Attention: KRCX listeners, Oberhofer Fans, and music enthusiasts!

Guess what we have for YOU! It's an exclusive interview and full live session of the members of Oberhofer. Two weeks ago, KRCX was thrilled to have them down to our basement studio! Check out the recording here and share on!

After their basement session and interview with KRCX Oberhofer performed at Denver's Ogden Theater with Matt & Kim.  As the opener, they started the show off with a bang.  From their loveable jams to their crazy on stage antics, their time on stage was energetic and fun from start to finish.  Also, mad props go to drummer Pete for rocking on even though his symbol broke mid song.  These guys are great and give frantic baroque punk a promising future!

Check out this dope-tacular interview conducted by KRCX's own Nick Roldan with the lead singer and main guitar player from Admiral Fallow, Louis Abbott! The recording also has two basement session songs, "Squealing Pigs" and a cover of Joanna Newsom's "On A Good Day".

Peep it here!!

By Farnaz Alimehri

Last Saturday was an excellent day for Bluebird concertgoers as fans welcomed Oregon's best: Onuinu and STRFKR.  The Bluebird was appropriately decorated for the late October show and fans showed up ready to dance in their Halloween best.  Before the show, I was lucky enough to catch up with Onuinu's front man Dorian Duvall.  I arrived at the Bluebird a few hours before the show, walked past the meticulous members of STRFKR as they ran a final sound check, and was led to the backstage basement where I met up with the laid-back performer.  He sat on a small couch silently sipping back his beer as he waited for the show to start.  He greeted me politely and we eased in to the interview questions. Despite his ability to overpower a cheering crowd with his fresh vocals, he was very soft-spoken. There were a few times during the interview I found it difficult to hear him over STRFKR's pounding bass above us. Despite that, however, I was very pleased with his humility and friendliness.  He began by explaining how his immersion into the popular music scene of Portland introduced him to new bands and help influenced him to pursue his own music career.  Dorian was then prompted by a friend to begin recording his music which led him to begin compiling songs for his debut album Mirror Gazer. He explained that the songs on the album were a collection he had composed over a few years. When I asked him what type of music he labeled his music, he responded thoughtfully with "electronic ambient pop." Others have referred to Onuinu's style as dance music, but now Dorian finds the label unfitting, stating that he never had set out to make dance music, "I had never really wanted to make dance music; my goal wasn't to make dance music, but I guess people can like bob their heads to it." And fans certainly were bobbing their heads at the concert on Saturday. Onuinu's album Mirror Gazer is available on iTunes now.  To hear my entire interview with Dorian check out KRCX's Soundcloud.  And don't forget to listen to Onuinu's hit song Always Awkward off the album below. (It was well-received at the concert!)

by Sye Sharp

Hardcore punk legends Agnostic Front stopped by in Denver, CO for the last show of their 30th anniversary tour. The show was a big celebration of punk community and 30 years of fan support, and their set leaned heavily on the old. 

First things first, openers Death by Stereo really tore things up. I was surprised by how good of a band they were. I wasn't expecting much because they had their melodic hardcore "woooaaah woaooah woaaah" Hatebreed-lite moments, but they won me over. They were precise, furious, and I grew onto the more melodic stuff as the show progressed. They also did a show stopper with an excellent cover of Slayer's classic 'Raining Blood'. But all in all, they were an excellent band with energy, showmanship, and just gnarly music. Also their guitarist looked identical to infamous prisoner, Charles Bronson. Not to mention he was a brilliant guitarist. 

Agnostic Front came on around 10 PM, and opened with "The Eliminator", a fan favorite from their second album Cause For Alarm. The crowd really appreciated the leaning to the old, and they played several songs off of their first landmark album Victim in Pain. They were on it musically, and they didn't miss a beat. They're definitely one of the only hardcore punk bands I've seen that can play new material and have everyone singing. "For My Family" had the crowd singing along, as did "Gotta Go" and "Crucified." They brought out Death by Stereo, to join in the celebration of the last show of the tour and sing along for those last two songs. As a tribute to punk in general, and the scene and the community as a whole, they closed with a cover of "Blitzkrieg Bop" by The Ramones. 

The only downside of the show was the crowd. The mosh pits were rather weak, and even Agnostic Front could not get a solid pit really going. Part of the problem, was that with the new HxCx hardcore dancing (where kids simply swing like manicas) craze being a part of the show, every other tempo change showcased dudes swinging and kicking at everything they could which definitely lessened the urge to mosh. 

However, it was a solid show and me never being a huge Agnostic Front fan, I was thorougly impressed by how good live they were. The old songs had the punch, power, and energy but with a better sound because of better equipment, and the new songs proved that after 30 years that the veterans can always show the newbies a thing or two. For punk fans, this is a show I'd reccomend. 

by Sye Sharp

Flying Lotus came to Denver on his "Until the Quiet Comes" tour last night! I, along with 3 other KRCXers, went to the show and I can say that we all enjoyed it. To sum up his show, it was a pretty good mix of dance party music and his electronic jazz with excellent visuals and a few surprises.

He started off the show with some new songs, and suprisingly the abstract quiet of the album sprang to life when performed. The subs really helped drive all of the songs, and songs off the new album that were originally very relaxed became much more moving while still retaining the original sound. 

