Latest show at Broomfield Audi shows an artistic approach to reuse

"Electric Concrete" features works created from found items
By Darren Thornberry

For the Enterprise

MAKING MAGIC FROM DISCARDS: Broomfield artist Arlo White, pictured at an installation of his works at the Auditorium in 2012, said
MAKING MAGIC FROM DISCARDS: Broomfield artist Arlo White, pictured at an installation of his works at the Auditorium in 2012, said 'all the artistic objects in the ('Electric Concrete') show were things I found. The point is to take knickknacks and discarded items and make something unique — even magical — from them.' (David R Jennings / Broomfield Enterprise)

If you go

What: "Electric Concrete: Finding Magic in the Mundane" by Arlo White

Where: Broomfield Auditorium gallery, 3 Community Park Road

When: Friday through Feb. 16. Gallery is open from 2 to 6 p.m. Thursdays, 2 to 5 p.m. Fridays, 1 to 5 p.m. Sundays and during Auditorium events.

Cost: Free

More info: Contact White at dioretix@hotmail.com or 303-748-0115

Some would say an artist's calling is to challenge an audience's notions of what defines art, to work furiously in the grey areas and to inhabit the wild edges — for art's own sake. Subscribers to this ideal have found their man in Arlo White, a jack of many artistic trades whose work is on display in Broomfield starting this week.

"Electric Concrete: Finding Magic in the Mundane" is open to all Friday through Feb. 16 at Broomfield Auditorium. As the name of the show implies, the art on display has been found in the least expected places: In the trash bin, on the street, destined for the dump.

"All the artistic objects in the show were things I found," White said. "The point is to take knickknacks and discarded items and make something unique — even magical — from them."

White is a musician, radio host, poet and visual artist with no formal training. He has long had a passion for art in any medium.

"I was a typical tortured teenage artist and a punk rock kid," he said with a laugh. "I guess I'm too old for that now, but the love of art, the need to create, has never left me."

White's ethos for the Audi show is to "scrounge" the materials and present a true mixed-media experience for nearly nothing out of pocket. He gathered untold free paint samples and spent just a few dollars on supplies, intending to demonstrate the great potential for artistic value that lies in mundane items that would normally go unnoticed.

This approach is something hard-earned for White, who had all but given up on art, believing it had become an unaffordable pursuit. Yet his paradigm shifted with a visit to a fabric store with his family.

TRAIN TRAIN:
TRAIN TRAIN: 'Train Train' is one of the works featured in 'Electric Concrete' at the Broomfield Auditorium . (Photo courtesy of Arlo White)

"We were looking for a craft item, and I noticed paints on sale for 10 cents. I'm a working father, and this find set me on a journey of rediscovering art," he said.

So it is that otherwise unattractive, ordinary, inexpensive pieces of rubbish and doodads from around the house have been transformed into conversation pieces and things of beauty for the Electric Concrete show. The artwork on display is for sale.

"Arlo's work is compelling and unique," said Karen Gerrity, Broomfield Cultural Affairs manager. "He is a fine local artist and it is a pleasure to share his work with our community."

All are invited to the artist reception and wine tasting hosted by Turquoise Mesa Winery from 1 to 3 p.m. Jan. 26 at the Audi. White will be mixing and mingling and might even have some exclusive pieces on hand that aren't featured in the show.

When asked who is his audience, White's answer was pure artist.

"I don't have an audience," he said. "When I make things with an audience in mind, I fail. In fact, I have dozens of pieces in my house I can't bring myself to sell. Ideally, an artist brings joy to someone or affects their emotion in some way. If I can do that, then it partially answers the ongoing question of why I am an artist."




FIRE TRUCK TRUCK FIRE: Fire Truck Truck Fire is one of the works featured in
FIRE TRUCK TRUCK FIRE: Fire Truck Truck Fire is one of the works featured in 'Electric Concrete.' (Photo courtesy of Arlo White)

Hypnotic Turtle Radio brings the eccentric to CU-Boulder's Radio 1190

Fall into a pop-culture trance

When we rang up Arlo White to talk about his "live freakout mix" show Thursday nights on Radio 1190, he had a lot to say. We'll just hush up and let him explain.

