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On Air Next

On Air Next 11.9.17

Hannah Morrison

By Jolie Klefeker

DFA Records has long been known as one of independent music's most reputable and influential record labels, with one of its cofounders being James Murphy of LCD Soundsystem. If you're an LCD fan, you would probably dig a lot of what DFA puts out, but they've got their fingers in many pies — dance-punk just being one of them. This month, DFA sent over two really solid records: CCFX's eponymous debut EP and a fresh record from Dawn People as well. They actually sound nothing alike but they're united through how weird and also good they are. Both of these records have a little something experimental about them, but overall they both fuse genres in a precise and innovative way without sounding too over the top. Both of these are great. Check 'em out, and give DFA a Google if you're looking for more.

CCFX immediately calls to mind The Cure and New Order upon listening. And if that's not a good sign, then I don't know what a good sign is. Featuring Mary Jane Dunphe of punk outfit Vexx and CC Dust, as well as members of Olympia's Trans FX, the EP kicks off with "The One To Wait." Sighing guitars coupled with bright yet unobtrusive synth accents make way for those signature '80s vocals: dynamic, raw and unrestrained. This record is bathed in an expansive, synth pop sound that rests in a lovely contrast with the retro post-punk elements scattered throughout. Atmospheric, dreamy guitars and an upbeat pace set up a refreshing take on dream pop. This record is easy to listen to — it's smooth and pretty and would pair well with driving on a highway late at night.

I'm not claiming to be an expert in anything, but it isn't often that I get sent a record I have a really, really hard time describing. However, when that does happen, like with this record from Dawn People, it usually means I really, really like it. Consisting of Guerrilla Toss' Peter Negroponte and Nick Forte of Raspberry Bulbs, Dawn People had a hopeful beginning. Both musicians are notorious for ignoring or altogether breaking genre labels, so it's to be expected that their new record, "The Star Is Your Future," is all over the place in the best of ways.

Fusing elements of trip-hop, free jazz, funk and kraut rock, this album rockets between noisy and psychedelic in a much more exciting and textural way rather than jarring. The highlights of the record are definitely "Be Cool Tonight," "Never Be Afraid" and "Wishing Ring." Overall, this record is groovy and slaps harder than anything I've heard in a while.

On a really random note, but a note that I cannot contain: Palm have a new single out to promote their upcoming record. It's called "Pearly," and it's ethereal, abstract, weird as all heck and so beautiful. Their unconventional use of midi sounds is unlike anything I've heard before. I really recommend.

You already know what it is: 1190 AM, 98.9 FM or online at radio1190.org. Or stop by the basement of the UMC to volunteer.

On Air Next 11.1.17

Hannah Morrison

By Jolie Klefeker

I would like to tell you all that I am originally from northwest Indiana. My home region features Lake Michigan, steel mills, The Gary SouthShore RailCats, farmland and a really bangin' punk scene. In honor of me recently booking a plane ticket home for the holidays, I thought I'd share a little about everything wonderful and cool happening in NWI. I've got three really solid bands to talk about: They're all weird, noisy and perfect.

The Coneheads' first full-length album is named "L.P.1. aka 14 Year Old High School PC-Fascist Hype Lords Rip Off Devo for the Sake of Extorting $$$ From Helpless Impressionable Midwestern Internet Peoplepunks L.P.," and I think that says a lot. The Coneheads are a bunch of self-aware, irreverent, wacko fools who pretend like they're no big deal, but really they seem to be the cornerstone of everything lovely and great coming out of NWI right now. If you think you would enjoy the sound of Wall-E doing cocaine or anything else that would resemble dystopian toy-robot stimulant use, then you will like The Coneheads. Put more simply, they sound fast, loud, fuzzy and like a bunch of evil robotic butlers.

Check it out, and start with the tracks "ALIEN & WARM" or "1982" if you don't understand my Wall-E joke.

C.C.T.V.'s four-track 7-inch is in rotation at Radio 1190. (Courtesy photo)

The Coneheads' drummer, Mark Winter, is also in a great band called Liquids. He is also in yet another great band called C.C.T.V., which I will discuss in the next paragraph. Liquids is a punk band with a deeply reminiscent yet original sound. They ricochet between the gritty, lo-fi attack of Black Flag's "Nervous Breakdown" and some neo-hard-rock moments that call to memory Thin Lizzy, ACDC and contemporaries Sheer Mag. Liquids is political and gross, with songs titles ranging from "I Killed D.T." to "Piss on Me." There's a brash, hardcore sense of confidence that controls their music. Their full-length "Hot Liqs" is really cool. I also recommend the self-titled 7-inch they put out more recently. Both are chock-full of driving chord progressions, unrestrained, piercing guitars and a lot of fun. If you like Lumpy and The Dumpers or even G.L.O.S.S., I think you'll dig Liquids as well.

