be hearing around town in the coming months, as Roniit continues on her roll of top-notch productions and stunning live shows. I had a few words with her about some of her influences and what she aims to accomplish with her music. CMB: Who are some of your local, as well as international influences? Roniit: So many local Denver bands are extremely creative when it comes to how they release their music. I’ve definitely taken notice of bands like Achille Lauro and Mancub, who use creative means to release tracks - such as in a fortune cookie or on a candle. Dave Devine is a great local guy, creating beautiful music and teaching others how to do so. Most of my big influences are over in Europe. I love so many electro pop bands from over there, such as Monarchy, Oh Land, Royksopp, and more. I’m also a huge fan of metal bands such as Opeth, Children of Bodom, and Moonsorrow. Every once in a while you might hear a growl or guitar solo on one of my songs. CMB: What equipment/programs do you use to create your music? Roniit: I use Apple Logic along with a few plug-ins. The most important part of my set up is my Apogee Ensemble interface. That thing has incredible pre-amps which makes vocals sound real nice and shiny. CMB: What are your goals with this project? How did it begin? Congress of the Crow by Tim Wenger [email protected] Congress of the Crow has been creating a good buzz around town lately. Colorado Music Buzz got the chance to catch up with Shannon Antos and get the latest scoop. “The magic of C.O.T.C. stems from the players themselves. We play from the heart and paint a dynamic landscape in sound,” according to the band’s bio. CMB: What big shows do you have coming up? COTC: Our calendar is listed on our website cotcband.com. Currently it is filled with recording dates. As spring progresses we’ll be back to playing live. CMB: What do you have going on this summer? Tours, record release, anything news worthy? COTC: C.O.T.C just completed its first national magazine interview for Cycle Source Magazine, so we’re pretty excited about that. It’s a custom motorcycle publication, and we’re in their “Full Throttle Rock” section March 2012. We are also launching a Kickstarter.com project to help raise funds to complete our album. All donors get merchandise and gifts for helping out, and are mentioned on the album credits. We should have a very solid album since we have a big library of material to choose from. This spring, we’ll be focused on finishing up the album and then we’ll be back to playing live shows and regional events in and around Colorado. We are aiming for a few large festivals this summer. More details to come on www.cotcband.com CMB: What are your best markets to play? Favorite and least favorite markets personally? COTC: We have spent most of our time playing in and around Denver, which can be hit or miss, but is always fun. We have participated in a few large music festivals over the years, which were great. Any time that we can play in front of a large crowd is a plus, and we always gain some new fans. It’s also a great place to network with other bands. The mountain towns are a lot of fun as well because the crowd is usually ready to have a good time. CMB: Anything else you want people to know? COTC: We are a small cohesive band made up of music fans, and lifelong musicians, that love to play good music and believe in what we do. We want to build a strong local family and are open to feedback, suggestions and opportunities. Please visit our page at cotcband.com and look for us on Facebook as well. Shoot us a personal message, and you’ll hear back from one of us very soon. Also, please check us out on Kickstarter.com, help us out and get some great C.O.T.C Merchandise! As for goals, if I could do everything I’m doing now, but on a larger scale I’d be very happy. For instance, I’d love to go on tour again, but do it bigger and better. I’d also love to get to the point where I have help with marketing and promotion of my music, whether that means label support, or just the support of someone influential that believes in me. Another goal is to reach the point where I can afford to work with professional creative individuals who can help me create spectacular videos for my music. CMB: Any upcoming events, releases, etc. coming up? CMB: What do you have for albums so far, and what is different between them (different producers, different style songs, etc.)? COTC: Currently we have a self-produced selftitled album from 2008. It’s a mix of tracks that we recorded at Module Overload Studios in Denver and some live tracks right off the mixing board. At that time, we were really promoting our live sound, and did not do a lot of production on the tracks. We are currently working at Macro Mellon Studios in Denver, which is our home base, and is engineered by Davy Attwood, our bass player. It’s nice to be able to spend some time at our own studio and leave our equipment all mic’d and dialed in for the next session. We are still focused on capturing our live sound, but with more production and mastering. Davy has a great ear, and the mixed tracks are sounding great so far. The three of us as a whole are pretty hands on in the studio and are involved in editing and dialing in each track. Roniit: I’ve been playing in various bands for years, but after being let down by band mates one too many times, I realized that I could accomplish way more on my own. I started writing songs on my computer, never showing them to anyone. Then I met my drummer/ boyfriend, Eric, who was producing electronic music in Nashville. He polished one of my songs and added drums; it sounded really professional, so I released it on Soundcloud. Fast-forward two months later, and I have 5,000 Soundcloud followers begging for more songs. I decided to move to Nashville to complete an internship and work on music. While I was there, I wrote several songs, all the while getting production lessons from Eric. Eventually I made a Facebook page, and decided to release an official album and start playing my music live. Roniit: I’m going to be releasing a new song within the next month. I’m also planning on doing a music video this summer. As always, I’m playing in Denver almost every month, and MIGHT be doing a full tour of Colorado this summer. CMB: Shout outs? Roniit: I want to say ‘HEY’ to my touring mate RainbowDragonEyes who writes crazy music on his Nintendo Gameboy. I also want to say “sup” to my best friends in Denver’s most extreme metal band - Vale of Pnath/ Secondhand Serenade by Max Giffin [email protected] What makes a serenade? According to John Vesely (vocals and guitar) of Secondhand Serenade, it’s a mixture of love and sincerity-you have to really mean what you write. This recipe has launched, and sustained, Vesely’s career, one that started by building a national fan base online. This fan base was responsible for selling out the Bluebird March 16, when Secondhand Serenade played with Boyce Avenue and the After Party. What attracts such an audience to an acoustic guitar player? Vesely claims that there’s no secret-online tool behind it, no magic. He claims that being personable leads to people sharing his music with others exponentially. Vesely’s ability to be personable shone through in his performance, as he mockingly sang a cover of Enrique Iglesias’ “I Can be Your Hero,” that had people smiling, laughing, and singing along. Instead of dodging fans after his set, Vesely mingled with the audience. Vesely is a very grounded musician. He relaxes in the company of good friends and family, and values the father-son bond. When he isn’t winning people over with serenades, he enjoys cooking. His eyes get dreamy when he imagines cooking chicken and steak fajitas, April 2012 | ColoradoMusicBuzz.com and he gets very animated while describing his recipe for making eggrolls. So what wisdom can Vesely share? First, kangaroos don’t have furry pouches. They are his favorite animals to see at the zoo, and he informs me that the pouches aren’t fuzzy. He gets a satisfied smile while describing a disgusting place that most people don’t spend time imagining. Second, every good relationship is based on listening. Whether it’s a friendship or romance, he has realized all too often that his friendships are not symbiotic anymore. Recently, Vesely had a rude awakening when he realized that the person he considered his best friend, only considered him a friend. Vesely listened to what his friends had to say. He said the criticism was harsh and unkind at first, but necessary, and he has put in a lot of effort becoming a more positive person ever since. This transformation has motivated Vesely to view his previous success very humbly. “It was a successful single, it wasn’t the end of the world.” During his set, Vesely announced proudly, that enough money had been raised to fund his next album, an album that “will belong to you and me, not a record company.” Stay tuned to his social media for updates. 