Contact Us

Use the form on the right to reach the DJ Booth

           

123 Street Avenue, City Town, 99999

(123) 555-6789

email@address.com

 

You can set your address, phone number, email and site description in the settings tab.
Link to read me page with more information.

20170913__14CDEMIX1w~1.jpg

On Air Next

On Air Next: 9/13/17

Hannah Morrison

By Jolie Klefeker

The past couple of weeks have seen the releases of some of the year's most anticipated records from a handful of independent music's biggest and brightest: LCD Soundsystem, Deerhoof and a slew of smaller artists have subsumed 1190 in the most exciting wave of new music that 2017 has yet to see. Let's dive into some of the lesser-known musicians who are conquering the airwaves.

Chad VanGaalen appears as some kind of savant, the mysterious amalgam of a tinkerer, illustrator, producer and multi-instrumentalist. In addition to his several solo albums, VanGaalen has had a prolific career as a musical producer, working with acts like Women, as well as working as a visual artist. VanGaalen's music is magical, intricate and delicate, precariously teetering on some ledge between an enchanting and all-consuming harmony and feeling as if the song might fall apart in an instant.

Reminiscent of the off-kilter, dreamy irreverence of Broken Social Scene and the intimate sort of vulnerability found in Sufjan Stevens' voice, VanGaalen crafts delightful and immersive indie-rock melodies. His interdisciplinary approach to art crosses boundaries and fuses genres to create a warm familiarity that remains inventive and original. His latest record "Light Information," is no different. Upbeat but gentle chord progressions serve as the perfect canvas for erudite guitar notes and strange accents of spaced-out synth sounds. This whole record is incredible, whether you're as much of a weirdo as Women or prefer the sweet, folk harmonies of acts like Fleet Foxes, I would really recommend giving this a listen.

Banny Grove is the demented Mary Poppins starring in your Disney channel-themed, acid-fueled, alternate reality. It's in times like these that I default to annoyingly odd descriptions because Banny Grove's latest EP, "Cars in Control," is certainly goofy and uncannily hard to describe. I actually had the pleasure of seeing Banny Grove in Denver a couple months ago, the experience was totally overwhelming and one of the best shows I’ve seen in a minute.

Banny Grove's music is a whacked-out appropriation of pop. Bright synths and bouncy beats drive her music forward as she experiments with operatic vocals and nonsensical lyrics. Acting as the alter ego of Los Angeles' Louise Chicoine, Banny goes farther than the music. The costumes, dancing and banter breach on performance art. She's wackier than most but in a refreshing way as her art certainly doesn't come off as contrived. While it may be abstract, it's neither intimidating nor highbrow. She paints an intentionally childish caricature that invites a youthful silliness, standing in opposition to the common pretenses of the experimental music world.

This EP is freaky and absurd. Maybe that's your cup of tea, or maybe you're looking for something way out of your comfort zone. Either way, it's definitely worth checking out. If you dig it, her first record "Who is She?" and everything else out on Nicey Music is just as out there and interesting.

There's so much more to talk about and not nearly enough time, but I've actually started up a new radio show to help remedy that. It's called Foreplay, where I walk through all of the new music we're spinning from 5 to 6 p.m. every Wednesday. Head on over to Radio 1190 to check it all out: 1190 AM, 98.9 FM in Boulder or online at radio1190.org.

On Air Next 5.17.17

Hannah Morrison

By Jolie Klefeker

Summer is almost here. The weather is warming up, life is slowing down and change is in the air at Radio 1190. Last week's graduation included some radio 1190 VIPs, and now a new crew has arrived.

Hi, I'm Jolie! I'm the new music director for Radio 1190, and I'm beyond stoked. Us babies are chock-full of fresh ideas and a little too much energy. We are all about the vanguard in independent music. We want events, we want community and we want to engage with our audience wherever possible.

So let's talk about what we love — music. Girlpool just released their sophomore LP, "Powerplant." Consisting of Cleo Tucker and Harmony Tividad, Girlpool are no stranger to college radio. Their last record, "Before the World Was Big," is still a Radio 1190 favorite. The duo was known for crafting uncannily spirited and fulfilling melodies while retaining a commitment to minimalism: just guitar and bass. With a sense of youthful vulnerability, their poetic lyricisms are enrapturing, armed with simple phraseologies that cultivate moments of eerie and heart-wrenching nostalgia.

Vocally, "Powerplant" justly upholds the Girlpool mantle. Tividad and Tucker's harmonies are perfectly in sync; they aren't complex, but their synergy and control creates an unparalleled intensity. Their voices are raw emotion, colliding to forge a delicate equilibrium between the joyous and the poignant, the timid and the unapologetic. However, "Powerplant" shows significant instrumental change from their previous releases. They've added drums, and it definitely works.

This record is Girlpool growing up, graduating to a bigger and fuller sound. Don't get me wrong, I love their early work, but this album is mature, culminating their catalogue to date. We hear their maturation on the lead track, "123." The song's beginning is reminiscent of their older music. But gentle guitars and hushed voices carry us for about a minute into a gloriously loud and bold crescendo of brash drums and yelled vocals. "Static Somewhere" is also a highlight of the LP. The guitar sounds in particular are new for them, built of pretty, little riffs and gritty chords. Overall, this is a standout album. It has taken the best of Girlpool's experimental musings and combines it with the tried and true. It's complete, mature and teeming with emotion. Give it a listen.

Let's move to another big name in independent music. There are some parallels to be drawn here, because Mac DeMarco's latest release, "This Old Dog," also departs noticeably from his prior work. He's stepped away from his quirky persona and his antics, and emerges with a much cleaner and produced sound. Fortunately, the record does not abandon his characteristic, lazy-boy ethos. Another huge change is Mac's guitar sound. He's moved away from the wavy and wobbly effects and gone for something more mellow and, at times, acoustic. We hear this especially on the tracks "My Old Man" and "This Old Dog." Lacking his infamous DeMarco goofiness, the sound is rather flat. But don't be mislead — things pick up shortly after.

Several tracks on the album take on a very Homeshake or Mild High Club feeling due to the druggy, heavy, synth sound. Where I think Mac really stands out on this record is in merging the old with the new, at times making "Salad Days" and "Another One" seem like rough drafts of "This Old Dog." "Baby You're Out" really kicks off the album, a smooth combo of his new, cleaner guitar sound and a gentle addition of soft and bouncy synths. Later in the album, we hear "A Wolf Who Wears Sheeps Clothes" which sets in with an almost southern classic rock intro, very subtly hinting at an act like The Doobie Brothers' "Toulouse Street." The mix of harmonica, some gentle rock 'n' roll guitar licks, and the same acoustic chords that Mac's been using the whole album come together to make a song that's really fun and different. If you've been into Mac DeMarco for awhile, you may not love this album at first. As mentioned, it's drifting away from the fan-favorite sense of goofiness he's always had. But after a few listens, it has really started to grow on me. Out of "This Old Dog" emerges an older and wiser Mac DeMarco. Give it a listen, because you may just dig it.

Keep your ears peeled for these two albums and tons of other independent music on Radio 1190. Check us out online at radio1190.org, or turn your dials to 1190 AM Boulder/Denver, 98.9 FM in Boulder.

ON AIR NEXT 5.10.17

Hannah Morrison

by Elijah Jarocki

The time has come. This is my last On-Air Next as Music Director for Radio 1190. I hope I turned you on to some rad bands this year and you enjoyed my ramblings about the music I love. The best is yet to come. Jolie Klefeker will be your Music Director next year and will continue to give you the scoop on the latest, freshest music around. I’m going to take a second to reminisce about this year and give you a sneak peek of what you can expect from On-Air Next moving forward.

