bandwagon magazine - october 2014

BandWagon Magazine northern colorado’s arts & entertainment OCTOBER 20144

Find centennial deals and details at VisitEstesPark.com/Centennial

Elk Fest, October 4th - 5thPumpkins & Pilsners and the Fall Surprise Sidewalk Sale, October 11th - 12th

Halloween Celebrations, October 31stFall Back Beer Festival, November 1st

Catch the Glow Parade & Celebration, Thanksgiving WeekendTinsel Tavern Tour and Dasher 5K, December 13

Celebrate in Estes Park, basecamp for Rocky Mountain National Park. Join us for year-long centennial events and special Estes Park programs.

ROCKY MOUNTAIN NATIONAL PARKROCKY MOUNTAIN NATIONAL PARKROCKY MOUNTAIN NATIONAL PARK100 years of

ROCKY MOUNTAIN NATIONAL PARKROCKY MOUNTAIN NATIONAL PARKROCKY MOUNTAIN NATIONAL PARK

BandWagon Magazine northern colorado’s arts & entertainment OCTOBER 2014 5

by mainstream country artists, be they duets or regular songs, and they always give me diabetes. “Don’t Think of Me” doesn’t do that; it still has that same laid-back, relaxed feel of the rest of the songs on the album.

It’s difficult for me to find another way of expressing The Deadwood Saints’ songs other than laid-back, and that’s not to say there’s no heft to any of the songs. They do possess a weighty-ness, as if the songwriters wrote them from a place of hard-won, personal experience. But they’re played in a fun, no-care-in-the-world fashion, and that’s something that very few music acts can really do well, especially in country. Country music at times, particularly now, pings back-and-forth between easy listening, Redneck Party Rock fluff (most of Florida Georgia Line’s output) and Achingly Sincere, Lip-Quivering, Serious Attempt At Making An Impact garbage that usually backfires (COUGH “Accidentally Racist” COUGH). This is not a pretentious album, but it does possess a level of sincerity and honesty and heftiness that’s subtle. This is a fun album. You pour a glass of bourbon, lean back and listen to this on a Saturday night. It’s also an album you recommend to friends who sneer at you for simply knowing who George Strait is.

Long story short, if you are looking to get into alternative country music but don’t know where to start, start local. Track down Fort Collins’ own Deadwood Saints, and their debut album 6th Street and Trinity. You will not be disappointed.

THE DEADWOOD SAINTS6TH STREET AND TRINITY

Alternative country is something that I don’t necessarily pay much attention to, even though I have a love and appreciation for country music. The alternative scene pushes country in directions one wouldn’t normally hear on KYGO. For those that think country is about daisy dukes, pick-up trucks, drinking, Jesus, and ‘MURICA, I’d ask you to look into alternative brand country music.

The problem, however, is simply finding this stuff. More often than not, my favorite songs and artists I found by chance, such as hearing a lone Buddy Miller song playing on KUNC or Uncle Daddy’s “Rise Again” on a 30-second YouTube spot for The Last of Us. Alternative country is really something you have to look for, and sometimes it can’t be found under the Country genre on iTunes.

Take 6th Street and Trinity, the debut album from The Deadwood Saints. They call themselves “an Americana-Roots Rock quartet seeking to bring another alternative to the alt-country scene.” Every song on this album possesses that country twang and is steeped with a blue-collar ethos, though one which is not as on-the-nose, clichéd or shallow as mainstream country music. But as far as iTunes knows, The Deadwood Saints are “Rock,” and I don’t think that’s entirely uncalled for. The music itself sounds folkish/rockish at times, calling to mind the likes of Arlo Guthrie or Cat Stevens with more electric guitar and a raspy, whiskey-soaked voice. The Deadwood Saints has the sound of an awesome, mind-blowing bar band that wouldn’t be out of place in Austin, Texas.

The most country song they have on their debut album would have to be “Don’t Think of Me,” a duet between lead singer Jeremy C. Grant and a Laniece Schleicher (of Mama Lenny and The Remedy) where the pair tell the other not to think of each other should they hear their song on the radio while driving down the road. I’ve heard many variations of this type of song

Jay WallaceBandWagon Magazine

ALBUM REVIEWS


CAMILAELYPSE

sería capaz de ser cantada a uno propio. Aquí tenemos coro, orquesta, electrónica y rock. Esta mezcla es usada para darle ese ataque de pánico del que tanto hablan. Es increíble como incorporan todos estos estilos de música para obtener una canción apocalíptica.

Sin duda alguna Camila nos ha sorprendido una vez más. Se han alejado de las baladas que nos trajeron en su primer producción con las que enamoraron a sus seguidores. No vemos ese enojo y veneno que aportaron con el segundo disco. Hasta ahora Elypse ha demostrado ser la mejor versión de Camila. Nos dan un poco de todo y nos dejan pidiendo más lírica y musicalmente.

electrónica, góspel, coros, tintes de funk y hasta una orquesta, todo esto en adición a lo que ya conocimos previamente como Camila.

Líricamente hablando tenemos un proyecto en el cual no sobresalta un tema en particular. Tomando en cuenta que el álbum anterior de Camila fuimos testigos del veneno, enojo y furia que atravesaba cualquier rincón del disco. Esta vez en Elypse tenemos de todo. Apreciamos temas de dejar el orgullo y el ego atrás, de un amor ciego, de rencor y de promesas nunca cumplidas. También nos presentan desesperanza y obscuridad, honestidad en una canción escrita en tan solo 15 minutos y finalmente nostalgia y añoranza en donde relatan los tristes eventos que ocurren en su país.

Es sorprendente como en Elypse juegan con la música para ponernos la piel de gallina.

Si fuéramos capaces de escuchar solamente el sonido en varios temas, nos daríamos cuenta de la historia que esta detrás. En “Perdón,” tenemos una historia donde se promete lo que no se puede cumplir y de alguna manera busca disculpas mediante la canción. La orquesta forma parte esencial, ya que le da ese drama e intensidad necesaria. “De Venus” cuenta con toques de luceros y góspel para darle ese ajuste positivo de gozo por un amor ciego. Finalmente nos presentan “Tu.” Esta habla de ataques de ansiedad que tal vez

Por primera vez en la historia de Camila tenemos un dúo. Así es, su tercer álbum fue lanzado en Junio del presente año y solo cuenta con dos integrantes. Samo había sido parte de la agrupación desde sus comienzos en el 2006, más sin embargo decidió decir adiós para dedicarse a su carrera como solista. Mario Domm es el productor de Camila, también es compositor, cantante y toca varios instrumentos musicales como el piano y la guitarra. Pablo Hurtado es el guitarrista y co-productor. El más reciente álbum lleva por nombre Elypse. En el buscan escribir una nueva historia como lo han hecho en el pasado, la diferencia es que en Elypse no hay reglas. Es sin confort, sin limites y sin miedo como lo describe Domm.

En este nuevo álbum, el dúo nos da la chispa que los ha caracterizado. Su primer sencillo lleva por nombre “Decidiste Dejarme.” El tema completo podría ser resumido a la palabra: ‘bipolar.’ En el podemos apreciar enojo y furia tanto en letra como sonido. Tiene un contraste entre el coro y los versos que nos da esa sensación de tranquilidad y coraje en distintas partes del mismo. La letra habla de una persona rechazada y herida. En el resto de las 12 canciones nos ofrecen un poco de variedad. Tenemos música

Lorenzo ConchasBandWagon Magazine

songs of leaving pride and ego behind, a blind love, resentment and unfulfilled promises. We also hear despair and darkness, honesty written in a 15 minute song, nostalgia, and longing related to the sad events in their country.

It is fantastic how in Elypse they mess with music to give us goosebumps.

In several songs we would be able to hear only the music and have some idea of the story behind it. In “Perdon,” we have a story of promises that cannot be met and somehow seeks an apology through song. The orchestra is an essential part, as it gives you the drama and intensity required. “De Venus” has touches of gospel luminaries and a positive adjustment to give that joy of a blind love. Finally, we have “Tu.” This speaks of anxiety attacks that might be able to be sung to its own. Here we have choir, orchestra, electronic and rock. This mixture is used to give that sense of the panic attacks they talk about. It’s amazing how they incorporate all these styles of music to form an apocalyptic song.

Undoubtedly Camila has surprised us once again. They have moved away from the ballads brought in their first production that caused their followers to fall in love with the band. We don’t see that anger and venom that contributed to the second album. So far Elypse has been my favorite version of Camila. They give us a little of everything and leave us asking for more.

