Volume 3, Issue 20
September 27 - October 10, 2001

Music

MUSIC SOOTHES THE TROUBLED SOUL

Therapy for tragedy.

Healing is a process, a mysterious one. What works for one individual might have little effect on another. When we are in good health and pursuing our normal day-to-day routine, our physical body and mental consciousness generally work well together. Since the September 11th terrorist attacks on the World Trade Center and the Pentagon, news stations and community organizations have begun focusing on the human psychology inherent in this awful situation due to the overwhelming amount of people who are having real problems maintaining their "normal" mental and physical behavior.

In a community of artists, most will tell you that their art is healing to them, and that it manifests itself in a myriad of different ways. Music healing, a faction of the psychological and musical communities, applies music to people who feel "out of balance" and focuses on getting the mental and physical back in line.

Music healing is also an individual process. Sometimes it might feel tremendous to pound on the steering wheel to the latest SevenDust record, while in other circumstances quiet chanting or slow-moving synth sounds are in order. In either case, there is release and reflection. The key to successful music healing, according to experts, is not a solitary type of music, but rather the intention of the user.

Two men in the Boulder area continue to develop techniques and outlets for music healing. Jonathan Goldman is president of Spirit Music and director of the Sound Healers Association based in Boulder. He advocates a technique called "toning," in which a person uses his own voice to align the physical chakra points in the body with the mental resilience needed in times of grief and pain. A simple "ah" or "oh" is sung on a comfortable pitch and held through each breath. The body finds its natural rhythms, resonance and breathing cycles, allowing the mind to relax, focus, and release the feeling of being overwhelmed.

Dr. John Galm, a musicology professor at the University of Colorado at Boulder, sees Goldman's techniques as important and expands on those ideas. "Jonathan uses a formula in which vocalization plus visualization equals manifestation which I find extremely valuable," Galm said. "But intention plays the most important part. You can listen to hip hop, classical or anything you want." Without the direction and focus of the listener, Galm explained, the healing properties are less effective.

Dr. Galm recently taught a graduate seminar in music healing which explored different cultures and the implementation of music in day-to-day life. The students found American culture, unlike most of the others including African, Native American and Mexican, to be infused with background music. Music permeates American culture but is often unfocused and used as a distraction. Both Goldman and Galm believe that music healing can aid a person dealing with great sorrow, fear, and pain. Music is personal and emotional, forming deep connections in the minds and hearts of listeners than can reach levels of "therapy" many traditional psychologists cannot.

As life goes on, our personal tragedies and triumphs will not wait for the wreckage in New York City and Washington, DC to dissipate. Take a moment and examine how you are feeling in the days and weeks that continue to pass since September 11th. It may be time to clear the air in your own world. Go to your favorite artists and express some of that emotion through their work. Turn the music up loud or bring it down to a whisper. Art is for the people as well as the artist. Use it wisely. --Judy B.

Find out more at www.healingsounds.com

THE GOOD OLD DAYS

The Superbees release new CD with 80s sound.

The early days of rock music seem distant now that we've hit the 21st century. Rock has morphed and plowed its way through so many versions of itself tracing its beginning is a long, yet very entertaining, walk through tattered Rolling Stone back issues. Being in a "rock" band can imply that the sound reflects a slew of trends spanning rock's legacy, including rock 'n roll, progressive rock, glam rock, pop rock, folk rock, metal, hair metal, grunge, rap metal. . . you see the point.

Denver's newest version of "rock" comes from Super Bees, and its latest record 81 Comeback takes it back to the days of MC5, Motorhead, AC/ DC, Iron Maiden, Black Sabbath, The Stooges and Judas Priest.

"It's all part of the ongoing epic of disco vs. rock, and I am definitely a soldier of rock," lead singer and guitarist Fletcher Neely said. "Rock is all cyclical. We just wanted to make a record that sounds like the bands that we really love from the old days. It's a big continuation of things."

Other Super Bees include Anika Zappe (guitar), Tim Franklin (bass), and Craig Gilbert (drums). During rehearsals and songwriting, the band does not intentionally decide to sound like a particular era, band, or song. The connection and chemistry between the players contributes to both the songwriting strategy and the success of the band so far.