This year was jam-packed for Radio 1190. Last summer, we transitioned from a purely AM radio station to our new FM signal. A ton of new volunteers walked through the doors for the first time, volunteers which will shape the sound of 1190 in the future. Tons of in-studio performances from acts like Pinegrove, Show Me The Body, Slow Hollows, and Panaderia swept through the station with hurricane force. We presented shows, gave away tickets, and threw down for local venues in Boulder and Denver. We even had Radio Prom, which, as you would expect, was quite a sight to behold. It's all ending for me, my time is done. But college radio, like everything else, rolls on.

Here’s what you can expect for the future of Radio 1190. Jolie is going to be the most kick-ass music director yet. Her taste is immaculate, her passion unparalleled. She’s been hitting house shows since high school, widening an extraordinary breadth of musical knowledge. Where Radio 1190 goes next is up to her and up to you, but we’ve already been slinging some ideas around.

We want 1190 to continue to be a radio station you can rely on for tasty tunes, tantalizing talk breaks, great news and sports, and awesome specialty programming. Moving forward, Jolie wants to focus even more on local music. Denver and Boulder are growing exponentially. As more money moves into Colorado, the local scene is primed to be the country’s next hotspot of musical creativity. We want 1190 to be on the edge of everything, a spot where you can hear what’s next before anyone else.

There’s never been a better time to get involved. Radio 1190 has the bandwidth, the staff, and a vision like never before. Whether you’re just starting school or have lived in Boulder for years, we’d love to have you on board. If you’ve ever been interested in radio, send an email to volunteer@radio1190.org to catch this train early. As for me, I’m out of here. I’m not too sure where I’m headed, but it was an honor to hold this position this year. If you happen to have a job for a washed-up Music Director, hit me up. Otherwise, stay tuned to Radio 1190. 98.9 FM in Boulder, 1190 AM in Denver.

On Air Next 5.3.17

Hannah Morrison

by Elijah Jarocki

I’m almost out of here! If you’re a graduating senior like myself, we’re probably feeling the same strange mixture of trepidation and excitement. It feels weird to be outdated. Like James Murphy, I'm “losing my edge to better-looking people/With better ideas/and more talent/And they're actually really, really nice.” Prime example: my dear friend Jolie Klefeker who will be taking my position as music director of Radio 1190. On May 17th, “On-Air Next” will fall into her hands. We’ve been training: gulping yolks and running up stairs. Rest assured, she’ll be even better than me at this. Until then, I have two columns left, baby. Here’s one.

When I die, please bury me in Yo La Tengo records. This band means an awful lot to me. The Summer after Freshman year, I would get off work from the CU Bookstore, walk home, and lie on my twin-sized bed floating in Yo La Tengo. “Painful” is my favorite record of theirs, so I put it back in rotation this week. This 1993 record is a masterpiece. From “Big Day Coming” to “I Heard You Looking,” “Painful” is a warm car ride through your emotions. When YLT rocks, they rock. When YLT is sad, they’re perhaps the saddest band in the world.

“Nowhere Near” features shimmering guitars doing the Yo La Tango around Georgia Hubley’s understated vocals. It’s surely one of the best love songs of all time with lines like “When I see you look at me/I'm not sure of anything/All I know is when you smile/I believe in everything” If you like the electric guitar [who doesn’t?] you’ll love “Painful.” Hear it this week on Radio 1190.

“Strawberry Jam” is definitely one of Animal Collective’s best records. It’s not as emo as “Feels,” as esoteric as “Here Comes The Indian,” nor as overhyped as “Merriweather Post Pavilion.” Rather, “Strawberry Jam” is unbelievably fun. It’s AnCo in their purest form: experimental, joyful, and overwhelming. It’s an audio wonderland brimming with beautiful colors, unexpected melodies, and, of course, jam. Animal Collective is always hard to pin down. Their influences are incredibly diverse. Moments on “Strawberry Jam” remind me of White Album-era Beatles, other moments are pure glitchy bliss. One thing’s for sure: You’ll know immediately how you feel about it. We’ll be re-hashing our thoughts on-air all week.

Is this column a Pitchfork greatest hits remix? Perhaps. That won’t stop me from talking about “A Crow Looked at Me,” Phil Elverum’s newest record as Mount Eerie. Since The Microphones’ “The Glow, Pt. 2,” Elverum has been a mainstay in independent music circles. He began Mount Eerie after The Microphones disbanded in 2003, but continued his ultra-sad songwriting into the new project. “A Crow Looked at Me” is devastating. Elverum penned this record immediately following his wife’s untimely death in 2016. When he talks about death, he doesn’t use metaphors. The songs are overtly about her. Through the sadness, Elverum finds an unbelievable beauty on “A Crow Looked at Me.” It’s an incredibly personal record, almost perverse to write about. You better hear it yourself.

Three great records on Radio 1190 this week. Next week will be my last column. Set your dial to Radio 1190 this week: 98.9FM in Boulder, 1190AM in Denver.

On Air Next 3.13.17

Caden Marchese

by Elijah Jarocki

Here at Radio 1190, we have about 25,000 records to our name, handpicked since 1998 with guaranteed quality. This week, I’ve put a couple great old records into rotation that we haven’t spun for a little while. They're either old favorites or underground gems, and I think you’ll dig both. Let’s dive in.

I’m throwing Boredoms’ phenomenal record “Wow 2” back into heavy rotation. Boredoms have been around since 1986 exploring every sonic avenue known to man. “Wow 2” is a live album from 1993 that spans harsh nose, thrash metal, and punk. It comes at you like a heavyweight, slinging haymakers of fuzz and bursts of vocals. It might freak you out, but odds are you end up liking it. As an introduction to Boredoms, “Wow 2” is perfect. The band’s discography is expansive, varied, and often inaccessible to potential fans. Instead of wading in the shallows, throw yourself headfirst into their sound with “Wow 2.” You won’t be disappointed.

If you’re looking for more great, weird vocalists, tune into Radio 1190 to catch tracks from Tim Buckley’s “Starsailor.” On his 1970 release, Buckley showcases his astronomical range as a vocalist and his beautiful sense for the absurd. The opening track “Come Here Woman” is far closer to free jazz than the zeitgeist of typical 70s pop. Tim Buckley’s voice is enchanting, even haunting at times. “Starsailor” is thoroughly idiosyncratic. You’ll find traces of Zappa, Beefheart, and Davis, but Buckley really stands apart as a visionary artist throughout this release. You might hate it, but at least it’s not boring!

Rounding out this week, “Maggot Brain” from Funkadelic will be hitting the airwaves once again. Since its release in 1971, this legendary record has been sampled countless times and inspired thousands of artists. “Maggot Brain” ranges from the title track’s psychedelic jazz to Funkadelic’s biggest hit “Can You Get to That” in the first two tracks. After that, “Maggot Brain” keeps you guessing with experimental studio diatribes, huge funk numbers, and fast rock ‘n rollers within the same breath. This is truly a timeless record, it sounds just as good today as it did in the early 70s. Hear it how it was heard in ‘71–crank that radio up!

I’m stoked to spin some of these golden records on 1190 this week. Appreciate them with me via Radio 1190, 98.9 FM in Boulder and 1190 AM in Denver. Next week, I’m heading down to South by Southwest to check out the freshest bands in the country. I’ll return on March 23 with more updates for what’s on-air next.