For the first time in Camila’s history we have a duo. Yes, their third album was released in June of the present year with only two members. Vocalist Samo had been part of the group since its beginnings in 2006, however he decided to say goodbye to pursue his solo career. Mario Domm is the producer, composer, vocalist and plays several instruments. Pablo Hurtado is the guitarist and co-producer. The latest album is called Elypse. In this album they are seeking to write a new story as they have done in the past, the difference is that in Elypse there are no rules. It has no comfort, no limits and it is fearlessly as described by Domm.

In this new album, the duo gives us the spark that has characterized them since day one with their first single “Decidiste Dejarme.” The song as a whole can be summarized to one word: ‘bipolar.’ Here we can see anger and fury in both lyrics and sound. It has a contrast between the chorus and verses that gives us that sense of calm and courage in different parts of it. The lyrics speak of a rejected and wounded person. In the rest of the 12 songs they offer some variety. We have electronic music, gospel choirs, funk and even an orchestra, all in addition to what we previously knew as Camila.

Lyrically speaking we have a project in which no particular topic startles. Considering Camila’s previous album we witnessed the venom, anger and fury that crossed every corner, this time in Elypse have everything. We are presented with

en español


into something huge and ridiculous, usually dragged upwards with rising tones until all three pieces explode into call-and-response harmony and dueling solos. There’s less of that here than on debut F Note but this is still unmistakably a Too Many Zooz album with a freshly organic feel, right down to the album art courtesy of Leo’s brother.

With track titles such as “Mouse Trap” and “Turtledactyl,” TMZZ mostly retains the weird, vaguely unsettling animal theme for their music, but it works. The former sounds remarkably like a mouse getting caught. The latter starts out as weird as its title before settling into an extremely satisfying groove.

Fanimals is daring in that TMZZ refuses to replicate F Note. That debut album was solid, and this one is too; it is, however, a very different album and fans of the group will prefer one over the other for different reasons. Fanimals introduces a slightly cleaner sound for the trio: while F Note was wild and experimental to the point where the casual listener might label it as sloppy, Fanimals makes things a bit neater. While that means fewer wild solos, it also means

(here on the saxophone) was in the band with percussionist The King of Sludge. Matt joined them one day, and the resulting sound was eventually worked into Too Many Zooz.

Their music features huge sound for being only three guys, delivering enough complexity to match up to a group twice their size, and that alone is admirable. Watching them perform is half of the fun, however. From Matt’s incredible trumpet solos to The King of Sludge’s airtight percussion and Leo’s propensity to shuffle and dance around while maintaining perfect rhythm on his sax, this is one of those groups whose stage presence is as much a part of the music as the instruments are.

One of TMZZ’s strengths is how they start from small, simple pieces and build

TOO MANY ZOOZFANIMALS EP

Self-described brass house trio Too Many Zooz has only been around since late last year, and rose to national prominence sometime in January when someone posted a video of the group performing in Union Square. Fans have said that the first time hearing the group was when they were walking through the area and “suddenly heard this massive, incredible sound.” That’s about accurate.

According to trumpeter Matt Doe, Too Many Zooz is a spinoff band of sorts that began as a six-piece performance called Drumadics, where Matt’s school friend Leo

Chris SheridanBandWagon Magazine

*Listen to the Fanimals EPon BandCamp for free!

that Fanimals feels more like an actual album than F Note’s 16 minute jam session. Both are extremely strong bodies of work and very much worth listening to, though it’s worth noting that nothing here quite lives up to the incredible one-two punch of “To the Top” and “F.W.S.” that we first saw in that video back in January. They get damn closer, however, with closing duo “House of the Glass Red, Pts I & II,” which finds the guys melding the cleaner sound of this new release with the wild unpredictability of F Note.

Really, the bottom line is that Too Many Zooz is absolutely worth a look. These brass-based groups are too rare, and this trio from New York scratches an itch for something different and silly. This is already the second release in one year, and TMZZ’s Matt Doe says that the band does have plans to come to Colorado at some point along with a tour of the West Coast. As good as the albums are, the live performances are really something incredible, so be sure to catch them when they pass through. To tide you over, both albums are available on Bandcamp.


person in question dressed as a walrus.) Having listened to Smodcast for years, I knew that Tusk would probably be a horror-comedy – the premise is a bit ludicrous for a straight horror film – and the film has its funny moments, but the film cranks up the creepiness by a factor of ten. It’s amazing to think Smith could craft something this horrifying.

The acting helps sells the horror of the situation. Parks really pulls off Smith’s trademark dialogue/monologues, and the gravity he brings to Howe helps plant the character as an out-and-out misanthrope. He does make the character a little sympathetic – Howe’s misanthropy comes from being an abused orphan – but he mostly projects a man who doesn’t know he’s a crazy bastard.

And then there’s Long. I’ve been watching Long since his days on the TV show Ed, and he’s always kind of played awkward dweebs and losers. Here though, he plays one of those awkward dweebs who got successful. Flashbacks reveal that Wallace is a bit of an asshole, that the success of the podcast has gone to his head; at one point he refers to his past self as a loser who tanked every open mic night at comedy clubs. His past self managed to snag Ally, (Genesis Rodriguez) but his current self has driven her and Teddy together while he bangs Not-See groupies and mocks his podcast’s subjects. But when he’s undergoing – and completes – his transformation into Mr. Tusk, you still feel for the guy. Because… let’s face it, he gets mutilated and terrorized into becoming a goddamn walrus by a fucking psychopath! The last shot you see of Wallace is absolutely heartbreaking in that regard, because there’s still a little bit of Wallace inside Mr. Tusk but there’s nothing he can do

viral video star known as “The Kill Bill Kid.” (Imagine the Star Wars Kid from years ago, only with a real katana.) Upon arriving, he discovers that the kid died, and with the kid went the subject of his podcast, The Not-See Party. Wallace’s podcast is based on him tracking down weird/interesting people and retelling their tales to his partner, Teddy Craft, (Haley Joel Osment, A.K.A. “I See Dead People”) who never leaves Los Angeles. Wallace is not leaving the Great White North without a subject for his next show.

He finds an interesting subject in Howard Howe, (Michael Parks, a Tarantino staple and the villain from Red State) an old seafarer, out in the middle of nowhere, who regales him with tales of meeting Ernest Hemingway during World War II, and finding himself shipwrecked with only the companionship of a walrus Howe named Mr. Tusk. That’s as much as Wallace hears… before passing out.

Howe soon reveals to Wallace that he’s a misanthrope who wishes to turn Wallace into a walrus. He cuts off his legs and turns the bones into tusks to be implanted in Wallace’s face… and I’ll stop there.

This film started out as a classified ad (later found out to be a hoax) that Smith and his friend/producing partner Scott Mosier read on an episode of Smodcast, which the pair promptly turned into a horror movie pitch. (The original ad offered a place to crash for free if the

When I was younger, I willingly sat through three Saw movies without flinching. I have a deep appreciation for the likes of Evil Dead, Halloween and Videodrome. However, it has been a while since I’ve seen a horror film, and walking out of one recently made me question if I’ve gotten soft as I’ve grown older.

And the man responsible for it? Silent Fucking Bob.

The man who made Clerks and gave voice to a generation of listless youths, (and still does, to a degree) Kevin Smith’s last two outings in the theater have been Red State and Tusk, a pair of horror movies that one would’ve never expected from the guy who made films where Alanis Morissette was a God and Mark Hamill played a supervillian called Cock-Knocker. Smith’s last known comedic entry was Cop-Out, a Bruce Willis and Tracy Morgan vehicle that Smith didn’t write – a career first for him – and that left much to be desired. If Tusk is Smith’s way back into filmmaking, I would not be opposed to it. This is possibly Smith’s best film to date.

That said though… Holy Fucking Shit, Kevin Smith made this?

Tusk follows Wallace Bryton, (Justin Long) a Los Angeles-based podcaster who travels to Canada in search of a

JAY WALLACEBandWagon Magazine

about it. This is Smith’s best film in a while,

but it’s not without fault. This film does have a weird, awkward pacing to it, and it mostly comes from scenes of comedy trying to balance out the horror scenes; it’s kind of uneven and causes the film to drag at times. (This is really obvious during the scenes with French Quebec ex-cop Guy Lapointe, plays by an unrecognizable Johnny Depp, but that

could be the awkwardness of the character leeching into the film. Seriously, Depp – who I never recognized – can do awkward like no one’s business.) But that’s really the only issue with it. Everything else about Tusk is actually really good. I could go on, but I’d just be spoiling more of the film. See it in theaters while you can. 7/10

TUSK2014 - 83 min - Rated R

FILM REVIEW


JED MURPHY & ROSE HEDBERGBandWagon Magazine

First off, Riot Fest was awesome. There is no other way to say it, after it’s all said and done and we the critics have our say about what went well and what didn’t and ask the ultimate festival question of if it was worth the ticket price, Riot Fest was still awesome.

