Colorado Music Buzz Magazine July 14

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July 2014 | ColoradoMusicBuzz.com 10

Michael HornbuckleStraightens Road, BandGains Steamby Tim Wenger

I believe that there was once a band calledOf Triumph and Tragedy. The reason Ibelieve this, actually, is because my good friendJosh was the drummer in the band, before Iever met him, and I have seen with my owneyes a photo of the band standing togetherlooking tough for a promotional photo shoot.So it turns out that my belief is actually basedon fact, unlike many beliefs held in this world,making it less belief and more knowledge. Letme refine my belief- I believe that over thecourse of a worthwhile lifetime a person willexperience both triumphs and tragedies, andthat the memories of that person will reflectwhich of the two extremes he or she let definetheir life the most.

Of the stories that crossed my desk this month,and in the past few months, actually, the onethat seems to follow this mantra is that ofMichael Hornbuckle. A born musician,a natural performer, and a person who hasexperienced life at its highest and its lowest,held together through solid support from a fewgood people and a willful determination to havehis story told with tears of joy rather than tearsof pain.

“We come from a musical family,” Hornbucklesays. “Blues, in particular, is part of our pedigree.My grandfather was a country blues picker andmy dad was Bobby Hornbuckle. Thestory goes, when I was about 12, my brotherwas eighteen I think, my dad had an idea ofputting us in a band. My brother was sort ofalready playing with him.”

His brother Brian took to the strings whileMichael got behind the drum kit. “The jokewas, ‘Why don’t you guys hurry up and havea kid because we need a keyboard player,”Hornbuckle laughs.

As the brothers started gigging, under theirfather’s watchful eye, things like academics andathletics, once an important part of Michael’slife, found their way to the backburner, andMichael attended only one week of high schoolin Highlands Ranch. “That was pretty much itwith school,” says Hornbuckle. “We had a familytrio. When I was sixteen, it sort of ended.”

The senior Hornbuckle, Bobby, who hadmade quite a name for himself as a musician

throughout his life, got sick and passed awayshortly after, cutting the life span of his youngson’s band short and, although it wasn’timmediately apparent, sending Michael towardsthe start of a destructive path. “The way I dealtwith (him being sick) was I played guitar,” saysHornbuckle. “I started taking up guitar. Whenhe was sick, I was living in a woodshed at myGrandma’s and trying to be there for him. I’dsmoke a joint and sit and listen to my dad’s oldrecordings and videos and just try to sponge upas much of it as I could.”Michael spent up to six or seven hours a dayin the shed learning his father’s guitar lines,throwing in a touch of his own style. “I wasreally diligent about it,” he says. He and hisbrother put together a new band with Michaelon guitar, found a new drummer and droppedan album.

TheycaughttheeyeofLewisandFloorwax,the popular morning show crew from 103.5The Fox, began making appearances at theircomedy shows, and eventually started jammingwith them, forming what would become knownas The Groove Hawgs. Their first gig wasopening for The Doobie Brothers at RedRocks Amphitheatre. “We started getting thesehigh profile gigs because they were thesepersonalities on The Fox and they had a draw,”says Hornbuckle. “We did a big slew of openingspots for all of our heroes. Bad Company,James Brown, Def Leppard. All thepeople that we grew up listening to.”

These big gigs developed a big name for thegroup locally, but for Michael, they also startedto give him a big head. “We started to do somestuff with it, and we had some opportunities,”he says. “I sort of picked a toxic path. We wereyoung guys, and I got really excessive aboutthings. It wasn’t just a party anymore, it wasa non-stop party.” Some time passed, andMichael was unable to pull himself together onhis own.

“I wasn’t a musician anymore, I just dabbledin music,” he says. “Big head. I didn’t want toshare the spotlight. I got really egotistical and Iquickly distanced myself from my brother, andeveryone else for that matter.” As time passed,the two brothers continued to gig together onoccasion but they also both formed their owngroups, The Brian Hornbuckle Bandand The Michael Hornbuckle Band.Brian and Michael began gigging less andless with each other as Michael continued his

excessive drinking and drug use.

This went on for most of the 2000’s, throughoutMichael’s teen years and early twenties. Hecontinued playing music through the partyingand even did some touring, as did his brother.“I was sort of this young prodigy at the time,”Hornbuckle says. “I was getting accolades andpeople were pounding home how big my headwas supposed to be. And it grew.”

Brian, on the other hand, was establishinghimself as a phenomenal bass player andsinger. Michael still did not want to share thespotlight, and as his brother’s reputation grew,Michael tailed further into drug addiction. “Ispent a lot of time trying to sober up, somepeople wasted a lot of energy trying to help mesober up,” he says.

“I couldn’t keep it together on stage,” Hornbucklesays. “I couldn’t remember lyrics. My handswould stiffen up, my arms were hurting. I stillhad work, but I couldn’t keep a band. Nobodywanted to play with me.”

In January of 2012, as Michael sank furtherinto the dismal depths, he had an opportunityto move to Los Angeles and try to sober up withassistance from his cousin. “Somehow I gotwilling,” Hornbuckle says. “I finally got honestabout some shit. I was beat up, I was tired. Ihad pushed everybody away and there wasnobody left.”

He stayed out in California, working hard tosober up and put his life back together. Musiccontinued to be a part of his life, and it wasn’tlong before the opportunity to showcase histalent arose again. “I had a moment of graceor something out there,” Hornbuckle says. Hismother was the one person that never left hisside, and she helped him not only emotionallybut to financially get through this dark time andget back on his feet. “I’m fortunate that I havesomeone. A lot of people don’t have anybody,and the truth of the matter is that a lot of thesejourneys when people want to start makingsome changes, the first steps cost somedough.”

Moving to California and getting away fromeverything that brought him down also helpedMichael on his road to recovery. New places,new faces, and new sights all helped clearhis head. “I had to do a bit of a geographicalchange,” Hornbuckle says. “I couldn’t be in this

town with every street I went down, memorylane, you know?” He began feeling comfortablewith his life in California, and moved to the SanFernando valley to take up residence in a soberliving house.

Then happened a miracle, of sorts. “A fellacame through the house and I knew he wasinto music,” says Hornbuckle. Alex “Ace”Baker was his name. “He also knew that’swhat I was doing. So I finally asked him, I said,‘What do you do?’He says ‘I write and I composemusic for Universal Pictures.’ He was in chargeof their music libraries. In the back of my headI was thinking ‘Full of shit.’ A lot of people outhere are full of shit. But he seemed prettyhumble, you know, he didn’t want to talk aboutit too much and he wasn’t boasting.” It turnedout that he was also a touring keyboardist in aband called Mother’s Finest. “Some of thefirst songs I ever learned were Mother’s Finestsongs. I was doing these songs with my dad.”Michael looked up the band on YouTube andsure enough, there he was. “I wanted to enticehis ear about these songs I was writing,” hesays. “He started getting me in to do somesession work, so I started getting my name onthese movie scores.”

They also started working on some songstogether, and began work on pre-productionfor an album, of which Baker would eventuallyproduce. The songs were full of the stories ofBaker and Hornbuckle’s lives, the triumphs andtragedies of the human experience. Hornbucklehad been sober for two years, and felt he wasat a point to make amends with his brother. Italso happened that Michael and Baker neededa band for the recording, and Michael couldn’timagine not having his brother in on it.

“I called (Brian) up and he fell in line,” saysHornbuckle. “My brother has always been realforgiving. He’s right there to be in my corner.He’s my best friend. He’s the best bass player Iknow, but he’s also my best friend.” Brian droveout to California for the recording sessions andlearned the songs.

The album was recorded in two weeks andreleased about six months later in Septemberof 2013. “So far it’s been getting some greatreviews, and it should,” says Hornbuckle. “A lotwent into those songs. Not just the process ofmaking them, but what went into writing them.A long time coming. A lot of back years of painand love, and that type of human journey. We’veslowly but surely just been sort of reuniting.”Still sober and excited to get back on the road,Michael Hornbuckle is ready to tell his story.Michael and Brian are currently gigging underthe appropriate moniker Hornbuckle. Catchthem on Wednesday, July 23 at Herman’sHideaway for the Music MunchManagement Showcase, and look forupcoming tour dates at hornbucklemusic.com.“It’s once again about the music,” says Michael.“If what I’ve been through can help somebody,I’ve got to be able to talk about it.”

advertising.

When asked about her process, her response isimmediately “selective. I like something you aredoing, I will find you.” I further questioned Kateyabout what makes a song licensable. Her response:“What they are looking for is a commercial,recognizable sound, with certain themes such as(1) universally accessible themes (2) catchy, upbeator reflective depending on the mood of the sceneor spot (3) non-specific lyrics. Katey continueswith: “In addition, your lyrical content must be morefocused on creating a feeling rather than telling aconcrete story. This is why certain genres such ascountry or rap are not utilized as much as others.Write about themes that are universal and wouldappeal to a broad audience. You can just observewhat people are using in ads, TV and movies to get

your finger on the pulse of whatpeople are using.” Katey alsosuggested that a big interest is insongs about love that are NOTromantic….so get your writingutensils out everyone and createa great song about generic love!

Granted a scholarship toHuntington University in Indiana,graduating with a degree inmusic performance with afocus on the Classical FrenchHorn, Katey understands thesignificance of multiple incomestreams as an artist. In additionto her licensing pursuits Kateyis a singer/songwriter and atalented marketing mind whoparticipates in enhancing trade

shows and events utilizing her skill sets.

Katey closed with some great advice: “Takecourses, read books, and attend conferences. Don’tbecome discouraged; many times the reason whyopportunities don’t come in the beginning is becauseyou are not ready yet. Things happen in the righttime in the music business, when you are ready toexperience it. It takes time to develop your craft. Youare not building an app to sell. You are building an artform and that takes time. Don’t rush the process.”

You can hear Katey speak at the Own It MusicMastermind Series on September 9, 2014. Shewill be joined by a guest panelist with a focus onLicensing and Publishing. Find more informationabout the series at: www.CREATEmsudenver.com

Online: www.kateylaurel.com


Preneur ofthe Month

New Venue, New Twist-Syntax Physic OperaOpening on Broadwayby Tim Wenger

Syntax Physic Opera. A unique name,for what promises to be a unique venue. The“physic opera” will be just that- a physicalrepresentation of the Denver Syntax, aten-year-old music and art review covering theDenver area and its happenings, opinions, andthoughts.

Jonathan Bitz, the man behind the literaryand the physical, has been visualizing aplace like the physic opera foryears. “We’ve needed anew music venue,to a degree,” hestatesplainly.Weare sitting ondusty barstoolsin his unopenedestablishmenttasting beerand chattingabout the scene, hisplans, and my newfoundknowledge that bitters, neat, isnot my drink of choice. Bitz is a former talentbuyer, longtime musician and writer, and athoughtful entrepreneur. His hopes are, amongother things, to give musicians a new anglewith which to present the live performancepiece of their art. “I think that the idea for mehas been to present shows a little differently.Instead of doing, ‘Show starts at nine o’clock,we have three or four bands, headliner goes onat twelve.’ I’ve always thought that there was adifferent way to do that.”

Bitz by no means thinks that he has the formulafor this re-constructed approach down pat, buthas a strong idea of where to start. “I kind ofget tired of the rhetoric of the idea of a show,”Bitz says. “The shows that I want to be atthat are exciting are cd releases. They arethe shows that really mean something to theplayers. It’s the shows that their parents comeout, their siblings, their cousins.” He wantspatrons as well as musicians to feel a buzz atthe events, for them to be something specialand memorable, instead of just another showat another bar.

“What about an event for the band?” he says.When speaking with Bitz about his visionfor the physic opera, it is not hard at all tosee the melting point of his tenure as an artappreciator and his time in the music business.He wants his patrons to feel connected to whatis happening, like they are more than just aticketed concertgoer. He wants the experienceto be a memorable one that will create a buzzin the streets. For his customers, “What aboutsomething that I feel, ‘I found this. I know theseguys, I love these guys, I drink beers with theseguys. I want to be a part of this communityhere.’”

Hospitality and feeling welcome are key inthis approach, and Bitz’ foresight, at this point,has apparently tipped him off to the fact thathis interviewer and guest is not at all enjoyingthe glass of room temperature bitters sitting infront of him, me having mistook the bottle forunfinished wine. He grabs it and tosses it in thetrashcan behind him. He moves to replace itwith a fresh beer while explaining his strategyfor choosing the artists that will grace hisstage.