I recently threw a C.C.T.V. 7-inch into rotation at 1190. It has four songs on it, it's six minutes long and it's maybe the best six minutes I've had in a while. It's like the angular guitars of Delta-5 and The Slits had a baby with a Gang of Four/DEVO kind of energy and then kicked it all up a big ol' notch. I'm naming too many names, but it's only because I'm having trouble containing my excitement. These tracks have an undeniable post-punk agility. This record is razor sharp, chaotic in an exhilarating way and frustratingly short. Due to its brevity, I'm just gonna go ahead and recommend that you listen to the whole thing.

Mosey on over to Radio 1190 to hear this stuff and more: 1190 AM and 98.9 FM or online at radio1190.org.

On Air Next 10.25.17

Hannah Morrison

By Jolie Klefeker

We've been trying to refocus our sound a little bit over at Radio 1190. And what we've generally concluded is that we want to be more selective about the big-time, bigger-label artists we play. That being said, here are two big-time artists who really make the cut, both of them capable of playing a critical role in music as we know it. St. Vincent and King Krule are tinkerers who draw from a lot of influences and cram them all under the umbrella of pop music, usually resulting in something perfectly complex, pushing limits but not enough to push people away.

"Masseduction" is St. Vincent's "Death of A Ladies' Man," a lonely and cynical tell-all wrapped in a sweet layer of willful pop ignorance and commercial largesse. Co-produced by Taylor Swift's Jack Antonoff and further collaborating with the likes of Kendrick Lamar producer Sounwave, singer Jenny Lewis and saxophonist Kamasi Washington, I'm not at all shocked by the mainstream appeal of this record. Annie Clark has always teetered on the edge between pop star and alternative rock 'n' roll mastermind, with a keen ability to push the limits of noise and abstraction all while maintaining a very intentional sense of catchiness and danceability.

Sharp vocals and undeniably poppy rhythms that are contrasted against angular guitars serve to construct something massive and clearly defined, while filling in the gaps of her quieter moments with an unexpected, gentle vulnerability. A lovely texture surfaces when tracks likes "New York" are placed against the impenetrable pop barricade of "Pills" and "Sugarboy." In some ways, this record is sterile: It's immaculately produced, every detail considered and perfected.

But the hermetic seal is what contains its vastness without falling apart. St. Vincent's inspirations are clear and varied; Prince, The Chemical Brothers and The Go-Go's stand out to me on first listen. This record probably won't appeal to early St. Vincent fans or those who are generally opposed to pop music, but I still ask that you give it a chance. Somewhere inside the volume of this record is something incredibly multifaceted and ingenious.

King Krule, also known as Archy Marshall, is back at it again with his latest record "The Ooz." It is dark, atmospheric, jazz-tinged and echoey, as to be expected. But compared to his previous releases, this record is tighter and more complex than ever. Marshall is an alchemist who combines anything to ultimately deliver something wonderfully new, refreshingly itself. "The Ooz" is a cocktail of dark wave, punk jazz and rap fusion complete with flourishes of stoner-pop guitar trembles and found ambient sound. Notes of Pixies, Devonté Hynes and Frank Ocean unobtrusively scatter themselves throughout. While dominated by a generally gray, mellowed-out, eye-of-the-storm kind of feeling, this record manages to serve a few bangers as well — from the spooky, slightly evil bass-groove "Dum Surfer" to the a la post-punk lament on "Emergency Blimp." This record is poignant and depressed yet warm. Two thumbs up; go check it out.

Stop by anytime: 1190 AM, 98.9 FM or online at radio1190.org.

On Air Next 10.18.17

Hannah Morrison

By Jolie Klefeker

School is hard. Midterms suck. And the hardest part of it all is finding the willpower to continue. Luckily for you, I have the one true answer: Music! Which is what this column is about. Sometimes you need to be stressed and listen to stressful music. Get it out of your system. Do that when you're not studying. When studying, listening to music can also be great, but you've gotta pick the right stuff. No singing along, nothing too loud, but also it needs to be stimulating and get you stoked to study. I've got some music for both occasions, the stressful and the studyful, so let's check it out.

Melkbelly have really got me excited. Someone told me that they sound like The Breeders and Lightning Bolt combined, and I agree. Brash guitars and sugary sweet vocals create something magical, overdriven but just melodic enough to keep you mesmerized by the thunderous hurricane that is "Nothing Valley." The first official record from the Chicago quartet, it's darker, and much fuller than their previous EP, "Pennsylvania." While they experimented with noise in the past, chaos is the face of this record. Low and driving bass tones dominate while the loose, sonorous rumble of drums and jarring guitars launch into anthemic, songful moments filtered through layers of smog and distortion.