To see this particular line up whether you grew up listening to them or not was something everyone there knew would only happen a few times in our lives. To see The Flaming Lips then literally turn around and see Primus begin made me wonder, where the hell am I?

Taking place at Sports Authority Field, for the people who attended the year before it was a welcome change from Byers where the crowds faced heat during the day and the cold at night. This year, under the massive image of our Lord and Savior Peyton Manning, Riot Fest became a city festival and it fit. With as many as 38 noise complaints filed, several Denver residents were not too thrilled with its new location but with fewer incidents than a Broncos game and Reverb quot-ing Sports Authority Field at Mile High’s general manager Andy Gorchov

bands. A few crowd favorites were definite-

ly Rise Against, TV on the Radio, and Wu Tang Clan. TV on the Radio played at the perfect time right before the novelty of the rain wore off. By the time the closers The National and Wu Tang Clan went on everything was pretty much soaked thoroughly causing sound issues. The National were clearly not pleased with their set and the dwin-dling crowd but in the crowd’s defense Wu Tang was playing at the other stage.

Around 20,000 people came for the three-day festival catching more than seventy bands from across the rock spectrum. From Wu Tang Clan to Slayer (I don’t care what you say, Wu Tang is rock) Riot Fest captured the essence of the late ‘90s and entire 2000s and it paid off.

Was it worth the price? At $180 for general admission you have to really want it but most the people who made the stretch for tickets went in knowing these bands together in Denver at the same event would only happen once in a lifetime. Some called it Nostalgia the Festival, some called it Warp Tour’s mid life crisis but I call it just plain awesome.

saying, “Without question this was the most well mannered and well behaved crowd of all music festivals we’ve had,” it’s likely Riot Fest will be back in that parking lot next year. Maybe it will be quieter? Doubt it.

Day 1The first day saw the performance of

many notable acts. Bands such as Die Antwoord, NOFX, New Found Glory, Primus, and Weezer made the first day a success. One thing became obviously right from the jump was this was going to be a fast paced festival. With no set breaks between stages, as soon as one band ended the next started minutes later at a different stage.

The stand-out shows of the night were without a doubt The Flaming Lips and Slayer. Both bands proved that you don’t have to be a band with Top 40 hits to not only stay relevant, but also maintain a fan base that is world-wide. During the Primus set that coin-cided with Slayer’s, Les Claypool told his audience, “Attention everyone. You are standing in the wrong area. Slayer is playing over there.”

Weezer doing the full album thing was cool, Manchester Orchestra brought down the house, and weather was perfect.

Day 2Saturday’s lineup ranged from female

punk band Dum Dum Girls to the retro sound of The Cure.

During the evening City and Colour mellowed out the scream of The Used while Social Distortion the “punk godfathers” rocked “Ball and Chain” and “Ring of Fire.” Headlining the show, the Cure rocked their Einstein inspired hair and their signiture 80s black cloth-ing playing all their top-hit songs from their 13 albums.

A Day To Remember was by far the best act of the day. The band came out with “The Down Fall Of Us All” accom-panying the blast of patriotic colored confetti. ADTR even lead the crowd of metal enthusiasts in a peaceful session of “The Macarena” while lead singer Jeremy McKinnon crawled in a human hamster ball asking, “Denver, don’t let me die,” before making his way on top of the hundreds of hungry hands.

Day 3Day three of Riot Fest ended on a

slightly rougher note but not a bad one. Once the cold September rain began in it didn’t let up making the event for those unprepared a real trial to see how dedicated they were to their favorite

Photo Credit: Kendra Hamman


KYLE EUSTICEBandWagon Magazine

Could it be? Could Grieves, the

Rhymesayers emcee, be leaving hip-hop

for neo-soul? Not so fast. Although the

Seattle-based artist’s most recent album

2014’s Winter & the Wolves offers more

soulful singing than previous efforts, it’s

still very much a hip-hop album. After

all, Grieves (real name Benjamin Laub)

has been “professionally” rapping since

his brief stint with Black Clover

Records in 2007.

The first time I met Laub was in 2008

at a small art collective in Albuquerque,

New Mexico called Stove. I had no idea

who he was and innocently asked him if

he was “the McLovin’ of hip-hop.” He

was (purposely) dressed in a button up

white shirt, bow tie, nerdy glasses and

tight jeans so it seemed like a logical

question at the time. However, when he

took the mic, he exploded with an

obvious passion for his craft; a passion

he clearly holds on to today.

Laub has always been an interesting

character. He’s funny and approachable

in person, but extremely brooding on

his albums. In fact, that’s the only way to

really understand who Grieves truly is.

For example, on the song “Recluse,” off

Winter & the Wolves, he paints a portrait

of a person wanting that isolation that’s

hard to attain when you’re in the

spotlight. On “Long One,” Laub sings his

heart out and proves he has the chops to

do it, a brave decision that many emcees

wouldn’t be willing to attempt.

“It’s just where I am right now,” Laub

says. “Musically, it’s something I’m more

interested in and caters more to the

With that out of his system, he was

able to focus on writing Winter & the

Wolves. Despite a devastating studio fire,

he forged ahead and was able to

complete the record. He teamed up with

Lewis after a stint on Warped Tour and

it was on from there. No one is quite sure

what happened to his former producer

Budo, but it seems Lewis and Laub are an

ideal fit.

“He’s kind of a jack-of-all-trades and

can do anything,” he says of Lewis. “I was

interested in working with him because

of all the singing stuff and my interest in

neo-soul. I wanted to take a step in that

direction. He also makes a lot of hip-hop

and EDM stuff. I wanted to kind of

incorporate all that. He was a good mix

for me. It was a new decision or step for

me, but it didn’t feel out of place or like I

was stepping out of bounds.”

With this fresh chapter Laub has

embarked on, it’s clear he’s more

comfortable with the music he makes,

where he is in his career and who he is as

a person. His home at Rhymesayers is

still a place he wants to be and it seems to

have really given him the confidence to

tackle this new avenue he’s bravely

walking down.

“I think it’s a really good place for me

musically,” he says. “It’s part of the

reason I am where I am just in general.

It’s because of them. Being able to

contribute to that is something that I

thrive on and appreciate. I need that in

my life. It’s nice to be a part of something

that you respect so much. I mean, it’s still

an independent thing, but if I was doing

this completely on my own, it would

feel more like a struggle than a contri-

bution.”

music I like to listen to. It’s a lot more

involved than just rapping. I’m not

really feeling it anymore; rapping that

is. I don’t know. It’s just the way things

are going creatively.”

Part Brother Ali and part Slug (both of

Rhymesayers), Laub navigates each

track with ease. There’s a sense the lyrics

come effortlessly due to his personal

journal-style writing, which is ironic

considering he doesn’t read much and

isn’t into literature or writing of any

other kind. “Kidding Me” alludes to the

dissolution of a recent relationship and

the bitterness he felt after it was over

while “Whoa Me” is a tongue-in-cheek

tale of growing up and dealing with

life’s hardships. Produced by B. Lewis

(the Bad Rabbits), each track is evidence

of Laub’s growth as not only an artist,

but also as a person. While his sense of

humor is firmly intact in person, it’s

much more subtle in his music, but he

always makes it a point to remain acces-

sible to his fans.

“Writing lyrics is my time to be

serious and to confront things so I can

understand myself and other things

around me,” he says. “Of course, there are

personal times when it’s not a fucking

joke. I see artists do it like, ‘I’m this deep

complicated person and my music is just

a way to explain it to you in layman’s

terms.’ Fuck all that. Dude, you’re travel-

ing around, getting drunk and playing

music in front of people. You’re feeding

your ego, having a fun time so just relax.

You don’t have to work a shitty,

dead-end job. Even though sometimes

music is a shitty, dead end job, it’s the one

that you want to be doing. I just feel like

people that try to put on this serious

artist face, it’s so stupid and then they

wonder why people don’t give a shit.

“People like to listen to my serious

songs and relate to it, but if they meet me

in person and I’m like, ‘You can’t grasp

me right now,’ they’re not going to feel

that,” he continues. “They aren’t super

complicated people either. We all have

our issues and we all need to address

things. We all need to be comfortable

doing it. If they meet somebody that’s

super fucking serious, that’s not a

comfortable experience for anybody. It

would be nice to know that a person

who has inspired you to feel a certain

way is also someone you could relate to

in a normal situation.”