7 Planet Buzz Where it all happens... your band is actually doing in the market place. We’re going to help you get a brief picture of what success actually looks like in the new industry, by the numbers. “As for new stuff, it usually takes people a few years before they deem something ‘classic’ enough to want to hear,” says Chris Demakes, vocalist and guitarist. The band, always known for their humorous stage show led largely by Demakes and bassist Roger Manganelli, has traveled the world of music for nearly two decades. “[Tour life] is better now than ever,” says Demakes. “Still playing to lots of people all over the world, we ‘hit’ as many new towns and cougars as we can.” Less Than Jake Talks Their Music, Rocks Summit by Tim Wenger photo credit Max Giffin [email protected] Less Than Jake is not like milk. Even after 20+ years on the ska/punk circuit, they are not yet soured and curdled, and their music can still be used to cool you off a bit when life gets too hot. At the Denver stop of their 20-year anniversary tour, LTJ proved that oldies can still be goodies by rocking the ears off Summit Music Hall with a set that consisted largely of songs from their albums Losing Streak, Hello Rockview and Anthem. Some might say that they are like fine wine, growing better with age, but the truth is that they still played a lot of the songs that I fell in love with when I was in 8th grade, spending my lunch money and the little I made doing chores around the house, on ska records through mail-order catalogues. Their live show has always been one of the most entertaining and humorous in the ska/punk world, and that still stands true. The best description I can give to this Gainesville, FL, five-piece is that they are consistently unswerving in their delivery of the greatest style of music to come out of the ‘90s. I have seen them at least a dozen times now, and I still can’t stay out of the pit when they play songs like “All My Best Friends are Metalheads.” The band featured a large backdrop looking like a twenty-dollar bill for this tour, replacing former President Andrew Jackson’s head with their own character, to signify the band’s twenty-year history. The capacity crowd at Summit Music Hall wasted no time getting into the music-the first song featured a large circle pit with an impressive amount of water and empty beer cups flying overhead. The butt of more than one of their jokes on this particular evening was the infamous Tim Tebow, who spent his college days in LTJ’s hometown of Gainesville. Always known for a distinctive stage show, Demakes and the gang have spent their fair share of time over the years coming up with ways to interact with the crowd. “[It comes from] a combination of boredom mixed with the fact that we aren’t exactly wooing audiences with our boyish looks,” says Demakes. “We have to do something, otherwise we would be staring at our shoes like 95% of the bands out there.” They played a solid hour of oldies mixed with a couple of recent albums, and one brand new song before walking off stage, only to return and close the night with “Look What Happened” and an enormous eruption from the crowd. These guys always put on a show worth seeing, and I, for one, can’t wait until they come back around. Fortunately for us, they have no plans of stopping anytime soon. “The motivation lies with the fact that we still love doing this,” Demakes says. “We haven’t played a nursing home yet. That one is on the bucket list for sure.” Musician Meets Metrics (Exploding Heads May Ensue) by Michael Amidei [email protected] In the old days, circa 1991, “making it” was a fairly easy thing to describe. It meant record deals, sold out clubs, record execs with greasy ponytails who called everyone “baby,” and gave you tiny bags of what you thought was powdered sugar to keep you busy backstage with the groupies. Ah, the good old days . . . no more. Ponytail boy has long since gone into real estate, and the record industry, once the grand curator of what music found its way to your ears, has fallen. This shouldn’t be news to anyone. The death was well publicized. But for the majority, the aftermath is murky and uncertain. Let’s start with what we know: One thing is for sure, while the record industry has tanked it harder than Chris Farley into a coffee table, the music industry has been growing; in fact, it’s doing great. The shift has been, depending on who you ask, a good one. There is more music consumed by fans now than ever before in history. More than ever, it is the direct connection between artists and the fans that drives the business. Knowing that, we’re going to talk about something pretty scary to most musicians, it’s called metrics. Numbers. The reality of how well Hopefully my kids will be smart enough to put me in that nursing home. [email protected] In downtown Denver, at a prime location on 13th and Grant, Bender’s Tavern is known as a venue that allows local musicians to express their talents. Bender’s has landed on the radar for many local and out-of-state bands, looking for a place to play. A few years ago, employees, Luke Schmaltz and Jennifer “Mamma” Foreman, bought out the venue. One of the most interesting aspects of this venue is the setup of the stages. Walking into the bar, any patron will get the obvious vibe that this venue Bonnie and the Beard, a folk/rock band with Spanish gypsy influences and their catchy original songs are new to the venue. Band members Megan Fong (Bonnie), and Tony LoVerde (Beard), were surprised, but happy, when asked to answer questions about the stage, staff, audience, drink specials and the overall venue. “It’s nice to play somewhere, where people are involved. Good crowd in an intimate room,” LoVerde said. Aside from that, Bender’s is known for taking care of their Venue of the MonthBenders Tavern by Ryan Edwards 8 Next Big Sound. This kick-ass Boulder-based startup is not only one of the products of the now infamous Techstars program, but it is also helping to pave the road for the new music industry, by providing a tool that independent (or signed) artists, managers, and beyond, can use in order to measure not only the buzz, but where their particular target market engages with them the most. For instance, if your audience listens to you primarily on Facebook, then focusing most of your energy on Myspace might just be a waste of time and money. But beyond the ability for us to track our own numbers, it allows us to see some other groups’ performance as well. The advantage of this is that we get to see, for the first time, accurate numbers that reveal to us what success in the (digital) music industry looks like. How many new fans does U2 get during an average week? How many plays? Now you can see how it adds up and adjust your plan accordingly. So what can you do right now? First of all, go take a look at www.nextbigsound.com and look up your project. I warn you, the numbers can be sobering. If you aren’t happy with the kind of buzz you are getting, then you need to commit yourself to finding how to achieve those numbers. (www.rockstarmindset.com is a great place to start.) But the truth is this: The gloves are off. You can no longer blame a record company for “just not seeing the genius” of your work. The fans are there, and now, so are the tools. Go get ‘em. The pair decided to take their love a few steps further by picking out some classic Sailor Jerry tattoos together. Brandon picked out a classic Sailor Jerry pin up flash that looked like Dee Dee, and had it marked on his arm forever, while Dee Dee honored her mom with a rose. plays music, however, I found there is more to this venue than meets the eye. There is another stage--not noticeable at first glance-set behind padlock doors. There is a mural of the Reservoir Dogs, and the sole attention of the patrons is on the music. The second, larger stage gives Bender’s something that most other venues in Denver do not have--character. As owner, Luke Schmaltz said, “We wanna have something going on other than sports. We don’t have TVs, we just have music.” Unlike many venues around town, the appreciation for music that Bender’s has is not biased, no matter the genre. One stage could be punk, and the other could have anything from country music to open mic. First of all, what are we measuring with these fabled “metrics”? Well, for starters, we are measuring new fans, plays, views and comments from across the Internet. Then it’s time to dig into things like reviews and mentions, basically anything that indicates the level of buzz that exists around your project. How do we do that? SAILOR JERRY PLANTS FRESH INK ON BUZZ BAND CROCODILES Photos by Nate Igor Smith Crocodiles’ front man, Brandon Welchez, swung by the Sailor Jerry Rum Airstream at the Mess With Texas Party along with his wife Dee Dee from the Dum Dum Girls. musicians in regards to drinks for the night-often taking care of the tab for a good show. Bonnie and the Beard have every intention of playing again Bender’s. After looking into the bigger stage, I had to find out about the smaller one. And, like Bonnie and the Beard, the acoustic guitar duo of Dave Connelly and Brad Wilson are newbies. They April 2012 | ColoradoMusicBuzz.com Also stopping by the for some ink, the Growlers, Feathers, Bleached, TV on the Radio, Passion Pit, Stalley, Theophilus London, from INK MASTER Oliver Peck. And outside, chillin’ in the sun, was flawless style maven, Alexa Chung, cooling off with a Sailor Jerry Rum Perfect Storm. You never know what might happen when you hit the Sailor Jerry Rum Airstream. Coming soon to another festival near you! More On Crocodiles: killkillkillcrocodiles.blogspot.com concur that Bender’s is known for having a pretty damn good sound system, and about the dedication the owners and the staff have for the bands. According to Connelly, “[Bender’s is] a great place for bands who aren’t big, who are trying to get big.” www.benderstavern.com Planet Buzz Where it all happens... change in 2008 to Other Lives. “We had one of the founding members (Eric Kiner) leave on mutual terms,” explains Tabish. “We thought it would be a good way to start new. It did something psychologically.” Other Lives: From Bon Iver to Radiohead by Steffanie Giesler [email protected] Scalpers lined up in Broomfield hours before the sold-out Radiohead show to sell $200 tickets to fans. Craigslist ads were written from people begging others who had an extra ticket to take them, in exchange for money, company or both. What would they give to open for them to