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On Air Next

On Air Next 6.25.16

Caden Marchese

by Elijah Jarocki

This week, I have two records which are very similar and one record which is completely different from the other two. Check out all three playing on Radio 1190.

Easy-goin’ and stretched out, “Down in Heaven” from Chicago rockers Twin Peaks is a rad new record that sways like a perfect summer afternoon. The album starts out with the country-leaning “Walk to the One You Love”, a track that asks the age-old, honest question “but who is the one you love?” “Down in Heaven” never surprises the listener; expect cutesy guitar lines, plain drum fills, and honest lyrics through its 42 minutes. However, what it lacks in originality it makes up in comfortability. Singer Cadien James carries a simple resolve in his delivery and the songs feel more like little speeches than intellectual poems. The addition of gang vocals helps “Down in Heaven” feel like a drunken good time with your best friends. Track 4 “Butterfly” swings with a heavy blues rhythm and pushes forward with big choruses and hefty guitar solos. Twin Peaks are best when they’re not trying too hard, their grace is in their simplicity. “Keep It Together” maintains the album’s country-tinge while sprinkling in some tasteful rockabilly piano. “Down in Heaven” by Twin Peaks is a definite summer hit for us at Radio 1190.

From Castle Face records comes a surprising debut from Mountains & Rainbows, “Particles”. If you’re searching for a little midwestern weirdness, “Particles” will do you right. Singer Matt Ziolkowski plays guitar and spits out crazed lyrics with a voice that's reminiscent of Jello Biafra. “Particles” plays well with “Down in Heaven”, both have similar tones and instrumentations. However, while “Down in Heaven” is comfortable and predictable, “Particles” has a weirdo edge that kicks in when you least expect it. The guitars are a little out of tune, the vocals are shaky, and some songs (“Treat Your Mind”) just shake apart into noise at the end. “Particles” doesn’t take itself too seriously, “Dying To Meet You” has an extended guitar breakdown in the middle of the track before jumping back into the indie rock groove. The Modern Lovers have a pretty clear influence on the record, although Ziolkowski is definitely more excited than Richman ever lets on. As the second half of the record kicks in, tracks 8 and 9 both last over 7 minutes and take their time to reach their point. “Particles” by Mountains & Rainbows fits right into any outside-rocker’s collection and is a cool record that keeps the listener on their toes.

James Blake’s record “The Colour In Anything” is a far cry from the other two releases this week. This album had been expected for ages but dropped unceremoniously on May 5th.  Though Mountains & Rainbows and Twin Peaks are firmly rooted in the summer, “The Colour in Anything” seems more comfortable in Winter than any other season. By now, James Blake’s style is well-established: ethereal electronic beats, jazzy chords, floating R&B vocals, and interesting production techniques. This album fits well with 2013’s smash record “Overgrown” and feels like a continuation of its mood. The album art features Blake standing in a similar manner as the cover of “Overgrown” but is painted in watercolor and the figure stands off-center. “The Colour In Anything” is a bit less accessible than “Overgrown”, Blake dismisses his beloved pop hooks for moody ruminations. Tracks “My Willing Heart”, “Timeless” and “Points” stand as entrance points to “The Colour In Anything”’s dense forest. If you love The Acid, Alt-J,orFKA Twigs, check out James Blake’s “The Colour In Anything” on Radio 1190 this week.

 

On Air Next 4.28.16

Adam Sputh

  Finals are around the corner! Eeeek! Take a break from studying and join Radio 1190 for another installment of Locals Live. This Thursday, April 28th, at Innisfree Poetry Bookstore and Cafe at 1301 Pennsylvania Ave. local songwriter Oh, River will be playing at 6pm. Come join us for an evening of local music, great coffee and great company.

  Welsh singer-songwriter Cate Le Bon has made quite a name for herself after moving to Los Angeles. After three studio albums, playing in the White Fence touring band and collaborating with Tim Presley for their project DRINKS, Le bon welcomes 2016 with her newest album Crab Day.  Much like Tim Presley or White Fence, Cate Le Bon creates an ornate and spindly style of garage rock with folk rock and psychedelic tendencies. Though her style is light and effortless, the compositions are well thought out and placed carefully showing her skills as a songwriter. The track "Find Me" is a simple, discordant pop song with the same 60's feel as Foxygen but with the same quirks as a Wes Anderson flick. What makes Cate Le Bon so captivating is how she balances an apathetic personality with intricate music making rock and roll look easy.  Though Cate Le Bon pulls heavily from pop music from the 60's she does get strange and punk at times. "We Might Resolve" is a tight, catchy tune with fast-paced drum and bass combo that sounds closer to Patti Smith than anything. Overall, Crab Day is an extremely enjoyable listen with a lot to pick through, making it fun to listen through multiple times.

  Formerly of The Moldy Peaches, New York-based musician and artist Adam Green furthers his signature style of anti-folk with his newest album Aladdin. The album is a soundtrack to an experimental film he created with funds gained through a kickstarter campaign. The film depicts a dysfunctional family who live in a nameless American city that is ran by a corrupt sultan with a daughter who is a socialite. Much like Green's music, the film is homespun and endearing. The sets are made from cardboard and the cast was artists and friends of green. Unlike The Moldy Peaches, this solo record is more of a folk punk record in the same way as Jeffery Lewis and Los Bolts, where the tempos are not fast, but the lyrics are strange, off-kilter and captivating. Green's style is also heavily influenced by 60's psychedelic rock in which some songs blast off into space with swirling acoustic guitars. Overall, the album stands well even without the film and can be enjoyed in either sense. For those looking to satisfy their craving of anti-folk, Aladdin may be the place to go.

  In 2012 electronic ambient composer Julianna Barwick was contacted by Sigur Ros collaborator Alex Somers and after two critically acclaimed albums, her third record Will has been released in 2016 on Dead Oceans. Much like her previous record Nepethene, Barwick uses few instruments such as piano, voice or pad to create light, delicate and airy soundscapes. With massive amounts of reverb and space in between notes, the album is full of cavernous atmospheres that are simultaneously comforting and cold like a old, well-used cathedral on a winter evening. "Beached" is a formless, melodic track with cascading melodies much akin to acts like Grouper but with a string section that wraps around the composition like ivy. Each track flows together nicely and holds a nice balance between smooth and sharp textures throughout. Unlike her previous compositions, Will is much more upfront and immediate but still packs the etheral and emotional punch stronger and better than ever.

By James Calvet

On Air Next 4.22.16

Adam Sputh

  This Thursday, April 21st at Innisfree Poetry Bookstore and Cafe Radio 1190's Locals Live will feature an acoustic set from Denver group Stella Nova. The show starts at 6pm! Come enjoy local music, excellent coffee and company from 1190 staff, volunteers and friends. For other happenings at and outside Radio 1190, log on to radio1190.org.

  Infamous and prolific lo-fi artist Sam Ray has recently and unexpectedly returned to his cult-famous rock project, Teen Suicide in 2016. Though Sam Ray fronts Teen Suicide, the project is a collaborative effort with a full band that takes on multiple styles and genres. Unlike their previous releases, their new record It's the Big Joyus Celebration, Let's Stir The Honey Pot is a studio-recorded album that has clearer and clean production than any other release. Though the mood and feel of this album is punky and lo-fi the group ties in influence from midwest emo, ambient, post-punk, noise, folk and pop. Undoubtedly, the album is dark and emotional, but sloppy and off-the-cuff performances make the record mysterious and detached in an incredibly enthralling fashion. The single "Alex" is a melodic and shouting romp about drug abuse in suburban settings and its effect on teenage life. Though the track is probably incredibly personal, the vocals drenched in reverb make the story sound like a blurry distant memory with details lost. "Falling Out Of Love With Me", another standout track is a heartfelt track that's simultaneously comforting and odd, which, for being a song about losing feelings for someone, is quite appropriate. The album is 26 track is quite a big pill to swallow and clocking in at over an hour, there's a lot to chew on. Though there is quite a bit of filler on this album, the standout tracks make the whole album worth it. Sadly, It's the Big Joyus Celebration is also inconsistent when it comes to production value, if the album had the same feel overall it would stand stronger as a whole. Overall, It's the Big Joyus Celebration, Let's Stir the Honey Pot is a magnificent effort from Sam Ray and company that may lack in consistency but makes up for in originality and songwriting skills.

