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CMB Submissions andAdvertising PolicyColorado Music Buzz welcomes submissions, advertisementsand sponsorships from those connected to every musicalgenre and style, as well as the general public. Due toour publication’s community focus, article content andadvertisements containing nudity, drug references, profanewords/visuals, or sexually exploitative material will not beaccepted. Please feel free to voice any concerns you mayhave and collaborate with us to adapt what you would like topresent in a way that respects both our all-ages audience andyour artistic integrity. We are here for the music, and we arehere for you.Artists may submit press kits/CDsfor review by mail. Please emailrequests for coverage directly tothe editor and copy the writer ofyour choice in your musical style.Colorado Music Buzz Magazine, LLCP.O. Box 2739, Littleton, CO 80161

Colorado Music Buzz Magazine is published monthly by Colorado MusicBuzz Magazine LLC (Publisher) and distributed to over 650 locationsthroughout greater Denver, Boulder, Colorado Springs, and surrounding areas.Reproduction in any manner in whole or in part without express written consentof the Publisher is strictly prohibited. Views expressed herein do not necessarilyreflect the opinions of the publisher or its staff. Colorado Music Buzz MagazineLLC does not limit or discriminate based on ethnicity, gender, age, disabilitystatus, spiritual beliefs, familial status, or national origin, and does not accepteditorial content or advertisements that do.

August 2013 | ColoradoMusicBuzz.com12

Synthetic Elements: A Long Road TraveledSynthetic Elements is a household name in Denver’s music scene, having been around for twelveyears and toured the world. We rounded up SE’s Brett Carson and forced him to tell us some behind-thescenes info on the rowdy and often comedic Denver ska-punkers.CMB: Let’s hear about how the band got started, and what you originally hoped to accomplish byplaying in a punk band.SE: Bad weather is the reason for SE. Todd and Kyle were pretty damn good inline skaters during theiryounger years, and one day it was snowing and they couldn’t skate, so they picked up some of Todd’s dadsguitars and started playing them. I was in a band before SE, but was replaced when I had to take a leaveof absence because of a broken ankle. After a while my ankle was healed so Todd and Kyle called me upand said if I was bored, to come over and jam with them. I went over there, jammed one time and knew thatI could play rock and roll music with these dudes. We all had a liking for ska music and my best friend Mike(Blecha) was a horn player, so we called him over to throw down some trumpet, and our first song “Dork” waswritten... Over the next couple years we went through a few different horn players that didn’t end up workingout. We lost our longest member trombone player a few days before we were supposed to leave on tour withAggrolites, so our tour manager at the time, Johnson, stepped up and learned the songs on trombone andfrom then on, it’s been the same 5 members of SE for the last decade.I think that the only thing that we all wanted to achieve by playing music was to play music that people love allover the world and do it with our best friends. We never got into music to preach politics or any other opinions,we got into music in hopes that we could play about every day stuff that ANYONE can relate to. Music shouldbe enjoyed by everyone, not just those that “agree” with what you’re saying, that’s just my opinion... We justwanted to see the world and didn’t have any other ideas on how to make that happen.CMB: What is the craziest thing that ever happened at a show in Denver?SE: I think that the craziest thing for me was when we were playing a show and for some reason we were alldressed up as lucho libre (spelling?) Mexican wrestlers and some guy in the front row kept of messing withTodd’s mic stand and he wouldn’t leave Todd alone. The guy hit Todd’s mic stand, busting him in the teeth.Maybe Todd was a little too into character, but he (Todd) took off his guitar and swung that son of a bitch likea lumberjack swinging an axe and hit him with his guitar and Todd and Johnson proceeded to kick the shit outof him lucho libre style until security drug the guy away.......allegedly.CMB: How do you feel Denver has fit in as a viable hotspot in the punk world, now and back whenyou first started?SE: Denver has always had a significant footprint on the punk world. Punk Rock legends have been comingback again and again for decades and It’s because of both, the punk rock fans and venues being some ofthe best, if not the best in the nation. I think the fact that Denver has some of the best punk rock rooms in thenation has a lot to do with why punk rock has been so strong here. The venues have allowed punks to bepunks and because of that, there is a very loyal punk rock scene here. I think it’s just getting better and betteras the years pass.Online: syntheticelementsband.com

Frontside Five came to life in a downtown Denver garageduring the Summer of 2002 by a group of friends who shared acommon idea. The idea was to create original, fast, powerfulskate rock inspired by the things they loved and hated themost. The things they love; skate sessions, loud music, goodfriends, and cheap beer. The things they hate; anything thatdoes not include the items listed in the previous sentence.They have spent countless hours creating original art anddynamic music that represent this idea. Driven by theirmotivation to be heard, Frontside Five signed with FivecoreRecords in 2005 and has been touring nationally ever since.facebook.com/frontside.ffive

Heart & Soul Radio formed in March of 2009 out of theashes of the former bands, Animo® and DORK®. Afteryears of surviving a “VH1’s Behind The Music” lifestyle,Brian Johannsen, Jimmy Blair and Schuyler Ankelehave overcome all the odds and continue to be oneof the most creative and prolific modern rock bands.These rock n’ roll veterans have experienced drawn outband breakups, major label record deals falling throughin the final hour, the tragic passing of band members,drug addiction, alcoholism, groupies, internationaltouring and radio play, stadium shows in front of tens ofthousands of people, and gaining one of the most intenseand passionate fan bases in rock n’ roll. Through everyup and down, trial and tribulation, one thing rang true:the music.heartandsoulradio.org

With equal parts of Orange Countypunk rock, honky tonk country, androckabilly swagger, Reno Divorcestrikes a unique chord of their own withtheir brand of “Punk Rock’n’Roll”. Theband’s longevity is proof positive thatpaying dues is the only way to the top.The well-crafted and deftly executedsongs that straddle the line betweenSmithereens and Social Distortion are thebread and butter for these guys, and onelisten is all it takes to realize you’ve gota band that truly stands out amongst theherd. Oh, and there’s one more thing...thisaint the boys’ first rodeo... going 10 yearsstrong and gracing some of the mostlegendary bars and stages around theworld, they’ve played with almost alltheir punk heroes (ALL, Social Distortion,TSOL,Adolescents,AgentOrange,TheQueers, X, The Blasters, Motorhead), and shareda tour bus with more contemporaryheavy hitters, a la U.S. Bombs, The Bones,and Street Dogs. They’ve worked withthe cream of the crop behind the scenes,as well.renodivorceband.comThe Gamits: Record, Tour, Repeat

The Gamits have been all over the place through touring and spreading their music around theworld, and front man Chris Fogal has also made a name for himself through his studio, Black inBluhm. Here is what Fogal has to say about Denver’s punk community both past and present.CMB: Let’s hear about how the band got started, and what you originally hoped to accomplish byplaying in a punk band.CF: It was a long time ago; 1995 pretty much when the Gamits started writing songs. We had a house out inThornton and all we wanted to do was record our own stuff so we started building a studio called 8 HousesDown in the basement. That’s pretty much how wemet all the other bands in the scene. Either playingshows with them or recording their bands in thebasement. Good times. We didn’t really have bigplans to accomplish anything other than makingdecent records and touring so that’s what we didand it worked out.CMB: How do you feel Denver has fit in as aviable hotspot in the punk world, now and backwhen you firststarted?CF: I’m not sure it’s ever been a “hot spot” but therehave always been a handful of rad bands aroundhere. I think the difference between the punk scene now and the punk scene then is simply that there arenot many punk bands anymore and the amount of people into punk music has dwindled greatly over theyears. Denver is a great town and because it is landlocked it is one of the only decent stops that touringbands can make between here and there so it has created opportunities for local bands to support and getto know bands from everywhere.Online: thegamits.com

August 2013 | ColoradoMusicBuzz.com 13

Gone But NotForgotten: THe EarlyVenues, And Othersthat are no longerwith us“The scene back in the late 80’s was a bitsegmented as you had hard core punk bandsand several power punk (aka Green Day.Offspring) bands that we would run with.Gigs were harder to come by as there weren’tmany bars that would book punk shows. TheCricket on the Hill, Malfunction Junction andThe Broadway come to mind. We did severalwarehouse shows that would be word ofmouth and a lot of fLyering (pre Internetdays). Those warehouses are now business intheCoorsFielddistrictandNationalWesternStock yards,” - Nick Trombetta, WANKER

15th St.Tavern was a throbbing heartbeat inDenver’s punk community for many years.

Johnny Cash may have been turned into Jerry Garcia,but Bender’s Tavern and the image of Johnny remain afixture in the mind of Denver’s punk and rock scene.

Wanker @ Roxys, 1988

DOA- Joey Shithead, Larry Denning @Taste of Denver 1983. photo credit JeffRossBiscuit of BigBoys @ Taste of Denver,1983. Photo credit Jeff Ross

August 2013 | ColoradoMusicBuzz.com14

ReverbNation Featured Artists of the Month give five independent artistswho have not previously been featured in Colorado Music Buzz the opportunityto not only get their bio in the magazine, but also get their tracks on MusicBuzz LIVE Radio (Wednesdays from 6-8 pm on callywoodradio.com) andget on our radar with what they have upcoming. Each month we select avaried group of musicians to showcase based on submissions through theirReverbNation profiles.

Lost CaravanYou don’t know much,That’s plain to see,Otherwise you, you would know me.So go the playful opening lines off the title track of the Lost Caravan’s debut EP, You Don’t Know Me. It’s a fitting message from a band who injust over a year, has gone from playing intimate café shows to being invited to perform at the Colorado State Fair, PrideFest Denver, Music inthe Meadows, and multiple other events for audiences of thousands. And they’re nowhere near satisfied… Based out of the same Denver, COneighborhoods that helped spawn The Lumineers and Churchill, lead singer Lindsay Meredith and her band, The Lost Caravan, are poised to putthe Mile High City on the map yet again.T.M.E

T.M.E or Tampered Mindz Everywhere is a Hip Hop group from Denver, CO. T.M.E’s core includes, Big Beazy, ILL Silla, and Onit. T.M.E is also home to Coloradoemcee, SaintJoe K.R.A.K, and producer/emcee, Flowz Colossul, from New Mexico.The group was formed in 2009 and released thier first mixtape together late in 2009 titled, “Riding High Vol. 1”. T.M.E burst on the scene and instantly became knownfor their energetic performances, as well as their never stop work ethic. Since 2009 the group has performed in over 200 shows regionally, and have shared the stageswith the likes of Too Short, Rahzel, Strange Music, Twista, Gudda Gudda, Three Six Mafia, and many others. Also, since their release of “Riding High Vol 1”, T.M.Ehas been involved is several other projects including, “Wreck Center Compilation”-2010, Flowz Colossul “C.O.L.O.S.S.U.L”, 2011, T.M.E & Burning Elements Presents“Strength Of My Word”-2011, SaintJoe’s “Mortuary Mixtape”-2012, Big Beazy’s “Quality Over Quantity”-2012, and ILL Silla’s “Through My Eyes (The IntroductionMixtape)”-2013.T.M.E is constantly on the grind, and currently is working on their next project/album, “Tampered Mindz Everywhere” which is slated for release in late 2013/early 2014,as well as designing new merch, and remaining a constant advocate of the community and the people, participating in fundraising, toy drives, food drives, and othercharities. Visit TME303.com.

Itchy-OA throbbing 32-piece band of masked chaos invites you to dissolve the performer/audience divide and melt into the bedlam, that is thedisorienting power of Itchy-O. The itchy-O Marching Band (IOMB) is a Denver-based percussion-centered electronic marching band and themobile arm of the experimental film/music troupe Itchy-O. Itchy-O brings a sophisticatedly savage sound and the sheer ecstasy of electronicinstruments untethered and running free. With a driving drum corp complemented by an arsenal of special surround sound effects units includingsynthesizers, theremin, vocoders, and several other hand held electronic devices, the IOMB completely engulfs and immerses an audience fromevery angle in a pounding electric bog of music, ephemera and spectacle.

