Bands, we feel your pain. We really, really do. BUT, we also know that if this was reversed and it was called Promoter Vs. Band, it’d be equally hilarious.

Band of Horses will release their new album Infinite Arms on May 18 and The Marquee has gotten their hands of a sneak peak of their video “Laredo.” Enjoy!

Spoon returns to a less polished sound on latest offering Transference

:: Spoon ::

:: Ogden Theatre :: April 5 and 6 ::

By Timothy Dwenger

Spoon is back. Not just back on the road, or back on the radio, but back up to their old tricks. For those who thought that 2007’s Ga Ga Ga Ga Ga was too produced, or “mainstream,” their new record Transference is a return to form for the indie stalwarts. From the typically edgy guitar to some lo-fi production techniques, Spoon has delivered a batch of tunes that are sure to please long-time fans and newcomers alike. Continue — Read more »

Sigur Ros’s frontman Jónsi breaks out on his own with debut solo effort Go

:: Jónsi ::

:: Paramount Theatre :: April 21 ::

By Brian F. Johnson

Following their release of með suð í eyrum við spilum endalaust (With A Buzz In Our Ears, We Play Endlessly) in 2008, Sigur Rós’s career exploded far beyond the imagination of anyone familiar with the Icelandic art rock group.

They headlined impressive shows worldwide, closed the Red Rocks 2008 summer concert season and, not surprisingly, their music was picked up, en masse, by Discovery channel producers — a classic soundtrack to compliment gorgeous images of nature. Continue — Read more »

Silversun Pickups support U.K. stars muse on their most recent tour

:: Silversun Pickups ::

:: supporting Muse ::

:: April 6  ::

:: First Bank Center ::

By Garin Pirnia

Los Angeles quartet Silversun Pickups’ textured array of sonic blasts on their Pikul EP (2005) and Carnavas LP (2006) helped to establish them as one of the most exciting indie bands to hit the stratosphere in a long while. But they didn’t exactly earn their success overnight — the group had been together for almost ten years by the time their second full-length, Swoon, became a bona fide triumph last year. An amalgam of the band’s enduring friendships, relentless touring, and pure luck continues to propel Silversun Pickups forward.

“It’s crazy because we’re oblivious to it,” said drummer Christopher Guanlao in a recent interview with The Marquee. “It’s not in our nature to think [of us as famous]. It’s surprising when someone asks us about fame, because we’re just regular people doing the same thing as before. No one treats us any differently.” Continue — Read more »

The Big Pink find solid footholds on the rocky road to notoriety

:: The Big Pink ::

:: Bluebird Theater :: April 11 ::

By Timothy Dwenger

Let’s get this out of the way up front — though their name is a direct reference to one of the most legendary albums of the ’60s, The Big Pink does not sound anything like The Band.  In fact, their drony wall of sound is laced with poppy melodies and arena-ready hooks that have landed them their own headlining tours on both sides of the Atlantic and opening spots for prog-rockers Muse, and indie idols TV on The Radio.

The Marquee caught up with Robbie Furze, singer and guitarist of The Big Pink, as he enjoyed a lazy St. Patrick’s Day in Minneapolis after driving halfway across the country from Portland, Oregon.  Though he said that he wasn’t sure about co-founder Milo Cordell, Furze was pretty sure that there were no big St. Patty’s Day parties on his schedule for the evening. “It’s always one big party; if there is any way to get out of a party, I’ll get out of it. I’m not sure if I’ll be getting wasted today, we have a show tomorrow and I need some down time,” Furze said. Continue — Read more »

FoCoMX kicks off second year with an impressive 15O acts in 15 venues

By Jordan Bleckner

Leave it to Colorado to shower praise upon homegrown musicians with the love and attention they so dearly deserve.

The Fort Collins Musicians Association (FoCoMA) will, this month, host its second annual Fort Collins Music eXperiment, or FoCoMX. This year’s festival, which encompasses multiple stages in Fort Collins, is fifty percent larger than last year’s innaugural event, boasting 150 acts in 15 venues.

