Recently, I was given two excellent music recommendations: one was for Tristen's show at the Hi-Dive, and the other was for a track by MVSCLES, "sweet n sour."  Both were excellent recommendations for different reasons, but there is nothing that one has in common with the other except that they happened to be good recommendations.  Any good advice or personal endorsement is something you can't help but give away when you have it, but seems like such a gift when you get it.  Have you tried this great burrito place (Veggie breakfast burritos at Taco de Mexico)?  Do you watch this great new show (The Newsroom, y'all)?  Have you heard of this great music festival in town (UMS!)?  I like how this MVSCLES song is about knowing what something is because you know what it isn't.  Tristen's show last Tuesday wasn't very crowded, it didn't end very late, and the opening band wasn't trying to make you feel better about how sad and lonely you may be.  It was great.


The evening started with Conor and Ian Bourgal, the brothers that make up The Changing Colors, taking the stage.  They immediately began their set without need for introduction for the five or so people that had made it into the Hi-Dive at that moment.  The Bourgals have a sense of humor.  While the songs he sings are somber, Conor is able to speak bluntly about his craft.  Being able to laugh at yourself means things are not as bad as your songs make it seem.  In between songs, Bourgal mentioned  "I like to write sad songs.  And love songs.  And sad, love songs." Songs about coffin races, as well, he explained for "No Wedding" which is a track off of their 2010 album Ghost of Red Mountain.  But the band smiles, takes requests for "more sad songs" and lists Nirvana as their only musical influence on their Facebook page.  I know a couple of jokesters when I see them.  The Changing Colors played a few new songs  from a yet-to-be-released and unnamed album.  One such song was a little number Bourgal mentioned was inspired by a Tom Petty documentary; you would think this may have broken the sad, love song trend but you would be wrong.  One Bourgal left the stage, and the remaining Bourgal went unplugged and sat on the edge of the stage for an intimate, sad song to end the set.  If you feel like taking a moment to think about death, sadness and/or love lost during the UMS festival next weekend (or anytime in the future), give these bros a listen.


In a white collared shirt, Tristen was a dapper package of adorable: her shiny, short tap pants to match her cropped hair-do, with a bolo tie to wrap it all together.  Simple,yet elegant, like a singing Audrey Hepburn with a country accent.  Too.  Cute.  Even more endearing was the fact that a good deal of her family was in attendance for her show that night; after her first song "Save Raina," she addressed the crowds by first saying hello and then asking "How is my family doing?" which warranted a response of roughly half the audience. So here's an interesting "Would You Rather . . ." scenario: would you rather perform in front of a crowd of strangers or a crowd of your family members?   Tristen pulled it off well with both, as she twirled around the stage while singing a song about gangsters ("No One's Gonna Know") and seamlessly transitioned from various instruments in between songs.


Tristen's on-stage band members were Buddy Hughen on guitar (he was introduced as a Denver native), Jordan Caress on bass, and Doris the Japanese drum machine. Apparently Doris is thirty years old, but she carries herself well; the songs Tristen performed lacked nothing from the synthetic fourth bandmate. Hughen and Caress harmonize excellently with the pint-sized singer, whose perfect vocals sound just as clean and precise as Doris' percussive rhythm.  As cute and Tristen is, she is not singing songs that disclose any sort of "cute agenda;" one of her new songs called "I Can't Get No Stimulation," which she unabashedly introduced to a dozen or so family members.  She may look like your kid sister but the adult themes in her music demand respect.  I see on Tristen's Facebook page that the new album, Caves, is due out in the Fall. 

Check out a few more photos from the night on the Concerted Effort Facebook page, and make sure to keep your ears open for a great recommendation - you never know when the next one will fall in your lap.

Tristen is a singer-songwriter, with a debut album under her belt and a song to share more than a year after its release. She calls Nashville home, and shares a record label (American Myth Recordings) with another buzzing songstress, Lissy Trullie.  Tristen is a fresh voice; it's something I noticed right away when I recently listened to Charlatans at the Garden Gate.  Her songs are adorned in catchy, pop melodies, but sounds strong and like a folk song without "the extra fat."  Maybe you're like me, and you openly admit to being absorbed by the shininess of pop music but hate the aftertaste, and you love the heartiness of lyrically-substantial folk songs but freely admit that it's not as appealing.  And Tristen seems to bring both together, like a well-balanced meal that tastes too good to be true.  Even so, Tristen sprinkles a country twang on top and it sounds so good.