Behind BabylonBehind Babylon is an American band with a world view. The late great comedian George Carlin said “America is a country that has everything in theshowroom window,but nothing in the stockroom.” Hence the band name Behind Babylon.The band was officially formed in Denver,Colorado late 2011.One of those instances where Dan Swesey (Bass) knew Dave Garlow (Vocals and Guitar),DaveGarlow knew Jimmy Roeper (Drums). One day,as it turned out we all wound up in the same studio and the rest is history.Together we view life as a lot ofwater under the bridge and a lot of other stuff too! We’ve all lived with the saints and we’ve all lived with the sinners.The only difference between the two isthat the sinners tend to know the difference between the two better than the saints. Our collective experiences,perceptions,and expressions make up thesongs we write.Still we know we are just passing through and that keeps us from taking ourselves too seriously.Behind Babylon will be releasing an EP in thefall of 2013, More information and show dates can be found on their website www.behindbabylon.com

Michael MorrowHard rock countrified blues is the title of Michael Morrow’s debut solo album. It is also a great description of this amalgam of style. Bornout of hard rock bands like Kiss,Led Zeppelin and Aerosmith, you can hear subtleties of different styles with his singles HAD ENOUGH andDIRTY LITTLE LOVE SONG. Having played throughout the Rocky Mountain region, his strong vocal timbre has a great intimate texturewhich is matched well with his big, red, Gretsch hollow body guitar. An instrument that has a clean, hard rock edge to it. Paired up with JeffSekera on the bass, his rock n roll blood brother for nearly 20 years as he puts it, they carry a certain swagger but more importantly, a senseof purpose in entertaining the crowd. The show is what breathes life into the air. Jeff Schable, newly added to the band at the beginning ofthe Summer provides not only a big beat behind the drums but 3 part harmonies. It’s hard to believe that it’s just three guys making all thismusic.A few lyrical quotes to give you a feel:‘Slippin into those high-heeled shoes, wore that dress she never wore for you’ - Had Enough‘Love can be bittersweet and still survive’ - Dirty Little Love Song‘Night has given in to the days never end, left here for dead with the snakes and crows’ - La CrudaThe CD is available on iTunes, CDbaby, Spotify, Rhapsody and Muve Music

Dead EndDriversby Tim WengerTWenger@ColoradoMusicBuzz.comDead End Drivers goton our radar a couplemonths ago through aReverbNation submission, and the reasons why weselected them are made very apparent on the EPOne Way Out. The five songs on the disc are notwhat you typically hear come out of our indie-rocksavvy town, they have elements of folk, country androck under constant display in their tunes.

Harmonious and full, the band relies heavily ondouble guitar to complete their sound, and do it welland with a touch of western swank.Online: deadenddrivers.com

Sean Renner-Days Endby Tim WengerTWenger@ColoradoMusicBuzz.comSean Renner hasreleased a follow upto last year’s SevenDays entitled Days End. Continuing on the path ofslow indie and pop, the record features re-releasesand different takes of the songs and is presentedaddictively and with a solid hook of harmonies andsteady (albeit very mellow) beats.

The album immediately sets a slow but pleasantmood and maintains the status throughout, leavingthe listener yearning for the next song and the nextemotion. What Renner has done here is present asolid take on his own music, re-approaching as if torefresh what was already there and add a bit of spicein the bare spots.Online: seanrenner.bandcamp.com

El Amorby Tim WengerTWenger@ColoradoMusicBuzz.comDenver’s El Amorhad dropped a demoalbum, self describe as‘rotten roll.’ Simplistic inthe way of seventies punk, vocally exotic like goodalternative and featuring solid, driving bass, the bandpresents a solid take on modern rock music.

The overall sound is what you might picture whenthinking of garage rock. Dirty but brutally honest,unrefined yet vigilantly tight, El Amor strays fromthe indie rock dominance in the Mile High City andpresents a fresh take not just for the south Broadwayscene, but our music culture in general.Online: facebook.com/elamormusic

BLKHRTS- Death,Romance and theColor BLKby JonathanMcNaughton & DarnellTeagueDTeague@ColoradoMusicBuzz.comThe eccentric, high-energy Denver based goth-rap group BLKHRTS are set to release their latestmixtape “Death, Romance, and the Color BLK” onJuly 30th, 2013. The trio has been hard at work on thishighly anticipated release, which is their first releasesince signing to ORG Records. The album’s gritty,yet upbeat sound accentuates the group perfectly.On the track “Porties”, the BLKHRTS transform apopular song from Tyga, and turn it into a gloomy,but exhilarating masterpiece that only they can do.Then album is a sneak peak at where the evolutionof hip hop is heading and the BLKHRTS are the frontrunners.Online: blkhrts.com

Little Fyodor-Peace is Boringby Tim WengerTWenger@ColoradoMusicBuzz.comLittle Fyodor is mostlikely a mad man- andany doubts held aredismissed by his album Peace is Boring. 14 tracksof crazy vocals, punk attitude, and musical stylingsdisplaying everything from grunge to so-cal ska-rockto what appears to be show tunes, Little Fyodor letsthe humor do the talking and it is not for the faintof heart.

With songs like “Everybody’sSick” and “TheNaturalProgression of Life,” the tunes are simple and fun,irrelevantly pleasing and hopelessly distracting, andcertainly unlike anything else I have heard before.Fyodor amassed a strong collection of musicians tomake guest appearances on the record, and the factthat he has been doing this for twenty years provesthat it is NOT impossible to understand, if you justget out of your head for a half hour or so!Online: littlefyodor.com

AdrienneO-Superchromaticby Tim WengerTWenger@ColoradoMusicBuzz.comAdrienneO is droppinga five song EP entitledSuperchromatic. Thealbum is a mellow take on indie rock with steadybeats backing electronic leads. Lyrically, AdrienneOsborn drops strong vocals invoking dreaming andhopefulness that firmly complement the, for lack of abetter term, somewhat tripped out and sporadicallyhippy-dippy rhythms and sounds. A solid combinationof electric rock and pop.

The songs are honest and inviting, and Osbornwears her heart on her sleeve throughout the record.Great mood setting music, or just good for chillingout.Online: adrienneo.com

Wrathbliss-Beauty BeneathThe Beastby Tim WengerTWenger@ColoradoMusicBuzz.comBeauty BeneathThe Beast fromWrathBliss, aka Timothy D. McAllen, is , first andforemost, the longest EP we have ever received. At21 songs, and crossing emotional paths using anavant-garde approach, the singer-songwriter recordis very mellow, at times coming across as somethingyou might hear in a movie, during a sad and rainyscene featuring a heartbroken guy driving homealone in the dark.

The minimalistic use of instrumentation (focusedmainly on piano), mixed with McAllen’s soft voice,create a sound that is soothing but also depressing,not at all afraid of diving into abyss to discuss thedisheartening aspects of life. Heart break is acommon theme on the album.McAllen has, without a doubt, put a lot of thought anda true part of his soul into making this record, and theraw emotion expressed seems to serve as a voicethat could not be used except through music.Online: wrathbliss.com

Luke Schmaltz-Hell CanWaitby Tim WengerTWenger@ColoradoMusicBuzz.comLuke Schmaltz addsa new stamp to analready lengthy resumewith his new solo album Hell Can Wait. Folky andharmonious, but never lacking the punk sentimentthat has always prevailed through the many years ofKing Rat, Schmaltz delivers a solid ten songs aboutfucking fuck ups.

Lyrically, the album is entirely un-held back. Punkrockers are notorious for pigeonholing themselvesagainst non-punk music, and Schmaltz has, throughthe solitude and sorrow that kick-started punk rockin the first place, stepped away from that nail in hiscoffin. The album bleeds unequivocally with rawemotion as if he has been holding it on the backburner for years until it finally boils over to exposea side of one of Denver’s most infamous rockersthat we’ve always wanted to see. Three cheers forSchmaltz and our country’s broken hearts.Online: lukeschmaltz.com

Rachel and theKings – Tonic [LP]By the SwamiSwami@ColoradoMusicBuzz.comRachel James,vocalist and pianist forRachel and the Kingscontinues to graduate as a songwriter. On the bandsfirst album Tonic, James shows off her skill set with arousing opener appropriately titled “Tonic”, which isvery reminiscent of bands like Paramore or Metric.

The hit on album, “Fall Down” is catchy as hell. Usingsome influence from the likes of Adele and Muse,you can easily want to add this to your playlist forinspiration. Overall, the entire nine tracks eschewswhat James is all about: Soaring vocals, melody andpunchy pop/rock attitude.Creating “The Kings” with guitarist Steven Beck,bassist Noah Matthews, violinist Ian Short,and Stefan Runstrom, (former drummer of TickleMe Pink), seems to have been the right stepfor James, as the album really showcases hercommanding voice and harmonious style.A definite local addition to your library is mandatorywith this release. You will thank me later for that bitof advice.Online: RachelandtheKings.com

Dave Preston– ComeAliveBy the SwamiSwami@ColoradoMusicBuzz.comDave Prestoncontinues to fine tunehis song writing skills.With his new 4 song EP, Come Alive, Preston showsa penchant and understanding of what it takes to hitchoruses quickly, have catchy chord changes, andwrite about relevant subject matter.

“Open Your Eyes” showcases Preston’s establishedvocal presence along with a very solid acousticbased structure that I found humming for sometime after the listen. “Come Alive” is another wellassembled track with a bit more tempo and driveala local songwriter Matthew Moon. “Shine” and“Grace” both continue with the acoustic/songwritingarrangement that works well for his voice patterns.Exceptional engineering and production fromGrammy award winner Clark Hagan, as well asinput from Kenny Passarelli put the disc on the bigleague level. Spending time with Matt Morris on theroad was a good thing as well and has become avery obvious and welcome influence.Online: daveprestonmusic.com

August 2013 | ColoradoMusicBuzz.com 15

by Clint Bostonphoto credit Erica StackhouseAs an ex-Social Studies teacher, having abeer with a few former students might soundawkward, but what if—as a failed musician,music junkie and old punk rocker—I couldfeel “cool” again, and share a moment withDenver locals Potato Pirates as part ofthe Denver punk scene? That’s exactly whatI had the opportunity to do, as this tight groupof friends got ready for a show at theGothicTheater, sharing the stage with theA-OKs,Be Like Max, the Last Slice, and theRepercussions.Over the years, I have kept in touch with myformer student, Scott Risch, who plays thebagpipes and shares lead vocals in the PotatoPirates. I have watched and listened as he andhis friends have become the band to seeif you want pure, one hundred percent, hard-edged, stripped-down punk—the stuff I grewup with, like the Stooges, MC5 and theDickies.I was lucky enough to sit down with the PotatoPirates, Vinny Capaldo-Smith (guitar/lead vocals), Scott Risch (bagpipes/leadvocals), Matt Emrick (lead guitar/vocals),Steve Stackhouse (drums/vocals), andAndrew Williams (bass/vocals) —andask them a few questions. We had a beer,relived youthful rebellion, and I learned a lotabout the band and their place in the currentDenver punk scene. I also saw how blessedthe Mile High City is to have the Potato Piratescarrying on that DIY attitude.This “do it yourself” attitude initially broughtCapaldo-Smith and Emrick together back inhigh school. They met in class, and Capaldo-Smith noticed Emrick was a fan of the samebands as he was. Says Capaldo-Smith, “Wejust hit it off.”Capaldo-Smith is an original member; he isthe Potato Pirates. He has played guitar sincethe band’s inception. The band seems happyto have him as the soft-spoken leader, with“front man looks,” and songwriting abilities. Heshared how he always wanted to play guitar,and when he found Emrick, things started toclick. “Hell, Matt and I even took guitar lessonsat the same place without knowing it,” sayCapaldo-Smith.Emrick fits right into the Potato Pirate image.His musical background began with piano. Ashe recalls how his mom forced piano lessonson him, I hear his zealous, soft-spoken voiceadmit, “I’m glad she did.” Emrick played bassuntil he took a hiatus from the band to go tocollege. Shortly after his return, he took on therole of lead guitarist.Williams is the old man of the band, and morethan happy to share a story or two. Williamshad a cousin who was a regular at the PotatoPirates shows and friends who were fans ofthe band. He was making shirts for the band,and was in the right place at the right time.“Steve called me up asking if I would wantto play bass for them. The rest is history.”However, when Emrick returned from school,they found themselves with two bass players.What could have been a struggle for any bandinstead became an opportunity to get the rightpeople in the right place. Collectively, theynavigated a lineup change. Pushing the bandto get better came before any individual egosor infighting.Emrick declares, “I knew Andrew would bea better bass player.” At that time during theinterview, some complimentary back-and-forthdialogue ensued. Acknowledging their mutualadmiration for one another, Capaldo-Smithquipped, “You should kiss now.”The passion to hone their craft is how Rischbecame part of the band. “Doesn’t every goodpunk band need a bagpipe player?” the bandjokes. And what if this bagpipe player couldsing? “I guess you could call me a regular