Some of TheMarquee’s picks for FoCoMX Must Hears are:

:: Danielle Ate the Sandwich ::

:: Friday, April 9 @ 11:45 ::

:: Stonehouse Grille ::

Danielle Anderson, also known as Danielle Ate The Sandwich, is a folky, ukulele-toting singer/songwriter who is by no means tethered to any particular topic. She admittedly writes songs about things she feels deeply about as well as things she would eventually like to feel, and at her age we’d say she has plenty of time. Easy to crush on and cute as a button, Anderson straddles the line between folkie and hipster and comes away with admirers on both sides.

:: Peace Officer ::

:: Saturday, April 10 @ 10:30 ::

:: Aggie Theatre ::

Peace Officer is a smorgasbord of various genres all freshly rolled into one large rhythmic supergroup. A cup of dub here, some hip-hop there, and sprinkle in some melodic lyrics from a sharp-tongued, witty lyricist and you’ve got what Peace Officer affectionately calls ‘Dub-Hop.’ Using haunting, memorable samples covering everything from funk, jazz, scratch and the always insightful historical sound byte, Peace Officer is a extravaganza of sound for the socially conscious hip-hop fan. Priding themselves on their energetic live concerts, the band works to entertain and educate with their stories of life, love, passion, and struggle.

:: Halden Wofford & The Hi-Beams ::

:: Friday, April 9 @ 10:45 ::

:: Hodi’s Half Note ::

Halden Wofford and the Hi-Beams’ throwback and stylish take on the honky tonk genre is a breath of fresh air amidst other wannabe retro acts. With some of the choicest players on the Front Range and a professionalism that is bar-none, the Hi Beams landed themselves on the famed NPR show “A Prairie Home Companion” in recent years and Wofford’s distinct vocals continue to garner the band well-earned attention.

:: HOSS (Hooked on Southern Speed) ::

:: Saturday, April 10 @ 10:00 ::

:: Hodi’s Half Note ::

An integral part of the Colorado rock scene for over a decade now, HOSS (or Hooked on Southern Speed) is armed to the teeth with heavy solos and thundering bass and is taking their rip-roaring rock down the fast lane like a Camaro with no brakes. The four boys originally from southwest Kansas were clearly aficionados of the Headbangers Ball era and they do their heroes like AC/DC and Motörhead great justice, but they scoff at being called a metal band, and they’re right to do so — uneducated ears may not get the difference, but this is simply loud, fast rock and roll.

:: Candy Claws ::

:: Saturday, April 10 @ 7:30 ::

:: Aggie Theatre ::

Fascinated and inspired by the bellowing sounds and beautifully unpredictable movements of the ocean, Candy Claws sets out to take pop music to new heights with their take on the always evolving, ever maturing, dream pop genre. With their warm flowing style, and sighing reverb-packed melodies, the band is a rejuvenating escape for those looking to get lost in sound and contemplate the deeper things in life. Their album In The Dream of the Sea of Life was recorded in Italy, Fort Collins and the Philippines over the last two years and is said to be a musical companion to Rachel Carson’s 1951 book The Sea Around Us.

:: Arliss Nancy ::

:: Saturday, April 10 @ 7:30 ::

:: Avogadro’s Number ::

Fort Collins has long been a hotbed of alt-country with local heroes Drag The River and Cracker carrying the torch high. But alongside them is Arliss Nancy. Nancy brings forth gritty booze-induced energy and lyrics which ooze with certainty and conviction. These 2009 FoCoMAs Peer Award winners all write, they all pour their hearts into what they do, and they’re all loving every second of it.

:: SHEL ::

:: Saturday, April 10 @ 8:45 ::

:: Bar SS ::

Cleverly initialed as SHEL, this pop bluegrass quartet contains four very attractive and even more importantly, very talented singer/songwriters, producers, mixers, and performers. I stress these titles, as all four girls are professionally trained in these fields by their veteran songwriting father, Andrew Holbrook. They’re receiving praise from all sorts of musical outlets, including some coveted praise from indie-cred dispensers KCRW, who gushed that SHEL’s most recent album was “one of the impressive debuts so far this year.”

