Larimer Lounge, Denver 80204Report Issue

Larimer Lounge, Denver 80204


2721 Larimer St Five Points
Denver, Colorado 80204
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Today's Shows

Wed, May 22, 2019 (8:00pm - 10:00pm MDT )
Radkey with One Flew West, And The Black Feathers
Radkey

As pre-teens growing up in small-town Saint Joseph, Mo., brothers Darrion “Dee”, Isaiah and Solomon Radke enrolled in rock‘n’roll high school as their ticket out of Nowheresville. The brothers played their first show opening for Fishbone in 2011 and haven't looked back since. In 2013, the Cat & Mouse and Devil Fruit EPs took Radkey from sweaty backroom punk gigs to storming the UK's Download Festival and Riot Fest in the U.S. In 2015, Radkey enlisted Arctic Monkey's producer/mixer Ross Orton to produce their debut record, Delicious Rock Noise. The result was an across-the-board detonation of several shades of rock, punk and wild abandon –and riffs, riffs, riffs. Having kicked off 2018 with new music, Radkey’s sound has continued to expand and mature, reflected in the sleek guitar and growing bass on their new tracks "P.A.W." and “Spiders” It's a testament to the future of music, and the band is primed for rock and roll glory. “By playing a retro style of hard rock/punk (while adding newer layers like sludge), the band is able to tune into an overall feel that hasn’t really existed since the dawn of Nirvana: seriously good rock that doesn’t take itself so seriously.” (New Noise)

$10 - $12

Upcoming Shows

Thu, May 23, 2019 (8:30pm - 10:30pm MDT )
A Shadow of Jaguar with Boot Gun, Will Buck (of West Water Outlaws)
A Shadow of Jaguar $10 - $12
Fri, May 24, 2019 (9:00pm - 11:00pm MDT )
The Greeting Committee with Haley Blais, Corsicana
The Greeting Committee

