We’ve all seen the flurry of
music festivals popping up over the last five or
so years, including the resurrection of Lollapalooza
and it’s revamped program that restricts the
event to their Chicago home base, the shift of jam
band heavy Banaroo to indie/alternative rock superstars
like Sigur Ros, Death Cab and Radiohead taking over
the stages, and the emergence of Capitol Hill Block
Party in Seattle, which has begin to overshadow
its predecessor, Bumbershoot.
But none can say they take place in the historic
and world-renowned Red Rocks amphitheater. And
as with the innagural Monolith
Festival in 2007, the two-day event
will again take place in this magestic and magical
place September 13 and 14.
For those traveling here, let’s just say
that Denver’s an easier place to find an
affordable hotel than say, in San Francisco for
the Treasure Island Festival (although, Kaffeine
Buzz will be there as well, and that fest is highly
recommended).
For those of us who live in Colorado, it’s
pretty much a no-brainer, saving the time, cost
and hassle of traveling, whether by plane or by
car.
But for everyone concerned, it’s this year’s
line-up that has many amazed. We’re talking
Silversun Pickups, who went from playing Hi-Dive
to nearly selling out the Ogden in less than a
year, along with the unheard of occurrance for
most indie bands we listen to --commercial radio
airplay. Vampire Weekend also took the speed record,
jetting from a small practice room on the Columbian
campus to the cover of Spin after the release
of its self-titled debut.
Justice, who filled the Ogden at the beginning
of the summer will be back, and then there is
the hometown superstars done good, DeVotchKa.
And it just keeps going from there – Cut
Copy, Atmosphere, Del The Funky Homosapian, Port
O’Brien, The Presets, The Foals, Chester
French, The Fratellis, Superdrag, Pop Levi…and
that’s just a little over a third of the
line-up for Saturday!
Stretch out the calf muscles before you pass
out Saturday night, ‘cause Sunday is more
sensory and dancery overload -- CSS, TV on the
Radio, Tokyo Police Club, The Kills, Tilly and
the Wall, Snowden, Does It Offend You, Yeah?,
The Giraffes, along with local acts Astra Moveo,
The Wheel, Hearts of Palm, and Chain Gang of 1974.
This year Monolith is taking advantage of technology
and our multi-tasking/every-minute-booked/tied
to our cellphone/iPhone/PDA culture and have released
a “Build-Your-Own Custom Schedule application”
so you can keep the chaos straight.
They’ve also got a VIP
Gold Pass Package available for those
music fans that want to treat themselves. It includes
a pre-party on September 12 at Bluebird, featuring
Cloud Cult, The Dutchess and the Duke, and Young
Coyotes, and a VIP after-party at the WOXY.com
stage that Saturday night, with Passion Pit, Candy
Coated Killaz, and over at the Rock Room Stage,
Hood Internet, Boyhollow, Jackola and White Williams.
Of course, there are the passes for both days
that are included, along with reserved seating
near the soundboard and VIP parking in Red Rocks
upper North parking lot, which will save you a
bit of walking time that you will no doubt make
up for during the course of the two days. To resuscitate
yourself, pop on over to the Monolith VIP-only
Lounge and private bar (which from what I remember
from last year, has 2-for-1 beers from 5pm - 6pm...or
was it 4pm to 5pm? Okay, don't quote me on that),
and have unlimited use of the Oxygen Bar in the
Red Rocks Underground, a new addition to the festival
and one that visitors and homies alike will enjoy,
especially if you were talked into Jager shots
the night before.
And for the foggy moments that may occur during
the two days, there is the 2008 Monolith CD sampler
and posters to help you remember anything you
may have forgotten or missed, and handy eco-tote
bag to carry it all.
Last year, in addition to the non-stop band schedule,
there were a number of booths set up near the
outdoor stage atop the amphitheater, some of which
were interesting, some not-sa-much. But it gives
one some perusing time and a chance to catch your
breath. We also do not recommend eating and stair
climbing in unison to save time; this has proven
to be a choking hazard. We have seen a mix of
scouring for a cigarette while picking up the
ladies, which was performed by Jordon & Co.
for one night only as the festival was winding
down.