On Air Next 3.1.17

Caden Marchese

by Elijah Jarocki

Polyrhythms have been ruining my life. It probably started with Talking Heads. There was something about David Byrne’s lust for strange rhythmic patterns that set my brain on fire and got my feet pumping. For the uninitiated, the standard definition of a polyrhythm is “ the simultaneous combination of contrasting rhythms in music” (Merriam-Webster). You know them when you hear them. If a song’s makes it hard to tap your foot, boggling to sing, or maddening to track with, there’s probably a polyrhythm lurking somewhere in the track’s structure. This week, I’m highlighting three new additions to KVCU’s library that use polyrhythms to create interesting, unconventional songs.

First and foremost, our March CD of the month is the resplendent “Drunk” from Thundercat. If you aren’t familiar, Thundercat is a grammy-award winning, classically-trained jazz musician who’s worked with the likes of Kendrick Lamar and Flying Lotus. “Drunk” is a strange ride, a nonstop journey through topics both mundane and heavy without reprieve. Thundercat approaches lyrics in a very peculiar way. Sometimes his words are simple and easily digestible; other times he drops little thought-bombs. Throughout the record, he pairs his lyrics with his jazz background, changing mood and time signatures as frantically as his train-of-thought.

Polyrhythms are all over “Drunk.” Every instrument grooves in its own time, weaving through the throng of gorgeous sounds. I’m really excited about this release from Thundercat. The record demonstrates that just because something has serious capital backing, huge names involved, and a high-profile marketing campaign, doesn’t mean that it’s not creative or interesting. “Drunk” is definitely a different choice for our CD of the month, but one listen and you’ll be grooving along with us.

Speaking of groove, if you’re more into a frenetic dance state than a mellow chillout, definitely check out the band Ponytail. In terms of modern polyrhythmic rock, Ponytail were definitely ahead of their time. They hail from Baltimore, and their three studio albums “Kamehameha,” “Ice Cream Spiritual,” and “Do Whatever You Want All The Time” have been heavily dissected since their respective releases. Ponytail blends ecstatic rock music with joyous, almost a-verbal lyrics for a cacophony of splendid noise. They aren’t a new band by any means, but I’m choosing to add them back into rotation for a couple weeks. If you tune in, you’ll understand why.

Finally, I’m going to spin Hellier Ulysses’ “Prime Example” on heavy rotation in the coming weeks. This was one of my favorite releases from 2016 and truly takes polyrhythms to the next level. You can definitely hear elements of Ponytail and Guerilla Toss in their sound, but while both bands hold onto an idea for a while, Hellier Ulysses swings from frantic to smooth at an ADHD pace. They sound like a remix of rock n roll–what happens when you take rock history and cut, copy, and paste it into a distorted photoshop document. Their sound clearly isn’t for everyone, and it might drive you insane after listening, but it's definitely an experience everyone should try.

Radio 1190 is about to sound a lot more polyrhythmic. Join us on this maddening ride. Tune in on 98.9 FM in Boulder, 1190 AM in Denver, or online at Radio1190.org.

On Air Next 2.23.17

Caden Marchese

by Elijah Jarocki

We have three great new records spinning this week on Radio 1190.

Tim Darcy normally fronts the Canadian post-punk band Ought, but his new record “Saturday Night” brings his voice to unheard places. Rather than slinging mantras at breakneck speed (a la Ought’s 2015 release “Sun Coming Down”), “Saturday Night” is more rockabilly than punk. Darcy’s traded in angular guitar work for big chords strummed at breakneck speed. His monotone voice skips sweetly over the surface of the band with singalong melodies and feel-good lyrics.

Ought is an ultra-talented outfit dripping with different sounds and hard-to-place influences. If you’re a fan, you can hear Tim Darcy’s contribution to Ought’s sound clearly after listening to “Saturday Night.” This release works with Ought the way Brandon Flowers’ solo records interact with The Killers (although perhaps Ought has a little more street cred these days). I’m such a music geek. I love ripping apart bands to hear what each member brings to the table. If you like that too, listen to Ought, and then check out Tim Darcy’s “Saturday Night.”

If listening to Ought has you in the mood for post-punk, be sure to check out the new record from POW! called “Crack an Egg.” Castle Face Records, the personal label of Thee Oh Sees’ John Dwyer, put this release out earlier in February and we’ve been in love with since. POW! combines the synthy hits of early DEVO with Joy Division’s dark tendencies for a true blast-from-the-past sound. Fans of S U R V I V E or Factory Floor will feel right at home with “Crack An Egg,” its ultra-dancable, exciting, and full of scintillating sound sources. For the kids who love dancing to punk music, it's hard to find a better new record for a punk club. You’ll hear it constantly spinning on Radio 1190.

“Mall Goths” from Scarves isn’t mall nor goth, but a sweet new release in the style of Los Campesinos! On the first listen, “Mall Goths” sounds bright and happy. On the second listen, the depressing lyrics really sink into your soul. On the third listen, you’re in love. Scarves doesn’t overthink anything, every track is straightforward, simple, and exactly what you want. The band has kind of a folk-punk attitude without the brittle acoustic guitars (thank god). They’re part of a new wave of emotional punks, a continuation of the scene forged by Brand New, Kevin Devine, and Manchester Orchestra. Rekindle your angst, give “Mall Goths” from Scarves a try.

Hear all these records and more! Listen to Radio 1190. 98.9 FM in Boulder, 1190 AM in Boulder and Denver.

On Air Next 2.8.17

Caden Marchese

On Wednesday, Pitchfork posted an article titled “Does College Radio Even Matter Anymore.” If you haven’t read it yet, Kevin Lozano walks through the ins-and-outs of college radio history and finally decides: yes, there is still a place for college radio. Of course, we at Radio 1190 knew this all along. Radio 1190 gives us an independent voice to express what we love, how we think, and what we’re excited about. There’s so much content being created today–more than ever before. Staying on top of everything is an immeasurable challenge; one that no one is able to do alone.

We rely on all sorts of platforms to find content. Algorithms based on Spotify saves, Facebook likes, Twitter mentions, geography, the list goes on. The thing that separates college radio from these platforms is the thing that matters: the human element. I, for one, trust a friend far more than a machine. When you tune into college radio, you have a direct connection with someone relatable, someone interested in the same things as you, and someone living in the same world you are. This week, I’m highlighting “Interstellar Transmissions” and “Strike a Match” from Sacred Paws. One’s a much-beloved weekly radio show on Radio 1190, and one’s a soon-to-be-loved release from a British long-distance group. Both are hallmarks of college radio in all its glory.

Grace Cho hosts “Interstellar Transmissions” Saturdays from 8-9. She’s a self-described alien girl traveling through space, listening to earth’s music for the first time. Do you remember the first time you heard The Beatles? The Velvet Underground? The show happens through “log entries” wherein Grace floats through different sounds, concepts, poems, and ideas as though she’s never encountered them before. Tuning in is a transcendent experience. The listener joins Grace in outer space, finding things for the first time and discovering classics in a new light. It’s an exploration of this world we live in, what we’re surrounded by, and what’s come before us. Last week, she played Laurie Anderson, Slint, and Thee Silver Mt. Zion Memorial Orchestra. What will she play next? You’ll have to tune in to find out.

My favorite thing we’re spinning on Radio 1190 right now is “Strike a Match” from Sacred Paws. They’re a group that stretches from Glasgow to London, long-distance transmissions of pure joy and excitement. “Strike a Match” features polyrhythmic vocals and jubilant guitar melodies that surround and caress the listener with tenderness and warmth. It’s an idiosyncratic record which doesn’t quite sound like anything else. Listening is truly an experience, and you can hear it all the time on Radio 1190.

