Kevin Costner Suicide Pact, Standstill (Self-released). Someday someone will subject the information of brainwaves during a heavy dreaming period to sonification, and the resulting "sound" will be not unlike what Kevin Costner Suicide Pact has done here. It's ambient music that sounds like it has given voice to something deep inside you — the auditory echo of a half-remembered dream. — Murphy

The Love Royale, Love Letters (Self-released). Headed up by singer Heather Larrabee and bassist and Flobots producer Kyle Jones, the Love Royale whips up some of the finest electro-soul in these parts. On Love Letters, the group lays down a number of solid, fluid grooves, a few of which could be ideal tunes for getting to know somebody. Intimately. — Solomon

Lust-Cats of the Gutters, Lust-Cats of the Gutters (Self-released). Lust-Cats of the Gutters are fantastic orators who sing about the dangers of shitty dates, having werewolves for boyfriends and the reality of diving into a really nasty motel swimming pool. The duo produces the songs others joke about writing. This four-song EP is just a tiny piece of the L-Cats' vast comedic fortunes, but still an excellent exercise in the band's searing dual vocals, stompy drumbeats and horror-movie guitar riffs. — Davies

Paul Musso, Tonescapes (Self-released). While jazz guitarist Paul Musso clearly has some exceptional chops, he doesn't flex them all over the place on Tonescapes, instead turning in a more subdued performance. With an understated, fluid and lyrical handle on the guitar, Musso sounds right at home on these seven jazz and bossa nova cuts. — Solomon

Ninth and Lincoln With Cuong Vu, Static Line (Dazzle Recordings). Ninth and Lincoln's leader and composer, Tyler Gilmore, has developed considerably as a composer since the orchestra's 2008's self-titled debut, moving further from jazz and incorporating more twentieth-century classical, minimalist, rock and experimental elements into his pieces. While the new material definitely shines, trumpeter Cuong Vu also adds some outstanding textural work throughout. — Solomon

Octopus Nebula, Through the Next Door (Self-released). Drawing influence from the likes of STS9, Octopus Nebula displays an undeniable confidence on Through the Next Door, mating precise electronic vocal samples with jam-style organic instrumentation. The self-released debut album does an excellent job of capturing what it's like to see the band live, and couldn't speak more to the merging of electronic, jam and rock genres. — Chester

Orbit Service, A Calm Note From the West (Beta-lactam Ring Records). This record provides a perfect, poetic distillation of the fears that plague the adult psyche of anyone both blessed with and cursed by a reflective disposition and a powerful imagination. Musically, the album is like a disorienting walk through darkly beautiful forests populated by the physical manifestation of your worst nightmares. — Murphy

Paper Diamond, Levitate (Elm & Oak Records). Alex Botwin, head of Elm & Oak Records, is no stranger to the capabilities of electronic-music production. His mastering on Levitate is flawless, never allowing a note to pass without total dissection, and the music shines through, perfectly illuminating a growing electronic movement where the bass can't get heavy enough. — Chester

Page 27, Krakatau (Self-released). The godfathers of the Denver noise scene sound like they've re-created what went on in Victor von Frankenstein's laboratory, from the installation of the equipment to the moment he gave life to his monster. Krakatau is initially forbidding for its sheer avalanche of sound, but ultimately rewarding to the adventurous listener. — Murphy

Palmer, Sometime Around (Self-released). Andy Palmer, a former public defender in Brooklyn and river-raft guide in Colorado, seems to bring his impressive life experience to bear on Sometime Around, a release that boasts hints of Leonard Cohen, Tom Waits and Mississippi John Hurt. Thanks to Palmer's heartfelt vocal style and explosive acoustic guitar playing, the tracks have a timeless sound that gives the entire record an epic feel. — Goldstein

Pictureplane, Thee Physical (Lovepump United). In a world where mindless, hyper-glossy club anthems are the norm, Travis Egedy's contribution to the contemporary musical landscape is a welcome one. Here Egedy take his time: Synth lines are deep, melody exists in layers and beats rise and fall with a calculated coolness. Nothing feels rushed, as if Egedy were navigating, in real time, the gender fluidity and sexual revolution he sings about. If the best single of the year could be played long after the club has been torn up, "Real Is a Feeling" would be the choice, post-last-call banger. — Davies

Project Aspect, Put This World on Hold (Gruntworthy). Taking the local electronic-music scene by storm, Project Aspect (aka Jay Jaramillo) released this EP full of glitch, dubstep and hip-hop beats in which he composed and produced all of the tracks, proving once again that Denver is becoming a bass capital and that he's standing at the forefront of it. — Chester

Radical Knitting Circle, When Bees No Longer Fly... (Self-released). Although dauntingly dense at times, When Bees No Longer Fly... is a rewarding listen overall. Like Isaac Brock leading a precocious avant-pop ensemble, with Rowlf from the Muppets pitching in periodically on vocals, Radical Knitting Circle seamlessly stitches together a pleasing patchwork of styles, threading in strands of everything from found sounds and rustic folk to loungy jazz and proggy steampunk. — Herrera

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5 comments
Silb123
Silb123

Fuck u losers, Royal Talons is thee best band in town, retards!

 
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