:: M. PYRES ::

:: Friday, April 9 @ 8:00 ::

:: The Ramshackler ::

M. PYRES is an ambitious musical project led by (M)atthew Sage. This is not music for people in a rush, no. This is sprawled out, droning, sonic pop music which makes you want to re-think everything you know about yourself.

Concert choices abound leading up to and including the 42O Holiday

By Jordan Bleckner

Colorado has been a legal medical marijuana state since 2000, but over the past year the movement has exploded with dispensaries popping up everywhere, and Coloradans running in numbers never expected to get their medical cards.

The underground holiday of 4/20 has long been a big deal in Colorado, but with the aforementioned explosion, April 20, 2010 is poised to be Colorado’s biggest coming out party. Accordingly, concert promoters have put their best foot forward, and the result parrallels other great music holidays like New Year’s Eve and Halloween.

(For a complete listing of all 4/20 shows, please refer to our calendar section)

:: The Avett Brothers ::

:: Boulder Theater :: April 20 ::

The Avett Brothers are riding high on a wave of newfound widespread popularity as their Rick Rubin-helmed, critically lauded album I and Love and You is a hit amongst love struck young hipsters and those who enjoy the tuneful jangling of The Beatles. The band clearly hasn’t forgotten its roots, as they return to Boulder for a two-night run that is already sold out.

:: High on Fire ::

:: Fox Theatre :: April 20 ::

Yes, I am aware that the name is convenient for the day. It certainly works very well here, but it may also fool you. High on Fire is a heavy metal trio from California, which is probably why they play the self-described genre, ‘stoner metal’ — very low tune with heavy bass to create that crawling, sludgy sound. Fans of Opeth, Mastadon, and Moby Dick will get a large buzz from this group.

:: 4/20 Extravaganja ::

:: w/LuckIAm from Living Legends & Menny More from Easy Star All Stars ::

:: The Root Underground :: April 20 ::

As part of their one-year anniversary celebration, Incredibowl Industries is hosting its own Extravaganja with performances by LuckIAm from California’s Living Legends, Menny More of Easy Star All Stars, Hi-Coup and The Prime.

:: Boulder Cannabis & Music Festival ::

:: w/ Ego vs. Id ::

:: Fox Theatre :: April 17 ::

In the midst of a blossoming Denver/Boulder music scene that has showcased talent of the electronic, alternative, and indie persuasions, as well as a smattering of other potential success stories, Ego vs. Id, still a relatively undiscovered jewel, stand ready to make their mark. Ego vs. Id play the kind of rock and roll that recalls Jet or early White Stripes on some tracks, while channeling Dr. Dog on others, though still managing to hold up to a distinct sound that is all their own. With a new album set to be released any day now, the Boulder rockers will use this 4/20 event (actually happening on April 17) as a CD release party of sorts.

:: Medicinal Bass feat. Pnuma Trio ::

:: Cervantes Masterpiece Ballroom ::

:: April 20 ::

The dynamic, scene-setting musicians of Pnuma Trio — who were recently accepted to STS9’s label 1320 Records — have been known for their forward-thinking compositions and moving, powerful improvisations since their explosion onto the scene in 2004. Their debut studio album Character was self-produced by the band and sports a special bonus track that features Crown City Rockers’ MC Rashaan Ahmad.

:: Pato Banton ::

:: Casselman’s Bar and Venue :: April 20 ::

Birmingham, England-born Patrick Murray has both first and last nicknames. Pato, for “wise owl,” and Banton, meaning “heavyweight,” gives the reggae singer the title of a wise heavyweight. In 2008, he released Destination Paradise, influenced by the spiritual Urantia Book. The now California-based singer started a new band in 2009, the Now Generation, and has been touring steadily with them since the formation.