He’s had plenty of chances for those

types of encounters. He’s been on the

road for the better part of three years,

ever since he dropped Together/Apart, his

2011 sophomore effort for Rhymesayers.

That period was part of the inspiration

for “Recluse.”

“It’s nice that people are still with me

after such a long hiatus,” he says. “It’s

hard to call it a hiatus even though that’s

probably what you’d call it on paper, but

Together/Apart just kept reinventing

itself so many times that I was working

that record this whole entire time. It’s

been almost three years, but Togeth-

er/Apart was becoming a new record for

people monthly and at such an acceler-

ated rate that I had to keep touring on it.

“There have definitely been those

times after two years of touring a

record, I just needed to be alone,” he adds.

“The song is kind of a humorous

approach to it. It’s not like everything in

that song is dead-on and I’m locked in a

room ignoring everybody and drinking

beer. It’s harnessing that emotion and

playing on it. I needed some me time.”

20861 County Road 337 miles South of Greeley on Hwy 85970.737.2129 • FritzlerMaze.com

HOURS:

NOW OPEN FOR

SEASONFIFTEENTH

PIG RACES!

HUNT!

FAMILY ACTIVITIES!Additional Activities

at the Maize:• NEW Barnyard Ball Zone• NEW Rat Roller• Pig Races• Interactive Ghost Haunt Hunt • Scream Acres• Giant Mountain Slide• Vertiscope• Camp Fires• Paintball Adventure • Coaster Barrel Train• Duck Race• Expanded Play Area• 2 Giant Pillow Jumps• Grass Volleyball Court• Pedal Go-Carts• Picnic Area• Pumpkin Cannon• Corn Stalks• Hay Mountain• Pumpkins

Open Wed & Thurs Beginning October 15th 5pm to 9pm

Fridays 5pm - 10pm Saturdays 11am - 10pm

Sundays Noon - 6pm (no haunting)

Closed Monday & TuesdayHaunting starts at dusk

$10 off Super Haunted Combo* Valid Oct 3, 15-16

SCREAM ACRES SCREAM ACRES

Opens Friday September 26th!NO SCARING ON SUNDAYS

Super Haunted Combo*

Oct 4, 22-23, 29-31 Nov 1$8 off

Super Non-Scary Combo* Valid Oct 3-5, 15-16, 22-23, 29-31 Nov 1

$3 offHaunted Combo Valid Wed. and Thurs. nights in October

$2 offNon-Scary Combo Valid Wed. and Thurs. nights in October

$1 off

*Super Combo Tickets include Paintball Bus Attraction!



EXPLORE MORE

www.bandwagmag.comONLINE



Aside from the mesmerizing

instrumental electronic music

Slow Magic makes, there’s a mysti-

cism surrounding the young

producer that pulls you in even

more. The “young” part is even a

guess because nobody really knows

for sure who the mastermind

behind Slow Magic is, his real name

or what he looks like. Armed with

a multi-colored imaginary animal

mask, Slow Magic takes to the stage

like the untamed beast he

represents. He pounds on the drums

like he’s harnessing his primal

instincts and delivers an infectious

sound so sweet, it’s impossible not

to love. More performance art than

anything, Slow Magic reveals why

he hides his identity.

“When I started this project, I

wanted the main focus to be the

music and artwork, and not a

person or a place or a face,” he says.

“I thought that a lot of times, even

before you hear the music, you’ve

already judged or had a thought of

what it could be so I wanted to chal-

lenge that. I also wanted to make

the focus more on the project than

me. With all the attention now, I

don’t really see any difference on

how I want the project to be seen by

everything. It’s still the same to me.”

Other artists have managed to

keep their identities a mystery for

years, most notably hip-hop vet MF

Doom AKA “Metal Fingers.” He’s

been wearing various masks since

he emerged in 1997 and constantly

reinvents himself. He’s managed to

enjoy a fruitful career ever since.

Slow Magic sees no reason to take it

off.

“I don’t really see it changing on

purpose or me standing on stage

taking the mask off,” he says. “I

really don’t live anywhere and I’m

usually wearing the mask. I still

have a lot of friends so I think it’s

possible to exist that way.”

For an artist who doesn’t even

have his own Wikipedia page (yet),

he’s rising in the ranks of artists to

watch. After the release of 2012's

critically acclaimed Triangle, Slow

Magic became an international

movement after touring with

artists like Gold Panda and

involved creating something.”

Influences include The Beach

Boys with Brian Wilson (something

he’s very specific about) and video

game soundtracks. His love of

old-school sounding synths and

percussion make his music pop

with an unrelenting, infectious

energy. While it’s almost painful to

not know his first name, he has a

seemingly logical reason for the

ambiguity.

“The mask is supposed to be an

imaginary animal so it’s up to inter-

pretation,” he explains. “The idea

was designed by a friend of mine

named Jonas McCluggage. He’s a

painter and an illustrator. I came to

him with the idea for an imaginary

animal mask because I had a show

to play. He just made it out of card-

board and paint one day. It was a

brilliant design and it stuck. “

For Slow Magic, he’s always

worn it on stage, which for the

most part people respect, but there

have been a couple of occasions

where it could have gotten ugly.

“It’s really rare,” he says. “It’s

usually not the coolest people at the

show that try to mess with it. I

really think it’s only happened

once or twice when a really drunk

frat guy has tried to take my mask

off. That’s because I go out to the

crowd with my drum. It’s not an

issue that I really deal with. There

have been a few criticisms, but

those people don’t really under-

stand why I wear the mask.”

As Slow Magic makes his way

across the United States, there’s an

undeniable anticipation for each

show— and not just his own. People

who have caught on to his music

are captivated by his enigmatic

allure and his live performances

are reported to be a magical experi-

ence. He’s in a place now he didn’t

really see coming.

“It started a little over two

years ago and I think maybe two or

three months into the project, I was

in Europe playing shows,” he says.

“It’s been a long process of crazy

opportunities and things I never

thought I would get to do. I hope

people enjoy it. That’s the main

thing I want. I want to keep play-

ing, traveling and making more

music. When I’m playing music,

that’s when I feel the most alive.”

XXYYXX. His most recent album,

How To Run Away, was released

September 9 and is another seam-

lessly constructed masterpiece.

From album opener “Still Life” to

the last track, “Closer,” it doesn’t

miss a beat (no pun intended). So

far, he’s thrilled with the album’s

reception.

“I’m feeling really excited that it’s

being heard by people because I’ve

spent a really long time working on

it and trying to figure out the best

way to release it,” he admits. “I am

happy people are streaming it and

seeing it.”

By the sound of it, How To Run

Away appears to be recorded in the

most professional studio possible,

but surprisingly most of it is

recorded in his bedroom.

“I guess you can call it a studio,

too,” he says. “I spend a lot of time

with these ideas in my head and

figuring out how to get them to

come out into music. I spend a lot of

time on my computer making

things sound real and recording

things and making them sound

fake [laughs]. It’s a long process; lots

of recording and lots of manipulat-

ing things. I don’t write a song and

then record it. It’s more of a long,

strenuous process; like a

note-to-note kind of thing.”

Music has always been a big part

of Slow Magic’s life, but he was

initially drawn into it by different

artistic mediums such as film and

painting.

“I never knew for sure what my

path was,” he says. “I just knew it

13



The moment vocalist Yukimi Nagano drops her first note on the 2010 Gorillaz track “Empire Ants,” she promptly steals the show from Damon Albarn. As the 32-year-old front woman of Little Dragon, she’s used to being in the spotlight by now. Since 2009’s Machine Dreams, the Swedish four-piece (sometimes five) has been steadily on the rise, especial-ly in the United States. Their third album, 2011’s Ritual Union, appeared to cement their arrival, reaching number 78 on the U.S. Billboard 200 chart. It’s their most successful album to date.

Comprised of Nagano, bassist Fredrik Kallgren Wallin, keyboardist Hakan Wirenstrand, and drummer Erik Bodin, the band's name was inspired by the "Little Dragon" nick-name Nagano earned due to the “fuming tantrums” she would routinely throw in the studio. Teetering on the line between electronic dance music and down tempo, Little Dragon’s strengths lie in the ability to evoke an emotional response while still remaining catchy with its pop sensibilities. The group’s latest album, Nabuma Rubberband, finds Nagano channeling her inner Janet Jack-

now it's just a nice little friendly dragon we are talking about.

I read Nabuma Rubberband was

inspired by Janet Jackson’s “slow

jams.”

Janet has this epic sensual mini-malistic way of singing sometimes that we really admire.

What made you decide to pick

“Klapp Klapp” as the first single?