“It’s about people that I love, it’s about people

that I want to be around,” Bitz says. “It’s aboutpeople that are working hard, creating. Comingup with a different structure. Maybe that meansstarting shows a little earlier. Show time is ninepm, that’s kind of typical show time aroundhere. Well, what happens before that? Canwe do some live jazz during dinner? I lovethe supper club idea. I love diverse mediums.Shifting it up a little bit, giving people a bit of apallet cleanser.”

The Syntax Physic Opera, as it appeared tome in its unfinished state, is comprised of twomain rooms- a bar room, and what I am led tobelieve will be the venue room/dining hall to theleft of the bar. The cocktails will be fashioned by

Charles Anderson and representand “old Denver” theme. The bar

is set to feature many herbs,local spirits, and, to the

woe of this author, localbitters. The food menu isbeing prepared by ChefDavid Beckwith,and will follow in the

same footing- 19th centuryDenver with modern flare.

Bitz also hopes to offer a bit ofDenver culture to bands touring through

from out of state. “Anything goes, is my idea,”says Bitz. “We’re talking about down the road,hosting bands to stay here, even if they’re notplaying at the venue. To give them a room forthe night and to give them a shower. I want tofeed people. I want to make sure musicianshave a beer in their hand, that they’re happy,that their guests are happy. How do we do that?I think there are different ways to approach it.”

Bitz has been involved in music for most of hislife and has seen may such approaches thathe felt were overplayed or did not benefit theartist, and he hopes to create a strong sense ofbonding between artist, talent buyer, and venue.“Music was the thing that bonded myself to mytwo brothers,” Bitz says. “It was the thing that Ilearned early on that moved me. I did not growup in a musical family, and decided in my lateadolescence that I need to learn how to play aninstrument. So I started playing guitar. Thingsstarted changing to this degree that I startedunderstanding musicians. What it grew intowas this idea of Syntax, about taking a literaryword-and-story approach to life that is musical.If you look at anything, life is musical.”

“What it ended up transforming to me was thisidea of, wow, there are all these little bandshere in my hometown that nobody has any ideaabout other than these little niche cultures,”he says. “People need to know about thesepeople. I’ve stood in front of these bands andwept, had life changing emotions where thingsshifted inside of me. I felt like I needed to reachout and instead of talking about it, create thosekinds of shows.”

This concept led Bitz to create The MoveableFeast at The Walnut Room and eventuallyThe Living Room Series at TheMeadowlark, and finally to the concept heis presenting with the Physic Opera. “We’reinterested in creating a medicine show,” Bitzsays. “It is just this idea of creating a multi-sensory experience for people. Not leaving onething out. It’s about the art, it’s about the food,it’s about the music, it’s about the cocktails.It’s about absorbing all of your senses tosome degree.” Find a list of upcoming events,specials, and more at physicopera.com

Online: facebook.com/physicopera

Katey Laurel – One WayMusic Servicesby Angela Kerr

Hanging at my new favorite coffee shop and musicvenue the Java Jam Cafe, I had an opportunityto get to know Katey Laurel a little better. I firstmet Katey at the Own it Music Mastermind Serieshosted by CREATE MSU Denver, a businessincubator for the arts. “I think it is very important toeducate yourself as an artist,” Laurel says. I can’tstress enough how important it is to be educated onthe business side of what you do.” Katey also feelsthat attending conferences are one of the best waysto connect with industry professionals without havingthe expense of traveling and trying to knock ondoors. “At conferences, industry professionals cometo you,” she explains. According toKatey, industry professionals whoattend include: Publishers, somemanagers, music supervisorswho place music for film andtelevision and occasionally recordlabel A&R’s as well. She statedthat there are limits to songwritersand industry attendees so thereis usually a good ratio of artistto industry professional. Kateyalso suggests that there aremany artist development coursesavailable online such as onesoffered by Cari Cole of Cari ColeMusic out of New York and RickBarker out of Nashville.

As a Master Representative forlicensing music, Katey’s OneWay Music Services represents nine differentartists where she has focused on her passion ofpitching music to film, television and advertising. Inthis role, she is working freelance to place the workof the artists she represents on a non-exclusive, up-front commission basis. Katey believes strongly inleaving the back end commission on a placementto the artists she represents because “this incomestream helps to build their future.” Katey shared, “Iam not in this to hold anyone hostage, for me it is allabout sharing opportunities.” Katey believes that asshe builds contacts for herself, she is able to sharethem with others. She also considers this pursuit aviable way to achieve financial sustainability so shecan continue to create her art. “It is so rewarding tosee the music work for you in a financial capacity.”Katey’s portfolio includes such acts as Rachel andthe Kings, Jessica Sonner and Dan Craig. She hasplaced several songs for her artists, primarily in

WestcoastlessCrew- Still Hereby Tim Wenger

Denver is home to aburgeoning reggae-rock scene, and wehave the full gamutof the genre- from themore mellow reggae

style, to the heavier, more punk and hip hopinfluenced groups. Westcoastless Crewfalls as the latter- and they rep Colorado prettyhard.

Their new record Still Here is a cross ofmany genres, from rock to hip hop, but theynever leave that rebel reggae sound that istheir foundation. The album demonstrates theband’s ability to mesh harder tracks with somemellow undertones, and to craft catchy songintros that set the tone for what is to follow.A fitting representation of the 420 culture inColorado, Westcoastless Crew is on the righttrack to make a solid name for themselves inDenver’s music scene.

Online: soundcloud.com/westcoastless

Slowcavesby Tim Wenger

Slowcaves putout their self-titledEP June 14, and themusic is a very currentrepresentation of thestate of modern rock.Dubbing themselves

“synth-punk,” the band incorporates harmonic,full-sounding vocals over top of synth-driven altrock, creating a sound that incorporates manyof the styles heard on modern rock stationsaround the country.

“Dandelion Girl” is the strongest track theband offers- demonstrating a punk rock flairand very moshable. The song is more straight-forward than others on the record. “RYGOS(Drive)” has the feel of classic The Cure,also a very enjoyable track. Overall, the bandis very well put together for such a young outfit-look for big things from them if they can get theirmusic into the right hands.

Online: slowcaves.bandcamp.com

Jeffrey Dallet- MyOld Record Storeby Tim Wenger

He’s got a voicelike Bob Dylanon speed. The new3-song ep fromJeffrey Dallet,My Old Record

Store, is a bit rock-y, a bit jazz-y, and a bitfolk-y. Dallet blends classic American stylestogether to create a peaceful, pleasing soundthat makes for a very easy listen. He leansheavily on horns on the track “Bye ByeMiddle Class Blues,” while “DearDayton, Ohio” is more rock and highlightsbackground vocals on the chorus. “My OldRecord Store” is the most unique of thethree tracks.

Online: soundcloud.com/Jeffrey-dallet

Andy Gro &Shawn Sandler-Thousands of Birdsby Tim Wenger

Andy Gro teamedup with ShawnSandler to releasean album that begs

at the stereo of a long road trip. Tranquil butfull of gritty character, the songs on the albumThousands of Birds transport the listenerout of their current spot and drops them-bloop-into the middle of the high deserts of WesternColorado or the low plain south of Pueblo. Thealbum is a journey in search of meaning- aquest in search of soul.

Gro tells tales with his music, and he does itwithout all the flashy electronic additions thatmost musicians need to tell their stories.

Online: facebook.com/andygromusic.

Paul Kibiris- The DarkSide of Pearlby Tim Wenger

Paul Kimbirislets his lyrics do thetalking. Armed with aguitar and a collectionof intricately crafted,heart-felt words,

Kimbiris has put together a solid collection ofprimarily acoustic tracks dubbed The DarkSide of Pearl. His music sets the moodof intrinsic reflection, with soft melodies, wellplaced harmonies, and Kimbiris’ deep andalluring voice driving the course.

He presents the spirit of freedom with his music-expansive thoughts and sounds uncontained.The album is a solid listen to ease a workday orset the mood out in the Colorado mountains.

Online: reverbnation.com/paulkimbiris

Von Stomperby Abby Kaeser

Influenced by a mixof blues, Americanfolk and country, VonStomper’s albumis like a samplingplatter of differentthemes with each

track having a unique vibe while also stayingcohesively delicious. Von Stomper’s album hasa lot of tasty country and blues inspired guitar.The consistent wobble of harmonica soundsflow smoothly within each track alongsidethe rusty country vocals that appear on thealbum. A sort of peppy Johnny Cash influenceis heard throughout tracks like “Train Train”and continues in small doses within the rest ofthe album leaving the listener with a pleasantafter taste by the end. Von Stomper’s album isa solid sample of their talent that opens up afuture for more dynamic efforts.

Online: facebook.com/vonstomper

Bridges Will Break– Faultlines

by Abby Kaeser

An alternativerock base with ametal backdropcarries BridgesWill Break’s debut

album, Faultlines. Natives of Colorado,Bridges Will Break’s first effort isstrong but not yet different from what isalready out there. “Enough Rope ForTwo” is the song to pay attention to onthis album. It effectively eases you intothe lyrics with a soft guitar solo leadingup to a more dynamic musicianshipwithin the song, but still lets you backyou down by the end. This theme issomewhat noticeable throughout thewhole album but still leaves room togrow on Bridges Will Break’s nextalbum. The heavy lyrics and sturdyvocals is what convinces me to checkthat out when it is released.

Online: bridgeswillbreak.com

Dustin Morris-Balance Volume 2by Tim Wenger

Dustin Morris cuthis chops with BraveSong Cirlce, buthas now dropped asolo record entitledBalance Volume

2. By solo record, we don’t mean a guy sittingthere with an acoustic guitar- Morris adds onhis own foot percussion, harmonica, kazoo andmore on the album. The songs are generallymellow- letting Morris’ words be the focal point,but never lack drive or lead. If his voice isn’t outfront, the kazoo jumps in, or some solid guitarlicks jump into prominence.

Genre speaking, the record falls into the indie-folk category. Something that is not rare inColorado, Morris stands out from the rest if notby clever instrumentation, than by his high-gritvocals alone. He wails along with the music hehimself created, and the overall effect is muchmore full than a listener would expect.

Online: facebook.com/dustinmorrismusic

Calder’s Revolvers-Sunday Morningby Tim Wenger

C a l d e r ’ sRevolvers is amuch-needed breathof fresh air here inthe Mile High City,and their new record,

Sunday Morning, is a long, deep exhaleof relief from the hordes of trendy indie rockplugging the South Broadway circuit. VocalistAndy Schneider has such a strong soultone to his singing, he sounds like he just fell offGeorge Clinton’s tour bus, and as he wailshis heart out on the record’s strongest track,“I Gotta Know,” I was able to pick outelements of funk, R&B, and that good ole’ rockand roll from this eclectic seven-piece band.

Harmonic female back-up vocals sit right in thepocket on multiple tracks, including “Tell MeTrue” and “See To Believe” (which alsofeatures a cameo from SF1). Truth be told, thisis baby-makin’ music like Denver’s rock scenehas not seen in years- all packaged togetherwith enough spice to cross genre lines andappeal to any crowd. I could see my Grandmabumping this album in her kitchen with herglass of scotch putting the finishing touches ona homemade cheeseball just before Grandpawalks in from work. Unfortunately, this albumis being released after her death, or I mighthave had a whole lot more aunts and uncles-alas, I suppose that’s a thought for another day.Bottom line- check out the record.

Online: caldersrevolvers.com

FEATUREDASIDE2GirlsWithGuitars-Skylineby Maddie Norton

2Girls withGuitars is a localDenver band thatconsists of sisters’

Caitlin (15) and Sidney (12) Powell.Recently these ladies have released their firstEPSkylineunderbandnameFacingWest.Skyline is full of strong hooks, vocal harmoniesand an assortment of strings including banjo,mandolin, cello, ukulele, and of course guitar.With guitar skills and strong vocal harmoniesthey have created new arrangements for agrowing collection of original material.