How long has Hypnotic Turtle been on the air?

We've only been on since January, since the spring semester.

How did you get into it?

Amy (Moore-Shipley, program director) sent out a call during winter break just saying

Diablo Montalban and Arlo White of Hypnotic Turtle Radio. Courtesy photo. (Courtesy)
there were openings in the spring schedule and to send an idea of what you had in mind. I had been there a couple times promoting different bands and stuff, so I emailed her and she said, 'Oh, that sounds great,' and asked for a better idea of what I wanted to do, and it was a series of back and forth because it was hard to put into words what I wanted to do.

 

I spent weeks torturing myself over what I was going to do. Then, the first episode, it was all my tricks. I just threw everything out. I was in the studio running around in circles and sweating. I realized I couldn't do that every week, so I chilled out a little bit. It's still evolving, for sure. It's just me. I started doing interviews and stuff. It's kind of just taken off.

It's a pretty unique concept -- for radio, anyway. Can you explain what you do?

It's just kind of a distillation of the stuff that has really blown me away over the years ... It's an off-the-wall mixture of ambient stuff, anything you can think of, in terms of sound-source material. I'm really trying to entertain myself, first and foremost, and blow my mind. The first show was overly planned and that was kind of against my goals. I don't really plan. I just bring all the pieces and see how they fit together when the show starts. For me, it's a weekly performance. I get to perform live. If I fail, there's dead air and it's miserable and I'm freaking out.

It's really exciting because I go in there and I don't know what's going on, but I have to make something really cool happen ... It's live art, is what I've been saying. It's radio art. But that's so pretentious. It's really for everybody.

I kind of want a really demented variety show on the radio that's not so structured ... Entertainment is the bottom line. Blow minds. Open minds.

It sounds more like old radio, where a show is an event, not just car music.

I'm definitely trying to make it more of an event. Even though we do save all the shows on our website, you're not going to hear that again ever on the show. I'm not even writing down what I'm doing. Sometimes I listen back to the show and I'm like, 'What was going on there?' I don't repeat songs. I repeat artists as little as possible.

I get the sense that pop culture runs through your veins.

It definitely does. I was a Brady kid growing up. We got cable when I was eight years old and that was it pretty much it. I kind of cut off in the 1990s because I think it lost a lot of its flavor, but it's ingrained in me and that's why I can just wing it. When you start playing a song, I can hear what can go on top or what needs to come next.

How does this tie in with Hypnotic Turtle as an art collective?

Hypnotic Turtle is just all my different projects -- my different bands, my alter egos and my art shows. It is a collective, but it's all me. For me, when I do rock, I wanna do a rock album. Everything I do deserves its own thing.

What's coming up?

I do have a guest tonight. I have a band called Medusa. They're going to be performing live and just hanging out and playing all kinds of weird stuff. Stay tuned because this really is going to evolve. I wanna do radio plays and stuff ... Everything has been heard before, but not necessarily in different combinations. Who knows what's coming.

“There is nothing subtle about the Pretty Sure's new EP. From frontman Arlo White's gritty, basement-show vocals to the showstopping guitar to the je-ne-say-what lyrics ("I'll be a werewolf for you, mama") that permeate the entire album, this quartet betrays a distinctly Black Lips attitude and blues-punk aesthetic chased with a good-humored dose of Jet (perhaps that's the "Sabotage" part?). Album standout "Admiral Anything" is an unwashed, unfiltered tribute to Iggy Pop, while "One-Eyed Woman" channels a slightly worse-for-wear version of Wolfmother's "Woman." Predicated on straightforward garage rock turned sloppily on its side, the expansive EP functions like a rowdy, raunchy and ultimately way-too-short live show recorded on disc. If these guys are as urgent on stage as they are on a car stereo, they've got long nights — and longer praise — in store.”