tour with them? Opening act Other Lives is marking themselves on the map with their second release, Tamer Animals. Originally from Stillwater, OK, members Jesse Tabish (lead vocals), Josh Onstott (bass, organ), Jenny Hsu (cello, piano), Colby Owens (drums), and Jonathon Mooney (piano, violin, guitar), have made a name for themselves the last few years. The band, originally named Kenuk, formed in 2004 with one album released before the name The self-titled debut album was released in 2009, and the lead single “Black Tables” became a TV show hit. The song was featured on shows such as Grey’s Anatomy, One Tree Hill and Ugly Betty. Material for the sophomore album was written while touring in 2009 and 2010. “I hadn’t previously been on the road before,” says Tabish. “You get this feeling where you become more of an observer and a third party. That’s where the lyrics [for the album] came from. The lyrics are about observing the life around us; the landscapes, and the relationship between people and their landscapes.” Tamer Animals was produced by industry legend Joey Waronker, who drums in the super group Atoms for Peace with Thom Yorke. The 11-song album, released in May 2011, is a beautifully easy moving, meticulously written piece of work that needs to be digested slowly by each listener. The band intertwines orchestral and rock music with gripping lyrics. Influences of Sigur Rós are apparent, while glimpses of Tabish’s voice resembles that of the National’s Matt Berninger. Exceptional tracks include “For 12,” “Landforms,” and “Tamer Animals.” Read more of this article at ColoradoMusicBuzz.com fifteen minutes, a very courteous length of time for those who have had to wait eleven years to see them play again, or for the first time (Radiohead has not played Colorado since 2001 when they played Red Rocks). The set list consisted of 23 songs, most of which were from In Rainbows and King of Limbs, but they threw in a few older songs including “Idioteque” and “National Anthem” from Kid A, “Karma Police” and “Lucky” from OK Computer, and “Street Spirit (Fade Out)” from The Bends. There were two encores that were timed just right, and ended with applause for the crowd (those British gents are so polite). Radiohead, 1st Bank Center, March 13, 2012 by Allison Diekhoff [email protected] I don’t have to tell you that Radiohead is one hot ticket. Let the review begin… Radiohead transformed the 1st Bank Center on March 13th, making the approximately 6,000-capacity venue feel like a festival of Coachella-sized proportions. The stage: massive. The lights: amazing. It was all I could do not to keep from talking a million miles a minute in excited anticipation of their set. Other Lives opened, sounding remarkably more like Radiohead than they do on their album. Radiohead took the stage for two hours and As for the “hot ticket” aspect, I had feared a crowd of vultures would swoop in when the doors finally opened to the 1st Bank Center. The line wrapped around the block because all of the seats were general admission--a band that sells out two pre-sales and a general onsale within seconds will do that. Then again, those who put in the effort for the presale, and those who end up paying ridiculous amounts for tickets from scalpers, are the ones who really care about the band, and genuinely want to enjoy the show. Thus, no vultures. I actually did not encounter any rude people; in fact, everyone I spoke with was very pleasant and polite. As for bears, I did see a few of those… (wink wink). Radiohead.com Cameron Leahy (lead vocals, guitar) of the three-man Downtown Fiction, entertained the audience by singing with the animated intensity of a boy band without the cheesy commercial choreography and silly lyrics. Reaching out for the crowd, Leahy strived to build a connection throughout the set. The audience responded, and by the end was singing the chorus of “I Just Want to Run” for Leahy. Mayday Parade by Katie Schmoker Photo Credit: Maxine Giffin [email protected] Mayday Parade, We the Kings, the Downtown Fiction, and Anarbor played to a sold-out crowd Saturday, February 25, at the Black Sheep in Colorado Springs. The lighter pop-rock sound, and mainstream success, of these bands attracted an audience composed mostly of teens, with parents closely monitoring at the side and back of the venue. The atmosphere was light and fun, the only time a four-person mosh pit broke out was during a Mayday Parade song; the band challenged the crowd to get into “the heaviest part” of the song “Black Cat.” Dressed in casual unlabeled stripes, v-necks, and Polos, Anarbor grooved through several songs, including a cover of Adele’s “Someone Like You.” Slade Echeverria (lead vocals, bass guitar) introduced their new guitarist Dave Melillo with an adventurous story about how Melillo had saved the Phoenix, Arizona, band from certain death on black ice the previous night. Melillo shyly added that it was his fault they had slid. April 2012 | ColoradoMusicBuzz.com We the Kings played an acoustic set; Danny Duncan (drums), has a broken arm from a story that suspiciously resembles “Titanic” and ends in Duncan saving 300 small kittens. Regardless of the less-than-fortunate circumstances surrounding the injury, the acoustic set was a real treat; they played an especially emotional tribute of Jason Mraz’ “Heaven Can Wait” dedicated to past member Charles Trippy (bass guitar). Trippy left the band earlier this year to receive treatment for a brain tumor. Mayday Parade played their melodic pop rock to a warm adoring crowd who reached up as the dynamic members played to different sides of the stage. They played through a set of eleven songs, including “Kids in Love,” “Three Cheers,” “Miserable at Best,” and “Anywhere but Here.” Derek Sanders (lead vocals, acoustic guitar), held hands of people in the front row or grabbed his hair in angst, adding to the genuine feel of the poignant set. Jake Bundrick (drums, percussion, vocals), developed a blister on his vocal chords prior to the show, so Jeremy Lenzo (bass guitar, vocals), filled in for him. The throng of devotees demanded an encore, and Mayday Parade satiated the demand with “Stay” and “Jersey.” Mayday Parade will be back in Denver for Warped Tour this summer. Check out an interview with MayDay Parade at www.coloradomusicbuzz.com 9 Rock If it Rocks, it’s Here gathering of very avant-garde people with wild ideas about what can actually be considered as art using an audible medium. I felt myself asking how I could possibly discover this strange environment - was the tirade around me really occurring, or did I get passed a questionable drink? As I thought back on how I had arrived at the Mercury, I knew it was for one purpose, and one purpose alone-to see the opening act, Casualties of the Digital Revolution. The Denver Noise Scene by Joel Center [email protected] Just when I thought I had gotten a little sample of everything the Denver music scene has to offer, I was proven wrong. My moment of astonishment came as a result of Gorinto, the Mercury Café’s weekly “Experimental Food and Music” event. Now, while some connotations, and even stigmas, of the word “experimental” in correlation to live music involve a gimmicky performance and mediocre music, the actual definition was better displayed that night at the Mercury. What was transpiring in the room was more generally accepted as noise than actual music, and fittingly so. It wasn’t that the music was bad, it’s just that it wasn’t music at all, by common definition. In reality, what I had stumbled upon was a taste of Denver’s Noise Scene - a Casualties of the Digital Revolution is one man, Taylor Fitzke, with an incredible intuition not only for the common factors that make actual music (you know, stuff like notes, articulation, dynamics, rhythm, tone, and space), but he is also uncannily in tune to the constantly growing and changing genre that is taking our fair city, along with the rest of the world, by force: Electronica. While I’ve come to terms with electronica being a fun style of music to party to, it had taken until very recently for me to be able to actually sit and enjoy listening to the damned stuff as a respectable art form. Casualties, along with better-known artists such as EOTO, Beats Antique, and Thievery Corporation, helped me ease into a state of astonishment and awe at these rapidly reproducing artists that fall into some sort of sub-category or another of electronica. I felt very fortunate that evening to have been made aware of all of the positive sounds that have come from these new and different styles of music, for if I hadn’t been, I certainly would have developed an even deeper cynicism towards the dastardly sounds that were assaulting my unprepared eardrums throughout the rest of the night at the Mercury Lounge. Now, I can’t let myself say, with confidence, that the experience was completely torturous, or that there was no talent in the room. The first obvious bit of talent (after Casualties of the Digital Revolution’s set had finished) came from the all organic and vegan buffet that the venue had made available for the modest price of five dollars as the Experimental Food portion of the evening. This was, in fact, one of the remainder of the show’s most redeeming qualities; the food was absolutely delicious and was noticeably lacking that hint of plastic taste that is getting so popular in pre-made food these days. Echo Beds was the only Noise group that really stuck out to me that evening. While all attention in the audience was diverted to a group of three gentlemen--two working away at various effect and synthesizer pedals, while the other clawed at the guitar and operated more pedals at his feet--who were conducting their noise in the