The Changing Colors are a folk pair that really hone in on the hearty lyrics and well-crafted guitar hooks that are equal parts comforting and catchy.  Not like pop music catchy, but there is definitely something about the simplicity of the lyrics that makes me want to sing along or hum along if I'm feeling shy.  The band calls Colorado Springs/Manitou Springs home, and their last release was an album called Ghost of Red Mountain; an eerie coincedence that conjures up images of the recent fires, though the album predates the tragedy by almost two years. Given the new perspective of current events, maybe these songs will be even more poignant performed live than they already were.





Head down to the Hi-Dive tonight, doors open at 8 PM and the show begins at 9 PM.  This is an 18 and up show, and you can see all the information online here.

Holophrase, a local Denver rock band with a myriad of influences and an eclectic sound that leans towards experimental and progressive rock is releasing their new EP, Horizons of Expectation, tonight at the Hi-Dive. Although guitarists Luis Etscheid, Jared Henning, and drummer Caleb Henning played music together since they were in high school, the band didn't coalesce until two years ago when they met singer and violinist Malgosia Stacha. Now they are releasing their first EP, with a live show that promises the fusion of both their auditory and visual art. Bad Weather California, Jason Anderson, and Wire Faces also join the night's bill. Check out this video to learn more about the Holophrase story.

Instant Empire is one of Denver’s best kept secrets. Fresh off the release of their sophomore effort, Heavy Hollow,  the six-piece has been heralded by local press as the next up-and-coming band to watch.

Denver’s Westword likens Instant Empire to The Hold Steady and The Mountain Goats, calling Heavy Hollow a project “dripping with ambition” that is a ”blunt-force drama…dotted by nuanced rhythm and expertly paced melody.” Likewise, Reverb says “together, the outfit cranks out anthemic tracks that ring with honesty and sincerity.”

The indie rock band solidified its lineup just last year, placing Matt Grizzell on drums, Aaron Stone on bass, Doug Chase on keyboards and Sean Connaughty and Lou Kucera on guitar. Scotty Saunders leads the band’s dynamic sound as lead vocalist.

Together, the band produces sweeping, anthem-esque stories of love, youth, recklessness, freedom and uncertainty that are sure to pique the interest of even the staunchest music critic. Check out their video for "Cadillac Road (live)".




Instant Empire plays alongside Austin-based trio, The Rocketboys and California-based band From Indian Lakes tonight at Hi-Dive (Denver). Tickets are $7 and be purchased at the door. Doors open at 8PM and the show starts at 9PM. The show is 21+ and tickets and more information is available online here.

David Dondero is a true American troubadour if ever such a thing could be such a thing.  He has been performing for a long time, but as as a solo artist he really came into his own when he signed onto Conor Oberst's record label, Team Love, and released South of the South in 2005.  His songs about traveling across the country are honest and heartfelt; don't confuse heartfelt with sensitive, because Dondero has tough skin and typically isn't afraid to tell it to you straight in his lyrics.

Dondero is a welcome face at the Hi-Dive, having performed there atleast once every year that I've lived in Denver.  His last release was 2011's A Pre-existing Condition on Ghostmeat Records, which includes some nice covers from blues and country artists like Lowell George and Charley Pride.  Like any true songwriter worth his salt, I'm sure Dondero will surprise us with some new tracks he has been working on (he had a new song to share back in February in Brooklyn, a show where the picture below was taken).  If you are new to the music of David Dondero, I included one of my favorite songs here for you to check out.





Elliot Moonshine & the Ghost and The Maykit will both be opening for David Dondero tonight.  Both bands are based in Denver, so it will be interesting to see how the local talent shapes up to Mr. Dondero.  Here are a couple of tracks from those two groups - check it out:





Tonight's show is 18 and up; doors open at 8 p.m. and the show starts at 9 p.m.  Check out the Hi-Dive's website for more event details.

Folk music lovers of Denver that are familiar with Glowing House should know that this husband-and-wife duo are releasing a new album.  And this new album is being celebrated officially at the Hi-Dive this Saturday.  For anyone new to Glowing House, their CD release show is going to be a folk treat with local artists Poet's Row and You Me and Apollo playing alongside the folk couple, and who will also be inviting their friends and collaborators to the stage to properly introduce their new album Days Run Out.

Glowing House is offering a copy of their new album FREE to the first 100 ticket buyers. Purchase a ticket online here before it's too late! You can also WIN tickets to the show by sharing this post on Facebook!