One song that particularly resonates from thealbum is “Autumn Leaves.” It begins withmodest acoustic strings and morphs into a heart-breakingly honest melody with some positivemessages inlayed. This tune is particularlyappreciated because it seems everyone goesthrough a summer fling that vanishes comefall, but there is always that hope the fling willlast through many more seasons. There is arealistic lack of closure. The lyrics are full ofpoetic allegories that almost every listener canrelate to. It was written by Caitlin while enjoyingthe fall season and exploring the parallels ofthe changing leaves and changes in life. It isinspiring to see that most of their lyrics comefrom personal experiences.

The next track that peaked interest is “FlyAway.” The lyrics fairly portray the dark placeswe hide when made a fool of. When times getrough we want to turn the other cheek and thistune provides confidence to do just that. It’s acomforting melody and a confidence booster.It is a song of betrayal but it inflicts a positivemessage on how to move on. The lyrics andvocals are most definitely the strongest pointsof this song. Caitlin originally wrote this songafter a friendship betrayal. This track just goesto show how much passion these girls put intotheir music from personal experiences.

“Rain” is a track that more on the lightand bubbly side. It was written after the firstrainstorm during a period of drought in 2013.It seems this track can bring anyone out of thedumps. The lyrics throughout show just howoptimistic 2Girls can be. Yes, rain can ruin afull day of outdoor fun, but after the rain thereare beautiful outcomes such as flowers andgreener pastures. This is yet another song fullof colorful metaphors on the EP ‘Skyline.’

For such young girls they both have astonishingtalent. Caitlin and Sidney both have a graspon their sound and it is inspiring to see suchaptitude in two young women. It’s safe tosay these two are going places with theirmusic. The use of multiple string instrumentsthroughout their EP “Skyline” is calming and itmixes well with the solid vocals portrayed. Thelyrics throughout are highlighted with vibrantrepresentations that each and every listenercan appreciate and relate to. ‘Skyline’ is onlythe first EP released for 2Girls with Guitars andthere are certainly, and hopefully, many moreto come!

Online: facebook.com/2girlswithguitars

July 2014 | ColoradoMusicBuzz.com12


ReverbNation Featured Artists of the Month give independent acts that have notpreviously been featured in Colorado Music Buzz the opportunity to get on our radar, get their bioin the magazine, and get their tracks played on Music Buzz LIVE Radio on Wednesday evenings.The artists are selected through submissions made via their ReverbNation pages.

New Creature

“We are the taco meat of Rock and Roll,” front man, Brian Villers, explains the bandsmusical direction- “The concept behind NEW CREATURE is never being satisfiedwith who you have become. It’s about constant regeneration, and reinventing yourselfin every way possible.” The thundering drums of Casey Glass and Fred Goodwin’srocking bass playing lay down a strong foundation. Louis Micciullo adds soulfulshredding guitar solos that flirt with greatness. Then, heartfelt vocals and intriguinglyrics from Brian Villers top off a sound that is instantly unforgettable. When Brian, andhis new team of musicians hit the Blasting Room Studios in Aug 2013, he knew theyhad come up with material that was very different. But, none of them expected thetransformation they were about to experience.

Online: reverbnation.com/newcreature4

Katy Graves

Deep in the heart of Texas is the birthplace of Katy Graves sound. As anative Texan,Katy grew up surrounded by gospel, soul, and country music influences. Singing sincebefore she could remember, Katy foundher passion for music at a very young age.Her musical background includes gospel, contemporary, bluegrass and traditionalcountry genres. As a young musician, Katy is off to a stellar career in Country Music.Her title of 2013 CCMA (Colorado County Music Awards) Female Vocalist of the yearhas her showcasing with an amazing band. With the passion and drive to take hermusic to a new level, Katy is based out of the mountains of Colorado, where shesurrounds herself with the country and beauty of nature to make for a great recipein her songwriting

Online: reverbnation.com/katygraves

Yung Suave

YunG Suave (Jae Stephenson) was born in Denver, CO on June 6, 1991. Bringingdiversity with creative styles ranging from RnB, Hip&Hop, and Soul, Yung Suaveadds a new twist to the game. Although unsigned, Suave continues to producevarious songs and has launched a few music videos as well. Local Charts andlatest music can be found at www.reverbnation.com/yungsuave13. All featuredmusic is made for free mix tapes, No album has yet been released.

Online: reverbnation.com/yungsuave13

What Glorious Things

In the wake of an era where music has almost lost its identity, What GloriousThings was formed in 2010 to “take back the radio” and reconnect an audiencewith authentic fervor. Being no strangers to success through previous bands,they have quickly begun to accomplish that goal in a short amount of time.The project, fronted by Jason Hansen, has found itself crossing over from themasses of independent artists to one that stands in the forefront. As describedby Jesusfreakhideout.com, “If this is the caliber of an indie band just wanting tomake a difference, then it sounds like there are some ‘mainstream’ bands thatneed to step up their level of excellence.”

Online: reverbnation.com/whatgloriousthings

Jonathan Tiersten and Ten Tiers

Ask JONATHAN TIERSTEN what type of music he performs on his new EP,We’ll See (Edward Records), and the Colorado-based singer/songwriterand actor quickly responds that itÿs roots music with an edge. Tiersten hasperformed a variety of music over the years, but on We’ll See, he offers anearthy blend of roots rock, folk-rock and adult alternative pop-rock that is atonce contemporary and timeless.

Online: reverbnation.com/jonathantiersten

CREATE MSU’s OWN ITMusic Mastermind #5: AnArtists View of Brandingand Marketing—July 8,2014by Angela Kerr

Once again we experienced standing roomonly at the Mastermind. With Sarah Slaton,manager/artist development at VinefieldAgency, Anthony Casale, venue manager ofAEG Live (Gothic, Ogden, Bluebird), and TimWenger, senior editor from Colorado MusicBuzz Magazine – the crowd experienced a newlevel of professionalism. With power packedconversation and handouts for future reference,the power trio did not disappoint.

The Who’s Who in attendance included: DigistarEntertainment and Star Mentors, ColoradoCase Company, MonUmental Moments, FiveRings Financial, Music Munch Management,Literary Records, Aureus Audio and One WayMusic Services.

Representatives from local performing bandsincluded: Driftin’ Suns, Ando Gro, ATP, Two

Girls with Guitars, WryWood, WoolEye, TheDead End Drivers, Chris LaFata, Jason Vigil,As Nations Rage and Katey Laurel.

On July 8, 2014, we will feature DaveCurtis from Dave Does Designs andVices I Admire speaking on the topic of“An Artist’s View of Branding andMarketing.” Expect Dave to share personalexperience in designing communication andart for musicians and give pointers on howyou can “Do it yourself” as well as how to seekprofessionals who can help you brand andmarket your band. The unplugged set guestartist is The Dead End Drivers.

The August 12, 2014 session of the series willfocus on applying everything we have learnedthus far by determining the interest amongstour Mastermind Networkers in CREATING anOWN IT 2014 New Year’s Eve Bash. We wouldtalk about creating an event that would featurethe performers who have been dedicated to theseries. This session will not only determineinterested parties but set the stage to takeaction identifying roles and responsibilities.

The Mastermind sessions are held atMetropolitan State University of Denver’sCREATE MSU Denver Showroom at 890Auraria Parkway, Suite 120, Denver, and isbroken into two segments.7:00 p.m. to 8:00 p.m. – VideotapedPanel Discussion and AudienceInteraction; Registration Required(CREATEmsudenver.com)

If you are unable to participate in the paneldiscussion, join us for the after-party networkingat IPie.

8:00 p.m. to 10:00 p.m. – NetworkingSession at IPie in the Tivoli StudentUnion; Open to the Public

The panel discussion is nearly full, so makesure to register for the Mastermind series atcreatuemsudenver.com-

The Own It Music Mastermind series issponsored by CREATE MSU Denver, ColoradoMusic Buzz Media, Guitar Center, Drum CityGuitarland, IPie, Professional VP, Far MoreBand Videos, and Passion Fruit NetworkingGroup.

The Sons of Scullery:Mixing food with HeavyMetalby TIm Wintemute

Metal fans in Denver are going crazy abouta new BBQ food cart, the Sons of Scullery.The cart is dedicatedto supporting Metalmusic and giving fansthe required energyneeded to drink boozeand kick ass in a moshpit.

Growing up, thefounders of the Sons ofScullery, Sam Johnsonand Jesse Brookshire,both loved to rock andcook so after HighSchool, the two bestfriends relocated toDenver to do what they love. In 2007, Brookshiregraduated from Johnson and Wales Universityand went on to open a Earl’s restaurant in bothCherry Creek and Downtown, then became theExecutive Chef at La Cave. Meanwhile, Sam

Johnson began playing music and is currentlyin the band Artemesis, but has also played inSunday Massacre and Dissonance by Design.

The Sons of Scullery began as a YouTubecooking show hosted by the pair, in which theycreated Metal inspired dishes. A trademarkof the show, is to feature local metal music

including tracks byAenimus from SanDiego, Dissonance inDesign, Vale of Pnath,Glass Delirium andGoddamn Gallows.Soon after, SwingingNoose Productionsrecruited the duo tosell food from theirgourmet food cart atlocal metal shows.

Check out the Sons ofScullery on YouTube,they will be filming a

second season laterthis summer and will feature more metal artistssuch Battlecross. Make sure to also look for theSons of Scullery at local metal shows and visittheir cart on the 16th Street Mall.

CMB: What are your summerplans?

F: We are playing most of themajor festivals this summer andeverywhere in between!

CMB: How does Denvercompare to other marketsyou’ve been through?

F: From the very beginningDenver was a breakout market for

us. Beautiful venues and incrediblefans!

CMB: Where can we find your musiconline?

F: You can find our music everywhere-iTunes, Amazon, Spotify, etc . . . Giveus a spin and get ready to dance!

Online: fitzandthetantrums.com

Fifth AnnualKyle’s BrewFest Returns toBoulder

After five years and seven consecutivesell-outs of his flagship event KYLE’s BrewFest, musician and longtime homebrewerKYLE HOLLINGSWORTH returns again thissummer with his charity beer festival andconcert on August 9, to benefitConsciousAlliance in Boulder, CO. The event will alsoserve as an Album Release Party to coincidewithHOLLINGSWORTH’s upcoming full-lengthrelease SPEED OF LIFE, available August19 on SCI Fidelity Records.

Following the release of collaboration beerswith Stone Brewing Co. (Collective DistortionIPA – available now), Boulder Beer Co. (HooplaPale Ale – available now), and Cigar CityBrewing & Rock Brothers Brewing (HappeningNow Session IPA – available this summer),and coinciding exclusive, free “HopTracks” from SPEED OF LIFE,HOLLINGSWORTH brings it all to life at KYLE’s Brew Fest.On Saturday, August 9th at LiquorMart in Boulder, CO, KYLE HOLLINGSWORTHBand and other special friends will treat fans toa beer festival and album release party, plusa selection of more than 60 craft beers frommore than 30 breweries. KYLE’sCollectiveDistortion IPA, Hoopla Pale Ale, HappeningNow Session IPA and unique collaborationsfrom HOLLINGSWORTH and select brewerieswill also be on hand. Tickets are on salenow at kylehollingsworth.com and at BoulderTheater box office 2032 14th St, Boulder, CO80302 for $25 through Wednesday, June 25 at11:59pm MT, prices will increase thereafter. Allproceeds benefit Conscious Alliance.

TheAmendsProvidesMusic forSerializedAdventure

“The Ruins of Tropicalia” provides a new twist onan existing genre. The story, released in series ofinstallments each week June 24th through August28th 2014, features a unique tale based on theaccounts of a trip involving conjurers, terrorists, realitystars, spies, soldiers, and internet billionaires.

In addition to the written work, the indie rock bandThe Amends is providing eight new singles as part ofeach installment’s release—all new music from 2014.Accessible from Kindle devices/apps and e-readerscompatible with EPUB or PDF formats, readers canconveniently take their exploration of Tropicalia anddiscovery of The Amends newly-released singles onthe go. The story explores a mass Disappearance inthe 21st century, a civilization few remember everexisted, and an endandered global future. Combiningvarious narratives of a 2014 trip to a remote CentralAmerican peninsula along with free rock music, “TheRuins of Tropicalia” has something to offer everyone.The website features each installment of the story,along with the accompanying music provided by TheAmends. Curated by Tyler Taylor, band member forThe Amends and Tropicalia trip-goer, the websiteprovides all content free of cost throughout the entirelaunch timeframe—June 24th through August 28th,2014. Hoping to provide interesting and collaborativework that tickles the senses of readers/listenerseverywhere, Taylor, Drew Weikart and the rest ofThe Amends are excited to release their new 2014singles in this uniquely conceptualized way.