These two things are both unique to college radio. Experimental audio projects and underground releases are the norm. College radio is a place of unwavering creativity and expression, a place set apart from all others. Find it. Tune into Radio 1190 on 1190 AM in Denver or 98.9FM in Boulder.

On Air Next 2.1.17

Caden Marchese

Priests are a post-punk outfit from Washington D.C. Our nation’s capitol has a rich history of producing bands which fight the system with attitude and ferocity, (see Fugazi), and Priests keeps the tradition alive. Their new record “Nothing Feels Natural” will keep your head spinning.

Fronting Priests is Katie Alice Greer, a badass singer who reminds me of Kathleen Hanna with Iggy Pop’s snarl. She sits on top of the unruly mix–underneath her is a tornado of angular guitar, honkey-tonk keys, drums, and pure energy. The record jumps all over the place, sounding sometimes like the B-52s, sometimes Minor Threat. I need punk music to keep myself sane during these crazy times. You might feel the same. Give Priests a spin.

Bonobo has always been a heavy-hitter for atmospheric, groove-oriented electronic music. His new record “Migration” takes a page from Tycho’s book; it’s warm, spacious, patient, and gorgeous. Bonobo’s the king of vocal samples, and displays them proudly on “Migration.” Every sample is just hooky enough to be interesting without feeling like bland H&M pop music. If you know Bonobo, you’re probably already a fan of “Migration.” If not, start with the track “Outlier,” for a bellweather of the record. I can’t imagine anyone finding “Migration” offensive, it bumps for the hip-hop heads, grooves for the dancers, and vibes for the ambient fans. Check it out.

Finally, we’re spinning Run the Jewels 3 hot & heavy. After Killer MIke’s endorsement for the Sanders campaign (and the events that took place afterward) we all expected a new Run the Jewels around the corner. Just as before, Run the Jewels step up to their role as figureheads for minorities, the disenfranchised, and the oppressed across the nation. “Run the Jewels 3” runs with the same crowd as previous installments (a.k.a. IT RIDES). Whether you’re listening for lyrics or fat beats, “Run the Jewels 3” will overwhelm you. If you haven’t heard it yet, you’re missing out.

Looking for a place to hear all three records? Look no further my friend. Radio 1190: 24/7, 98.9 FM in Boulder, 1190 AM in Denver.

On Air Next 11.16.16

Caden Marchese

by Elijah Jarocki

America means different things to different people. From Chuck Berry to Kanye West, American music reflects who we are are and where we came from. This week, let’s take a look at three new records from American songwriters that explore where this country has been, and where it’s headed.

With a seal of approval from The Mountain Goats’ John Darnielle, “Ten Hymns from My American Gothic” by St. Lenox is a fascinating record that gives a unique perspective on American life. The album artwork depicts a construction crew renovating a gothic church with a skyscraper looming in the background. From the first look, we can already guess many of the themes hidden within. “Ten Hymns from My American Gothic” deals with Christian mantras, America’s obsession with progress, and the clash between the old and the new. The opening track, “Fuel America” begins with a refrain from “We Shall Overcome,” a song inherently politically powerful. Throughout the release, St. Lenox both celebrates and questions America’s history. Sometimes he jabs, as in “Nixon’s” sardonic speedball spit. Other times, he recognizes America’s faults but reconciles his issues with appreciation (“Thurgood Marshall”). St. Lenox shares the spirit of The Mountain Goats and Billy Bragg; all three outspoken, yet well-spoken. Be sure to give “Ten Hymns from My American Gothic” a good listen.

Slaughter Beach, a podunk town on the coast of Delaware, is the longtime chosen retreat for Modern Baseball’s Jake Ewald. Named after either a local postmaster, the bloody tide of dead horseshoe crabs, or a local massacre, Slaughter Beach is a chunk of Americana rooted in stories and legends. Ewald’s new project, Slaughter Beach, Dog relays small town tales from an American landscape on his new record “Welcome.” The album lies somewhere between Modern Baseball and Jeff Rosenstock; it has folk-punk elements but never preaches. Rather, Slaughter Beach, Dog focuses on relationships and idiosyncratic experiences. This record comes off like a correspondence letter from an old friend, dripping with interesting details that are as endearing as they are strange. If you’re riding high on Car Seat Headrest, I’d definitely recommend “Welcome” from Slaughter Beach, Dog.

“Goodbye Terrible Youth” from American Wrestlers is the most rock and roll of the three. The releases Slaughter Beach, Dog and St. Lenox are both mature statements on American culture. In contrast, “Goodbye Terrible Youth” harnesses adolescent energy and excitement. Although the record seems negative with songs like “Vote Thatcher” and “Terrible Youth,” American Wrestlers doesn’t wallow in their angst. They recognize the absurdities of growing up in modern America, and channel their distaste into positive change. This record reminds me of Manchester Orchestra’s first record, but with an emphasis on fuzzy synths and new wave melodies. “Goodbye Terrible Youth” is a collage of influences and attitudes, much like our country.

Often, we’re at a loss for words when we look at our country. There’s so much good, and so much bad. When we can’t speak for ourselves, we can turn to music for inspiration. If you want to hear some inspiration this week, set your dial to 98.9FM in Boulder or 1190AM in Denver and check out great new releases on Radio 1190.

On Air Next 11.9.16

Caden Marchese

by Elijah Jarocki

It’s been a long week. Everybody, from those always politically active to those sucked into the bureaucratic bog, has felt a lot this week. Whether or not your presidential candidate inherited America’s unwieldy reigns, great music always speaks to us. It’s a friend when we’re lonesome, a pick-me-up when we’re dragging, and a light when everything seems incredibly dark.

I feel it too. The weariness from hollow rhetoric, and reticence to believe that everything will work out. This week, I’ve relied on a couple records to make me feel great again. Here’s a little preview of some releases that might help you through it.

Lambchop just released “FLOTUS,” their followup to 2012’s “Mr. M” and their foray into autotuned lounge music. A band for over 20 years, Lambchop’s played it all. Everything from alt-country to free jazz fits within their wide catalogue. With “FLOTUS,” Lambchop explores what it means to rest, relax, and appreciate the things around us. “FLOTUS” is an acronym of “For Love Often Turns Us Still,” and the record reflects this kind of attitude. When we implement love, stillness and patience, everything seems a little more alright.

The opening track “In Care of 8675309” is a twelve minute dive into a cool lake of organ and bass. Every musical second of “FLOTUS” contains incredible depth. The spacious recordings invite us into a world where everything is a little weird, a little unfamiliar, but always comfortable. It reminds me a lot Sun Kil Moon’s approach to composition, but also has elements of Tindersticks, Portishead, and Bon Iver. In short, “FLOTUS” is incredibly gracious; it lends us its hand when we can’t quite get up again. After this week’s firestorm of aggression, it might just be what you need.

However, If you’re sick of this country and want something entirely else, I’d recommend “&” from Michael Mayer. It’s a house/IDM stunner with a calculated attitude and hopeful groove. Mayer is one of the predominant electronic musicians from Cologne, Germany and has remixed a variety of artists including Moby, Pet Shop Boys, and Depeche Mode. “&” employs a heavy four-on-the-floor 808 kick to keep the record moving forward. Over top, Mayer mortars lines of synths, vocal hooks, and interesting effects to keep the record interesting. If you’re having trouble picturing the sound, think the uptempo parts of Jamie xx’s “In Colour” mixed with Cut Copy or Hot Chip. These recordings are positive, energetic, and could be the red bull to your sluggish demeanor. Don’t listen if you’re looking to wallow, but if you’re ready to move on, “&” by Michael Mayer is just the thing.

