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Reader's Picks
Top Recommendations
A short list of Denver's most popular hot spots.
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Benny's Restaurante y Tequila Bar
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Cuba Cuba
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Denver Museum of Nature and Science
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Rioja
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WaterCourse Foods
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Beatrice & Woodsley
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National Features >
City Pages
Michele Bachmann, Unmuzzled
You don't need to read Sarah Palin's book to hear the ravings of a mad woman.
By Matt Snyders
Miami New Times
Pimp Daddy
The rise and fall of a chubby sex-cult leader.
By Natalie O'Neill
Riverfront Times
Babe 'n' Arms
Tom was a hot-tempered cross-dresser with a garage full of guns--and then he became Rachel.
By Nicholas Phillips
Dallas Observer
The Fight for Texas
Rick Perry and Kay Bailey Hutchison are locked in a battle over the soul of the GOP. They're also running for governor.
By Sam Merten
The Funeral
Birth E.P. (Velvet Ant Records)
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By Michael Roberts
Published on May 05, 2005
The latest from the Funeral is a good news/bad news/good news situation. The good news is that the trio, which sprang from the corpse of a Texas combo called Belu, exhibits excellent taste in outside material by covering Gang of Four's "Damaged Goods." The bad news is that the new rendition can't compare to the original. And the good news is that the three-piece's own compositions are more than strong enough to compensate.
Guitarist/vocalist Adam Marez, drummer Brandon Gray and sound manipulator Peter Black, aka DJ Aztec, are a tight, grimy unit that's got plenty of range. Take "Piss," a splashy opener that's danceable in a completely different way than the brooding, synth-heavy "Big Shot" and the floor mix of "Falter," which retrofits Marez's theatrically creepy singing with a labyrinthine arrangement highlighted by grinding riffs, nagging keyboard rhythms and high-hat stings that leave a mark.
Don't leave the Funeral for dead, because Birth is a new beginning.
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