A '90s rock feeling shines through, comparable to contemporaries Charly Bliss, Speedy Ortiz or Great Grandpa. Check out "Off the Lot," "Greedy Gull" and "Twin Looking Motherfucker," all of which happen to have more of the noisy, Lightning Bolt-reminiscent sound in addition to their general indie-punk feeling. Melkbelly's music is stressful but in an addictive, treasure-hunt kind of way. Your brain digs through the noise to discover some incredibly melodic and catchy sub-layers, all of which are an extremely rewarding find.

Women and John Maus are two common artists on my study playlist. I actually love both of the artists very much outside of studying, which is rare. Like I said earlier, it's necessary to find stuff that doesn't distract you, and liking something might be the most distracting feature of a song. But Women and John Maus have found a sweet spot where their nuanced melodies and unobtrusive vocals — or distorted in the case of Maus — create highly technical but unoffensive soundscapes.

Women craft precise, churning rhythms that you can latch onto, allowing them to propel you through the impossible sludge of midterm studying. Both of their albums are ingenious, but if I had to recommend one to start, "Public Strain" is pretty dang close to a perfect album. It's surface has a sharp, rocky texture laden with psychedelic-tinged nuggets of gold and pockets of echo-y, spacey vocal delight.

John Maus has had a fairly prolific career so far. In addition to his solo work, he's worked alongside Animal Collective and Haunted Graffiti. Of all his stuff, 2011's "We Must Become the Pitiless Censors of Ourselves" is my favorite, in addition to being a mouthful to say. Reverberations of Joy Division, Bauhaus, Nick Cave and Suicide rattle through Maus' music while still remaining entirely his own. Ethereal synths jump back and forth from a classic '80s sound to something more experimental all the while being accented by a slow-motion kind of singing. Give both of these a listen. I hope they can add something bearable to your homework experience.

You know the drill: 1190 AM, 98.9 FM in Boulder or online at radio1190.org.

On Air Next 10.11.17

Hannah Morrison

Boulder has had a longstanding reputation as a hippie mountain mecca. Home of quinoa, cannabis, yoga, tons of people on bikes, granola and kombucha. Boulder is also known as a college town with a thriving party scene. Somewhere in the middle lies an intersection, where weed-infused, psychedelic-tinged indie rock-pop is king; where frat boys, indie-rock-dude-bros and hiking club kids alike sit on their lawns every Sunday and listen to Mac Demarco. Sometime amid all of these lawn listening sessions, stoner-pop has gotten a bad rep. Well, I'm here to tell ya that stoner-pop is still alive and well. It isn't all Demarco derivative, because Reptilians and Ariel Pink are kicking out plenty of wacky-weirdo pop to satisfy all your heart's neo-psychedelic desires and more.

Ariel Pink, aka Ariel Marcus Rosenberg, is one of most influential figures in lo-fi music's. He's been releasing stuff since the early 2000s, and while it's not for everyone, there are some real hits scattered throughout his discography. I would recommend checking out "Pom Pom" and "Before Today" if you're looking to dive a little deeper than what I'm recommending to you today: "Dedicated to Bobby Jameson."

Rosenberg's latest project is an homage to a lost pop star of the '60s. Ariel Pink and Jameson seem to share a lot through their enigmatic personalities and battle with the troubling confusion of being both deeply praised and harshly criticized in the public eye. Luckily enough for Rosenberg, "Dedicated to Bobby Jameson" is faring incredibly well, and for good reason. Perhaps it's experience, maybe it's the underlying sense of melancholy, but this record is refined and cohesive.

While maintaining his usual lo-fi weirdo sound, he fails to come across as contrived. Still irreverent at times, the album carries a hazy, retro-soaked pop sound throughout that seems to unify, allowing songs like "Another Weekend" to echo between the dreamy and mellow and the spacey psychedelic. There's a lot more to say about this album, but I'm running out of words. If you like Animal Collective or Deerhunter or neither, go listen to Ariel Pink.

Portland's wife/husband duo Reptaliens have recently got me back into the whole weirdo-pop thing. They just released their debut record, "FM-2030," on Captured Tracks a few days ago, and I can't stop listening — partially because it's just plain good and partly because I'm trying to figure them out. Falling somewhere between the pop groove of TOPS, the ambiguously ironic, lyrical pretense of Father John Misty, and the sunny indie sound of EZTV, there's a lot going on and it works. Circular, guitar-heavy melodies lay a foundation for airy vocals with hints of harmony and subtle synths. Their music induces a warm, fuzzy, dream-like state. It's easy to listen to but laden with subtle intricacies that make it all the more engaging. If you're looking for something smooth and groovy with a twist, check this out and enjoy your final weeks of autumn warmth wrapped in the sunny haze of Reptalien's "FM-2030."

