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On Air Next

On Air Next 2.14.18

Hannah Morrison

By Jolie Klefeker

A lot of great music has come out in the past couple of weeks. A couple of new records have me excited because they both seem to draw something from the '80s but still manage to sound like themselves. If you're in the mood for a little something retro or just want a dance fix, definitely give these a listen.

While there's certainly an anti-capitalist political statement running though their music, what grabs me most about Shopping's music is their undeniable post-punk dance groove, which instantly calls to mind legends like The Slits, Bush Tetras and Delta 5. Without being overly repetitive, Shopping has managed to identify the catchiest, most iconic elements of the post-punk movement and polish it all up with their own contemporary sheen. Angular guitars, dominant bass and sharp guitars throttle us into almost spoken, unmistakably British vocals. Shopping's latest, "The Official Body," is the London trio's third release and boasts a fuller, more put-together feeling. It's an all-around tight record: I mean that in the colloquial, "cool" sense but also in a technical way.

Every detail, note and beat line up to form a perfect balance between a strict complexity and a punk nonchalance. This record packs it all in. This dexterity seems especially obvious on tracks "Wild Child," "The Hype" and "My Dad's A Dancer." If you're not familiar with the old stuff, I would recommend this to fans of Sneaks or even LCD Soundsystem, on the record's heavier synth moments.

I feel like every writeup about MGMT starts with the same spiel, something along the lines of: "The unlikely indie rockstars who were quickly launched into popularity" or "a couple of college kids unprepared to handle the precedent they set for themselves" or "a band that's spent the past 10 years ineffectively trying to recreate the record that brought them short-lived success." I'm not trying to roast them, but MGMT has had a hard time because it felt like they never really branched out. Well, now they have, and I'm pleasantly surprised. "Little Dark Age" is the MGMT record I've been waiting for. It finally seems like they're gaining distance from "Oracular Spectacular" and bringing us something a little less bright, more mature and informed. Tracks like "Little Dark Age," "One Thing Left To Try" and "Me and Michael" immediately invoke a new wave kind of nostalgia through their driving synths and upbeat pop energy that almost sounds corny but isn't. For the most part, a dreamy sort of danciness acts as the glue of this release, sticking together darker synths with the warmer, groovier moments. This record is certainly still an MGMT record — one that borrows from indie traditions and fuses it with pop to make something a little off-kilter with mass appeal. But it seems to let go of the rainbow-colored, stoner, college-town energy they carried with them through their previous two releases. Notes of contemporary influences like Ariel Pink and John Maus seem pretty present across the board, as both of them seem to exemplify what it means to make indie music in a "post-Animal Collective" era. This doesn't qualify as an underground record, but as a pop album, it's pretty dang good and you should give it listen.

Tune in to 1190 AM or 98.9 FM, or online at radio1190.org.

On Air Next 2.7.18: New music from Hovvdy, No Age and Porches lives up to the hype

Hannah Morrison

By Jolie Klefeker

All three of the albums I'm talking about today are albums that I, and everyone else, have been talking about for a while. They've been much anticipated and for very good reason. I'm here to tell you that they all live up to the hype.

 "Cranberry," Hovvdy's second album, is masterfully simple. ( Courtesy photo )

"Cranberry," Hovvdy's second album, is masterfully simple. (Courtesy photo)

Hovvdy have been a station favorite with a cult following for quite a while now, delivering a seemingly effortless package of slow — a la Alex G — no-frills indie rock. At times cozy, at times wistful, the slow-core duo manages to craft a sound that, despite being exceedingly simple, never seems to bore. Consisting of Will Taylor and Charlie Martin, the Austin-based pair has slowly been gaining momentum in underground music circles. "Cranberry" is being released on Double Double Whammy and comes in the wake of Hovvdy's first release, "Taster" (which I also really recommend, by the way). "Cranberry" is adorned with unexpected pockets of intricacy where notes of Americana drift through their meandering guitars and accents of banjo and piano. And tiny moments of vocal harmony add emphasis to their gently spoken, almost whispered lyrics. This is a great record. It's masterfully simple. Listen to it.

 "Snares Like a Haircut" by No Age invites you to dig through noise and abstraction to find underlying moments of subtlety and harmony. ( Courtesy photo )

"Snares Like a Haircut" by No Age invites you to dig through noise and abstraction to find underlying moments of subtlety and harmony. (Courtesy photo)

With a distinctively loud, distorted and abrasive sound, No Age have cemented themselves as the veterans of this mix; their 2008 release, "Nouns" has become somewhat of a classic. However, they've been pretty quiet for the past couple of years, so I was pleased to hear they were releasing a new record, "Snares Like A Haircut," on Drag City. While their music is glazed with an surprising, almost sugary indie-pop sound, No Age is for the most part loud, fuzzy and hard. Combining elements of hardcore, noise, lofi and pop, No Age lives for the juxtaposition, and "Snares Like A Haircut" is no different. Their sound is fresh, manic, lurid and deceptively noisey. This deception is a good thing; it's the reason I love noise music.