The core members of Glowing House are Steve Varney and Jess Parsons, and both of them were performing music separately before joining forces as bandmates and as a married couple.  Former drummer Patrick Kline was one of the staples of the group's fluid lineup, but as folk music goes you can expect that the community is naturally drawn to collaboration. In recording the new album, Varney and Parsons brought in the talents of cellist Phil Parker and local Denver musicians Jeanie Schroder (DeVotchKa) as well as Wes Watkins (Petals of Spain/Air Dubai) to add to the musical accompaniment.  The new album was recorded in the Morrison Community Church where Varney's father is a pastor.

Days Run Out is the sophomore release by Parsons and Varney and was produced by Jamie Mefford.  Since their first album was handled by the band from start to finish, they were effusive in their praise for Mefford's finishing touch on the album.  "World class microphones plus a guy like him . . . it was interesting how laid back not only he is, but also just the way he records." said Varney.  When asked about the differences between the recording process when you are working with a producer like Mefford, Parsons responded, "Jamie knows how to make a record, and we know how to write songs and perform.  The first album is very much what we did live, that's how I thought of it; it's what I sing and what I play live.  And it's amazing to have someone with an ear for when we put this all together how is it going to sound." Mefford worked has worked with the likes of Gregory Alan Isakov, Carbon Choir, Dan Craig, Jeromy Dion.

How do musicians initiate the collaboration process? I don't know if it's always this easy, but sometimes you just go up to someone and ask, like how Glowing House approached Jeanie Schroder. "We just happened to meet her one night.  It was just a moment like 'Oh, you're here and we're here and we're in talking distance of you, and I'm going to ask you this'.  We ended up playing with each other at this alumni event for the University of Colorado Denver, which is where we both went and Jeanie went a while back.  She ended up playing for us with 'Taming Lions' . . . and after we were done, we asked if she would track on the album.  It was really awesome." said Varney.

With a produced sound and musical flair from Denver friends, Glowing House is enthusiastic about this new album. "It's been great to have these other people come in and it felt like the song was brand new for us.  We don't give them any direction; like what you hear Wes playing is out of Wes' head."  said Parsons.  "We feel really proud of this one.  I think for the first time [a recording of ours] gives a good representation of what we are."




Poet's Row is a folk duo made up of Emily Hobbs and Mickey Bakes, and "Daydream" was the last single they released in early January from their Exquisite Corpse EP.



You Me and Apollo is a folk band led by Colorado Springs-born Brent Cowles and the five-piece call Fort Collins home. Their last release was Cards and Cheats, and their most recent single is "Before I Die" which is included here for your listening pleasure.



Glowing House will be playing their official CD release show this Saturday at the Hi-Dive with Poets Row and You, Me and Apollo.  Doors are at 8 PM and the show starts at 9 PM, and is all ages.  See more show details on the Hi-Dive's website here.

Thursday night at the Hi-Dive was loud.  Electronic machines and powerful lyrics were amplified throughout the small venue on Broadway; although few in attendance were there to witness it, the artists on stage didn't hold back.  It kind of felt like watching a documentary of exotic animals in their natural habitat.  The local hip hop performers on stage that evening were not lacking in talent or stage presence; the pairing of Sole and Abstract Collective helped ground the evening in words of action, while Wanderdusk helped animated the flavor of the Hi-Dive with more dreamy and inspirational themes.


The Abstract Collective has a dedicated vibraphone player included in their lineup; when you notice this, you immediately know that these guys aren't your average hip hop group (I mean, really, how cool is that?).  Along with the vibraphone, the Abstract Collective bring a full band to the stage which includes drums, bass guitar and keyboards.


The two MCs for the group, Ari Max Wechsler and Matt Melsen, take turns accompanying their fellow musicians on stage in a pleasant harmony of words and sound.  The group has more of a positive bend to them, with lyrics spoken intelligently about making positive change.  During their set, the group performed a cover by Telefon Tel Aviv and had a guest MC join them on stage. 


Sole, aka Tim Holland, performed solo with some remixed songs.  He started with "Theme" which was remixed with Lana Del Rey's "Blue Jeans". Holland also played new music, previewing a song called "Denver Nights" which was inspired by the police interaction experienced during the Occupy Denver days.  Holland told us a little about his involvement with the occupiers in an interview I posted on the blog just last week.  "They're an armed gang, terrorizing the streets.  Beating the fuck out of me and my friends on a regular basis," said Holland.  In response to the sparse crowd, he mentioned that it must have been due to "all the Sole fans [were] locked up in the FEMA camp". Sole's music is characterized by the political undertones that strongly highlight inequality and injustice that exists in our country, and you might just learn something about current affairs if you give him a listen.  On stage, Holland was incredibly personable and openly talked to the crowd throughout his set; when the sound guy gave him a quick time check toward the end of his set, he looked at the queue on his computer and said, "That's okay buddy, I get paid by the hour."  