Frank Sinatra,” jests Risch. The band laughsand jokes that Risch brings the tough guy imageto the band. He started playing percussionin high school marching band and claims heis the “band nerd deluxe.” He wanted to playsomething other than the drums, and says itwas an easy transition to the bagpipes because,“it’s all rhythm.” Capaldo-Smith explains thatRisch ended up singing more than playing thebagpipes. “He sounds a lot tougher than he is.”Behind the kit is Stackhouse. It takes a littleto get him to jump into the conversation, but

his drumming speaks volumes. Attending across-town high school, Stackhouse becamea member of the Potato Pirates soon afterhe and Capaldo-Smith started meeting up atsome of the same local punk shows. As oneof the original members, he is an essentialpart of the band; he was instrumental in theirmarathon recording sessions to get the band’sfirst full-length recording done. If you come toa show, you will undoubtedly see a high-energyperformance from Stackhouse.

All this inquiry into who they are brought up thequestion about who writes the songs for thePotato Pirates. This Denver punk band writestheir songs in a pretty organic fashion, accordingto the guys. Capaldo-Smith shares how some ofthe bands he has worked with can just sit downand write songs. “I can’t do that,” he says. “Hell,we would have more songs, but I [have to] waituntil something happens.” Both Capaldo-Smithand Risch share the song- writing duties, andrather than set out to write a song, they waitfor it to come to them. [They] will take an idea

and work on it, then bring it to the band. “Wesee it as a tool to vent; it is emotional.” Emrickdeclares. “Our songs are about life, work,everyday things. I write something down, thenI take it to the band, and everybody builds onit. Andrew writes the bass line, Steve plays thedrum piece; we all understand our capabilities,and we work together so it doesn’t sound likeshit,” insists Risch.Maybe it was the few beers we shared, but therewas a certain irony as I was hanging out withpunk rockers half my age when they started

reminiscing about the good old days.Stackhouse chimes in about the Lion’s Lair,then Williams discusses how crazy the crowdgot that night. The rest of the band comesto life as Risch talks about how he had to getworkers permits to play some of the earliershows because he was under age; he had tosing outside the Lion’s Lair with a wirelessmicrophone. The band booms with laughterabout that night, recalling how there was a party

outside on the sidewalk and inside the bar. It’sclear these guys have fun doing what they do.The band spends several minutes debating howlong they have played together—is it five years?I never got a definitive answer, and it doesn’tmatter; it’s as if this group has played togetherforever. They know each other well and thatintimacy solidifies their DIY group attitude. Thissense of community extends beyond the bandas we start to talk about what they do when theyare not playing a show.

When they are not playing a show, Stackhouseand Risch both work in their family’s business.“It’s a job,” claims Risch, who manages TacoHouse, the family restaurant. Stackhouse ishappy to help his family’s engraving service; itpays the bills. Williams owns his own business,screening shirts and signs for other localbands, “hustling for a dollar.” Emrick (an artmajor who had a knack for computers backin high school), works in the computer worlddoing coding. Capaldo-Smith is a tattoo artist;it allows him moments of Zen. “[Being in theband] lets us roll around the country doing whatwe want to do,” interjects Stackhouse. They areregular guys, working so they can do what theylove: playing music, being a part of Denver’sPunk community.The Potato Pirates are fanatical about thelocal punk community. Risch feels that people[in Denver] are almost spoiled in that there isalways something happing, there are alwaysshows. A person can find a show any night ofthe week, from a small underground concert toa bigger venue show. Capaldo-Smith is quickto add that it is a true community, stating, “Youcan go anywhere and see people you know.”In a big guttural laugh, Risch associates thepunk scene to the TV show, “Cheers,” stating,“Sometimes you wanna go where everybodyknows your name, and they’re always gladyou came.” This brings roars of laughter fromthe van. Emrick takes a serious note and talksabout how the punk community supports eachother. “It’s not a competition for shows. We gosee each other play and support each other.”Stackhouse responds, “Sometimes, it is notabout the music but the community.”So, I found out that this group of friends is acollection a varied personalities, expressingyouthful rebellion. At their shows, I could heartheir punk influences like Minor Threat,Suicide Machine andChoking Victim.However, they’re not afraid to mix in a little ska,a little Irish jig, and a little hardcore. Thesevaried influences, and their collective musicalabilities, helped them create their own uniquesound, a sound that makes them proud. It’stheir collective passion for punk that makes itpossible for them to write, perform, tour, andstill be friends.In the hopes of not sounding too much likea poseur, I spent some time doing someresearch before I showed up at the van Fridaynight. I found a quote about the Potato Piratesthat stuck with me. Tom Murphy fromWestword stated back in 2009 that thisband is able to, “take various styles of musicconsidered dead — or at least exhausted ofideas — and inject them with an infectious,youthful exuberance. Part ska, part punk, partwhatever it is that this quintet has absorbedover the years, the resulting sound crackleswith a wiry energy.” I have seen this energyfirst hand; I have watched them turn an entirevenue into one giant mosh pit. This is an energythat is important to the band. Matt tells me thatif he has a bad show, he feels like shit until hecan play again to “make things right.” It’s clearthis band feels a duty to the crowd to give thebest show possible. When you see them, youwill not be disappointed.The Potato Pirates are playing the MarquisTheater on August 20, and sharing thestage with the Duane Peters Gunfight,(Peters is “The Master of Disaster” from theU.S. Bombs), Dime Runner and Pissand Vinegar.In addition, the Potato Pirates have recordeda song for a Rancid tribute album comingout on Hellcat Records and SmelvisRecords. The band is thrilled to share vinylwith theStreet Dogs,Left Alone,DeathMarch, and the Phenomenauts. You canfind the Potato Pirates’ two full-length albumson iTunes.Online: potatopirates.com

This has been a fantastic year for progressive thrashersAllout Helter.So far, it’s seen the release of their debut full-length for Dang!Records,Sinking, We Regress, to rave reviews and presented it in its tech-punkentirety to sweaty crowds at both the Westword and UndergroundMusic Showcases. Upcoming shows with The Shell Corporation, TheGoddamn Gallows, and a slot at the Riot Fest Denver pre-party along-side Authority Zero and Boldtype ensure that these Denver mainstayswill keep you busy and in the pit throughout the rest of 2013.online: facebook.com/allouthelter

1. “How the band got started and what we originallyhoped to accomplish by playing in a punk band…”King Rat was started upon the realization that I was never, ever going to fitinto social norms and avoid devastating personal misery at the same time. Itried time and again to join existing bands and cram into the molds that theywere trying to imitate and all I did was wind up hating myself. I tried to go tocollege and could not imagine lasting another 4 to 6 years listening to somebook-head tell me about life. I had original songs playing in my head all thetime, practically writing themselves. By starting a punk band I hoped to beable rope these cantankerous thought storms out of the ether and turn theminto viable ways of communicating my mindset to others out there who mightgain some insightful value from my efforts.2. “What’s the craziest thing that ever happened at ashow in Denver?”The Westword 2013 MusicAwards showcase was a comedic high point anda career low point all at the same time. First of all the punk showcase, forthe last several years is held in the absolute worst possible location. Thetake the rowdiest, drunkest crowd of the entire pantheon of music categoriesand cram them all into a tiny bottleneck space where the distance from the“stage” to the bar is literally about 4 feet. People are beer-soaked sun-strokedmongoloids at this event every year by definition. By the time we playedat 5:15 there were about 70 or 80 drooling slobs crammed into this tinyspace waiting to yammer along with our anthems. Somehow, and it ONLYhappened to us, during our 30 minute set the power went out a total of 6 (six)fucking times. Without fail it cut out right as we were careening into the firstchorus of a song. The cool part was that everyone there kept singing alongwith us for the remainder of the chorus (most folks don’t effectively know allthe verse lyrics). The uncool part was that we had rehearsed religiously forthis gig with the intention of blasting out the most intense, bullshit-free setof our lives. Instead we just kind of stood there inept in front of a well-lubedaudience. We won allright …the worst case of musical blue balls ever!3. “How do you feel Denver fits in as a viable hotspot inthe punk world, now and when you first started”Currently Denver’s place in the punk world is that it provides a much neededgigging point in a veritable wasteland of gig-less geography. Touring punkbands can rely on the city for a show where otherwise they would haveanother 8 hours of driving to do either to and/or from either direction. Asidefrom that there are now dozens and dozens of local punk bands puttingout good music and getting international recognition. Reno Divorce, PotatoPirates and The Gamits are a few. When King Rat first started 18 years agothere were 3 or 4 other bands in town that considered themselves “punk”.We were so geographically removed from the national scene that each bandreally had an original sound and identity. A few bands that come to mind areBabihed, Wanker, Backspackle and Superbuick. The downside was thatthere was no cohesiveness to the “scene”. To get booked at a club you hadto sell yourself as just plain “rock” and you could count on sharing the stagewith a bunch of hair farming glam-pop douchebags.