Online: theamendsmusic.com

COBARYJAM TORELEASE“IT’S AMEMORY”

Cobary Jam is an electronic infused rock trioout of Denver releasing their debut single “It’sa Memory” which goes live streaming andavailable for purchase via iTunes, Spotify,Amazon and many more Tuesday June 24th,2014. The song is already receiving ravereviews from bloggers and internet podcastsaround the globe and furthermore, earningspots on Denver’s 93.3 locals only show and107.1 the X project local. “It’s a Memory” isdescribed as ‘fresh’ and from Jammer Direct’sRyan Martin as “so haunting yet energetic”and “I honestly have to admit your song (It’s aMemory) made my day.”=“It’s a Memory” will be followed by a summerseries of releases off their debut 6 song EPand Cobary Jam is performing locally as theybuild up their following. Their live performanceand raw talent stands apart in a line-up andtheir sound has been compared to the likes ofNirvana to The Beatles to Smashing Pumpkinsto everything in between. They are in the midstof booking their first tour for late 2014. Hereis the release schedule for further upcomingsingles this month:“Back in Action” - July 8th“Say I Made” - July 15th“Mi Amore” - July 22nd

Online: reverbnation.com/cobaryjam


SEE BOTH VIDEOS ATCOLORADOMUSICBUZZ.COM

Fitz & The Tantrums- “TheWalker”

Fitz & The Tantrums hit Denver in earlyJuly, and even if you missed the show, you canstill check out their rockin’ new video for the newsingle “The Walker” at coloradomusicbuzz.com. Below, check out what Fitz himself had tosay about the video.

CMB: Tell us about the process ofmaking the video.

F: The video was loosely based on themovie Falling Down. A hot, frustrateddance through the city. We found ourperfect main character in rne Gjeltenand the directorn Warren Kommersknocked it out of the park!

Pillar Point- “Dreamin”

Pillar Point just hit Denver for thefirst time on June 29, rocking ForestRoom 5. Their new video is for the single“Dreamin,” a scenic attempt to put themusic of Scott Reitherman into videoformat. Here is what Reitherman had tosay about the video.

CMB: Tell us about the processof making the video.

PP: The concept for the “Dreamin’”video was conceived of by directorJacob Krupnick and myself. Jacoband I were school roommatesand are great friends, sobrainstorming together was reallyfun and natural. We had beentalking about visual componentsto Pillar Point songs for a longtime, coming up with ideas forlive show projections and musicvideos. Jacob made a featurefilm a couple years ago called“Girl Walk / All Day,” which usedthe recent Girl Talk record as its

soundtrack and followed a handfulof modern dancers as they movedwithin and responded to a series ofenvironments around NYC. Oneof the dancers from that film,Daisuke Omiya, became the leadin our “Dreamin’” video. We wantedto create something featuringmovement, that was beautiful andmysterious and did not worry toomuch about a narrative arc. I thinkwhat they created based on thatinitial concept fits perfectly with themusic.CMB: What are your summerplans?

PP: Right now we are on touraround the states for a month. Wehave some festival appearancesand I’ll continue to do some remixwork and write songs for the nextalbum.CMB: Where can we find yourmusic online?

PP: pillarpointmusic.com

Groove Arts &Music FestivalComes toShadowsRanch

Mark your calendars for theinaugural Groove Music &Arts Festival July 18th-20th!Three full days of music,

mountains, and freedom; featuring the highestquality funk, bluegrass, and jam bands around.Groove Music & Arts Festival offers patrons twostages with live music throughout the weekend,as well as performing arts, yoga, meditation,sustainability workshops, and a local farmer’smarket every morning. On-site camping isincluded with the purchase of a three-dayfestival pass.

Groove Music & Arts Festival is being heldon Shadows Ranch, conveniently located 2.5miles off of I-70, about 45 minutes west ofDenver in Georgetown, CO. Shadows Ranchboasts beautiful shaded on-site camping withClear Creek running directly through the festivalgrounds and expansive mountain views. Thebeautiful scenery combined with the intimateatmosphere Shadows Ranch provides are themain reasons we have chosen this site to beour template for the inaugural Groove Music& Arts Festival. Check out this years lineupbelow.

Purchase tickets for $115 for a limited time. (Tier3 price will be $135, Gate Price will be $150)We have opportunities for volunteers andstreet team members to earn free tickets to thefestival.

Online: grooveproductions.com

NATHANIEL RATELIFF

Branding your name is a tough thing for any artist to do.

Separating that name from previous work can be an even biggerchallenge. Nathaniel Rateliff is doing just that with his currentgroup and side projects, howevr, performing under the nameNathaniel Rateliff and putting out a folk-indie style that isn’t justcatchy, it’s addicting. Rateliff cut his chops in notorious Denvergroup Born In The Flood, but since the group has called itquits Rateliff has stuck to his own moniker and found successin a different light. With multiple recording projects and toursin the works for the group Nathaniel Rateliff (formerly knownas Nathaniel Rateliff & The Wheels) as well as side projectNathaniel Rateliff & The Night Sweats, his schedule stays jampacked, and that is just how he likes it.

“It’s been good,” says Rateliff of post-BITF life. His group signedwith Rounder Records and has put out the album MemoryLoss in addition to another full-length record and two EPs. Withas much as he has going on with the two different groups, he haslinks to each at nathanielrateliff.com for fans to keep everythingstraight. “We’ve been gone a lot,” says Rateliff. “You can’tcomplain about that, but there is something to be said for jet lag.”“The rest of the summer is kind of mellow,” says Rateliff. “Whichis kind of nice. We’ve been hitting it hard since September.” Thegroup has hit the UK and Europe already this year, in additionto US tours and a one-off opening for Emmy Lou Harris in SaltLake City on June 3. “All of it has been really good.”

His side project, Nathaniel Rateliff and the Night Sweats, is set torecord a new record in August prior to embarking on a full tour ofthe US, UK, and Europe and hope to have the new record out byearly next year.

Rateliff has made quite the name for himself coming out ofDenver, and he wouldn’t want it any other way. No matter whatlevel he is at, he has no interest in moving to New York or LosAngeles. “I don’t want to live in a bigger city,” says Rateliff. “Iwant to move to Pine. Now, as I get older, I kind of want to moveback to the country and hunt, and have a great garden, and thatsort of thing. I feel like if you’re doing something you love andyou keep at it, it doesn’t really matter where you live. As long asyou’re leaving town, people will find out about it.”

“The nice thing about living on the east coast or the west coast isthat those are a lot of the bigger cities,” Rateliff says. “Denver iseight hours away from anything. But I still live there because I likeit, I like Colorado.”

Being from Denver means a lot of touring if you plan on gettingyour music out to the masses, something Rateliff did not expectwhen starting out. “When I was younger, I didn’t think that Iwould have to tour so much,” says Rateliff. As he’s developedhis music into a full career and repeatedly traveled much of theworld, Rateliff has certainly learned that this is not the case. “Butwe played a show with Emmy Lou Harris recently. She’s still outtouring and that’s amazing. Willy is still touring, Leonard Cohenstill tours.”

“Scott Campbell was always great, so was Matt Lebarge,” saysRateliff. “Twist & Shout has always been really supportive.“(Radio) 1190, and now OpenAir 1340. I feel like there is a lot.Jim from 3 Kings Tavern has always been great.”

Rateliff will likely not be performing at the Underground MusicShowcase this year, as he plans to be working on the NightSweats record during that time, but will have upcoming Denvershow dates posted at his website. He also has an EP coming outwith his main group, Nathaniel Rateliff, which will be available atthe website as well.

Online: nathanielrateliff.com

COLES WHALEN

Coles Whalen has been hitting it hard since 2005, when shedropped her first EP and hit the road to support it. Five albumsmore and a deal with XMG Records are some of the physicalsuccesses she has accomplished, but Whalen has also learneda lot about the music business. Colorado Music Buzz caught upwith her to get the latest word.

CMB: What are the benefits of working with only one or twoband members as opposed to an entire group?

CW: For several years I toured full time with my band, and asmuch as I loved it, it just became too expensive. We play inDenver with the band every few months, but most of the time Iplay as a duo with my bassist/cajonist Kim O’Hara.

CMB: Was there a point where you decided to leave a job orsomething else behind to pursue music?

CW: When I finished college I launched myself straight into themusic world, living in a camper and touring full time. That wasover ten years ago. These days I’ve been trying to balance musicand working a few other side jobs.It’s tough! I’ll be using the money though to record a new albumin the fall.

CMB: What are some of the biggest challenges facing you asa solo artist compared to playing in a band, and how do youdeal with them?

CW: It is much harder to stand alone in front of a crowd andplay your songs. I feel like playing with a band has made mea better musician, and I love doing it as much as possible.Playing alone forces me to really connect with the lyrics I’vewritten and I think there are a lot of people that truly appreciateacoustic music.

CMB: What promo techniques have you found work best foryou?

CW: I have been trying to use every avenue possible, but nothingis ever as good as a personal message to someone. I make sureall of my sites are updated and I use my mailing list a lot as well.

CMB: Any defining moments as a musician?

CW: I’ve tried not to let the failures and successes define me.Sometimes after the high of a really amazing show I feel like Ican do anything I put my mind to. Often times the next day I’mstruggling to pay bills and life comes back full force. I think mymost defining moments have been the times I’ve pushed throughthe lows, even when I have felt like giving up. I’m in this becauseit’s what I love to do, regardless of the outcome.

CMB: What is coming up for you this summer?

CW: I have a few short tours booked, including teaching at GirlsRock Des Moines, but for the most part I will be spending thesummer writing new songs and playing around town. The nextbig show will be at the Hard Rock Cafe on Aug 1st.

CMB: Where can we find your music online?

CW: www.coleswhalen.com is where it’s at! I also have all ofmy music on iTunes, Pandora, Spotify and of course Facebook.

CMB: Any pre-show rituals or habits?

CW: I do a few vocal warm ups, and my pre show ritual is TheSearch for My Pick. I usually celebrate afterwards with a drinkwith friends.

Online: facebook.com/coleswhalenmusic

ROB DRABKIN

It begs for attention, begs to be looked at. Begs to be touched, rubbed, andcaressed. Sometimes it is all poofed out in melodramatic fashion, wafting backand forth from ear to ear, while sometimes (although rarely) it is more subdued,letting that wide smile and deep laugh steal the attention for a moment.

NO, I am not talking about Rob Drabkin’s hair. I am talking about his music.Those eclectic, jammy, folky, fro’ed-out rock songs that have landed Drabkinin rotation at indie and college radio stations across the country and promptedmultiple tours to support.

If you have attended any of his annual birthday bashes or other heterogeneousconcert events around Denver, you know exactly I am talking about. But how didDrabkin get to this point, and what is it that so memorable about his sound? Is itthe hair? I think not. It is, as evidence has shown, the fact that Rob Drabkin is thehardest working musician in Denver and master of marketing. If you have givenhim your phone number at any point in the last eight years, you probably receivea personal text reminder about his birthday bash each year.

His shows often feature guest musicians, sometimes including his father HarryDrabkin on saxophone. Currently, he gigs locally often with his band, but mostof his touring is solo.“I can do both, that’s the biggest thing,” Drabkin says. “Theacoustic thing is no problem. There’s that ‘Are you guys available for this?’ and ifnot everyone is available, it can still be billed under my name.”

“For me, it’s like the challenge of evolving into the band image,” says Drabkin.“That’s what I’ve wanted to do more and more, is more band gigs and less sologigs just cuz it fits the music better and there is such a good chemistry with allthe players that I use.”However, despite the ability to perform a gig solo if his band is not available,Drabkin says that marketing the music is more challenging as a solo artist. “It’sdefinitely harder,” he says. “When you go to one of the big songwriter places,like New York, or the Songwriter Café, and you look at the schedule, it’s all firstname-last name. That can be daunting.”

