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Rattling with the Haunted Windchimes

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After nearly a decade of hard work and dogged determination, Pueblo’s beloved Haunted Windchimes have solidified themselves as not only a local or statewide force to be reckoned with, but a nationally-touring, festival-headlining, chart-topping Americana powerhouse (they were recently ranked as the #1 Folk artist globally on reverbnation.com).

But after ten years of grinding it out, what really continues to impress and move me about them is despite the long drives and endless miles, from small scale gigs to big festival sets, good nights and bad nights alike, the Haunted Windchimes now stand as something more than merely a band; they stand as a family unit, quite literally and otherwise. The love and respect that they hold for one another are always on display in the songs they create and on the stages they share.

PULP | So how long have the Windchimes been a band for now? Were there ever plans for a long career with it, or was that even thought about?

 

Inaiah Lujan | Desi and I started the group in 2006 shortly after we started dating. Much like the spontaneity of Desi and I’s meeting and beginning a relationship, the ‘Chimes were born in a similar spirit. We didn’t really plan for the long term or approach the project in terms of it being a career, rather appreciated it for what it was in the moment — something new to explore and get to know each other in the process.

 

Desirae Lujan | I personally didn’t think much about the future of it, I was just happy to be doing it right in that moment.

 

Chela Lujan | I used to write stories when I was a kid about a girl in a famous (pop) group. I think I was supposed to be doing this – I’m just a folk singer instead.

 

Mike Clark | I’ve been in the band around six and a half years with a year of guest performances before that with my old band The Jack Trades. I believe we have always dreamed of “making it”.

 

Is it ever hard at all to retain “the fire” from when you first started as a group?

 

DL | I feel like we have trouble with it all of the time, just never when we are playing. That’s what keeps me going. New material and new sounds help to fan the fire when it feels like it’s dwindling.

 

IL | So long as we are constantly growing and reinventing ourselves, “the fire” lives on, that spirit in which it was created goes and goes and grows and grows. Not to say it doesn’t come with ups and downs, it takes hard work and constantly reminding ourselves why we do it.

 

CL | There are definitely times when you ask yourself “What am I doing?” especially when you played a show that makes you feel like you just started playing music yesterday. There’s also the age-old fact of getting older and starting to think of things like health insurance and a retirement plan. I love to sing and I love to play, and I really love to do both of those things with these three people in particular. That makes all the actual hard work and doubt musicians deal with worth it.

 

MC | Sometimes it is hard, but it seems like every time we are about to give up somebody in the band steps up and stokes the fire all over again.

 

There’s a noticeable shift in sound and aesthetic on your newest album. Am I mistaken?

 

DL | No, I think that’s a real thing. We want to stretch the limits of the genres that we and our audiences have put us in. It isn’t that we have anything against those genres, it just feels really good to open up a bit.

 

CL | The only thing that stays the same is change, right?

 

IL | For me, the “shift” as you put it has been a natural evolution of us growing and maturing as songwriters. “Rattle Your Bones”  is our first studio record since we released “Out With The Crow” in 2012. In that time we have experienced so much as a band, a lineup change, numerous tours, successes and failures and gained perspective that only experience and time could allow. All of this finds it’s way into the material we write in a completely organic way.

 

MC | Some of these songs are as old as the ‘Chimes. I feel like the change comes from the sound of our new arrangements.

 

Was the change up a premeditated decision to do so or a natural shift of focus for the group as a whole?

 

IL | It’s rare we sit down with a particular theme or concept in mind when we write, we write what we feel, and the hope is to write something we’re proud of and are willing to play night after night.

 

DL | A little bit of both I think.

 

CL | There are four songwriters, different ages with different experiences, but we all seem to have some sort of connection that allows us to move together fairly well as a group. I don’t think it was premeditated – we just all arrived there at the same time.

 

MC | As far as my writing goes, I’d say I’m in my classic southern rock phase and the band lets me sneak one in every once and awhile.

 

Being one of Pueblo’s biggest, if not biggest musical export, do you ever feel and kind of pressure to exalt the positives of Pueblo? Or do you even think about that kind of stuff?

