TheHundred has been a driving force in Denver's house scene since its inception nearly a year ago. Whether it's one of the monthly parties at Beauty Bar or big name one-off event elsewhere, TheHundred has proven that house music can thrive in Denver. The last one-off event took place last month at Summit Music Hall, featuring the legendary Fred Falke. We whipped up this video to take you back to that awesome night.

To get in on the next TheHundred event, you won't have to wait long. The next party is this Saturday, October 27 featuring another legendary name in house - Todd Edwards. Todd Edwards started out his music career two decades ago with a slew of releases almost too numerous to mention. Check out his latest release - free download!

As usual, the night will have solid support, featuring the likes of option4, Vanish, WERQ, and Fun Factory. Since TheHundred is non-profit, tickets are always cheap, so cover is only $6. The party gets started at 9PM. Get there early before it packs out to avoid being left out in the cold! You can RSVP on Facebook here.
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Earlier this year, a new dream-pop group, CCERULEANN, exploded into the Denver music scene. The brother-sister duo of Elliott and Marilyn Baker made many take notice with the release of their first single, "Future Wind". We wanted to know a little more about what these guys were about, so we set off to their home studio and got the pair to share a bit of their story on camera. As of now, they've only released a pair of singles on their Bandcamp page, but they have a full EP coming out on the horizon. We'll be sure to tell you more as their story continues to unfold.

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The following review is and accompanying photography is from guest contributor Chris Hanson. Chris Hanson is a 3D computer graphics developer, photographer and writer with a fondness for retro technology and precise and complex music. He once reprimanded Paul O'Neill for talking during his own TSO concert.

Last night, while New Order rocked the 1stBank center, a new order of a different kind came to The Bluebird theater. Lindsey Stirling stomped into town with her non-traditional violin for a sold out show of around 650 fans of all ages and genders.

At 8:20 the opening act came on, a quirky and kinetic performance by The Vibrant Sound, performing as a one-man vocal and acoustic guitar show with a MacBook on backing. The set was short and enthusiastic, and if not fully understood by the crowd, at least they seemed to be enjoying it.

After a short break, Lindsey came on with a bang, opening up with the energetic instrumental "Moon Trance", dancing about the stage while playing the uptempo strains and gesturing with her bow for punctuation.

"Spontaneous Me" followed, giving another chance for her keyboard player and drummer to show their chops, but the attention was always on the whirling and fiddling Lindsey. Sporting torn fishnet stockings, a single argyle sock and sparkly tennis shoes, her feet were always on the move, dancing left and right, bowing and stepping.

The band ripped through "Shadows" and "Electric Daisy Violin" in short order, before Lindsey gave the drummer and keyboardist a breather and took center stage solo. A self-professed nerd, her dabblings in game themes (Zelda and Skyrim) have made her popular with the gaming crowd. With a cappella performer Peter Hollens joining in by video screen, she executed their Skyrim duet on the darkened stage.

Welcoming the rest of her band back, she cooled off with the mellow "River Flows in You (Yiruma)" before introducing Lindsey’s take on Rihanna’s “We Found Love” set to a video of her dancing and performing for and with locals in "Kenya". This is one of the few songs where Stirling contributes her own vocals, and she can definitely hold her own. Courtesy of a few tweaks to the lyrics, the attitude of the song is 180 degrees from the original, and is uplifting and hopeful.

The next number, the Lord of the Rings Medley is a mash-up of different melodies from Howard Shore’s fantastic themes from the popular movies. Stirling is obviously a fan of epic fantasy, having also covered the theme from HBO’s Game of Thrones (also with Peter Hollens), but she didn’t break out that song at The Bluebird.

Taking a turn in a whole different direction, she went "Bad", pulling on a sequined glove and sunglasses to highlight Michael Jackson in a whirlwind tour of the late artist’s musical career (or at least the parts Stirling learned to dance to as a kid). The crowd welcomed this trip to a familiar beat, clapping along.

The autobiographical and very new "Zi Zi’s Journey" (Zi Zi was a childhood nickname) followed, transitioning to the immensely popular YouTube hit "Crystallize" (featuring the music video shot here in Colorado at the Silverthorne Ice Castles). "Crystallize" was one of my introductions to dubstep, and it led me to expand my musical frontiers as a result, beyond it just being a powerful and energetic song of its own.

The final song of the main set was "Transcendence", a song with overtones (and video) about overcoming stereotypes projected by the world around in order to realize your own potential. A fitting riff to close with on the first concert tour of a self-made musician exploring her own genres.

I had intentionally not read or viewed anyone’s accounts or videos of the show in order for it to be fresh to my ears. It was therefore a genuine and welcome surprise when the band returned for the single-song encore wearing masks, and launched into a powerful rendition of The Phantom of the Opera. This song fit right in below the leering masks of the Bluebird’s own theatre decor. This was an intense note to go out on, and for the performers it must have been seven grueling minutes of going to eleven.

The merch table was offering the usual posters and stickers, and had a new offering -- Lindsey Stirling, a 12-track album released in September comprised of all-original compositions, seven of which were performed in the show. Other notable Stirling tracks (including covers and Christmas songs) are available from a smattering of sources including iTunes and her own website. iTunes also has the digital copy of the album for $12.

Stirling’s tour heads west from here to her home territories of Utah and then Arizona before heading up the West Coast. Many shows are already sold out, but additional dates and larger venues are being added. Do yourself a favor and if you’re looking for something new, fresh and beautiful, try to make it to a Lindsey Stirling show. Maybe you’ll enjoy a rocking evening of making violins exciting. Maybe like me, you’ll find whole new genres of music you want to explore (“Dubstep for 40-Year-Olds, a How-To Manual”). For my part, I’ve added a new item to my Bucket List: “Drop The Bass”.

See more pictures from this show in our Facebook photo gallery!

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We sat down with Denver's School Knights late this summer and had the four-piece band talk about their band, their philosophy and upcoming new music. School Knights has evolved from it's initial two-piece setup to it's current configuration, but they've always maintained the same carefree philosophy that drives their garage rock sound. They'll be hitting the recording studio this fall and will have new music to release, but until then, you can enjoy their latest EP for free at Bandcamp!

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TheHundred presents Anna Lunoe from Concerted Effort on Vimeo.

