Hold-ups & fever dreams: Briffaut releases the long-awaited Helsinki

March 2, 2018

written & photographed by Meesh Deyden for the masses

For fans of Arcade Fire, Of Montreal, Camera Obscura, BadBadNotGood, Sufjan Stevens, DeVotchKa, Tame Impala and oh so many more ensembles, we present to you Colorado Springs based outfit, Briffaut.

Daniel James Eaton (left) and Alex Koshak (right) of Briffaut

Briffaut (pronounced Bra-foe, roughly-- you can google it) spent the last two years loving and hating what it has taken to release their latest album, Helsinki. Between members quitting the band for other pursuits, not having access to recordings they did for the album, trying to be likeable in an industry fueled by likes, to struggling to self-mix and master the project, Daniel James Eaton and Alex Koshak seem to have finally pulled it off.

Helsinki is a tour de force, sometimes feverish sonic explosion marrying dreamscape vocals with heavily layered multi-instrumental crescendos. Listeners luxuriate in what feels like a quintessentially French cinematic siesta of Briffaut's "wild new future music" with tracks like "Domino" and "Pomegranate." It's a record you can listen to anytime for any reason.

The album release show, presented by Grouphug, is Friday March 2nd at Syntax Physic Opera featuring opening acts in/Planes and Down Time. Helsinki can be purcahsed at the show in cassette and CD. You can purchase the digital album, as well, on Briffaut's bandcamp.

Rostam: Air Max 95s, Counting Persians, and What Makes a Great Show

February 19, 2018

What makes a great show? Is there a rubric?

Written & photographed by Meesh Deyden

Something special must be happening when a concert photographer wants to put down her camera and be fully present at a show. About 4 songs in to Vampire Weekend alum, producer extraordinaire, Discovery co-vocalist Rostam's set at Globe Hall, I found myself retiring my shutterbug perspective for a bask-in-the-glory-of-all-that-is-holy mode of showgoing.

Rostam & his string quartet (photographed by Meesh Deyden)

You can tell when a show is gonna be dope even before it starts-- there are indicators. Fans shout and cheer before the performer even takes stage. Greetings amongst attendees range from blissful silent nods to full on sparks of nascent friendship. The house is packed, and no one's too drunk or too sober. It's good vibes all around. Globe Hall had all that goin Friday night, and then came the string quartet.

Rostam's touring band is composed of a bongoes-focused percussionist and a MF string quartet. So here we are post-opener Joy Again, and here comes a MF string quartet. Now, if you know Globe Hall, you know the venue feels an awful lot like a high school auditorium with its linoleum floor and collapsed faux-wood tables lined somewhere out of the way. Take that image, add four men with their violins ready, music stands positioned just so, and you've got what looks to be the start of the most handsome high school recital ever.

This, all before any music begins.

Rostam backstage (photographed by Meesh Deyden)

Rostam first played the last song off his Half-Light album, a reprise of his hit "Don't Let It Get to You," followed directly by the album's first track, "Sumer," creating an extended crescendo reflective of his conductor-like approach to structuring his live performances. This approach was also evident when he expertly guided the audience in singing the beat for "Rudy." We weren't on time, so, being the producer/conductor he is, kindly advised us to start over and he'd "lead [us] back in."

Belting along seamlessly now, and almost as sweetly as Rostam's electro-modified vocals, fans bobbed and jived to the singer who seemed to smile with every lyric.

Mid way through the set, Rostam, who is of Iranian heritage, posed a query for the snugly packed crowd, "How many Persians in the audience?" Denver, though white af, still boasted 1, with the dude exclaiming, "I'm the only one!" to a now giggling audience. Rostam, touring much of the mid-west recently, responded that "in Minneapolis there was one, but she was my cousin." And while this interaction may seem insignificant, lighthearted engagement between performer and audience about race & ethnicity in America in 2018 is pretty damn spectacular.

Now if all this isn't already the makings of a good show, Rostam has to go and play his harmonica, repeatedly caress his mic stand, call for the lights to dim for a song that heralds "everyone of us has felt the lights go down," and bring an encore that showed us B side material (a cover of Nick Drake's 1971 Pink Moon) and a "brand fucking new song" that'll surely grace the charts with its lusty lyric "we are sweating with no clothes on."

So yea, I put down my camera. I noted his slick Air Max 95s, dutifully appreciated them like my editor in chief taught me, and I enjoyed the show.

You can stay updated with Rostam's latest here.

Do you like drugs?! MØ & Cashmere Cat probs do, too.