foreground, the three members of Echo Beds were busily setting up just under a dozen old television sets in the back corner, and tuning them to a station that only received static. They had an impressive array of these Ballet Nouveau Colorado Closes Tenth Anniversary Season with Garrett Ammon’s Rock Ballets by Tim Wenger phot credit David Jennings [email protected] Ballet Nouveau Colorado is getting ready to launch their new production, Garrett Ammon’s Rock Ballets, We Will Rock You, at the Performing Arts Complex at PCS April 1315. The full performance will include three different dances, each themed after the music of a different rock band. INXS, Queen, and David Bowie are the featured groups, with a full ballet being performed to the music of each. Colorado Music Buzz got the opportunity to catch a rehearsal of the performance as well as get in a few words with choreographer Garrett Ammon. The work itself is far from what a mainstream stereotype of ballet might be. The dancers work every day with Garret and his wife Dawn to perfect the routine, the mistakes they are working so diligently on correcting appear so minute that the untrained eye would not even notice. Each of the three ballets that will be performed, represent the music in a different 10 Ammon and his wife, Dawn, have been working together since they met in Memphis, TN. Both had been dancing professionally for several years, and Ammon’s interest began leaning heavily towards getting into choreography. When the opportunity arose for a position with Ballet Nouveau, they jumped at the opportunity. “From the very beginning, we knew that our life was meant to move forward together,” he says. “We both agreed that we wanted to continue in the dance field, and we wanted to work with a consistent group of dancers.” They have now been here in Colorado for five seasons. “[Rock Ballets] is our most requested show,” says Ammond. They have not performed it since 2008. “We didn’t want to bring it back too fast, but people are really excited to see it again. Ticket sales are going crazy.” Check out Garret Ammon’s Rock Ballets at the Performing Arts Complex at PCS, 1001 W. 84th Ave. Tickets are available online at bncdance. com or 303-466-5685. When it was time for their portion of the show, the televisions flashed images of the all-seeing eye of the dollar bill, mixed with all sorts of intimidating war and military sequences, most of them old and devoid of color. Then one member of the group started screaming, and an all-out assault began on my ears. It was like the audience had been suddenly jerked through time and space to a war zone, complete with bombs, sirens, dictators, and marching armies. The effect was like a violent psychotic freakout. Your mind becomes confused. It rejects the offensive sounds forcing their way into its territory and wills your physical body with everything it has to move your legs, one by one, towards the door and out into the night, and to just keep moving until the whole terrifying ordeal has transformed into silence far behind you. This is no ordinary horrifying experience, however. These men have managed to create the effect that oncoming headlights give to a dim-witted deer; you cannot look away. Logic is telling you to run, but this stuff has meaning. It’s actually going somewhere, trying to convey something. Read more of this article at ColoradoMusicBuzz.com music industry, but we go a step beyond,” he says. “I finally got into doing what I’m doing now about six years ago, and we niched out to the music industry about two years ago.” way, with dancers hoping to bring the emotion of the music to life. “It is kind of like ‘So You Think You Can Dance’ on steroids,” says Ashley Burns, communications manager for BNC. “It is really exciting to see how this show has the potential of turning the word ballet on its head, and breaking down stereotypes. Garrett’s style is what the future of dance needs to stay relevant.” “Every new work is a different beast,” says Ammon, whose company just finished up their previous work, Love in the Digital Age, over Valentine’s Day. “When I start to choreograph, the first thing I do is spend time listening to music, searching out music, and figuring out what I want to do. I am a very music-driven choreographer.” He lets his crew of dancers use their own personalities to play a large role in creating the steps for each ballet. “I don’t create any steps before I come into the studio,” he says. shitty little amplifiers, a buffet of synthesizers and mixers, and various cymbals, floor toms, and even crystal drinking glasses scattered throughout their stage area. Morning Sock Studios Goes National by Tim Wenger [email protected] Maybe they are really on to something here; ready to change the way the music business presents itself to potential customers. Maybe they are the digital age’s version of backyard graphic design. And maybe, they have been enjoying too many boat drinks and are unable to find their way to land, refusing to take the needle off that Jimmy Buffett record for fear of having to find one of those “real jobs.” Whatever is going on, husband and wife team Curtis and Shawn Gorlich, seem to be on to something with their graphic design and consulting company, Morning Sock Studios. The company, which is run from the couple’s boat off the shores of Hilton Head Island, SC (and wherever else the current takes them) provides bands and music businesses with graphic design services, merchandising, business consulting and more, and are in the process of taking their campaign to the national level. “What we’re offering is helping these musicians on the business side of things,” says Curtis. “We don’t want to be their management, we don’t want to be their booking agent, we want to give them the tools to do this themselves.” Curtis is an entrepreneur who has owned five different companies over the last 12 years. “We do graphic design and merchandising for the April 2012 | ColoradoMusicBuzz.com In addition to designing killer merch for your band, they specialize in thinking about the things that you forgot about. “A lot of bands don’t know about all the tax incentives that are out there,” says Curtis. “We are partnering with a good friend of mine, we are trying to put together health insurance and equipment insurance for musicians at a highly discounted rate.” “We try and make it easy so that these musicians are able to have their own business and not have to rely on other people,” says Shawn. “A lot of them do not know about branding or design, and how important that may be in their music and how much money it can generate for them. We educate them on how important an identity is.” All of the services that they provide may seem a bit confusing to bands at first mention, but for serious artists that want to make a living, or at least promote what they are doing to their best ability while keeping their assets insured and protected, Morning Sock’s services are nearly essential. The company is committed to working with only high-quality talent, and prefers to take the time necessary to do things right. “If [they] are planning a tour, they can’t come to us a month beforehand,” says Curtis. “Generally, we like about six months; that gives you three months to really create the image of that tour and three months of hardcore promoting.” “We are sailing around on our sailboat and visiting new cities all the time,” says Shawn. “We believe that everyone should be doing what they love, and that’s why we want to help all these new musicians get the word out. If they’re successful, we’re successful.” Check out www/morningsock.com for more detailed info on what they do, along with contact information. Photos and Interview by Sheila Broderick [email protected] Let us introduce you to the Blackouts, a Denver group that is fast becoming one of Colorado’s premiere all-female, in-your-face hard rock bands. Shaped by Kate Innes (lead guitar) in 2008, the band consists of Innes, Ali Frankfurt (lead vocals), Hope Bertsch (drums), and newest member, Susan Phelan (bass). Phelan joined the group last December; Frankfurt began as a guitarist, then became the lead vocalist in 2010; Bertsch joined in 2008, and was responsible for bringing them together; while Innes is an original member and co-founder of the Blackouts. CMB: How did you come together as a group? Ali: I grew up surrounded by music; my dad’s mom was a touring singer in the 1930s and 40s, and my dad’s dad was a piano player. My father was a working musician from the time he was 13 through college. He played drums, piano, guitar, and any instrument he picked up, he could just play by ear. When I was 13 years old, I went to my first rock-n-roll concert, Bon Jovi in 1986. It was at that moment, I found my self and my passion. I bought my first electric guitar, and began to learn metal tunes of the ‘80s, and classic rock tunes of the ‘60s and ‘70s. I am self-taught and like to dabble with the drums and bass as well. I spent the next few years dreaming of becoming a rock star. By the time I was 18, I became distracted with boys and emotions, etc. and my parents began to discourage the rock-n-roll lifestyle. Regretfully, I put my dream, and my guitar, aside for the next 15 or so years. In 2008, I was in my daughter’s preschool class. The teacher was also a local musician, and we made a connection; I told her that I played guitar years ago, and she mentioned that her friend, Kate Innes, was putting together a chick band just for fun. Although I hadn’t taken my guitar out of its case in years, I felt compelled to check it out. It was instant religion; the universe had brought this magical connection together. I was alive with the energy and passion of a teenager again! Kate hadn’t played