If you can’t beat them, join them; and if you can’t join them, make strange music in your basement. That’s the feeling behind American Monoxide’s “Web Content,” a cool record that’s intrinsically outsider music. Project-founder Dimitri Manos rarely plays shows, preferring instead to cook up some tasty grooves for personal consumption. Do you remember the weird feeling you got from first playing around with a crappy casio keyboard? All the bells, whistles, dog barks, and bubbles are back in action on “Web Content.” Manos is a master of strange, and his music reminds me most-closely of Beck’s “Odelay.” I would also compare “Web Content” to Grape Room and local musician Ben Donehower. I would start with “Guitar Amp” a track that has a unique, heavy drag, like a piece of metal being pulled behind a semi truck. If your preferred way of dealing with the election is escapism, “Web Content” is the record for you.

Music will always get you through. I mentioned three records above that are quite different, but all super cool and interesting. Their denominator? All three will be spinning heavy on Radio 1190 in the upcoming weeks. Be sure to set your dial to 98.9FM in Boulder and 1190AM in Denver to hear the best of the best new music.

On Air Next 11.2.16

Caden Marchese

New records from La Femme, American Football, and Savoy Motel are spinning this week on Radio 1190.

Recorded half in a French castle, half in Los Angeles, “Mystère” from La Femme is a powerful record that combines European Krautrock with contemporary sounds. La Femme sounds like a version of Yelle inspired more by Kraftwerk, Neu!, and Stereolab than 80s pop. “Mystère” has all the hustle-and-bustle of busy parisian streets; it morphs and shimmers with an incredible energy. Tons of different sounds appear throughout the record, coercing the listener to indulge in La Femme’s psychedelic thrill ride. Some songs are fun and straight ahead (“Septembre”) while others are opaque and difficult to comprehend (“Vagues”). This record is super cool because it marries hardcore pop sensibilities with experimental leanings. Everyone will find something to like on La Femme’s “Mystère.”

On the other hand, the new record from American Football is even less accessible than their infamous 1999 self-titled release. “American Football (LP2)” definitely panders to previous fans of American Football by distilling the band’s tried-and-true sound into something far less compelling. When their first record came out in 1999, Mike Kinsella & Co.’s blend of math rock and emo was new, exciting, and expressed heavy personal feelings in a way never seen before. Since 2000 though, hundreds of bands have fallen in love with American Football and ripped pieces of their sound for their own use. Mike Kinsella has also moved on, working with Owen and Joan of Arc has shaped him into a powerful songwriter much more mature than the Kinsella singing on American Football’s 1999 self-titled. I think writing with the original American Football lineup is a strange idea for Kinsella, he’s progressed immensely over the last 16 years while his bandmates pursued things outside of music. All of these elements make “American Football (LP2)” familiar . . . really familiar. This record opts for safe songwriting rather than radical change. This approach ensures American Football keeps its sizeable fan base, but also guarantees them almost complete irrelevance in popular culture. Long story short, If you liked American Football before, you’re gonna like this new record; however, if you’re unfamiliar, you might be left totally bored. Judge for yourself, “American Football (LP2)” will be spun to death on Radio 1190.

Savoy Motel is a set of inside jokes for a particular fanbase. The group’s self-titled debut release embraces camp and cheese through 70s songwriting and outdated sounds. Savoy Motel’s strange conglomeration of instruments reminds me of Zappa, Beefheart, and scores of strange legendary acts from the past. This is music for weirdos, by weirdos. If you grew up listening to outsider music and loving the banal and absurd, Savoy Motel will be right up your alley. This record was released on What’s Your Rupture, the same label responsible for acts like Parquet Courts and Royal Headache. Savoy Motel has a similar vibe to these bands, all three are super sensitive to musical history and entirely self-aware of their place in the modern indie landscape. I’d also reccomend this debut from Savoy Motel to fans of Sonny & The Sunsets or fans of Edward Sharpe & The Magnetic Zeros’ strange b-sides. I can’t guarantee everyone will like this one, but it’s definitely worth a shot. To hear it yourself, tune into 98.9FM in Boulder or 1190AM in Denver and listen to Radio 1190 this week!

On Air Next 10.19.16

Caden Marchese

by Elijah Jarocki

Electronic music takes all sorts of shapes. It’s easy to write off the whole genre when you’re tired of hearing the same drops, wubs, and vocal samples blasting day-after-day from the corner of 12th and college. Don’t lose hope! This week, Radio 1190 is spinning three new electronic records that prove there’s more to the genre than dubstep.

When I’m spending long hours at a coffee shop trying to crank out some homework or immerse myself in code, Tycho has always pulled me through. Scott Hansen’s previous three records, “Past is Prologue,” “Dive,” and “Awake” befriended all sorts of people upon their release. His signature style of driving rhythms, inspiring instrumentals, and ambient sections secured Tycho as a household name in IDM. New record, “Epoch” takes the Tycho formula to a new level.

“Epoch” still has all the familiar synth sounds of “Awake” but is a total maximization. The exciting parts are faster, and the ambient sections more spacious, giving the record a great contrast from track to track. “Receiver” is sparse and lonesome with a couple noodling synthesizers as the listener’s only company. The title track directly follows with a four-on-the-floor beat and energetic lead lines. If you already love Tycho, you’ll be delighted with “Epoch,” it takes everything he’s done before and expands it. I can already tell that this release will score countless homework sessions for years to come.

While Tycho underscores the listener’s experience, Adrian Younge’s new record “The Electronique Void” calls attention to itself. Younge is no stranger to retro sounds, his twin releases “Something About April” and “Something About April II” were decidedly old-school in both feeling and subject matter. His previous records explored 70’s production techniques and songwriting. “The Electronique Void” takes us all the way back to the early days of Moog synthesizers and the golden years of Muzak. Younge’s drum machine is adorably analog, and his synthesizers are perfectly primitive. For those familiar with the work of Mort Garson, “The Electronique Void” has heavy plantasia vibes flowing throughout the music.

There are few words spoken throughout the record, most of the theme is conveyed through synthesizers rather than vocal parts. Exceptions to this rule take place in the first and last track, when a matter-of-fact narrator sparks your imagination with a couple lines of intriguing prose. In “Black Noise,” a voice speaks, “when the black noise hits, the polarity flips/ pushed apart, you heard a name and a spark flew down your spine . . . beware of the black noise” while mentioning St. Elmo’s Fire, Tesla, and Edison. The monologue gives the record strange context, it sounds like it was pulled out of an instructional video from the 1950’s. Bookending the record is another monologue that says, “remember, be careful with your heart/ it’s the only one you’re given/ the compromises you make/ the ones that you take/ the boundaries you set/ and the ones that you forget/ often lead to disappointment.” If you’re intrigued by “The Electronique Void,” be sure to give it a listen this week.

The last record I’ll mention is a new release from Melbourne-based audio/visual duo Friendships (Nic Brown and Misha Grace). Nic Brown states, “The Nullarbor plain is the physical body of land that links Misha and I. We have conceptually created an audio/visual representation to the Nullarbor in 1988­-1989. Isolation and incredible harsh landscapes. Blood, sweat and gravel. Dust kicks and kisses the Great Australian Bight. A time when the road was king and petrol was God.” If this sounds abstract to you, you’re not alone. The record is definitely experimental in approach. Some tracks have a Oneohtrix Point Never-esque mystery, while other tracks sound more like Death Grips. You definitely won’t hear any of these tracks on a typical radio station, but that’s why you listen to Radio 1190. Whether it’s IDM, retro synth, or experimental sounds, there’s tons of different electronic music out there, and you’ll hear a great range on Radio 1190 KVCU. 1190AM in Denver and now 98.9FM in Boulder.

