Music

200% MACHINE

The Cherry Bomb Club in Denver's newest must-see, must-buy, must-worship act

Remember the clubs you had as a kid, where you created secret passwords and turned refrigerator boxes into fortresses? Usually the clubs everyone wanted to be in had the coolest and most eclectic mixes of people. Even as children, we knew to really set our ideas in motion, we needed a diverse concoction of souls who would stand out and make a statement. The Cherry Bomb Club, a local musical blend of pop, techno, and soul, doesn't have a secret handshake, but it certainly opens up a much-needed groove zone where freak flags fly and everyone seems to know the password.

For Cherry Bomb Club, this project signals the evolution of the Denver music scene. Dave Moore as DJ Divineshaker, is the creative digital wizard; Dan Wanush (a. k. a. Legendary) pens wonderfully goofy, sentimental and clever lyrics; Rebecca Vera on cello adds serene gooey melodic lines; and vocalists Angie DeFrancis and blues goddess Erica Brown whip the whole thing into a pop frenzy. The self-titled debut recording hit the streets in August. Most musicians will not easily admit it, but the release of a first record can be exhilarating, nerve-racking, and downright fearful. For the Bombers, they've been around town long enough to learn some hard lessons and establish a number of valuable connections.

After Foreskin 500 dissolved in 1997, Moore began looking for another outlet for music projects. "I was making music out of my house, and I knew Dan [Wanush] from Warlock Pinchers. Cherry Bomb Club is me making the sounds, and Dan writing great lyrics and singing. We bring in other singers who add their own voice to the mix." On the record, the listener is treated to an amalgam of great samples, loops, and digital orchestration that is irresistible. With kick-starters like "200% Machine" and "Amazing Grace," Cherry Bomb Club brings a fresh, sweet sound into a flourishing music scene that can always use a little more fun and booty boogie.

Moore's aspirations go beyond making records. The mundane production process and political business sides of the national music industry have channeled his interests into developing a great live show. While making records is one way of measuring success, Moore wants to show people a good time and steer clear of the "recording contract" circuit. By starting his own label, Divineshaker Records, for Cherry Bomb Club, he maintains all aspects of creative control and wastes no time or energy waiting on a major label's whimsy.

"With Foreskin 500, we worked with a major label, and all it did for us was lose a really good record," Moore said. "When Priority Records decided not to continue working with us, they owned our songs. They owned that whole record. We were left with nothing. And that sucked, big time. With Cherry Bomb, I just want to make great electronic music and do it my way. I want to bring it as close to a total electronic performance as possible, but still maintain some interaction and a show for the audience. That's what Dan's strong lyrics do. And with Erica and Angie singing, we can't go wrong."

Many local bands are moving away from trying to snag a record deal in favor of building their fan base regionally. It's no secret a major record label can throw out some initial money for a quality recording, but because of the Internet, MP3, and other advertising helpers, an artist can do the same work on his own [see our cover story if you don't believe us]. Independent labels are popping up all over town in all genres of music. The decision for Cherry Bomb Club to build a great live show is a wise one, especially in light of its December 28 show at the Bluebird Theatre.

As the smoke cleared and Divineshaker bobbed and weaved at the console, out came a man in a gold suit, followed by a stylish and glittery singer with a blue wig (to match her dress). After that, one tune after another proved the band's versatility and their endless pool of delicious pop beats and catchy songs. Miss Erica Brown is a born performer, her voice sounding better and more luscious with every tune. As Legendary sang (and acted) his lyrics, he also devised new dances for the crowd's experimentation, including "the Clam" and "the Elephant." What comes across most are the individual talents of each persona on stage melding into one infectious night's performance. "Don't Worry Child" and "School Girl Crush" jumped off the record, infused with live energy and, as Moore had promised, "a unique visual experience." --Judy B.

Cherry Bomb Club will continue its path of creativity, and will introduce new singers and songs as time progresses. Look for a brand new website soon, and contact Divineshaker Records at cherrybomb@uswest.net

Another New Wave

You may find yourself ... shooting pool at midnight on a midnight-purple pool table. You may find y ourself ... in the karaoke lounge of a room painted in cantaloupe, aquamarine, violet, and red. You may find yourself ... hypnotized by the naked baby swimming towards a dead president on an 84-inch projection television. You may find yourself ... shaking your groove thing to the pet sounds of Brian Wilson and the Beach Boys. You may find yourself ... drinking like a fish in the company of dolphins and toucans.

And you may ask yourself ... how did I get here? This is not the land-locked city one mile above sea level that I have come to know and love.

Just when you thought that Old Man Winter was the chillest cat to migrate south since acoustic crooner Jewel, along comes Trina Johnson, owner of the newest gay bar on the block called The Wave. Located near the corner of Broadway and Champa, The Wave opened its doors to Denver on the final Saturday of the last millenium (December 30). The grand opening was hosted by cruise director Davie Riddlesprigger and featured complimentary appetizers, as well as giveaways by Coors Light and Dekuyper. Rhythm and melodies were organized by DJ Groove, who mixed everything from Barry Manilow to Destiny's Child.

