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On Air Next

On Air Next 2.8.17

Caden Marchese

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

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

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

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

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

On Air Next 2.1.17

Caden Marchese

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

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

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

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

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

On Air Next 11.16.16

Caden Marchese

by Elijah Jarocki

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

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

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

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

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

On Air Next 11.9.16

Caden Marchese

by Elijah Jarocki

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

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

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

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

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

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

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

On Air Next 11.2.16

Caden Marchese

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

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

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

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

On Air Next 10.19.16

Caden Marchese

by Elijah Jarocki

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

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

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

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

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

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


On Air Next 10.7.16

Caden Marchese

by Elijah Jarocki

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

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

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

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

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

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

On Air Next 9.7.16

Caden Marchese

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

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

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

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

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

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

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

On Air Next 8.31.16

Caden Marchese

by Elijah Jarocki


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


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


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


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


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


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


On Air Next 8.24.16

Caden Marchese

by Elijah Jarocki


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


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


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


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


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


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


On Air Next 8.17.16

Caden Marchese

by Elijah Jarocki

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

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

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

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

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

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

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

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

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

On Air Next 7.20.16

Caden Marchese

by Elijah Jarocki

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

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

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

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

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

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

On Air Next 7.13.16

Caden Marchese

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

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

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

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

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


On Air Next 7.6.16

Caden Marchese

by Elijah Jarocki

This week, we’re spinning three fascinating records from Blood Orange, clipping., and Weaves.

Our July CD of the Month is Blood Orange’s “Freetown Sound”. The alias of British writer/producer Dev Hynes, Blood Orange is widely regarded for his unique approach to R&B. Rather than using dubby drops and crystal clear vocal lines, Hynes swims in a haze of 80’s inspired synthesizers and drum machines. The record is an instant throwback to the golden age of pop, its tape compression and sidechained keyboards feel cozy and comfortable. On a pop level, “Freetown Sound” is an incredibly catchy collection of melodies and grooves. However, “Freetown Sound” is much more important due to its lyrical content and political undertones.

From LGBT rights to racial issues, “Freetown Sound” is incredibly socially conscious and politically inspiring. Powerful soundclips from Ta-Nehisi Coates and Ashlee Haze are some of the most memorable moments of the record–both are spoken word excerpts that challenge the listener to reexamine their view on race and gender issues. Throughout Freetown Sound, Dev Hynes highlights a cast of badass woman features. Debbie Harry, Nelly Furtado, Carly Rae Jepsen, Empress Of, Kelsey Lu, and more all add to the record’s ensemble performance. Just as many of us must wear masks and personas to conform with society, Blood Orange wears a cloak of popular R&B to make incredibly successful music. Make no mistake though, the lyrics to “Freetown Sound” are powerful and strong; Hynes promotes a message of equality and social consciousness throughout the record’s 58 minutes. The new record from Blood Orange is more akin to a Saul Williams or Kendrick Lamar release than a soulless popular record. We’ll be playing it all month here at Radio 1190.

“Wriggle,” the new release from clipping., is an absolute banger of a hip-hop record. Much like previous release “CLPPNG,” “Wriggle” begins with a nascar-paced poem performed by MC Daveed Diggs. The intro track sets the tone for the record, expect dark lyrics, breakneck vocal rhythms, urban beats, and minimal production. Antwon and Signor Benedick the Moor join clipping. on track “Back Up” to create a mirror-shaking track that feels absolutely murderous. If you’re a longtime fan of Death Grips, Run The Jewels, or Rat King, this 6 song recording will get you going.

Colder is the dance project of musician Marc Nguyen Tan uses post-punk, krautrock, and late disco sounds to create undeniable grooves. Tan hit the scene with 2003’s “Again” and has since notched his belt with tons of sweet dance projects. His newest record “Goodbye” takes Tan’s formula to a darker, sexier place. The vocals are incredibly european–allusions to CAN, Kraftwerk, and Neu! mark “Goodbye” with a monotone, apathetic sound. Some tracks are notably downtempo, “Inside,” “So Easy,” and “Some Passions” all creep along mysteriously. If you’re looking to dance, check out “Sugar,” “Blackhole Speedway,” and “Cold Hand Bop.” We’ll keep these Colder grooves coming all week on Radio 1190, check us out online or in Boulder on 1190am.

On Air Next 6.29.16

Caden Marchese

By Elijah Jarocki

Since 2014’s “Bury Me At Makeout Creek,” Brooklyn-based Mitski has been on top of the indie rock world. A record named after an obscure Simpsons reference, “Bury Me At Makeout Creek” was incredibly personal, relatable, and successful. Last June, I saw Mitski with low-fi compatriots Elvis Depressedly and Eskimeaux. I was struck by the intensity in her vocal performance, guitar work, and onstage demeanor. Over the last year, Mitski has toured around the United States and written new material. Her new record “Puberty 2” is a stunning release focused on personal insecurities and growing up in America.

Mitski’s work draws obvious comparisons to Alex G, Waxahatchee, and The Mountain Goats, but the singer-songwriter gives an idiosyncratic edge to all of her compositions. “Bury Me At Makeout Creek” felt wild and uneasy, but it’s nothing compared to to “Puberty 2.”  The new record twists and turns, the listener never knows when a pop hook will turn into an unexpected blast of feedback. The track “Once More to See You” fits an anxious melody with a shimmering synth-bed to create a totally eerie composition. “Your Best American Girl” starts out as an acoustic guitar ballad but quickly veers into an incredible wall of sound reminiscent of My Bloody Valentine or Slowdive. The record’s lyrics center around phrases of uncertainty--”My Body’s Made of Crushed Little Stars” repeats the line “I’m not doing anything” over and over. This record is for college kids and young adults, it encapsulates our shared sense of dread for the future. If you already love Mitski, “Puberty 2” will be a welcome surprise. It doesn’t feel as intimate as previous releases, but it still carries that signature Mitski charm. We’ll be spinning it heavily on Radio 1190 for the next couple weeks.

Weirdo-punk supergroup Male Gaze have just released their rad new record “King Leer.” “King Leer” is their first proper full-length for Castle Face records, and rips just like a Castle Face release should. The first thing you’ll notice is Matt Jones’ prominent baritone vocals. An alumni of punk rock group Blasted Canyons, Jones’ voice sounds very similar to Joy Division’s Ian Curtis. Mark Kaiser from Mayyors and Adam Cimino from The Mall complete the three piece and push Male Gaze to a path of ultimate destruction. If you’ve heard Male Gaze before, you might expect a torrent of overdriven guitar and buried vocals. “King Leer” changes the formula. A little closer to pop, the new release contrasts explosions of guitar with broody verses and singable choruses. “King Leer” is something your mom can stomach, and will amp up your punk-lovin’ dad. Check it out this week on Radio 1190.

Ryan Adams, Bob Dylan, Charles Bradley. Pieces of these artists can all be heard on Daniel Romano’s new record “Mosey.” An accomplished leatherworker, Romano brings his handcrafted ethos to his brand of Americana. “Mosey” is clearly country-inspired, “I Had To Hide Your Poem In A Song” puts its winding guitar solo front and center. There are other elements on the record as well, “Valerie Leon” has a kickass horn section reminiscent of Menahan Street Band, while “Hunger Is A Dream You Die In” reminds me of The Rolling Stones. “Mosey” strikes closest to Bob Dylan’s “Blood On The Tracks,” both records deal with relationships and loss in a country-western context. Check out tracks “Valerie Leon.” “Toulouse,” and “The Collector,” and check out Daniel Romano’s “Mosey” on Radio 1190 KVCU.


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

  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 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

  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.