Wanderdusk is made up of three guys: a drummer, and laptop man and an electronic machine-smith.  For their set an elaborate projected animation played in the background as they played playful, ambient songs, in contrast to the real-world lyricism of the previous bands.  The dreamy music was a delightful way to be sent back onto the streets of Denver.


Check out more photos from the night on the Concerted Effort Facebook page.

There's nothing quite like a celebration when it's warranted and praise where it's due.  Hard work pays off, a milestone has been met, and loved ones come nearer to show their support and good times are generally had by all.  May is the time for graduations and for weddings, but on the evening of May 12, 2012 there was reason to celebrate one of Denver's own recording and releasing a new record.  And so a CD Release show is naturally a place to recall what it took to create the possibility of the present, and be happy for it.  Maybe this manifests into an undue overload of nostalgia or maybe a chuckle over what was once considered "hard work".  Unlike a graduation or a wedding, a CD release show is a place where close friends and family mingle with outsiders, or those with no personal connections, there only connection being a similar taste in music.  And also wanting to come out to see Flashbulb Fires at the Hi-Dive.


Shirley set the mood for an evening that might include cocktails and party dresses, or horn-rimmed glasses and lattes.  It was really good "mixer" music, and it seemed that was just what everyone was doing: mingling, drumming up conversation, greeting family.  An organist, a bassist, a drummer all stood behind the lead trumpeteer John Lake and saxophonist Serafin Sanchez.  This jazz outfit had paper music on stands: real professionals.  It would have been cool to see them wearing some sunglasses, or smoking cigarettes.  The band is friends with Flashbulb Fires, and John has contributed some of his brass expertise to their new album Gasconader. 


Princess Music again wowed the crowd with an amazing collection of professional musicians.  The women with the pixie haircuts manned the heavy equipment here.  Heavy not in weight but in sound, Psyche Dunkhase on the cello and Rachel Sliker playing both the violin and viola together created a rich sound that filled the venue.  Now that the Hi-Dive was really starting to fill up, it was still a loud clamor of friendliness that battled it out with singer Tyler Ludwick.  Ludwick's brilliant vocal range was impressive, soaring high, dipping low and wading in brilliant staccatos and legatos in between.  When not singing, Ludwick's meek manner was helping little to keep the crowd and the staff focused; at one point he looked to the sound booth to help turn down Sliker's sound as she unplugged her viola and only giggled and shrugged when no one answered to his requests.


Besides the group's classically trained musicians, bassist Jeremy Averitt and drummer Robin Chestnut are experienced in the local music scene, both having been in a band called the Shift before Princess Music.   Princess Music is both in touch with it's feelings but not afraid to let go and just get you to dance a little. 


Lights were strung and dark cloth was draped, the mood was set.  Flashbulb Fires were getting ready to seduce the crowd.  No, no, no; they were getting ready to "wow" the crowd with their new album, silly.  Besides, Patrick McGuire being wrapped in multi-colored bungicords and bassist Michael James being similarly adorned were not exactly dressed to undress.  And I have a feeling various moms and other family members were in the crowd, so no of course that's not the effect they were going for here.  But an extra dimly lit Hi-Dive, and smoke machine fog was an excellent attempt to create a sort of indie Phantom of the Opera setting.  Video cameras were everywhere, as friends of the band filmed with handheld cameras and weaved in and out around the stage, standing on top of chairs, crouching beneath keyboard stands.  A camera was even strapped to drummer Chris Sturniolo's chest.  This performance not only had a theatrically staged exterior, but now was getting a little arthouse with the various and omnipresent cameras.




It's always nice to see a homegrown band come home from the road and get the applause they deserve for a job well done. Today is the official release of Gasconader, and the group will continue to support their new release with tour dates in Colorado and Texas. Gasconader is really a fine example or musical prowess for this band who have been around for about six years, previously known as Fiance before changing their name and musical style with Flashbulb Fires. Powerful lyrics, a strong yet floaty vocal presence and excellently timed instruments with backing vocals come together for a nicely executed pop-music compendium.  And "floaty" is borrowing their words, on the song "Dark Ghost (I've Got Arms)" McGuire sings, "I float" with a high-pitched soprano-style voice that sounds exactly like what "floaty" should.   Extremely expressive and forceful when he sings, McGuire does well as he moves between keyboard and acoustic guitar while not missing a beat.  One of my favorite moments is seeing him sing, "Don't you want to see the end of the world with me / darling, I can hardly wait," on "I Beat My Body Down" and then give way Sturnlio's drum solo.  The group was well-received by their audience, and it felt like they were playing their swan song. As I left the Hi-Dive, I could't help but notice that the window covered in band stickers to the left of the stage included an aging Fiance sticker.