February 8, 2018

Cashmere Cat opened for Danish singer/songwriter Mᴓ on Tuesday, February 6th at The Ogden Theater and it was surprisingly lit for being the beginning of the week. Cashmere Cat, if you’re unfamiliar, is a DJ, record producer, musician and turntablist on Interscope Records that work with a lot of big names and has a pretty signature sound and sound bits that go along with his whole getup. In front of a setup of 8x3 lights, Magnus August Hᴓiberg of Norway, got the crowd moving with favorites like remixes of Purpz & Miguel song, “Do You Like Drugs?” and “Quit (ft. Ariana Grande)” off his new album 9 which came out in April of 2017. Parts of his set were quit dancey and even on the verge of dubstep, whereas others were very dark, housey, experimental, and reminded me of deep house master Nicolas Jarr. Cashmere Cat’s set was definitely different than the ones I’ve seen previous to this, but it was really awesome, and he set the mood for Mᴓ quite well.

Mᴓ is Karen Marie Aagaard ᴓrsted Anderson is a tiny frame, cool blonde mullet, and an undeniable rock n’ roll energy on Sony Music Entertainment. She is a singer, songwriter, and electro pop producer who is kind of taking the pop world by storm. She was vibrant, grateful to be in Denver, and a true pleasure to watch perform. The light setup that was present for Cashmere Cat split for her and her band, and if you’ve ever seen the babe perform, you know she loves to move around, and so she had to have space to do so. An electro pop sound, lyrics that seem to relate to most people, and a powerful voice have the crowd swooning, then you add her energy, and you get a pretty magical experience. She played fan favorite “Nights With You” much earlier in the set than expected, but it was fucking awesome, and had the whole crowd singing along. It’s nice to a see a pop anthem live, because the energy in the room is undeniable. New song “Bb” off her new EP is a hit , and really struck a chord with the crowd it seemed. The whole set was upbeat, well thought out, and really well executed.

Overall, this show was balanced by the acts that performed, and that reflected in the crowd. Cashmere Cat drew a younger crowd, and Mᴓ a slightly older, more versatile crowd. The energy was right, the performers were on point, interactive, obviously giving it their all and enjoying themselves, and it was a happy Tuesday indeed!

Cashmere Cat photographed by Meesh Deyden

February 2018 | Denver's Most Highly Anticipated Shows

February 1, 2018

Tu 2/6 MØ and Cashmere Cat at Ogden

So you pride yourself on listening to the acts that eventually blow the fuck up, but you're also not a pretentious git who ditches the rush of the tunes soon as your makers make it big. I am talking to you, hip-hop/deejay head, with your eyes on producers who finally release their own ish! Cashmere Cat's been in the game for years, sonically sculpting hits for everyone from Ye to Grande, and now's your chance to catch him reppin entirely his own vibes. This co-headlining tour with Danish popstress, MØ (pronounced MUH), is sure to bring party from doors open til security sweeps you out the Ogden and onto cold ass Colfax.

TIX: $30ish // Pro-Tip: Don't be an asshat to the X-hands (aka Under 21) that'll surely be there not so sneakily smuggling shooters to each other. You were a teen once, too, old man.

The Velveteers photographed by Robert Castro

F 2/9 The Velveteers EP Release w/Bud Bronson & The Good Timers, Plastic Daggers at Hi Dive

Rock and roll is not dead. In fact, some of it is alive and creepy af and from Boulder?! The Velveteers "Death Hex", as Dylan Owens of Denver Post's The Know writes, is a "cut-to-the-bone single" and we quite agree. They have limited songs accessible online, so head to show and grab their tunes an old fashioned way-- buy the album at the merch stand.

TIX: // Pro Tip: Keep your eyes peeled for Karl Christian Krumpholz's next comic for Westword featuring The Velveteers. PS we <3 this band, and you can check out our previous coverage here.

Sa 2/10 Black Star at Ogden

"Hard knuckles on the second hands of working class watches / Skyscrapers is colossus, the cost of living is preposterous." As Denver small talk now also includes anyone's best guess of the number of cranes along the Mile High skyline, it couldn't be a better time to hear two of raps most pioneering political figures, Mos Def (aka Yasiin Bey) and Talib Kweli, rage face. This last minute booking has hip hop fans ready and anticipating, but the $65 price tag may lure away the very people our conscious MCs are rhymin for.

TIX: $65 // Pro-Tip: Your friend bails and you have an extra ticket? Hand it to a fan outside the gates and make someone's night.

F 2/16 Rostam @ Globe Hall

Yep, he was in Vampire Weekend. No, he's not Jack Antonoff. He's a dude who NPR writes as "helping to reshape pop music with West African guitar licks crossed with unusual polyrhythms and joyful melodies." Collaborating with acts like Ra Ra Riot, Haim, RAC, and Discovery, you can expect a lot of bubbly beats and billowy vox tracks during his set at Globeville's Globe Hall. Unfortunately, the show is sold out, but we're sure our readers now how to navigate that lil obstacle, legally, of course.