"We've all played in other bands where terrible things would happen between members or it just didn't seem to click," Gilbert said. "The Super Bees is a product of our commitment and rational view of who we are." Both Gilbert and Zappe currently play in other Denver bands (Ed Fingers and Hemicuda, respectively) and Gilbert sees The Super Bees as another outlet for making great music with great players. "We seem to have such a low-bullshit factor in this band. Everyone contributes what they can and we just try to keeping playing great rock music."

81 Comeback is a gem of a record if you grew up in the 1980s, love solid guitar riffs, melodic crushes of sound, and a "hells yeah!" sensibility in your tunes. "The healing P\ power of rock" exudes straight-ahead rock energy and a great balance between Neely's lyrics and the guitars. "I Blame Society" slows the pace down a bit, but loses none of its late-1970s nostalgia.

The Super Bees are self-managed and recorded their debut CD at Denver's Sleeping Brotherhood Studio. The four members have no illusions of rock stardom or chasing down a record deal only to lose control of their music. All agree the Denver rock scene has a lot to offer. The band gets radio play on AM 1190, gigs regularly at The 15th Street Tavern and The Ogden Theatre, and is back at Sleeping Brotherhood recording the follow up to 81 Comeback. "It makes me very happy when people say they hear other bands in our music, because those are great bands," Neely said. "But, we've all lived through the 80s and 90s, so the Super Bees kind of take all of that great music and bring it back out through our own voices."

--Judy B.

Find out more at www.superbees.com

BEAT DIET

Female DJs in Denver used to be a rarity. Just two years ago, flipping through flyers for clubs and raves, the names of male DJs dominated the line-ups. The four biggest productions companies at the time (Roofless, A&E, Basic, and Together) had entire resident DJ rosters of male DJs. As the years have gone by Denver has begun to sing a different tune. It is hard to say when women in Denver started to pick up the skill, but Juliette and Miss Audry (a Together resident) are definitely two of the first ladies to start establishing themselves as respected DJs. As time has gone on, more and more women are starting their own vinyl collections and people are starting to realize that these ladies should be just as respected as the male DJs. As you look through flyers now, it seems there is at least one woman DJ on almost every flyer. One of Denver's biggest annual festivals, The Sun, features 2 internationally known woman DJs: Anne Savage from the UK, and Sandra Collins from Los Angeles. In Colorado, seeing a woman at the tables is becoming less of a novelty, and more of an expectation. While male DJs still score a majority of the bookings, in such a male-dominated industry, Denver has set itself aside from everyone else.

It is not to say women have not earned their place. Most women DJs here are very talented. In the words of Miss Jackalope, "Here in Colorado, you ask one of the female DJs to play for you, you are asking to get your musical ass kicked in by some of the best DJs in the state in the best way possible." Each woman has fought her own battle, and had to work through the stereotypes and judgements. Etain said, "I think there is a great future for female DJs in Colorado. They are starting to get the respect they deserve and are being seen as equals to their male counterparts."

Many people think being a woman can help your chances of getting booked. While that may be true, any booking that you get based solely on sex is not about skill. To be a woman DJ is to get beyond the sexual comments on flyers. To prove you are more than just a pretty face and a little T& A, one might work your ass off to remind people why you do what you do: to play music.

"I am proud to be one of the women representing this group in our state. I wish all the other ladies the best with their careers," Etain said.

ORANGE PEEL INTERVIEW WITH MOTH...

01 How long have you been producing jungle?

Four years.

02 What programs and equipment do you use?

Cubase, soundforge, an E-mu ESI4000, a nord lead 2, a roland juno 106, and a mackie 1202 mixer.

03 What venues have you played?

Bishop's castle, the mountains, Club 156, a monsoon in the grasslands of northeast colorado, the Boulder Theater, Wyoming, various warehouses, and the Mercury Cafe.

04 which venue was your favorite so far?

Bishop's Castle.

05 How did you get hooked up with terraform?

I asked Scott Everett if he knew of any appreciable labels for weird music. He suggested talking with John Chamie who worked at albums up in Boulder, and was also involved with terraform records. I dropped off a tape with john. He got in touch with me after that, and I started getting them mixdowns for a break-beat compilation they were putting together called system evolution.