guitar since college, and we began to relearn from the beginning. We started learning some easy covers and Jenn (the teacher) sang, and attempted to teach herself the bass. Jenn’s sister, Amber hadn’t played the drums since her days in a high school marching band, but decided to give it a go. Eventually, Jenn brought in her friend, Darci, to sing lead while she focused on the bass. After a few months, Jenn left the group. Kate’s long-time friend Jenn Brown joined the band on the bass. Brown could barely play a note. We played our first few shows with Jenn (the teacher) singing harmonies and back ups, but she left soon after. At the same time, Amber decided she wasn’t in it for the long haul. Hope responded to Kate’s Craigslist ad for a new drummer. She auditioned, and the rest is history. We went on a 2-year run with Darci as our lead singer. We improved slowly and began writing more and more original songs. Again, personal differences caused Darci to leave the band. Still flying on pure passion, I decided to give it a shot as the front woman. I had a whole new aggressive and gritty style that gave us more of the sound that we had been looking for. After a few months of regrouping, we came back onto the scene. We got a great response to the new sound. Six months later, Jenn Brown decided to leave the band and pursue a new project with her then soon-to-be husband. At that moment, I thought to myself, Hell, what do we have to lose at this point? I am going to ask the bad ass Susan Phelan to fill in for a few shows, until we find a new bass player. I was praying that Susan was going to ultimately sign on, and she did! Susan: I am the newest member of the band – performing with the Blackouts since December 2011. [I grew up] in Indiana, my family owned a music instrument store, and my father was a professional upright bass player. I started playing bass when I was seven years old, and have been in bands since I was 13. I studied some music in college before dropping out and becoming a professional wrestler – I was “Liberty” with POWW (Powerful Women of Wrestling) back in the late ’80s/early ’90s. I’ve taught bass and guitar privately, and had the opportunity to work with young kids at a couple different rock and roll camps. I was also the front woman (on bass and vocals) for the Dirty Backseat Lovers (nominated this year for “best of” in Denver Westword). CMB: Tell us about your new release Getaway Driver. Where did you find your inspirations? Ali: This is our second 6-song EP release titled Getaway Driver, named after one of our songs. We decided to record the culmination of what we had accomplished since Darci left, and right as Jenn was planning to leave, to capture sort of a chapter in our story. For me, these songs are inspired by our lives, and the emotions that we have gone through. These songs were written straight from the heart and soul. The lyrics are about experiences we have had in the past through present day. The song “Getaway Driver,” and the EP, is about transforming from all of life’s stress and difficulty, escaping, and coming alive through rock-n-roll. Our music is a therapeutic expression. Susan: (joined after the CD was recorded) my father, who was my music teacher and mentor, continually inspires me. I strive to give my all at a show, and my band mates also inspire me. We strive to put on a good, hard-hitting rock n roll show each and every time we hit that stage. Our goal is to have fun, play some great music, and take the audience on a wide ride! CMB: What is your favorite song off of your new CD and why? Ali: For me, it is “Getaway Driver” because it is hard, fast, and driving, with a cool riff. It symbolizes freedom and empowerment through the transformation into the alter ego. It is this whole other side of all of us, and that is empowered through rockn-roll. It is about letting go and being in the moment. When I play, everything else vanishes, and I am fully present in the moment and free! It’s my Getaway Driver! Kate: “Getaway Driver” started as something I wrote about breakups, but Ali chucked the lyrics and made it about that moment you’re escaping your 9-to-5 life--jump in the car with your crew of friends and, in our case, go drink beers and get onstage to rock! CMB: What do you find to be your biggest challenge as musicians? Kate: Gotta find the balance between working hard and having fun, finding time for it all. When it comes down to it, we’re friends who have each other’s back, and always will. New songs we’re writing reflect that: “Blackouts Brawl” and “Stay the Fuck Outta My Way.” We never cancel practice because we know we have to keep pushing. Susan: The biggest challenge for me has been dealing with people who question my musical skills strictly based on the fact that I am a woman. I have been playing music my entire life and I can play as hard and fast as any man. I don’t believe gender has a damn thing to do with musical ability – it takes passion and a whole lot of practice. Ali: I think the biggest challenge was starting basically from ground zero, as musicians, and working our way in a relatively short amount of time to where we are now. It is frustrating when your musical ideas are beyond your technical ability. However, we are improving all the time. People mention the whole “all girl” thing as something not to be taken seriously. I feel like we have gained a lot of respect from the music community for being just raw and true, and bringing it hard as hell! CMB: If you could be super heroes what would you be and how would you use your gift good or evil? Ali: It is ironic that you ask this because before my shows, I always say to my husband that it is time to transform into my bat suit. I go from mom/wife to rock-n-roll. Black leather, denim, and studs! In fact, when I was writing the lyrics to “Getaway Driver,” I had written a vocal section over the bridge that was something like, ‘rock-n-roll super heroes, civilians by day....’ however, it never made the cut. One of the verses in the song says, ‘workin’ like a dog at my 9 to 5, time to transform and come alive, put on my leather and my knee-high boots, honey, got one thing left to do!’ Anyway, that is the essence, this super hero transformation. I would say that I would want to use my super hero powers to inspire and empower young women to follow their dreams and passions. Not to sacrifice yourself for anyone or thing, just listen to your heart and go for it, balls to the walls. If I were ever to make any real money at this gig :) I would play for the protection of animals from abuse and neglect, ensuring that those who mistreat animals would suffer serious consequences by law. Susan: I’d love to be able to defend the underdog. It’d be helpful to be able to fly to get around quickly – and wear some kind of fancy cape. I would definitely use my powers for the good and help those less fortunate. CMB: What are your thoughts on the Denver music scene? Kate: We count so many bands among our friends, it’s pretty cool to be part of a thriving rock / punk scene in this town. There is some new Internet radio shows that are supporting the local scene, most notably Clampdown Radio. Ali: The Denver music scene has a full range of diversity in music. There are extremely talented musicians in this town. There is never a shortage of good shows to see. All in all, the Denver music scene has treated us quite well. Fortunately, we are in it because we love what we do. CMB: Tell us about a significant moment for the band. Ali: A few instances come to mind: Our first “real” show at 3 kings opening for Girl In A Coma and Miss Derringer. I was an absolute anxious wreck, to the point where I was barely able to function. We stood up there, not knowing what the hell we were doing, stiff as boards! I don’t think we missed a single note or beat of our little amateur set, nor did we move a muscle or ever once engage with the audience:) Ha! We have come a looooooong way! my eyes to read, “Hell yes, I would love to fill in!” I let out a blood-curdling scream and proceeded to call the band so we could scream with joy together. Now that we know Susan on a whole different level, she is so normal and down to earth. She is modest and humble, and we are so blessed to have her in this band. Finally, we are honored to be on the cover of Colorado Music Buzz Magazine! Thank you, Sheila! The Blackouts are a dream come true for me. I would love to see us propel even further but I can at least say that I fronted a rock-n-roll band before I die! I have done what I always dreamed of doing. I feel so fortunate to have this opportunity at my age and stage of life. CMB: Do any of you have any side projects going on? Kate: Good rehearsal space is hard to find in this town, especially on a budget. I’m opening up RocketSpace Rehearsals in April; we’re building four soundproof practice studios. It’ll be perfect for bands who don’t need their own dedicated practice space, and who don’t want to deal with the hassle of signing a lease and bringing their own P.A. system. For bands that practice 1-3 times a week, they’ll save money, and the rooms will have all the basic gear already set up. It’s a lot like the drop-in rehearsal spaces that you’d find in NYC or L.A, really flexible. Instructors can teach lessons there too. It’s a great location at 2711 Larimer Street, between Larimer Lounge and Meadowlark. therocketspace.com facebook.com/RocketRehearsal Side Note: Keep your eyes open for a more in depth look at The RocketSpace in next months issue. CMB: What are some of your favorite Denver bands? TBO: the Swanks, King Rat, Lyin Bitch and the Restraining Orders, Smoothbore, the Hollyfelds, Dirty Lookers, Fire in the Asylum, the Railbenders, Snake Rattle Rattle Snake, Halden