It's no secret that we at Concerted Effort love the Hi-Dive, especially reflecting back on how much this blog has been there, even in the past week. I keep repeating myself, but this venue just knows how to bring in the right bands and put on great shows. But the venue doesn't just rely on touring bands to achieve that, the Hi-Dive maintains a commitment to supporting the local scene as well - a strong commitment at that. Not only do local bands have the chance to open for several national and international headlining acts, but the Hi-Dive offers prime dates to local bands that really highlights the venue's dedication to the scene - as was the case with the locals only showcase on Friday night.

Mombi

The night began with a performance from Mombi. Mombi is a three-piece band featuring Kael Smith (vocals, guitar), Matt Herron (synth), and Michael Behrenhausen (drums) that created ambient and atmospheric music both electronically and organically. Background sound, sometimes wispy, sometimes cavernous, created a moody and hollow space, filled by gentle synths, careful drumming, and effected guitar that ghostly shadowed deliberately frail vocals.

Mombi

Mombi's latest album, The Wounded Beat, embodies that characteristic sound just described, although features a lot of acoustic guitar that almost adds a folk dimension to the band's sound. On this night, Kael Smith elected to play electric guitar, which helped instill a cold and dark atmospheric sound throughout Mombi's brief set. Mombi took the audience on a steady, cautious journey through four songs, ending on the weightless yet tense piece "Monsoon". Mombi does a great job of creating something that sounds simultaneously enormous yet empty - like dust floating in the blankness of space. If ambiance is your thing, Mombi excels at it.

Peter Black

Between sets, Peter Black played short DJ sets. Always displaying high degrees of versatility, Peter Black employed an incredibly wide range of styles on this particular night. Tucked away on the rear mini stage, Peter Black smoothly blended futuristic and atmospheric electronic selections with songs pulled from post-rock, ambient rock, dreamwave, and gothic rock; an impressive combination of sounds and a testament to Peter Black's ability to select songs appropriate for any occasion. Whether or not he's featured on the main stage, if he is behind the decks he will get the job done.

Force Publique

Next up was a highly anticipated set from Force Publique. Force Publiques synth-heavy darkwave sound and strong songwriting locked my attention long ago when I first saw them, and they quickly became one of my local favorites. But, Force Publique had been quiet lately, hard at work on new material and not performing live shows - the last time I saw them perform was October of last year. On Friday, Force Publique performed as the duo of Cassie McNeil (vocals, guitar, bass) and James Wayne (synths, MPC). They revealed a set of brand new material that continued their darkwave theme but certainly had some notable and exciting differences.

Force Publique

Force Publique opened their set with "Breathe The Lie", and the first thing I noticed was that Cassie McNeil was weilding a guitar - she had only ever performed with a bass and sometimes on synth when I'd seen them before. The next thing I noticed was James Wayne's Roland synth - I'd only ever seen him with a Moog before. The guitar and second synth added more depth to their sound, which was still decidedly Force Publique but seemed to have even more darkness and atmosphere to it in their new songs. Cassie McNeil also switched back to bass on some songs, and there were some pieces where she sang exclusively - something else entirely new. The beat work on Force Publique's new songs were very impressive, showing off a variety of beat styles and even more rhythmic intricacy. If James Wayne wasn't playing one synth (or both), he would be using his hands to lay down drum beats with his MPC. Although sometimes I felt the new pieces would have a little more presence with a live drummer like they've had before, I couldn't help but be impressed overall with all the new material - both in concept and execution. This is shaping up to be a big year for Force Publique, and I can't wait to get my hands on their next album.

School Knights

School Knights took the stage next for their headlining set. With an atmospheric/ambient set to lead off the night, and a gothic/darkwave set next, when School Knights' began performing their noise/garage rock, it set off like a nuclear explosion in contrast. Ben Donehower (bass, vocals), Morris Kolontyrsky (guitar), Zack Roif (drums), and Michael Stein (guitar, vocals) were back again, combining a host of rock sub-genres like alt-rock, surf-rock, punk, and lo-fi with a noisy aesthetic and lighthearted if not a bit satirical and sarcastic attitude. Loud, distorted, and noisy guitars matched up with fleeting drums to propel their chaotic sound and lay under the reverberated vocals, but it was controlled chaos.