The Greeting Committee's full-length debut This Is It is a coming-of-age story in album form, a reflection on growing up but defiantly holding onto a certain innocence. All between the ages of 19 and 21, the Kansas City-based band delivers an undeniably original selection of songs that feel as intimate as a basement recording but unfold in intricate textures and melodic sophistication. And with her delicate yet powerful vocals, Sartino instills This Is It with an openheartedness that transcends age and time, bringing both dreamy sensitivity and wide-eyed wisdom to every track. "A lot of the album is about that point when you get to 19 or 20 and look around only to ask yourself, 'Why did I want to grow up so badly? Is this all there is?'" says Sartino. "But at the same time, the album holds songs that were written when I was still in high school and experiencing a lot of big firsts, so it's also a soundtrack to those moments, the ones that lead me to where I am now." This Is It arrives as the follow-up to Meeting People Is Easy, a 2017 EP that marked The Greeting Committee's debut release for Harvest Records. Working with producer Andrija Tokic (Alabama Shakes, Hurray for the Riff Raff) and recording at The Bomb Shelter in Nashville, the band expands on the finespun brand of alt-rock that landed them a major label deal when they were still in high school. As The Greeting Committee's most fully realized work to date, This Is It finds the foursome enlisting background vocalists, horn players, and a string section to shape a lavish but gritty sound perfectly suited to the album's vast emotional scope. Throughout This Is It, The Greeting Committee sustain a raw vitality that makes even the melancholy of the album-opening "Is This It?" feel hypnotic and thrilling. On "You've Got Me" the band shifts into feel-good romanticism, the song's soulful horns and backup vocals blending with Sartino's lovestruck lyrics ("Built my life around sound to keep you dancing"). "Flint" brings jittery rhythms and jagged guitar work to its exploration of "being afraid of your own potential and revolting against your future," as Sartino puts it, while the "Don't Go" offers a shimmering and sweetly hopeful meditation on coping with abandonment issues. And with its airy grace and tender harmonies, "Gold Star" examines what Sartino refers to as "the weight of being the eldest daughter, as well as a big sister to six younger siblings, and how that can be tough but also so rewarding." This Is It also features a longtime live favorite for Greeting Committee fans, a string-laced serenade named "Birthday Song." In penning the lyrics, Sartino drew from a journal entry she'd written on her 16thth birthday. "I was thinking about how your birthday begins to hold a sense of sadness as you get older, how the unknown of the future can be so paralyzing. That led me to create a story of a boy at his eighth birthday party," says Sartino. "He's sitting there looking at his cake on what is supposed to be the best day of his life, but something feels wrong. Everyone is looking at him as though the cake is going to eat him instead. He later discovers that his parents are getting divorced, something everyone else in the room already knew. From then on he stops believing in the magic held in a birthday candle." With its quiet intensity and heart-crushing lyrics ("Wishing too hard for them to stay/You burnt the house down"), "Birthday Song" pulled from her own experience in dealing with her parents' divorce. "It kind of came from imagining what would happen to my little brother if his parents got divorced," she says. "Even if it's a story I'm making up, there is always a bit of truth." On tracks like "Birthday Song," Sartino shows the elegant songcraft she's honed since she was a kid. "I've been writings songs for as long as I can remember," she says. "In first grade someone asked me what I was going to be when I grew up and I said a rock star, and from then on that's all I wanted." Thanks in part to the influence of her stepfather, who took her to a Vampire Weekend show when she was 12, she later channeled an edgy sensibility into her songs and began performing at open mics at age 14. "I was playing songs I'd written myself, but I just felt really lonely up there," she recalls. "After a while I met Brandon and he started accompanying me, and it felt so much better." Yangmi and Sartino soon brought Turcotte and Fraser into the fold and, in a nod to a T-shirt worn by John Lennon in a Beatles documentary, named themselves The Greeting Committee. Formed in summer 2014, The Greeting Committee self-released their debut EP It's Not All That Bad in fall 2015 and sent it to local radio station 96.5 The Buzz. The EP quickly caught the ear of programmer/on-air personality Lazlo Geiger, who played lead single "Hands Down" on The Buzz and helped the track to amass over 10 million streams on Spotify. As record labels came calling, The Greeting Committee ultimately signed with Harvest Records and put out Meeting People Is Easy in March 2017. Since the breakout success of "Hands Down," The Greeting Committee have spent much of their time on the road, touring with the likes of Jukebox the Ghost, Saint Motel, Tennis, MisterWives, and Andrew McMahon in the Wilderness, in addition to appearing at major festivals like Lollapalooza and SXSW. "While we were still in school, we'd do two-week runs whenever we could," says Sartino. "Our teachers were fine with it. I think they realized, 'Okay, these kids have a record deal, I don't need hound them about solving some math equation.'" Like any work of art that honestly documents the formative years -- including J.D. Salinger's The Catcher in the Rye, which Sartino names among her songwriting inspirations -- This Is It invites endless revisiting, revealing new insight each time. But for Sartino, who recently wrote an essay for Rookie about her experience as a queer frontwoman and how her goal is to "show others that they should be confident in ways that make them comfortable," The Greeting Committee's central mission is provide a sense of connection and solace. "I think what people look for in music is vulnerability, and the feeling that someone else understands what you're going through," she says. "My favorite part of all this is having people tell me that something I wrote made them feel less alone, because that's what music's always done for me and for the people I love."

$12 - $15
Sat, May 25, 2019 (9:00pm - 11:00pm MDT )
The Spirit of the Beehive with Strange Ranger, Rowboat
The Spirit of the Beehive