Wafford and the Hi Beams, Dick and Lois, Hawk Attack, Hotgun, Sunday Girl, the Jekylls, Black Lamb, Vibes on Velvet, the Bloody Fives and many more… CMB: Lastly, what makes you stand out as a Denver band? Ali: Well, the obvious, that we are one of the hardest rockin’ female bands. You don’t hear too many women getting compared to Bon Scott from AC/DC, and Lemmy from Motörhead. Again, the diversity and originality in our music sets us apart. I also think that the image we portray is, quite frankly, HOT! Susan: The fact that we are an all-female rock band is pretty unique, and we play well. There is no pretending here. We bring the ROCK with 100% passion! We’ll kick your damn teeth in! If you haven’t heard the Blackouts yet, what are you waiting for? An equal mix of punk, metal, and hard rock, they are diverse in the sense that every song sounds different based on what inspired them at the time. The amount of talent between theses four make up one tight and well-oiled machine. I can’t wait to see what the future brings for the Blackouts. This is one group that won’t silently go in to the night. Upcoming Shows: April 12th Colorado Music Buzz April Release/EP Release at Herman’s April 28th at Lost Lake with Lords of Fuzz May 26th at 3 Kings with Hotgun and Demon Funkies June 8th at 3 Kings for Mile High Lowlife Compilation Show Another funny moment was when we were asked to play the Thunder Valley Motocross National Championships. We were rockin’ our hearts out to hundreds of Motocross fans, not realizing that we were playing, at one point, right over the National Anthem! That didn’t go over too well:) July 6th at Benders line-up still tbd Also, when we were considering asking Susan to join the band, it was as if we were asking this larger-than-life person to play with us. I carefully planned how I would ask her to fill in, totally expecting her to say no. My finger hovered above the send button for at least 30 seconds before I had the courage to press it. I nervously awaited her response and when it finally arrived, I cringed and opened facebook.com/TheBlackoutsRock Future The New Movement... a band plays a song they wrote together for the first time, it is truly magical. If you think you may want to start playing music you write with others, you will need to know how to make a song chart. Here are some questions to ask yourself: What is a chart? Tips For The Young Musician Vol. 14 by Stephan Hume [email protected] Nothing compares to seeing young bands write their own songs. They realize that music creation is truly something we can all do. When “From Artists to Artists” with Jonny 5 of the Flobots Successful Musicians Pose Question to Youth on Record Students by Nathan Schmidt [email protected] At Youth On Record and Flobots.org, our mission is to empower students to express themselves through music. This is the first of a series, which asks successful musicians to thoughtfully ask the students of Youth On Record a question about their perspectives as artists. Jonny 5 is a founding member of both the Denver-based band, the Flobots, and of the Colorado nonprofit Flobots.org. He is A chart is like a road map. Everyone in the band is driving the same car at the same time. It’s probably a good idea to have a map so everyone is going to the same place. A decent chart helps you communicate the length of the song, the order of each part, and any other information necessary; including lyrics, chords, rhythms, etc. If you are unsure of what sort of chart you should be making, consult the Internet or your music instructor. Are the blind leading the blind? a tireless warrior for those whose voice has been marginalized or minimized. Jonny 5 is an educator and youth advocate, and can be caught at a local high school or college campus near you, empowering those to actively and responsibly pursue the change they wish to see in the world. Jonny 5’s question to YOR students: “When you write or produce music, who is it that you are creating for? What is it that inspires you?” “What inspires me to do my writing is everyday life, and what me, my friends, and family, go through.” ThizKIDD “I really like it when someone internalizes my words/music and feels what I feel. I love it when someone smiles and looks at me like, ‘How did you know that’s how I feel?’” EVI Are you collaborating? There are some rare circumstances where a band is hired by a singer/songwriter to play parts exactly a certain way. This is cool, but it is not writing. Above all, it is not collaboration. When more than one person has their hands in the creation of something, they are collaborating. If you are lucky enough to play with the same group for several years, you will likely amass quite a bit of material to play. What happens when you want to go back and play “an oldie but a goodie?” What could possibly help you remember the framework of that song? That’s right, you guessed it: the handy dandy chart you made. Bust that chart out and smile with confidence. You did yourself a very nice favor by making it. “When I first write it comes out just for me because I’m just writing my emotions, and it’s just a way to get them out. Eventually it turns into more of a global statement because I want people to be able to connect with the emotions I put on paper. I try to write all kinds of stuff because I hate when writers or musicians have the same style over and over again because it makes the music boring after a while.” Gabe W “It’s easier for me to put it on paper than go out and talk to someone. It helps me a lot more because you can choose to share it or keep it to yourself.” Devin C “The people that I create my music for is society and the community, to display my train of thought and what goes on in my head. It helps me get my emotions out and show the world how I feel without having to talk with them in person.” Josh G “Mis liricas o canciones son para mi familia y los jovenes que están perdidos de civilización que sienten que no hay un proposito para vivir la vida sonriendo y no usando drogas.” Gabriel M Colorado Music Buzz is rocking the radio waves! Starting on April 7th at 2pm, CMB will be influencing the masses for two hours with the best interviews, local music, news, and of course your participation! on Saturdays between 2 and 4pm. You can see the entire stream online or just listen as well on your computer or phone. Simply visit ColoradoMusicBuzz.com or MileHighUnderground.com and start listening Do you have a super memory? them want to move.” Levi “I get the chance to inspire people and make Each week we will be showcasing the best local and national talent with questions that will provoke and induce great conversation between us and the artist/band. We will also be playing the best local music from Air Dubai to the Epilogues to Take to the Oars during the show. Expect some in studio performances as well. If you are writing a song with at least one other person, you need to start by making charts right away. Will the song change over time? This is very likely. But your chart is there so you can make edits. living in poverty.” Killah Ken “Who I write for, is the people in the struggle of life having problems day to day. Mostly people “mOOse” and “C.C.” will be hosting the show each Saturday … and you can plan on crazy banter just between those two! We will also have occasional guest DJ’s in with us to take things to an even higher epic level. 18 Playing a song you wrote for the rest of your band can be extremely rewarding. Just have a chart so the rest of the band can join in or at least have a reference. If you have ever had someone sit down with a guitar and say, “Uh…it goes something like this, but I am not really sure,” you probably don’t feel confident that you can follow along. However, even your loose song ideas are communicated way better when you can hand others a map in writing of where the song is going when you bring it to others. A charting band is a happy band. You will also find us at our events streaming our concerts live to the masses! Watch our website and print for more details on when we will be streaming the live events. Artists/Bands – want to be considered for an interview on our show or get your music played? Contact us thru our CMB website contact form and let us know! We are looking for the next big artist/band and maybe that it is you, eh? We are also looking for sponsors and advertisers for our show. No other media source can do more for you that Music Buzz can with our print, web, and radio presence – you will reach your audience! Call Chris Murphy for more info on these exciting and very affordable packages! 