It's a trancy baseline that inspired a lot of melodies and we thought it was catchy enough to be a single.

2011’s Ritual Union was one of

Little Dragon’s most successful

albums. What does success look

like to you today?

Having a bowl of popcorn within reach and just sit with a smile on your face looking back to the show we just did with all the love we felt from the crowd.

What did it feel like to share

the stage with two members of

The Clash, De La Soul and the late

Bobby Womack on the Gorillaz

tour?

Amazing, of course. It felt like we all shared the childish passion for music and being-on-the-road

lifestyle. Good memories. May your soul rest in

peace Bobby!Little Dragon with

Shy Girls, October 21,

at Ogden Theatre,

Denver, 8 p.m. Tick-

ets are $30/ADV and

$36/DOS. Visit

w w w . o g d e n t h e -

atre.com for more

information.

son, whom she would listen to while wandering around Gothenburg, particularly the 1993 song “Any Time, Any Place.” More “slow jams” than electro-pop, Nabuma Rubberband is a new adventure for Little Dragon. Nagano’s smooth, silky voice is still heavily present, but it’s a bit more subdued on tracks like “Let Go” and “Mirror.” Lead singles “Klap Klap” and “Pretty Girls” are reminiscent of older Little Dragon material, but overall the album jogs along at a much slower pace. Surprisingly, Little Dragon got the chance to work with one of their childhood heroes Dave Jolicoeur of De La Soul on this record, which was no doubt a thrill for them. It makes sense considering they toured together with De La Soul, half The Clash, the late Bobby Womack, and members of The Phar-cyde as part of the 2010 Gorillaz tour. As Little Dragon prepares to embark on yet another tour expedition,

Bodin had a few moments to talk the “Little Dragon,” Gorillaz

tour and Janet Jackson.Bandwagon Magazine

(Kyle Eustice): I can’t

imagine it’s easy to

break out of Sweden

into the United

States. How exactly

did it happen? Erik Bodin: I

believe it was our English manager who gave the music to KCRW in California. They were the first to really support us that massively and since then we've been coming back to tour the United States every year.

What is the music scene like

Gothenburg? Where does Little

Dragon fit into it?

I think we fit into the "hiding in the studio all year long" scene. There is a lot of music in Gothenburg I must say.

The first time I heard of Little

Dragon was on the Gorillaz

album and I thought, ’who is this

voice? I have to find it.’ So with a

little research, I found Machine

Dreams. I was hooked. What’s

your songwriting process like? We jam and record and produce all

at the same time and sometimes we come up with nice tunes that we put on the album. Basically [laughs].

The fact that the name Little

Dragon emerged out a nickname

for Yukimi is pretty funny. Can

you tell me a little bit about that

story?

It was just a time in our lives when Yukimi was getting frustrated if she didn't get all her creativity out. But it wasn't for long and


“Everyone can have fun being a DJ,”

DJ Qbert says. “But it still takes a lot

more to be a scratch musician.”

The San Francisco native has carved

out his own spot on the list of legendary

turntablists, beginning with his

involvement in FM20 with Mix Master

Mike (of Beastie Boy fame) and DJ Apollo

in the early ‘90s.

“We were really into Public Enemy

and Slayer,” he recalls. “Our goal at that

time was to take hip-hop and fuse it

with the crazy musical progression

ideas of Slayer. They would love to

change time signatures and go half

time, then double time in many of

their tracks. We were doing that with

a B-Boy ingredient of three DJs, as well

as having two skilled rappers. Today my

goal is kind of similar; pushing myself

to go into different territories of music

with scratching and discovering all the

cool things you can do with no rules. It’s

a beautiful thing to bring my dreams

and music I hear in my head into reality.

Then again, it only happens when it

wants to [laughs].”

Since the birth of turntablism, or

DJing, the art has gone through an

incredible transformation. Pioneers

such as Kool Herc, Afrika Bambaataa

and Grandmaster Flash turned

the record player into an integral

instrument of hip-hop. These days, with

the right toys, essentially anyone can

be a DJ. As Qbert pointed out, however,

there’s immense skill needed to properly

use the turntable, a skill he’s perfected

over the years. Around the early ‘90s,

Qbert was playing a show in New York

and Crazy Legs of the legendary Rock

Steady Crew saw FM20 perform. He

immediately asked them to join the

crew. Billed as the Rock Steady DJs, they

went on to win the 1992 DMC (Disco

Mix Club) Championship, a coveted

title in the world of turntablism. From

there, he went on to form the Invisbl

Skratch Picklz with fellow turntablists

DJ Disk, Shortkut, DJ Flare, Yogafrog,

A-Trak, Mix Master Mike, DJ Apollo,

and longtime friend D-Styles.

“We both were in the Bay Area battle

scene and we always liked to hook

up and practice together,” he says of

D-Styles. “It kind of goes the same for the

rest of the crew. As we traveled to the

next neighboring big city in California,

Los Angeles, it was there that we met

the Beat Junkies in more battle arenas. I

guess scratch nerds just love to hang out

with each other [laughs].”

If it’s true that scratch nerds flock

together, then it makes sense his

affiliation with several members of

the World Famous Beat Junkies and the

X-ecutioners have made him a better DJ,

however, he always keeps it fresh with

his own innovative style.

“Sometimes I try and copy other

artists, but it always ends up returning

back to my world,” he explains. “But I

like it like that. I feel the more original

I am, the happier and more satisfied I

am so if I do copy an idea, I’ll do my best

to switch it up and make it sound like

it was never theirs to begin with—at

least that’s what I think I’m doing. The

goal has still never changed for me.

It’s always been to grow as a musician

and never stop learning and continue

to make things that are different and

unique every time. Now if I can only

start to do that [laughs].”

Believe it or not, many people

doubted his ability to make a living as a

DJ, but that just made him work harder.

“Lots of people, even to this day,

doubt it,” he admits. “It actually makes

me want to prove them wrong, but

then, some days, when I’m making

terrible stuff, I’m like, ‘I think they’re

right [laughs].’ But no matter what, I am

just here to be me and create stuff that I

only know how to do.”

As a three-time DMC World

Champion, an inductee of the DMC

Hall of Fame, proprietor of an online

scratching university (Qbert Skratch

University), and an impressive catalog,

including the 1998 groundbreaking

album, Wave Twisters, it’s safe to say

he’s definitely proved anyone that’s

ever doubted him wrong. Now at the

age of 45 (although he looks 25), Qbert

has embraced a healthier lifestyle,

eating mostly vegan and consistently

exercising.

“For the most part I am vegan, but

I tend to go back on a paleo diet once

in a while because I love fish,” he says.

“In some places, there’s nothing to eat

so I’ll have to get an organic free range

sustainable chicken salad or one of those

lesser evils. I used to be a raw vegan and

I loved that, too. It almost seems like it

could quite possibly be all in our heads.

From what the monks tell me, all you

need to do when you eat anything is to

have god bless it and it all becomes good.

That sounded like the best ingredient

right there.”

He’s also drug and alcohol free,

which is (sadly) surprising considering

the industry he’s in. Drugs and alcohol

seem to go hand-in-hand with the music

world, especially with EDM.

“I used to drink when I was younger

and I can totally see how kids gotta

go through that phase because their

homies are doing it, or it’s just the code

in the hood or whatever,” he explains.

“Then later in life, you have a choice to

stick with drinking and poisoning your

body or becoming more spiritual and

cleansing your body; you can get away

from the negative friends that just do

that or stay stuck with them. It really

is up to the individual and where their

true path lies.

“As I’ve gotten older, I’ve discovered

many truths about how alcohol makes

your body very acidic and causes you to

become sick,” he continues. “Ever since

I’ve stopped drinking, over 10 years ago

now, I don’t remember the last time I got

sick. Especially since I’m traveling a lot,

I can’t afford to be sick ever. But for me

now, it’s simple. I actually learned that

around 8 hours of sleep a day, plenty

of glasses of bottled spring water, and

a good diet along with exercise and

meditation can make you a superhero

without drugs.”

photos courtesy of Dj qbert


On Saturday, September 6, Ren

Merry, Lindsay Davis and Daniel

Bisceglia gathered before an audi-

ence in a small studio on 8th

Avenue for their first group

performance. Merry is a classical

guitarist and a teacher at Frontier

Academy who’s been playing for

35 years. Bisceglia, also a teacher

from Frontier, has only been play-

ing for 15 years, while Davis, a

yoga teacher and violinist, has

been playing her instrument for

20 years.″

“I’ve performed before, general-

ly classical or in church,″ Davis

said. “So this is kind of a first. I’ve

fiddled before, but just usually for

family, so this has been a first to

branch out and do some improvi-

sation.″

The trio wasn’t just performing

for the audience in the room

though. Good Vibe Acoustic

Studio, while a performance

venue, specializes in live web

broadcasts and videos for

performers. The studio had it’s

grand opening on July 26, and like

the September 6 trio’s perfor-

mance, the grand opening’s

performers were playing to an

online audience.