 

On Air Next 10.7.16

Caden Marchese

by Elijah Jarocki

Radio 1190 KVCU is now on the FM dial! Tune into 98.9 FM in Boulder and hear your new favorite artist. Spinning this week are three hot contenders: we have new records from Infinity Crush, Warpaint, and LVL UP that are sure to delight you.

When I was in high school, liking “When We’re Snow” by Infinity Crush was a strange token of emotional depth. I knew that if someone really dug “When We’re Snow,” there was a really good chance we were going to be friends; we were somehow joined together by our shared love for Caroline White’s incredibly depressing bedroom folk. It’s 2016 people, and Infinity Crush has come to rip our hearts out again. Caroline White returns (and brings Derrick Brandon along) for Infinity Crush’s second full-length “Warmth Equation.”

White is from Maryland, and clearly shares its penchant for ambiance. “Warmth Equation” has elements pushed far back in the mix, slathered in reverb, wrapping tracks in haze like a foggy forest. This record is about relationships, but there are no bold declarations of love, no breakup songs, makeout songs, or comeback songs. Rather, lyrics from “Warmth Equation” are the sorts of things you think about when you’re alone, when you’re riding public transit, when you’re not quite sure of anything and not quite sure of what that means. Some of these songs have been scattered online for years in fragments, demos, and rough recordings. It’s refreshing to hear the final version on “Warmth Equation.” Some of the songs lose a bit of personality when transferred to a studio, but are polished, definite, and immediate. Are you having relationship troubles? You’re not alone, let Infinity Crush guide you through.

Warpaint have been riding high since their 2013 self-titled. Performances on KEXP, extensive touring, and the smash hit “Love is to Die” have all brought serious attention to the four-piece from Los Angeles (their label bought a billboard in downtown for Christ’s sake). Does their new album “Heads Up” live up to the hype?

Some songs clearly do. The title-track is a 5 minute banger with explosive basslines, calculated drumming, and an incredibly singable hook. Other tracks are a bit more ambiguous. The record is definitely cool, it feels like a late-night drive through the deserted streets of your hometown’s warehouse district: obfuscated, strangely sensual, and strangely fascinating. The group is clearly on the same vibe as the Local Natives, but I’m more impressed with this release than the Native’s newly released “Sunlit Youth.” Instead of resorting exclusively to synthesizers like the Local Natives, Warpaint employs tasty basswork, sharp guitar lines, and a couple crunchy drum machines. The new record from Warpaint isn’t better or worse than their self-titled, but quite different. You might be impressed or you might be disappointed, but you’ll definitely have an opinion. Set your dial to 98.9FM to find out.

“Return to Love” by LVL UP begins with the track “Hidden Driver.” The track feels like a misnomer for “Holland 1945” by Neutral Milk Hotel, they share nasty acoustic guitar distortion, similar vocals, and the same whirlwind feel. However, this all fades on the second track “Blur.” This one definitely sounds like Guided By Voices, Built to Spill, or Dinosaur Jr. As you continue through the record, LVL UP refuses easy comparisons by sounding like a hundred different bands. “Five Men on the Ridge” almost takes a Modest Mouse-like approach: bookend a sweet melody with walls of distorted sound at the beginning and end of the song. There are a couple things that define LVL UP. All of the tracks on “Return to Love” share a 90’s feeling, pay close attention to guitar work, and use an effortless vocal style to give the record a careless swagger. If you check out the record and dig it, LVL UP will be performing at the Hi-Dive in Denver on October 26th. “Return to Love” is a quintessential college rock record, and will definitely be played on your favorite college rock station, Radio 1190 KVCU. Don’t forget to set your car’s #1 FM preset to 98.9 in Boulder, with 1190AM still operating in Boulder and Denver.

On Air Next 9.7.16

Caden Marchese

Midterms are right around the corner and many CU students are desperate for a moment to relax. Take it easy, give yourself a break, and check out these three new releases spinning on Radio 1190 KVCU this week.

Of all the fall releases, “MY WOMAN” from Angel Olsen might be the most hotly anticipated new album. The record has already earned Best New Music from Pitchfork, and launched Angel Olsen on a lengthy tour across the country and overseas. You might remember Angel Olsen from 2014’s “Burn Your Fire For No Witness,” 2012’s “Half Way Home,” or 2011’s debut “Strange Cacti,” but “MY WOMAN” might be her best record yet.

The album begins with “Intern,” a melancholy alto ballad which finds itself in Lana Del Rey territory. If Lana’s not your vibe, don’t tune out quite yet. “Never Be Mine” picks up the pace considerably and leads into the second single “Shut Up Kiss Me,”  which is packed with electrifying tension, catchy hooks, and a Mick Ronson-esque guitar solo. Bowie feels like he’s all over this record: witty lyrics, unexpected melodic turns, and a great sense of patience are just a couple compliments I could heap upon Angel Olsen’s newest work. “MY WOMAN” is definitely one of the landmark albums of 2016 and quite a treat for our collective midterm blues.

A match made in heaven, there’s not much better than a new Angel Olsen record paired with new Cass McCombs. McCombs has been a long time industry favorite; within the music world he’s respected as a gatekeeper of the songwriting craft. Cass McCombs’ trademark is quality rather than fame. Although the spotlight is tempting, the singer-songwriter is adept at making great songs that never sacrifice expression for mainstream appeal. That’s something I think we can all respect.

McCombs is suave as hell and not afraid to push boundaries. His video for “Medusa’s Outhouse” attracted quizzical stares from the music press: it’s dark, NSFW, and certainly not what we would expect from the folk artist, but hauntingly beautiful nonetheless. New to Cass McCombs? Listen to “Run Sister Run,” “Rancid Girl,” and “Cry” first, but be sure to play the rest of the album while you desperately try to cram Differential Equations into your poor, battered brain.

Well you did it. You passed (?) your exam, it’s Thursday night, and you’re ready to party the way God intended. For all you late night ravers, arriving this week is “25 25” from DFA dancefreaks Factory Floor. The group took their pick from the best of electronic sounds. “25 25” is riddled with housey vocal jabs, industrial murkiness, acid drumbeats, and dance-punk energy. Like a quadruple Americano from one of Boulder’s 14 Starbucks locations, Factory Floor have a certain sort of untamed synthetic energy. I’m excited to play it on the radio, if anything “25 25” will encourage the drivers on 36 to move a little faster on a Friday afternoon.

These are just a taste of the great music we’re known for at Radio 1190. Take a listen in Boulder or Denver by leaving your dial set to 1190AM.v

On Air Next 8.31.16

Caden Marchese

by Elijah Jarocki

 

Since Alan Vega’s passing in July, the influence of legendary protopunk duo Suicide has become especially apparent. In my opinion, almost every new release seems to have a touch of Suicide–whether intentional or accidental. The three records I’ll be discussing this week all have obvious connections to Suicide, but hey, I’m not complaining.

 

Playing loud from the nation’s capital, Eva Moolchan is the artistic force behind the minimalist post-punk project Sneaks. Her new record “Gymnastics” features a three instruments: voice, bass, drum machine, often opting for merely two. The songs are short, the lengthiest on “Gymnastics” clocks in at a quick 2:04, but every track lasts for exactly the right length.