720-429-8717 | Email: CMurphy@ ColoradoMusicBuzz.com MileHighUnderground.com ColoradoMusicBuzz.com April 2012 | ColoradoMusicBuzz.com “I write for myself, mostly because I try to say something to a crowd of people, but it doesn’t work out most of the time.” Walker “Whoever is in my audience, I’ll try to point or help them see my vision or help them make it through a hard time.” C*A*P-ability At Youth On Record and Flobots.org our mission is to empower students to express themselves through music. The following are fantastic examples of how powerful our student’s words can be. We count on our students to inform us educators how they see the future and their role in it, so that we may best help them prepare. It is truly amazing what many young people will do and say when given an opportunity to succeed. Post Where it all Happens First, making the most of selling your new recording (CD, mp3 etc.) It starts long before the ‘release date, even before you get the CD (or mp3) in your cyber hand. You have to understand where you are going to sell that recording and to whom you will sell it. The “where” (we call it place in marketing) boils down to three basic outlets: at the gig, on the Internet, and in the independent stores that will stock your music. The Manager’s Corner April 2012 By Chris Daniels [email protected] I’ve managed my own band since the 1980s, and despite the amazing change in technology, success in the music business is built around four tried and true elements: great music, really hard work and timing (often mistaken for luck). The other key element is getting the help you need to make that luck happen. These days that help is everywhere. The book I wrote for my CU Denver class on artist management is called “DIY: You’re Not in it Alone” and that is exactly what you need to understand. You need to make the most of the tools that are out there. Unless you are Adele, selling 21 million of her album “21” the chances of you making major bucks on the sale of recordings are limited. That means that DIY artists and managers of young acts need to face two important facts. First, you are going to have to make the most of the revenue you do generate through selling recordings, and second, you are going to have to capitalize on every income stream available to you. The gig is easy, but don’t over estimate your sales. It used to be about 15% of your audience size but these days, because most people are getting their music online, you can cut that in half. If you sell out the Bluebird at 900 seats –a good night might mean you sell 60 CDs ($600 worth, less taxes and a percentage for the venue). That means you better not ‘over-press.’ Use a simple break-even formula, look at the number of summer gigs you have and be realistic about your sales estimates. In order to reach iTunes (they sell more than any other music outlet at this time), you will need to use an aggregator: CD Baby, The Orchard/IODA, TuneCore or a number of others. In my experience, CD Baby has the best accounting, including the pennies you get from the streaming sites like Spotify and Rhapsody. Others like TuneCore and The Orchard are good, but as I said, CD Baby’s accounting is the best. There are still a huge number of independent record stores across the country like Albums on The Hill, Twist & Shout and others. In order to get your CD into independent stores across the country, you will need to get a “retail” distributor like Burnside, Red/ Koch, AEC, or one of a few others. In order to get to work with those distributors you will need to be able to prove that you are going to appear in the cities by Chris Daniels [email protected] The Upper Root 40 COMBO Music Festival On April 22, at the Fillmore Auditorium, the Upper Root 40 Music Festival kicks off with a COMBOsponsored trade show, and gathering of the faithful, to spend a week of live music, panel discussions, movies and more. For those of you who don’t pay much attention to road signs, Root 40 is Colfax Avenue, and there is a kind where those stores are located via touring or radio or something more than your Facebook page. Once you line up some sort of distribution, you need to look at your timing. Retail will need to have CDs a minimum of 30 days before the release date, and they will need time for marketing to their outlets, usually 60 days prior to release. This is pretty typical. Even CD Baby used to need between 14 to 30 days, and the Orchard/IODA took around 40 days. TuneCore is faster, but there you need to have your marketing in place. You should also get a UPC code (bar code) so Soundscan can track your sales. In order to get press for your record (and there are plenty of friendly outlets like the Colorado Music Buzz and local blogs like heyreverb.com that will give you ink), you need at least 21 to 30 days before your release. If you have only 300 facebook fans and no actual website, then you have some serious Internet work to do to market and sell your music. Developing an Internet presence is essential to the successful release of a recording. That means more than a Facebook or ReverbNation page…it means owning and using your own website (I will cover this more in future articles). But check out a Billboard article about Emily White, a great Brooklyn label owner, to see how important that aspect of selling recordings will be to you, or an artist you manage. White gives you five essential tips to making money when marketing a recording--they are great, and they involve some serious Internet work. from Terry McBride, manager of Bare Naked Ladies, who explained that they pressed a threesong CD in a paper sleeve that their merch tables gave away. Instead of the band saying something like “please buy our new CD” they were saying “please stop by the merch booth because we have a free sample CD for you.” McBride said it increased their sales by over 30%. The cost of the 100 or so CDs to give away can average about 20 cents apiece, so for around 20 bucks and a little time and effort, you have something to entice folks to your booth. Like the old drug dealers used to say, “the first one’s free.” Last but not least, YouTube. Now we are into landmine territory because even “Celebrity Apprentice” is trying to get videos to go viral…so it’s a crowded market. If you have the right song it can be great … but it can also cost you are great deal of money with no possible return. There are good, cheap ways to do it but do not count on your song going viral. No matter how amazing the concept and video are, talking dogs have us all beat. As stated earlier, ‘hard merch’ or CD sales at gigs used to be the best source, but that revenue is down over 50% so you will have to figure out a way to cope with that reality. The best advice I can give you comes If you take the time and the energy to make a great recording, then you want to do more than have 15 boxes of unsold CDs in your garage. So plan the number you press carefully, line up good distribution, set up good timing for the release, and allocate time to marketing through the Internet and incentives for the sale of CDs with free music, or a free sticker with every CD, etc. People may love listening to your music but you’ve got to make a real effort these days to get your fans involved in listening to it in order for them to take the all important step of buying it. And yes, lots of people give music away--if that’s your goal, that’s easy and takes no brains or skill. It takes a lot of work to make money with recorded music. We’ll go into other revenue streams next, stay tuned! of extended ‘musical mile’ or so between the Bluebird Theater and University of Colorado Denver on the Auraria Campus that includes the Ogden, Fillmore, the L2, and an amazing area of music-related venues like Lion’s Lair and Satire Lounge to name only two of the 20 or so venues that will be presenting music all week long. products and, as in the past two expos, COMBO will have listening sessions; plus all week long, there will be lots and lots of places for musicians/bands to play! If you/your band is interested in playing, please GO TO THE COMBO WEBSITE AND CLICK ON THE ‘MUSIC EXPO’ BUTTON and fill out the form or contact Mark at [email protected] to ask for more information. Opening on Sunday afternoon with the COMBO Music Expo at the Fillmore (Colfax and Clarkson), many music-related businesses will showcase their On Monday night at 7pm at the L2, the College of Arts & Media at CU Denver will present a panel on “Live Music In Colorado and Beyond in The Digital Age” narrated by Assistant Professor Chris Daniels, and featuring Sean O’Connell from Live Nation, Andy Guerrero from the Flobots, Ed Pierson from Warner Brothers-Chappell Music, Henry Root (attorney for Garth Brooks), Dina LaPolt (attorney for the Tupac Shakur Estate), and many more. On Tuesday at CU Denver in the Starz Movie Theater 12, there will be a panel on “Surviving in the Digital Age” with artist manager Mark Bliesener, Ed Pierson, Dina LaPolt, Henry Root, and others, to discuss publishing, record deals, and the changing world of recorded music and delivery. Wednesday night at the Denver Film Society, Colorado Public Radio film critic Howie Movshovitz will introduce and lead a discussion on the film “Festival,” about the amazing Newport Festivals, and the coming of rock and roll to the folk music scene of the 1960s. On Thursday there will be an all-day free outdoor music festival called the CAM JAM featuring five bands that include, Churchill, Places, Princess Music, Green River Vibe and Broken Tongues, plus vendors from the Root 40 Music Festival. The CAM JAM kicks off at 11am, and the music runs all day long until 5pm. You can park behind the Tivoli and come check out the music and the fun on the big stage outside on the southeast corner of the Tivoli. Visit coloradomusic.org. April 2012 | ColoradoMusicBuzz.com 19 A-sides The Good and Honest Reviews Emma Back – C’est Nous by Guy Errickson thenakedstage.Net GErrickson@ ColoradoMusicBuzz. com Lovely to behold, and gifted with an equally lovely voice and the talent to play both piano and violin superbly, Emma Back melts together lush folk with gypsy and jazz influences. What further sets Back apart is her songwriting, visual to the point of creating a cinematic short film, drawing the listener into the vivid images from her heart and slightly-off-kilter smile, clearly amused with the self-contradictory nature of existence. Ruby-red lips perfectly formed for singing seductive French as well as English, one gets the impression Back performs because she has music within her that must come into existence with honest sincerity. Listeners can hear Back’s musicians loving to inhabit the world of her old-soul compositions, and who’d-have-thought-of-that beautiful live covers. Balkan, and other influences, come genuinely; she toured internationally with the teen world choir Village Harmony. Back’s trio includes Brandon Hagen (Patent Pending, The Get Down Easy’s-both with Emma), Statue of Liberty (see CMB Jan. 2012), Bones Muhroni, BlackBloom on bass, guitar and vocals; and Will Reynolds (The Patent Pending, Phunkadonic, Detchen Hawk) playing drums. C’est Nous also includes cellist extraordinaire James Hoskins (Sherefé, Buzz Band, Tokyo Tribe, County Road X, New Land Balkan Band)! EmmaSong.com LIVE: Weds. 8pm April 18th / The Laughing Goat / with The Patent Pending, Boulder Sun. 3pm April 29th / “Be The Loud Flower” Event, Voodoo Lounge / Boulder Thurs. 