“The Pretty Sure take high-energy indie-pop blues-rock to new heights with their EP Subtle Sabotage. On top of the fact that the album name is absolutely perfect for the music that they play, these mile-high rockers throw down some perfectly placed guitar hooks that get your head boppin’. Their entire style is based around old-school blues, straight out of a basement level Chicago dive bar. Arlo White has the ability to sing like a rock star, or sing like a depressed bluesman after a pack of cigarettes and a bottle of whiskey, and a couple times shows both sides of that spectrum in one song. “Admiral Anything,” the second track on the disc, sounds like a sullied Black Keys track covered by Jet. The entire disc is very emotional, and great at painting pictures for the listener. If their live show is as good at provoking feeling and foot tapping as this record, look for The Pretty Sure to become a well-respected staple of Denver’s indie rock scene. ”

"The opening guitar riff of Hot Sass, which kicks off The Pretty Sure's debut CD, Subtle Sabotage, isn't the most intricate guitar work ever laid down, but there's something so magnetic about it that grabs the ears and focuses attention for the rest of this short and swanky rock CD. The Denver band calls themselves "high energy, hard energy, dirty dirty, punk blues rock and roll," and their double use of the word dirty is apropos. There's something primal, raw, and well, dirty about this album. Subtle Sabotage clocks in at only 20 minutes, but the amount of grit that is presented in that time is enough to fill a dump truck." 3.5 out of 5 stars

White brings his eclectic mix of work to Auditorium

Growing up in the '70s, Arlo White was raised on music, TV and more.

If you ask him, pop culture is ingrained in his DNA.

White has had a bent for the visual arts since childhood, too.

Before he even knew what a commercial artist was, White set it as a career goal. Looking back on that goal from 40 (which he reached on Sept. 20), he said the career likely isn't the one for him (although he joked he could be bought if the price was right). Instead, White has found a way to merge his lifelong loves on canvas in his own self-taught style.

A result of the melding of his passions can be seen in "Planet Rock" -- an exhibit on display through Feb. 17 at the Broomfield Auditorium.

White tapped into his love of rock 'n' roll and pop culture to create the exhibit, which features painting, mixed media and found objects and pieces of varied dimension, texture and color.

A sous chef by day at WhiteWave Foods in Broomfield and a singer in a band by night (The Pretty Sure, previously Deadbubbles and Lint!), creating visual art is akin to breathing for the Broomfield resident, husband and father of two teens.

"Being a fan of all the arts and music, growing up immersed in all that, it flows through me," White said. "For me there is no other way of doing things."

His way of doing things looks pretty cool and colorful and quirky. Cool and colorful and quirky enough to land him his first major show at the Auditorium, which, as a bonus, is just right down the street from his house.

White originally submitted works for consideration for the Art for Awhile program, which temporarily displays artists' works in outdoor spaces near the auditorium and Mamie Doud Eisenhower Public Library, at North Metro Fire Rescue District headquarters and on wall space at the 1stBank Center. White was going for the 1stBank Center when he caught the eye of Broomfield Cultural Affairs staff.

"We really like his work and thought it would look great in the Auditorium gallery," said Cultural Affairs Manager Karen Gerrity. It has "a music component, which is unique and very fun."

White's show, in addition to wowing Cultural Affairs staff, also dovetails with a goal for the Auditorium.

Gerrity said the Audi has found firm footing with families as an entertainment option, so now staff is trying to gain more appeal with audiences in the 30-to-50 age group via programs and art exhibits.

"This really met that intention for us," she said. "And the fact that he's a Broomfield artist, we loved that, too."

As an artist, White doesn't have a target demographic, rather he hopes his work has collective appeal.

"It's very pop culture-oriented, lots of bright colors, goofy stuff. It's kind of universal; young and old. It's not pushing too many boundaries, but there is some edgy."

Adding to the allure of "Planet Rock" is that White's works are of varying sizes, Gerrity said.

"He has some pretty big pieces, a mix of sizes, which we like ... it offers an opportunity to create pockets of his stuff," she said.

"It's a great space," White said. "I'm really excited to get in there and see my stuff up."

Among White's favorites in the "Planet Rock" show, which he is eager to see on an Audi wall, is a mixed-media piece named "Unlock a Treasure House." What makes it a favorite is an ad from a '50s magazine that seemed to be made for him. The ad features images with captions "Listen to the sun," "Unleash a thunderbolt" and "Unlock a treasure house."

He said a light bulb went off when he saw it.