Now almost a year strong, the monthly house music party TheHundred has had an impressive run. Their parties have consistently offered a great vibe and amazing talent. Last month, Denver was treated to Anna Lunoe, whose impressive set capped another incredible night.

TheHundred is back again this month, with a party this Saturday, Sep. 22. A collection of talent that includes DJ Ricard, Mike Dee(z), Paul Anthony, option4, and Sammy Bananas will be on hand to keep the party going. RSVP and get more information here. The music starts at 9:00PM and there is no cover before 10PM ($6 afterwards).

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Friday September 14 was just another day on Colfax, but appearances can be deceiving.   Many a night have I walked these Denver streets thinking I may have stumbled onto the set of the newest apocalypse-themed movie where the world has already lost most of the living to [insert here: zombies, disease, water, asteroids, magic].  Similar nights have exposed the inconspicuous bars and venues to be contrary to what their outward appearances would have you believe.   Even on Colfax, the longest road in America and a magnet for rowdy troublemakers, things seemed pretty tame as I made my way to the Bluebird Theater to catch the double-headliners Rubblebucket and Reptar.

The opening act, Icky Blossoms were the opening band and this stop in Denver was their first night playing with the tour lineup.  These Nebraskans are based in Omaha and are on the famed emo staple of yore, Saddle Creek Records.  Their sound bends toward to the Faint end of the spectrum rather than the Bright Eyes end.  They will actually be playing a few shows with The Faint in November and December which would be a great pairing for any electro-indie music lovers out there.  When I walked into the Bluebird, loud dance beats pervaded the auditorium, almost louder than what would be normal had more bodies been present to absorb the sound. Clearly propped against the wall were two large, silvery boxes that would later come to life, but sitting there propped up they looked totally natural and I barely gave them a second glance.  Singer Sarah Bohling asked in between songs, "Who here likes porn?" to which she got little reaction, maybe due to a lack of audience or a lack of porn enthusiasts. The front row was filled with day-glo "x"-handed kids who most likely did like porn but didn't want to be judged by the handful of people that would be around to hear them say so. It's better not to react or stand out or put yourself out there for judgement, when you are younger right? Well the attitude pervades throughout age barriers and stereotypes.  During the last song, "Heat Lightening," the band members had affixed large colorful LED lights to their persons and the stage was glowing like the day-glo hats and shirts of the front row audience.

When it was time for Reptar to begin their set, a sizable crowd had formed in the lower floor area and around the main stage.  For one of the first times in my patronage of the Bluebird, I noticed that the stage left area had been roped off as a sort of VIP space.  I think it was mainly for the artists, since there was 14 of them all together that night and probably not enough space for them to all fit into the backstage designated artist area.  A great wave of excitement was tangible as the foursome came on stage with their modest presentation, the only one of the three bands without flashing-light accessories.  What Reptar lacking in flashing apparati, they made up for with flashy dance moves.  There is rhythm in my soul, but that rhythm has never translated well to the physical outpourings that may result when the time comes to let loose; seeing Graham Ulicny and Jace Bartet 's dance mastery was at once inspiring and entrancing. Especially Bartet -- I mean that guy is rhythm incarnate; seeing him dance just made you want to smile and dance along with him, like a trippy Pied Piper.

Ulicny was able to move in time with the music and used his body as an instrument for maneuvering multiple mics, guitar-pacing and jamming, and various motions to either his left or right.   Chuck Klosterman look-a-like Ryan Engelberger was mostly stationary, making a break to fetch a handmade rose crown that was tossed at the stage from the audience.  William Kennedy on the keyboard was a sight in his glittery pants, and would occasionally let loose burst of energy that saw him jump at least 3 feet in the air and created a hair display as he let his long tresses sway from side to side.  There was of course a drummer, but these four created a wall of sound and dance that veiled Andrew McFarland and his magical percussion was a backdrop to the stage, just like the fog machine or the marijuana leaf beach towel used as an amp cover.  The band played from their limited arsenal of songs, having only recently released their first full-length album Body Faucet and having an EP besides that.  Highlights from the set were "Sebastian" (Ulicny here remarked, "This is a song about the first time I kissed a boy"), "Rainbounce" (from their EP Oblangle Fizz Y'all), and "Orifice Origami" (lots of dancing on stage for that one).  I must recommend that anyone who has yet to see Reptar live please do so the very next chance you get; you won't be disappointed.  If you don't like having fun, you may be disappointed.

The floodgates opened after Reptar's set and the setting was simultaneously deplete of most day-glo youngsters and filled to the gills with dreaded, loosely clothed hippies.  A full-fledged transformation took place in the Bluebird's musical chambers, to which I may again refer to my stance on the unassuming nature of Denver's haunts.  I had no idea how much more raucous the stage could be, and soon found out that Rubblebucket comes with an energy that many can warm up to, young punks and hippies alike.  When Rubblebucket was setting up their blacklights and neon mic stand scraves, I made my way down to try and get some good photos of the band.  I had heard that they liked to dress up, that there were stage props and such, so I wanted to grab a few good photos as I noticed the venue was getting considerably less spacious and more crowded.  A young Boulder couple were swaying and slurring in a way that seemed dangerously closed to alcohol poisoning or (more likely) under the influence of some hallucinegens.  They commented on my camera, let me know that I was in for a treat once Rubblebucket started, and offered to sell me something that I couldn't quite catch for at that same moment the audience roared to life as the band members took the stage.

Not quite an eight person ensemble this evening, the group was comprised of a trombonist and trumpeter, two guitars, a drummer and the singer/sax player.  The additional keyboard player was Reptar's Kennedy, possibly filling in for a missing member.  When singer Kal Traver walked up to the mic, the crowd roared and all the band members switched on large led fixtures hanging from their necks.  The group sounds like a pop band, but moves like a reggae band or a jam band; I am particularly fond of the choreographed moves of the horn players.  During their set, Rubblebucket played a crowd-pleasing rendition or remix of "Heart of Glass" by Blondie, with Traver's alto interpretation of Debbie Harry and many electronic loops and horn solos thrown in the mix.  It was during this song that I noticed the silvery robot contraptions had come to life with glowing eyes and waving arms, making their way through the crowd and spilling beers along the way.  It was a site to behold, and many of the concert-goers were fully entranced by the dancing robots, a few high-fives given here and there.  The crowd was 100% in motion up until the last song before encore "Came Out of a Lady" which had me dancing, so much so in fact that I kneed the metal handrail in front me out of joy; a joy bruise the next day.