“We had an audience in house,″

said Patrick Callan, owner of Good

Vibe, “and since we were broad-

casting to the web… we only had

about 14 people in the audience

during the grand opening, a little

disappointing for me, but we had

79 discreet viewers online. And

the audience that we have online

is worldwide. So people in Austra-

lia were commenting as the show

was going on, people from

England, people from all over the

US were watching it.″

Callan’s goal with Good Vibe is

to provide a high quality record-

ing for those artists who perform,

and do it in front of a live audi-

ence.

“There’s so many musicians out

there, they have really poor quali-

ty videos of themselves on You-

Tube or their Facebook pages,″ he

said. “Usually it’s somebody with

their iPhone in the audience who’s

trying to record, so the quality’s

bad. You can hear the person

who’s recording talking and

there’s always a lot of chatter

around.″

Callan said he had been looking

around for studio space since last

October.

“I started out looking at coffee

shops and a bunch of different

spaces when I was looking for

space to rent,″ he said. “Coffee

shops were not really in line with

what I wanted to do anyway

because in coffee shops, coffee is

the primary goal in the coffee

shop. My intent is it’s all about the

music, so it was tough to find a

space that would be small, afford-

able for me and be all about the

music as opposed to running a

small bar or a coffee shop. Because

there’s so many different places

that offer live music, but that’s not

their primary objective, and for

me it’s always been about the

music.″

The space Callan ended up

coming across is a shared studio

space, the building split in two

halves with a studio side and a

gallery side. Among Callan’s

neighbors are painter Kim A.

Snyder, photographer Jill Bailey

of Flare of Art, and videographer

and building owner Andy Nagel of

Mirage Productions, Inc.

“[Nagel]’s been in the video

industry for quite a while,″

Callan said. “He and I got to talking

last December about the opportu-

nity to share the studio space,

which led me to develop the idea

of putting together a studio for

audio and video recording̣″

Good Vibe Acoustic Studio is a

rather small place, its main set

styled to look like a 1930s music

parlor, with a small red couch

surrounded by drapes within

doorways. The whole area is 850

square feet. Callan said he only has

seating for about 30 people com-

fortably.

“If it gets busier, I can bring in

more chairs or make it standing

room,″ he said. “The intent is to

make it as comfortable as possible

for both the budding performer

who’s nervous in front of an audi-

ence, or the singer-songwriter

who’s experience but has poor

quality recordings and would like

to get some higher quality stuff.

“It’s so much more than the

video on YouTube for the local

performer,″ Callan said. “It actual-

ly gives them a global audience

and that’s never a bad thing.″

For more information, visit

http://www.GoodVibeAcoustic-

Studio.com.

JAY WALLACEBandWagon Magazine

20

15 SQUARE BLOCKS8 GREAT SPOTS TO GRUBLUNCH TO LATE NIGHT MUNCHIESALWAYS A DELICIOUS TIME

A.F. Ray ( founder of Garden City)It has been rumored that during the prohibition of alcohol,

A.F. Ray supplied the residents of Weld County with bootlegged booze hidden in watermelons from his own patch.


COLORaDO CONCERT CALENDARWednesday October 1stFree Beer w/ The Burroughs@ The Moxi TheaterGreeley – 8pm

Local Alliance Music & Art Collab@ The Aggie Theatre Ft. Collins – 7pm ft. Genetics w/ Malai Llama and Kyle VanBuskirk

J Boog @ The Bluebird Theater Denver – 8pm w/ Inna Vision

Capital Cities@ The Ogden TheatreDenver – 8pm

The Drums@ The Gothic TheatreDenver – 8pmw/ Beverly, Shady Elders

Bandswap@ Hi-DiveDenver – 9pm w/ The Yawpers, Kids, Eldren, Jordan Igoe

Thursday October 2ndInna Vision@ The Moxi TheaterGreeley – 8pm w/ Hypnotic Vibes, Rudie Clash and The F.U.N.K.

Wynonna and The Big Noise@ Union Colony Civic CenterGreeley – 7pm

The New Mastersounds@ Hodi’s Half NoteFt. Collins – 8pm w/ The EarfulFortunate Youth@ The Aggie Theatre Ft. Collins – 7pm w/ New Kingston and Ease Up

Caleb Crain @ The PourhouseLoveland – 8pm

Brazilian Girls@ Cervantes’ Masterpiece BallroomDenver – 8pm w/ Tiger Party and More!

White Water Ramble@ Cervantes’ Other SideDenver – 8pm w/ Reina Del Cid

The Kooks@ The Ogden TheatreDenver – 8pm w/ HALSEY, Priory

War Paint@ The Gothic TheatreDenver – 8pm w/ Guy Blakeslee

Saintseneca@ Hi-DiveDenver – 9:30pm w/ Busman’s Holiday, Strawberry Runners

EYEHATEGOD & Valient Thorr @ The Summit Music HallDenver – 6pm w/ Primitive Man and More!

Friday October 3rdAir Dubai@ The Moxi TheaterGreeley – 8pm w/ HWood x The Elevation, Russell Scott, Fed Rez

The Capitol Steps@ Union Colony Civic CenterGreeley – 7:30pm

Bandswap @ Hodi’s Half NoteFt. Collins – 8pm ft. Shatterproof, Phin, The Lolo’s Winchester Holiday

The Koffin Kats@ The Aggie Theatre Ft. Collins – 7pm w/ Lorin Walker Madson & the Hustlers, and Randall Conrad Olinger

Jalan Crossland@ Avogadro’s NumberFt. Collins – 8:30pm

Marty Nightengale@ The PourhouseLoveland – 9pm

The New Mastersounds@ Cervantes’ Masterpiece BallroomDenver – 9pm w/ The Earful and Liebermonster

Fortunate Youth@ The Summit Music HallDenver – 7pm w/ New Kingston

Saturday October 4thSteampunk Tea Duelling Tournament @ Cranford Cove Tea TavernGreeley – 6pmBandswap@ Hodi’s Half NoteFt. Collins – 8pm ft. Stella Luce, Lords of Trident, Izcalli, Post Paradise

Friends of Happy Heart Fundraiser@ Avogadro’s NumberFt. Collins – 1pmw/ The Honey Gitters, The Seers

Archie Funker@ Avogadro’s NumberFt. Collins – 8pm

Cosmic Mesa@ The PourhouseLoveland – 8:30pm

air dubai@ Moxi Theater ~ 10/3/14

BandWagon Magazine northern colorado’s arts & entertainment OCTOBER 2014Kalin and Myles @ The Larimer LoungeDenver – 7pm w/ Ryan Beatty

Monday October 6thBulgarika@ Avogadro’s NumberFt. Collins – 7:30pm

Tony Macalpine @ Quixotes’ True BlueDenver – 8pm w/ LoNero

Hank 3@ The Ogden TheatreDenver – 8pm

Tuesday October 7thFirst Tuesday Fiyah@ Hodi’s Half NoteFt. Collins – 8pm w/ Zion Soulja SoundsystemOpen Jazz Jam@ The PourhouseLoveland – 7:30pm w/ Pourhouse Jazz Trio

Prong@ The Bluebird Theater Denver – 8pm w/ Lotus Galt, Blakk Mantra

Electronic Tues. @ Cervantes’ Masterpiece BallroomDenver – 9pm ft. Biome w/ September Winner’s Showcase

Deniro Farrar & Denzel Curry@ Cervantes’ Other SideDenver – 9pm w/ ITsEVi

Jimmy Eat World@ The Ogden TheatreDenver – 8pm w/ Minibosses

Joey Bada$$ @ The Gothic TheatreDenver – 8pm

Wednesday October 8thJon Wayne and the Pain@ The Moxi TheaterGreeley – 8pm w/ Free Beer

RA the Rugged Man@ Hodi’s Half NoteFt. Collins – 8pm w/ Main Course and More!