There's a beauty in digging through noise and abstraction to find underlying moments of subtlety and harmony. This record isn't monumental, but it coaxes that interaction out of you, and that's why I like it.

 Porches' third studio album, "The House" features prominent techno beats and lots more Auto-Tune than their previous release, "Pool." ( Courtesy photo )

Porches' third studio album, "The House" features prominent techno beats and lots more Auto-Tune than their previous release, "Pool." (Courtesy photo)

New York's Porches are back it again with their third studio album, "The House." While they've always had electronic energy, they've come out with something even more dance influenced than their previous release "Pool," featuring prominent techno beats and lots more Auto-Tune. Porches blend of indie bedroom pop with soft electro offers something for fans of Blood Orange, "Blonde"-era Frank Ocean, Alex G and Frankie Cosmos. On the whole, "The House" is cool-toned, serene and groovy pop beats perfectly suited for those early-evening, pre-going-out-late kinds of times. Two of the singles from the record really shine: "Find Me," which is jarringly and successfully upbeat, and the more toned-down "Country." The in-between tracks serve more as experimental buffers than standout songs. When this album does well, it's contagious and unexpected, and when it doesn't do as well, it's still bearable. You'll have a chance to catch the new tracks live when Porches play Feb. 26 at the Larimer Lounge in Denver

Tune in to 1190 AM and 98.9 FM or online at radio1190.org.

On Air Next 1.31.18: February CD of the Month

Hannah Morrison

By Jolie Klefeker

Popcorn of Fear's self-titled record is Radio 1190's CD of the month. The album is a blend of light, intricate pop. While mellow synths dominate, the record is laden with tiny pockets of flute, violin and guitar playing. The whole thing is a gosh darn gift that keeps on giving, with each listen revealing another layer of complexity. It's sunny and amazing. This Tuesday, I hung out with my friend Ben Donehower, the man behind it all, at his house in Denver. In between playing with his loyal and adorable dog Karate, we talked about the record, Boulder, and Justin Bieber.

What exactly is Popcorn of Fear?

Popcorn of Fear is the band name, and I just happen to be the band. It was really just something that I came up with five years ago. It's just kind of been the band I've always wanted to be, and it had a sound to it. It felt like I heard what the music sounded like when I said the name.

Your music has a poppy energy to it, maybe not contemporary pop. But do you like pop? Do you make an effort to listen to what's popular these days?

I love pop. Pop is life. I've been thinking about this a lot and, like, all my shit is pop: Popcorn of Fear, Population Control (Donehower also makes music under the name DJ POP CTRL). Pop is people. Justin Bieber is important. His music is ubiquitous. He's a powerful image. Pop is the spectacle, and I'm so fascinated by pop as the spectacle but also pop as a form. And I spend a lot of time navigating between those two — this idea of "low art" or whatever and then also pop form: verse-chorus-verse. So yeah, I do really love who the kids are listening to, and I'm trying to keep up, but I'm feeling increasingly irrelevant.

in addition to Justin Bieber, who else do you listen to?

I love the new rap that's mainstream — Lil Yachty and Young Thug. It's all absurdist. It's all unique, and that's what the kids love, which is so weird. Robyn comes to mind as well. She's a great songwriter. I love her songs and her energy. You know what, though? There's not a lot of popular rock music I can think of. I mean, what's the biggest rock band right now? The thing about rock now is it's just an ironic representation of what it was 20 years ago. They say Nirvana was like the last huge, real rock band to happen, and everything else is just recreating this form that is decadent and not relevant. It's lost its mainstream appeal, and it can't compete with Young Thug, I don't think. The kids are telling us what's important these days. So people making rock music are just kind of mastering this form that's no longer in the conversation. It's like you restore an antique clock and you're really good at it, but there's digital clocks now, and you don't need to do this. But it's still really fun to pick apart a form, and you do come to the realization that you're not going to get a contract, there's no future. It's the process that's important.

Popcorn of Fear's self-titled record just came out on United Worker's Party, U.S.A. Check out the label and the album at Bandcamp. And as always, tune into Radio 1190 to listen to Popcorn of Fear and a buncha other stuff: 1190 AM, 98.9 FM and online at radio1190.org.

On Air Next: A shout out to truly unique artists Yesol, Don Gero and Uranium Club

Hannah Morrison

By Jolie Klefeker

While I could use this column to write about another big-budget fake independent record that Pitchfork gave an 8.5 or that some dude recited the Anthony Fantano review of to you at a party, I'm trying to promote music that's a little different. And for entirely selfish reasons, I want Radio 1190 to sound better, sound fresh, and give back to people who work hard to make music in a way that's actually unique and unpretentious. So this is my goal for the semester. I hope I can live up to it. Also, if you make music, or if your friends, parents, teachers, crushes, baristas, etc., send it over to md@radio1190.org.

All three of these artists have been blowing my mind lately, so let's dive in.

