Vanum, Dreadnought, Wake, Of Feather and Bone, In The Company Of Serpents, ...and many more!
7 S. Broadway
Denver, CO, 80209
Doors 1:00 PM / Show 2:00 PM
This event is 21 and over
Trve Brewing's 7th anniversary bacchanal combined with the bi-annual Denver All Day Fest AKA DAD FEST aka Festival of Denver's Finest + More Festival.
We're combining because no one has the energy to go to/organize two festivals. Cooperation is cool. I learned about it in Kindergarten. I may have learned about beer then as well because my dad used to give me little cups of beer because it was the '80s and it was a different time. Anyway, see you there.
OF FEATHER AND BONE
IN THE COMPANY OF SERPENTS
A LIGHT AMONG MANY
CHAIR OF TORTURE
NEW STANDARDS MEN
TWO HEADED WHALE
Collaborative project of K. Morgan (Ash Borer, Predatory Light) and M. Rekevics (Fell Voices, Vilkacis, Vorde).
A mythical connection exists between nature and music.
Within vast forests, pagans traditionally participated in midnight drum circles around cackling flames. Led Zeppelin recorded the seminal Led Zeppelin III at the infamous secluded 18th century Bron-Yr-Aur cottage deep in the wilderness. Pink Floyd cut 1987’s A Momentary Lapse of Reason and 1994’s The Division Bell on the Astoria houseboat.
Nestled among the Rocky Mountains, it’s hard to escape the influence of nature in Colorado. Maybe they didn’t record in the woods or on the high seas, but Denver outfit Dreadnought breathes fresh air through extreme music like a torrential force of nature nonetheless. On their third full-length album A Wake In Sacred Waves [Sailor Records], the quartet—Kelly Schilling [guitar, flute, clean & harsh vocals], Jordan Clancy [drums, saxophone], Kevin Handlon [bass, mandolin, lyrics], and Lauren Vieira [keys, clean vocals]—redefine the boundaries of heavy, swinging from gusts of black metal double bass, guttural guitar, and haunting harmonic hymnals to reprieves of fairy tale flute, anesthetic mandolin, and jazz saxophone. (For the uninitiated, think Joni Mitchell guesting with Wolves in the Throne Room).
That singular style quietly turned ears towards the band on their 2013 debut Lifewoven and its critically lauded follow-up Bridging Realms in 2015. The latter earned acclaim from the likes of Terrorizer Magazine, Invisible Oranges, AXS, Metal Sucks, Metal Injection, and more, while the group toured with Wayfarer and Ford Theatre Reunion in addition to sharing the stage with the Devin Townsend Project.
A Wake In Sacred Waves sees their patented sound consciously evolve with sharper claws, but a warmer embrace.
“Each album is loosely based on an element,” explains Kelly. “Lifewoven was earth, Bridging Realms was ether, and this is our water album. You could think of them like Zelda temples. We wanted to make this a little bit darker and heavier because we were going through heavier parts of our lives. This record tells a story about the process of life and death. A sea creature evolves into an apex predator, takes over everything, and then falls from grace. It mirrors humanity’s own existential struggle.”
The journey begins with the 17 minute-plus “Vacant Sea.” Sucked down an aquatic wormhole of claustrophobic distortion, spellbinding melodies, and unpredictable instrumental wizardry, the record immediately extends its tentacles. “Within Chanting Waters” mitigates brutality with bliss as “To Luminous Scale” and “A Drifting Reign” coalesce into a mind-blowing aural climax.
Kevin explains, “In ‘Vacant Sea’, a species gets chased into a giant trench, where it evolves into the alpha in a new ecosystem. ‘Within Changing Waters’ discusses the way life relates to the ocean itself. The water can be interpreted as the nature goddess. The final two songs see the predator come into self-discovery, rise, and then come to ruin as the rest of her species and prey turn against her and take her down.”
Dreadnought represents a new face for extreme music across the board. The presence of flute, mandolin, and saxophone adds subterranean depth to the sonic palette, while dual female melodies make for a majestic and mystical chemistry.
“By virtue of being women, we add a different dynamic, femininity, and perhaps more balance to this genre,” continues Kelly. “Our voices are a color, timbre, and sound that’s unfamiliar and unique. That makes the music extra exciting for us.”
A Wake In Sacred Waves also conjures an undeniable listening experience for anyone who boards Dreadnought’s ship.
“I hope people react in a natural way,” she leaves off. “No matter what it is, I just want them to feel something when they hear us.”
"When it comes to grindcore, few bands these days can top the overwhelming barrage of wrath and aggression unloaded on the listener/spectator by Calgary’s WAKE. In a career spanning a mere seven years, this Canadian unit of aural assassins have brought terror and war to crowds all over the northern hemisphere, destroying venues across Europe and North America on multiple occasions, and establishing them selves as an infamous and unstoppable killing machine when it comes to performing live. In this sense the band’s name seems to perfectly match their nature within the live environment: leave nothing standing - level everything in an endless wake of terror and destruction. But WAKE are far from being only and aural cataclysm restricted to the live environment, quite the opposite, as the band has released a string of albums and splits that speak for them selves, and are just another horrifying statement of the violence and sheer aggression which nests inside the soul of this band."
Of Feather and Bone
Crust/Grind Hardcore from Denver, CO.
In The Company Of Serpents
In the Company of Serpents are a doom/sludge two-piece from Denver, Colorado. Founded in early 2011, the band came into being when vocalist/guitarist Grant Netzorg met drummer JJ Anselmi at a show their former bands were playing. Later that Spring they recorded a 4 song demo in a friend's basement studio, which they paid for in AR-15 Ammunition and beer. Shortly afterwards, In the Company of Serpents entered Moduel Overload studios in Denver to record their self-titled debut, which was subsequently self-released on cassette in early 2012.
In late 2011 JJ left the band on amicable terms, and Joseph Weller Myer has been slaying the skins in his stead ever since. In May of 2013 Joe & Grant entered the studio to record their follow-up, Of the Flock, which was subsequently mixed and mastered by Billy Anderson. Of the Flock was self-released on vinyl on Halloween of 2013.