After the show, my head was swimming with sounds and I could still see flashing lights from all of the LED apparati.  I was so entranced after the show that I walked right past a friend who was calling my name and waving at me from the East High School lawn.  A great lineup and a great night of transformations from Rubblebucket, Reptar and Icky Blossoms.  See more pictures from the show online on our Facebook Album.
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Science Partner is a Denver band that excels at three-part vocal harmonies and pop music that anyone can get into.  I have been a fan of their quirky tunes about Miley Cyrus and the Heaven's Gate cult since about a year ago when I accidentally stumbled onto a birthday party, and I'm happy to hear that they are releasing their album, Rocky Mountain News, with Hot Congress Records.  The album has been available for download on Bandcamp for just over a year now, but is finally seeing physical release and celebrating with a show at the Larimer Lounge on Friday with support from Achille Lauro and Hindershot.

I spoke to singer and guitarist Tyler Despres from Science Partner about the official release, playing more shows in Denver and what's next for the band.  Celebrate with Science Partner at the Larimer Lounge on Friday September 14 - doors are at 8 PM and the show is at 9 PM.  All ages are welcome and tickets are only $10 the day of the show, check out Larimer Lounge's website here for more details.

CE:  How long has Science Partner been involved with Hot Congress Records?
TD:  That's a brand new development.  I just talked to Lucas, one of the main guys with Hot Congress, about a month ago right when we booked the show.  He said they were really interested with putting out the record.  It's great - we're going to be screenprinting CD packaging and all that stuff this week.

CE:  So when you talked to Lucas, were you talking about booking a show or were you trying to set up a record deal?
TD:  I've been a fan of everything Hot Congress is about, and we have friends in pretty much all of their bands . . . it just made sense.  We weren't really doing anything with [Rocky Mountain News] . . . but now that we're pushing the album it seemed like a good time [to join Hot Congress Records].  It's been a long time coming, and I'm just happy to have it happen.

CE:  Do you think Rocky Mountain News will be received differently now that you'll have a physical copy for fans to buy rather than just having your album solely available online for free?
TD:  It's going to be hard to gauge that because we haven't really pushed the album at all, we kind of just made it available on Facebook.  We never really sent it around.  But now that we're gonna have a CD we can send that, with a press kit and pictures or whatever, to places.  It will be a legit press kit instead of an electronic one.  So it's going to be a combination of us having a physical disc and making a concerted effort to push it.  Honestly, I don't know if there would have been a huge difference if we had been really pushing it this last year.

CE:  Do you think having that physical copy of an album makes it easier to go out there and send it to places?
TD:  Yeah, well it's a weird thing, because our band is made up of people from a bunch of other bands so we want people to hear it and buy the music, but we can't push [the album] on tour because people are committed to jobs and other bands.  I guess we are more interested in getting exposure and having more people hear the songs.  And by that I don't mean a big record label that's going to throw a bunch of money at us; that's not what this is about at all.

CE:  Will Science Partner be playing more shows now?
TD:  Yeah I think so.  We played the UMS back in July, and it had been six months since we had played.  So we played the show and everyone was all excited about it, both the band and the people there.  Lots of people came up to us and asked, "Why don't you guys play more?," and immediately after that we wanted to do a CD and have a legitimate release show.  Maybe get some buzz, maybe start playing around more.  So I think it was a combination of putting together this show [September 14 at Larimer Lounge] and playing at the UMS that really sparked our interest in being more of an active local band.  Yeah, I'd say for the next three or four months you'll be seeing us play at least a show or two a month.

CE:  UMS!  You guys filled up Delite, and that's saying a lot for playing on the last day of a 4-day festival at the same time as some of the headliners on the Main Stage.  I was curious what your perspective was on the weekend.
TD:  I think going into it we knew we were playing at the same time . . . and that's a restaurant, not a real venue, so we were a little apprehensive about if we'd all be able to fit in that area and if people would be able to hear us.  We were really glad they had [the front window] open, that helped . . . we were honestly really surprised there was that many people interested in coming and watching us.  When I first started setting up, I thought maybe twenty or thirty people would be there but there were fifty or more, however many could fit in there.  We were surprised and it made it more fun, and like I said, doing that is what sparked us to start playing more shows.

CE:  Will you be playing more shows with the Hot Congress bands?
TD:  Yeah totally.  And now that we are in with that group, when someone is setting up shows I think they would want to dip into those bands first.  Not only are we going to be trying to put together more shows now that we have more support, but I think some of those bands with Hot Congress will be asking us to be added onto shows that they're already playing.  And that's already happening; in November Hot Congress has a residency at 3 Kings and I think we are going to be playing one of those nights with four or five other bands.

CE:  Is it hard to book shows with all of the members of Science Partner, given the other bands and commitments you mentioned earlier?  I've seen you guys play with a couple of different arrangements and it always sounds good; I saw you guys play as a three-piece at Lost Lake and I thought it sounded great.
TD:  I'm kind of a stickler for having good sound, and I think when you have six people in a small room like that, depending on where you are sitting or where you are standing in the room you are gonna hear something different.  Especially when you have small PA's it's hard, and you never want to have the vocals fighting to stay loud enough to be above the guitars and drums.  I know what show you're talking about because we have only played [at Lost Lake] once, and going into it when we were asked to play we [knew we couldn't] have the whole band.  But Science Partner originally started as me Jess and Maria; I had a guitar and they would sing, for a period of time that was what the band was . . . And we still do that: we played a wedding this summer and we were asked to just have the three of us play.

CE:  As far as writing new songs goes, would you say there is a core group of you that works on that or do you need the full band to do it?
TD:  Well it's complicated because we don't really write that often.  I wrote most of the songs, Charley (Hine) and I did; Charley is the bass player and lives in San Francisco.  We kind of wrote all of the songs as we were recording.  When we came in we had written a few parts, but when we started to record, that's when we wrote them.  Putting the record together is what facilitated us, being in rooms together and actually writing the music. . . Now that the record is out, we are kind of scrambling to work on covers and new songs for the shows.  For Friday (September 14th at the Larimer Lounge) we'll have two new songs.  The reality is that it's hard to get everyone in a room to write together.