The A-OKs are celebrating five years of pummeling the Denver musicscene with their mayhem-fueled, ska/punk madness. After two fulllength albums and countless chaotic live performances, the bandonly grows stronger and hungers for more. Influenced by the horndriven third-wave ska bands of the late 90s, The A-OKs add a dash ofmodern punk, alternative, metal, reggae, and even a little pop to theirmix for a sound that makes you want to throw an elbow or two beforedancing the night away. They have conquered three west coast tours,several outings to the midwest, and are celebrated across the countryand recognized worldwide. Five years strong, The A-OKs shows nosigns of stopping and have more than a few tricks up their sleevesonline: reverbnation.com/theaoks

Plan-B Rejects hail from the city streets of Denver and have beenmaking their brand of energetic, angst ridden punk rock since thespring of 2011. They draw influences from 80’s hardcore, 90’s skatepunk, street punk, and melodic hardcore. Punk rock like its meant tobe played: fast, aggressive, and full of angst. Check us out at ourreverbnation page, facebook and of course at one of our kick-assshows.online: facebook.com/planbrejects

Originally hailing from the small farming and factory town of Fort Mor-gan, Co., the band consists of Todd McMullan – lead vocals and elec-tric guitars, Kyle Hernandez – backup vocals and bass, Brett Carson– drums, Johnson (just Johnson) - trombone and percussion, andMike Blecha – backup vocals, keyboard, acoustic guitar and trumpet(and anything else). With an immediate music scene that was domi-nated by two styles – country and hip-hop, the only method of survivalfor the band was to take things on their own terms.online: syntheticelementsband.com

They have been a band since October, 2011. They recorded theirfirst demo EP entitled “Boogie Nights” with Brandon Carlisle (Teen-age Bottlerocket). In July, 2012 Head Injuries went on a two weeklong tour across the west coast to support their first demos and theyplan to be doing an album support tour in 2013. In October, 2012Head Injuries went into Chris Fogel’s (The Gamits) studio “Black InBluhm” in Denver, CO to record their debut album (Self Titled) and itwas released on January 25th, 2013.online: facebook.com/headinjuries�

Punk rock? Most would say that today, punk rock is hard to define.Modern day hybrid genres and crossover styles have diluted whatmany have relied on to be safe and comfortable representations of‘punk’. But punk rock was never meant to be safe. Whether facingthe that keeps us all comfortable and safe. March with us, judge us,dance with us or label us, Boldtype will remain self reliant in the fightto deliver untainted truth. That’s punk enough for us.online: boldtypemusic.com

The line-up that everyone currently knows as Straight Outta Luck hasbeen together for 2 years. After a long hard road of trading people outand many practice space issues, the band began playing out 2 yearsafter forming. Since then, they have been working hard playing showswith such acts as the Vibrators, Hudson Falcons, Richie Ramone,Agent Orange as well as countless local shows with strong supportfrom the amazing fans of Denver at every show. Check out iTunes,Spotify or Slacker Radio to hear or purchase music!online: facebook.com/straightouttaluck

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Bill Stevenson and TheBlasting Room SpeakAbout Punk Scene Thenand Nowby Jenn CohenJCohen@ColoradoMusicBuzz.comFrom the Descendents to the Wiredogs, what’s changed?Who’s on the Blasting Room’s radar, and what do theythink it takes to succeed today?When people talk about Colorado’s punk scene, Ialmost immediately think of the Blasting Room in FortCollins. Reason being, Bill Stevenson (drummer for theDescendents, ALL, and FLAG), is one of the foundersof the reputable recording studio, and the Descendentsand Black Flag have left an influential footprint on thepunk scene both locally andnationally.We know music is easilystrapped to labels: jazz,country, hip-hop, rock,punk, the list goes on.Since this month’s issue isprimarily focused on punk,we talked with Stevensonand producer Andrew Berlin(Blasting Room), a coupleof guys who are “in it” everyday. Stevenson and Berlinsee firsthand the different genres of music, and the shiftingattitudes of bands. And while there have been plenty ofchanges over the years; the influence of punk from then tonow is, in many ways, timeless.Currently touring with the Descendents, as well asmaintaining a presence in the studio, Stevenson has beenan influential member of the punk movement since the’70s.“There have been a lot of miles traveled since then,by everybody, and many years have passed,” saysStevenson. “It’s hard to quantify how things are now,compared to how they used to be. I know that there’s aconstant line of comparison between what people call the‘old punk’ and the ‘new punk,’ but I don’t look at it that way.I see it all as a big continuum of a very long river flowing;bands contribute to it, and they take out from it, and theyride along the flow of it. Just as we’ve influenced things,we’ve also been influenced by things, and I think that thepunk scene is that way. It’s always a two-way street in andout, constantly evolving, and I don’t feel like there are yearsor eras or decades where it was like, ‘punk is dead.’ I justtry and keep an open mind and let the independent artistsdo whatever they can do, and try and enjoy it.”Adds Berlin, “When I first started at the studio, I rememberdoing more ‘album splits;’ the first being Bill the Welderand Teenage Bottlerocket. Kinda smart to share the costof setup, not to mention everyone had a fun time. I recallthere being more attention given to a defined rhythmicpattern/cadence that the whole band was aware of.”Thoughts about the pop-punk vs. punk labels these days?“It’s always been my opinion that those [labels] were moreuseful for, say, people trying to market or sell music,”says Stevenson. “But when you actually put a guitar on,or get behind a drum set, or put pen to paper, nobodyreally thinks like that. In the early ’90s, there was kind ofa “more acceptable” version of punk rock that got on theradio a lot. There were tons of little kids at the mall thatwere really happy that that happened, and then there weresome curmudgeonly older punk rockers that felt like thatphenomenon was kind of a disservice or a dishonor to punkrock. But the fact that Blink-182 got on the radio doesn’tchange how I feel about my Minor Threat single. It’s allmusic, right? I just don’t think in those little boxes—they’renotes, and rhythms. I think it was Louis Armstrong whosaid, ‘There are only two kinds of music, good music andbad music. If you can tap your foot to it, that’s good music.’The point being, if it makes you feel something, then youfeel something; who cares what it’s called: pop-punk, indie,

hardcore, emo, jazz, you know?”And what does it take in this day and age to stand out? Wasit harder before social media to get your music out there?“Every decade [of musicians] has a different idea of whatsounds are familiar,” says Berlin. “I think the auto-tuningand instrument editing that has been heard regularly forthe past 15 years has created a thread of musicians andlisteners who value this consistency in sound. The punkbands that stand out to me are able to balance an OCDadherence to playing well, with an intuitive connection tothe push and pull in emotion, and how that translates ina performance.”“Is it harder now than it was when we were trying to getestablished? I can’t tell,” says Stevenson. “Some wouldhave you believe that it’s easier because of [social]networking, and just the accessto info is so complete, butsome may say it’s harder.When I was 13, you got a bikefor Christmas. Now, you get aguitar. It’s like everybody—EVERYBODY—has a band,so I guess it’s both easier andharder. But to push that to theside for a second, it comesdown to practicing. Basically,not to put the perniciousinfluence of a competitiveelement into all of this, but atthe same time, if you’re tryingto be established, you have to be better than the otherbands. One of many ways to be better than other bands isto practice more; that is what the Descendents did—we justused to practice incessantly; although, that’s not a solution,but it’s one of several things that, when you put them alltogether, can be part of a solution.“I suppose in the Internet age, it’s almost just as critical forbands to have to be concerned with how they look whileplaying, as opposed to just how well they’re playing. Wedidn’t really have that. We could be ugly, and it was okay,because nobody could just go online where somebodyhad a camera one foot from my nose hairs. So I thinkappearance has, unfortunately, become a factor.“And, of course, nothing beats a great song. This is whereI suppose the accumulated experience at the studio that Ihave, has led me to the conclusion that there are not nearlyas many worthwhile songs out there, as there are bandsplaying in garages somewhere. So, you can practice ‘tilyou’re blue in the face, but if your songs aren’t any good,then that’s really wasted energy. For a band to get noticed,they have to find someway to find a voice that is their ownvoice, that is a unique voice, and that has not been heardbefore a million times; and the lyrics have to be worthlistening to, and I don’t mean they have to be politicallycorrect or intellectually deep, I mean, they could be “I LikeFood” or whatever, but there has to be something aboutthem that draws people to them, and so it goes with theDNA of chord progressions and also the melody. Thesethings are what really affect people. We can’t all be greatsongwriters, we can’t all be great players, and we can’t alllook handsome like whatever the movie star of the momentis.“So if the complexity of all these different intangibilitiesline up, and a band happens to do well, I would think theyshould consider themselves very fortunate, because it’stough.”As a big milestone has just passed for Stevenson, I askedwhat three songs he would reference to sum up the last fewyears—personal anthems, if you will. His answer: ““Waitingfor Superman” the Iron and Wine version. Those lyricsare such that I wish I’d written them. When I was sick thatwas my song. Milo (Aukerman) wrote a song right aftermy brain surgery called “Comeback Kid,” about me and myrecovery, so I’d definitely throw that one in there, and theone I’ve listened to more than any other song in the lastthree years, “Without Love” by Propaghandi.”

Catching Up with TylerStanfieldby Tim WengerTWenger@ColoradoMusicBuzz.comTyler Stanfield has been making quite a namefor himself as a solo artist following a stint withLost Point, not only in Denver but down southas well. Colorado Music Buzz caught up withhim and got the word on what’s hot in his worldand how he goes about his song writing.CMB: How do you keep up the energy ata solo show without anyone else up therewith you?TS: There is a raw beauty to a song brokendown to its bare bones. It’s a different kind ofenergy you create at an acoustic performance.So I try and interact with the crowd and engagethem as much as possible.CMB: Seems like you spend a lot of timetraveling by yourself. What do you do topass the time? Are you generally flying ordriving?TS: I do travel a lot, flying mainly. I enjoy it. Itallows me to see things differently. Lately theeasiest place for me to write is in the air. I justput on the Bose noise cancellation headphonesto drown out the crying baby a couple rowsback, have a whiskey ginger and focus on themusic.CMB: Do you find it is easier or morestressful to progress a musical career nowas a solo artist, or during your time withLost Point?

TS: Not a lot of people know this,but I actually came out with myfirst album “This Place” before Iwas asked to join LP. Things weregoing well for us at the time so Ikind of put my solo stuff on theback burner. It has been great toget back to writing and performingmy stuff again. It is much easierto get things done with a solocareer, but nothing compares to afull band show. I have been verylucky with the opportunities thathave been presented to me, soI have put together a band withsome great musicians and I’mexcited to get back up on the bigstages again. The Taste of Colorado will be ourfirst show and I couldn’t be happier.CMB: What is some good advice that hasbeen given to you?TS: Stay true to yourself, and your music.And also never make bacon naked.CMB: What is your opinion on AvrilLavigne?TS: She found something that worked for herand went with it.CMB: What are you channeling these dayswhen writing material?TS: Life gives us so much to write about.Everything from the knife that was so delicatelyplaced in your back, to the intense love youhave with someone that you would do anythingfor. I feel the best songs are the ones that comeout naturally and you don’t have to force.CMB: What type of songs seem to get thebest reaction from the crowd during a soloset?TS: People like when you are honest on stage.If you are performing with all you have they canfeel that. I like to do a lot of instrumentals on theguitar too. They seem to like that.CMB: Where can we find your music andtour dates online?TS: Reverbnation.com/tylerstanfieldmusicOnline: facebook.com/tylerstanfieldmusic

Wednesdays on The SoapBoxx Radio.The station is internet radio at its best. Liketheir page and be up to date on all the latestin celebrity gossip, current events and socialawareness. As a leader in internet radio, TheSoapboxx Radio is a blend of talk radio andmusic. They play a large range of genres,contact the station for more information on howto get your music on air. Highlights of the TheSoapBoxx Moment segment gives listenersand fans a chance to say what is really on theirmind. A pre-recorded segment of submittedfootage, listeners go off about some of theissues that mean the most to them.The Featured Artist segment is dedicatedto new and current artists of all genres toshowcase their latest songs and/or videos.The SoapBoxx Interviews gives the listener achance to listen to the latest news as D. JayDa Queen talks with leaders in the communityas well as individuals who are involved in allareas of life.Be sure to tune in Monday and Wednesday atthesoapboxxradio.com

SoapBoxx RadioPresents NewPerspectiveby Darnell Teague & Jonathan McNaughtonDTeague@ColoradoMusicBuzz.comDanielle Johnson, radio personality/videojockey, writer, and public relations specialist, isbetter known as D. Jay Da Queen. Johnsonis originally from Denver. She pursuedher education at Arizona State Universitywith a focus on Psychology and MassCommunications. D. Jay is currently findingnew ways to shed light on current issues in theworld through interviews with different leaders inthe community, as well as individuals who haveinteresting perspectives. Explore the terrainsof media through internet radio Mondays and