That eclectic piece, which also features images of livestock, newspaper and paint on particle board, demonstrates how an artist can be rock 'n' roll without being too literal about it.

And White knows rock 'n' roll -- he's a front man for a band, his third since he jumped into the band game six or seven years ago.

Music feeds his extroverted side, art feeds the solitary man.

"When I'm on stage, I want all eyes on me, otherwise it's hard for me to share myself," he said. "I'm an exhibitionist who's a little shy."

Copyright 2012 Broomfield Enterprise. All rights reserved.
ASSORTED CITIZENS OF THE PLANET: Paintings that are part of Arlo White s Planet Rock show at the Broomfield Auditorium Gallery wait to be hung on Friday morning. ( David R Jennings )

 

Just because fourteen Colorado musicians put together a tribute album full of covers for Denver-based band Deadbubbles, don’t assume that they’re a rock ‘n’ roll band of yore.

Also, just because Deadbubbles has a raw sound reminiscent of seventies bands such as The Stooges and The Cramps, don’t assume that they actually came from the seventies.

In reality, Deadbubbles started up in 2006. However, many local artists thought highly enough of them to do a tribute album only five years after the group’s conception.

Reclamation Now! captures Deadbubbles’ psychobilly madness. However, the musicans take away some of the garage punk qualities, while keeping the rawness and adding in a bit more of an indie twist, making the music of Deadbubbles even more lovable for today’s hipsters.

Some songs, such as “Zoo Kicker and I,” are done better the second time around. There are two different versions of this song on the album – one by The Firebird 4000 Project and one done acoustically by Matt Shupe.

Multiple bands covered the same song on the album, such as “Soldier of Misfortune.” The version by Manotaur sounds like a Fraggle Rock version of the original, and the other, by Dave Rosset, stands alone as a sort of slam poetry performance with tribal drums.

These fourteen artists truly know the art of creating a good cover, so check out the album, and check out the originals, too! The songs are catchy and crawling with the creamy crust of seventies garage rock.

Deadbubbles‘ frontman Arlo White tends toward gritty, proto-punk sort of vision, one that fits his look, spirit and personality to a “tee.” When it’s not reeling from drummer changes on a Spinal Tap-ian scale, his band has  been a perfect mashup of early Stooges-era proto-punk with a glam attitude and White’s appreciation (read: obsession, at least reputedly) for Guided By Voices’ Robert Pollard. The songs on the band’s two releases are short, simple and powerful anthems based around Paul Humphrey’s resilient power chords stapled onto no-nonsense rhythms and White’s ‘70s rock vocals.

And, in the true egomaniacal form you might say is intrinsic to the visionary lifestyle, White recently began soliciting local bands to appear on a tribute album. No matter that the band had then only been in existence since 2006 – homage knows no time limit. The result: Reclamation Now!, a strong disc that features a collection of thirteen covers (plus one hidden live track from a 2007 show White did with Drowning Dolphins) by local bands that not only pays tribute to Deadbubbles, but in some cases even lends even more legitimacy to some of the band’s work.

The gamut of musicianship in itself on the disc is impressive enough to get a copy, and it features a widely varied mix of genres. The Babysitters’ opening cover of “Dream Hard!” from Deadbubbles’ debut album “Reclamation Forklift Provider,” starts off as a pretty close mimic of the original, but evolves quickly into a Breeders-esque version with even more inspiration than White was able to put behind it. The childish jaunt of “Zoo Kicker and I” is covered twice, and both are wildly different.  While Matt Shupe’s version floats along in an almost Echo & The Bunnymen-meets-Jonathan Richman folkiness, The Firebird 4000 Project pull off a version that recalls early Beck four-track mixes with an almost Elephant Six flair.

Twelve of the thirteen covers on the record came from Deadbubbles first album – which likey attests to the strength of the more indie nature behind it. The one tune from “Frienemies” that is covered is a brilliant homage to the Stooges-ian punk by local legend and Elvis Presley pal Ralph Gean.

As a tribute, “Reclamation Now!” works well, and paints a great picture of Deadbubbles’ comedic complexity. Better, as just a disc, the project makes for an impressively entertaining listen – whether or not you’re the least bit familiar with the band.

