On Air Next 8.27
Radio 1190 KVCU
The students are back and campus is abuzz! Not only are there plenty of cool ways to get involved with the station, but there are plenty of awesome shows in the area! On Thursday August 27th, local favorites Male Blonding and Safe Boating is No Accident are taking over the Larimer Lounge with Blanket Empire and Grass! On Saturday, Chelsea Wolfe will be bringing the best kind of doom and gloom to the Bluebird Theater! Don't miss out on these rad shows! And as you're going to and from the venues, tune into Radio 1190 to hear these new and cool albums spinning in rotation right now!
After a reasonable amount of hype surrounding her first two records, Los Angeles queen of darkness Chelsea Wolfe has released her doomiest set of tracks to date, Abyss. Much like her previous releases, Wolfe manages to organically blend dark styles of folk, indie rock and metal without slipping too far into any one genre. Instead she creates a nightmarish universe all her own that is equal parts beautiful and terrifying. On the opening booms of bass on "Carrion Flowers", hints of electronic experimentations are present but not without tribal drums and deep bellowing guitar distortion engulfing the listener. Though the heavy moments may be overwhelming, the haunting vocals and melodic clean guitars that juxtapose the darkness make this album digestible for listeners that aren't into heavy music.
The dreamy quality of this album can be attributed to Chelsea Wolfe's songwriting, in which she's stated that Abyss is an interpretation of the intersection between the conscious and unconscious mind. Along with the large and expansive production that Wolfe has gotten for this record makes Abyss the strongest addition to her discography. Rather than becoming more transparent and palatable in her career, Wolfe has managed to stay as unsettling and mysterious as she was in her debut. With an execution that doesn't veer in metal or indie or folk, Wolfe remains an anomaly avoiding any and all clichés that come with either genre. Undoubtedly, Abyss is the perfect direction that Chelsea Wolfe could have gone at this point in her career and gives hope for even more solid records in the future.
Before Jay Reatard pioneered the drunken, snarling garage punk that spearheaded the gigantic wave of young bands that rule college radio today, Tennessee’s Reatards changed the sound of punk forever. On their 1999 sophomore record, Grown Up, Fucked Up Jay Reatard was a mere 18 years old but could perform and party like he was Iggy in the 70's. Each track is snarling, wild and fun with tight musicianship showing that this trio is a rag-tag group of kids meant to be rock stars.
Though the record is full of hooks and melody, the group performs with high energy and reckless abandon. Much like the greatest garage punk records recorded, Grown Up, Fucked Up pulls from not only classic punk such as The Ramones, but also classics such as New York Dolls. More specifically, because of the almost live-sounding quality of this record, the Reatards channel a vibe that is eerily similar to MC5 with fiery guitar solos and expletives lining almost every jam. Taking into consideration the young age of this group, it's quite impressive the knowledge and appreciation of old rock and roll that the Reatards harness. Now after the influential and tragic life of Jay Reatard, Grown Up, Fucked Up needs to be heard not only because of it's cultural significance, but also because it's a kick ass rock record.
After a successful and buzz-worthy performance on Jimmy Kimmel, long-time Denver native Nathaniel Rateliff and the Night Sweats have finally gotten the national attention that they deserve, and with great timing as well. A week later the front man and his talent group of Night Sweats have released their long-awaited self-titled debut album. Blending more soul into Rateliff's signature style of Americana, his sound has evolved into a homey and rich version of indie rock that allows Rateliff's charisma and musicianship shine through.
The tracks on this debut range anywhere from boot-stompin' rompers like "S.O.B." or even folky crooners "I'd Be Waiting" but throughout he remains to sound incredibly confident and comfortable in his new sound. Each track is carefully crafted and well thought out, but yet stays in a zone and fails to push many boundaries. The songwriting is strong, but yet stays in a conventional structure to ultimately sound like a pop tune. Though you don't necessarily need to ditch standard song structures, it would be nice if Nathaniel and the Night Sweats would let loose a bit and really flesh out some of these jams. Undeniably, Nathaniel Rateliff's debut is a set of pleasant and strong folk-soul songs that may not be challenging but can please just about any music enthusiast.