August 2013 | ColoradoMusicBuzz.com 25

Petals of Spain: Our LocalBodhisattvaby Tim WengerTWenger@ColoradoMusicBuzz.comDenver’s beloved jazzified indie rock posters Petals ofSpain are dropping another record, their second of theyear, onAugust 30 at the Bluebird Theatre. This recordwill be a full length record, containing the EP that theyreleased in February as well five new songs. The songswere recorded at So and So Studios here in Denver.“This is the year we’re going to put out three,” says NicHammerberg, founding member and, in addition toHunter Hall, the group’s main songwriter . “We havetons of material, we just haven’t put out stuff before.”The band is going through a self-described “evolutionarystage,” and this upcoming record will reflect that. Thisalbum will not be just another collection of desperatelysatirical but eerily catchy love tunes. The guys in theband are, for lack of a better term, a bit ‘trippy’ whenit comes to their music. Channeling everything fromaltered states of mind to lights in sky, Petals of Spainare coining a new definition of the term ‘original music.’“I was under the impression that we were going into anage of enlightenment,” says Hammerberg. I think weare still going in that direction. I don’t think everyone isenlightened, per say. But with the way communicationis, how fast technology is advancing, I think we aredefinitely going in that direction. (The record) pokes funat that.”“(It talks about) coming to terms with the dichotomyof (enlightenment) not being there,” says Hall, alsoa founding member of the band. “It’s based on moreimagination than the previous album. I feel likethe songs I wrote on the album maybe have morepersonality than before. It’s almost like there is a littlemore theatre in it.”Despite the emotional idiom displayed in the band’snew music, Hall and Hammerberg admit that theyaren’t yet at the peak emotional state. “I think I’m moreof a Bodhisattva than an enlightened being,” saysHammerberg. “Which is one who seeks to enlightenothers. That is more a position of my being on this earth.It doesn’t mean that I can’t reach enlightenment, but it’snot really about that, it’s about helping other peoplereach it.”As far as how we all can attain enlightenment when therecord isn’t quite enough? “I think that we can do that byjust living, dealing with the things as they come,” saysHammerberg. “It’s not going to be all good, it’s not goingto be all love. There’s a duality in everything, and I thinkit is experiencing that and embracing that.”“I think music is kind of like that perfect moment, it’s soromanticized,” says Hall. “You can try to catch yourselftrying to feel that way all the time, you know, really goodand really energetic, like everything has a purpose andeverything has a meaning. Not to be too idealistic, butwhen we play music, that’s a lot of times how I feel.”Dealing with the processes of enlightenment canalso mean dealing with anxiety, especially in a world

dominated by socialmedia and a constantfocus of attention onthe here and now.“The inspiration forsome of my writing isthe paranoia of thetechnological age,”says Hall. “It’s madethings so much easierto communicate, but atthe same time I think it’skind of taken away fromhuman communicationin a way. People aren’tas comfortable justsitting around a tableanymore just sittingaround and talking. Theworld has become passive aggressive in certain ways.People don’t appreciate the information they have asmuch because it’s so easy.”The use of substances such as alcohol, marijuana,and other ways to alter the state of mind havehistorically played, sometimes and with certain artistsmore prominently than others, a role in songwriting.Hammerberg and Hall talked about their personalopinions on the subject.“Sometimes it can bring out a new perspective on thesong,” says Hall. “I don’t want to write music when I’msmoking weed all the time, but at the same time I thinkthat it can give me a different perspective. If you’reusing it for a creative source, you have to respect it andtry to use it for that rather than for recreation. It’s ourgoal to speak to those realms but also speak to the verysober reality of being alive.”“I think it is absolutely inspirational,” says Hammerberg.“It’s a way to just separate your consciousness. Itcan take you to a realm unlike anything you wouldexperience in your lifetime.”Petals of Spain is becoming known in the Denver musiccommunity for their pants-to-the-floor live performance,and with all of the sentiment and heart the band putsinto their music, it comes as no surprise. There aregood shows and bad shows, large crowds and smallcrowds, but the guys maintain that it is a band’s job asan entertainer to set the mood for any performance.“Some of my favorite shows just go by in a blur,” saysHammerberg. “Like, ‘Wow, that was so awesome, didthat just happen?’. We are on stage connecting withpeople, and they are out there connecting with us, andthen it’s just over.“It depends on the energy of the band and it dependson the energy of the audience,” says Hall. “If things aregoing right, it should feel like a nostalgic celebration.Like this joyful experience that reminds you of yourchildhood in many ways, because I think the greatestexperiences we have, have some kind of déjà vu ornostalgia to the past.”We are trying to implement more and more theatricalelements into our show,” says Hall. “Telling the audiencea story, and literally taking them through a narrative. It’snot just a collection of songs. Every set list we have, wetry to go, ‘OK here is the through line of this story.’”Petals of Spain hope to expand their horizons far outsideof the Mile High City in the future. Their consistent hardwork and constant presence in the Denver music sceneover the last few years serve as a strong base to makethat happen, and as they continue to release recordedmusic and hone their live performance, the band willstop at nothing short of musical enlightenment not onlyfor their growing fan base, but also for themselves.“Eventually, I think we’d all like it to be a spiritualexperience, changing that idea of a show,” saysHammerberg.Online: pofsmusic.com

Between The Covers:Anyone Got a Mint?by TorchTorch@ColoradoMusicBuzz.comIt was another free concert in the park ona Thursday evening, a typical City of *** gig.People start to unfurl their blankets and popopen their lawn chairs as they make instantliving rooms on the grass. Fried chicken andcupcakes are shared between those who reallyplanned for the evening, while others makeway to the hot dog stands and snow cones.The stage is temporary and the band makes itthrough a bit of a rough sound check with thenew guy from the sound company. Next to thestage is a table covered with cd’s, t-shirts, andnecklaces I make by hand. I am the merch girl.Now this is a great place to watch people anda hard place to avoid them so interaction iskey. It never fails to surprise me how entitledpeople get with the band at a “FREE” concert.For example, one woman came up to me at thetable to request songs for the band to play. Herbreath was dripping with the stench of threeday old garlic and plaque as she shouted in myface, “Can you ask them to play that one song,you know the one with the magic carpet! I can’tremember who plays it, and maybe somethingby Credence!” She yelled some other stuff Ididn’t catch, as I was so aghast by her breathand jumped back in horror. Now there areseveral ways do deal with this type of behaviorbut first all I could think was, (Eat a breath mintfor the love of Christ! This is a band, NOT ajukebox! Gohome anddig out your8 tracks!AND if bysomechancethe bandwas takingr e q u e s t s ,learn thesong titlesor artistsnames asthey arenot here todivine yourmuddled thoughts!)What I did say was, “Well you can ask themwhen they go on break.” Passing the lovelywoman with the breath that would turn awindmill in an old Dutch painting, onto thelead singer. (grin) She was not pleased that Ididn’t leave the merch, march over to the band,and break into the current song to make herrequest. She huffed away, wilting the trees,and waited for the break, which to my dismaythey didn’t take one. She was back for moresharing of her verbal stench, “They’re nottaking a break!” she barked. I told her to writeher (oh so important) requests on a sheet ofpaper and lay it at the leader’s feet on stage sohe could see it between songs. She fussed likea three year old and asked ME for a pen andpaper. (Lady, what do I look like? Office EffingDepot!) “No, I am sorry but I don’t have either,”a lie but I just wanted her to go away and stopopening her dental decayed pie hole my way.I watched her stomp back to her lawn chair,hands on hips spatting her drama on her date.She plopped down and glared at me for the restof the show.Now I never said what I was thinking as I’velearned to keep my mouth shut with psychosand drunks. *** Very important skill in the musicindustry***Oh but it wasn’t over yet. I watched as a guy

stood clutching a beer in one hand and amonitor in the other. He had a bony frame andstringy hair, which he kept whipping around,poised like a dashboard dog off stage right. Hewas head banging to every song, a strangething to see to songs like “Beautiful World”and a reggae infused version of “Clocks”. Ifigured he hadn’t had his meds in a very longtime; time that he was sure was moving tooslowly as he kept trying to get the band to playfaster with his fist pumping. FYI- don’t’ do thispeople it is annoying to the band and all thosearound you. Step away from the stage you sadlittle Guitar Hero wanna be! Ah I digress.He however wasn’t the worst distraction; itcame in the form of a bulging Betty on beer, aLOT of beer. She stood, in her triple extra largepink t-shirt, directly in front of the lead singeryelling “Chicago!!! Play someCHICAGO!!!” Thisdid not go unnoticed and the band, who didn’tknow any songs by the band Chicago, howeverthey very kindly played Sweet Home Chicagofor blubbering Betty. She was pissed andproceeded to yell “No! Play some Chicago!!”When her demands went unmet she stoodfixed before the band, snarling like a menacingmammoth. Her poor sap of a date was dancingwith his beloved beer and occasionally shewould go over and smack him on the arm andyell something predictable at him, trying to gethim to stop having fun. Again her orders wentinto the wind and she bloomed red and returnedto her post of discontent, facing the band.People, this is a FREE concert NOT yourpersonal i-pod, the band and the people aroundyou don’towe you athing. Relax!Y o u ’ r es u p p o s e dto be jovial,not pitchinga fit for notgetting yourway, freakyc o n t r o lfreaks! Utoh, my turnagain onlyit was bigboy Bob andhe wants a t-shirt. Yelling over the band, “Yougot this in a double or triple X?” “No, I onlyhave large and extra large.” He furrowed hisbrow and I held up the XL showing him thesize, which was too small for him, but easilytoo big for a normal sized human being. “Doyou have anything in a double or triple X?”“No, I am sorry sir but this is the biggest sizeI carry, would you like a CD instead?” I wasthinking, “Hang it up on the wall as your skinnyshirt, play the CD and you would have a wholeweight loss program.” I actually felt sorry for theguy, but with merch you learn quickly you can’tplease everyone, wrong size, wrong CD, songbeing played is not recorded as it is a cover,and no matter how low you price things peoplestill want to bargain. Big Bob didn’t want a CDinstead he told me off for not having more sizes,blurted out a few expletives and thumped away.Okay my feelings of remorse were gone; havea nice day.The thing that keeps me smiling from the merchbooth is the people who showed up instead ofwatching TV, the people who are dancing withtheir friends, or teaching their toddlers to dancelittle feet on top of big. The guys in the bandtaking solos and having a blast getting thecrowd dancing and not letting them go. I love towatch them all; every shape and style comingtogether celebrating the songs that mark thissummer, a picnic, green grass under bare feet,and blue stained lips from slushy icy treats.