School Knights

School Knights started their set with "Problem", a song where melodic lead guitar lingered just below a distorted wall of sound and Ben Donehower's vocals. That lingering melody drove School Knights' retro-like surfy punk-garage sound, while the loud distortion began to rile up the crowd. That lingering guitar-work craftily moved above the surface as School Knights' set progressed. "Brother" upped the tempo a bit, and so did the prominence of School Knights' guitar work, with the licks becoming much more rapid and injecting energy into the sound. By the time School Knights' performed their third song, the recently released single "Bender", the crowd was jumping around as quickly and wildly as Morris' fingers were hammering his frets.

School Knights

School Knights continued on smoothly, expertly blending their noisy aesthetic with the surf/punk/garage sound. They performed another newly released single, "Present Tense", with vocals melodic enough to create a sort of noise-pop sound, but delivered in a such a carefree fashion it maintained a raw, punk rock 'n' roll feel. School Knights continued to perform as yet released songs off of their forthcoming album, to the delight of a progressively rowdy crowd. Bodies thrashed up, down and side-to-side as the crowd lost themselves to School Knights' tactically abrasive sound. Fans of energetic noise-punk need to keep their eyes open for School Knights' next album release.

As much credit is due to the venue for providing a place for these local bands to showcase their talent, so to does credit go to the bands and the droves of people who came to support it all. It may not always work out like it did Friday night, but when it all comes together it's a beautiful thing. The persistence of bands to keep moving forward while spreading the word and different band's willingness to work together can pay off in the form of a great show, as long as they have great outlets to exhibit themselves. Support local music whenever you can to keep nights like these a regular thing.

See more pictures from this show in the Facebook photo album. Like the Concerted Effort page to stay up to date.

By the look of what's taken place this week, it may seem a lot like this is the Hi-Dive blog. I may have spent the better part of this week seeing shows there, but that's because the Hi-Dive does a great job consistently booking shows I want to see, which is what brought me back to the venue for the second night in a row Wednesday night. The night before, Concerted Effort writer Erin Yepis gave her take on the three varied bands that put on Tuesday's show, so now it's my turn to reflect my thoughts. Once again the Hi-Dive featured imported and local acts to provide a steady balance between variety and similarity,creating another good start to finish show.

Young Man

The night began with a performance from Chicago-based indie band Young Man. The five-piece lineup of Colin Caulfield (vocals/guitar), Emmett Conway (guitar), Joe Bailey (bass), Jeff Graupner (synth), and Darien Williams (drums) was back again - Young Man had just performed at the Hi-Dive just a few weeks ago. One wouldn't expect drastic changes in such a short time, so there was little surprise this time around. Young Man continued to perform their style of indie rock that to me, combines modern rock aesthetics with shoegaze, krautrock, and other touches that stays atmospheric when it needs to behind Colin Caulfield's smooth vocals but turns into an enveloping forefront of sound during instrumental stretches.

Young Man

Young Man's set was similar to what they performed before, electing to play songs off their forthcoming album Vol. 1 out later this month. It was interesting to see if performing in the first opening slot instead of in the middle slot that they performed in last time would have any effect on the band. As they began their set with the performance of "Fate", Young Man proceeded with as much fervor as I'd seen before, despite the admittedly smaller crowd this time around. They were able to capture the crowd that was there, however, with another energetic performance, and it helped that there were several return customers based on the familiar faces I recognized from a few weeks before. They shuffled the middle of their set up a bit but still elected to end on the powerful song "School", a sweeping piece that almost seemed like three songs in one. It's a rare opportunity to catch an out-of-state band perform in the same place in such a short time, and I enjoyed the second round as much as the first one that initially made me a Young Man fan with the added benefit of recognition this time around.

The Raven & The Writing Desk

Speaking of seeing bands perform repeat performances in a short span of time, not even a week had passed since the last time I saw the next band on the lineup, The Raven & The Writing Desk. The six person crew of Julia LiBassi (vocals, keyboard), Scott Conroy (guitar), Ryan Self (bass), Adrienne Short (violin, vocals), Neil Mitchell (marimba, melodica, percussion) and Matt Murphy (drums) had just rocked the Brass Tree House the weekend before, but their art rock sound had me so enamored I didn't mind seeing them again in such a short span. Besides, I wanted to see how their classical and progressive rock influenced sound with elements of folky gypsy jazz would hold up in front of a venue crowd as opposed to a small handful of people at a house show. I'd say it help up, and it held up extremely well.