“I think that Drabkin is a unique name,” he says. “There aren’t any other Drabkinsdoing music, so that can work in my favor.”Rob Drabkin taken a path guided in part by indie radio support around thecountry, a result of his and his team’s strong marketing ability. He has been inthe process of visiting many of the radio markets around the country that air hismusic and a few that he hoped to become a part of the rotation on. The idea, ashe puts it, is to put a face with the music for not only the program directors andDJs, but fans in those communities. “We got a lot of support from AAA stations,and a lot of jam-band stations,” Drabkin says. “It has been a continual thing, it’sstill going on. For a lot of these stations out of Colorado, it was like ‘Who the hellis Rob Drabkin?’ We had a lot of stations playing us, or interested in playing us,and it was time to visit them.”

In many of the markets, he would make an early morning appearance on amorning show, then do an afternoon show somewhere else, and then spend hisevening doing another gig or driving to the next town for another morning showappearance. “It was like that for ten days and about fifteen cities,” Drabkin says.“As far as the whole radio approach goes in a lot of these stations, they wonder‘Does he leave Colorado, and can he actually play. (It) made such a difference.Some of the stations that I wanted to get, added the record after I played.”

“It was a big PR tour,” Drabkin says. “Whether or not the stations are playing thealbum in full, heavy rotation, five spins a day, or whether they’re playing it once aweek, the stations are so connected with the town. They are connected with thecity and the talent buyers and the festivals and events. It was totally worth it.”

Drabkin made a drastic career change to pursue music full time. “I did anovernight switch from biochemistry into music,” he says. He was also teachingpart time for Youth on Record, at the time Flobots.org, and eventually had tomake the decision to devote all of his time to his craft. “I taught one day a week.It is an amazing organization, the students were so affected by it. But for me, itwas one day a week that I could not commit to music. Even though it was oneday, I couldn’t give it up.” He was trying to focus on two things, and did not feelhe could give 100% to the students at Flobots.org and that that was not fair tothem, so about four years ago he pulled the plug. “My biggest switch was leavingthat opportunity.

Drabkin just dropped a music video that premiered in Relix magazine. Catch himlive upcoming at Winter Park Soulshine Festival with G-Love & Special Sauceon July 5, part of the tour he is doing with them. All Colorado dates will featurethe full band.

Online: robddrabkin.com

ALL ARTICLES/INTERVIEWS BY TIM WENGER

JEN KORTE

Jen Korte will be gracing the stage at Higher Ground MusicFestival August 23, and has been increasingly making a nicename for herself in the local scene. CMB took the opportunityto pick her brain about music, accomplishments, and upcomingendeavors.

CMB: Why do you choose to work solo some or most of thetime?

JK: When I started playing music here in 2005, I was playing bymyself all the time. Back then I took a lot of pride in feeling likeI could really hold the stage by myself. I’ve grown so much as aplayer that for me, playing with the band is just more enjoyable.I do think it is important for me to keep playing solo sets but Iwouldn’t particularly say I play out solo very much anymore. I doreally enjoy acoustic sets between Jess (DeNicola) and I or Jess,Julie and I (Jessica DeNicola is our vocalist and Julie Beistlineis our violinist). We seem to connect with the audience morewhen we are stripped down to just a violin, an acoustic guitarand two vocalists. I do think however, that when you find bandmates that really contribute to what you are doing or fufill partsthat you hear in your head, it’s hard to let that vision go. Lastyear, we lived in the Caribbean for a few months and I felt nakedas a jaybird playing out by myself. I worried about keeping theaudiences attention for two hours or so with just my voice and anacoustic guitar. I feel that it was a very healthy challenge for meparticularly because I wasn’t in my comfort zone at all nor did Iknow what kind of audience I was playing to. I think confidence iseverything and reminding yourself every now and again that youbelieve in your own talents is a very beneficial process.

CMB: Was there a point where you decided to leave a job orsomething else behind to pursue music?

JK: You know, I have really swayed back and forth on that pointfor a long time. I personally have never just relied on music topay my bills because it is such a hard thing to do these days.There seems to be a million more people trying to “make it” andthe venues know that so they are not inclined to pay musiciansnearly what they should. If you have hungry bands that are willingto play for free or willing to pay to play, then that makes it reallyhard to compete with. Even my friends and fellow musicianswhom I see having successful tours, are still struggling to makethe money that they are worth. It’s a tough decision to take thatleap of faith. It seems like talent is irrelevant a lot of the time andmore about the marketing or who you know. I have a partner I amtrying to build a life with. I never want to feel like my contributionis not enough financially but that’s me. I have a lot of respectfor my fellow musicians who can make money playing and I seehow hard the hustle is for them. I have also never just been amusician, I have always been a performer so my commitmentlevel to just music varies on how hard I am working on otherprojects or aspects of my creative side.

CMB: What is coming up for you this summer?

JK: This summer we are writing and looking to record at leastan ep. You can find us at Higher Ground Music Fest, the UMS,and The Friday concert series at Beaver Creek. We are goingto start more booking towards the end of the summer but reallyneeded the time to get some ducks in a row and are consideringrebranding the band and changing the name. More on that TBD.

Online: jkandtheloss.com

READ MORE OF THIS INTERVIEW ATCOLORADOMUSICBUZZ.COM

ANDY PALMER

Inspiration can lead to big things. It can also lead to big changes.Picture, if you will, yourself- as a young rising star in the legalworld, living it up in Brooklyn, New York and partying like its 1999.You have a beautiful wife, love the city life, and have recentlyrekindled that bright fire that used to light up your soul- being aperforming musician.

The fire grows like philodendron surrounding the soul. A planemerges, between husband and wife, to move to the Mile HighCity. Start fresh. Over a short amount of time this idea becomessolidified. An emotional melee resulting in an uplifting agreementbetween the two.

Here you have the tale of local rocker Andy Palmer, a rising starnot only in the solo acoustic world but also with his band GrubStreet Writer. “The agreement was, I’ll relocate, but I want a yearto go back into music and to put the law away, hopefully never toreturn,” says an enthusiastic Palmer, wholly unable to hide thesmile on his lightly tinted face as he sits sipping coffee at a hipUptown coffee shop, eagerly sharing his life’s story of pursuingpassion.

“I quit law,” Palmer says. He was working as a public defenderin Brooklyn when he and his wife decided to relocate to Denver.Palmer was not a huge fan of the idea immediately but the musiccommunity here in Denver and his diehard approach have madeit worthwhile. “It turned out to be a great thing,” he says.

This has all come after Palmer’s original attempt at being aprofessional musician, which was prior to law school. Partyingand a lack of knowledge of the business side left Palmerdisgruntled and broke, and found him living alone in a yurt inMaine for six months. “That was a huge period of my life,” saysPalmer. “That was following a stint in music and trying to make itwork. Partying a lot, and I just had to get away and check-in withmyself a little bit. At the time I was reading Gandhi’s biography,and all of my heroes in life all said ‘Go spend time by yourself.’ Iwanted to see what that was like and if I could do it.”

Moving to a new city and working primarily as a solo artist is notan easy task however. Palmer spent the first year here trying andfailing to build a band, while also searching for gigs on his own.“Having to do everything on your own (is the biggest struggle),”says Palmer. “Booking, organizing practices, writing new songs,and working promo is all on you. You can’t divvy up anything.That is a lot more work than I thought it was going to be.That’s most of my days, that’s what I do.” It has helped Palmerapproach music more professionally, however, and get himselfinto a routine that is solely based around his music.“(I have) more of a regimented writing process, instead of justwaiting for the muse,” Palmer says. “I used to write from thisplace of almost being down and out a bit, and once I realizedI don’t have to write from that place I’ve been doing it moreregularly.”

The approach also includes less partying and moreprofessionalism, something many musicians could take a lessonfrom. “I prepare a whole lot more, instead of just getting up thereand throwing out words,” says Palmer. “I’ve got a team aroundme now too, distribution team, PR team, and I’m starting to talkto labels about ideas. I feel like I’m playing catch-up since I tooksome time off.”

Online: andypalmermusic.com

READ MORE OF THIS INTERVIEW ATCOLORADOMUSICBUZZ.COM


And The Black FeathersDrop Literati Records’First Releaseby Tim Wenger

Colorado Music Buzz been good friends withMark Pruisner from Literati Recordsfor quite a while now. His podcast and livestream are, in fact, one of the most solidsources of quality local music in the Mile HighCity. When Pruisner reached out to us aboutcovering And The Black Feathers’ newrecord Pink Blackand Bruised,we took a listen anddecided it was a no-brainer.

Pruisner felt the sameway, apparently. Heliked their music somuch that he broughtthem onto his labeland released theirrecord as the firstofficial release underthe Literati Recordsmoniker, and thealbum just dropped onJune 27. “I really likedwhat these guys weredoing,” Pruisner says.“They had a differentsound, and a differentfeel, and I felt theywould be a great firstrelease for Literati.”

Theband’ssongwritingis heartfelt, oftenheavily so. Each trackon the record servesas some kind of anemotional tattoo, telling a story and leaving itsmark. “To me, it’s just emotion,” says front manand guitarist Danny K. “I just try and processan emotion or a desire that I have, and try andturn it into music somehow. I don’t think ‘Oh,I’m going to write a slow ballad,’ and then writea slow ballad. I just start writing something orstart thinking something and it evolves.”

“Once we get our hands on a song, even atan early stage, we’ll rip it apart,” says bassistDavid. “Something that will start really blues-based, in the end it willbe unrecognizable fromwhere it started.” Theband has been workingon the songs since 2011,when they became anofficial lineup followingan open mic at the now-defunct Old CurtisSt. Tavern.

The group’s first singleoff the new release,“Cream,” is a solid

representation of the band’s style-blues driven guitar licks with energy ofmodern garage rock, with the heart of asoul singer in the darkest dive bar. Thegrittiness of Howlin’ Wolf meets thecatchy hooks of The Strokes with aflare of seventies punk rock- the trackis solid.

Recorded at Mammoth CaveStudio with producer/engineer TimGerak. “We basically laid the rawtracks in two days,” says drummerTony Corona. “We came in reallypolished.” Then the finals were cut, and

the record was sent into post production.

Everyone had a lot of say in the mixingprocess, listening carefully to Gerak’s work andfine-tuning it to their hopes and expectations.“We’re all pretty opinionated, so sometimesit gets pulled in different directions,” saysDavid. Pruisner was also a helping hand (and,sometimes, a bit “dictatorial” as he put it) duringthe recording process.

“They were really polished when they came in,”Pruisner says. “They had the songs down. Eight

tracks is what we laiddown. For people thatmay not be familiarwith the band, you’regoing to get a goodmix of their abilitiesand diversities.”

“We grew in thesense of trusting theengineer more,” saysDanny K. “We chosehim for a reason.”

Pruisner and LiteratiRecords will alsobe helping push thealbum following theJune 27th release. Theband will be lining upgigs throughout thesummer both in townand on the road-check out updatesat facbook.com/andtheblackfeathers.“I wanted to capturethe energy of theirlive show, but witha professional-

sounding album,” saysPruisner. “One of the biggest things I wantedto get out of them in the studio was, ‘Bring theenergy’ and then just get people’s ears on it.They are kind of a jewell in the rough as faras the Denver scene goes. If we can get somemore ears on them, it’s going to turn someheads.”

Online: andtheblackfeathers.com

Profile: The Many Bandsof Scott Uhlby Tim Wintemute

It seems like everyone today wants ScottUhl playing in their band, or has an idea tofeature him in an upcoming side project. Hehas an impressive musical history in Denver.The guitarist is mostly known for his work withGlass Delirium and Vices I Admire,but is also a member of Tattooed Strings,Ninety Percent 90s, Captain Planetand Wither Without Orchestra. Eachband varies in style but are all respected actsin the Denver music scene. So naturally, localmusicians are always calling and asking Uhl toplay.

“I’m really fortunate to be able to play in someof my favorite Denver bands,” says Uhl. “I’vebeen in Glass Delirium since the beginning,but I was a fan of Tattooed Strings and VicesI Admire before I joined them. It’s really uniqueand fulfilling to look up to and respect anotherband, and then have them ask for you to jointhem.”Scott Uhl is originally from Colorado Springs,CO and studied Guitar and graduated SummaCum Laude from the University of ColoradoDenver, during which time, he was an internwith Uncle Nasty on 106.7 KBPI. Uhl nowworks as an instructor at the CO Music Instituteand works with both kids and adults and hespecializes in teaching music theory.