 

Sneaks is clearly an offspring of Suicide, both projects utilize one drum machine groove per track and focus on constructing a mood rather than a statement. “X.t.y.” relies on a fat bass and drum machine groove at first, then Moolchan’s lyrics slip defiantly through the rhythmic gaps. Her lyrics sound like Jonathan Richman or The B52’s, though she never allows herself the adorable dorkiness of either group. “Gymnastics” is already gaining traction, the record is scheduled for a reissue through Merge Records in the next couple weeks. Sneaks will continues to record with Merge, with a new record hopefully hitting at the top of next year. Allow yourself a quick treat, check out “Gymanstics” this week.

 

“Flood Network” from Katie Dey is definitely the best thing I’ve heard in a second–not to mention that it’s Radio 1190’s September CD of the month. Perhaps it’s my penchant for electronic songwriting, or my love of haywire technology, but for me “Flood Network” is a type of glitchy bliss. Katie Dey caused an internet tsunami after this year’s “Asdfasdf” release through Orchid Tapes. “Flood Network” is longer than “Asdfasdf,” and jam packed with interludes, stutters, bleeps, and bloops. This record feels like the internet, a deep listen conjures up images of hyperlinks, memes, and deep pockets of culture.

 

The Suicide influence is harder to place with “Flood Network” but still distinct. The rhythms Katie Dey uses are altered versions of Suicide’s classic sounds. Like Suicide, Katie Dey lets instrumental sections ride, she’s never to anxious to stick her voice where it doesn’t belong. The lead single “Fear O The Light” is the most catchy of the release, but don’t miss “Fleas,” “Only to Trip and Fall Down Again,” and “So You Pick Yourself Up.” Listen to “Flood Network,” and if you dig I would recommend peeping Spencer Radcliffe, Ricky Eat Acid, and Cloud Becomes Your Hand.

 

Do you want to turn your life into a irl version of Castlevania? If so, don’t sleep on the new record from Tobacco, “Sweatbox Dynasty.” Serving as the frontman for Black Moth Super Rainbow, Thomas Fec aims his synths at pop music. However, approaching Tobacco he seems more interested in paranoia and dread. His new record is absolutely reminiscent of video game soundtracks, and “Warlock Mary” sounds like the final boss battle of your disturbed experience. Tobacco definitely uses Suicide’s aptitude for spookiness, “Dimensional Hum” shares its dreadful feeling with Suicide’s “Frankie Teardrop.” If you wanna catch Tobacco, check him out at the Larimer Lounge on October 18th, or listen to Radio 1190 KVCU in the upcoming weeks.


 

On Air Next 8.24.16

Caden Marchese

by Elijah Jarocki

 

Nothing is more impressive than a meticulous attention to detail. Whether it be pinterest-inspired art installations adorning freshman dorms or the complexity woven into sand-worn hieroglyphics, within details we see each other’s true creativity. The records this week decorate their sonic spaces differently, but each new release invites us into a different nook of our world. Take a peek.

 

Flamingods’ new record “Majesty” is a 41 minute celebration. The quintet hails from Bahrain, and their music is a hodge-podge of instruments from around the globe. The titular first cut from “Majesty” immediately dives into a deep pool of exotic sounds. Electric guitar swims with non-western percussion as band-leader Kamal Rasool sings through thick auditory layers. The record is opaque, sometimes it’s hard to comprehend everything that’s going on. You can’t quite grasp it, it’s not a simple pop track but a psychedelic experience akin to Animal Collective.

 

“Gojira” is the most rock n roll song on “Majesty,” however even its fuzzy lead guitar lines are paired with polyrhythmic drumming and bright background instruments. Even more atmospheric is the back half of the record. The Beatles surely had some of these sounds running through their mind when constructing their late-era recordings. Step into a dazzling world of psychedelic pop with “Majesty,” the new record from Flamingods.

 

Pascal Pinon is two icelandic twins with a taste for melancholy. Their new record “Sudur” hits many of the same chords as Sufjan Stevens’ “Carrie & Lowell,” but with an icelandic twist. For this record, they worked with Alex Sommers (producer and partner for our ethereal prince Jónsi). “Sundur” is cold and sparse, only a couple instruments join the twins on their lonely endeavor. Their voices are gorgeous and emotive, let these sisters take you by the hand for a long, somber, beautiful journey.

 

Finally, Creative Adult thrives in a dark, ominous cavern. While recording new record “Fear of Life,” interpersonal tensions within the band were pushed to their limit, even so far as to drive vocalist Scott Phillips to a different studio to record vocal takes. The stress is felt throughout the record: although Creative Adult cite Oasis and Spacemen 3 as major influences, gloomier acts like Protomartyr and Interpol feel closer to “Fear of Life’s” vibe. The new record was released through Run For Cover Records, fans of the label will definitely dig “Fear of Life.” Bookending the release are two 8-minute bangers that fuse punk with touches of stadium rock. Although making “Fear of Life” seems like it was a traumatic experience, we can all reap the benefits together.

 

Catch all three of these releases on Radio 1190 KVCU this week, and dive into three worlds quite different than Boulder.

 

On Air Next 8.17.16

Caden Marchese

by Elijah Jarocki

Gonjasufi: Heavy, industrial elements, sauntering, apocalyptic, vocals a la tindersticks, moaning and writhing, middle eastern melodies, overdriven, compressed, glitchy, massive attack, trip hop, portishead, black metal elements, denver based echo beds, creeping, murderous, gut-wrenching carolyn shadows, delay feedback, dark with gritty textures, Sumach Ecks, yoga teacher actor, warp records

AJJ: formerly andrew jackson jihad, folk punk, pat the bunny, ghost mice, bomb the music industry, phoenix arizona, crunchy, americana swing, a little synth work, vocals up front and quiverin, if you never checked em out but loved car seat headrest ‘my brain is a human body”

Ryley Walker:  Rockford, Illinois, gorgeous, warm, tinkling, plays with dissonance, blend of electric and acoustic instruments, kevin morby, hiss golden messenger, playing with Mac Demarco on eTown here in boulder on september 1

There is a filing cabinet in a dimly-lit backroom of your mind. Inside are contained feelings of dread, scraps of paper with dark secrets scrawled across the page, and a whole host of all your greatest fears. If you want to take a peek inside, Gonjasufi holds the keys. Sumach Ecks’ new record “Callus” weighs a thousand pounds, and saunters through speakers with a murderous swagger. The record is a nightmare mix of trip-hop, industrial, and black metal–best played loud. Massive Attack and Portishead would be proud of “Callus,” if not even a little jealous.

Gonjasufi is represented through Warp records, the label for the electronic elite such as Aphex Twin and Oneohtrix Point Never; “Callus” is proof that Gonjasufi can still hang with the big boys. Track “Carolyn Shadows” is particularly gut-wrenching, the last seconds hit with a feedback delay loop that rips through your skull. I would never expect this record to come from an actor and yoga teacher, I guess Ecks has a couple personalities tucked into those skin tight pants. If you have been feeling quite too joyful recently, a bit happy-go-lucky, and want to turn it down a touch, blast “Callus” the new record from Gonjasufi, and all your problems will be solved.

If you were a fan of The Bible but thought it lacked a bit of folk-punk crunch, I have just the thing for you. Highly anticipated sequel “The Bible 2” is the newest release from AJJ (formerly Andrew Jackson Jihad). If you’re thirsty and angsty, let these black-clad Arizona punkers soothe your soul. AJJ walks the line between americana swing and crunchy punk with style.