  Formerly of bands the Babies and Woods, singer songwriter Kevin Morby has released his third solo record, Singing Saw, on his new label Dead Oceans. Much like his other solo releases, Morby pulls influence from 60's folk and rock like Bob Dylan and Lou Reed but with a modern twist. Though there are no huge stylistic or sonic changes in his sound, Morby has refined his songwriting and has released his strongest set of tracks to date. The single "I Have Been to the Mountain" is a rollicking, freewheeling stomp with an infectious, catchy bass line. The chorus line is strong and claimant that is vague and allegorical enough to not fall into the cliché pitfalls of folk rock. The closing track "Water" is a piano-led gospel influenced track that is led by a rocking, country swing. At this point in the album, it's clear that Singing Saw is a deeply personal album that takes time to dissect and pick apart but at first listen is instantly enjoyable and sounds unmistakably timeless.

  On the third studio album from Canadian experimental rock band Suuns, Hold/Still juxtaposes the dark with the light, electronic with rock and the pop with the avant-garde in equal measure. Though the group creates compositions that are heavily orchestrated, the off-kilter nature of their sound lends for a more organic and exciting listen. Much like Viet Cong or even Palm, the group takes post-punk and pop structures and puts a wrench in the gears to sound unconventional but enjoyable to the trained ear. Tracks like "UN-NO" bring in electronic synths and drum patterns mixed with rabid, barbed guitar only to be soothed by Thom Yorke-influenced crooning vocals. "Translate" is a spidery, menacing track with driving polyrhythmic guitar and drums. What Suuns do so well is meshing together opposite ends of the musical spectrum without going too far in either camp. As a result, the group has a style that can appeal to multiple audiences. Sadly, the group may sound a little too similar to their contemporaries at times making this album lost in the mix. But overall, this is the strongest set of tracks coming from Suuns in a long time and show  nothing but promise from this group.

By James Calvet

On Air Next 4.14.16

Adam Sputh

  Join Radio 1190 Thursday April 14th for another edition of Locals Live. At 6pm at Innisfree Poetry Bookstore and Cafe local songwriter Allie Chipkin will be playing! Enjoy great music, great coffee and good times at Locals Live. This Saturday, April 16th, join Radio 1190 at Absolute Vinyl Records and Stereo for Record Store Day 2016. Come hang out, support local business and pick up some free swag from Radio 1190 at Absolute Vinyl located at 5360 Arapahoe Ave in Boulder. Doors open at 11am!

  The beloved Brooklyn-based post-punk outfit, Parquet Courts, return in 2016 with their 5th studio record Human Performance. In their classic style, the quartet mixes garage rock energy with a snotty post-punk edge with lyrics and compositional style that is more concept-driven. Unlike their breakout album Sunbathing Animal, Parquet Courts take a much darker and twisted direction. The title track is a poppy, fiery tune that is surprisingly catchy yet bleak and punky. Parquet Courts channel all the best traits of late 70's punk and post-punk from bands like The Clash, Television and The Gun Club, but this album heightens their western, Texan sensibilities. Especially on the track "Berlin Got Blurry", spaghetti western influence from composers like Ennio Morricone shine through brightly. The album overall is fun to listen to, but does not stick in your mind as immediately as previous records. But after repeated listens, the melodies slowly reveal themselves and the hooks are catchy as all hell.

  Brooklyn darling Greta Kline, also known as Frankie Cosmos, has released a new album in her large collection of recordings. Following her EP from last year, this full-length Next Thing is 18 tracks but barley stretches over 28 minutes long. Each track is a short, sweet nugget of indie pop and twee pop goodness. Much like twee acts from the 90's like Beat Happening and The Pastels, the tracks are emotional but are executed with a dry, apathetic attitude that results in a low-key swagger that is timeless and cool. If the instrumentals were not endearing enough, Kline lyrically touches down upon subjects like dogs and kissing to make this possibly the cutest release of the year. Unlike her bedroom demos, this studio album sounds clearer and more refined without losing the DIY appeal of her roots. Undoubtedly, Next Thing is some of the best songs from Frankie Cosmos yet. The strength of every song and the cohesiveness overall makes this one of the standout albums of the year and the Frankie Cosmos album we have all been waiting for.

  Recently reissued by Numero group, Radio 1190 is now spinning Empire by Unwound. The disc is a compilation of the albums Challenge For A Civilized Society and Leaves Turn Inside You. The Washington-based post-hardcore trio only released a handful of albums, but their style of emotional rock music transcended the genre even back in the 1990's. Unlike Fugazi or Slint, Unwound was able to balance the loud and the quiet and the light and the dark with masterful ease. The simple guitar, bass and drums combo is minimal, yet the complex and unique song-structures make the trio sound bigger than the sum of their parts. What's so profound about Unwound as a whole is that they're able to channel punk energy, art rock concepts, ambient textures, hardcore punk ethos and math rock complexity that sounds natural, unforced and organic. Upon further examination, it's unfair to give a great band like Unwound the tag "post-hardcore" because it does not accurately describe their music at all. Though I could ramble on and on about Unwound, I instead recommend listening to any one of their albums to become acquainted with this amazing band.

On Air Next 4.7.16

Adam Sputh

  This week, Radio 1190 will not be hosting an edition of Locals Live, so instead head to Innisfree this Thursday for some Conference on World Affairs events! If you're not attending events on campus or spending ridiculous amounts of money on a cup of crappy coffee at Starbucks on campus, head to radio1190.org for reviews of the new Japanese Breakfast, Bibio and Explosions in the Sky albums!

  After the announcement of a hiatus of her first band, Little Big League, and the news of her mother's cancer, Michelle Zauner returned to Portland to create dream pop under the new moniker Japanese Breakfast. After three small self-released albums in three years, Zauner decided to head into the studio and re-record a handful of old hits and new compositions. The subsequent album Psychopomp, is a cohesive and endearing album that is her flagship statement as Japanese Breakfast. The simple guitar, bass, drum, synth and vocal combo is airy and light but carries a heavy emotional weight. Though the production on this record is better than her self-recorded albums, the record is by no means slick or overproduced. At times, the synths and vocals become noisy and overpowering without overbearing the listener but conveying intense emotional states through sound instead. What's so appealing about Zauner's sound is that she sounds reminiscent of her dream-pop influences as well as her modern contemporaries. The icy and light vocals on Psychopomp are akin to Cocteau Twins and Galaxie 500, but the emotional openness and indie-pop sensibility makes her right at home with acts like Frankie Cosmos and Mitski. In a sea of indie-pop and dream pop acts in this day an age, the originality and dreaminess of Japanese Breakfast's sound makes her official debut full-length stand out above the rest. Out now on Yellow K records, Psychopomp by Japanese Breakfast is Radio 1190's CD of the Month for April. For a full review, log on to radio1190.org.

  Out of Broomfield, CO 18-year-old Jennifer Keller and Chase Miller have been making a lo-fi combination of dream pop, bedroom-pop and slow-core as American Grandma since 2012. On their ninth release, girlcult the duo is at their darkest and most confessional. Tracks like the opener "never enough" have intertwining guitar leads with slow-moving and contemplative vocals over top. The electronic drumbeats underneath most of the songs have a strong similarity to hip-hop or, dare I say, trap music, which may seem odd on the surface but works overall in conveying the pulsing, syrupy quality of their music. What's so profound about the music of American Grandma is their ability to sound vast and intimate at the same time. The closing track "ruminations" is an ethereal track with eerie synth pads but the lyrics depict a story of a lover that is forced by social norms to conform to hetero-normative gender and sexuality roles. The track is deeply confessional and vulnerable, but dreamy and soothing enough to work on multiple levels. Overall, girlcult shows some of the best songwriting and lyrical content that American Grandma has offered to date. Though the album is strong and impactful, it is by no means a stopping point for the young duo, showing promise for even more stellar dream pop albums in the future. 

  Though the Minneapolis group Kitten Forever is only comprised of drums, bass and vocals, their style of punk packs quite the punch. On their seventh release 7 Hearts, the group channels the feminist punk energy of Bikini Kill and the twee pop quirks of Beat Happening. Though theres only two instruments and one vocal, the group keeps every song fresh and interesting by switching around instruments on nearly every track. With the fierce drums and noisy, distorted bass, the group at times sounds closer to Lightning Bolt than they do to many guitar-based punk bands. Though Kitten Forever doesn't redefine the genre of punk music, the trio has unbeatable energy, great personality and the chops to make one hell of a rock and roll record.