Local Alliance Music & Art Collab@ The Aggie Theatre Ft. Collins – 7pm ft. Genetics w/ Joey Porter

of Montreal@ The Bluebird Theater Denver – 8pm w/ Pillar Point

Sonata Arctica@ The Bluebird Theater Denver – 8pm w/ Delain, Xandria

The New Mastersounds@ Cervantes’ Masterpiece BallroomDenver – 9pm w/ Euforquestra and Tori Pater’s Birthday Band

KRS-ONE@ Cervantes’ Other SideDenver – 9pm w/ Soul Pros, Stay Tuned, Eddie Knolls

Cosby Sweater@ The 1up ColfaxDenver – 9pm ft. Joel Cummins w/ Chrome Drones

Third Word@ Quixotes True BlueDenver – 9pm w/ Blue Moon Soup

Karl Denson’s Tiny Universe@ The Ogden TheatreDenver – 9pmft. Roosevelt Collier

Mutual Benefit@ Hi-DiveDenver – 9:30pmw/ Ricky Eat Acid, Ian Cooke

Machine Head @ The Summit Music HallDenver – 6pm w/ Children of Bodom, Epica, Battlecorss

Sunday October 5thBandswap@ Avogadro’s NumberFt. Collins – 2pm

Chris Webby@ Cervantes’ Other SideDenver – 9pm w/ Rolphy, Kid Vegas, RIMES

Futrure Heroes@ Cervantes’ Other SideDenver – 9pmw/ AP, Kid Vegas & Mahxie and Bran

Thursday October 9thOpen Mic@ The Moxi TheaterGreeley – 9pm

Dopapod @ Hodi’s Half NoteFt. Collins – 8pm w/ Tauk

Live Jazz @ The Kress CinemaGreeley – 9pm

Whiskey Blanket @ The Aggie Theatre Ft. Collins – 7pm

Dead Jam @ Avogadro’s NumberFt. Collins – 9pm

Jack Hadley @ The PourhouseLoveland – 8pm

Slow Magic@ The Bluebird Theater Denver – 8pmw/ Kodak the Graph, Daktyl

RA the Rugged Man@ Cervantes’ Masterpiece BallroomDenver – 8pmw/ Lowdy Trails and More!

Friday October 10thBlue Recluse@ The Moxi TheaterGreeley – 6pm

Lunde Station@ Cranford Cove Tea TavernGreeley – 7pm

Lynn Trefzger: Ventriloquist Comedienne @ Union Colony Civic CenterGreeley – 6:30pm

DOPAPOD@ Hodi’s Half Note ~ 10/9/14

23


AIMS.EDU

Saturday October 11thLil Rob@ The Moxi TheaterGreeley – 8pm w/ El Dreamer, El Boosta, El Cacho and More!

Brother Son@ Avogadro’s NumberFt. Collins – 7:30pm

Johnny Johnston and the Po’Boys@ The PourhouseLoveland – 8:30pm

Stick Figure@ The Bluebird Theater Denver – 9pm w/ Pacific Dub, Hirie

Sonic Blossom@ Cervantes’ and the Other SideDenver – 8pm ft. Blutech, Dopapod and More!

The New Pornographers@ The Gothic TheatreDenver – 9pm w/ The Pains of Being Pure At Heart

Finch@ The Summit Music HallDenver – 7pm w/ Wounds, Helen Earth

Sunday October 12thThrough the Roots and Supervillains @ The Aggie Theatre Ft. Collins – 7pm w/ The Steppas

Afton Showcase@ Cervantes’ Other SideDenver – 8pm

Monday October 13thHoney Dew Drops @ Avogadro’s NumberFt. Collins – 8pm

Surreal Studios Takeover @ Cervantes’ Other SIdeDenver – 9pm ft. Spinson, Umble and More!

Born of Osiris@ The Summit Music HallDenver – 6pm w/ Thy Art is Murder and More!

Tuesday October 14thOpen Jazz Jam@ The PourhouseLoveland – 7:30pm w/ Pourhouse Jazz Trio

American Authors@ The Ogden TheatreDenver – 7:30pmw/ The Mowgli’s, Echosmith

JOHNNYSWIM @ The Gothic TheatreDenver – 8pm

Asgeir @ The Larimer LoungeDenver – 9pm w/ Low Roar

Suicide Girls Blackheart Burlesque @ The Summit Music HallDenver – 8pm

Wednesday October 15thFree Beer w/ Mike Ring & the Connection @ The Moxi TheaterGreeley – 8pm

Stitches @ The Aggie Theatre Ft. Collins – 7pm w/ Special Guests

Sondre Lerch@ The Bluebird Theater Denver – 8pm w/ TEEN

Angus and Julia Stone @ The Gothic TheatreDenver – 8pm

Ringo Deathstarr @ Hi-DiveDenver – 9pm w/ the Big Get Even, The Tide Pools

Sonreal @ The Larimer LoungeDenver – 9pm

Thursday October 16thOpen Mic@ The Moxi TheaterGreeley – 9pm

Bill Engvall@ Union Colony CenterGreeley – 7pm

Grieves @ The Aggie Theatre Ft. Collins – 7pm w/ Sol


Jim Hurst@ Avogadro’s NumberFt. Collins – 8pm

Danny Shafer @ The PourhouseLoveland – 8pm

Small Pools@ The Bluebird Theater Denver – 8pm w/ Waters

Friday October 17thThe Epilogues@ The Moxi TheaterGreeley – 8pm w/ Harkener

Slow Magic@ Hodi’s Half NoteFt. Collins – 8pm w/ Kodak to Graph, Daktyl

Keys and Krates@ The Aggie Theatre Ft. Collins – 7pmw/ gLAdiator and Thugli

Capo Zero@ Avogadro’s NumberFt. Collins – 8:30pm

Roots and Rhythm@ The PourhouseLoveland – 9pm

Sonic Blossom@ Cervantes’ and the Other SideDenver – 8pmft. Russ Liquid, Dopapod and More!

Mountain Standard Time@ The 1up ColfaxDenver – 9pm w/ Genetics

MIKE JONES @ Moxi Theater ~ 10/22/14


Brother Lynch Hung@ Hodi’s Half NoteFt. Collins – 8pm w/ Dalima

Local Alliance Music & Art Collab @ The Aggie Theatre Ft. Collins – 7pm ft. Genetics w/ Chris Pandolfi and Hog Magundy

The Absolutes @ The PourhouseLoveland – 9pm

Zilla@ Cervantes’ Masterpiece BallroomDenver – 9pm w/ Snakes and Stars DubVirus, Djedi

Melvin Seals and JGB @ Quixotes True BlueDenver – 9pm

Bonobo @ The Ogden TheatreDenver – 9pm w/ Jeremy Sole

Anberlin @ The Summit Music HallDenver – 7pm

Saturday October 18thLadies of Comedy@ The Moxi TheaterGreeley – 8pm w/ Jodee Champion, Terri Barton Greg, Christie Buchele

Dead Floyd @ The Aggie Theatre Ft. Collins – 7pm w/ Punch Drunk Monkey Funk and Miscommunicado

Tim Grimm @ Avogadro’s NumberFt. Collins – 7:30pm

Atomic Pablo @ The PourhouseLoveland – 8:30pm

The Heavy Pets@ Cervantes’ Other SideDenver – 9pm w/ Kinetix, Dragondeer

Melvin Seals and JGB @ Quixotes True BlueDenver – 9pm

Sunday October 19thSongwriters Showcase@ Avogadro’s NumberFt. Collins – 7pm

Noah Gunderson@ The Bluebird Theater Denver – 8pm w/ Caroline Rose, Armon Jay

Maceo Parker@ Cervantes’ Masterpiece BallroomDenver – 8pm w/ Analog Son

Time Flies@ The Ogden TheatreDenver – 7pm w/ Kap Slap, Down With Webster

Neurosis @ The Gothic TheatreDenver – 8pm w/ Subrosa, In the Company of Serpents

Deicide @ The Summit Music HallDenver – 6pm w/ Septicflesh and More!

Tuesday October 21stMitis@ The Aggie Theatre Ft. Collins – 7pm w/ Cry Wolf and Bear Grillz

Open Jazz Jam @ The PourhouseLoveland – 7:30pm w/ Pourhouse Jazz Trio

The Slackers@ The Bluebird Theater Denver – 8pm w/ Kult of Skaro

Big K.R.I.T. @ Cervantes’ Masterpiece BallroomDenver – 9pm w/ Two-9

Electronic Tues @ Cervantes’ Other SideDenver – 9pm

Little Dragon@ The Ogden TheatreDenver – 8pm w/ Shy Girls

Wednesday October 22ndMike Jones @ The Moxi TheaterGreeley – 8pm w/ Fresh Crew, High Quality

Local Alliance Music & Art Collab @ The Aggie Theatre Ft. Collins – 7pm ft. Genetics w/ Technicolor Tone Factory

Spankalicious @ Cervantes’ Other SideDenver – 9pm w/ Bass Coma, Alejo and More!