Uhl’s favorite guitar is a Paul Reed SmithSE245 with a Mesa Boogie Express 5:50. Hissecret weapon is his Line 6 Pod HD500 whichallows him to program the effects of each of theacts he plays with and easily switch betweengroups. According to Uhl, ”the Pod HD500 isperfect for me playing in multiple bands. I canprogram up to 8 different effect chains and savethem into multiple presets. I have a different setup and preset for each band. It’s also greatbecause it has amp modeling I can run directinto the board for practices. It doesn’t sound asgood as my Mesa, but still sounds quite goodand is much more convenient than lugging myamp to every practice.”

Terry Bozio BringsAnniversary Tourto Soiled DoveUnderground

Terry Bozzio celebrates the 50th anniversaryof his first drum lesson with “An Evening WithTerry Bozzio” coast-to-coast North Americantour. During the course of this tour, TerryBozzio will hit over 40 cities from San Diegoto Jacksonville to Montreal to Vancouver toLos Angeles and everywhere in between. Thiswill be a night of solo drumming and includecompositions from throughout his career, aswell as improvisation. It is by no means a clinicor a workshop. Enjoy an intimate evening ofTerry Bozzio and his monster sculpture of adrum kit together for the first time in seatedvenues across North America.

The event hits Denver’s Soiled DoveUnderground on Friday, August 22 at 8 pm.Pick up tickets at taverhg.com/soiled-dove


TheManager’sCornerby Chris Daniels

In past columns I’vefocused exclusivelyon the current cropof tools that helpartists survive and

thrive. But what if we threw it all away? Nointernet, no computer for recording songs athome, no Facebook, Spotify, Pro Tools - nothingother than what you would find in an analogueworld for capturing and marketing music. Howwould this change our approach? Does arewind to 1984 teach us anything about waysto improve how we make and market music in2014? I think it does and here is why.In 1984, if you were going to do a record it wouldbe in a studio with an hourly rate. There wasno Pro Tools, Ableton, and Reason etc. Yes,there were some home studios using reel-to-reel tape machines. Yes, Buddy Holly recordedhis early hits in his garage in the 1950s - butin general you had to go into a “professional”studio, pick your very best tunes, and rehearsethe hell out of them before you recorded. Thatusually meant performing live in a number ofplaces to get the arrangements tight, to seehow the audience connected to the songs and,honestly, to see if you were any good.

Fast-forward (analogue term) and we have theincredible ability to start recording anytime wewant on a home computer. Hell, we don’t eventhink of it as a “single” and the concept of analbum has come into question too. But hereis my point: what if you brought some of yoursong ideas to the “testing ground” before youslap them up on SoundCloud? What if you tookthe songs or beats or whatever it is you create,and brought it to the public to see what worksand what doesn’t work? You can learn a butt-load from playing your songs to friends andfans. Plus, you can really start to learn aboutarrangements for those songs when you playthem with others. If you’re in a band, you getto explore the arrangements and see how thesongs change when you take them off GarageBand and put them on real instruments withreal players.

Let’s say your starting point is 15 songs. Youmight be able to refine that to the10 best thatreally connect with the audience. In theory youare better prepared for the recording process- whether at home or in a pro-studio. Now theprogram tools like auto-tune are not studio tricksthat you use because you can’t sing in tune– they are tools to help you capture the energyof the performance you created live for yourfans. Those digital audio workstation tools andtricks become something that help you capturethe exact “take” you want– you start developingan idea of what a “good performance” on arecording really is. Tools can fix technical shitbut they can’t fix an inferior track. Check outsome of the recordings by artists like The Clashor Blondie or even the Police from that oldera. The performances are remarkable even iftechnically flawed.

In 1984 when your project was finished (andyou’d been playing the music live), there wastypically a time gap between getting thosetracks ‘mastered’ for vinyl (CDs were juststarting to enter the market) and when yougot that first ‘test pressing’ in your hands.Then, that test had to be approved before theplant started the “pressing run.” At the sametime you were planning an actual “releasedate” or “street date” for that recording andthe marketing to go along with it. If you had a

label, they did all that, but a lot of Hip Hop andPunk and Jam bands put it out on their own.What did those ancient fuddy-duddies do backin 1984 while they were waiting for the actualalbums to “ship”? That time was filled withresearch into distributors, developing a plan forwhat they would do to promote their album. Ifthey put it out themselves there was artwork,packaging, shipping and ‘in-store displays” tobe considered along with the actual ‘street date’and the marketing efforts that accompaniedthat date. (NOTE: If you were signed to a labelthen - or now - you work off THEIR clock - whenthey want to release the recording and do themarketing. That aspect of label control has notreally changed much.)

In 2014 I see far too many young artists finishtheir recording and upload it to SoundCloud -and maybe iTunes via TuneCore or CD Baby,and if they are really together they’ll addReverbNation and YouTube. Many assumegood things will start happening because theyuploaded the tracks a week after their friendmastered the files. Why should that work?Just because we put a butt-load of effort intowriting and recording the music doesn’t meanour fans give a crap. I’m not denigrating your ormy fans – it’s just a fact that if a local Coloradoartist starts to gain traction in the marketplaceit usually means they worked their asses off tocreate that buzz. And our fans like to be a partof something that is building and exciting andbuzz worthy. So that “time” between getting the‘mastered recording’ in your hot little computerhands and bringing it out into the marketplaceis missing for far too many young artists. Whatwould happen if you took a page from 1984and made the most of that recording’s releaseand didn’t just slap it up on the various internetsites? If you take 30 to 60 days to make a planon how to get the most out of your recording’srelease, can you make a bigger buzz when ithits the street? What media outlets, blogs,music websites, internet radio, and ‘usualsuspect’ social media sites are you going toreach out to? What kind of distribution couldyou imagine? How can you make the biggestnoise possible with your recording?

Finally, in 1984 radio was the one place anindependent artist had any chance of gettinga promotional push that could change theirlocal following into a national one. There wasno viral-internet YouTube success and MTV/VH-1 only played the majors. So radio wasyour one real shot. There were (and still are)various ‘formats’ to know, understand and workwith. There were “independent promoters” thatindie artists could (and still can) consult andhire and there was straight forward one-on-oneconnections that had to be made in order fora recording (single or album) to get a chanceat getting airplay - and more important, getit put into “rotation” on those stations. Label‘radio promotion’ departments’ knew what DJsand what station programmers to schmooze.They even knew the time-of-day programmerswould take ‘music calls’ from the labels. Theindependent radio promoters knew all that too– and still do!

These days we just toss it up on the internetand think the world will beat a viral discoverypath to our upload door – like we are all dancingbabies or cats stuck in a cardboard box. Whatwould happen if we all took the time to do theresearch that those radio promoters did in1984? What if you took the time, energy andcommitment to see what, blogs, internet radio,music services, and even terrestrial radio mightbe good ‘partners’ in the marketing efforts foryour music? I can guarantee you that it wouldget farther than the ‘toss it up on SoundCloud”approach that far too many of us use. It’s a goodparking place but there is a hell of a difference

between a parking space and a flippin’ parade.What I tell my students and musician friendswho ask me, “how do I get my music out there?”is to use every single tool that is available andeffective in 2014. But, I also tell them to takea page from those fossils and dinosaurs thatcame up in the ranks and who are still out theremaking music. They polished and refined theirmusic before they recorded it. They came intothe recording process prepared and rehearsedwith arrangement ideas and even albumconcepts. They researched all the possibleoutlets to reach their fan base from great localstores like Twist & Shout to major distributors.They also researched and used every bit oftechnology they could. Technology for us nowis Spotify, YouTube, Tumblr and Instagram -but what I see is that the R&D for a marketingPLAN is all but missing in many of our attemptsto reach our fans in 2014.

Closing notes: In the late 70s there was a hugeexpansion in the concepts for a great live show

especially coming out of clubs like CBGB in NewYork. This area, maybe more than any otherI’ve seen, is truly exciting for me personally towatch again in 2014. Though 1989 ushered inthe beginnings of major package tours like theStones “Steal Wheels” - bands like the Policein 1979 blew small venue fans away – (farmore then Sting ever has in years since.) Whatexcites me about 2014 is watching studentbands or young bands that I see out on the roadreally bringing this kind of new energy to showsagain. They have phenomenal presence, greatsongs and playing. They use ‘pacing’ and seemto be able to really connect with their fans. Theyare doing it at an early age.

So take heart all you naysayers out there. Theyounger generation that are coming up reallyhave something to offer. What I hope theywill understand is that the year of Orwell stillmay have something to teach them, if theyare willing to listen – then again – maybe theyshouldn’t!

Musician 101– Round 12– Don’t skimphere…by the Swami

The importantthings on your

website for the media...

DO NOT CUT CORNERS HERE MUSICIANS!!It is paramount that you have these four thingson your website for the media. If we have topoke and prod you for this stuff, you are notpresenting yourself to the mass of mediacorrectly.

1 – A high resolution photo. Seriously, have oneto three available for download from your site.These are crucial to your branding and makeit very easy for the media to grab what theyneed for an article. Pay a photog to do these foryou. No camera phones, or friends that havea camera. Get a pro – one I can suggest: Max

Ralston [email protected]

2 – A succinct bio. Don’t tell us where youwere born or where you went to school. Wewant to know about the band, the compelling,interesting stuff. Give a bit of history, but tell uswhat makes you special, what makes you tick,what makes you make music.

3 – Contact information. Geez…Do I have tosay this? Phone number, direct email. Andreply to your emails immediately. The longer ittakes you to return a call or email, the moreit shows us how you are just plain not seriousabout your musical career.

4 – An updated calendar of your shows. Can’ttell you how many times we visit a site andthey have old shows listed as their next show?Professionalism everyone! Can’t get em tothe show if you don’t tell them about it! An oldcrusty website that isn’t updated is a tell-talesign you don’t give a shit.

Got a question or a topic to cover? Hit me [email protected]


Barcelona Speak onNew EP Triology, HigherGroundby Tim Wenger

The CMB crew has been abuzz with the newsthat Seattle’s indie rock gods Barcelona willbe headlining our Higher Ground MusicFestival on August 23. Given the currenttrends in Denver’s scene, their tour with localcelebrities The Fray and the band’s longhistory in Denver (they befriended Meeseseveral years ago and began gigging with themat the Larimer Lounge and MarquisTheatre), we couldn’t think of a more fittingoutfit for the role. Throw in Baywood alongwith a handful of top starts from this year’sSouth by Southwest festival in Austin,Texas and we feel that we have put together alineup that perfectly complements the amazinglocal talent we will be showcasing.

I caught up with Barcelona front man BrianFennel while the band was driving to Denverfor their gig at Red Rocks Amphitheatreand we spoke about their current project, TheMelodrama, which is a series of three EPsthe band has just recently concluded releasing,showcasing their most current material.

“It started almost as an exercise in songwriting,”says Fennel. “And then it grew fairly naturallyinto being what would be the new sort ofseason of the band, which took us all a littleby surprise.” Fennel and the group originallyplanned to release only a few songs from theMelodrama sessions, but eventually landedon the idea of the three-part EP.

The Melodrama represents Barcelona since

their departure from Universal Records.Fennel and bandmates Rhett Stonelake

and Brandon Cate were nervousabout becoming an independent act

again but, like many modern rockers,have since come to embrace thefreedom. “The feeling is a little bitscary sometimes, being the onlyones steering the ship,” saysFennel. “But it’s empowering andencouraging. Being on tour andgetting some of the exposure that

we haven’t seen in the past with thisnew music has been incredible. It’s a

lot of different emotions, but being able toown everything at the end of the day, we’re

really proud of that.”

The new material covers the topic of love, withthe three EPs being titled Love Me, LoveYou and Know Love. The songs draw frompeople Fennel knows personally and intimately.Fennel, who handles songwriting duties, doesthe majority of his writing while the band ishome in Seattle. “My muse is typically myrelationships with people,” Fennel says. “Beingable to think on that and put time into that, I’mmost comfortable at home. I have a studio athome and that’s where most of my songs havebeen written.”