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The Bunny Gang SpeakAbout New Record, BandLifeby Tim WengerTWenger@ColoradoMusicBuzz.comThe Bunny Gang have, albeit not yet a longone, but still a storied, history. Forming inDenver in 2012 following time in Los Angeles,California under the moniker Nathan Maxwelland The Original Bunny Gang, the group isworking diligently to establish themselves asa prominent name in Denver’s scene and arespected name throughout the world.Front manNathan Maxwell is well known in thepunk world as the bassist of renowned Celticpunkers Flogging Molly. The Bunny Gang wasstarted originally as his side project involvinghis father Maxwell and bassist MichaelPeralta, and has grown over the last few yearsinto its own name and reputation as The BunnyGang with help from lead guitarist Nat Nelsonfollowing their move to Denver.The group has recorded a much anticipated full-length record that has turned into an ongoingprocess, but should be out by early next year.Originally, the record was originally supposedto be already released, but the band wantedto make sure everything was just the way itshould be before dropping it into the public’shands. “It will definitely be out by 2043,” Nathansays laughing. “It’ll be out by, at the latest, early2014. The album is done. We are finalizingthe album artwork and the layout, and want tomake sure the album is in the exact right homefor it to be in.”With the upcoming release of the record andthe time between now and then, the band’sfocus is to dive as deep into the local musicscene as possible. The group has touredmultiple countries, been asked to contributeto compilations and perform at a handful offestivals, and feel that it is time to grow theirroots in the Mile High City and settle into whatthey call home. “I’ve been traveling the nationand some other countries for a while now, and

my first thought was, ‘That’s what I know, solet’s take The Bunny Gang on tour, let’s keeptouring and touring’. I’m glad we did becausewe had to get our chops up and become a bandthat I’m proud of now. Now we are that band.Now the focus is, we’re a Denver band, let’sshow Denver that we’re here. Let’s really focuson Denver.”Nathan feels that the group was not ready toshow itself to our fair city before the extensivetouring and be the ‘local celebrities’ that theywant to become. Through their treavels,recording, and becoming the family that is TheBunny Gang, they are now proud of who theyare and are ready to strap themselves in andbecome a high-flying part of the ever-expandingbubble that is the mile high music scene.As such, the band’s history is very family

oriented. Nathan and bassist Michael Peraltahave known each other and been playingtogether for years, and the formation of theband with Nathan’s father on drums meant thatthe group started with a tight relationship thathas only grown tighter through the sharing ofmusical talent.“For me, this represents where my head’s atat the moment with music,” says Nathan. “The

Bunny Gang plays honest, authentic musicand we wear our heart on our sleeve. We haveour influences, and through those influenceswe create our sound. It’s like roots music, it’sauthentic to who we are.”The creation of their debut full length hasbeen a long process, culminating in the fourmembers being wound ever more tightlytogether, ready to present themselves to theworld as they feel they should be perceived.“It’s been challenging,” says Maxwell, thegroup’s drummer, who has been with the groupsince its’ early days. “In drawing this out, we’veall become a bit wiser. Truly we have becomemore confident in what The Bunny Gangis. We’ve realized that we’ve got somethingspecial here. The band is attracting a lot of coolpeople.”

Maxwell likes the tag of‘Conscious Rebel Music.’ Ahuge part of the band’s rootsare in the punk rock ethos, butthe guys are family men andare not the nihilistic teenagersleading a life of anarchisticdestruction that they may haveonce been. “We have this root,”says Nathan. “We got on stagewith a punk element, but we stillhave a consciousness of what’simportant. We’re not singingabout beer and partying, we’resinging about more importantissues.The rebel part IS thepunkinfluence, but the conscious partis taking it to a higher level. Thereare a lot of people out there thatare outgrowing that desperateyouth and want bands that havesomething to say. Everywherepeople are waking up. People are waking upto truths, to hard truths, and I believe that ingeneral the umbrella is consciousness. Peopleare becoming critical.”“I’m not someone that wants to be dead at 25anymore,” says Nathan. “I’m someone thatwants to live. I’ve got so much to live for. It’sabout seeing the forest for the trees and takingthe long way.”

The long way for these guys is playing shows,recording, and sticking their message firmly inthe ears of each and every listener. “You goeverywhere,” says Nathan. “Every single placeyou can go, you go there. If it sticks and peopleresonate, then you go back. Who knows wherethe places that love The Bunny Gang will be.”To date, Japan has been a place that they havedone well, as well as Germany, but they hopeto increase that base to become a worldwideaudience. “It’s still so new, it’s hard to say.We’ve had some great shows here and there,we’ve had some great shows in Denver.”Obviously, Flogging Molly is a big name andoften when people think of Nathan, that iswhat they think of. While it may serve to helpthe band as far as recognition, they strive tobe perceived as a separate entity. “It’s a doubleedged sword,” says Nathan. “There’s thoseout there that love Flogging Molly, and there’sthose out there that hate Flogging Molly. Thedouble-edged sword is that those who loveFlogging Molly might expect The Bunny Gangto sound more like Flogging Molly, or morelike a hardcore punk band if they know mybackground. But it’s not that at all. It’s hardcorepunk in the meaning and the message, butnot sonically. On the flip side, I think there arepeople who would really love our music, butthey hear Flogging Molly and the go ‘Ah I don’tlike (them), so I’m not going to like The BunnyGang.’ They’re different, but it’s the same spiritgoing through it. I think real music fans will getthat. You can’t please everyone, and I have nointerest in trying.”The band’s identity is growing stronger withevery show, and they have no plans to slowdown anytime soon. They want to continuegrowing, continue changing, and continueto represent their ideals through their music.“Hopefully, though life, you evolve,” saysNathan. “You learn, you become wiser.” For TheBunny Gang, their progression will continue tocoincide with the lives of the four members thatmake up the family and the views they wish toexpress to the world.

Denver Sees New Hip-Hop Management Co.by Darnell Teague & Johnathan McNaughtonDTeague@ColoradoMusicBuzz.comShamelessMgmt. LLC.And their collective of variouslocal talents (Huey P. Nuisance, Ir-Neko, Ghost816,The Abnorm,) and other KC affiliations are makingstepping stones in every city they travel on the roadto success. Still new to the music game, ShamelessMgmt. LLC looks to make the Brand a mainstay inColorado and Kansas City, Missouri.Huey P. Nuisance calls Midtown Kansas City his

home. He has been a solo artist since 2011 when hedropped the mixtape “The Valley of the Beast”. Duringthe past 2 years he has signed with Shameless MGMTand dropped his first solo EP, called “I’m Just Happy ToBe Here”. Huey is currently working with The Abnormand iR-Neko on an untitled full-length album due tobe released later this year. He has opened for NappyRoots, Masta Ace, DJ Abilities, Sadistik, The Flobotsand Andre Nickatina. This summer Huey will beopening local support for the Kansas City Guerillafestwhich features Slick Rick, Spice 1, PMD, MC Eiht andGLC. He also recently completed his third Midwesttour which included shows in three states. He plans tocontinue making great music and pursuing his dreamwith plans to tour the East Coast and West Coast in2013-2014.iR neKo was born and raised in the mecca of jazzentertainment in Kansas City, MO. Music has alwaysbeen an important part of Neko’s life. He might evensay that music was his first love. With his obviouspassion for his music, it is easy to believe that musicwill be his last. Neko is more than just a rapper. Heis an artist who displays every aspect of his craftthrough his music. As life continues to inspire him,Neko is developing into an artist whose music andstory are so intriguing. It is both simple and complex.That formula, alone, makes us want to continue tolisten to this artist in anticipation of what is next.Read more of this article atColoradoMusicBuzz.com

Sweet Jean MediaServices is the Answerby Brett FinnFinn@ColoradoMusicBuzz.comSweet JeanMedia Services isa multipurpose,multifaceted, multimediacompany.Theyspecializein full scale corporateevent production, musicbusiness consulting,and voice over talent.Sweet Jean Media take pride in delivering exceptionalcustomer service and professionalism in each division ofthe company.CMB: So what is your background?SJM: We have always been actively working in music andtheater production. While studying percussion at BerkleeCollege of Music, I performed in various bands and havetoured extensively with outstandingmusicians both at homeand abroad. Sweet Jean Media Services, was started withover 30 years combined experience working with local andnational entertainers. We have experience at the agent’sdesk while working to maintain band dynamics.All aspectsof performance and technical production, from logistics toconcert hall settlements are where we shine.CMB: What is the music division of Sweet Jean Media

services about?SJM: When we go to see bands, we are constantlyobserving small things they could change to increase theirappeal and get to the next level. I have been on variouspanels for band competitionsand have seen a need forbands to get some helpful tipsto improve their stage showand career.

CMB: How can you helpme?SJM: We offer musicperformance coaching. You make the music . . . we canoffer input on how to keep the momentum moving forward.Whether you’re an established band looking for a critiquebefore the demo or a solo artist interested in increasingawareness and distribution, we can help. Sometimesall you need is some inspiration to head you in a newdirection, give us a call. Last minute coaching for a battleof the bands competition, why not ask a past judge forsome feedback?

Looking for backline or technical production? OurCorporate Event Division provides expert technical andproduction needs for any size venue that will fit yourbudget. Looking for something different? Our Voice OverDivision can provide talent for recorded or live production.Want to provide narration for a classical concert? We canhelp. Please feel free to call and set up an appointmentwith one of our qualified staff. 303 709 9962

15% growth (or much more) digital downloads havehad since their debut. Even good selling artists withgreat fan followings are swamped in endless sheetsof 1-cent Spotify and 64-cent iTunes statementsfrom their aggregator’s (like CD Baby). In my talkswith folks involved with artists like Pomplamoose,String Cheese, Leftover Salmon and others who sellwell … the checks are not large, thousands and nothundreds of thousands as in the heyday of the CD.My last album (I use the term generically) came outlast summer and while I truly appreciate the monthlychecks from CD Baby, BMI and SoundExchange– I make more money on my music from a monthsworth of summer gigs than I do selling recordedmusic. All these numbers are only part of the storythat includes the debate over the effect of digitalpiracy, the ‘death of the album” and even good newslike the rise in sales of vinyl in the past few years.There is an excellent article by Sasha Frere-Jones inthe July New Yorker covering all of this.For DIY artists, summer touring merch falls into 2basic categories (a) soft goods like t-shirts, stickersand hoodies etc. and (b) hard goods – CDs andvinyl. And as I talk with my fellow band matestraveling the circuit I am hearing the same thingover and over. This summer the sale of CDs is reallydropping off at shows. Even if somebody LOVEDand I mean really LOVED your show, they seem tobe happier going to iTunes and downloading musicdirectly into their computer, iPod and the like. Andif they are streaming it – you get 1/3 of a cent orroughly 4-cents for my 12 song album. Fans seemto be saying it is easier than taking home a CD thatthey have to rip. But they WANT your music THEN… right after the show … it’s what we call an ‘impulsebuy.’ They loved it and they want to own it NOW …and their busy life is going to get in the way of themremembering to download it later. So as a millennialartist what are you supposed to do? You want to turnthis new interested person into a ‘super fan’ whocomes to every gig and buys all your music and tells

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The Manager’s Cornerby Chris DanielsCDaniels@ColoradoMusicBuzz.comI’ve managed my own band since the 1980s anddespite the amazing change in technology, successin the music business is built around some tried andtrue elements: great music & performance, reallyhard work and timing (often mistaken for luck). Thebook I wrote for my UCD class on artist managementis called “DIY: You’re Not in it Alone” and that isexactly what you need to understand. Most artistswho are recording and performing, bluegrass to DJ& EDM to rock and Hip Hop, are still trying to make‘some’ money on the sale of those recordings. Andthat brings up some questions as we hit the mid-point of summer touring and band merch sales v.s.downloads and streams.First, the obvious: No matter what the genera, sale ofrecorded music via brick & mortar or internet outletsfor young or DIY artists is often times a measure ofa few thousand, and more likely hundreds of dollarsper year. And there are some staggeringly powerfulstudies that support the current trend of the ‘value’of recorded music to be getting close to zero. A fewquick set of numbers for your review: The ‘new kid’on the streaming block (iTunes Radio) is currentlyoffering independent labels $.0013 per stream.Spotify, the ‘daddy of em’ all’ pays roughly $.0033per stream. Pandora is fighting to have the rate itpays lowered (they are doing this by acquiring a radiostation in South Dakota in order to qualify for the rateterrestrial radio gets) … but to give you an exampleof where they are now… Ellen Shipley, one of twosongwriters of the hit “HEAVEN IS A PLACE ONEARTH,” received a check for $39 from Pandora for3.1 million streams! In 2013 digital downloads (likeAmazon or iTunes) have fallen by 2.3% for the firsttime since people started legally downloading… andthat is a huge drop compared to the average 7% to