On Air Next 3.31.16

Adam Sputh

  We here at Radio 1190 hope that everyone is transitioning nicely from spring breakback into school nicely! Tonight at Innisfree Poetry Bookstore and Cafe, 1190 will be hosting Taylor Tuke as a part of our Locals Live concert series. Come out at 530pm for local music, great coffee and good times!

  Out of the depths of the east coat DIY scene, New York powerhouse Guerilla Toss have released their 10th release, Eraser Stargazer, via DFA records. Though they may get tagged as punk music, Guerilla Toss is not your average punk band. Instead of focusing on chords and four-on-the-floor rhythms the group creates these incredibly groovy yet fucked up danceable cadences that sound like a bastard hybrid of funk and no wave. Over the punky start-and-stop rhythms lay fuzzy and colorful synthesizers that add another layer of texture a depth to the mix. Tracks like "Perfume" have a strange head-bobbing rhythm with synth leads that are reminiscent of early electronic dance music from the underground scene in the 1980's. The star of the show is lead vocalist Kassie Carlson who's unchained banshee howl is unabashed and in your face. Much like Kathleen Hanna, Carlson's stream of consciousness yells are passionate, thoughtful and powerful. Tackling issues of rape, societal expectations of women and rejection of conventions of what it means to be a woman over top a flurry of bass, drums, guitar and synth make for a captivating and inspiring listen. Overall, Eraser Stargazer is an original, captivating look at a powerful young band that has not only released a great album, but has proven that there is much more to come from Guerilla Toss.

  Out of Copenhagen, synth-pop trio Lust for Youth gives a little extra love on their newest record Compassion. In the same vein as new wave and synth-pop giants Tears for Fears, New Order or The Cure, Lust For Youth mixes cold, dark beats with crooning and warm pop vocals and song structures. Simple synthesizer melodies lead each track to set the stage until a bouncy, driving beat builds underneath to really kick the composition into high gear. The vocals provide a human's touch to each track, as they are warm, sentimental and emotional among the stark instrumentals. Though the timbre of the vocals is oddly similar to that of the synth pop groups of the late 80's, the sense of hope that they convey makes them incredibly endearing and heartfelt. Though the album as a whole is not anything outstandingly inventive, Compassion shows great songwriting skills and masterful production. 

  Out of Plainview, New York, pop experimentalists Say No! To Architecture has released another album in his massive discography entitled SN!TA. The album opens with "Wieder’s Floor", a guitar-based jam that is jangly and prickly lead by a dancey, lo-fi beat. Though the sound is most definitely homespun and homemade, it's apparent that Say No! To Architecture have been meticulously crafting these tracks. The melodies of the guitars are strangely reminiscent of Parquet Courts, yet the grooves laid down on this record are much less punk as they are psychedelic. Most of the tracks span over five minutes and some even stretch as far as ten or more minutes. Each composition follows a mantra-esque guitar or bass lead and slowly builds and evolves into a psychedelic jam. Overall, though these songs are a tad long-winded and a little formless, the composition and execution of these sketches are incredibly engaging and interesting to say the least.

- By James Calvet

On Air Next 3.17.16

Adam Sputh

  It's Saint Patty's day and what better way to celebrate than supporting local music! Today at Innisfree Poetry Bookstore Denver-based bedroom pop artist Total Goth will be performing. Stop by at 6pm to support local music and enjoy great coffee with Radio 1190. On-air we will be spinning Irish indie artists all day long as a part of our St Patty's Day Programming. Tune in!

  Boulder-based record label First Base Tapes have only been active since October of 2015, but the label has released four releases on only digital and cassette tape formats. The most recent is an 18-artist compilation album dubbed First Kiss Comp to emphasize the label's love for smooching and local music. With the majority of the artists being from the Front Range of Colorado or having origins in the state, First Kiss Comp is a diverse and eclectic mix of artists that sounds cohesive overall. The tracks range from emo to lo-fi indie to electronic to post-punk to experimental rock. The artists featured on the compilation vary from heroes of the local scene such as Bleak Plaza, Montoneros, American Grandma and more to new, exciting projects in the area like CooCoo Bad Brains, beat soft pop and Wrinkle. Stand out track "Undertheseajawn" by Scary Drugs is a bouncy jaunt, recorded live to capture the raw energy of the group. The track has the riffy, musical complexity of math rock but the fun, easy-going feeling of Mac Demarco. Other standout track is "Someone Else Like Me" by group ScaTTer GaTHer, which sounds more indie folk than their live presence, but the track pairs amble acoustic sounds with barbed lyrics that tell possibly an ex-lover "fuck you". Overall, the album is not just an interesting look into the current state of indie rock in Denver/Boulder and beyond, but stands as the flagship statement of this up-and-coming local record label.

  Denver-based electronic experimenter Thug Entrancer is back with a monolith of an album for his sophomore effort - Arcology. Much like his previous album Life After Death, Arcology is a dense, conceptual electronic record that tells a complex story without any lyrics. The album is based on an imagined alien colony constructed on either known or unknown worlds. Unlike his earlier records, the mood of Arcology is much more esoteric and deconstructive than Thug Entrancer's usual subtle style of electronic music. Though the album is a much more colorful and diverse set of tracks, Thug Entrancer keeps the entire record dark and mysterious. The sounds and textures used on this record sound very futuristic and Aphex Twin-esque in execution, but the equipment that he uses sound almost retro. The drum sounds used are highly reminiscent of underground house artists from the 90's, but are used in a way that is inventive and original. The single "Curaga" is possibly the most major-key oriented track that Thug Entrancer has ever produced, but since the samples and rhythms have been dissolved and deconstructed, the composition is more strange and off-putting than the melody leads to believe. Though this is not an album for everybody, Arcology is much more digestible, subtle and palpable than other experimental electronic albums. Undoubtedly, Thug Entancer has released one of the best and most interesting albums not only to come out of Denver, but electronic music as a whole. 

  Ever since dance-rock duo Prince Rama was discovered in a dive bar by Animal Collective's Avey Tare in 2010, they have become a cult act in the indie-sphere. Though the duo do not necessarily make electronic or rock music, their music has been self-described as "Now Age". Their newest album XTREME brings some incredibly groovy beats to the table along with a very captivating and strange personality. Simultaneously, the duo takes the campy, cheesy synths and aesthetic of 80's New Wave and the punky dance-rock energy of LCD Soundsystem or The Rapture. Unlike their influences, Prince Rama plays music that is halfway tongue-in-cheek. Though they make incredibly catchy and dancey music, their lyrics and music almost poke fun at the clichés and pitfalls of the genres. Overall, the album is fun, weird and danceable, but doesn't leave much substance to chew on as an active listener. But if you're looking for solid grooves and a goofy execution, Prince Rama is who you need to be listening to right now.

On Air Next 3.10.16

Adam Sputh

  Another week means another exciting edition of Locals Live! Stop by Innisfree poetry bookstore and cafe on Thursday March 10th at 6pm for a free acoustic set from Boulder group Real Talk. Drink great coffee, hang with friends and support live music with us this Thursday at Innisfree! Also, tune into Radio 1190 this Friday at 3pm MST for a phone interview with guitarist Glenn Jones! His newest album Fleeting is our CD of the Month for March and you don't want to miss out on this exciting interview! Tune in!

  In the mid-1990's the debut album of San Francisco gender-bent punk band Deep Throats recorded their debut album Good Bad Pretty, but it's only seeing release now in 2016. The album is a guitar, bass and drums punk record with no frills with ferocious and fiery execution. Their sound is angular and pointed, with most of the guitar and bass lines following each other on a screwed up melodic line. Above the sludgy strings and tribal drums, are these soaring, charismatic vocals that contain a certain swagger almost like Dr Frank n Furter fronting a punk band. The group also has an air of glam rock to their sound where you can hear the influence of Marc Bolan and possibly a little bit of young Bowie. But overall, the group has their own idiosyncratic, schizoid, glammy punk flare that make them stand above their influences. Sadly, their only downfall is that the songs sound a little too similar to each other if listened to in a non-album order, but the eccentricities and unique personality trump any flaw this band has.