 

IL | Yes and no. On one hand we all want Pueblo to be better, to reach it’s full potential as an arts and music community.  We’ve watched it grow and thrive and crumble collapse over the years and grow again… That’s the beauty of it though. One thing for sure is we (Pueblo people) are a resilient bunch, and it is in both our successes and failures that make this town great.  It’s honest and it’s home. So to answer you question, we love to shine a light on all the positive things happening and that have happened in our little town, but not shy away from the negative aspects, or the hard times — but rather draw inspiration from it.

 

DL | We try to have Pueblo’s back without over glamorizing it. We want people to respect and appreciate it, but we don’t want a mob to move here and buy up all the good houses before we do.

 

CL | I can’t even tell you how often we hear “You’re from Pueblo?!”  We feel proud to represent what it is and what it has the potential to become. We also want to help in creating something good here despite all the hardship. Pueblo doesn’t have to stay this dangerous, drug run industrial town just because that’s all we and surrounding areas think we can be. There are lots of locals working really hard to change that and it’s exciting.

 

MC | We are all very fond of Pueblo so it’s easy for us to speak highly of the city.

 

Do you still like touring as much or as often as you all do?

 

IL | Touring like many things in life is a rollercoaster, ups and downs and all-arounds. We love to travel and do it well, but we’ve done some hard traveling too. The trick is to not have unrealistic expectations and to try to keep yourself open to new experiences even in times when you feel like you’re going through the motions. Life on the road can be bountiful and it can be soul crushing, but we rest in knowing that even the harshest of winters has a springtime ahead. We are grateful for the opportunity to travel and bring our music to new people and towns and we have those who support us, feed us and house us to thank for making it tangible.

 

DL | I still love to tour, it’s just a little more exhausting than I remember it being in the beginning.

 

CL | I’ve found touring to be much more enjoyable in the last few years than it has been in the past. Being solid in relationships, feeling like a veteran on the road, knowing just how long is too long, being able to go with the flow are all things that make it easier. We travel pretty well together and touring for 8 plus years certainly helps you know the ropes and know each other.

 

MC | No.

 

What do you want your listeners to come away with after listening to ‘Rattle Your Bones’?

 

IL | I’d like listeners to come away with a sense that they bought the ticket and took the ride and that somehow related to their own life experiences, in that we have all loved and lost, have had joys and pains, extreme highs and lows, so we may as well sing out! All together now.

 

DL | I just want them to feel good like we did when we made it.

 

CL | I hope Chimes’ fans are just excited about taking the journey with us as we are sharing it with them.

 

MC | I want them to feel like listening to it over and over again. It’s a very nice record as a whole and plays great front to back.

 

Does playing music with family ever present any additional or unforeseen challenges?

 

DL | I want to say that we bicker because of it, but I don’t think we really bicker more than any other traveling band. There’s a whole lot of love there; we’re family!

 

IL | I’ve played in a lot of bands, plenty that didn’t include family members, so I know the family dynamic isn’t mutually exclusive to the experience or dynamic of any other band. It has its problems and challenges, but at the end of the day we are a family, not in the literal sense, although it is that too, but in the sense we have each others backs and love and respect one another greatly, and just downright enjoy making music together, which trumps any disagreement we may have.

 

CL | I always wonder what it’s like for Inaiah to be in a band with his little sister and now his wife. Inaiah and I mostly worked out our sibling strife when we were younger, really he’s one of my best buds and I imagine I’m harder on him than he is on me. The other two just get to see how weird we are – they get to see traits and family dynamics amplified.

 

MC | Every once and awhile Inaiah and Chela get into a tiff over who was playing with the Stretch Armstrong first, but after I threaten to turn this car around they usually stop.

 

Is there anything or anyone in Pueblo that isn’t getting the attention it deserves?

 

CL | I used to work on the east side at Diamond Jim’s – now it’s the Pacific Warrior MMA gym. These guys are doing a lot for the community teaching mixed martial arts, MMA stuff. They’re teaching kids how to channel their energy in a good way – with integrity and respect. They just got a interviewed by the New York Times – that’s a pretty big deal!