The Raven & The Writing Desk

Set list wise, The Raven & The Writing Desk didn't vary much, opening their performance with "Wooden Lover" off of their album Recidivist, but the seemingly Victorian era piano and vocals backed by a whirlwind of rock 'n' roll had the same enthralling effect on this much larger crowd as it had the weekend before. I think the standout piece this night was actually two pieces, a mash-up of "The Haunting" from Recidivist with a new song called "Heart Black", a suite that seemed to me what would result if one placed gypsy jazz, folk, King Crimson and Renaissance into a blender to make a delicious art rock smoothie. The band ended their set with two new songs that should appear on their forthcoming album, including a song called "Dirt" that they performed live for the first time. Despite having just seeing this band, they still blew me away and definitely captured the night's audience. They have so much energy and employ so much skill it was easy to be swept away by them again. By all means check this band out!

Suckers

Suckers took the stage shortly thereafter to perform their headlining set, and as the lone band on the bill I hadn't seen before I stood among the crowd with much anticipation. Suckers performed as a five-piece band; the masterminds Quinn Walker (vocals, guitar, sampler), Austin Fisher (guitar, keyboard, sampler, vocals) and Pan (bass, trumpet, drum pad, vocals) joined by a supporting keyboardist and drummer. Together they created a quirky form of indie-pop with hints of art-rock sensibilities. Fun rhythms and beats worked together with creatively textural synths, samples, melodic guitar, and whistles. It set the instrumental canvas for Suckers' carefree vocal delivery, heightening their clever lyricism by sharing vocal duties and often coming together with well crafted multi-part harmonies.

Suckers

With a venue not packed but comfortably full, Suckers opened their set the same way they began their latest album by performing "Going Nowhere" from Candy Salad. Right away it was apparent that plenty of Suckers fans were in the house, as the audience was not afraid to crowd near the front of the stage and dance feverishly from the very first note. The dancing continued, whether Suckers were performing more upbeat songs like "Turn On The Sunshine" or mellower pieces like "Lydia" or somewhere in between like "Chinese Braille".

Suckers

Suckers first album, Wild Smile wasn't neglected either. They performed older favorites like "Roman Candles" and "Save Your Love For Me". Whether or not Suckers was planning on including songs from their debut album in their set, the audience really didn't leave them much choice. All throughout the night, between songs shouts would come from audience members from all corners of the room requesting different song titles. For the most part, Suckers kept to their planned set list, but as their performance neared the end, they eventually gave in to some of the demands to the audience's delight. With a couple people celebrating their birthdays in the crowd, Suckers appropriately performed "Before Your Birthday Ends". One song that was requested early and often, the standout single "A Mind I Knew", was later obliged, and when it finally came the entire audience sang along word for word. So too was the case when Suckers ended the night with "It Gets Your Body Movin'".

Suckers

If Suckers' fun-loving style and approach to songwriting and performance wasn't enough, the addition of a rabid and raucous audience set the energy level over the top. Suckers showed that an art rock approach to indie-pop can be achieved without overbearing seriousness or pretension. That's probably why their music attracted the crazy crowd that it did and a leading reason that their set was so much fun. Suckers strikes a great balance between fun, catchy music while still offering a sound that is innovative and different. I would definitely recommend Suckers to lovers of fun indie rock.

See more pictures from this show in the Facebook photo album. Like the Concerted Effort page to stay up to date.

An eclectic mix, the bands playing together were all over the place. I like this - I think it’s a great way to expose different music to new fans who may otherwise never listen to this music. And certainly if you are in a band that sort of defies genres, or dips into many different types of music. It was a small audience, so it may have been in the best interest for the bands and venue alike to mix it up. So we had something for those of you like to wear black, a little singing saw if you’re into that, we had some euro-pop, tiny xylophones, birthday cake, a vocal imitation of the didgeridoo . . . I could go on, but that’s what this review is for so just keep reading.



Munly J. Munly, otherwise known as the leader of Munly & the Lupercalians, is a talented singer-songwriter who sings about dark and gloomy sorts of things. A voice with a wide range, he sings in a style that is folky and as a solo performer his voice really filled in for a lot of instruments - at one point mimicking the sound of a didgeridoo immaculately. Rebecca Vera was assisting with cello duties and was really impressive - cellists have a way of making it seem so cool to be playing the cello. The pair was dressed completely in black, but in a very well-groomed fashion so they definitely looked like they were coming from a funeral. Munly’s expression through the performance was akin to what it must look like when the grim reaper stares at your soul while he waits for you to cough it up. Munly had some fans who were definitely singing along, so the dedication is certainly there. And why not - his unique character is not something you could easily find in any other bands out there. It’s gothic in style, so sure you could go and find a Marilyn Manson or Tool if you so choose - but the folkiness, the sing-song-iness I think isn’t typical. I usually choose not to overly indulge in dark and depressing music because it is easy for me to let that sort of color my perspective if left unchecked, but the seriousness of Munly as a performer instantly struck me as enjoyable and not very depressing at all. He has a lot of instruments and gadgets, and sings eloquently. And if anything, he is more spooky than sad so it’s kind of cool to see him on stage and actually make the Hi-Dive’s black interior look blacker.