  Named to piss off older punk audiences, East coast group Jawbreaker Reunion has a sound to please any DIY punk crowd. With their new album (named after classic "straight white boy texts") haha and then what ;) blasts through nine tracks in barley twenty minutes. The group melds together twee pop, fuzz punk and poignant lyrics with a lo-fi tinge. Though the record is simple and incredibly catchy, the band succeeds at dissecting complex topics in a easily digestible manner.  The longest track on the album "Patches" is an intense story of a loveless relationship that ends in a triumphant, sing-along chorus that is truly enthralling. Though the group does have a similar style to other garagey indie groups such as Chastity Belt, the pop hooks and the operatic, charismatic vocals sets them apart. Undoubtedly, haha and then what ;) is a memorable indie record from this young group and will definitely be remembered later on in 2016.

  Bay area solo act Jackson Phillips, also known as Day Wave, has been touring and recording for years but his most recent release Hard to Read has made its impact on college radio. Like other popular bands as of late, Day Wave pulls influence from the rich history of Dream pop but with an effortless, synthy flow. Like DIIV or Wild Nothing, Day Wave is able to make watery, sleek rock music but without the numbness or drabness of his contemporaries. Instead of wearing apathy as an aesthetic, Day Wave tends to repeat mantras that hold a lot of emotional weight. But though his topics and themes are heavy and relatable, the instruments are light and airy but full and satisfying. The group has a strange ability to make music that feels so effortless but you know they put their heart and soul into each composition. Hard to Read is a little but satisfying EP that is easy to digest and makes great way for full-lengths and shows that are yet to come.

On Air Next 3.3.16

Adam Sputh

  Attention music lovers! Tomorrow we have another edition of Radio 1190's Locals live at Innisfree on the hill at 6pm featuring singer/song-writer Spence! Stop on by for local music, great coffee and atmosphere! Also be sure to log on to radio1190.org for new sessions and videos from local and national bands as well as album reviews concert calendars and more!

  Formerly of post-rock outfit Cul De Sac, steel-string master Glenn Jones has been making instrumental folk music since the early 2000's, and come 2015 he has released his sixth full-length record titled Fleeting. Much like his main influencers John Fahey or Leo Kottke, Jones masterfully composes simple yet enchanting folk tunes with only a single acoustic guitar or banjo. Though Jones' style is classified as American Primitivism, his style does not only rely only on folk and blues of the past, but also indie rock and delicate, light baroque music. However, Glenn refrains from using his voice on every composition tells a complex story through rhythm and melody. Though most American Primitive albums conjure images of American history and tradition, Glenn Jones has created an album simultaneously focused on the past, present and future on his 6th studio album Fleeting. Many of the tracks are dedicated to people of his past, two of which are specifically about his friends and fellow musicians Robbie Basho and Michael Chapman. Recorded in a house on the banks of Rancocas Creek in Mount Holly New Jersey, you can even hear the croaks and chirps of the present outside world in the background of this recording. The standout track "Cleo Asleep" is a lullaby and a nod to his daughters as well as the future itself. Fleeting marks a recording of mastery for Glenn Jones and proves that American Primitive folk music lives on in the modern world. Out March 18th, Fleeting by Glenn Jones is Radio 1190's CD of the Month for March. For a full review, log on to radio1190.org.

  Formerly of Candy Claws, Colorado natives Karen and Ryan Hover have teamed up with members of Apples in Stereo and the Drums to form a new psych-pop project Sound of Ceres. Much like Candy Claws, Sound of Ceres plays an ethereal and delicate style of psychedelic music on their debut Nostalgia for Infinity. The opening track "Pursuer" is a minimal and pulsing opening of the doors where the soft synths and whispered vocals take center stage. Once the doors to this album have opened, the operatic melodies and spine-tingling textures take over for a ride that is at the intersection of psych music and an ASMR massage. Unlike most Candy Claws tracks, Sound of Ceres dials back the chaotic and cacophonic textures in favor of sublime, minimal melodies and rhythms. The single "My Spiral Arm" is a terrestrial, meandering jaunt that evokes surreal images of woodlands or kaleidoscopic highways. Though all the tracks are incredibly catchy and digestible, the group is able to add in just the right amount of detail into every composition to make the listener wanting to restart the journey again and again. The smoothness and silkiness of the album is incredibly appealing and easy to listen to, but the eccentricities and personalities make this record incredibly special. After taking a few years off from music, it's fantastic to see Karen and Ryan come back as Sound of Ceres offering an album like Nostalgia for Infinity that is enjoyable, rewarding and deeply triumphant. 

  Psychedelic kings Animal Collective have made some of the most landmark albums in indie music in the early 2000s. On their tenth studio record Painting With, fourth member Deakin steps out to let Avey Tare, Panda Bear and Geologist take the reins. Instead of diving deeper into psychedelic themes or exploring soundscapes, the trio decidedly focused on rhythms and melodies. The first track and lead single "Floridada" is a bouncy, colorful homage to different regions around the world with a building and exploding chorus that's incredibly catchy. Unlike the single, the rest of the album contains more head-bobbing and grooving tracks that are much easier to dance to compared to their previous efforts. "Lying in the Grass" is a tropical flavored stomp that features an echoed double-singing that appears as a motif throughout the rest of the album. Many of the vocal melodies sit in the middle of the mix much like the most recent Panda Bear solo album, seeming as if Avey Tare's spastic, cathartic melody screams have been decidedly taken a back seat. 

  Unfortunately, Painting With contains some of the most middle of the road and poppy that Animal Collective has ever put out. Without more exploration into the unknown, there's really not much to chew on besides the grooves that the band lays down. Though this is not the greatest Animal Collective album ever, it certainly isn't bad by any means. Painting With is an incredibly enjoyable listen and contains some of the most solid rhythms in their discography.

On Air Next 2.25.16

Caden Marchese

by James Calvet

This Thursday we have another stunning edition of Locals Live at Innisfree Poetry Bookstore and Cafe! On Feb 25th come hear the awesome electr0-acoustic styling’s of Boulder-based fingerpicker Effulgence. The show is free and presented by Radio 1190. The show starts at 6pm! Come drink great coffee, hang out with 1190 staff and support local music! 

New Jersey-based group Pinegrove sound more like they came from the South or Texas, but these Northeasterners has a knack for mixing together gritty alt-country and modern lo-fi indie rock. On their seventh release, Cardinal we see the group maturing in their sound and hitting the sweet spot in between alt-country and emo revival without falling into clichés of their genre. Each track is raw and natural as if the album was recorded live to tape. Thematically, Cardinal sounds like moments from late summer in a small town captured on a disposable camera wherein the emotions are intense and complex but ultimately fleeting. The voice of Front man Evan Stephens Hall is youthful but gritty with a strangely southern drawl that ranges from quiet country mumbles to stressed-out shrieks. The lyrical content tells stories that are specific to Evan Stephens Hall life, but are vague and relatable like a faded Polaroid from last summer. Extra instrumentation such as banjo and lap steel guitar are utilized sparingly, where only the eagle-eared may hear, but add another layer of depth to their sound. With this being Pinegrove's first widely-distributed record from Run For Cover, this is a great entry point into their discography and can please music fans that may not be into alt-country or emo revival.

Out of the Brooklyn DIY scene, twee-folk outfit Florist has released their first full length album. Much like their contemporaries Frankie Cosmos and Eskimaux, Florist specializes in a quiet, intimate style of twee injected with folk sensibilities. The album, titled The Birds Sang Outside, is only 30 minutes long, but each of the eleven tracks is rich with emotive songwriting and personality. The second track "I Was" is a guitar led track that is so delicate and light that you could hear a pin drop if it weren't for the distortion and noise that enters halfway through the track. Like most tracks in the album, the themes deal with isolation and loneliness but the warm guitar tones and textures make the record seem more homey and welcoming rather than cold and alone. Though this album has a lot of potential, it's hard to differentiate Florist's sound to her contemporaries. If it were for a little different variation in vocal style or instrumentation, Florist could fully realize their potential. 