Though The Wave may indeed be new to Colorado turf, it is far from being a rookie venture. Davie and Trina were both involved in running a successful night-club of the same name in Anchorage, Alaska, for the past five years. Johnson decided to move the establishment to Denver in order to be closer to her family. The other Wave transplant benefit would have to be downsizing. Legal capacity of the Denver edition is approximately half of its Anchorage predecessor, which means more intimacy for patrons, and less promotion legwork for the staff. And speaking of promotion leg-work, The Wave is currently looking for a motivated and experienced individual to assist them in that department. Anyone interested should apply within.

What does all of this mean to you? Good question. If you were raised by the seaside and you find yourself homesick for the coast, then you should probably hop on a plane to California. But if you're looking for a fun place to hang out in Denver, maybe The Wave can satisfy that need. There is only one thing you must not forget at all costs: if you find yourself starting to feel seasick from too many cocktails, just remember that the waves painted on the walls of the nightclub are not real, but the taxi driver idling outside is ready to take you home.

orange peel moses

The Wave is located at 2001 Champa Street (near the corner of Broadway and Champa) in Denver. For more information or directions, give their info line a buzz at 303-299-WAVE or surf to www.thewavenightclub.com

CD Reviews

his foursome from Spain is a far cry from your typical mariachi band. I was half expecting to hear Spanish lyrics with the traditional array of acoustic guitars playing. Not even close. With lyrics like "put it in the ass" over somewhat industrial style music, MetroZubdivision achieves a unique sound. I would put them somewhere in the midst of Nine Inch Nails, Marilyn Manson, The Cure, and maybe even Depech Mode.

Acoustic drums, electric guitar and bass add life to the mechanical sound created by the keyboards and synthesizers. The breathy vocals and triple-X lyrics might just make you want to run out and get a little bootay. The vocalist actually sings!

The melodies are catchy and stick easily to the brain, while the backing music remains more simplistic but definitely not dull. There are three songs that sound somewhat similar, but after a few seconds the vocals come in and the difference becomes more clear. These guys get a good idea and they run with it ... maybe they should walk, because that good idea gets over played at times.

Some songs would be radio playable if it weren't for the naughty lyrics. Black is more likely to be played at a goth club. The best listen would be in the dark with a honey and a smoke. And be sure to stick around for the bonus track. B --Taylor Addison

CD Reviews

There is nothing more fun than being swung up in the air and spun around until your brains are a nice puree. That's why I love swing dancing. I used to be in a swing group in high school, before the great resurgence of this genre came about. We had a blast dancing around until our legs wobbled and we crashed to the ground. A couple years later, swing was the hottest thing since the devil's pitchfork. Now it is dying out again, but one thing remains true: it is still a ton of fun. I was excited, then, to see that I was able to review the latest in a long line of swing and big band compilations, Swing This Baby III.

Swing This Baby III starts off with a bang. The first song, "Oooh Wow!" by The Uptown Rhythm Kings, gets you in the mood to hop and jive. The CD compiles a variety of artists who take you on a roller coaster of sounds from mellow jazz and sultry ballads to blaring trumpets and screaming hepcats. "Cry" by The Flying Neutrons became my instant favorite of the album, due to the singer's retro vibra-to and the tune's lighthearted mournful-ness. "Make It So" by The Rhythm Rockets also struck my fancy because of its classic big band feel.

There were a few problems I had with this CD. For one thing, the song "Drive By" by Big Tubba Mista confused me a bit. With lyrics like, "Drive by, about time for killing. Drive by, about time to take a shot," set to an upbeat tempo, the song was just a little strange, to say the least. Beyond that, the CD as a whole seemed to be missing something. It was like I had heard all of this music before. I suppose this is because Swing This Baby III is rounding off swing's great revival and the radio has made us a little sick of these songs.

The important thing to remember is swing music is fun. For dancing, nothing beats swing music and for this genre, Swing This Baby III is a very good compilation for all swing fans and anyone that doesn't have that one big band CD to fall back on. Give it a shot. B ÑElizabeth Beeson

BEAT DIET

Richard D. James was born to a tin miner from the ghettos of Cornwall. His childhood interests included hip hop and sniffing petrol, though not necessarily in that order. At the tender age of 13, he rewired his first keyboard because he was dissatisfied with the patches available in its soundbank. Eventually, he took an electronics course at Kingston Polytechnic in London, but dropped out after a year. The second half of 1991 saw the world's first exposure to a handful of James' compositions (via Exeter's Mighty Force label) under two different pseudonyms ... Analogue Bubblebath, and the more widely recognized Aphex Twin.

James, who once referred to making music as a bodily need, has since released countless singles, albums, and remixes under a variety of different aliases including Polygon Window, the Dice Man, and Gak. "Surfing on the Sine Waves," "Donkey Rhubarb," "Bucephalus Bouncing Ball," and "Windowlicker" are just a few of the individual track titles worth mentioning (both for their obvious wordplay value and their monumental importance to music history). His most critically-acclaimed release to date was 1992's Selected Ambient Works 85-92, which features the infamous Willie Wonka sample, "We are the music makers, we are the dreamers of the dreams."

Whether Richard D. James is collaborating with minimalist classical composer Phillip Glass or tweaking a sample of sandpaper on a cheese grater, it is no surprise that critics in the know consider him to be the Beethoven of electronic music ... but then again, maybe they're just afraid of being run over by his tank.

--orange peel moses

For more information on Richard D. James, log on to www.joyrex.com or www.aphex-twin.com