CE:  With the support of Hot Congress now, do you think it will be easier to get everyone in the same room?  I mean, except for that guy in San Francisco obviously.
TD:  The guy in San Francisco also did our first recording, we did it in his apartment.  And then he moved to San Francisco, but because of the album release he's gonna be flying back out to play this show.  Normally John Evans, the bass player for Achille Lauro, plays bass for us or at least for the past year.  I don't think it's going to be just Hot Congress that gets us to write more material, I think its moreso us just being an active band.  Something about this period of time right now has us all really excited.  I think after this show (September 14th at Larimer Lounge) if a lot of people turn out and we have a good time, that's gonna be the deciding factor.

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Rubblebucket is the name of a band that you have to say out loud.  The next person you see, I dare you, just go up to them and say, "Rubblebucket!"  The band's name is fun to say, and seems to excellently encompass the attitude and sound of the band it represents.  Rubblebucket is a eight-piece based in Brooklyn and they are coming to the Bluebird this Friday with Reptar.  Two great band names.  I talked to Kalmia Traver, lead singer and saxiphone player for Rubblebucket about touring, music-making and what she thinks about Denver.  Rubblebucket just released a new EP, Oversaturated, and started touring last week, criss-crossing the country with a few dates in the Midwest and our neck of the woods and then ending with a long east coast stretch.

Traver has been touring and playing music since she graduated from the University of Vermont five years ago where she studied music and joined the reggae band John Brown's Body.  What started as a side project, Rubblebucket was initially a collaboration between Traver and her partner Alex Toth and now is an eight-person ensemble with a full range of instruments that including decent horn section.  The band makes fun, energetic music and are known to dress up, get painted and dance.

Rubblebucket will be playing with Reptar at the Bluebird Theater this Friday September 14.  Doors are at 8 PM and the show starts at 9 PM; ages 16 and up are welcome.  Read more about the show on the Bluebird's website here.

CE:  So the tour is starting in Vermont, and you went to college in Vermont, right?
KT:  Yes.  It's a different college.  There's a lot of small little colleges out there.  My friend is a Math teacher at the college we are going to be playing at but, no I went to the University of Vermont which is a big state university.

CE:  What is it like touring with so many instruments?  There's a lot of things listed on your Facebook page.
KT:  Well it's a lot of people that play the instruments, too.  The instruments all stay in the trailer, and they're really heavy -- we have to lad them in and out every night.  But I mean the guys are great, the guys who are musicians.  There are eight of us but we've been together, this exact line-up, for almost two years now.

CE:  Since there is so many of people and instruments, is it hard to keep track of it all?
KT:  Alex lost his trumpet one time at a show, and another time our old guitar player like when he was loading the trailer just left his guitar out on the street.  And we drove away and it was gone forever - so sad.

CE:  But I'm guessing you don't let that hold you back because you'd rather be playing with all the instruments?
KT:  Yeah I love it, it's fun.  When I'm working on my own music at home, I need a big pallet.  I have a bunch of instruments of my own that I use when I'm recording music.

CE:  So you guys were in Denver back in April, and will be back [this] week.  Do you like playing in Denver, or Colorado in general?
KT:  Yeah, actually we were in Denver just last month, too.  We flew out there for a little street festival, Old South Pearl.  Denver, I like it.  It's an interesting mix; I've seen a lot of social scenes around the country and Denver has a lot of good, really awesome music lovers.

CE:  How long have you been playing music, and what's your musical background?
KT:  I have been playing my whole life, since I was a little girl.  I've always sang everywhere I went.  I didn't join chorus when I was in school, because it seemed silly to me and I really wanted to play sax.  But I was a singer as soon as I could talk.  I would walk around my yard and hum to the flowers and make little melodies.  In college, always in my hardest moments I would climb to the top of this tree and sing to myself.  It has always been the way I calm myself down.  I studied music in college, and I've been touring ever since, I feel like thats where I've learned my biggest lessons about music.  Just being thrown into it, and being on the road.  Having to work with people on the fly.

CE:  How does the creative process work with all the band members in Rubblebucket and it being a full-time job?  Your touring and releasing albums back-to-back, it seems.
KT:  We've done a lot writing on the road.  The way the song comes out is basically we throw them into the mix and play them live.  Everyone gets a feel for their certain parts, or changes them however they want to and that's how we get new songs together.  And that's almost always true but we've also experimented with writing in the studio, or for the studio, and that's how our single "Oversaturated" came about.  We started out with a little scrap and then our base player Jordan wrote something and Alex arranged it and we recorded it from scratch in the studio.  And I think that's an exciting process for us that we are looking forward to exploring more.

CE:  Do you think it's easier to write new songs while you're touring or harder?
KT:  Harder.  Definitely.  Absolutely.  [Touring] makes it easier to play and rehearse, but the actual writing almost always happens away from the band, away from everything, on a laptop in my room or with Alex.  People have a concept of [touring] as being zen/peace time or you're doing this big road trip.  There almost zero down-time; maybe you'll have twenty minutes, but it's so split up and you never have time to dig into anything creative except for short little projects.  I learned that the hard way over time.  It's better to structure your time so you have a big chunk of it after the tour where you can just be creative and not worry about driving all around the world with bands and people.

CE:  Rubblebucket wasn't a stranger to the summer festival scene - how did you like it?
KT:  It was so fun.  This was my favorite festival summer so far, and we have been playing festivals for years, and the bigger they get, the more fun it is.  I'm excited for [our upcoming spot playing at] Hardly, Strictly Bluegrass; I've heard very good things from reliable sources.  But we played Bonnaroo this year and High Sierra; those were two of the best festival experiences for me.  It's so amazing to be brushing shoulders with artists who I really admire and share the stage with them.  And I also think the festival spirit of everyone wearing glitter and facepaint . . . I really liked that.  I took the opportunity this summer to paint everyone's faces whereever I went and it was so fun.  Unfortunately now that fall is rolling around I'm thinking it may be inappropriate to go around with glitter all over my body, but I might try to keep it going.

