Killing Kings are getting back together for the reunion show the Denver hardcore scene has always wanted but never expected. Three and half years after their last show, the band is reuniting to raise money for a friend who was hurt and struggling to pay medical bills without health insurance. The show is slated to take place on Friday, May 18, at the Rock House in Littleton (6560 S. Broadway), a church by day and an all-ages, alcohol-free venue by night.

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Enemy Reign guitarist Nick Guenther will spend the next six weeks in a leg brace after an on-stage accident at Vaporfest last weekend, and it's partially my fault. The animated Guenther was rocking out at the Summit Music Hall when suddenly, three quarters of the way through Enemy Reign's first song, it happened. "I gave it a good ol' metal stomp," says Guenther, whose knee then buckled, toppling him four feet off the stage and onto the sound board. "The sound guy tried to catch me, but no one is going to catch a guy my size."

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MySpace

The men of Macabre.

Metal is often stereoptyped as being a violent genre. And while violence is a indeed a common theme in the lyrics of many bands -- and granted, even the concept of mosh pits is violent -- when you combine that with the violence we're all exposed to in movies, TV and video games, it's easy for metal-heads (or anyone really) to become desensitized to violence. The violence in metal never gave me pause until I interviewed vocalist/guitarist Corporate Death from the Chicago band Macabre.

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This week's sign of the music industry apocalypse: Atlantic has signed singing hobbyist Gwyneth Paltrow to a $900,000 deal. This, of course, is total batshit lunacy for every reason, starting with fact that there is no way this relationship is worth $900,000 to either party and ending with the fact that Gwyneth Paltrow is not very good at singing.

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Oh, the magic of sibling collaboration. Why band members seem more interesting when they are related, we're not sure, but Los Angeles folk-ish brother-sister duo Belle Brigade definitely have that going for them. Beyond that, they also carry some Joe Cocker coolness through sister-half Barbara Gruska's soulful vocals.

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Forming at the tender age of fifteen in the early '00s, there's no doubt the Coronas sound was shaped by The Strokes and their ilk. At times, the still youngish four-piece even channel a little of that Gin Blossoms' movie soundtrack charm -- guitars and piano merge dramatically with drums and bandleader Danny O'Reilly's super emotive vocals.

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Britt Chester

Backyard Bangers

This past Saturday, we stopped by the Backyard Bang, which stretched between Lincoln and Sherman on 12th. We noticed the riders all had headphones in, so being all about the music, we asked them what they were listening to during their respective drops, rail slides and whatnot in the scary-as-hell Scion Death Gap (note: Only one Scion was injured in the event with a broken windshield wiper, dented hood and scratched windshield). Click through to see what they said.

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Yesterday, Eryc Eyl discussed Michael Trundle's debut remix. Today, he delves into Trundle's musical background a bit and unveils the remix itself.

"The entire song is there," says Trundle, with a hint of pride. "In some places, it's separated by some beats, but it's all there." The DJ is now working on a treatment of the Pixies classic, "Hey," and he says he'll be taking the same approach with that track. "These are songs I love," he says. "It'd be kind of a shame and an insult to the artists to not include the whole song. I want all those lyrics present. I want Danzig to hear it and not completely hate my guts."

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Michael Trundle (aka boyhollow)

​A couple weeks ago at Monolith pre-party, something new and unexpected caught my ear, a track Michael Trundle (aka boyhollow) played as he warmed up the crowd for the Cool Kids at the Gothic Theatre. It was an electrified, dancefloor-friendly version of the classic Danzig tune, "Mother." Instantly recognizable, the remix had me singing along, throwing up devil horns and dancing like an ecstasy-fueled rave monkey. As I looked around the floor, I noticed I wasn't the only one responding. The entire front of the Gothic was bouncing and screaming "Mother!" at the top of its lungs. At the end of the set, Trundle revealed that he had created the remix -- his first -- and all I could do was grin.
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Soren McCarty

​Most years, I make it up to Red Rocks for just one show. It has to be a real occasion -- something to make it worth the drive, the parking, the overpriced beers and the difficulty of escaping once the show is over. Two years ago, I made the journey for Ozomatli, and I left when the headliner, Los Lonely Boys, launched into its onanistic set. Last year, it was Daft Punk, I think. This year, I thought Leonard Cohen was going to be the one show worth the hassle -- one beautiful, magical, once-in-a-lifetime moment up in the hills to catch a performer I've longed to see for more than twenty years. Turns out I was wrong. Tonight, I'm heading up for the third time this summer, so far.

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