a hundred of their friends about this great new bandthey found.I tell young musicians to produce a very limitednumber of CDs and then there are basically 2alternative ways to go. (1) offer the sale of USBsloaded with your music (2) download cards. Bothhave advantages AND disadvantages. USBs can beloaded with either an individual album or a numberof albums and/or videos and special features likealbum and poster art and liner-note booklet pdfs. Youcan also make them refillable so that as you recordnew music they can come to your booth and get allkinds of special tracks … like demos of new songsetc. It’s a very cool way to go but the drawbacks arethat some fail when they get to the buyer’s homecomputer and there is a pretty large startup costinvolved plus the maintaining time for reloading fansUSBs when they want to get new stuff on their driveat gigs. Download cards are really easy and youhave very little expense or start up cost (about 60cents per card and less if you buy in bigger quantity).They come from your aggregator like CD Baby orTuneCore or The Orchard and they all have prettymuch the same program. You can get 100 cards forroughly $50 to $60 … you can sell them for whateverprice you like … you don’t have to worry about themmelting in the sun … you can include them in vinylpackaging so a fan can buy an album AND get thedownload card for free … and you can have thealbum art on the card. The disadvantage is that theuser has to go to the site, like CD Baby, enter in thecode and ‘set up an account’ … and some peoplehate doing that. How many other artists are on CDBaby that you will want to get ??? Hmmm goodquestion. But that said, it’s a pretty simple and veryflexible new avenue for revenue.Last but MOST IMPORTANT: pricing and quantity. Iadvise other artists to keep their CDs at $10 unless itis a special limited edition package. Download cardscan be set at $5 and it’s a pretty good incentive to

buy them but I think it is also totally OK to ask $10especially if your album has more than 10 tracks.Plus you can “package’ things – a $15 t-shirt and a$10 download card for $20. As far as quantity, I teachmy students a ‘break even’ formula but you can dothe math pretty easily. Right now in an averageaudience of fans and new people you can figure onroughly 5% to 10% will be moved enough by yourperformance to buy something. You can do the mathbut if you have a concert outside with 1500 peopleyou will get between 50 and 100 people interested.So look at your tour schedule, look at the venue orfestival capacity and do the math and don’t order toomuch…it’s a bit of a science but you can get prettygood at it very fast.Last but not least, I have not talked about ‘givingyour recordings away’ or about vinyl. The reasonsare simple for both. Giving out your music for freetells people that you are desperate to get the musicin their hands. It’s like a teenager trying to get laid…the desperation devalues the salability. If you decideto do that … I understand…many starting artists dothis to try and create fans and download cards area cheap way to do it. But I think that if you caredenough to take the time to record your music thenyou should at least follow the Amanda Palmer modeland ask what your perspective fan would ‘LIKE’ topay for it…hey it worked for Radiohead. As far asvinyl, the fan who is buying vinyl is a true music loverand if you have the backing via tour support, labelsupport or just fan support to make that happen, it’sa really lucrative medium for store owners like Paulat Twist & Shout and a number of artists. Folks thatbuy vinyl love music and they have chosen to addyou to their record ‘collection’ and that is pretty frickinwonderful. But that takes a level of commitment thatis not for this article. I hope this helps you startframing a strategy for sale of recorded music …staytuned … this part of the artist’s world is changingfast!

Vocal Talkby Carin Dawneditor@ColoradoMusicBuzz.comFear. It is the distressing emotion aroused by impendingdanger, evil, pain, etc. – whether the threat is real orimagined.Mostof us try toavoid fearbecauseweareuncomfortablewith the emotions that accompany it and often we don’tunderstand it. Sometimes our experience of fear isunwarranted and at other times the genius design of“fight or flight” kicks in and recommends flight for thebetter.If we examine our lives we can look back at times whenwe have allowed fear, and it’s instinct to flee, to makedecisions for us that we now see were either foolish orbased more on being unfamiliar with a situation. I’msure that we would all agree that in those moments wewould like to go back and make different choices andyet the truth is, we can’t, it is our past. Still, we allowthat regret to continue to rule our present and futuredecisions, because we end up doubting ourselves.I see this often in my students, with my friends andin myself. Whether you are a musician, doctor,entrepreneur, or teacher, in the pursuit of dreams weexperience fear. It is why we cower and hide from thethings that bring the most light and life into our being.

We often mistake fear for something muchsimpler… the unknown. For example, wedon’t know the consequences of revealingwho we are on a stage before friendsand strangers. We question ourselves atthe core of who we are because frankly,the unknown thoughts others might haveregarding who we are frighten us, and weconclude that those thoughts somehowreflect and determine our worth.We want others to approve of our decisionand our dreams. We want to be liked. We want othersto see us perfectly in our pursuits, so we get caughtup in the cycle of fear and doubt and we end upmissing out on what we truly desire in this life. Wecling to this perfect image that WE have conjured upfor ourselves. Not what others deem perfect, but we,in our failures, mistakes, and life experience with adysfunctional history - think is the image of “Perfect”.

So what is your image of perfect? Do you hold thatsame standard of perfection to your family and friends?Do you really think the person sitting or standing next toyou would describe “perfect” the same way you do?I think it’s time to take a hard look at what we desireand allow others and ourselves the permissionto be imperfect. Because in truth – nobody isperfect. Perfection only means that you are most likethe thing you are trying to copy. Don’t be a copy. Beyourself. Be perfect at being you. Being “You” meansthat you will make mistakes, have failures, find success,try over and over, and most of the time, just partially getit right. And in the middle of being imperfect you willfind that others see perfection.Next time you begin to experience that distressingemotion, in regards to your dreams and goals, sit downwith it, journal about it, mediate on it or even write asong about it. Most importantly, familiarize yourself withit, and trust your gut. That fear might end up being yourbest friend.

Musician 101 – PracticeYour Ass Offby the SwamiSwami@ColoradoMusicBuzz.comBack in the 90’s when I had a developmental deal withSony, I was privileged to have several great mentors. Thenthe labels still had A/R departments and would look fortalented artists to sign and then “train” to be a pro. For me,I was lucky enough to have such encounters. Here in thismonthly column I will share with you not only the thingsI learned from “the big boys” butreally from the school of hardknocks and the other school offiguring out what not to do.Each month I will pick a differenttopic that I think truly makes thedifference between amateur andprofessional.# 2: Michael Jordanwasn’t born with hisbasketball skills…Spending time with the likesof Barry Fey (RIP), ChuckMorris and other notablelocal music stalwarts, onething was always in common with them on whatseparated the amateurs from the pros…Being asgood as you can at what you do.If you are in a band, you not only owe it to yourselfto practice your instrument or voice as much aspossible, but to your band mates, your fans andyour future. NO ONE ever became amazing at whatthey do out of the womb. Whether you are a prodigyor not (ok, maybe Matt Bellamy from Muse is anexception), everyone that is incredible at what theydo worked extremely hard and continue to do so tobe as great as they are.

Practicing doesn’t mean getting on stage on aWednesday new talent night. It means applyingyourself to your craft. Education is a must. You playguitar? Watch video lessons, read books, study yourpeers and icons! Learn how to play their songs!I remember interviewing the Boulder based bandRose Hill Drive a few years back and askedthem, “how many days/nights a week do you guyspractice?” – Their reply: “6 sometimes 7.” No wonderthey toured with The Who.

You can separate yourselffrom the menusha ofmusicians by becoming greatat what you do. Not onlyas an individual, but moreimportantly as a band. Raisethe bar with your band mates.Push each other. Demand it.I ask new bands 3 questions:One – How long have youbeen together…Two – Howmany times do you practiceeach week…Three – Whatare your goals. It will prettymuch tell me 90% of what theband is about.

Band A: “We been together 6 months, practice oncea week, and really aren’t sure yet what are goalsare.”Success rate: 5%Band B: “We been together a year and half, practice3-4 times a week and want to dominate the world.”Success rate: 75+%Don’t’ be band A and embarrass yourself on stage.Like Chuck Morris said at a music conference– “Three words of advice: PRACTICE PRACTICEPRACTICE!”

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Adam Ranes of Casselman’s Bar & Venueby Tim WengerTWenger@ColoradoMusicBuzz.comCasselman’s Bar and Venue is located in the heart of one of the Mile High City’s fastest growingneighborhoods, and has become one of the fastest growing venues by becoming a home notonly for bands to perform, but for special events and a stiff drink. Colorado Music Buzz caughtup with the man and the legend down there, Adam Ranes, to get the lowdown on how he got thisall going for our community and why you might just want to head on down to no-do this weekendand catch some of the action.CMB: First things first. Let’s hear about how you got into the music scene here in Denver,and how did the idea for Casselman’s come to fruition?AR: Casselman’s happened by accident…funny thing. I have zero background in music orentertainment. I was a commercial real estate developer in a former life before Casselman’s.When the real estate market collapsed in October 2008, my former pool hall tenant went bust andleft us with the space. I was forced into the bar business as there were no active tenant prospectsin the worst economy since the great depression. My development career evaporated overnightand at the same time my brother was coming out of his line of work, so the opportunity presenteditself by default. I originally built the space out for my former tenant and I always thought thespace had so much character and lent itself as an alternative use venue in a new and emerginggrowth area of downtown Denver known as NoDo (North Downtown). So with a little bit of daydreaming, a vision, the space in hand, an existing liquor license and two ambitious brothers,Casselman’s was born.CMB: What role do you think Casselman’s plays in the music scene here, and why do youfeel it is so important?AR: To me, Casselman’s is very communal place…...Casselman’s is place for the fans, theartist, my staff and the community……each one having a huge party that contributes to the everchanging and natural progression of the music scene. Trends, ideas, culture and a generalmovements change so fast. Casselman’s is a place dedicated to them and their movement!Without all of them, Casselman’s would not exist.CMB: Anything that you are doing that isn’t being done at the million other venues aroundtown? It seems like you guys are carving a pretty good niche down there. . .AR: Casselman’s is about innovating and accentuating all of the elements that make showsgreat….the venue, the music, the talent, the production and other elements all combined into aformula to make the best possible experience for the fan….the WOW factor! The fan-base isour niche! Instead of just turning and burning shows and taking numbers where the talent is thelimiting factor to the overall excitement of any given show, we build off of that to really highlightthe talent and their ability and the over show experience with well built production, side-showentertainment, live artist, awesome staff and the venue itself to make a memorable experienceand long-lasting impressions for the fan…….fans want to remember the good times that had ashow and we create that formula to achieve that!CMB: What bands/artists have really impressed you lately?AR: The electronic music movement has really impressed me because it is so dynamic and the

best producers (I call them producers and not DJ’s) have the ability to take control of a crowdand make the entire crowd move in sync for hours. For example, Michael Menert from PrettyLights Music created an energy that hasn’t compare to anything else I’ve seen…..on the otherside of the spectrum….artists like Barrington Levy and Hieroglyphics have captured the energyof crowds and really taken them to a whole other level….in essence, it is the quality of the talentand their entertainment ability that matters and impresses me. You know quality when you seeit…it’s the difference between McDonalds and Whole Foods.CMB: What takes a live performance to the next level, making it great and not just anotherband playing another show?AR: Professionalism and Production, Production, Production!! Amateurs practice until they getit right….Professionals practice until they can’t get it wrong. When you have true professionalson stage that are musically gifted or that have the ability to entertain…..they kill it all of the time!Just ask the fans and their demand of an artist will show you who is great and who is secondbest. Second best is just that, second best!CMB: What’s playing in your car right now?AR: I live across the street and my Lamborfeeties don’t have a system…CMB: What are your goals in the music scene? Is there anything you haven’taccomplished that you want to?AR: My goal is to have Casselman’s throw shows and parties that people talk about for monthsafter….bringing in top talent and accentuating on that for the overall fan experience. I want to doan exclusive, one-of-a-kind, intimate special event with Pretty Lights at Casselman’s……then Iwill be satisfied. That would be dope!CMB: Where do you eat after a show?AR: Pork Chop Dinner!! – Pete’s Kitchen…..I take the whole crew out after long nights….it’ssome serious pig.CMB: What trends are dominating Denver music right now?AR: Event-based shows for sure!!……not just shows themselves..…anyone can go to anyshow….and there are 100 shows in any given week in Denver. People want the overallexperience, the party, the excitement, and the talent…..it’s the perfect formula and we cook it upthe best!CMB: Any shout outs?AR: Casselman’s fans, supporters, all of my peeps & promoters that have supported for yearsand affiliates are on the top of the list for sure…….My staff and Art (He steals all my Black Labelout of my liquor room…)Online: casselmans.com