CE:  My last question had a little something to do with dressing up and facepaint.  I'm really excited about Halloween coming up, and I thought I'd ask if you had any thoughts about your costume this year.
KT:  I don't know why, but for some reason it always trips me up.  I get dressed up every night, and whenever Halloween rolls around . . . actually having to go out of the way and find a cool costume seems so hard. . . In the past I've always had really great Halloween costumes and loved it, but when you're on the road all of your possessions have to be so highly organized so throwing in a Cleopatra wig or some leiderhosen -- all of a sudden you have so much more stuff you have to deal with.  That's not me saying I'm not going to do it.  Last year I wore this shirt and painted my whole body the same color as the shirt and Alex went as just a girl.  We'll throw it together at the last minute.

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I've been excited about this one for a long time and if you love house music, you should be too. When it comes to electronic music, I'm a sucker for French house, so when a legendary producer and DJ from that genre comes to town, I definitely take notice. The Summit Music hall will be hosting exactly that this weekend on Saturday, September 8th with a special live set from Fred Falke.

French producer Fred Falke got his start in the music realm as a funk bass player in the mid 1990s. He turned to electronic production towards the end of the decade, the same time now prolific and influential French house artists like Daft Punk and Cassius were churning out next level fuel for the dance floor. He began collaborating with Alan Braxe - the same producer that collaborated with Daft Punk's Thomas Bangalter to create the now classic "Music Sounds Better With You" under the name Stardust - and the pair went on to create a slew of quality releases throughout most of the 2000s. Fred Falke has also put out a steady stream of solo work and in-demand remixes, along with other notable collaborations with Kris Menace.

Fred Falke's latest solo work is Part IV, a full length album of productions that embraces the millennial French house sound wrapped around the signature touch Fred Falke has maintained over the years and is sought after for - it may be his first solo LP, but by no means is it his first rodeo. What makes Fred Falke's show this weekend special, aside from his pedigree as an accomplished producer, is he will be performing a rare live set that will show off his capability as a bass player as he simultaneously DJs - definitely a sight to see considering the way Fred Falke craftily drives his productions with infectious bass lines.

Before the main event, a stable of local Denver DJs will warm up the dance floor: option4, Jinro, Collin McKenna, Matt Ferry and Vanish. Currently a hot name in the local DJ scene for what he does for house music both behind the decks and off them, DJ/producer option4 (TheHundred, Lipgloss, Discotheque Collective) will lay down a house music set hot on the heels of his EP release To The Night. I have a hard time writing about myself in third person - so I'll just say Jinro will be there. Collin McKenna, a DJ who has been flexing his taste-making muscles on Star Stuff Scallywags will also be gracing the decks. Matt Ferry will be bringing the latest heat, thanks to his ties to Beatport. Vanish, option4's label mate on Velcro City Records, rounds out the opening lineup.

The party takes place at The Summit Music hall on Saturday, September 8th. The show is all ages and the doors open at 8:00PM. Tickets are $15 in advance or $18 the day of the show. Tickets and more information are available online here, or contact Concerted Effort to get hard copy advance tickets without any service charges if you live in the Denver area!
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Glowing House - 'When The World Stands You Up' from Concerted Effort on Vimeo.

Glowing House, is about to set off on their 'Middle America' tour with Chicago's Exit Ghost, kicking everything off with a show tonight in Denver at Unit E before wrapping up in Chicago on September 9th. Denver's indie-folk darlings Glowing House just released their sophomore album Days Run Out this summer, and now they are set to hit the road to share their music. We're sharing a song you may not have heard if you haven't caught Glowing House live yet - a song that debuted about the same time as their new album but hasn't yet been released. This video was recorded at the first live performance of this song at Mile High Spirits in June.

"When The World Stands You Up" is a short and sweet piece that is loaded with Glowing House's characteristic lyrical attention to detail. The song is built around the idea of an elder passing on advice, with the poignant chorus, "Never write in stone, you'll leave nowhere to go. You'll find what you're made of when the world stands you up."

Glowing House's tour kickoff show begins at 9PM tonight at Unit E with Exit Ghost and special guest Anthony Ruptak. The show is all ages and tickets are just $5. Or you can catch them on the rest of their tour at these dates and locations:

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On Saturday, September 1st, a new music collective called Holy Underground will be celebrating its launch with a party at Larimer Lounge. What is Holy Underground? In their own words:

"Holy Underground is a multi-faceted music company that takes pride in operating with a collective mentality. We represent a variety of independent artists who we feel are putting out the best music Denver has to offer, and who have a conscious commitment to pushing the boundaries of our scene. We offer these artists services such as booking, management and publicity, in addition to running a record label HUG Records on the side. Our goal is to get our bands the local and national attention they deserve, and offer a lifeline for our artists to reach their full potential inside and outside our beloved Denver island."

So what does all that mean? It means that Holy Underground is committed to enriching and bringing more attention to the vibrant Denver music scene. Holy Underground is launching with a stable of ten strong local acts that cover a range of music styles: Achille Lauro, Cerulean, Flashlights, Force Publique, Hollagramz, LUST, ManCub, Mombi, Sauna and School Knights. Their goal is to allow these and other future local acts to break outside of the Denver market and garner national attention while allowing them to maintain Denver as a base, in turn making Denver more important to the overall national music scene.

It also means that this Saturday night is shaping up to be a great party, as Holy Underground will be showcasing the electro side of their lineup with ManCub, Force Publique, Cerulean and Flashlights. Steffi Graf from L.A. will keep the party going with a late night DJ set, and DJ Babyshoe will keep the party going in between sets. CRAP Eyewear will have sunglasses on hand to give away as well. Come out and celebrate and be a part of Holy Underground's mission to further the Denver music scene!

The Holy Underground Launch Party is at Larimer Lounge on Saturday, September 1st. Tickets are $10 in advance or $15 at the door. The show is 21+ and the doors open at 8:00PM. Tickets and more information are available online here.
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The focus of our Local Shakedown series is to provide a documentary-style behind-the-scenes look at various band's experiences on the radio show, but this often means we don't show the whole on-air performance in those particular videos. From time to time, Concerted Effort will be digging back into our archives to share some of the previously unreleased performance footage in the form of the live performance music video series Local Shakedown Extra.

Local Shakedown Extra: Young Pharaohs - "White Shadows" from Concerted Effort on Vimeo.