Out of Japan, math rock pioneer Toe has released their sixth release entitled Hear You. Much like most other math rock bands, Toe keeps their sound hyper-melodic with emotive builds and complex rhythms. Unlike their previous records, Hear You strays away from the electronic leaning of their past for a more rock-oriented album.  The record shines through with incredible guitar playing and masterful drum composition. The rhythms and song structures are complex, yet the group can place these melodic lines in a certain way that is palatable for all audiences. The ninth track stands out from the rest where R&B rhythms replace the rock focus and a smooth, crooning vocal part sounds like the sweetest part of a 90's hip hop jam. Funnily enough, this track is a homage to the Japanese hip hop scene. With a large breadth of genres and sensibilities, Toe's sixth album Hear You is a great addition to their discography and has the potential to gain a new audience of listeners.

On Air Next 2.18.16

Caden Marchese

by James Calvet 

Radio 1190 has some very new and cool things posted on our social media outlets! We have videos of the session and interview we had with Georgia-based band FUTUREBIRDS last week and many more radical interviews, sessions and reviews! All you need to do is log into radio1190.org!

After a long string of self-released EPs and full-length's, Brooklyn DIY darling Porches has released his first label-supported album. Aaron Maine is a synthesizer-focused singer and producer that makes incredibly sleek and heartfelt bedroom pop reminiscent of underground pop from the 1980's. His newest album Pool opens up with the stellar track "Underwater" which is a pulsing, syrupy track with emotive vocals that are influenced by R&B but offer a more indie leaning. The drums are sparse and well calculated with a solid groove that features a few interesting flourishes to keep the listener interested. Maine is the longtime boyfriend of Greta Kline also known as Frankie Cosmos who contributes vocals on a number of tracks on the album giving a layer of depth to the album. The album is most definitely a lo-fi record but has enough pop accessibility to crossover into audiences who aren't fully immersed into the modern NYC indie scene. With the album's minimal and homespun aesthetic, Pool is undoubtedly the best representation of how Brooklyn sounds in this day and age. With Porches being the project that has gotten the most critical acclaim and attention alongside Frankie Cosmos, it shows that the DIY scene might be about to burst, giving all these great acts the attention they deserve. 

Virgina-based dream pop group Wild Nothing has been paving the way for the new, dreamy sound of the Brooklyn scene. On his third full-length, Life of Pause bandleader Jack Tatum continues and extends his dreamy sound. The opening track "Reichpop" samples heavily from Steve Reich's "Music for 18 Musicians" and creates an expansive atmosphere to kick off the record. The lo-fi charm on this record has been swapped out for a clearer sound for Wild Nothing. With the more transparent sound for Tatum, we hear a more post-punk influence than his other releases. Though Wild Nothing has been switching up his sound and keeping it fresh for fans, Life of Pause still is not as charming as his earlier releases. But even though this sound is not as fresh as Gemini, there are still some incredibly promising moments on Wild Nothing's third full length.

Canadian electronic duo Junior Boys have been making strange and soulful synthpop since the early 2000's but their fifth studio record Big Black Coat might be their most realized work. With crooning vocals and proto-house production, Junior Boys have a deceivingly poppy sound with some off-putting tendencies. Though the duo use 808's to produce almost every since one of their tracks, the strange samples and dated production has the same appeal as early Ariel Pink work where it rides the line of likeability and kitsch. Though the album may be halfway tongue in cheek, each track is incredibly catchy and fun to listen to. The grooves are very similar to Caribou but the minimalism and darkness is more akin to outsider house artists rather than dance floor hits. Regardless, Big Black Coat is one of the most unique synth-pop records of the year so fart and exceeds in its ability to be simultaneously catchy and strange.

On Air Next 2.4.16

Caden Marchese

by James Calvet

This week Radio 1190 will be hosting another edition of Local's Live at Innisfree Poetry Cafe on the hill! Stop by at 6pm this Thursday, February 4th for an awesome improvised set from Boulder-based pop experimentalist Jarocki! Come drink coffee, hang with 1190 and support local music!

Halifax-based Nap Eyes may sound sparse and minimal at first listen, but their sound is much denser than one would expect. Their debut record Whine of the Mystics was a 2015 sleeper hit of an indie record with charm and quick wit. Their sound is a peculiar mix of indie pop, alt-country and folk rock without the lyrical or thematic stereotypical pitfalls of the Americana genre. The ultimate draw of the record was the eccentric personality that revealed itself with repeated listens. Lyricist Nigel Chapman is a Biochemist by day, but writes on subjects that are simultaneously mundane, literate and profound. In 2016 with the release of their sophomore record Thought Rock Fish Scale, we find Nap Eyes polishing their sound while still staying raw and lively. The whole record was recorded live-to-tape which captures the raw energy and brilliance of this indie pop group. The album touches down upon subjects such and astrophysics, spirituality and poetry but ultimately Thought Rock Fish Scale is an album for the late night drunken philosophers. Chapman's delivery is reminiscent of Lou Reed's monotone drawl but strangely emotive. Though the band may draw the most comparison's to 60's Velvet Underground, the group can please fans of Wilco, Pavement or general lovers of golden-age indie rock. Thought rock Fish Scale is a true-to-form rock record that is simple upon first listen, but reveals itself over time and becomes an incredibly rewarding listen. With the group's charmingly simple execution and Chapman's lazy yet sharp vocal style, Thought Rock Fish Scale results in something innovative, genuine and classic. Out now on Paradise of Bachelors records, Thought Rock Fish Scale by Nap Eyes is Radio 1190's CD of the Month for February. For a full review log on to radio1190.org

If you don't already know who Ty Segall is, then we here at Radio 1190 encourage you to pick through is extensive back catalogue. For those who are interested in what this man has been up to, he has new album out now entitled Emotional Mugger. Leading up to this release, Mr. Segall had made it clear that there will be some changes to his backing band. Instead of the Ty Segall band including Mikal Cronin, Charlie Mootheart and Emily Rose Epstein, Ty would now be playing with a mysterious group called "The Muggers". The first promo pics showed the front man and his group all wearing these disgustingly cartoonish rubber masks in the form of crying infants. This release was set to be very strange. On Emotional Mugger Ty has decidedly gone heavier than his previous release Manipulator with more twists and turns in the songwriting style. More focused on riffs and demented rock structure, Ty Segall seems to be going into a direction that's more similar to his side project Fuzz. Though this is a much more wild side of garage rock with Segall, the album is still on the poppier side and not as ferocious or jarring as albums like Slaughterhouse or Reverse Shark Attack. We find Ty Segall becoming more comfortable in his sound but trying to make it fresh and exciting for the fans but resulting in a watered down version of his sound. By no means is this the end of the road for Segall, he is aware of the impact he has by putting out so many records and knows how to keep his story compelling. If anything, the concepts and strategies he's using for this record are very innovative and show that Ty Segall may have some really interesting plans later on down the line.

Formerly of the weirdo jazz-rock fusion group Fiery Furnaces came the singer-songwriter Eleanor Friedberger who is possibly the most intriguing artist in the genre in recent years. Her style is simple in theory, but when executed is unlike any other artist. After two records, her third release New View is a continuation of her unique style with a refinement of her particular voice. Her style of folk rock is very similar to the golden sounds of A Ghost is Born-era Wilco but with a Sharon Van Etten-esque confessionalism that makes her incredibly interesting. Though the tracks most depict complex romantic situations, the juxtaposition of heavy lyrics and bubbly instrumentation is simultaneously enthralling and unexpected. To the untrained ear, her sound is very simple indie folk, but her songwriting and structure is subtly unconventional, which could be a result of working with the Fiery Furnaces. Though her style of sun-shiny folk rock may not be for everyone, there is massive amounts of merit in Friedberger's unique style of songwriting.

 

 

On Air Next 1/13

Dan Burney

by James Calvet

Welcome back students! It's cold outside but there are exciting things happening in the UMC. We have a slew of awesome new DJ's on the AM airwaves. Tune in to hear rad tunes from your next favorite DJ. For a full list of new DJ's log on to radio1190.org.

On January 10th 2016 legendary musician, songwriter, actor and artist David Bowie passed away due to cancer. Through his nearly fifty-year career, Bowie created an unmistakable style that is poised, charismatic, inventive and unabashedly strange. Like a musical chameleon, Bowie utilized genres such as glam rock, electronic, experimental music and beyond. Come 2016, the lead single and title for his 25th album was released titled Blackstar. The track is a 10-minute long epic with dark, broody droney chords over jittery jazzy drums. The album as a whole is a dark and mysterious listen but provides enough pop structure to please the masses of Bowie fans. Bowie reportedly was heavily inspired by artists such as Kendrick Lamar and Death Grips while writing this album, which really shine through, most notably on the title track of the album. Blackstar is an end-of-career album that stands just as interesting as his Berlin trilogy albums or even his glam rock classics of the 1970's.  The instrumentation and execution is stronger and more experimental than Bowie has been in years and makes this album to be his best in well over twenty years. Strangely, this album seems very aware of his death that would follow its release. With the themes, execution and musicianship on this record, Blackstar reveals itself deeper and deeper with every listen and acts as the best way that Bowie could end his career and his beautiful, charismatic, influential life.