Stay tuned to Kaffeine
Buzz for features on the performing artists and
other Monolith related news. In the meantime,
check out just a few of our shots from
2007.
If you want to do something right, do it yourself.
Or do it by yourself. Listening one of the new
tracks “Let’s Make It Tonight”
from the new EP When the Apple Drops,
by The Chain Gang of 1974, you
could easily picture at least three dashing men,
whipping up potent electro cocktails on stage
– singer, bassist, and keyboardist. But
alas, Kamtin Mohager it is the lone gang of one,
and he’s one hard working dude.
This solo act has more punch than a high school
dance, whipping kids into a moshing frenzy with
legs, heads and arms wave at a frenetic pace to
match the music emanating from the stage. Mohager
will keep things rolling after his CD release
party tonight at LIFESpot, heading down to the
Springs to The Element, performing with The Wake
Up, Of The Wolves, and Quote The Raven.
In line with his track “New York Dressed
Girl,” Chain Gang will hit up The Knitting
Factory in NYC after he performs with the load-o-fun
dirty-boy, hip-hop act, 3OH3! Stay tuned to this
local talent: www.myspace.com/thechaingangof1974.
Having missed the CD release party for Astramoveo,
one of Denver’s latest acts to emerge from
the confines of four walls, I was excited to get
my hands on the band’s new E.P. (thank you
Jason Roth).
Like most handmade E.P. art pieces, it was numbered—so
I was to have in my possession number 44 of 300.
It is the size of your average novel, made of
a light sandstone, thin cardboard material and
a blood red imprint of the band’s brand,
picture, member (Tyler Hayden,
Christophe Eagleton, James
Cromwelll Holden (the III?) and song
listings, cleaning laid out by MATTER.
Much love was also sent out to Mark Clevenger
and two studios were listed as the spots
were the magic and music took place—The
Mortuary Mansion (this sounds like a haunt Disney
himself would have drummed up…but it is
rumored to be the abode of Mr. Holden) and New
Japan Studios.
New York loves this boy. So do I, and so should
you.
Joshua Novak is a Denver native
who creates intense and awesome singer-songwriter
material comparable to the emergent New York solo
artist scene that holds claim to such burgeoning
acts as Devendra Banhart and Kimya Dawson.
During an evening discussion with a Twin Beaks
Shiraz and a Luis Bernard Cotes Du Rhone at the
Paris Wine Bar, Joshua told me that he doesn’t
care to be lumped into the singer-songwriter category.
“I write music and lyrics, but everybody
brings something to it.” He says in reference
to bassist Giovanni Toninelo, drummer Arbon Reimer
and sometimes the electronically proficient Gann
Mathews.
Joshua also doesn’t care to take flight
to a city where his sort of career is so established
that one could search for openings on Craigslist.
He would rather contribute to the local music
scene.
Fresh off their weekend at Coachella,
Does It Offend You, Yeah? arrive
to a rather sparse, but highly energetic reception
at Slim’s in San Francisco.
The turnout is probably partly to blame on their
set being at the barely rock-o’clock hour
of 9pm. Considering that this is a two-band bill
(with Yo Mejesty the headliner), one would expect
a later start.
A bit more of a crowd had gathered
by the time the boys took the stage after a twenty
minute push-back, presumably for the room to fill.
Drummer, Rob Bloomfield is strangely
missing as the band begins. The band intruduces
themselves to a rousing applause, and someone
yells, “You guy were great at Coachella!”
Singer/bassist, James Rushent
replies in his British accent “Thanks”.
Before they begin, someone else yells, “Tell
us a story about Coachella,” and all Rushent
has to say is, “Portishead stole the show.”
The sound on “Weird Science”
is coming off a bit hollow, and the sound manager
is fiddling with a cord with the band’s
full attention. One false move… and the
sounds completely dies. The band blames this on
their absent drummer, but it looked more like
an issue with the techie equipment of sound-stylist,
Dan Coop.