This video features unreleased footage from Young Pharaohs' on-air performance back in June 29. If you caught the Local Shakedown documentary, the band spoke of performing three songs, which you can hear in its entirety via the Local Shakedown blog. This video features the on-air version of "White Shadows", a song that comes from Young Pharaohs' album by the same name available here. Check back soon for more Local Shakedown episodes (Hindershot is up next), and more unreleased footage from Local Shakedown Extra.

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FaceMan is a Denver band that performs with props and an element of mystery.  Presentation: how does it really measure against the substance?  I don't know.  However it seems that FaceMan is prepared to show you substance, too.  David Thomas Bailey is known to play the 7-string guitar, and along with drummer Dean Hirschfield the two are accomplished jazz musicians whose musical talents extend into another band called Micro Marauder.  The vocalists' identity is often concealed, and he is known to some as FaceMan Steve.

"TalkTalkTalk" has strong guitars and vocals, relying more on the refrain to really carry the song.  The tempo picks up, stays steady, goes away completely and comes back, eschewing a conventional rhythm without really denying its conventions.  Towards the end of the song, a digital breakdown, mixes things up a little.  For the most part,  the song is catchy enough so you will get the main repeated line stuck in your head:  "I can't sleep / It's my curse / Talk talk talk."  Willowy background vocals weave in and out similarly to the changing tempo; its patterns are really what makes this song enjoyable and fun.

This may be a song you'd like if you are into music that is pop at heart but bends towards experimental.  The earnestness of the vocals, even though there are only a few lines of lyrics used in this song, are a clear indication towards the self-reflective substance of FaceMan's music; even with the sparse words of this track in particular, thoughtfulness is still represented.  When a feeling and a reality can be conveyed in less words, I think that shows a mastery of the songwriting form, similarly to poetry or short fiction.  Keep your eyes out for more new material from this band on their Bandcamp page. This song is a taste of their yet-to-be-released, full-length album that'll be out next February.

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We are getting close to that time of year known as the end of summer.  It seemed endless and infinite for a while there, but it does indeed have an expiration date.  Summer's demise can be a bit dubious; summer is more officially over when the fall equinox occurs on September 22, or one could say Labor Day weekend is the symbolic end, and maybe others would contend that the first day of school is really the nail in summer's coffin.  I think all of those are acceptable answers, not that I really want to dwell on the end of our sunny season.  What also occurs to me as being a sign that summer has ended, is the prevalence of contagious diseases that really come into their own when all the kids are back in school and as we get closer to cold winter months.  For a group whose songs refer to more diabolical endings, death by disease isn't so pertinent to what Murder By Death offer their fans, but it is pertinent to what I experienced this weekend while I was slow to get out this review.  For that I apologize, and would just like to say I'm officially ready for the fall.  Germ-y children everywhere are welcome to find me, and knock on wood, do their worst as I am certain my immune system must be somewhat fortified after whatever it was that I survived and am still surviving.

But back to the heart of the matter here:  Murder By Death played back-to-back nights at the Bluebird Theater last week as they began the first leg of what will be mostly a fall tour.  So, in a way, what I'm trying to pull together in this allusion to death is a general feeling that the fall season is being summoned in different ways, some of them more pleasant than others, and what better way to begin the fall with new music, and friends and some boot-stompin' good times.  Boot-stompin' not only for the bluesy, alt-country music of all three bands performing last Thursday but also due to the prevalence of boots on the stage.  Lots of boots.  And they were mostly of stompin' variety.  See pictures from the night conveniently on our Facebook page (boots not so much included).

The 4 On the Floor is a band from Minneapolis, MN whose band name might refer to the four band members incorporated, or the four kick-drums they all have set up as part of their stage ensemble, or to the rhythm pattern also known as 4/4 time; most likely the answer is "D. All of the Above".  Very energetic with a raw, bluesy sound that came from the guitar virtuosity of both vocalist Gabriel Douglas and guitarist James Gould.  They played a great cover of "Why Don't We Do It In The Road?" by Sir Paul McCartney, and offered many great guitar solos and facial expressions.  They also invited the audience to play bloody knuckles with them after the show.  And that's how you get a party started.

Ha Ha Tonka was back in town after just being in Denver this past June with Langhorne Slim, now on tour with labelmates Murder By Death.  I saw them with Springfield-mates, Someone Still Loves You, Boris Yeltsin, at the Hi-Dive back in November and they seem to be further perfecting their style of a capella, toe-tappin', indie hoedown music that I had seen for the first time not too long ago.  And I say hoedown only using the utmost respect for the term; the sharp skills both vocally and instrumentally of Ha Ha Tonka would make good use of the intricate fiddle solos and line dancing associated with hoedowns and will admit both are far above my skills to ever attempt.  On songs such as "St. Nick on the Fourth in a Fervor" you would hear an excellent example of the style of loud, choral singing during instrument breaks that this band performs so well.  Then things take a turn for indie hoedown again when vocalist Brian Roberts urges the crowd with the heartland credo: "Everybody say hell yeah!"

For their last number, "12-inch Three-Speed Oscillating Fan," the group invited Scott Brackett on stage from Murder By Death.  The multi-instrumentalist was in charge of the keyboards, accordion, trumpet, mandolin and theremin that evening and it was nice to see him introduced early to shred a little with Ha Ha Tonka.  The song in particular gives the group a chance to really show it's form; it's actually a cover song from another band from Springfield called Big Smith.

Murder By Death was playing an excellent mix of new and old songs, and had mentioned to the crowd that they were making some choice selections so as not to disappoint any fans making it by the Bluebird for both nights of their Denver performances.  They started off the evening with "The Devil in Mexico" with a great audience reaction, and soon transitioned into crowd-pleasers like "I'm Comin' Home" and "Foxglove."  This band is about a decade old, and most likely have had many fall tours under their belt to date.  I always wonder what it is that keeps a band going, keeps them excited and inspired to play the same music night after night, year after year.  Is it the subtle variations that skilled musicians can improvise to their tried-and-true tunes on a whim?  Is it the thrill of getting to play the new material that no one has heard before, mixed in with the old stuff?  I mean, orchestra musicians probably play the same songs their entire lives; maybe as a professional, you constantly seek to make each next performance more perfect than the last.  The band that embraces the macabre should know best that when you have resigned yourself to accepting the routine existence of repetition without meaning, then you have truly embraced death.  Murder By Death look every bit alive when they're playing to a crowded house, even ten years later.