As the show progressed, once he got into his groove he started playing his hyphy-er music. This included his new single "Putty Boy Strut", which really got the crowd going. He also mixed in some really awesome beats that would probably be any big time rapper's new hit single, and he threw in dubstep. Now, a lot of people aren't fans of dubstep, and while I'm not necessarily one myself I will say it worked live. His style of dubstep was more upbeat and in your face then say James Blake's brand of dubstep, but not as obnoxious as someone like Skrillex. So in short, I thought that his dubstep worked pretty well.

He threw in a few remixes, which includes his well known version of "N***** in Paris", a few Lil Wayne songs, "Mercy" by Kanye, and a surprising remix of "Idioteque" by Radiohead. Everyone of these got the crowd really going, because his remixes simply are just really good. He even remixed his own songs, putting beats over his more relaxed stuff including "DMT Song", which I personally think was more realized with a beat behind it. The highlight of the show, in my opinion, was when FlyLo wished his friend/collaborator Thundercat a happy birthday and premiered a brand new Thundercat song. It was a very funky song about ecstasy, and it had such a feel good vibe that you couldn't deny it; you could only dance. 

He did have his mishaps however; some of his transitions were awkward, and some of his remixes you could tell he got the track off of YouTube. Also, this is more of a trivial thing, but he wasn't DJing the entire time. At some points he would let the track play and interact with the crowd. I thought this was cool personally, but I could see how someone would be upset that he just let the tracks play at points in the show.

His visuals were excellent, and it definitely improved the show. He had an LED screen in front of him, so you could see him perform but the effect made it seem like he was actually a part of the effects. It was the intention of course, and it worked flawlessly. Not only that, but there was another larger screen behind him, so the two screens worked in unison to provide a show. My favorite effect was when the screens would go into a Star Wars-esque hyperspeed effect with FlyLo in the center. 

In short, it wasn't the best show of my life, but it was still very good and I'd reccomend really anyone who likes to dance or enjoys interesting, different music to a Flying Lotus show. Here is a song off of his new album he is promoting on this tour!

By

Bernie Clark

on October 16, 2012

Last night, the indie rock legends of Dinosaur Jr. graced Denver with their presence at the Bluebird Theater. With a music career spanning three decades, Dinosaur Jr. attracts a cross-generational audience of head-bobbers and hair-flailers. Shearwater, featuring Jonathan Meiburg of Okkervil River, opened the night up with a solid set. But the intensity of the crowd amplified ten-fold as Dinosaur Jr. emerged from behind the curtains. J. Mascis slumped out onto the stage, donning his iconic eyewear and assortment of Mishka brand clothes. Murph looking hilariously frumpy as ever sat down behind his sparkling purple drum set, removing his Nascar ballcap to reveal his gleaming bald head. Lou Barlow, a bespectacled bushel of black hair wielded his Rickenbacker bass like a broadaxe. The trio proudly touted their well-earned rock veteran status.

Even with their legendary standing in the rock community, Mascis's stage presence is somewhat paradoxical. His guitar solos blare with rugged intensity, but he usually resides quite stoically upon the stage. Detached even. He might have said three words throughout the entire performance, allowing Barlow to assume the role of frontman. However, this really didn't detract from the show whatsoever. Barlow was quite engaging in his playful jeers toward the audience, and Mascis was able to break away from his detachment, more easily communicating with the audience through his music.

The setlist featured songs from their new album I Bet On Sky, a former KRCX Spotlight Album, as well as fan favorites such as "Feel the Pain" with it's classic melodies and tempo changes, which had the audience exploding in delight.  Overall, it was a stunning performance. Even a day after the concert, I can barely hear my own thoughts over the riffs clouding my brain. If deafness is the price to pay to see Dinosaur Jr, I'd say it was well worth it.

Admiral Fallow is a folk/pop band formed in 2007 in Glasgow, Scotland. They performed at the Hi-Dive on Tuesday, October 2nd. Consisting of Louis Abbott on guitar and lead vocals and the rest of the talented Scottish band to seemingly all be multi-instrumentalists, Admiral Fallow is without a doubt a band that you have to see in person. With their most recent album, Tree Bursts in Snow, released in May of this year, Admiral Fallow played a range of songs from this album as well as several from their first album, Boots Met My Face. Each song seemed to possess a very charming quality to it; one of which drew the audience in, whether it be in the beautiful clarinet and flute solos ("Squealing Pigs") or the 4-5 part harmony amongst the band ("Four Bulbs"), I found myself tear-stricken and jaw-dropped for almost the entire show. After Denver, the band was heading out West to play some shows in the States but if one ever gets the opportunity, I highly suggest taking a break from the bustle of everyday life and purchasing a ticket to see these talented individuals.

 Check out their website here!

Black Marble drops their debut album on October 9th. This bedroom accomplishment touts delightful arrangements that illuminate the modern dark-wave sound. Their single, "A Great Design," is immediately palatable, showcasing the duo's cleverly calculated musicianship. The vocals resonate with an intimate honesty which allows the track to transcend beyond some secret diary of teenage poetry. A Different Arrangement captures the feelings of a bleary-eyed optimism; the synth diligently grinds forward to pierce the cloudy headspace of Chris Stewart, giving the tracks a heightened sense of immediacy. 

Entirely recorded at home with vintage analog equipment, Black Marble's debut asserts a particular intuition for pop music that reflects the image of early lo-fi, bedroom innovators such as Ariel Pink and John Maus. A mighty potential rears its head and feverishly looks to the future from this record. If you're a fan of TRUST, John Maus, Ariel Pink, New Order, or The Cure, this album is certainly worth a listen.

Listen to "A Great Design" below.