“I’ve tried to write when we travel, but it’s reallyhard for me,” Fennel says. “When we’re onvacation somewhere and we have downtimeand I can be by myself and coerce my thoughtsa little bit. But when we drive places, I’m usuallyjust looking out the window.”

The band is excited to perform at HigherGround Music Festival and has developed a bitof an affinity for the Mile High City, having beenplaying here since their earlir days of touringback in 2009. “Denver’s insane for us, man,”says Fennel. The group started playing Denverwith local rockers Meese and developedtheir following here by doing show tradeswith the group, bringing them to Seattle andthem traveling to Denver. “We often describeDenver as being a second home to us. To beable to come through and play at a venue likeRed Rocks is surreal. We started playing atLarimer Lounge and to be able to play atRed Rocks, we’re still itching ourselves a bit.”Get your tickets to Higher Ground Music Festivaland see Barcelona, Baywood, and 30+ otherbands for only $20- highergroundmusicfestival.com

Online: wearebarcelona.com

- Like A Parrot’s song “The Balance” will be featured in a web ad forResidence Inn.- Shayna Rose & Tyler Shamy’s song “Colorful World” will befeatured on the Season 14 premier of Degrassi.- Tyler Shamy and Shayna Rose’s song “Colorful World” will befeatured in the new Lucky Charms advertisement!-Cedar Cove! Season 2 Episode 6 will feature “Made For You” by TheReel.- Dr. Brandt Skincare is using Fire In The Hamptons “Jaded” for theirnew web advertisement!- Andrew James’ “Broken Now” will be featured on Season 2 Episode1 of Hallmark’s Cedar Cove.- Grant Terry’s “There You Are” will be featured on Season 2 Episode4 of Hallmark’s Cedar Cove.- GUNFNGR’s “Hands In The Air” will be featured on Hulu’s East LosHigh Season 2 Episode 4.- Rhema Soul’s “Malibongwe” will be featured on Hulu’s East LosHigh Season 2 Episode 4.- “In The Shadows” by Roniit will be featured in the upcoming indiehorror movie “Prom Ride”

LyricHouse is a

boutique musicpublishing & licensingcompany focused in

song placement, synclicensing and artistdevelopment. Hereis a list of their June

placements:

Moon Magnet Studios,A Breeding Ground ForTalentby Charlie Sullivan

Setting up shop in a two story house that’snestled into the quaint Baker District of Denver,Moon Magnet Studios is anything butyour stereotypical recording studio. The studiois a collective of musicians and bands that justneeded a place to call their own; someplacethey could rehearse, record, and collaboratewith others to meet a common goal, write, andproduce cosmic music. You won’t find anythingflashy about the studio, no expensive recordingequipment (17-channel recording capability),but what you will find is a camaraderie withinthe individuals running the studio and thosewho choose tohangout andlay down sometracks.

The studiowas started byReed Fuchs(producer, multi-instrumental is t ,déCollage) whoinitially recordedhis own music asa hobby. It was anatural transitionfor Fuchs tomove on andstart a recordingstudio. Joined byDerrick Bozich (digital design, producer,multi-instrumentalist in 6 bands), Neil Lyons(Moon Magnet Publishing, prolific song writer),and Anna Smith (Creative Sorceress,Songwriter, Interviewer) the studio hasprogressed to the point where they currentlyhave six active bands in house and havebranched out as a publishing company.

Moon Magnet offers two studios both with fullrecording /video capabilities. The engineers,studio musicians, and designers specialize ineverything from preproduction to album artwork;the goal is to be heard. The main studio is setup in a basement labyrinth that brings backmemories of the 60’s love generation; andyou will feel the love. Moon Magnet wants toinspire artists to express themselves. Theyhave an effects rack set up in the studio to helpbands facilitate new ideas and new sounds.The studio encourages creative expression.

What sets the studio apart is that they want tohelp bands break creative blocks and mentalbarriers that hinder them from performing theirmusic. And guess what? It’s working!!

The studio has busy schedule coming up forJuly. The Grease Pony EP is ready to hit thestreets. They’re mixing Ancient Elk’s latestEP, which is due out late in the month. TheDorian Vibe kick starter video will hit thestreets, check it out and help out the band if youcan. The Suspender Defenders albumZooz Toob will be released. Wild Highis unleashing Sdreams in August. déCollagewill in all likelihood be rolling something outfor the masses. And if this isn’t enough, therewill also be a Moon Magnet Studio’s stage atUMS. They’ve lined up five bands for the fivehour time slot allocated to the studio, show upand give them your support. To get a feel for

the people behindMoon Magnet,check out theUMS video theyrecently producedannouncing all 400bands playing thefestival.

The studio keepsbusy locally with aresidency on thesecond and fourthWednesday ofevery month at theMeadowlark .The studiospotlights one of

the acts recording atthe studio for an evening performance. Thethird Wednesday is dedicated to a workshop atthe studio that starts at 7:00 PM. They’re alwayslooking to get people involved, are activelyseeking talent, and are looking to develop newtalent. The crew also likes to bring in nationalacts when they’re in town to record a song orfor an in-house interview; most recently IncanAbraham at the Larimer Lounge. MoonMagnet is truly a place where good thingshappen and dreams become reality.“Art happens anywhere that chaos isbrought into order.”- Michael Gunger

Online: MoonMagnetMusic.com Facebook.com/moonmagnetstudios 303-240-6936

Why JazzMattersby Norman Provizer

In its Michael Jacksonobituary, The NewYork Times noted thatthe singer’s Thriller disc

had sold, across the planet,to date, some 100 million copies. While that figurehas been debated, there is a general consensusthat Thriller has, at least, sold somewhere in theneighborhood of 55-to-65 million copies. Either way,that’s a lot of albums; and either number easily putsJackson’s 1982 disc in the number one slot when itcomes to album sales. And considering the changesthat have taken place in how we purchase and listento music, you might well wager that the Thrillernumbers will never be surpassed.

But as much as people know about Thriller, thereare many who might be surprised that the personwho produced the album is someone who enteredthe world of music as a jazz trumpeter and arranger.That someone would be Quincy Jones, whoalso produced Jackson’s 1974 disc Off the Walland his 1987 recording Bad. Over time, of course,Jones travelled from jazz into the world of popmusic, as well as into the arena of film and television


The Rebirth of Lost Lakeby Tim Wintemute

Meet Tony Mason, the friendly venuemanager at Lost Lake. Since last December heand his team of interns have been on a missionfrom the rock gods: to turn a rock club on EastColfax into a local music staple.

Mason originally moved to Denver roughly adecade ago to study Music Business at theUniversity of Colorado Denver and he was soonbooking local artists and classmates at smallshows in coffee shops. During college, Masonalso ran an independent music promotionscompany, Tone Dynamix with the motto“book the right bands atthe right venue.” Soonafter, Tony began aninternship with AEGLive doing promotion,then Mason wasbooking at theLarimerLounge followedby a stint overseeingthe operationsat Herman’sHideaway.

In October of 2013, localmusic professional,Scott Campbell,purchased Lost Lakeand recruited Masonto operate the venue.Campbell, who also co-owns the LarimerLounge, gradually renovated Lost Lake over thenext three months, to make Lost Lake a greatvenue for bands with large productions. TonyMason credits the success of the renovationsto the support from his three interns, Christina(press and social media), Andrew (marketingand promoting), Jordan (booking and streetteam), plus Colin, the resident head bartender.The renovations at Lost Lake included buildinga full size stage in the main music room withLED lighting rigs, full stage monitors, house

mains, and subwoofers. The most noticeableimprovement though is the soundproofing ofthis main room, which has no echo. The frontroom was also renovated to include two newflat screen monitors that has a live camerafeed from the main band room during shows,expanded bar seating and a second stage inthe front of the venue that is bigger than thestages at other local rock clubs. This setupallows Lost Lake to operate like as a multiroom venue, but remain intimate. Lost Lakecan now host smaller events during off nightsin the front room or have festival style eventsthat utilize both stages consistently playingmusic.

Mason has usedhis connections asan independentpromoter to booklocal acts and isbooking nationaltouring acts. Thisincluded a specialshow FeaturingDead Meadow fora two night soldout show in Marchand more recentlybooking Lily Fangzon June 22, shortlyafter she opened forNas at Red Rocks.This month LostLake will feature

the Young and sick onSat July 12th, an after party Nick Waterhouseon Monday July 21st featuring the Mile HighSoul Club, plus on Thurs Sept 25th, the reggaeband Dubkor will have special headliningperformance.

Be sure to stop by Lost Lake at 3602 E Colfax(just west of Colorado blvd) visit them atlostlake.com and like them on Facebook.

Book Review:Cowboysand Indiesby GarethMurphyby Tim Wenger

Gareth Murphy is nota writer who cuts corners.

Cowboys and Indies,is a blazingly descriptive documentary of the recordindustry’s epoch. At times, I found myself wonderinghow Murphy was able to uncover the details that hepresents (which are often down to direct, behind-the-scenes dialogue between record label big shots), andmany hours of grueling research went into uncoveringthem.

The book provides an in-depth, humanized look intothe ever-evolving industry of selling music. Murphytakes readers from the “talking machines” of 1850’sParis all the way to the modern era of ProTools vividlydescribing each step along the way and detailing thelives of those who made them possible.

It is not a quick read, and is certainly not catered forthose with only a lukewarm affection for the musicbusiness. By taking us through the late 1800’s, intothe jazz and swing era to blues and finally to rockand roll and other forms of modern recorded music,Murphy shares many the previously untold tales ofsuccess and failure that happened along the way.From The Beatles assistance in helping theRolling Stones craft a masterpiece single, toElvis loitering in a local recording studio begging fora chance, this book is a must read for musicians andmusic historians alike.

Murphy’s prose is easy to follow, never leaving thereader in the dark without a frame of reference, andhe writes without favoritism- he remains objective andpinpoints the key ideas, moments, and transactionsthat took place in each era of the recording industry.

Cowboys and Indies will, for years to come, serveas the readers’ and researchers’ encyclopedia of therecording industry.

scores and even the production of the 1985 WeAre the World session that brought 46 pop androck superstars together in the studio to benefit thevictims of the drought in Ethiopia.

Born in Chicago in 1933, Jones ended up inSeattle with his family. It was there that Q, as ayoung teenager, bugged Ray Charles and jazztrumpeter Clark Terry into giving him lessons. Afterhigh school, he tried out Seattle University beforereceiving a scholarship to what was then knownas the Schillinger House in Boston (now called theBerklee College of Music). Like so many players whoattend the famed jazz school in Boston, Jones wasquickly out of the classroom and on the road with ajazz group. In his case, it was the Lionel Hamptonband and he toured Europe with Hampton.

Also, during this time, Jones put his arranging talentsto work when he was hired to come to New York witha couple of charts for the great jazz bassist OscarPettiford. In the Big Apple, Jones met his musicalgods, players like Miles Davis, Art Blakey, KennyDorham, Art Tatum and Charlie Mingus. He was alsointroduced to the world of the alto saxophone giantCharlie Parker. Bird, as Parker was known, washanging out with Jones in front of an old tenementwhen he convinced the young visitor that it was notsafe to carry around money in the city. Jones gaveBird the $17 he had left for safekeeping and Bird,and his habit, disappeared into the building and

never returned.

Still, in his early 20s, Jones joined the Dizzy Gillespieas a trumpeter and music director for a tour thatincluded the Middle East and South America. Then,right before the 1950s ended, Jones was asked to puttogether big band for a European tour of the musicalFree and Easy prior to a planned opening onBroadway. Jones filled the band with jazz luminariesand headed across the Atlantic.

Things went well with some concerts by the bigband and the early performances of the play. But inParis, it all fell apart. The show folded and everyonewas returning to the America. Jones, however, hadanother idea. This was a great orchestra and hewanted to keep touring Europe with it. The playersagreed and thus began a 10-month adventure ofliving on the edge without money and frequentlywithout food. As Jones put it, “We had the best jazzband on the planet, and yet we were literally starving.That’s when I discovered that there was music, andthere was the music business.”

Back in the USA, there was some touring with theband and a new job as the head of A&R (artist andrepertoire) at Mercury Records. While Jones broughta number of jazz artists to the label, the position alsoopened the door to a pop career that would bring himto Michael Jackson.