Murder By Death have a new album coming out in September titled Bitter Drink, Bitter Moon.  As the album title might suggest, the band is sticking to their whiskey-stained style of music.  And true to form, the song matter is still brooding and murderous as singer Adam Turla noted while introducing one new song:  "This [new song] is about a lover who died drowned in the river and is trying to take [their other half] down too from beyond the grave.  We're Murder By Death and we're from southern Indiana."  The group deserves a toast for their overly successful Kickstarter campaign and if you pre-order their album, you get a special edition paper lantern.  I really love the creative spirit this band has, and it's very exciting to see them off on what will surely be a great fall tour!

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The fourth day of the Underground Music Showcase meant that the festivities would come to a close, but not  until after one last string of great performances. We were able to catch images from eleven more acts that performed on the last day, including: Allout Helter, Atlas Sound, Esme Patterson, Ian Cooke Band, M & The Gems, The Marrow, Paper Bird, Rachel & The Kings, Rubedo, Shaky Molars, and Wheelchair Sports Camp.

This video features the song "Shrine" by M & The Gems available online with other music to stream, buy and download at their Bandcamp page.

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The third day of the Underground Music Showcase was packed with well over a hundred performances throughout the day. We caught as much as we could, capturing images from 17 different acts including: Air Dubai, A Place To Bury Strangers, BLKHRTS, Class Actress, DJ Tower, Flashlights, Gauntlet Hair, Kissing Party, Montbello Drum Line, Panal S.A. de C.V., option4, Pink Hawks, Shabazz Palaces, Slow Magic, Snake Rattle Rattle Snake, Soundboy Punishment, and TREES.

This video features the song "Alpenglow" by Panal S.A. de C.V. available online with other music to stream, buy and download at their Bandcamp page. Check back soon for the video of the last day of UMS.

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The second day of the 2012 Underground Music Showcase crammed even more great music into another fun-filled night. With the festivities beginning earlier and the main stage open, day two definitely made it known that the festival was in full swing. There were plenty of highlights that happened this day - check out images from these performers: A Shoreline Dream, Big Freedia & The Divas, Black Moth Super Rainbow, Force Publique, Il Cattivo, Le Divorce, ManCub, Men In Burka, Narky Stares/Teena Pizza, Peter Black, and Signal Path.

Underground Music Showcase 2012 Day 2 from Concerted Effort on Vimeo.

This video features the song "Summer Rain" by ManCub available online with other music to stream, buy and download at their Bandcamp page. Check back soon for videos of the remaining days of UMS.

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Murder By Death are coming through Denver for a two-night stint at the Bluebird Theater.  The Bloomington, IN group were here last year when they played a sold-out show at the Bluebird, hence the extra night this go-round, and were Main Stage guests during the 2011 Westword Music Showcase; it may be safe to say they have a dedicated following here in Denver.  The band's new record label as of this past June, Bloodshot Records, announced that their sixth full-length album, Bitter Drink, Bitter Moon, would be available September 25.  To help fund their vinyl release of the newest album, the band took to Kickstarter and just yesterday were named the site's third highest-funded music project ever.  Very exciting news for this band, and exciting news in general for all of the artists out there who are looking for ways to more directly connect their work with their fans.  Denver hip hop artist Sole told Concerted Effort about his Kickstarter plans a few months back and it looks like he also successfully raised enough money to release his next album on his own.

It will be great to see some new music from this seasoned group, and I'm also looking forward to their addition of Scott Brackett, formerly of Okkervil River, whom has been performing with the band for a while now but I just haven't been able to witness it first hand.

Also playing tonight will be label-mates Ha Ha Tonka, who bring an alt-country sound to the stage befitting the headliners.  I saw them play at the Hi-Dive last year and it was a great performance; perhaps with a bigger venue, we will get to see a few new tricks from these Missouri boys.

Tonight's show is at 8 PM, and doors open at 7 PM.  Ages 16 and up are welcome, and more details about the event can be found on the Bluebird's website linked here.
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It's been a long time coming, but the wait is over: To The Night, the debut official release from Denver DJ and producer option4 is available starting today. About three years ago, option4 was slated to release an album, but an unfortunate incident robbed him of all his hard work. Understandably devastated, option4 had to start the process all over again, but that didn't come until he found new inspiration in the city he currently calls home.

After some time as a resident DJ at Lipgloss and founding a house music movement of his own called TheHundred, the moment seemed right to hit the production studio again to create a collection of songs that reflected his emotions and experiences influenced by the places he's seen and the relationships that he has built. Seeking to combine an appreciation of techno, and funky soul with house music, the four tracks on To The Night represent his interpretation.

The EP opens with the bass-laden "Sunny Side" that juxtaposes a dark tech-house feel with a hint of acid house layered under airy vocals from Aubree. "Darkworld" envelops the listener like a thick, hypnotic fog; sobering yet infectious. "Mile High Bounce" was made with Denver in mind, a tribute to the vibrant late-night/early-morning dance music scene that thrives week after week. The whole album is rooted around the fiery single "Ride On", a tech-house western inspired by a gloomy drive on the west coast that mixes acoustic guitar with thumping bass and delivers an incredible hook.

The album will be available exclusively on for one month before hitting other outlets like iTunes, so head on over there to grab a fresh copy for yourself. To celebrate the EP release, option4 will be headlining the Larimer Lounge this weekend - Saturday, August 18. This all-Denver affair presented by TheHundred and Holy Underground will include local support from Babyshoe, Jinro, Matt Ferry and London Dungeon. RSVP on Facebook and get your tickets and more information online here.
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The Underground Music Showcase has come and gone but so much took place during those jam-packed four days that there is still a lot to reflect on. The Concerted Effort video team was there with the mission of capturing as many bands as they could throughout the festival, and here is what they caught on the opening day of the showcase. We managed to gather images from 10 of the 49 bands that performed that day, including Bad Weather California, Black Amex, Cloud Nothings, Fairchildren, Wire Faces, Mr. Pacman, Munly & The Lupercalians, Petals of Spain, School Knights, and StaG.

Underground Music Showcase 2012 Day 1 from Concerted Effort on Vimeo.