 

MC | I really like the stand-up comedy scene in Pueblo. I think in time you may see some of them finding success on a larger stage.

 

Any plans for the Windchimes in the coming year?

 

MC | We are hoping to record and release a few singles this summer so keep an eye out for those.

 

IL | Our plans for the future is to focus more on well planned and curated events like our CD release show at the Sangre De Cristo. It’s so easy to get caught up in the play as often as you can rat race of the music world, but we’re taking a step back and focusing more on quality these days, making sure the whole experience is great for all involved.

 

Last Question; What is your karaoke jam and why?

 

IL | (laughs) I have a couple of go-to’s, but I’d have to say “Maybelline” by Chuck Berry is my favorite, don’t think I need to explain why!

 

CL | “Blue” by LeeAnn Rimes. She’s got country pipes for days so it’s good practice.

 

MC | “Try a Little Tenderness” by Otis Redding. It’s my jam.

 

DL | Fiona Apple’s “Criminal”. Because I always know it, no matter how many drinks, and because it’s swanky. Not very original, but I love it anyways.
The Haunted Windchimes will release “Rattle Your Bones” 5/13 at the Sangre De Cristo Arts Center in Pueblo, CO. Tickets, Pre-Order and more info at www.hauntedwindchimes.com

One more thing...

Local and independent journalism is under threat in the West and you change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads or putting up restrictive paywalls and that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.
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Arts & Culture

Acoustic heartbreak in the Colorado San Juans with John Statz

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John Statz by Veronica Holyfield

Songs about heartbreak should resinate. And with John Statz they do. They’re equally soft and striking.

His new full-length album “Darkness on the San Juans,” available May 11, takes an acoustic turn from his other recent work. Then, he had full bands in studios. With this project, he gathered a few friends in his living room to record.

Like heartbreak itself, the album is more personal, more raw and more intimate. The Wisconsin native who now calls Denver home said he hasn’t done something quite as stripped down in a while, and when it came to get back into songwriting after the release of his last album last summer, there was also a reason to write.

It was the aftermath of a breakup.

“We retrace our steps. We look at what we thought we knew. We ultimately discover and face the truth under the stories we told ourselves along the way,” he says of the album.

In addition to the post-love songs, the album features a few songs Statz previously worked on but didn’t have a place on an album, and songs that are meant to be more acoustic. “Presidential Valet” is the story of Armistead, President John Tyler’s valet, or slave, who died alongside seven others in an explosion after Tyler and members of cabinet were watching the firing of the “peacemaker” in 1844.

So, this album is about heartbreak. Did that change how you wrote or approached the album at all?

Yeah. It just kind of comes out more — I don’t know — when you’re writing about heartbreak it’s just seems like the easiest type of writing. It’s just pouring out of you. You don’t have to come up with a concept or a story or any of that.

In the bio you released ahead of this album, it references a pretty famous Ernest Hemingway quotation: “Write hard and clear about what hurts.” Maybe as a writer I hear about this all of the time, but there’s definitely a writing style associated with Hemingway — to write very concise and clear. Did you take any of that with you into the songwriting or was it all about the emotion?

You know, it was the emotion part. I didn’t think about that, but the songs are fairly concise and short. So I appreciate that might also be relevant there even though I didn’t intend that.

The title of this album is “Darkness on the San Juans.” Explain that a little bit.

It’s a line in the song “Highways.” Geographical references are all over my songwriting. On every album I’ve ever written. So it’s a song about driving places with someone and either ending up back at those places later and having other memories being their previously. The San Juans was one of those locations that was important.

Why do you think you end up writing about places so much?

I mean, an obvious answer is that I spend a lot of time driving around to gigs, and I’ve been a lot of places because of that. And just for fun. I love roadtripping around Colorado, and camping and that sort of thing. So it’s not a planned thing. I’m living and breathing this lifestyle from A to B to C and that infiltrates the writing. But also, it’s a convenient rhyming scheme. Sometimes it can be hard to find a word, but there’s usually a city that will fill in.

How long did it take you to finish this album, being that the concept is fairly raw?