:: Phoenix ::

:: The Ogden Theatre :: April 20 ::

The Parisian powerhouse returns to Colorado with a sense of newfound confidence. In case you’ve been living under a rock with your fingers in your ears, you’ve probably heard the band’s lead single “1921,” from their new album Wolfgang Amadeus Phoenix that went wild when it was released to radio in February of 2009.

::  Greensky Bluegrass ::

:: Cervantes’ Other Side :: April 20 ::

They almost look like The Allman Brothers. They almost sound like they’re from Colorado. But the five-piece jamgrass fusion band Greensky Bluegrass come from the land of U.P.ers and trolls — Michigan. With their new live project All Access in hand, the band has been on the road relentlessly. Honest bluegrassers with modern chops, the band’s large sound and mastery of the genre allow them to explore new frontiers, infusing rock and roll standards on their own musical terms.

Drive-By Truckers

The Big To-Do

ATO Records

3 out of 5 stars

— Brian F. Johnson

My biggest gripe with The Big To-Do is a trivial matter that no one can help, but one that I can’t seem to get over. The Big To-Do is not Southern Rock Opera — the  2001 double-disc release that was more educational than a college level course on the subject of the South. Those two discs defined  the band’s sound and heritage and will, most likely, eternally be held up as the litmus test for where the Truckers stand.

That’s not to say that The Big To-Do isn’t fine work, but it is not chock full of beer-cans-to-the-ceilings sing-alongs — the anthematic tracks that we’ve come to expect from Patterson Hood, Mike Cooley and company.

It almost felt like this album was going to be one we’d be singing along with and starts off strong with the guitar attack on “Daddy Learned to Fly.” From there, The Big To-Do leads into the Patterson Hood-penned “The Fourth Night of My Drinking” and Cooley’s classic Trucker-feeling song, “Birthday Boy.”

But the band’s storytelling songs take a poor turn when they reach “The Wig He Made Her Wear.” The song is great in explaining an old court case, but does little to engage the listener. It’s almost as if they were trying to come up with another narrative like “The Three Great Alabama Icons” from The Southern Rock Opera, but fell short.

The next track is simply jarring for any long-time Trucker fan. Bassist Shonna Tucker has been writing songs for the band’s last few albums, and “You Got Another” is admittedly a beautiful song, but hearing a female vocal- driven piano song on a Trucker’s album is a little bit like finding a Hyundai engine under the hood of a Peterbilt — it may make the wheels go around, but it’s not going to have any power.

The next two songs, “This Fucking Job” and “Get Downtown,” are both fine songs, but nothing that’s gonna get your heart racing.

“After the Scene Dies” is a great song about the current music scene, and one that Truckers fans will be familiar with as it’s been played live by the band for several years now. The song is possibly the best on the album, and one that showcases Hood’s ability to blend storytelling and songwriting perfectly.

Tucker follows with maybe the most sing-along song on the album with “(It’s Gonna Be) I Told You So.”

Hood’s “Santa Fe,” which he points out in the liner notes was written “before and after soundcheck” on June 17, 2008, is another strong song, and one that feels like it could have easily fit on 2003’s Decoration Day.

And the album finishes particularly strong with Hood and Cooley turning in “The Flying Wallendas” and “Eyes Like Glue,” respectively.

The Big To-Do is not the Trucker’s best work — but maybe that’s just because I’m a pussy who refuses to grow alongside the band. I’ve always referred to such nonsense as “The Peter Frampton effect.” That poor guy could write the world’s best album, tomorrow, but no one wants to hear that from him — they still just want Frampton Comes Alive. I hope beyond hope that doesn’t happen with the Truckers, and that the next album has a couple songs that I can sloppily sing along to with my friends while we spill beer on each other at the show.