If you dig what I'm talking about today, check out Walter TV, who just dropped a solid record last month. Also Blue Smiley (it's shoegazey for sure but has some great trembly guitar stuff happening), Boys Age and Jerry Paper might catch your ear.

If you're looking for something fun to do, arty, math rock sweethearts Palm play The Lounge in Boulder with Body Meat at 11 tonight. Tickets are $10, and both of these bands are really cutting all possible edges right now. Come hang out.

As always, tune in to 1190 AM, 98.9 FM in Boulder or online at radio1190.org.

On Air Next 10.4.17

Hannah Morrison

By Jolie Klefeker

There's always something to be discovered when digging through the stacks at Radio 1190. Our station is pretty stoked to call itself home to about 30,000 CDs as well as thousands of vinyl records. We're coming up on our 20th anniversary as Radio 1190, but we've been collecting since long before then.

I wasn't feeling the new music as much this week, so I decided to opt for something older. All of the records I encountered this week are gems, but if I had to be more specific, this one is a diamond: a Rough Trade post-punk compilation featuring some of the most ingenious bands the late 20th century produced. ESP, The Rapture, Magazine, The Fall and Au Pairs are just a few.

Rough Trade has long been known as one of the most reliably fresh and influential independent labels. Compilations are hard to describe, especially when they aren't particularly cohesive. What unites these songs isn't content or timbre but rather the fact that they're all really, really, REALLY good. So instead of trying to fit all of the wonders of this comp into a paragraph, let's dive into some favorite tracks.

Initially known as Kleenex, the Swiss post-punk band LiLiPUT provide something infectious and unexposed with their song "Die Matrosen." A heavy baseline and sharp rhythm lead you straight into an clumsy saxophone melody, circular guitars and, eventually, whistling. This song is imaginative in every sense of the word, and you just can't help but want to dance to it. Everything by LiLiPUT is solid, from their angular guitars to the pure force of their vocals harmonies. I really recommend giving them a listen.

The Raincoats were one of the first and most important post-punk acts, pioneering the genre before the heyday of punk had even ended. Frequent tour partners of LiLiPUT and equally as original, The Raincoats left a lasting impression on alternative music because they had little musical experience, so they took a fairly lax and abstract approach to instrumentation. Their style is loose and chaotic. However, the song on this compilation is a little less all over the place because it happens to be a cover of The Kinks' smash hit "Lola.

" The melody is still there, but it's deconstructed sound: The changes to the rhythm and harmonies somehow manage to be both lazy and extraordinary, reinvigorating the original song. It's different enough that you can love both versions in their own right.

Finally, a listen to Wire, with the track "Ex Lion Tamer," from the infamous "Pink Flag." I don't necessarily feel worthy trying to describe this song because it's such a classic. But I can tell you, if you haven't listened to this record, you should. Wire emerged from the punk era and withstood the test of time through their constant experimentation. While "Pink Flag" maintains more of a simplicity than the other albums pulled from for this compilation, it's familiar yet so entirely itself. The chord progressions are anthemic, rhythms are fast, and the vocals offer something so indescribably perfect when they echo back and forth as well as sing in harmony. "Ex Lion Tamer" is raw, it's unsettled, it's an unbridled wave of creative energy and maybe a little bit of rock 'n' roll freedom as well.

You probably already know what it is: 1190 AM, 98.9 FM in Boulder or online at radio1190.org.

On Air Next 9.27.17

Hannah Morrison

By Jolie Klefeker

Trump's in the White House, and I'm recommending you new music. Like President Trump, I am both unqualified and unprepared, because the task of picking the best new music to recommend to you, Colorado Daily readers, is a great one. You deserve the best of the best, and I always aim to deliver. This week, I've got two great records on the lineup. First we have something dark and loud from post-punk veterans Metz. Next up, we have something great and underground from Brooklyn DIY outfit Washer. Both of these albums have their own charm, one a little louder and one a little grittier, but if you're into punk at all, give these a listen. There's definitely something to gain.