It all happened pretty fast. The two non-heartbreak songs, “Presidential Valet” and “Old Men Drinking Seagrem’s,” were older. They’re social commentary tunes. But I just hadn’t recorded them to yet and I was waiting for an acoustic album to do that. I started writing in the summer. I decided in December to record them. I called my friend Nate, flew him out in January. And we recorded it in three days in my living room.

Had you recorded like that before?

It’s been a while, but yeah. My first couple albums that I made when I lived in Madison, Wisconsin, were like that: recorded at home and more stripped down with the production and just making use of what we had. The last three albums were full bands or went to a really professional studio. This is how I made records way back.

Why did you decide to do it this way?

The songs mostly had an acoustic feel, and I sing in my living room a lot. I have this open, high ceiling. So I play my guitar and sing in my living room a lot. I think it sounds cool in there. I thought we could make a cool recording there. I liked the idea of making this intimate album in my home. It was a comfortable, cozy way to make an album.

So everything about this album seems more intimate that what you’ve done in the last few years.
Yeah. Definitely. Everything is. There’s only four musicians on this album, and one of those is my roommate who did knee slaps.

I also noticed on the album credits was an oatmeal container.

So I bought a plastic egg shaker because I thought I maybe wanted to some percussion. But it just didn’t sound that cool. I was like, well we have oatmeal around the house. There wasn’t much left in one container and so we shook it and it was a way better shaker sound, you know?

The inspiration for these songs were the feelings that linger after a break-up. Was there a cut-off point there since emotions always evolve, especially in these instances?

It’s a process. A relationship ends and we all go through the phases. Months go by and you change how you feel. The me that wrote those songs and recorded them months back is a different person. I’ve evolved in the process.

Did you have to simmer to write these songs or was it immediate?

I wrote the first song like a month after. I was trying to write again because I write in cycles. I had just put out an album at the beginning of last summer and when I’m in album release mode I’m not writing as much. But when that’s over I want to write. This time I wanted to write again and I had a fresh reason. I find it a little uncontrollable. I’ve never not written about any breakup I’ve ever had. It’s just part of the territory of being writer. I haven’t written anymore since I wrote those. I’m in album-release mode. I think I decided I’m done with these songs on this album. That’s part of the reason why I wanted to get it out. This part of my life is completed and now I will write a bunch of songs about U.S. presidents or something like that.

I noticed on your social media you like presidential biographies.

Yeah, I do. My friend Jeffrey Foucault is a songwriter and he gave me a LBJ biography. I really liked it, so I thought I’d give George Washington a try and I just kept going.

How many are you up to?

I’m almost done with Grant, so 18.

So far do you have a favorite based off of biographies?

Grant has been really interesting. Lincoln was fascinating. Martin Van Buren. Great sideburns.

Back to the album. Do you think the listener can hear an evolution throughout the album?

Yeah, those songs were written at different times, so probably. I’d say it’s a snapshot of what somebody goes through, or at least what I went through. But I think what most of us go through after a breakup.I just think most people have been through it so I hope they can identify.

I just think most people have been through it so I hope they can identify.

You can purchase Darkness in the San Juans at johnstatz.com. 

One more thing...

Local and independent journalism is under threat in the West and you change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads or putting up restrictive paywalls and that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.
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Arts & Culture

Soul mates: An interview with Colorado’s in/Planes

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I feel the need to take a quick second to clear something up—I watched the band in/PLANES get married. Not for this article, mind you; the ceremony was years ago. I have been friends with musical and otherwise soulmates Inaiah Lujan and Desirae Garcia for over a decade at this point (due in no small part I’m sure to our mutual enthusiasm and passion for local music). As a result, I have had the opportunity to bear witness as not only their music but also relationship has burst and bloomed into multiple amazing endeavors. Whether it was their passionate and spirited take on Dustbowl-era Americana as members of folk revivalists the Haunted Windchimes or the wonderfully intimate lo-fi solo albums the both of them have released over the years, these two have a continually impressive musical output and a charm that I have always been excited to delve into. Hell, they even played in my basement once upon a time.