Stay tuned for an upcoming feature on the tribute and the re-birth of Deadbubbles this Spring and Summer. This band is still clawing its way into fullness, and we’re counting them as one to watch in the Denver scene.

Ok… here we go. Stick with me on this. Deadbubbles 9 track cd, 24Hr. Nemesis: The John Carpenter EP, to quote Arlo White and Paul Humphrey, "is the soundtrack to a never ending film of the mind…". The cd is instrumental, which I usually don't enjoy as a rule, but I don't know if I've ever heard music so visual in nature. I felt like I was on an apocalyptic and post-apocalyptic journey that was going to inevitably going to end with a battle for my heart and soul. In a dream like state I was marching or somehow being drawn to my own eternal demise. And then as suddenly and scarily as it had begun, it was, it was dramatically over. With songs titled "Duke of New York", "Mercury Bath" and "Orpheus Dementia" listening was both sinister and beautiful.. 24 Hr. Nemesis: The John Carpenter EP is available for free download @ www.deadbubbles.com. Download it if you dare, but beware… you may not make it out alive!

Speaking of philosophy, Deadbubbles is full of it, especially on the recently released collection of old tracks, “24 Hr. Nemesis: The John Carpenter E.P.” Though the band today consists of vocalist Arlo White, guitarist Paul Humphrey and bassist Matt Martinez, the 2006 incarnation that recorded these first Deadbubbles tracks comprised only White and Humphrey. The Zappa-meets-MC5 garage assault that today’s Deadbubbles inflicts on unsuspecting audiences is nowhere to be found on “John Carpenter.” Instead, we find White and Humphrey — both of whom were unemployed at the time — creating a twisted, unpredictable soundtrack to an imaginary ’70s horror film. Lo-fi, low-budget and high-concept, the EP gives listeners the chance to see where Deadbubbles came from.

There aren’t many chances these days to catch Deadbubbles live. However, White now fronts dirty, punky bluesters the Pretty Sure. You can catch that act at 3 Kings Tavern on Saturday, Nov 27.

You can download “24 Hr. Nemesis: The John Carpenter E.P.” free from the Deadbubbles website. In the meantime, why don’t you steal “Frenchy,” from Deadbubbles’ “24 Hr. Nemesis,” you freeloader!

Arlo White’s Deadbubbles never cease to amaze me. Prolific, true to their style, maybe even Zappa-esque, they occupy a unique space in the Denver scene. It’s a space they seem to have created completely on their own, and that may or may not register just yet on many a Denverite’s radar, but it’s only a matter of time.

Among other projects – which include a tribute album to themselves (currently in the works) and hosting the legendary Hugh Cornwell (frontman of the seminal British punk band The Stranglers) in a truly exclusive show recently – the group recently produced the “24 Hr. Nemesis” EP, a collection of early recordings featuring White and guitarist Paul Humphrey. The subtitle, “The John Carpenter EP,” couldn’t be more accurate. This record’s nine compositions form a more than fitting resume for White and the boys to move into the horror film soundtrack space with no trouble at all. As I listened to the tracks – particularly “Mercury Bath” and “James Woods’ Leather Jacket” – I found it hard to transport myself back out of the clay-walled S&M room from Videodrome (yes – I realize that’s not a John Carpenter film. But “The Thing” just doesn’t invoke the same grab – but you get the idea . . .).

Deadbubbles aren’t currently on a live docket, and are working on new material – as well as the infamous tribute album (I gotta say it: who else has the balls to release a pre-humous tribute album? In case you’re wondering, there have been plenty of covers of the bands’ material submitted by local acts . . . ). Keep your eyes open – this is one band you need to see live!