Acrassicauda

Only The Dead See The End Of The War

Vice Records

3 out of 5 stars

— Joe Kovack

With the many faces of turmoil plaguing the sands of Iraq, it’s no surprise the youth of the war-torn country are combating the ideals of generations before them. Looking for a release from the angst and turbulence of a country meddled with mayhem, Acrassicauda found heavy metal and became the premiere Iraqi heavy metal band. (Their name, by the way, comes from a type of black scorpion that lives in the Iraq desert.)

Their story is one of exile, migration and threats on their lives, all of which helped to enhance their love of metal. Starting out in a basement recording studio, their lives would change as 2003 came and bombs began destroying their hometown of Baghdad, their rehearsal space, and many friends and family members. The next few years showed no promise in their homeland, as the occupation of Iraq by American forces increased in severity, and threats from death squads that wandered the streets pushed them to flee their country to find refuge in Syria and Turkey, before finally making their way to New York City.

Once in the United Sates, the band received help from Testament lead guitarist Alex Skolnick. But it was the fear of war-torn life back in Baghdad that shaped their music. Confronting death and war on a daily basis while growing up is only a thing of the imagination for most metal bands, but for Acrassicauda it was their reality. Each song is fueled by power-driven riffs, denoted by the anguish that permeates throughout their country.

Produced by Skolnick and mixed by Josh Wilber (Lamb of God and Hatebreed) the four- track EP sounds like a record by a veteran metal band. The first track “Message From Baghdad” is a great beginning to any credible thrash metal release. The fast tempo of the riffs coupled with the intricate soloing of the lead guitar, is reminiscent of the thrash metal greats of years ago.

Only The Dead See The End Of War sounds as if early Metallica and Slayer created a child that was born in the war ragged country, which grew up to have real fundamental reasons to be angry.

Having already gained exposure from their critically acclaimed documentary and subsequent book Heavy Metal in Baghdad, the band fits in with American metal quite easily, with the musical chops of a band beyond their years.

Though the themes of their songs and album are centered on death, war and destruction, the band itself takes no sides, just relates their experiences in a way that so plainly highlights the obvious: war is fucked!

Patrick Park

Come What Will

Badman

4 out of 5 stars

— Brian F. Johnson

Colorado native Patrick Park got a huge leg-up as a singer/songwriter. With a published poet as a mother and a folk and blues guitar playing father, Park is able to deliver deep songs that don’t get hung up on trite lyrics, or trite arrangements, for that matter.

Park has also been at it for some time, deciding at the age of 13 that this is what he would do with his life. With three EPs and two critically acclaimed full lengths under his belt, the now L.A.-based Park returned to the studio with producer Dave Trumflo (Built to Spill, Wilco) to create Come What Will. But not all the tunes were laid down in the studio, and one, in fact, was recorded at his home in the middle of the night in the same room where is girlfriend was asleep.

Park simply nails it on Come What Will and with it positions himself alongside of some of today’s great singer/songwriters. Let’s just hope he comes home to Colorado soon for a few gigs.

:: Patrick Park ::

:: Meadowlark :: April 10 ::

Quick Spins

– By DJ Hippie

Jakob Dylan

Women and Country

Columbia Records

4 out of 5 stars

I don’t know whether to chalk it up to genetics or just good parenting, but Jakob Dylan inherited his dad’s musical talent in spades. This is easily one of the best releases so far this year. The use of horns really ads something Cajun to the mix.

Eazy-E

Eazy Duz It (Reissue)

Priority Records

4 out of 5 stars

When Snoop Dogg took over as the creative head at Priority Records he vowed to rerelease classic albums for a new generation. It doesn’t get much more classic than this solo platter from the late Eazy-E. The album is still as fresh as is was when it dropped. The only bummer is that there are no bonus or unreleased tracks to be had.

The Scorpions

Sting In The Tail

UME Music

3 out of 5 stars

The Scorpions pull out all the tricks of fine German engineering for their last studio album. I’m not going to say it’s a radical departure from any of their other records, because it’s not. What it is, is a solid record from a solid band and a fitting way to end a career. Their upcoming summer tour with Ratt is to be their last.