TIX: SOLD OUT-- buena suerte // Pro-Tip: Head to the gorgeous Fort Greene bar across the street for happy hour, then p/u some bbq from Globe Hall, and gorge on cheap beer til openers Joy Again take the stage.

Sa 2/17 Classixx DJ Set @ Vinyl

GO IF: you love indie rock but kinda hate dancing, but you resolved to give less fucks in 2018, and just wanna move, man. Vinyl is a sweaty club off Broadway, and no one's gonna be worried about your two step. These LA DJs got you.

TIX: $16ish // Pro-Tip: Avoid wearing that Classixx tee you copped from H&M. It ain't them and they're suing. No, really.

Su 2/18 Majid Jordan at the Gothic

If Majid Jordan hasn't secured a spot on every playlist you've made for bae, you're doing it wrong. The Toronto duo first caught our attention when Drizzy featured them on "Hold On, We're Going Home" and later signing them to his OVO Sound. Now, fair warning-- this show's gonna be sexy af. Like, baby makin music. Like, people feelin themselves maybe not so metaphorically kind of vibes. Like, maybe you do want that shot of tequila.

TIX: $30ish // Pro-Tip: Parking can suck around the Gothic-- careful of side streets that only allow resident permit parking.

W 2/21 Brent Faiyaz @ Lost Lake

I mean, we don't wanna say he's a good place holder for your Frank Ocean fix, but he hits that nerve-- eclectic, tender & sincere, classic yet new. Faiyaz, one of the trio Sonder, and Maryland made former rapper, kicked off his solo tour in Chitown at the end of January. Seeing him at an intimate venue like Lost Lake is sure to be a moment fans will refer to years from now when he's playing global festivals and showing off his friendship with Solange-- oh wait, that's sorta already happened.

TIX: SOLD OUT // Pro Tip: Post up outside Lost Lake with your best puppy dog eyes and get yourself a damn ticket.

We'd like to secure a slot on this monthly list for Reader's Choice.

We'll be sharing how to get your pick listed later this month, so stay tuned to our Insta & FB for more info.

February 2018 Playlist

pictured: The Velveteers shot by Ultra5280 Editor, Robert Castro

We Were Carried Away As Passion Pit Dropped By Denver Monday Night

January 25, 2018

Michael Angelakos of Passion Pit (Photographed by Meesh Deyden)

Monday night we dashed over to Colfax and caught indie-electronica band, Passion Pit at the Ogden. After what felt like forever, or just in time to drink a couple beers, the foursome finally waved their way onstage and started us off with crowd favorite, 'Sleepy Head.' Lead singer Michael Angelakos' voice is unequivocally as high pitched as you would expect and his preppy style resembled an even shaggier Jim Halpert on stage.

We had never seen The Ogden that on fire before, figuratively speaking of course. After the initial set was done the boys took off backstage for about 1 minute. During that time the crowd roared and stomped so mighty that the powerful force of the crowd made the floors vibrate. They returned with their most-favored crowd pleaser, 'Carried Away.' If you didn't catch them in Denver this week you may regret it in the near future. Angelakos' announced in July that he's been struggling with his career in the commercialized music industry. In early 2017 in an interview with Pitchfork Angelakos discussed launching the Wishart Group. The organization provides special services to artists such as legal help, education and health care. He may have to break away from his artistry to give his full consideration and attention to Wishart. Cheers to your future no matter what it may be, Mr. Angelakos and thank you for a killer show!

Credit: https://pitchfork.com/news/passion-pits-michael-angelakos-not-done-with-music-but-says-the-industry-nearly-killed-him

For Overcoats, success stems from a telepathic connection

December 9, 2017

It’s an hour before set time and the inseparable duo that make up New York based band Overcoats is getting ready in the Airstream green room in the back of Denver’s Globe Hall. Hana has discovered she has mistakenly put on JJ’s red boots instead of her pair of red boots.

Overcoats L: JJ Mitchell R: Hana Elion (Photo Cred: Meesh Deyden)

“I was wondering why they felt so weird,” Hana says, so they switch pairs. From the 10 minutes I’ve spent with them so far, their shoe size may be one of the few distinguishable differences between this formidable twosome.

JJ and Hana met their freshmen year at Wesleyan University, and have been moving as a unit ever since. They started singing in an acapella group, and after winning battle of the bands together, began making their own music. “I promise I’ll hold on / ’til I’m the last one standin' / ’til all that’s left is one,” and here on their first song penned, they linger, “little memory.” There, in the lingering in-between harmony, is where they’ve led & let us in to the heart of their friendship.