Toronto's Metz are grating, driving and metallic. Their latest record, "Strange Peace" — produced by punk legend Steve Albini of Big Black — definitely lives up to the hype. Within the grating noise emerges a newfound maturity, a sense of direction that presents the opportunity for navigation, a clearer and more efficient approach. This isn't to say that this record doesn't absolutely bang, because it does. The songs "Lost in the Blank City," "Escalator Teeth" and "Raw Materials" embody this agility. It's clear that "Strange Peace" relies on more than volume and speed. The lyrical and melodic intricacies peppered throughout the track list accentuate the aggression, transcending angry noise to create a diverse and interesting record.

I've been loving Washer for a while. Their gut-wrenchingly real and impeccably raw sound served as the soundtrack to some of my best, angsty and introspective moments to date. And now they're back with their second full-length out on Exploding in the Sound Records. Short and sweet, "All Aboard" is a collection of gritty and casual songs, most of them clocking in under two minutes long. If you're unfamiliar with Washer, the duo makes off-kilter, garage, punk/pop with an indie tendency. They are deceptively complex and varied, and they have a knack for making the simplest melodies the slightest bit off key or that chord progression the tiniest bit too loud. It's within these subtle changes that a lovely, slacker-y timbre emerges. Some sort of hopeless, youthful ennui hiding behind the force of the at times whiney, at times distraught vocals. If you dig Pile, Krill or Speedy Ortiz, I highly suspect you'll dig this.

Also some exciting changes around the station: The legacy show Testosterone Detox has changed its name to Ladies' Night. The show is still a space for women and non-binary individuals to celebrate themselves and their music, but now it has a name that better reflects this inclusive ethic. Tune in from 8 to 9 p.m. Wednesdays to hear Shruti Kaul play her favorite music as she talks to you about social justice and why you should care. Additionally, make sure to check out our new Spotify account, radio_1190, for playlists from specialty shows like Ladies' Night and tons more!

As always, tune in to 1190 AM and 98.9 FM in Boulder or online at radio1190.org.

On Air Next 9.20.17

Hannah Morrison

By Jolie Klefeker

It's been nice to feel a little bit of cool weather creep in. Any back-to-school gloominess I may have been experiencing has been completely washed away by my excitement for autumn. While temperatures may drop, fall is such a cozy time. There's something so wholesome and satisfying about turning on your heat as blustery winds begin to stir outside. But of course, what really gets me going about fall is the music. The comfy familiarity of a cool day opens the door for the sweet, autumnally appropriate notes of the acoustic guitar to warm you up and soothe your soul. Something about the wistful and nostalgic tones of acoustic and folk music seems to parallel the season's mood and make the journey into winter all the more welcoming.

First up on the indie/acoustic ballot is Florist. The gentle, synth-laden folk sounds created by the Brooklyn quartet are the product of the friendship between Emily Sprague, Rick Spataro and Jonnie Baker, who met in upstate New York. After moving to New York City, they added a fourth member, Felix Walworth of Told Slant. Their latest record, "If Blue Could Be Happiness," carries an intimate, heavy-hearted yet simple tone. Thematically, the songs span a vast and human range of emotions, from confronting the sudden death of lead singer Emily Sprague's mother to hopeful testaments to being alive.

The track "Glowing Brightly" is thick with loss and sorrow, but hidden within is a wise and bittersweet sense of optimism, a subtle celebration of the beauty in the mundanity of the everyday. Sprague sings: "Catskill Mountains, I will always come back to you/ Mom, I love you, I still hear your voice inside my sleep/ Next time you see me, I'll be glowing brightly/ Outside with the birds in the middle of the yard." Florist is sage, poetic and unassuming. The softness of their delicate melodies is welcoming and understanding. "If Blue Could Be Happiness" is out on Sept. 29 on Double Double Whammy records. Keep your ears open for this one — you'll definitely hear it spinning hot on 1190.

Double Double Whammy label-mate Hannah Read, aka Lomelda, just released her second official album, "Thx." Instrumentally, Lomelda is minimal. Mild rhythms and airy acoustic guitars convey a general unimposing mood to supplement the vocals. Read finds beauty in the plain. Her lyrics are the conduit through which her arresting-yet-modest vocals can travel. She sings with a captivating fragility that sounds neither forced nor expected. "Thx" has an erudite mastery of simplicity, a dynamic awareness. It seems to know exactly when to ebb and flow, maintaining a delicate balance. For fans of Adult Mom or Free Cake For Every Creature, Lomelda takes a more laid-back approach to all your favorite indie pop.

Lomelda and Florist are coming to Denver — together! Both will be opening for Pinegrove on Oct. 14 at the Gothic Theatre. If you're also itching for something to satisfy your cozy, fall desires, I would definitely check out this show.

As always, tune into Radio 1190 for the most exciting independent music in town, new or old: 1190 AM, 98.9 FM in Boulder, and all around the world at radio1190.org.

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!