9pm May 3rd / Transition Clothing Special Event, Oriental Theater / Denver The Host Club- Tut Tut by Jenn Cohen JCohen@ ColoradoMusicBuzz. com This four-track E.P. from Denver locals, the Host Club, consisting of (and stay with me here) Aaron Elrod (vocals), Adam Elrod (guitar), Tim Adams (studio bass), Nate Barnes (studio drums), Emily Gallant (guest vocals), Jason Webb (live bass), and Jake Cook (live drums), is full of comfortable melodies. The title track, “Tut Tut,” is the only song that didn’t really stick with me. However, the soothing voice that complemented the vulnerable lyrics in both “The Falling Out” and “Reasons,” were enough to make me add this to my CD collection. The E.P. is soft and sweet, easily relatable, and a pleasure to listen to. facebook.com/thehostclubband KIDS-Kids by: Sal Christ Photo Credit: Courtesy of Kontroll Recordings SChrist@ ColoradoMusicBuzz. com Youth, more oft than not, conjures happy thoughts: summers spent doing nothing and everything at the same time, late nights whiling the late hours into solitude, the careless flight on a highway at sixteen in a topless car with your hair flailing in the breeze, or believing in the currency of dreams and their ability to take you anywhere and everywhere you want to go. For some, youth never ends, and for the rest, it’s something recaptured over and over by way of the musical turnpike—whether it stretches over on vinyl or eight tracks or the perennially nostalgic cassette tape. While so much of the Nordic scene produces airy gossamer that floats featherweight and empyrean in its aural rendering, Swedish band KIDS peals out with ‘80s indie pop flair, and a singer whose voice willows reed-like a couple of octaves above the late Nico. KIDS’ eponymous debut EP is meant for those summer afternoons and evenings when carefree is the word, and dancing is all that should be done. Cheery in melody, but occasionally dark lyrically, the five tracks impose a tempting dare to practice stillness. In short: it can’t be done; these tunes are far too catchy and boisterous to clamp a hand on the wiggling. A reverb-less guitar kicks off “My Sincerest Apologies”—tricking the ears into believing momentarily that KIDS is not a Scandinavian indie pop pair, but a stripped down alternative rock group. However, a blink later, cozy synth pads and effects kick in and summer, sand, and sunshine crash in like uninvited guests at a Beat party. “Two Hearts Together” may well be a poetic ballad, with lines such as, “I love the way you move when we’re together / it’s light years ago, but we’re only beginning forever / we’ll be in this forever.” Though a fair amount of indie/electro pop rotated around radio speakers over the last couple of years, Maria Pettersson’s bluesy vocals set this band apart from all the rest. Pettersson’s is a voice best experienced instead of merely described—language simply cannot do justice the smoky, matter-of-fact nature of that instrument. The singer’s melodic partner is none other than Jonas Linngård of Swedish surfer indie group, Pets. Linngård contributes the poppy, chirpy sound over which Petterson buoys—successfully creating that hopeful lust of youth that unfortunately ages over time. Reminiscent of the original Ray Ban wayfarers, neon sneakers, and Aqua Net hairstyles, KIDS pulls off indie electro-pop while staggering away from the sound that’s become associated with Sweden and its neighbors. Though the new generation of ‘80s fashion hounds will never know the association between a ballpoint pen and a cassette tape, this duo is certain to keep everyone a little lightheaded with careless abandon during the upcoming summer months. The EP is available for free at Soundcloud and Spotify. 20 Navigator-An Idea of Home by Tim Wenger TWenger@ ColoradoMusicBuzz. com Navigator takes melodic hardcore to a higher level with their new album An Idea of Home. There is something to be said for a screamer with enough talent that his words are still understandable to the naked ear, and while many bands fail in that category, these guys pull it off quite well. The two guitar parts flow perfectly with each other throughout the record, and the entire album is mixed very well. What stood out the most to me about the album is the way they come into so many of the songs with quick, melodic guitar parts and then follow up with more of the same during the bridges. While they may not be pushing the envelope on pushing the genre past what it knows, they play their music so well that it is really easy to throw the disc on repeat and get into it. They even slow it down on the album’s final track, bringing in some awe-inspiring gang vocals over the lead guitar. If Navigator can be as tight on stage as they sound on this album, you can bet that they will be a force here in the hardcore scene for a long time. Online: Search “Navigator” on Facebook TTF (formerly Technicolor Tone Factory) – self-titled EP by Guy Errickson thenakedstage.Net GErrickson@ ColoradoMusicBuzz. com Having built-up from a really kickin’ bar band, to not just looking like they belong on stages like the Historic Boulder Theater’s, but dressed for the occasion and owning it - anyone who likes the “Colorado Sound” will LOVE TTF (formerly known as Technicolor Tone Factory before trademark issues got in the way). Playing jam-rock style, producing R&B funk undertones from the monster bass (Zach Jackson), and progressive, “supersaturated,” psychedelic wizardry on the keys and synth (“Melody Master Greg” Kallfa), efficiency soars with just that *taste* of electronica. Dual guitars (Jarrod Guaderrama & Brian Boster) dance one after another on the reinforced concrete foundation laid down by chiseled drumming (Bryan “The Fever” Lefever). The machinery is top-line, with three distinct quality voices meshing to provide a welcome depth in harmonies (and a lot of range in choice of covers), allowing these inventive fabricators to slash out great compositions that are original and varied. Let them manufacture an enjoyable night of danceable fun for you and your friends, or stop by the showroom and TTF will help you assemble some new ones! Search “TTF” on Facebook LIVE: Sat. 9pm Apr. 7th / Cervantes’ Other Side / with The Magic Beans, Denver Sat. 9pm May 12th / Quixote’s True Blue Green River Vibe, Denver April 2012 | ColoradoMusicBuzz.com Lydia Cole-Me & Moon by Sal Christ Photo Credit: Lydia Cole SChrist@ ColoradoMusicBuzz. com The ever-heavy Chuck Palahniuk novel, “Fight Club,” declares, “Only after disaster can we be resurrected,” and considering the 18 months traversed between Lydia Cole’s first EP Love Will Find A Way and Me & Moon— her first full-length album—it’s entirely applicable. The 11-track record features acoustic tracks so emotionally lightless and parturient they float above the forlorn heartache from which Cole’s music must have bloomed, only because said heartache weighs more. Love letters addressed to vestiges of an exhausted relationship and former life filled with moments the singer no longer embodies: these are what Cole proffers, which she literally admits in “Love and Loss and Love,” a track whose foundations build on strummed guitar, subtle cymbals and snare, and the occasional bright piano. Cole is one hell of a composer and lyricist, having collaborated with producer Nic Manders and instrumentalists Jono Wilson and Jol Mulholland. The singer keeps things simple and uncomplicated—an ageless quality haunts every track, entirely defying temptation to tack an age on the songbird. Additive is the affectation of Cole’s native kiwi accent, which meanders up and down in timbre and casts additional ardent depth to the shared dialogue of every song. “Blind Boy,” the opening track on the album, instantly calls to mind Ray LaMontagne’s 2007 tune, “Be Here Now,” with its lolling, sustained piano and marching guitar. A slightly bitter lament, the song serves something of a kiss-off to the now-former significant other. Consequently, “What We Were,” remains an acceptance of the relationship as it was meant to be— simultaneously conceding the relationship’s destiny, but also questioning whether the ex-partner understands what the relationship represented in its entirety. The final track on Me & Moon imbues a lasting sense of wisdom gained. “Unhinged my lock, turned a page…I start over again,” she says in “The End of An Age,” acknowledging that there’s little to do, but move forward. A rich, legato piano verse trails beneath male backup vocals in what is perhaps the most pragmatic, yet uplifting, song on the entire album. Cole has loved and lost what she loved, but is no longer caged by the ghosts of loss. A stunning debut, Me & Moon may well be the softer, less angry answer to the many, many caustic breakup songs put forth in the ‘90s by Ben Folds. Sincere and haunting, Cole knows how to break the heart with honesty. While the singer is currently unsigned, it would not be of surprise if she landed on a well-known label at some future date—a voice like hers isn’t one to be wasted. lydiacole.bandcamp.com Want Your Music Reviewed? Send 2 Copies to: PO Box 2739 Littleton, CO 80161 OH YEAH!
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