After Munly’s departure , the stage lights brightened and the handful of goths in attendance scattered; not really, but that would have been awesome. Three casually dressed Bostonians took the stage and immediately let the audience know that You Won’t rock. A loud and abrupt guitar riff from Josh Arnoudse like a steel-wire spunge scrubbing away the residue of what sounds were on the stage before. The loud guitar, yodel-y sweet vocals and clanging percussion was a striking contrast to the acoustic-folk-cello music of Munly J. Munly. You Won’t: an interesting enough name for a band. Like reverse psychology I almost want to say “I will” out of defiance, but for what I’m not sure. The band used every extra hand available to bring in additional instruments like the a melodica, the singing saw, keyboard and the harmonica, err - okay technically the harmonica was on a headset. Full of smiles and jocular quips, you could have closed your eyes and been at your best friend's BBQ, maybe in Louisiana.



You Won’t has a high-energy approach to their percussive indie-rock songs. Until it’s time to sing the birthday song: that’s when they turn the energy down, and turn the adorableness up. The group stepped down from the stage and asked the crowd to form a circle around them as they brought out the saw and unplugged the guitar. Strumming and sawing, Arnoudse and drummer Raky Sastri stood in the middle of the circle of folks while their bassist/multi-instrument extraordinaire brought in a birthday cake with a flaming Justin Beiber effigy atop. It turns out it was Alcoholic Faith Mission Kristine’s birthday, and bandmate Anders’ birthday just a few days before. Aww - You Won’t, you shouldn’t have!





The band returned to the stage after offering their tourmates the massive Beiber cake, and announced a cover of a New Zealand band called Tall Dwarves - “All My Hollowness To You”. The band played mostly songs from their recently released album Skeptic Goodbye, which is a collection of equal parts punchy and more slow and tender songs, all accompanied by wonderfully sweet-sounding vocals and a wide range of instruments.

The Danish sextet Alcoholic Faith Mission seems to be genuinely happy to be in a band together. Or maybe that's just how the Danish are - either way, the group was gushing with enthusiasm. Katrine opened the set by saying that it's a Danish tradition that whoever's birthday it is gets to make the decisions, and her decision is that everyone from the bar come down to the front of the stage. Well, I guess in this country there is still the self-determination that keeps butts on bar stools: to each his own.



Ask Me This was released on May 1, and Alcoholic Faith Mission was very excited to be playing their new songs which had been produced by Tom McFall, and the beautifully crafted songs came alive on stage. The first song they played, "Alaska", was thunderous and hypnotic. Lead singer Thorben Jensen and Katrine's voices are borderline heavenly, and it was really nice to hear them singing loud and clear, as the album mutes them a little in favor of focusing on the crescendo of instruments.

Having six band members means you have a lot more range and opportunities for great vocal experiments, and this was not lost on the Mission and certainly not by their bassist, Sune. Nearly every corner of the stage was equipped with a microphone - except for Sune's. Was this deliberate, I don't know - but lucky for us, Sune was relegated to visiting each of his bandmates to join them as they sang. Some were amenable to the idea, like Katrine for example. Others were not so taken by the rambunctious Sune's excitement to crowd into their performance bubble, if you will. It was a little too entertaining to watch the various reactions as Sune would jump next to the drum kit with Anders and attempt to sing in his microphone while barely being missed by flailing drum sticks, and then watch him retreat to instead help with crashing the cymbals. Or when Sune would go to the opposite end of the stage and bounce next to Gustav, with a goofy smile and acting like the Danish version of Flea, and Gustav would just shoot him this look that said, "Not again. . ." So much personality out of these guys, I tell you - it was so enjoyable to watch them all interact.



Katrine addressed the crowd and let us know that they were so happy to be in Denver, a sentiment that was supported by the dismal reaction to the drive to Salt Lake City the next day, and Anders' relief to have found an emergency dental appointment to aid in his recently chipped tooth (ouch!). As the band got ready to play "My Eyes to See", Katrine brought out the tiniest, cutest xylophone I have ever seen. It completed the night - I can't wait to see them here again soon.


There were a lot of captivating instruments used in the evening's musical ensemble - be sure to check out our online album from the show to see more from these great bands! Like the Concerted Effort page to stay updated.