Review: Goldrush Festival on South Broadway, Delite and hi-dive, Night Two, 9/17/11

Categories: Last Night

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Tom Murphy
Happy New Year
GOLDRUSH FESTIVAL | NIGHT TWO, 9/17/11
Day two of Goldrush Festival also felt like you had stepped into an alternate universe where a good friend with good taste in music was introducing you to his or her favorite bands of the moment were gathered together in one place instead of being handed some kind of mix-tape, CD, whatever.

A standout of the evening in terms of being both startlingly good and very different from anything else was Happy New Year. For her set, Eleanor Logan had a live bass player and Crawford Philleo, an organizer of the festival and percussionist extraordinaire in Vitamins on drums. With the multi-colored projections hitting everyone just right and in the most serendipitously impactful moments, it honestly felt like seeing a stripped down Indian Jewelry if its foundations were rooted in No Wave. Just the sheer unexpected power of the music, the way Logan's guitar work could be both sharp, electrifying and gorgeously melodic seemed perfectly timed toward the end of the whole festival.

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Tom Murphy
Tjutjuna
Early evening, Tjutjuna graced The Mine Stage at the Hi-Dive as a three piece. Which is probably the usual configuration these days. But there was no lack in the band's usual, dynamic wall and wash of sound. Starting out, the trio built a stream of sound that was reminiscent of Neu! except accompanied by some kind of electronic didgeridoo. As usual, Robert Ballentyne tripped the Theremin with the headstock of his bass but it seems easy to forget he does that because it's such an unorthodox yet incredibly pragmatic method that allows him to set off and manipulate that sound while also playing bass. Seems hard to do properly but Ballentyne made it seem off the cuff and easy.

In the middle of the set, James Barone (who also played later in Tennis) set the kind of rhythm that seemed so steady and reliable that it couldn't possibly be increasing in intensity and volume and yet it did. This band has always been very skilled at taking the minimal and making the very most out of it even when it brings in blazing guitar solos from Brian Marcus and tricky, yet deceptively simple, rhythms from Barone and Ballentyne. At the end of the set, Marcus didn't just rip into some cosmic psychedelic rock madness of a guitar solo, he lifted his poor guitar, not the Star Wars guitar, mind you, into the air and dropped it face first on to the stage three times. This after the cable came out of the guitar and he used the end to create chaotic noises that he warped with the wah pedal before plugging back in his instrument. Again, the kind of band that makes the very best of any situation.

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Tom Murphy
Megabats
The Megabats set was so short that you might have done the proverbial blink and you missed it if you weren't there at exactly the right time. The duo wore chain lights, one red, one blue, and black hoodies or the like. They used three DSes with the Korg adaptor to make two or more evolving, circling streams of glimmering sound -- all while one of them was inside Delite and the other outside. A sonically symbolic gesture that may or may not have been intentional to show a synthesis of two ideas and concepts but on the eyes and in your ears.

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Tom Murphy
Quiet Evenings
At the Hi-Dive, the duo Quiet Evenings demonstrated both why the name is incredibly, poetically accurate but also a bit of a misnomer. It sure was low-key, hypnotically beautiful ambient soundscaping but it also wasn't the kind of music you could really ignore. At times it made you think of what it must be like to be an animal sequestered to a cage in the cargo bay of a gigantic airplane with the motors going and creating that steady, mechanical, meditative vibration while an interpretation of the scene below passing beneath the clouds.

This sound also evolved out of, or incorporated, bright atmospheres and soothing textures that would have been perfect music to accompany time lapse footage of plant growth and the cycles of the seasons passing like that incredible scene from the 1960 version of The Time Machine with Rod Taylor. By the end of the set, the music really got to you in the best way. Like you could feel it trickle into your psyche with its purity and subtly transformative qualities, cleansing your dreams of any hint of nightmares.

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Tom Murphy
Happy New Year
Apparently Eleanor Logan, an Australian who has been living in New York for the last half a decade or so, had only been in town since Wednesday and had practiced with her bass player and Crawford Philleo and there was some nervousness about the set. But all those concerns, while valid, didn't really seem present as the trio performed Logan's songs with an ease and intensity that projected an unexpected charisma and confidence. There was an emotional fragility to Logan's singing that inexplicably reminded one of Marianne Faithful's haunting songs for Broken English. If one could call this music poppy No Wave psychedelia, that might encompass elements of the songs and performance in a short phrase but if this is Logan's early phase of this project, we can expect something truly great when it has reached its first plateau of creative maturity. Logan had a soulfulness rare in music that could have come out of a New York art student with good taste in music discovering and pursuing the first rush of creativity in another artform.

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Tom Murphy
Samurai Buck
Samurai Buck's first show was at The Camp Stage at Delite. Most people probably know him as "that one guy with the Star Wars guitar in Tjutjuna." But, really, Brian Marcus has been one of the most consistently interesting musicians out of Denver the last half decade or so. Samurai Buck is him making purely electronic music with a leg in R&B and IDM. Listing the tones and Marcus' creative use of them inside inventive, and inventively employed beats and electronic percussion could probably take up a page on its own. But in the end, he just used that vast array of sound to make upbeat, fun, experimental dance music disguised as a kind of electronic soul and R&B for people who appreciate that music as well as the weirder stuff in equal measure. Marcus struck that balance perfectly.


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