But none of them have struck me quite the same way as in/PLANES has. “Radio Wave,” their first full-length offering via Denver indie record label GROUPHUG, is something altogether different; something wondrously unique. It could be their voices. THOSE voices—honeyed and harmonious—especially whilst entwined in the duets that frequent the songs of in/PLANES. It could be the melodies they create—a riding-high blend of 50’s sha-la-la doo-wop, 60’s sunshine pop and indie-birthed soul—that feels distinctly pop without the trappings of sounding glossy or over-produced. Where tons of modern indie acts are ready to make a loud racket, in/PLANES instead opts to let the grooves play out sparsely and intimately, with inviting musicianship and vocal performances that envelop the space surrounding them. Whether live in concert or in the car, the music of in/PLANES holds on tightly and never lets go.

PULP: It’s weird trying to formally interview you guys; being friends makes it weird to ask you questions in a regular way.

Inaiah Lujan (guitar/vocals): That’s okay.

Desirae Garcia (bass guitar/vocals): We’ll be semi-formal.

IL: Business casual. (laughs)

I did do some research though, and I realized that in/PLANES has been around for longer than I remembered. But this new album is your first full length?

IL: Yeah. This is our first formal release that isn’t an EP. And also first physical release. There is some intention with that. You know that we are champions of analog stuff; Cassette tapes are my first love; I grew up making mixtapes. And CD’s have always felt pointless to me, but for so long we played the game because you used to HAVE to have CD’s on the merch table. But this band has been pretty vocal about our disdain for CD’s; “Radio Wave” is only going to be available on cassette. You’ll get a digital download with purchase of the tape.

Speaking of which, what does the name “Radio Wave” mean in regard to the band?

DG: It’s a line from the song “Why Didn’t You,” a song that is actually not on the record. (laughs). But it’s the very first in/PLANES song we ever wrote. We wrote that song, and it felt like it was part of a totally different project; it felt different than anything we were doing. So maybe it’s a nod to the beginning of the project. We like to think of the song as kind of a breadcrumb to where we are at now.

IL: The benefit of this band is getting to take our time with things; to be more intentional. So now we have been releasing stuff retroactively. The EP we released just last month is stuff we had recorded from our apartment; “Radio Wave” is stuff we put together with Adam Hawkins from Right Heel Music and our drummer Carl Sorensen, and we already have another album in the works.

For me, it also has dual meaning; in/PLANES seems to always create this kind of duality. “Radio Wave” also musically reminds me of when people were only listening to the radio. It kind of plays to idea of this vintage-pop genre we’re kind of going with.

DG: That’s also the music that this record is really inspired by.

IL: The EP feels like kind of a sampler or mixtape for what we’re all about, but this full length is more focused; a little more of that classic pop sound. It’s a fitting title for sure.

DG: Also it’s 1,000,000% love songs; which is bad and good. (laughs)

When you wrote “Why Didn’t You,” did it feel like a song intentionally for a new project?

IL: I think it just presented itself that way; I had been toying around with some chords, and I had been trying to write a song and I didn’t know where to start with melody or lyrics, so I had Desi help me out and it came together really quickly.

In doing so, we realized that we hadn’t collaborated in that way with just the two of us since the beginning of the Haunted Windchimes. At that point, the ‘Chimes had already become four contributing songwriters and had developed a strong formula; in that way it felt like not exactly a departure, but something new that we could try and explore on our own.

DG: It came out really naturally and organically. And it didn’t fit anywhere, either with the ‘Chimes songs or solo songs.

Do you feel like fans of the ‘Chimes and your solo efforts are following you down this path?

IL: I think so. We are all taking a break with the ‘Chimes for now, but we haven’t officially announced that to our fans, so sometimes we’ll get messages asking where we’ve been and why haven’t they heard any news about the band. So maybe some people are a little resistant to it. I don’t know.

DG: It sounds different enough so that some people aren’t going to be into it, which is okay. The other day, someone left a comment on the Windchimes Facebook page asking about us, and another person commented back saying “you should check out in/PLANES and (Haunted Windchimes member Mike Clark’s) the River Arkansas” and the first person commented back “We just like ‘Chimes’ style music,” which is okay! You don’t have to follow us everywhere.