The Spirit of the Beehive have a fascination with contrast. The cover of their 2015 EP YOU ARE ARRIVED (but you’ve been cheated) juxtaposes the rare beauty of an urban sewer canal during sunset, with a washed-up body of a young woman sprawled peacefully beside some floating trash. The album that followed, 2017’s pleasure suck, explored the sick irony of pain brought on from overindulging in bliss. Its first track featured the line, “pleasure sucks the life out of everyone,” and the record’s erratic nature—spontaneous shifts from flowery psych-pop into dissonant passages of grimy distortion—evoked the discordant effect frequent substance use has on one’s psyche. Hypnic Jerks, the Philly quintet’s third full-length and second for Tiny Engines, sounds like, as frontman Zack Schwartz puts it, “the state between wakefulness and sleep.” It’s named after the involuntary muscle spasms that can happen right as someone begins dozing off, a perfect feeling to compare the album’s drowsy yet restless character to. Unlike the spiraling momentum of pleasure suck, The Spirit of the Beehive took a more grounded approach with Hypnic Jerks, though the ground they’re standing on is equally otherworldly. Dreamy is a fitting adjective, but the songs never fully slip into the peaceful yet backgrounded character of dream-pop. Rather than an ongoing fantasy, the record has the quality of an indescribable dream fading from memory as you slowly begin to regain consciousness. Its warped guitar tones, transcendental synths, and smattering of eerie audio samples—most come from bassist Rivka Ravede’s old family recordings, which Schwartz sifted through and edited together—conjure this purgatorial space between reverie and reality. An arena where their songs unexpectedly contort themselves and take on different textures, morphing in and out of one another. These tracks were initially designed to comprise a “short mixtape,” which explains the record’s nebulous structure. If you’re not paying close attention to the tracklist, they could easily be mistaken for one, long song. The first two, “nail I couldn’t bite” and “mantra is repeated,” are mid-paced, ethereal bops that sound like if Donovan was informed by The Microphones. They verge on soothing, but they’re quickly followed by the album’s loudest cuts; the tubular “fell asleep with a vision” and “can I receive the contact?”— the shouted ending of the latter being the point where you realize Hypnic Jerks is, deceivingly, not an album one can easily knock out to. “d.o.u.b.l.e.u.r.o.n.g.” begins with a minute-and-a-half- long sample of what once was a cute recording of a grandfather narrating a visit with his grandkids. Here, the band coated it with haunting reverb, scraped it with vocal processors, and uses it to transition into what’s both the prettiest and grimmest pop song the Beatles never wrote. “I’m saying things all wrong / I’m doing things all wrong / now everything is wrong,” Schwartz sings with a quivering intonation, as if he’s physically holding back tears. However, it’s the celestial harmonies, balmy keys and creeping false climax of album closer “it’s gonna find you” that secures The Spirit of the Beehive a seat at this decade’s table of musical visionaries. The track ends with a similarly whirring sample to the one the record began with, finally rocking you off to sleep after ten songs, but leaving you with the undying curiosity to play back what you think you just heard. Jerking your mind awake yet again. (bio by Eli Enis)

$12 - $15
Sun, May 26, 2019 (8:00pm - 10:00pm MDT )
Ten Miles South, VYNYL with Glass Cases, JAZEL
Ten Miles South + VYNYL

Indie Pop band from Colorado | Braeden Burton | John Dowling | Jude Montenez | Dillon Thomas

$10 - $14
Wed, May 29, 2019 (9:00pm - 11:00pm MDT )
Church Of Misery with Mondo Generator, Toke
Church Of Misery $20 - $25
Thu, May 30, 2019 (9:00pm - 11:00pm MDT )
Lyrical Landlordz with Brown Bombaz, BYZ, BE Medina, TMC, Justice Rhymes & The Godz
Lyrical Landlordz (Album Release) $10 - $12
Fri, May 31, 2019 (8:00pm - 10:00pm MDT )
Liz Cooper & The Stampede with The Ghost Of Joseph Buck, Many Mountains
Liz Cooper & The Stampede