Yesol, also known as Cory Feder, is a local artist who works in all sorts of mediums from ceramics to animation to textiles. Her art is whimsical, delicate and personal, and I really like everything she's done, including this album. "Telluric" is unexpected in every way. It's haunting, ethereal and has a grounded sort of earthliness as the title suggests. The harp is the driving force of "Telluric," giving rise to an intricate and enchanted feeling. The airiness of the harp pairs perfectly with Feder's gentle voice. The addition of simple, semi lo-fi drum machine beats anchors the songs, pulling them toward the realm of dreamy, bedroomy pop. This album is incredibly beautiful and refreshingly unique. Give a listen and buy it on Bandcamp.

I had the pleasure of seeing Don Gero at a house show in Brooklyn over the break, and boy does this stuff bang, literally! Don Gero's drum-based hypnotic, psych-noise fusion is like doing guided meditation but really loud. I wish I had the musical knowledge to describe to you how crazy this experience is live and why, but some combination of synths and drums creates something fast, circular, chaotic and dizzying in the most exhilarating kind of way.

Don Gero gives me low-key Lightning Bolt or Hella vibes, but he's definitely still got his own thing happening. He's got two recent releases, "Wizarding" and "Weirding," both of which are awesome. Check em' out for sure.

I've also really been digging Uranium Club lately. They put out their latest record "Human Exploration" in late December, and it's really got me hooked. They're music calls to mind contemporaries like Liquids or Lumpy and the Dumpers but also classics like early Wire or Swell Maps' "International Rescue." At it's heart, "Human Exploration" is a good ol' rock n' roll/punk record, but it incorporates some freakier moments through their DEVO-esque talk-singing absurd lyrics. Not taking themselves too seriously — but not a joke — Uranium Club manages to maintain a balance between irreverence and catchiness brought forth through quality. Their previous album, "All of them Naturals," is a slightly less classic punk influenced and slightly more off-kilter, but it remains a banger as well. These tracks are fast, rockin' and a heck of a good time.

As always, tune in at 1190 AM, 98.9 FM. Or come in to volunteer. Find information on the website, radio1190.org.

On Air Next: Jello Biafra on Fashion, Electronic Music, and “Terminal City Ricochet.”

Hannah Morrison

By Jolie Klefeker

I had the chance to chat with Boulder native, ex-Dead Kennedys singer, Alternative Tentacles founder, and all-around freak, Jello Biafra. He’s showing the film “Terminal City Ricochet” at the Boulder Public Library this Friday at 6pm and it’s FREE! We talked about a ton and I can only fit so much into 600 words. For a chance to meet the guy yourself, or at least hear what he has to say, check it out! 

Your outfits in all your music videos are pretty dang cool. Can you offer any fashion advice?

Salvation army..and some of the goodwill and the arc stores around here are pretty good too, you know I still find some interesting vinyl in the stores too. Some people claim it’s all gone but all you have to do is stay curious and you’ll find something that might blow your mind or warp other people’s brains if you suggest it to them. The Sal Army in Boulder was just sitting there with an immaculate copy of one of my favorite movie soundtracks of the Fifties: it’s like Dan Fogelberg, Dan Fogelberg, Dan Fogelberg and then “Man with the Golden Arm!” What?! And it’s playable? Cool!

As a punk musician I’m curious to know what your thoughts are on electronic music? 

Well electronic music is a pretty wide term... and I don’t really pay much attention to what they now call “EDM” but sometimes I hear something I really like...One of the best and most important electronic bands in the world, if you even want to call them that, is Colorado’s own itchy-O. You can’t just say "aw, it’s not as good as the live show."  What about people who have never seen the live show and even if you have it’s a completely different experience. A very, very powerful experience. Not everything is electronic, they have guitar, bass and anywhere from fifteen to twenty drummers, but I have noticed a lot of people at their shows, dancing as if they’re kind of hypnotized. The same way people do at EDM shows. That kind of danceable quality is very much there. You can’t get that from just a rock band, or somebody who is just pushing buttons onstage. itchy-O is a marching band so they surround you, it’s like nothing else in the world. 

You’ve got an event tomorrow at the Boulder Public Library..you’re showing the film “Terminal City Ricochet”  which you acted in…Tell us a little bit about the event, and what folks can expect?

“Terminal City Ricochet” was a movie made way back in the late eighties, and it was supposed to be a worst-case scenario of the coming future... And I kind of describe it as a “Brazil” crossed with a low-budget “Blade Runner” and some rock n’ roll to go with it. Instead of the Futurama stuff going on, things got more and more crumbled and polluted and wrecked and the mayor/dictator of Eternal City, gets “elected” because he was the most popular talk show host and owned the hockey team. And had a pile of money, starting to sound familiar? Like Russia or the United States, they have to stage an election every few years to maintain the illusion of democracy... So basically, the mayor and his right-hand hatchet man played by yours truly, frame a rock musician as a terrorist, in order to get the fearful voters to keep the mayor in power for another term. As surreal as the movie is, as confusing as it may be at times, I still stand it as making an important statement; the scary part being that every presidential election since has felt more and more like “Terminal City Ricochet.” 

Here's a link to the event: 

Header photo by Elizabeth Sloan.

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.