IL: The great thing about being an artist and a musician is the ability to shift gears and follow rabbits down different holes. And with in/PLANES, we’re already trying to get out of our own box and comfort zone. But the common thread that ties it all is that we write all of the songs together, and we wear our influences on our sleeves.

So if you had to explain what you think in/PLANES sounds like, what would you say?

DG: That is my least favorite question, because it’s so hard to explain. The shortcut i usually go for is throwback, vintage pop with some rock tendencies. And if they’re listening after that, then I’ll just keep talking until they walk away, because it’s so difficult to answer.

But like to go with vintage-pop, because if someone says rock & roll, I don’t feel attached to that. We write pop music; all the formulas, the lack of formulas…

IL: It does feel like something you would turn on the radio and hear in the 50’ or 60’s to me, but our modern influences still sneak in; we’re both big fans of hip-hop and country music, and it all gets in one way or another.

DG: Digital drums are where we lose a lot of people. They’re like “WHAT? Is that a digital drum?” And I’m like, “Yup, it is.” (laughs) It’s those 808 beats.

The electronics are really subtle in your songs though.

IL: I think so too. I think we just want to be able to write a song without putting it in a box, you know? But at the same time, making sure to trim all of the fat; which may be contradictory.

We’re not trying to write complex songs. I don’t like to have any rules, but I do like to set limitations on myself; almost like limiting your color pallette if you’re a painter.

DG: Not to be pigeonholed, but also maintain some cohesion. Present yourself in a way people can understand. I don’t like to tell people what genre of music we are, but it is helpful for us; it makes us more focused.

IL: Knowing where the line or limitation is and knowing how far we can push it over causes a tension we like to work under. It’s good tension.

DG: You can’t put me in a box—only I can put me in a box!

“Radio Wave” from in/PLANES is out 5/3 on cassette via GROUPHUG records, with a slew of release shows and a digital release to come soon thereafter. For full dates and info, head to inPlanes.com

One more thing...

Local and independent journalism is under threat in the West and you change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads or putting up restrictive paywalls and that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.
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Music

CO Springs emcee Che Bong goes outer limits on new psychedelic full length

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Electro-Soul Hip Hop | Che Bong – From the dusty ‘Amen break’ heavy loop-gone-psychedelic of album opener Telescope to the lo-fi space rockin’ of album ender The Paradox of Time, CS emcee Che Bong (of Bullhead*ded) has really outdone himself and the genre itself on Telescope to the Heavens. With an album full of immersive and challenging-yet-chill hip hop musicality that owes just as much to free jazz and psychedelic rock as it does to hip hop and neo-soul, Che is on some next level stuff.  Get. On. It.


90’s inspired Alt-Punk | Hooper – “No Monument” from Denver Rock City punkers Hooper does a couple things very well; it provides stellar songwriting and momentum building, gives a healthy shot in the arm of indie-slathered 90s era punk rock, and in doing both provides a direct line to the sonic and perhaps more importantly workhorse aesthetic of the nascent indie punk heyday of the 90s. Trip out on that, holmes!


Blackened Sludge-Punks | Worry – The newest EP from Colorado Springs heavies Worry is not for the faint of heart, smashing heads on the punk rock with a bludgeoning mix of seething sludge metal and intrinsically intense hardcore know-how. Monolithic and absolutely monstrous, the seven raw cuts on A Celebration of Suffering are gloriously bleak, blackened and smolder with an actual extremity that most other “extreme” bands often lack.


Slow Burn Indie Rock | Wrinkle – Mind melding and photosynthesizing the big hook power-pop of early Weezer and the Rentals with the wide-eyed indie bend of Neva Dinova and Cursive, Denver’s indie rock supergroup of sorts Wrinkle are a slackers fever dream; a haze of unaffected yet disaffected indie-fed pop rock that first and foremost rules and that is more commercially viable than them nor I would care to admit on their newest offering A Kaleidoscope of Butterflies.


All releases available for purchase now thru Bandcamp. Go Local!

One more thing...

Local and independent journalism is under threat in the West and you change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads or putting up restrictive paywalls and that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.
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