If you dig Car Seat Headrest and wanna venture into a little folk-punk, start with the track “My Brain is a Human Body.” The most low-fi track of the album, the song has a couple simple chords, distorted and quivering vocals, and hard-hitting percussion. This record will clearly find a home with fans of Ghost Mice, Pat the Bunny, and Bomb the Music Industry!, but “The Bible 2”’s catchy melodies will turn the ear of listeners from all backgrounds.  Don your black skinny jeans, and slip into “The Bible 2,” the new record from AJJ.

The most wholesome of this week’s records, “Golden Sings That Have Been Sung” from Ryley Walker is a twilight summer drive. Country-flavored guitar and tinkling background instrumentation makes the record immediately nostalgic. From Rockford, Illinois, Ryley Walker holds a sort-of down-home attitude coupled with a splash of dissonance. If you loved the Kevin Morby record from earlier this year, or have a Hiss Golden Messenger cd in your van, Ryley Walker will be right up your alley. Lead singles “The Roundabout” and “The Halfwit in Me” are both gorgeous songs, the other tracks on “Golden Sings That Have Been Sung” have a good amount of diversity. Songs range from soft-spoken verses to rock and roll bliss throughout the recording.

Whether you have a hankerin’ for doom, punk, or country, you can check out new records from Gonjasufi, AJJ, and Ryley Walker this week on Radio 1190 KVCU.

On Air Next 7.20.16

Caden Marchese

by Elijah Jarocki

Kathleen Hanna is over her battle with Lyme disease, over feeling apologetic, and over her reputation with Bikini Kill. Her new record with The Julie Ruin “Hit Reset” isn’t nostalgic, it pushes confidently into the future. Hanna’s badass as ever, outspoken and brash with her lyrics. Backing her up is a formidable crew of musicians which Hanna covertly assembled at the beginning of 2010. A series of friendly manipulations got Kathi Wilcox, Kenny Mellman, Carmine Covelli, and Sara Landeau in the same place on January 13th, 2010–the rest fell perfectly into place. The Julie Ruin’s 2013 album “Run Fast” was accepted with critical praise, but this year’s “Hit Reset” is a definite contender for end-of-the-year lists.

On “Hit Reset,” different genres combine with ease. From Krautrock to Surf Punk, the instruments feel immediately comfortable yet original. Track “Planet You” combines a Los Campesinos vocal melody with some B-52’s call and response–the result is sardonic, catchy, and groovy. The lyrical content on “Hit Reset” is all over the place. Some songs are about her parents, some songs are not-so subtle digs on the music industry, and “Mr. So and So” is about a self-proclaimed feminist who strikes closer to misogyny. The Julie Ruin are on a national tour right now and show no signs of stopping anytime soon. They aren’t swinging through Denver, but you can catch “Hit Reset” spinning on Radio 1190 KVCU.

BadBadNotGood continue their sonic experimentation on their new record “IV.”
Their last release was 2015’s “SOUR SOUL” in which they worked closely with Ghostface Killah, featured Danny Brown, and proved themselves as a powerful hip-hop ensemble. “IV” feels a bit closer to Sun Ra than The Roots, but BadBadNotGood’s sound is as distinct as ever. The Toronto-based four-piece met at the Humber College jazz program and bonded over their love of jazz and hip-hop. “IV” features Samuel T. Herring from Future Islands, Mick Jenkins, and was produced by Kaytranada. The record is incredibly warm-sounding, “In Your Eyes” reminds me of Marvin Gaye and the golden age of soul.

I think “IV” works best in the afternoon, warm keyboards and earthy basslines are the perfect way to ease into the summer night. Moments of “IV” even remind me of Sufjan Stevens, the woodwind ensemble on “And That, Too” feels mysterious. My favorite track is “Chompy’s Paradise,” it’s a 3:52 minute charmer that would be the perfect soundtrack to an airplane ride over the mountains. At this rate, I’m sure we can expect new material from BadBadNotGood very soon; “IV” is the latest installment in their impressive discography.

Finally, Denver band DéCollage have released their new record “Magnetize” through Moon Magnet. Reed Fuchs is the force behind both; his status as a musician and business-owner has made him incredibly well-known in the Denver scene. You can expect to see him at almost every local show, his passion for local music is apparent in all of his projects. DéCollage are known for their elaborate on-stage presentations and huge cast of integrated musicians. The new record is jam-packed full of different sounds and approaches. “Cerulean Chasms” hits like a b-side from The Knife while “Gotta Good Thing Going pt.1” is right up the alley of Animal Collective.

There are elements of Trip-hop, EDM, and indie pop sprinkled throughout the release. I was impressed with the rap-feel of “Magnetize”; it’s not quite west coast, not quite east coast, but uniquely Denver-sounding. All of the parts on “Magnetize” are rhythmic-based: vocal melodies, electronic production, and acoustic instruments all give the record a certain swagger. DéCollage are veterans of Denver’s Underground Music Showcase, Fuchs told me they’ve played six years in a row. Catch them on UMS’ main stage July 31st at 2:30pm, and listen to “Magnetize” on KVCU.

On Air Next 7.13.16

Caden Marchese

This week, we’re spinning three incredibly lonely records. These new Releases from Told Slant, Guts Club, and JC Flowers all feel extremely personal and vulnerable.

For Brooklyn-based Double Double Whammy Records, “Going By” by Told Slant is heartbreakingly sad. A deep baritone a la The National, Felix Walworth places his emotions front and center in his vocal performance. Wavery vibrato and emotional cracks make “Going By” feel raw and intrusive, like reading a diary or peeking through your neighbor’s window. The tracks swing and sway, melancholy shanties. “I Don’t” bears the lines: “i used to look at you like a

fire place in the living room/i was the tired face lying next to you/how are you/now i have different words when i talk to you/and different faces to look at you/some are tidal waves some are/how are you/i miss you and/i don't want to think about it at all.” If you resonated with Alex G’s “Trick” or Adult Mom’s “Momentary Lapse of Happily,” “Going By” will strike you to the core. Emo guitar work, sad banjo, spoken word, and light percussion all make the release feel incredibly frail. Catch tracks from “Going By” on Radio 1190 this week.

Lindsey Baker and her affectionately named Shitbugs (Charles Lumar, Adam Campagna, Jonathan Harris, James Fenwicke) have crafted touching new release “Shit Bug” under the name Guts Club. Along the lines of Told Slant, Guts Club is incredibly personal. These tracks sound like they’re sung from an armchair in your high-school best friend’s bedroom. Baker’s Louisiana accent shines through the mix and her lyrics are tinged with depression. “Shit Bug” reminds me of Youth Lagoon, Elliot Smith, and Florist. Instruments are droopy and meandering, the Shitbugs are the saddest country band in the world. Reach for this record when you’re on a long, melancholy road trip, or right after you wish your friend a final goodbye.

“Driving Excitement and the Pleasure of Ownership” from London’s JC Flowers is a gorgeous experiment in headphone music. Just as you would listen to Guts Club or Told Slant alone, listen to this record loudly through your favorite earbuds. Four installments of a track called “Jazz Hole” serve as snippets of air within “Driving Excitement and the Pleasure of Ownership,” the other songs are finger-snapping floating ballads. Vocalist Ross Kristian reminds me of Sufjan Stevens, her powerful whisper lays on top of the tracks. The instrumentals are incredibly nostalgic; tape hiss, fuzzy guitars, and compressed drums. The release is surprisingly experimental, “Proletarieterette” and “Perfect Nurse” use reversed soundbytes as introductions. “Driving Excitement and the Pleasure of Ownership” is a beautiful addition to ATP Recordings’ catalogue and a record which will make JC Flowers a hotly-discussed topic of conversation. Check it out for yourself, listen to to “Driving Excitement and the Pleasure of Ownership” on AM1190 this week.