This video features the song "Summerfoot" by StaG available online with other music to stream, buy and download at their Bandcamp page. Check back soon for videos of the other days of UMS.

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This time we took the trip to Radio 1190 with Denver's Rubedo. Starting at their D.I.Y. venue Unit E, get a glimpse of the personalities and philosophies that make up this band. Catch a behind the scenes look of what it's like to be on Radio 1190's Local Shakedown, and watch Rubedo's performance unfold. From our experience, we can say that Rubedo is an incredible band to catch live, and if you haven't done so or been wondering when you can see them again, they'll be performing at Colorado Music Buzz' Higher Ground Festival which takes place August 24-26.

Rubedo: Local Shakedown from Concerted Effort on Vimeo.

Head over to Rubedo's Bandcamp page to stream and purchase their album Massa Confusa released in May of this year and produced by Ikey Owens.

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It was a dark, cool evening in August of 2012.  It was First Friday, so many people were afoot in the Five Points neighborhood where the RiNo Art District opens it's doors to the many city-dwellers who enjoy this popular summer activity.  This Friday in particular seemed perfect for a acoustic-folk jams in an intimate setting.  The Meadowlark's basement entrance was glowing red on the corner of Larimer and 27th Street.  The red light had an attractive quality to it for anyone who had happened by, as was the case with two unknowing gentleman who thought they were at the Larimer Lounge.

The scene was humming with sound check wrapping up and conversations drifting from the back patio, but you never know what you are walking into when you descend the staircase and enter the quaint underground lair that is the main bar and venue of this avian-labeled joint.  As I waited for a friend's arrival, I got word from him that he was close by, just "under a blanket of lights."  The night was getting more intriguing with these poetic riddles, and I wondered about what it meant for the rest of the evening.  What it meant immediately was that I shouldn't always try to read between the lines, as this friend in particular was simply on the wrong side of town.  But it did set the tone for some thoughtful wordplay, similar to the music we were about to enjoy from the talented and lyrically-savvy group of performers on the night's bill at the Meadowlark.

The night humbly began with The Belle Jar, of which the singer Ryan James let us know that we would be party to an acoustic set due to their missing drummer, JJ Chamberlain, absconding to the My Morning Jacket/Red Rocks show for the night.  Luckily there was a cajon, and I say so not for any lack of percussion in the group but for the fact that it really added to the performance and feeling of the evening.  Anthony Ruptak, another performer from the evening's lineup, volunteered to take on cajon duties for the first few songs after which Ruptak drummer, Anthony Carroll, took his place.  Cajon: it's just a fun word to say (or read, even).  With excellent timing, Ruptak made a great addition to the four Belle's on stage.  An occasional ukelele here and there, and sweet sounds of Courtney Wilson Emily Lewis on the violin (Editor's Note:  Lewis was filling in for a missing Wilson) filled the small Meadowlark bar.

Hearing the difference between the acoustic instruments versus their album version of most of the night's music from Fall Systems Go, I'd have to say that we were witness to a sonically delightful evening that may not be your typical Belle Jar experience.  The album's first track, "Little Red Thread," is buzzy and a bit fast-tempoed on the recorded version, but live and with the cajon keeping a steadier beat, the notes and the vocals stretched and lingered for a moment while the audience soaked it in.  It was like the Meadowlark's basement was a little oak casket, and the Belle Jar's music was pouring into our ears before the aging process began.  The finished product would most likely give hints of relaxed head-bobbing and toe-tapping, and would be most suitably paired with a blanket of lights I think.   James made mention of a new album in the works and possibly out as early as October. "I can't do anything without a deadline," he told the crowd.  So send him a text in the next few months and make sure he's staying on top of it.

Next up was Max Winne, of the Maykit.  You may have noticed that I had posted an interview with Winne earlier this week.  As the small room of the Meadowlark filled, Winne forged ahead with some quieter acoustic jams.  The Maykit is sometimes joined by two additional members, as they were the last time I saw them perform at the Hi-Dive, and tonight was just Winne.  Similarly to a blanket of lights, a blanket of noise was covering the cozy Meadowlark and muffling the sounds of Winne's heart-strings.  It's hard when you struggle both as an audience member and as a performer to try and ignore the conversations, the clanking glasses, the squeals and high-pitched laughter of those in the immediate vicinity that just don't give a damn what you are doing.  Similarly, I imagine that those lucky musicians that go out busking have the same experience.  While there was little banter in between songs, Winne was a champ and played through his set giving little heed to the milieu of distraction in front of him.

Anthony Ruptak came on stage next, accompanied by three bandmates whom he referred to as the band that might be known as the "Midnight Friends."  Ruptak's set list was written on his hand and with a quick introduction he began the evening, immediately grabbing the attention of all the small basement bar's various attendees.  Ruptak's on-stage ensemble were very attentive and didn't miss a beat.  One exuberant female onlooker upped the ante for audience participation by coercing another to occupy the large tract of space in front of the Midnight Friends with some fancy footwork.  From that point on, participatory clapping, dancing and tambourine-playing ensued.  Ruptak's multi-faceted singing prowess was an easy crowd-pleaser, and the cello of Julie Schmidt added to the audible voracity that the Midnight Riders offered that evening.  Ruptak's songs make you want to sing along, like any good folk song should, but also have a timeless quality to them as if someone pulled out the sepia-toned filter on our evening that had already set out with the feeling of being under a blanket of lights.  Should you have a chance to catch Ruptak and friends, I would not suggest missing them; I would suggest dropping whatever other plans you may have and see them play instead.

Serious Moonlight was the evening's final performance and helped set the close the show with a bang.  "This might be our last show",  said singer Alan Andrews jokingly, quickly followed by something about boners.  Six band members filled the stage area, and the room filled accordingly as they began to play alt-country tunes reminiscent of what one might hear from the hey day of Saddle Creek Records.  The trumpet and slide guitar, and sometimes the melodica, all added to a full and rich sound that was intoxicating.  Forty minutes later, the bar was on it's feet and loudly protesting the end of the evening's Serious Moonlight.  The evening had turned cloudy with a small chill in the air, as I made my way homewards; there was no blanket of lights, but it was but a small detail to the perfect evening of local music all-stars at the Meadowlark that Friday night.
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