There is a collective energy in Nashville, one that Liz Cooper has poured herself into for the past six years. Liz remarks that the energy in Nashville today is akin to that of Greenwich Village in 1960s New York or the Laurel Canyon days in the 1960s and 1970s and is a product of a collaborative approach to music and art. This community has allowed Liz to be a part of many magically haphazard nights, where the movers and shakers of the Nashville music world, such as Okey Dokey, Becca Mancari, Rayland Baxter, Desert Noises, Morning Teleportation, Erin Rae, Brittany Howard, Cage the Elephant, Michael Nau and many more converge to make music and art and lose track of time. Her latest album is a product of that pulsating energy in Nashville that has had some of the greatest influence in her work. Window Flowers is the culmination of a year where Liz made a purposeful effort to do something creative every day. Whether it was directly related to music or not, this creative process challenged and inspired her to continually put herself in new situations and pushed her to become a better songwriter and guitar player. The tentative newcomer that is present in her early recordings was all but gone in the making of the album. Her absorption into the collaborative community is evidenced by guest appearances on Window Flowers including Will Brown (Michael Nau) on the keys, Michael and Ben Ford (Airpark) bgv’s/ guitar and songwriting, Gianni Gibson (Future Thieves) percussion, Leah Blevins on BGV’s, Emily Kohavi (Kacey Musgraves, Eminem etc.) on violin and Steve Dawson on pedal steel. Liz Cooper & The Stampede and their guests spent five days tracking Window Flowers at Welcome to 1979 in Nashville, Tennessee. TJ Elias, who co-produced the album with the band, sparked the relationship by approaching Liz one night backstage at The Ryman Auditorium after hearing her songs through a mutual friend and musician, Cody Huggins. Window Flowers is a collection of music that deals with the weight of mundanity, and politely tells it to fuck off. When listening to “Sleepyhead” you hear remembrances of her early Nashville recordings, mixed with the powerful assertion that this is Liz Cooper, a force that will continue to shape and mold her own course of creating music. Whether you see Liz Cooper & The Stampede in a dive bar or a theater venue, you feel like you are being transported to another time and place. People often remark that her music takes them back to the 60s and 70s, when rock-n-roll felt alive, and bigger than oneself. The album will be released on Sleepyhead Records via Thirty Tigers (Sturgill Simpson, Jason Isbell) August 10, 2018. Coming off their busiest year to-date, including playing Austin City Limits Festival for the first time in 2017, Liz Cooper & The Stampede have spent the first few months of 2018 touring with Lord Huron, Deer Tick, Rayland Baxter, Ron Gallo and Blitzen Trapper. The band will continue touring this year with Houndmouth, Tyler Childers and will play Firefly Festival and LouFest. As Liz shakes her tambourine, hair falling in her face, donning a floral jumpsuit, it is hard to believe she identifies as a shy person. “I wanted to grow as a human and a musician so I had to quickly get over being painfully shy. I moved to Nashville as a scared and unconfident 19 year-old so I had to continually challenge myself and put myself out there. Now, as a 25 year-old I feel like I’ve grown so much confidence. Of course I will always be awkward, but I’m learning to love that. What a journey it’s been and will continue to be; definitely a hot puzzle. As I grow, my music will grow. Music is helping me figure out who I am and what the hell my life is all about and at the end of the day it just makes me happy. Isn’t that what everyone is trying to figure out how to be?”

$10 - $14
Sat, June 1, 2019 (9:00pm - 11:00pm MDT )
Max Styler with Phiilo
Max Styler $15 - $18
Sun, June 2, 2019 (8:00pm - 10:00pm MDT )
Night Glitter with Phallic Meditation, Avifuana
Night Glitter (ft. LouLou of Thievery Corporation)

Night Glitter is a Dreamy Psychedelic Synth-pop band from Austin, Tx. The Band consists of John Michael Schoepf (Guitar, Bass Vi, Vocals) and LouLou Ghelichkhani (Synthesizers, Farfisa and Vocals).

$10 - $12
Thu, June 6, 2019 (9:00pm - 11:00pm MDT )
SubDocta with Contra Scandal, VVIERD, Sektah
SubDocta

Preston Charles, better known by his stage name, SubDocta, exploded onto the scene in 2017 with his wildly successful single “2009 Was Tight”, catching major support from a number of heavy hitters, including Bassnectar. SubDocta is most know for throwing down and producing his own brand of dubstep and hybrid music that he has ‘so eloquently’ dubbed “West Coast Wobble”, paying tribute to his upbringing on the west coast of the United States. In 2018 alone, SubDocta’s music has been released on Fresh Blood, Borgore’s new label imprint and home to some of the hottest up and coming producer talent, as well as SubCarbon, label imprint to the ever-growing Ganja White Night. He has also supported Ganja White Night on a number of sold-out shows this year and has been called on by Riot Ten to support on his 2018 “Hype Or Die”Tour, by Dirt Monkey to support on his 2018 “Rise Of The Octopeel” Tour, and by Opiuo to support on his 2018 “SYZYGY 01” Tour. As one of the fastest growing bass acts, SubDocta has blessed the stages of some of the coolest festivals in North America, including, but not limited to;Valhalla, Big Dub Festival, Lucidity, StillDream, The Untz, Enchated Forest, Infrasound, and Bass Camp, to name a few. With no signs of slowing down, and growing support from all of his peers, you can anticipate his debut EP to release this year on SubCarbon and for his name to continue making noise across the industry. Get ready for the “West Coast Wobble” take over. Coming to a city near you…

$17 - $20