“We got each other the same gift at the airport one time. Rose scented perfume" they told Jon Hart of Kansas City's 90.9 back in October. Even in their songwriting they share an almost telepathic connection. Talking about their creative process when they jetted off to Ireland post graduation, JJ tells in the same interview, "When we came back with what we had come up with [for the 2nd verse of 'Nighttime Hunger'], it was almost word for word exactly the same."

Special s/o to Overcoats drummer, Joao, for hooking it up w/the double iPhone lighting here (Photo Cred: Meesh Deyden)

In a performance for Audiotree earlier this year, Hana said, "Our friendship is foundational to what we do because we're discussing things like heartbreak, relationships with our parents-- it's pretty intense, vulnerable stuff, & to have that trust and loving foundation there is really important and makes it easy and healing for us to share our experiences with each other and write about them together." Listening to first lines from tracks like "23" and "Walk On" on their first full length album, YOUNG, you immediately get a sense that these two dive deep and true from the get out, a motif that runs through the whole record.

Complemented by the production stylings of Nicolas Vernes (Dirty Projectors, Daughter) and Autre Ne Veut, YOUNG waves from dance-party rawness, drum-machine centric-- "Leave the Light On"-- to western bell crooner-- "Mother"-- without any sort of confusion. It's no wonder they've racked up accolades like making the list for one of Billboard's Best Albums of 2017 So Far, securing a spot on NPR's Fave New Artists of 2017, to most recently selling out New York City's Bowery Ballroom in November.

When I asked them what they wanted to achieve heading into 2018, these big-dreaming-make-it-happen babes didn't miss a beat. "We need to make a list," JJ asserts. "We aimed too low, maybe," Hana clarifies, showing their unbridled ambition and faith in their creative work together. "Tiny Desk was a dream. Bowery Ballroom was a dream. SNL is one for me, opening for Coldplay," Hana checks off. "Bonnaroo, Glastonbury... Our goals are festival oriented."

Overcoats performing at Globe Hall (Photo Cred: Meesh Deyden)

They're also gunning for more creative autonomy. "We really wanna be in charge with what’s going on creatively," Hana says about their experience co-directing their latest music video, "I Don't Believe In Us." "We were planning the video while on tour and we decided we wanted to write the treatment ourselves."

"We were insane though," JJ points out. "Everybody kept telling us you should probably choose between a giant flower wall and smoke bombs cause it’s kinduv a lot to pay for both and execute both & we were like 'Na Na Na Na Na Na Na- we want it all.'" So they got 'em both and did the damn thing. Executing your vision as emerging women artists in the music industry can come with its own particular struggles, something Overcoats spoke about explicitly in our interview.

"It’s really nice to see [...] so many women headlining shows & winning Grammys, and also carrying with that a political message," JJ explains. "I really appreciate that and it makes me more comfortable being in this profession. [But] there are still a lot of incidents where so much of the sexism in the music industry is [...] covert."

Hana continues, "It's not specifically men saying ‘sleep with me to get to the top’ it’s more like I’m carrying my amp on stage and a guy says to me ‘Aren’t you gonna sweat too much.' It’s little stuff like that." It's also something else to different women in the industry, a reality Overcoats recognizes and shouts out during performances of their song "The Fog."

"The future is intersectional feminism," JJ improvs between the "freedom is when I'm without you" chorus. "That common ground, that thing where women are coming together and having empathy and understanding each other, that's a real inclusivity," Hana shares. "It’s important to stress what that inclusivity means to us, because inclusivity gets used and it doesn’t actually include everyone." From finding that common experience in their writing process to collaborating with fellow women creatives, Overcoats is "working every day to hold other women up."

JJ: It is often easier to hate other women, it’s easier to judge them.

Hana: — and we’ve been on the other side of that.

JJ: Yes, yes we have. We’re guilty of talking shit about other women just because society teaches us that that’s our enemy, that’s who we have to beat to get the the top. We’ve been, unfortunately, talked shit about, and neither feels good, really. Understanding what other female musicians go through, and what other female creatives go through, and beyond that, what any women go through [is what] we strive to do. I think [that] has been the challenge and the most rewarding thing.

It's about 20 minutes before Overcoats is to take the stage, and I find myself thinking the same thing over and over- "I feel like I'm getting ready for a night out with my girls," I tell them. "You are!" And it's with that affirmation I realize these two will make it to the top, not by pushing anyone out, but by letting them in.

Words & Images by Meesh Deyden