Still, with all his success, Jones never forgot hisjazz roots. He helped convinced trumpeter MilesDavis that is was time to recreate the majesticmusic produced by the trumpeter’s large-ensemblecollaborations with arranger Gil Evans (who diedin 1988). That project produced a performanceof those works at the Montreux Jazz Festival in1991, just months before Davis died. As Joneswould write in his autobiography, “ConductingGil’s orchestrations for Miles was one of the mostgratifying experiences in my career.” Sometimesthere are moments in music even more rewardingthan sales.

In the 1960s, George Benson emerged as perhapsthe most exciting guitarist on the jazz scene.During the 1970s, Benson used voice and guitarto break through to an audience that went wellbeyond traditional jazz fans. In fact, you might stillfind yourself singing his version of “On Broadway.”On July 19, Benson is the headliner at the WinterPark Jazz Festival that also runs on July 20. Heremains a superb guitarist. Speaking of guitarists,Pat Metheny is on tap at the Arvada Center on July25 as part of its summer series. He is there withhis Unity Band that has Chris Potter on saxophone.Additionally during the month, the drumming Heathbrother, Albert “Tootie” Heath, has a trio at Dazzleon July 9-10. The pianist with trio is Ethan Iverson,widely known as a part of The Bad Plus.

July 2014 | ColoradoMusicBuzz.com | CREATEmsudenver.com36

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Website Must-Haves for CreativesBy Leah Parker [email protected]

Unlike Etsy, DeviantArt, or Facebook, a personalwebsite allows artists complete control overshowcasing their brand and their work withoutthe distraction or competition of other artists’products. Websites can be designed quicklyand for cheap through sites such as Weebly,Squarespace, and Blu Domain, but whathappens when your visitors aren’t engaged withyour pages? To increase the success of attractingand keeping customers glued to your onlineporfolio, kick it up a notch with the tips below:

1) Goal. As with any marketing campaign,what is your goal? To showcase your work?To drive sales? Determining what you wantto achieve will make it easier when it comesto designing the layout and focus of your site(i.e. Don’t have a blog on the front page ifyou’re not a blogger. If you want sales includean e-commerce page, etc.), and measure thesuccess of your analytics, such as page visits.A website can always be updated, so if youraudience isn’t clicking on certain links, continueexperimenting with different elements suchas page navigation, typography, and design.

2) Call to Action. Now that you have agoal, create a call to action to direct visitorswhere to go, what to view, or what steps totake. Use words such as click, call, donate,register, or subscribe along with a briefdescription of what customers get fromfollowing through. If you have a large goal thencreate small actions on every page help toguide them towards your final objective. Makesure to utilize white space and different colorbuttons to make your call to action stand out.

3) What’s Your Story? What sells aproduct is a good story, one that a buyer canrelate to and share with others. Sharing yourpersonal journey, as well as the narrativebehind your pieces, will establish an emotionalconnection between you and your fans. Itwill also foster a deeper meaning behindthe art while creating an experience. Withevery photo showcasing your work makesure to include 300-400 words about whyyou created or designed that particularpiece of art. Did you run into unexpectedcomplications? How did you overcome this?As well as increasing Google search engineoptimizations, that message will turn your artfrom aesthetically pleasing to awe-inspiring.

4) Simple, Clear and Concise. Themore cluttered or maze-like your site is, theless visitors will take you seriously as an artistand return. That includes third-party advertising,which is distracting and comes across asunprofessional. A good rule of thumb: Startingfrom the homepage, customers should clickless than three times to get to the informationthey want. Remove your splash pages—whywaste a click?—and never require visitors toregister, join, or fill out forms in order to viewyour site. Remember to keep your navigationsimple. If you have a page for a resume andone for a bio, why not combine them? Keepall text to less than 500 words and your fontlarge and easy to read. And, always list yoursales prices. You don’t want to lose potentialcustomers by requiring them to contact you first.

5) Contact Information. Don’t givecustomers the impression that you’re hardto get a hold of by providing nothing buta feedback or comment form. Always beaccessible and include as much informationas possible, including your studio address,phone number, e-mail, etc. When you makeit easy for the media to find you, you alsoincrease your chances for an interview.

6) Photography. Posting qualityphotographs for your works and biography pageis vital for distinguishing yourself from amateurs.Pay for high quality images of your art. It willmake a difference in whether customerspurchase your product or go to another artist.Also, keep in mind that the media will use theimages and headshots provided on your website.Nothing looks worse than an outdated photo orlogo in a national magazine. Steer reportersto the images you want by providing Dropboxlinks to high resolution files in various formats.

7) Update! Your website is a digital store frontof you and your work, and just like any retailshop, you need to merchandise. Remember torotate your images and keep them seasonallyaccurate. A painting of snow covered mountainsshouldn’t be featured in the summer. Encouragefans to return by updating your website at leastonce a season. What are you up to? What eventsor new resume items do you have to share? Anynew pieces of art? Your customers want to know.

Creative Commons Attribution-NoDerivs 3.0 Unported License. http://creativecommons.org/licenses/by-nd/3.0/deed.en_US

Creatives CREATE-ing a BUZZ

Driftin’ Suns

After a successful Kickstarter campaign,the Driftin’ Suns is celebrating the releaseof their newest EP on August 23, 2014, atHigher Ground Music Festival on the mainstage. They also are developing furthercollaborations with other performing artistsand local businesses, such as VapeWize.

Website: thedriftinsuns.comFacebook: /DriftinSunsTwitter: @DriftinSuns

Ted Davis-Price Gallery

Owner of RiNo Art District’s newest studio,Price Gallery, Ted hosted BARE’s Spring2014 collection launch, in which a portionof proceeds were donated to CREATE’sAdopt an ARTrepreneur program. Ted hasseveral commissioned pieces in the worksand continues to weld metal sculptures. ThePrice Gallery is open for First Fridays Studiospace is available to rent for aspiring artists.

Website: pricedavisgallery.comFacebook: /pricedavisgallery

Twitter: @priceartgallery

AndoGro

AndoGro re-released his cd Thousands ofBirds and played at the June 10th Own It MusicMastermind networking series to an appreciativeaudience. AndoGro continues to grow his fanbase by play gigs around the Denver Metro area.

Website: andogro.comFacebook: /andogromusic

Twitter: @ando_gro

By Leah Parker [email protected]

Janet Eickelman

Janet is creating a large canvas for therecently decorated Summit County Commonsarts space, which was redesigned by theSummit County Arts Exhibit Committee.Janet also does interior walls treatmentswhich can be found at thenaturalwall.com.

Website: janeteickelman.com

Learn more about CREATE’s Adopt anARTrepreneur program and the upcomingcall for entry at CREATEmsudenver.com.

Check out how CREATE MSU Denver is helping creatives Turn their Business into a Work

of Art! A few of their clients include the Driftin’ Suns, Ted Davis, AndoGro, and Janet Eickelman.

2) Why are you known as the Rocketman?

Because of my first professional aspirationswith vintage canister vacuum cleaners fromthe 40-50’s, which were designed to bethat futurism that Americans dreamed of.Everything was designed that way, from carsto toothbrushes. But you can’t bolt chromeplated arms from vintage beauty shop chairs toa toothbrush! And it’s Rocketman, one word...as my site is one word rocketships, due tothe implication of ‘ship’ denoting the carryingof someone or something, as in my message.

3) What is a Severe ReConstructivist?

You won’t find that term in the artdictionary. I am all about individualityand inspiration in my work as well asmy titles and description of myselfand my work. I severely deconstructthe parts of the whole of the GoldenAge of American manufacturing, andthen reconstruct in my style (withno welding) into beautiful vintagelooking art of positivity. I find my partsthroughout the country at garage sales,thrift stores, junkyards, and in the trash.I get tons of donations on my porch andyard all year from people who see mywork, then can’t look at a pile the sameway ever again, and know where tokeep these manufactured goods alive.

4) Tell me more about

being a live assemblage

art performance art ist .

I started with simple 15 minute $50performances, in an alley in Salidafor Artwalk, about the economywhere I would put a dollar bill in thesculpture, so if you had to spend yourlast dollar you could pull it out. Fromthere I did full productions onstagewith a DJ and/or band working on one

July 2014 | ColoradoMusicBuzz.com | CREATEmsudenver.com 37

ARTrepreneur of the Month

Jimmy Descant, better known asSalida’s Rocketman, is a SevereReConstructivist, live assemblage artperform, community and arts activist, andis our July 2014 ARTrepreneur of the Month.

1) How did you get into art? Why Salida?

I worked as a road dog for 15 years for bandsacross the world ‘til I found a vintage canistervacuum cleaner at a New Orleans flea market. Iimmediately quit the road and became a full timeassemblage sculptor specializing in rocketships,calling myself a Severe ReConstructivist. I amself-taught and have been a full time artist for18 years. I grew up in New Orleans, and aftertraveling with bands and experiencing theAmerican West, I wanted to move out here.I moved to Salida in 2006, after searchingall around the 4 Corners states. It really wasthe beautiful small, intelligent, artistic, andprogressive place I was looking for in the West.

By Leah Parker [email protected]

)&(%+$#"(**('!

with Joe bye and the Kamikazi Klonez

www.evergreenarts.org

$2 festival entry, children free | $20 Palette of Brews tickets online, $25 tickets at the door

$5 donation for saturday nite live

July 19-20, 2014 10AM-5PMSat. Night: 4pm-9pm | Buchanan Field, Evergreen CO

303.674.0056 | www.evergreenarts.org

featuring 20 of Colorado’s finest

piece for an hour in a violent creation of art formajor showmanship. Many folks have seenaction painters, but never like this with drills,blood, and fire! http://youtu.be/qBFs4BcZ1-8

5) Share your community and arts activism.

I live and create in the first designated creativedistrict in Colorado, and work hard to carrythat Salida brand with me in all my local andtraveling exhibitions. This is a cool place withcool artists, and I believe we’re all trying tobalance the potential growth with our artisticsuccess and ability to still live in a smallcommunity and deal with administrative aspects,so I speak up a lot for my colleagues and thefuture. I also create world shaking severepolitical commentary to make people squirmand cry, such as my crutches series about war

and politics and vets, “13 after9/11, and Still...Crutches andCoffins”; and my controversialgraffiti art “Brains Over Guns.”

6) What are some

challenges in today’s art

business or art scene?

I would say it is the tendencyfor art organizations andadministrations to lose sightthat the ART is the beginningand end of all these effortsto promote and publicizeartists, programs, grants,procedures, funding. Manytimes the art becomes thetiny pinnacle of the invertedart pyramid, when it shouldbe the majority of focusand results and discussion.

7) What advice do

you have for new and

upcoming ar t is ts?

Be unique. Be what comes outof you instead of what is fedinto you by process, training,advice, or school. We can all

always learn and discern, but being a copy is notacceptable to me. I have a sign in my front yardthat I change to give the viewer something tothink about, and right now it says, “BE A KIND.”

8) Any upcoming events this summer?

I run at Guinness Book of World Recordsspeed (instead of Farmer’s Almanac) all thetime in my exhibits, life, and art. I have myexhibit “Western Futurism” at Telluride Artsthrough the end of June 2014; “ALT/WALK”during Salida’s regular Artwalk, and morelive art performances in Colorado and NewOrleans. On July 12, 2014, I will be doing anall-day version of live art for a benefit for theStronghold Society and Walt Pourier, who buildsskate parks on reservations to prevent NativeAmerican teenage suicide. It’ll be at DowntownDenver Skate Park at 20th and LittleRaven.http://strongholdsociety.org/?page_id=670

9) Anything else you’d like to share?

I only have about 50 more years on this planet,so I have to get back to work in the shop andin the streets like right now! When it’s all overmy tombstone will say, “I’M NOT FINISHED!”

Visit Jimmy Descant at deluxerocketships.com.

“Reverse Prometheus”, a 15’tall BIG rocketship, is installedat Evergreen’s Art for theMountain Community on loanprogram through June 2015.

Four flashlight rocketships commissioned by the ColoradoCreative Industries and presented for The Governor’sLeadership in Arts Awards at 3rd annual Creative Summit.

Artist Jimmy Descant with “Sioux Chief” made from steamiron bases, store shelf racks, snow shovel, hubcap, anddrive-in movie speaker.

Colorado Music Buzz Magazine July 14

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Transcript of Colorado Music Buzz Magazine July 14