In the heyday of indie-pop, the Pacific Northwest was the incubator for some of the best acts. In the early 80's Calvin Johnson began releasing low fidelity pop recordings under the moniker Beat Happening while still in college. Over the course of a few years, the group evolved into a full band and gained a cult following for their eccentric personality, playful performance and simple pop melodies. Thirty five years after the formation of the group, Domino and K records decided to release an anthology release to celebrate the band's legacy titled Look Around. The album chronologically goes through their short discography with better mixing and mastering without compromising the lo-fi charm. Classic tracks such as "Indian Summer", "Tiger Trap" and "Bewitched" are all featured on this record showcasing the band's true genius. Though this compilation is full of fantastic tracks and masterful mixing, it doesn't really bring anything new to the forefront of Beat Happening's music. But with that being said, there really isn't much to uncover from the band other than that they were and are the greatest indie pop group of all.

Pop experimentalist Grimes has been exciting and frustrating fans throughout her whole short career. After she announced a follow up to her cult favorite debut Visions in 2014, she reported that she will not release her follow up because it didn't please her fans. But late 2015 brought another follow up record titled Art Angels. Unlike her first record, Art Angels is a much cleaner and poppier record minus the dark edge she once had. But the production on every song on this record is truly remarkable in that each song is incredibly textured, detailed and unconventional. Though some songs like "Flesh Without Blood" sound as if they could be played on Top 40 Radio, there are at least some elements of experimentalism deep within the track. Though this release doesn't please some of Grimes' die-hard fans, there are still enough saving graces on this album to make it very memorable.

On Air Next 12.10.15

Dan Burney

by James Calvet

Finals are almost here! It's the most wonderful time of the year. We are kidding. We hate finals as much as you do. But that also means that it's list season. We are putting together a compiled listener year-end list. Log on to radio1190.org or visit our Facebook/Twitter and submit your top 10 albums of 2015. Keep your eyes on our website and social media for staff lists and other year-end lists.

Though many bands come out of the east coast, none have really stood out quite like Philadelphia band Palm. Their newest record Trading Basics, out on Exploding In Sound Records, their biggest release in their very short career. Though it may not be as experimental or wild as their earlier album Ostrich Vacation, Trading Basics is still an uncompromised, visceral listen. Like most of their tracks, the second track is  "Crank", a jagged, angular track that charges forward in a very solid groove. The track then ends in a guitar-based cacophony only ending in one tight hit. 

Over the course of the album, the group heavily utilizes polyrhythms and dissonant melodies that sound influenced by experimental punk bands like This Heat. Though many of the songs forego traditional melodies and song structures, catchy hooks burst out of nowhere. On the stand out track "Ankles", the refrain, which repeats the mantra “I don’t need you any more” which easily can get, stuck in the listeners head. The music is incredibly interesting and mind-bending; it can be quite taxing over the span of eleven songs. But undoubtedly, Palm have an incredibly unique sound unlike any band out right now, quite possibly making Trading Basics the sleeper hit of 2015.

Accompanied by a documentary of the same name, Junun, Paul Thomas Anderson recruited musicians from the east and the west including Shye Ben Tzur, Jonny Greenwood, and The Rajasthan Express. From Radiohead fame, Jonny Greenwood teams up with Israeli composer Shye Ben Tzur and Rajasthan Express which is composed of 19 traditional musicians. The album was recorded in the Mehrangarh Fort in Rajasthan, India. The film documents the making of the album, an organic process of musicians coming together and creating something unique together. The western musicians infuse their style in the traditional eastern music with fantastic results. Hints of electronica and rock music riddle the album throughout. The two-disk collection is diverse, emotive and incredibly enjoyable. Though the album and documentary don't do anything truly profound, the fact that these culturally different musicians come together to make something unique and interesting is something special in itself.

It was just a matter of time until Ty Segall released another album. This time around Mr Segall has put out a tribute album to his favorite band, T-Rex, aptly titled Ty Rex. Covers of tracks "20th Century Boy" and "The Slider" are fantastic homages to Marc Bolan and company with Segall's signature sound in the mix. Notably, Ty has infused fuzzier, grittier and rawer guitars and production into the mix. Unlike his previous album, Manipulator, we see a more punk-leaning sound from Ty Segall sounding much closer to his roots than ever. Though, obviously since it's a cover album, there is no new territory found on Ty Rex, but it's the perfect way to hold over garage rock fanatics until the next original Ty Segall LP.

On Air Next 12.3.15

Dan Burney

by James Calvet

It's almost finals! Get ready for never ending pots of coffee, all-nighters and irrational emotional breakdowns! But before that happens, join Radio 1190 this Thursday, December 3rd at Buchanan’s Coffee Pub for another Locals Live featuring Justin Root. Show starts at 7pm and it is completely free! Support local music!

Since the beginning of music, different musicians have collaborated to make art. When this happens, the strengths and weaknesses of each musician are exposed and the results are usually unpredictable and exciting. 

In late 2015, Three Lobed Records, a one-man record label based out of Jamestown, North Carolina, recruited and paired up 10 of the best bands in folk rock, indie rock and beyond to release a 5-LP collection entitled Parallelograms. The album journeys through genres such as shoegaze, American Primitivism, Psych Folk, Free Improvision and beyond creating a diverse and oddly cohesive collection of tracks. On Parallelograms, there are splits between Steve Gunn & Kurt Vile, Bardo Pond & Yo La Tengo, William Tyler & Six Organs of Admittance, Michael Chapman & Hiss Golden Messenger and Caught on Tape & Bishop Orcutt Corsano. 

Every writing style from covers, to original compositions, free form jams or somewhere in the middle is covered in this collection and shows that all of these forms can be utilized to create something unique and innovative.

Following a string of critically polarized records, Daniel Lopatin, also known as Oneohtrix Point Never, has polished up his sound for his newest record, Garden of Delete, without compromising any intensity. 

Following the intro, "Ezra" showcases intense stop-and-start samples foreshadowing the rest of the album. Though the album is much tighter and focused than his previous, the album is fast, loud and in your face. The most accessible track on the record, "Sticky Drama", is closer to EDM than any other track he's ever created. But in the middle of the track, the composition drops out to erupt into a speed-metal breakdown featuring sequenced double-bass hits. The album then veers into familiar ambient-focused Oneohtrix Point Never territory but with a more rock influence. 

The album may not be the most challenging Oneohtrix Point Never record, it is still exhilarating enough to make die-hard fans happy. With that, Garden of Delete may be the record to introduce a whole new audience to the wild world of Oneohtrix Point Never.

Indie pop darling Frankie Cosmos has been quiet for some time, but 2015 has brought us a new 4-song EP entitled Fit Me In. In true Frankie Cosmos fashion, she blasts through 4 tracks in only 8 minutes.

Instead of her usual stripped-down style, Cosmos incorporates a full band equipped with synthesizers to enhance her sound. Unlike her true bedroom pop style, it sounds much closer to a song that would play during a prom slow-dance in an 80's movie.

Sadly, the tracks don't have the same emotional impact as Zentropy. The songs seem a tad more rushed to have the same effect that her past releases have had. Hopefully this EP is a tease to a full-length to follow soon.

On Air Next 11.19.15

Dan Burney

by James Calvet

Much like you and your family Radio 1190 will be celebrating Thanksgiving! Tune in on Thursday Nov 26th for our "Plymouth Rock Playlist". We will be going back to where it all began by playing an awesome selection of electric blues and early rock music. Then on Friday Nov 27 we will be playing "Live In-Studio Leftovers" where we will be playing past in-studio sessions from Brothertiger, TOPS, Death Valley Girls and more straight from the Radio 1190 Vault. Tune in!

After doing production for Kanye West and FKA Twigs Venezuelan producer Arca gained recognition for his critically acclaimed debut Xen. Come 2015 after doing production on Bjork's newest record and a few incredibly mesmerizing singles, Arca had a lot to live up to on his newest record Mutant. 