Aug 5Glen Martin + The Wandering @ Lost LakeLoungeAug 6Davey Suicide w/ The Bunny The Bear, TheDefiled & Carmel Carmela@ Marquis TheaterGrizzly Bear w/ Regal Degal @ The OgdenTheatrePlain White T’s w/ The Wind & The Wave @Summit Music HallSmith Westerns w/ Wampire @ TheBluebird TheaterWheeler Brothers w/ The Federalists @ Hi-DiveSan Cisco @The Gothic Theatre,Englewood COAug 7Fierce Bad Rabbit w/ Odd Owl & Fiction isFun @ Hi-Diveiluminado w/ Icarus The Owl, Keith Moody,Facial, Bishop & Revival @ Seventh CircleMusic CollectiveThe Dangerous Summer w/ Tommy & TheHigh Pilots, Rare Monk, Breaking Laces &Bleach Blonde @ Marquis TheatreAlex Goot w/ Sam Tsui, King the Kid &Taking Canyon @ Bluebird TheaterTommy & The High Pilots @ MarquisTheatreDarrow Chemical Company w/ CaptainBlood, Side Effects & Even Death May Die@ Seventh Circle Music CollectiveAside Oceans @Lost LakeAug 8Inoculate w/ Inelements & Anaya @ MarquisTheatreAllout Helter w/ The Shell Corporation,Black Dots & Self-Proclaimed Narcissist @Seventh Circle Music CollectiveBroken Couches w/ Beauty Queen,Television Generation, Big Thirsty Girl,Circles And Squares @ Herman’s HideawayRagdoll w/ Stone Circle & Emerald City @Lion’s LairMan Mantis doing his “audio drome” @Lost Lake LoungeAug 9Driftin’ Suns @ Lucky Strike Denver

Cait Black w/ Robert Richmond @ SeventhCircle Music CollectiveJames and the Devil w/ Digg, AshenEmbers, Zagriculture & Taylor Summer @Herman’s Hideaway

100 Shots Album Release Party @ MarquisTheatreMotion Trap w/ Miscomunicado @ MoonRoom at Summit Music HallSideffect w/ Scalafrea, Inexerfy, TheDeceived & Mentally Murdered @ TheGothic TheatreSnake Island + Hollow Talk + dust:orbiter @Lost Lake LoungeSouls of Mischief @ Casselmans Bar &VenuePrincess Music Album Release w/ TheOdobenidae Chamber Orchestra, StelthUlvang & Distant Correspondent @Bluebird TheaterTruth & Salvage Co. w/ Wes Sheffield @Larimer LoungeWes Luna w/ Serious Moonlight, LizzieHuffman & Skyless @ Hi-DiveAug 10

Hot Apostles CD Release of “GO”w/The Cutthroat Drifters, The PatientZeros and Dead Pay Rent @ The Hi-DivePsychedelic Light and Sound Festival (18+)@ Larimer LoungeTrapdoor Social w/ Syke 96 & SR3 @Marquis TheatreLiving Victim w/ Bottom Bracket, TheRotten Blue Menace & Good Sign @Seventh Circle Music CollectiveNemesys w/ Princess, Clara Finn & Ashfield@ Herman’s HideawaySaints Of Valory w/ My Body Sings Electric& Monroe Monroe @ Bluebird TheaterSumma w/ Bad Maps & Hermits @ Lion’sLairAug 11Leann Rhimes – Rocky Mountain MusicFestival @ Clement ParkBackyard BBQ Feat: Wuki w/ Candy Cobra,CC/NN & Lust @ Larimer LoungeThe Polyphonic Spree @ Bluebird TheaterDrowners @ Hi-DiveAug 12To The Wind @ Marquis TheatreAug 14Arise Music Festival @ Sunrise RanchChimaria w/ Threat Signal & The Browning@ Marquis TheatreGrizz w/ Winter Woods, Sugar Organ, Voz-Eleven, Glitta Kings & Birdz Of A Featha @Herman’s Hideaway

Nu:Tone and Logistics performing as NU:LOGIC @ Casselmans Bar & VenueOberhofer @ Hi-DiveAug 15Jaspar Lepak & Janell Woes @ LeonGalleryAmerican Battle Live: Bands TBA@Casselmans Bar & VenueDouglas & The Furs @ Moon Room atSummit Music HallKurt Vile & The Violators w/ Sonny and TheSunsets @ Bluebird TheaterBad Weather California @ Hi-DiveAug 16Tattooed Strings @ Eck’s SaloonThe Dillinger Escape Plan w/ Animals asLeaders, Periphery, Norma Jean, CattleDecapitation, The Ocean, Revocation &AEON @ The Ogden TheatreKill Syndicate Tour Kickoff Show w/ L.O.D.,Burn Down Valor, Exercation & SubsonicFallout @ Marquis TheatreDisciples w/ Lion SoulJahs, Sol Authority &Inna Di Red @ Herman’s HideawayJaspar Lepak & Janell Loes @ The LoftMusic Venue & TheatreAll Saints Day Album Release Show w/ TheWabash Cannonballs @ Moon Room atSummit Music HallCombichrist w/ Nitro/Noise & KontrolledDemolition @ Casselmans Bar & VenueEldren w/ The Yawpers, The Foot & Pull TheAlarm @ Bluebird TheaterJayke Orvis & The Broken Band @ Lion’sLairYou Me & Apollo w/ Tumbleweed Wanderers(18+) @ Larimer LoungeFletcher w/ Wire Faces & Confluence @ Hi-DiveAug 17Empire Americana Festival: Ryan Chrysand the Rough Cuts, Brent Loveday,Amanda Capper with Kim Ohara,Bonnie and The Clydes & Andy Palmer@ Milton Park and Battlefield

Capitol Hill Music Festival : TheRailbenders / Places / Take To The Oars/ Birch Street / Vices I Admire / DeadOrchids / Attic Attack / Head Injuries /War Over Water / We Were Cosmonauts/ Lionized / Why We Fight / RebelTongue / Red Fox Run / B. Sue / SF1/ Drop Switch / The Dead End Drivers/ Steele & Colfax and Too Late ForTomorrow @ Stoney’s Bar and Grill,1111 Lincoln St DenverLast Supper, Pain Machine, DarknessWithin, The Dub Project @ Union Station

Leftmore Album Release Show @ MarquisTheatreEl Amor w/ Hangman’s Hymnal, OliverBravado, Peaceful Peaches & Skull Full ofBlues @ Herman’s HideawayLeon Russell w/ Amanda Shaw @ TheGothic TheatreRansom Reunion Show w/ Horse, Frank,Hollow & The Dawn Chose Orion @Casselmans Bar & VenueThe Broadway EP Release w/ Cabraconda,Anchorage & Saving Verona @ Moon Roomat Summit Music HallAndrew Stockdale (Of Wolfmother) @Bluebird TheaterCharles Bradley (18+) @ Larimer LoungeFive Iron Frenzy w/ Yellow Second &Nathan and Stephen @ The Ogden TheatreKinetics and One Love w/ Myke Charles,Rolphy & Turner Jackson @ Hi-DiveAug 18Snake Rattler Rattler Snake BBQ Feat: BudBronson & The Good Timers, Shady Elders& Pale Sun @ Larimer LoungeSpare Parts Battle of the Bands @ TheGothic TheatreLiving With Lions w/ Last Call, Stickup Kid& Landlocked @ Marquis TheatreJaspar Lepak and Janell Loes @ TheLaughing GoatAug 19Mustard w/ Rubedo, Cloud Catcher & TheRisin’ Sun @ Herman’s HideawayRubedo w/ The Risin’ Sun, Cloud Catcher,Mustard & Dreadnought @ Herman’sHideawayMy Bloody Valentine @ The Ogden TheatreKopecky Family Band w/ Said The Whale &Roo & The Howl @ Larimer LoungeAug 20FATALITY w/ BattleSpawn, Pile of Priests &Gommarah @ Moon Room at Summit MusicHallSerena Ryder w/ Lee DeWyze @ BluebirdTheaterStone Throw w/ Peanut Butter Wolf, Dam-Funk, Stepkids & Myron & E @ CasselmansBar & VenueLittle Comets w/ Inner Oceans @ LarimerLoungeAug 21Baroness w/ Royal Thunder @ BluebirdTheater

Aug 22Jesse Dayton w/ The Hickman-Dalton Gang@ Marquis TheatreSomething Call Nothing w/ The Apparatus& Fire Nuns @ Lion’s LairThe Lonely Wild @ Larimer LoungeAug 23Whirr w/ Nothing @ Marquis TheatreAkbar Sami w/ DJ Ashish B. & Murda DanceStudio @ Casselmans Bar & VenueHeart and Soul Radio w/ Starcar Sunday,White Flag Raised & The Brixton Guns @The Gothic TheatreRiverboat Gamblers w/ Blacklist Royals @Moon Room at Summit Music HallStraight Outta Luck w/ American Dischord& Dogs of Prague @ Lion’s LairThe Goddamn Gallows w/ Calamity Cubes,Allout Helter & L.B.R.OT. @ BluebirdTheaterWillie and the Po’ Boys @ Lakewood GrillAug 24Inoculate @ Herman’s HideawayThe Protomen @ Moon Room at SummitMusic HallThe Gamits w/ Wiredogs (formerly TheHate), Head Injuries & Swing Hero @Marquis TheatreDead Floyd w/ Green River Vibe @ BluebirdTheaterSeether w/ 10 Years, Eye Empire &Supermachine @ The Ogden TheatreSuspects w/ The Cattle Axe & The Work @Lion’s LairReggie Watts @ The Gothic TheatreAug 25The Epilogues BBQ @ Larimer LoungeAug 26Castle @ Marquis TheatreAug 27Ones to Watch Presents: Redlight King w/Icon for Hire & Big B @ Marquis TheatreBroncho w/ Mozes and the Firstborn @Larimer LoungeAug 28Poolside @ Larimer LoungeAug 29Matt Pond @ Marquis Theatre

Aug 30Ian Mahan-Neef w/ Ashtree, Maywren, TimJames @ Marquis TheatrePetals Of Spain (16+) @ The BluebirdTheaterPetals of Spain w/ Rachel and the Kings,Megan Burtt & The Cure for Love, TheLindsey Saunders Band @ BluebirdTheaterTab Benoit @ The Gothic TheatreAug 31Wilson w/ The Greenery & American Fangs@ Marquis TheatreO’Brother w/ Native & Daylight @ Hi-DiveSelah Sue w/ Bushwalla @ Bluebird TheaterSep 1Goodie Mob: Ceelo Green, Big Gipp, Khujo& T-Mo @ The Ogden TheatreSep 2The Love Language @ Hi-DiveSep 3Mac Lethal @ Marquis TheatreSick Puppies @ The Gothic TheatreGeographer w/ GRMLN @ Larimer LoungeSep 4Jason Isbell w/ T. Hardy Morris @ BluebirdTheaterSep 5Lisa Marie Presley @ Bluebird TheaterVibe Squad w/ Russ Liquid & Freddy Todd@ Casselmans Bar & VenueSep 6The English Beat @ The Gothic TheatreSpace in Time Record Release/Tour Kickoffw/ Native Daughters & Git Some @ Hi-DiveSep 14th

Portobello Road @ Higher GroundMusic Festival

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