Allen Stone @ The Gothic TheatreDenver – 7:30pm w/ Bad Rabbits, The BGP

Thursday October 23rdOpen Stage @ The Moxi TheaterGreeley – 9pm

Slow Caves@ Hodi’s Half NoteFt. Collins – 8pm w/ Special Guests


Ultimate Tribute Night @ The Aggie Theatre Ft. Collins – 7pm ft. Guerilla Radio, Pipin Hot Ghost Peppers, Sabotage

Caravan of Thieves and New Country Rehab @ Avogadro’s NumberFt. Collins – 9pm

TWISTA & STEVIE STONE @ Hodi’s Half Note ~ 10/29/14

BandWagon Magazine northern colorado’s arts & entertainment OCTOBER 2014Saturday October 25thDJ QBert @ The Moxi TheaterGreeley – 8pm w/ Jeremy Ellis

The Widows Bane and Gasoline Lollipops @ The Aggie Theatre Ft. Collins – 7pm

Br’er Fox @ The PourhouseLoveland – 8:30pm

Andrew McMahon in the Wilderness @ The Summit Music HallDenver – 6:30pm w/ Hunter Hunted, Junior Prom

Sunday October 26thThe Presets@ The Gothic TheatreDenver – 9pm w/ Antwon, Chela, Franki Chan

Iceage @ Hi-DiveDenver – 9pm w/ Helm, Civilized

Flyleaf @ The Summit Music HallDenver – 7pm

Monday October 27thJ Roddy Walston and the Business @ The Bluebird Theater Denver – 9pm w/ Fly Golden Eagle

Friday October 24thYamn @ The Moxi TheaterGreeley – 8pm w/ Electric Stair Child

Denny Driscol @ Cranford Cove Tea TavernGreeley – 7pm

Minnesota @ Hodi’s Half NoteFt. Collins – 8pm w/ Jackal and G Jones

Clockwork Indigo @ The Aggie Theatre Ft. Collins – 7pm

Henhouse Prowlers@ Avogadro’s NumberFt. Collins – 9pm

Steve Manshel@ The PourhouseLoveland – 9pm

Pimps of Joytime@ The Bluebird Theater Denver – 9pm w/ Moon Hooch

Fort Knox Five @ Cervantes’ Other SideDenver – 9pm w/ Dj Vadim

Dj Qbert @ The 1up ColfaxDenver – 9pm w/ Jeremy Ellis

Run River North @ The Larimer LoungeDenver – 9pm

Wednesday October 29thWicked Halloween @ The Moxi TheaterGreeley – 8pm w/ Earth Burnt Black,The Darkest Gray,The ZomBroZ, Statik Rx, Biskit

Twista & Stevie Stone @ Hodi’s Half NoteFt. Collins – 7pm

The Motet @ The Aggie Theatre Ft. Collins – 7pm w/ Mikey Thunder

The Afghan Whigs @ The Bluebird Theater Denver – 8pm

Cut Copy @ The Ogden TheatreDenver – 8pm

The Psychedelic Furs @ The Gothic TheatreDenver – 8pm w/ The Lemonheads

Thursday October 30thHallow Strange Vol. II @ The Moxi TheaterGreeley – 8pm w/ Prozak, Kutt Calhoun, Spaide RIPPER and Many More!

The Werks v. Zoogma @ Hodi’s Half NoteFt. Collins – 8pm w/ DYNOHUNTER

Slim Cessna’s Auto Club @ The Aggie Theatre Ft. Collins – 7pm w/ Stella Luce

Living Dead Jam@ Avogadro’s NumberFt. Collins – 9pm


Randall Dubis @ The PourhouseLoveland – 8pm

Friday October 31stThe Burroughs Halloween Spectacular @ The Moxi TheaterGreeley – 8pm w/ Silver & Gold, Ben Pu and Crew

Prozak & Kutt Calhoun@ Moxi Theater ~ 10/30/14

Six Women in Search of the Perfect Play @ Union Colony Civic CenterGreeley – 7:30pm

Euforquestra @ Hodi’s Half NoteFt. Collins – 8pm w/ Punch Drunk Monkey Funk

Musketeer Gripweed @ The Aggie Theatre Ft. Collins – 7pm w/ The Yawpers, and Bill Smith

Steve Johnson Group @ Avogadro’s NumberFt. Collins – 5pm

Halloween Party @ The PourhouseLoveland – 9pm w/ Barrelhouse

The Werks v. Zoogma @ Cervantes’ Masterpiece BallroomDenver – 9pm w/ Dynohunter

The Bid Wu @ Quixotes True BlueDenver – 9pm

Cherub @ The Ogden TheatreDenver – 9pm w/ Ghost Beach, Gibbz

Method Man & Redman @ The Gothic TheatreDenver – 9pm w/ B Real, Berner, Mick Jenkins

GWAR @ The Summit Music HallDenver – 6:30pm w/ Decapitated, Havok

28


win tickets. Win Prizes. Win eternal Glory.To Win any of the abovE

1) Visit: bandwagmag.com/caption-contest2) Submit your best caption. Make us laugh.3) hope you win

The winner will have their caption posted with its photo in the following copy of the bandwagon along with their name (hence, eternal glory).

LAST SEASON MY FAMILY WENT ON A VACATION TO PLACE . WE

JUMPED IN THE MODE OF TRANSPORTATION AND DROVE AS FAST AS A CRAZY

NOUN . MY FAMILY MEMEBER , IN THE FIRST 5 MILES HAD TO VERB

JUST LIKE HE ALWAYS DOES, EVEN THOUGH MY FAMILY MEMBER HAD

ALREADY ASKED HIM/HER IF HE/SHE NEEDED TO BEFORE WE LEFT. JUST

BEFORE WE FINALLY GOT TO WHERE WE WERE GOING THE CAR STARTED

VERB ENDING IN “ING” , AND MY FAMILY MEMBER SCREAMED “ EXCLAMTION !”

THEN WE HAD TO TAKE A(N) MODE OF TRANSPORTATION HOME. THIS WAS BY

FAR OUR ADJECTIVE VACATION. AND THAT’S SAYING SOMETHING!


SUDOKU © 2014 Knight Features. Reprinted with permission of Universal Uclick. All rights reserved.

CHARLESTON, SCOCTOBER 2014

FORT COLLINS

ATHENS, GACHICO, CA

LAFAYETTE, LAMADISON, WINASHVILLE, TN

PORTLAND, OR

Wednesday, October 1 - Hi-DiveJordan Igoe (Charleston) Eldren (Denver)k i d s (Athens) The Yawpers (Denver)

Thursday, October 2 - GalvanizeMaxwell Hughes (Fort Collins) Amanda Broadway (Nashville)Phin (Nashville) Winchester Holiday (Fort Collins)PLUS: SynchroniCITY music industry educational panel and networking featuring InnovationSwap, with Arrister (Nashville) and Myhub (Denver)

Friday, October 3 - The Walnut RoomBonsoir, Catin (Lafayette) The Deadwood Saints (Fort Collins)Lewi Longmire and The Left Coast Roasters (Portland)Gasoline Lollipops (Boulder)

Friday, October 3 - The Powerhouse Ambassador Wolf (Fort Collins) Jordan Igoe (Charleston) and featuring

InnovationSwap, with Tarian Orthotics (Charleston) and E-Flux (Fort Collins)Friday, October 3 - Downtown Artery

Ginger Whale (Fort Collins) k i d s (Athens)Friday, October 3 - Hodi’s Half Note

Winchester Holiday (Fort Collins) Phin (Nashville) The LoLos (Chico) Shatterproof (Fort Collins)

-Saturday, October 4 - Mishawaka AmphitheatreSynchroniCITY music industry educational panel and networking

Saturday, October 4 - Hodi’s Half NoteiZCALLi (Denver) Post Paradise (Fort Collins)

Lords of the Trident (Madison) Stella Luce (Fort Collins)Sunday, October 5 - Avogadro’s Number

Pandas & People (Fort Collins) Bonsoir, Catin (Lafayette) The Deadwood Saints (Fort Collins) Lewi Longmire (Portland)

DENVER

more info at bandswap.org

“I don’t know how they did it, but those brownies were magical.”

Contact us today to claim your prizeAttn: caption contest - [email protected]

LAST MONTHS’ CAPTION WINNER

CONGRATULATIONS BRYAN BUZZELL!

31

bandwagon magazine - october 2014

Documents

alternative country

trinityalternative country

country genre

mainstream country artists

deadwood saints songs

debut album

fun album

pretentious album