In his distinct style of cacophonous waves of noise, Arca finds beauty in the grotesque. The title track on Mutant is a 7-minute formless noise piece that focuses on walls of sound that build and collapse quickly with only a few seconds in between to save the listener from the madness. The track then finds melodic synthesizer leads underneath that eventually bubble up to the top sounding akin to a post-apocalyptic electro hook. 

Unlike his first album, Mutant foregoes the energizing stop-and-start compositional style for a more fluid, cascading sound. Though this record is not for everyone, the textures and production of Mutant make it just as good as it's predecessor. For the listener that is looking for something that has the same maximalist qualities of Kanye West and FKA Twigs but totally off the deep end, Arca's Mutant may just be the 2015 album they've been searching for.

Los Angeles based avant-garde music producer James Ferraro made a name for himself by making ironic and plastic electronic music that would later be cited as the starting point for the micro-genre known as vaporwave. He then progressed into a more vocally and conceptually driven style of avant-garde R&B and hip-hop that is simultaneously off-putting and soothing. Following up his 2013 release NYC Hell 3am, which was an observation of the city it's named for, Ferraro takes his focus across the country for his Los Angeles themed 2015 record Skid Row.

Much like NYC Hell 3am, Skid Row opens with text-to-speech samples that bluntly name off characteristics of the city such as "Home Security", "Gated Housing", "Desert", "Gardner" and "Burning Prius on the Highway".  The album is a hazy, opaque look at crime and capitalism in a stark portrait of Los Angeles. Unlike his previous efforts, Ferraro focuses on hooks and melody to make it more enjoyable for wider audiences. Though most of the compositions are incredibly esoteric and synthetic, a lot of the instrumental, more ambient-based tracks are incredibly pretty. Ferraro's vocals are low and whispery throughout the whole album. Though he may not be the most skilled singer, his ability to be unnerving is greater than or comparable to the text-to-speech that opens the record. 

Undoubtedly, for the casual electronic music listener, this will be an incredibly polarizing record. But for those that are willing to look deeper into the imagery and concept that Ferraro is presenting will be greatly rewarded. Tim Presley from White Fence is a busy man. Not only has he recently been releasing music with Cate La Bon as DRINKS but also he now has a new experimental beat project under the moniker W-X. 

Unexpectedly, the self-titled album's first official track "The Lurk" sounds like a 90's trip-hop track akin to DJ Shadow but a tad bit more psychedelic. From there, the album is much more varied and touches down upon weirdo psych rock closer to White Fence's original sound and even lo-fi pop gems that sound close to Ariel Pink. Halfway through, it sounds more so like a mixtape or a collection of B-sides than an official album.

What we find through the record's diverse 19 tracks is that Tim Presley is an incredibly talented, multi-faceted singer-songwriter with great sensibilities on strange pop music. If anything, the extremely entertaining self-titled album from W-X is a great way to hold you over until the next White Fence Record.

On Air Next 11.12.15

Dan Burney

by James Calvet

Come join Radio 1190 tomorrow at 7pm at Buchanan's Coffee pub on the hill for another edition of Locals Live! Tomorrow we will be hosting the ambient-folk duo Latlaus Sky. It's a free show so come out and enjoy great coffee and support local music!

Longtime icon of the Denver DIY scene Travis Egedy, also known as Pictureplane moved to Brooklyn some years ago but kept up his production of strange and esoteric electronic dance music. Recently signed to Anticon records, Edegy has been know for fusing genres such as dark wave, experimental house and 90's-era dance music. Come 2015, Edegy has released his seventh full-length album titled Technomancer.

The album, much like his previous records, is dark, fuzzy and weird. "Sick Machine" that opens up the album is a head-bobbing jam that has hints of hip-hop and synthpop. Though the track is dark and abrasive, the vocals are the softest and most emotional part of the track. This stark juxtaposition is an interesting one that is unexpected given the background and history of Pictureplane but works incredibly well. The ninth track "Technomancer" is an incredibly catchy stomp that sounds like a chopped and screwed 90's techno record that was found in the back dumpster of a record store with strange, modulated vocals. The track conjures up images of strobe lights over a DJ in the sweatiest, best warehouse rave in New York. Though Technomancer isn't the most challenging or mind-bending electronic album ever, it's still incredibly enjoyable. 

Ty Segall and company is back with the second album in their Black Sabbath-influenced incarnation known as FuzZ. Instead of Ty ripping on guitar, he has opted to take over the drum kit while Charlie Moothart stays on electric guitar and Chad Ubovich from Meatbodies on bass. The sound of II harkens back to the very formative days of heavy metal with fuzzy, menacing guitar riffs and vocals more akin to psychedelic rock. The production on the newest record compared to their self-titled debut is much more clear which results in a less mysterious sound. The thirteen-minute closer titled "II" is a sprawling, riff-laden jam that goes in various directions. Sadly, with the ingredients that they have on this newest release are so close to Segall it would make more sense as a solo record. Additionally, the songs aren't as gripping as past FuzZ releases and with the longer solo sections and song lengths, it makes the album a tad strenuous. Though it's not a bad album, more streamlined songwriting and more suitable production would have made the album immensely stronger.  

Out of Ohio, a group of ex-college radio kids have banned together and released music under the moniker SPORTS. On their debut album All of Something the group plays spunky indie pop and lightning fast speeds. Much like groups like Waxahatchee or Diet Cig, the feel of the album is simultaneously snarky and emotive. The trade off of male and female vocals makes each song dynamic and full of personality. Much like Denver group, Kissing Party, the album feels like a DIY interpretation of Belle and Sebastian or even a modern Beat Happening. All in all, though SPORTS doesn't have the most original sound, their debut is incredibly enjoyable and shows massive potential for this young band.

On Air Next 10.29.15

Dan Burney

deafheaven-newbermuda-560x560.jpg

by James Calvet
 

It's Halloweek at Radio 1190! Tune in right now to hear spooky scary songs wedged between rotation songs as well as your chance to win Radio 1190 t-shirts, concert tickets and free vinyl records! We will be keeping up the spook up until Friday so don't miss out on the fun. In other news, Radio 1190 will be hosting another Locals Live show at Buchanans Coffee Pub on the Hill this Thursday Oct 27th. The act this week will be Tayler Doyle from The Kinky Fingers playing some solo material. For more details log on to our Facebook.

Detroit-based post-punk act Protomartyr has been making incredibly drunken, melodic and heart felt rock music since 2012. On their third album The Agent Intellect, the group explores darker subjects with their melodic, yet self-deprecating sound. Much like their earlier albums, the group uses simple guitar and bass interplay as the drums stay at the swift march. The vocals from Joe Casey are deep and sloppy but still carry incredible amounts of honesty and emotionality. Furthermore, the lyrical content focuses heavily on Casey's loss of his father to an unexpected heart attack. The subject matter may be dark and hard to read at times, but Casey keeps it vague enough to be relatable and cathartic. But what the band does best, is shown on this record where they mix dark themes and styles with hyper-melodic guitars and bass lines. Though this album may not be much of a change from their last, it's still incredibly catchy and memorable enough to make it hard to determine which is the superior album, if there is one.

If you're familiar with the loosely defined genre of "indie rock", you've probably heard of Deerhunter. After massively successful albums such as 2008's Microcastle and 2012's Halcyon Digest, frontman Bradford Cox and company have become the indie darlings of the mid to late 2000's. Come 2015, right before the release of their highly anticipated album Fading Frontier, a weird but unsurprising review of a horrible Los Angeles live show surfaced on major music publications. The show was sloppy, noisy and uncomfortable including drawn out interpretations of their older material and mid-song stops to complain to the sound guy. Though Deerhunter is well known for being sloppy, cathartic and strange, the new album is anything but. 

The lead single "Snakeskin" is a clean and polished interpretation of their sound, with a steady stomp, but the melodic call and response in the guitars are incredibly reminiscent of Cox's solo work as Atlas Sound. Though, in the past, Deerhunter has taken simple pop structure and fused it with shoegaze or eerie softness and made it work, now more than ever, Deerhunter is sounding like a Bradford Cox solo project. Through the album's nine tracks, little to none of them truly stand out as personal, emotional or impactful works of art. Without the collaborative efforts of past guitarist Frankie Broyles, the group is frightful to think outside the box, get a little bit noisy and do something different. Though Fading Frontier works as a solid and interesting pop album, with a legacy so prolific and impactful as Deerhunter's, it's a true disappointment and a step in the wrong direction. 