06 What do you think of Kemal and Rob Data's remix?

At first, I was a little confused; it sounded like they had written a one-off that didn't have anything to do with the original. After another listen or two, though, I started hearing little rhythm abstractions that they refined into the beast of a remix.

07 Who are your biggest influences?

Depeche Mode, New Order, Ministry, Skinny Puppy, Front 242, Psychic TV, the Warlock Pinchers, Autechre, Photek, Tpower, Optical, Andy C, Konflict, Bad Company, Dieselboy, Sniper, Ed Rush, Dubaholic, Fritttz, Psychonaut, and Ivy.

08 What are your plans for the future?

I've been tending more towards dub lately as I feel there's a lot more rhythmic freedom when you slow the beats down, and you still get the sub-bass happening. Sugar Crashing, the first terraform release from Boulder jungle producer Tim Burcham (better known as Moth) finally hit the shelves of record stores in the summer of 2001. For more information on Sugar Crashing, log onto www.terraform.net, or www.clearblur.com.

--orange peel moses

CD Review

GEORGE & CAPLIN THE LOST BASEMENT EP TITLE

George & Caplin, a new Denver band, debuts a six-song EP filled with ambient techno-grooves and fun sounds. It is a consistently interesting and inspired record. Moby fans will be pleased, and people who want a few surprises are in for a treat.

For an inkling of what's in store first and foremost, the two members of G& C seem to be intelligent instrumentalists and songwriters: Jeffrey Wentworth Stevens brings a background in trip hop, plays keyboards, trumpet, deals with the sampler and handles most of the production work. Jason Fredrick Iselin brings punk rock, folk melodies, and acoustic and electric guitars.

The partnership yields some softly soothing floating guitar chord progressions above a quick techno beat on the third track, "Nicely Vindictive". "Depleted" is mellow, but contrasts electric new age synth chords, swooshes, and space sounds with a relaxed, almost distracted light electric guitar riff. The first track, "End Condition" is likened to the classical model of "variation on a theme." Achord progression is treated to a whole host of musical species from the get-go. The haunting chords are heard alone for the first chorus, then allowed to be constantly repeated and mixed with a pumping back beat, various flurries of electro-sampling, and other gadget wizardry.

The duo contends this CD is the fusion of folk and electronic music. It may be just that. The constant real guitar adds a softer and welcome edge and it is never over-done. George & Caplin have great ears for what sounds good amidst what is cool to create. Pick up the EP at Wax Trax or Twist and Shout. Tell the guys how you feel about it at gorgecapln@aol.com
B+ Judy B.

CD Review

SICK: SLAM

Sick, considered to be some of Denver's favorite boys of rock, have given us yet another CD to chew on, Slam. Sick, which has been rocking Denver since 1995, has received blessings from everyone in the industry including Tommy Lee to Sammy Hagar as well as promoters in New York and LA, as well as being the first unsigned band to be inducted into the Denver Hard Rock Café Wall of Fame.

It seems as though its radio-friendly blend of rock and metal has made its way into ears across the entire nation. The band's resume goes on for miles. Sick, consists of Chris Romero (vocals), Aaron Greenwall (bass), Vinny Levshakoff (drums), Eric Greenwall (guitar) and Pat Searcy (guitar). Slam is a collection of explosive songs will rock you into next year. Songs such as "H", "Machine," and "And a Deuce" are perfect examples of how their sound mixtures reference music spanning over the last 20 years. Masterfully blending a variety of influences, such as Alice in Chains, Sevendust, and a hint of Queensryche, Sick has successfully created its own individual sound. Chris has a fantastic stage presence and report with the crowd. Likewise, it is always entertaining to watch Aaron's theatrics, and choice of make-up, while pumping it out on the bass.

Recently, the band has released a 3-song CD single, intended for radio stations and promoters, which it has now made available to the public at the group's live shows. On it are two new singles and a harder, tougher rendition of Pink Floyd's "Another Brick in the Wall". "Broken" is an awesome song, an old-school rock anthem of sorts. These guys have stuck together through thick and thin; and it shows. How would I describe Sick in just one word? Perseverance. --Sally Miller