In the past few years, the words "Black metal" have been a point of contention in communities of metal enthusiasts. After American bands have been incorperating these European musical sensibilities, bands such as Liturgy have been dubbed "Hipster Black Metal". Come 2013, the California-based group Deafheaven released Sunbather that was musically controversial, but also sported a bright pink album cover to further enables black metal idealists. After the success of that album, 2015 brought their fourth release and follow-up entitled New Bermuda. Much like Sunbather, the new record opens with bone-crushing blast beats, tremolo picked guitars and shrill, shrieking vocals. The opener hits a groove as soon as the band switches to a more mellow vibe and then builds it back up again. 

Sadly, once things start getting good, the band opts for a very awkward fade out while the vocals are still going full force to transition into a clunky piano interlude. Thankfully, the second song sports a jittery, chunky guitar intro, a la Master Of Puppets era Metallica, and then evolves into a melodic, post-hardcore influenced grind. Though the album doesn't do anything bad, the middle section sports a business as usual sound for Deafheaven, teetering and tottering between major and minor key tonalities. Sadly, the final track "Gifts of the Earth" is the weakest on the album. After their usual metal grind, the track opens up with strumming, major-key sporting acoustic guitars and a watery electric lead that sounds incredibly similar to late-career Pearl Jam. Unfortunately, the lack of experimentation, production and style choices keep New Bermuda, a good album, from being as great as their previous efforts.

On Air Next 10.22.15

Dan Burney

On Air Next 10.22
James Calvet
Radio 1190 KVCU

It's finally starting to feel like fall and you know what that means...HALLOWEEN! But even though costumes, candy and parties are important, what is most important is Radio 1190's Halloweek! Next Monday through Friday we will be playing very spooky tunes picked by staff and listeners as well as giving away vinyl, t-shirts and concert tickets! Tune in all week for your chance to win and keep your eyes on radio1190.org and our Facebook for updates!

Dublin based group Girl Band started by releasing their brand of noisy, cathartic post-punk on their Bandcamp, but after signing to Rough Trade, the group has released their debut album Holding Hands with Jamie. Most of the tracks, like the single "Paul", start opaque and formless with bursts of noise and heart-pounding drums only to slowly grow into a giant burst of fury and aggression. The vocals of Dara Kiely are sloppy and improvisational, in which he yells almost incoherent mantras that sound almost like the loud yells of a drunk Irishman. In the middle of the track "Paul" and rising and falling wall of noise takes over the track that is so powerful that could make some listeners uncomfortable. Though all this noise is quite daunting, tracks such as "Texting and Alien", contains a sliver of melody to please the listener for a moment, only to be bombarded by sheets on noise to suffocate the listener. Most notably, the percussion is primal and pounding but strays away from overusing the cymbals and opts to utilize strange industrial instruments to further the effect. The tracks, to the untrained ear, may seem similar over the course of the album, but after multiple listens each track is strange and noisy in it's own way. Holding Hands with Jamie is one of the most interesting noise rock albums of the year and, without a doubt, will be making some year end lists.

When Carrboro, North Carolina-based record label Paradise of Bachelors first started, the first record they put out was a Nashville band called The Promised Land Sound. Come 2015, now that the label has a few successful releases under their belt, the Promised Land Sound has released their second record For Use & Delight. Much like their debut the group channels the stomping hippie country of Neil Young and CCR but with the stoned out, freewheeling vibes of Crosby, Stills and Nash. The group is tight but play in a way tat sounds natural and effortless. The album teeter totters from full-on country-tinged rock n' roll jams to mellow and rollicking showing off how dynamic the group can get. Even though the group sports intense guitar riffs and groovy rhythms, their sound is very warm and familiar akin to The Band. But where the group really shines is the mellower, freeform psych-folk crooners such as "Northern Country Scene". Promised Land Sound encapsulates all that American music truly is. Though their music may not convert an Americana-hating individual on to the genre, it has a little bit for every lover of American music. 

Aptly named American-born, Toronto-based art-pop outfit U.S. Girls has been making music since 2007 but in 2015 their breakout album Half Free has put them in the public eye. Though they play pop music, their sound is dark, smoky and sexy. Much like a French Noir film, grand pianos, bongos and lush strings back up the theatrical and breathy vocals. Though this combination may sound like Lana Del Ray with a darker edge, U.S. Girls, with their dabbling in electronic experimentation, sound more akin to John Maus or even Ariel Pink with more confidence. Lead single "Window Shades", with its utilization of vibraphone and keys sounds close to a theme song for an espionage movie. Sadly, though its strength is sounding incredibly mysterious, it also suffers in sounding too hazy and hard to define. The instrumentation is gorgeous but sadly isn't as captivating as it was meant to be.

On Air Next 9.10.15

Dan Burney

On Air Next 9.10
Radio 1190 KVCU
James Calvet

Sup nerds! We hope that you all had a fantastic Labor Day and had a chance to tune into our Labor Day playlist! Even though we are back into the groove of school there are plenty of opportunities to have fun at shows this week! On Friday and Saturday Radio 1190 is presenting Natural Child's take over at the Hi Dive! Then next Wednesday, Sept 16th, The Coathangers will be ripping up the Larimer Lounge. So get out there and see some live music! And on your way to the show, tune into Radio 1190 to hear some of these awesome albums we are spinning in rotation right now.

Unlike most acts in the genre, Arizona-punks Destruction Unit do things a little bit differently. The group has the ferocity of Refused and the stamina of Lightning Bolt but hones in on the noisy psychedelic rock akin to Boredoms. Their sophomore effort Negative Feedback Resistor starts with piercing feedback for over two minutes before the group goes into a full on hardcore punk assault at a breakneck speed. The 8-minute monster on middle of the record "Chemical Reaction/Chemical Delight" twists and turns between mellow-yet-menacing passages of psych and hurling hardcore punk going at 120 miles per hour. Though the album is massive and winding, the tight musicianship and animal-like energy is something to behold. It takes a lot of energy to just listen to the album, but to play at that level of energy and precision for so long is bewildering. Though this may not be everyone's cup of tea, Negative Feedback Resistor shows Destruction Unit growing as a group and making a hybrid of music genres that no other act is sporting today.

Indie veteran's Yo La Tengo have been around for some time and in their true fashion, they decided to celebrate their 30th anniversary doing what they do best; covering songs. With their newest release Stuff Like That There classic tunes such as "Friday I'm In Love" by The Cure and "I'm So Lonesome I Could Cry" by Hank Williams and calm them down like a lullaby for a newborn. The hooks of all these songs are there but are at times so subdued that they are almost indistinguishable. Tracks such as "Deeper Into Movies" that originally appeared on I Can Hear the Heart Beating as One features none of the fuzz and experimentation that made the track memorable in the first place. The most interesting point of the album is the last track, which is a cover of a track from The Cosmic Rays with Le Sun Ra and Arkestra. Sadly, as it turns out, Yo La Tengo shy away from dabbling in free jazz and cover "Somebody's in Love" which may in fact be the lamest song in Sun Ra's discography. Overall, this album is just a thrown together collection of tracks that sound like business as usual for Yo La Tengo.

Though he may have gained the most success as Dinosaur Jr's bassist, Lou Barlow has been living comfortably by not only fronting side-project Sebadoh, but also writing and recording as a solo act. Much like J Mascis' dabbles in acoustic singing and songwriting, Barlow's newest release Brace the Wave focuses more on the feeling and lyrics that his voice and guitar convey. The nine tracks on this LP are incredibly stripped back and intimate and even though his demeanor dark and broody, the melodic guitars and clear vocal performance makes this record incredibly enjoyable. Ultimately, tracks ebb and flow between hints of Dinosaur Jr and Sebadoh. Most notably, the standout track "Wave" could have fit easily on a later-release Sebadoh record. Even on the CD sticker, Barlow quotes himself and claims that this record is "7.8 pretty good - Lou Barlow", which the record is exactly that. Though this isn't a huge improvement in his singing or songwriter, Brace the Wave is a solid record from Barlow that fits incredibly nicely in his large, dynamic discography.