“Arlo White is another Denver music community staple. His experimental, edgy and occasionally unlistenable garage rock project, deadbubbles, inspired devoted followers and equally devoted haters during its run, but his latest project, the Pretty Sure, might be the ultimate achievement of his vision. Drawing from the classics (think Animals), dirtying it up with the second wave and third waves (think MC5 and Mudhoney) and then injecting a distinctive bluesy swagger, White and bandmates Jesse Zimmerman (guitar), Billy Beat (drums), Patrick Redman (bass) and Kim 9 (keys) spit out the kind of grinding, growling garage rock that’s left behind after an oil change. If high octane and low brows get your motor running, you won’t want to miss these shows. ”

"Throughout Frienemies, Broomfield-based Deadbubbles roars out of the garage with supercharged rock fueled with the swagger of '70s punk like the Dead Boys and the Stooges. Hell, these lo-fi sonic producers even made an album that sounds like it was made three decades ago, and that's about as rock-solid as it comes."

"Opening act deadbubbles set the pace for [Six Month To Live's last] show with an energetic set of rock and roll full of more than its fair share of weirdness and eccentricity mixed in to keep things interesting. Frontman Arlo White leaped, pranced and gestured with tasteful bombast about the room during the band's set, and during "6669," he held a utility light with a red filter close to his face. Normally this might come off as kind of a cheesy gesture, but White and the rest of the band performed each song with absolute conviction in the material that even this momentary affectation added to the showmanship. Toward the end of the set, the guys played one of their strongest numbers, the early solo Eno/T. Rex-esque "Sparkle Jets," before concluding with another of its best songs, "Rock Solid!" aided by Six Months to Live's Greg Hill on sax and Zack Littlefield of Dario Rosa on tambourine."

"Deadbubbles' live show is incomparable, wild, frenetic, and raw."

=======================

Arlo White has always wanted to be in a band. “Ever since I was a kid,” he told me during a recent discussion, “I’ve always been focused on the idea of being in a rock band . . . .” After years of trying repeatedly to pull friends, friends of friends, people he’d meet at shows – and just about anyone else – into his dream, he’s finally met it with Denver’s Deadbubbles. This band is one that Jack Black’s character in “School of Rock,” die-hard rock ‘n roll fan Dewey Finn, would be proud of – one that mixes passion and simplicity with solid knowledge and respect for the classics.

DenverThread caught up with White, frontman and central energy source for the band, along with bassist Matt Martinez at the Skylark Lounge recently, to discuss the band’s history, future and philosophy. Sadly, the interview replaced the only show they’ve ever had to cancel in their three year history, due to illness.

“We’ve always tried to keep things simple,” White told me, “but powerful. And maybe it’s ‘cause I’m such an egomaniac, but I know what we bring to the stage every show. It’s strong, simple and powerful, also really sexual. . .” and exactly what he always wanted to bring.

“We’re proud of our ‘in your face’ sound and attitude,” added Martinez, “something we’ve always wanted to be. Not so much like your average hardcore punk band, though, more Stones-y, or like The Faces.”

“Yeah, every time I think of how I want to sing a ‘bubbles song,” said White, “I try and imagine how Rod Stewart would’ve done it.”

Deadbubbles does a damned good job at it, too – not just mimicry, but realm honest-to-god absorption and re-working – and not just of the pre-glam legends. Listening to a ‘bubbles record is like a walk through some mythical pre-punk section og the Rock ‘n Roll Hall of Fame dedicated to The Stooges, MC5, David Bowie – all of the greats that fertilized the punk genre. But they also filter in a healthy dose of heavies like The Who, The Rolling Stones, Ozzie’s Black Sabbath and T. Rex that gives their compositions significant weight.

“Purity is really important to us, especially in the live show,” he explained. “We don’t have nay need or desire at all to mess things up bay adding too much. All we offer is pure music, and a strong sage presence, to raise the audience up.”

Still, it’s all simple three-chord progressions – sometimes even one chord (see Frienemy’s “Intro,” for a sample) – backed with pounding, basic drum and bass riffs, all behind White’s cocky and intense vocals that grab your attention, and keep you entranced and jerking, feet stomping and fists pumping, until the end of the last track.

Live, they’re even more of a phenom. At first the four piece  – made up of White and Martinez along with guitarist Paul Humphrey and (latest) drummer Robert Newman – seem a relatively unassuming, jeans, t-shirt and jacketed bunch. Not for long, however. As soon as Humphrey’s guitar starts into its Stooge-tinted progression, White transforms into a rock ‘n roll beast. Often dressed in a ruffled tuxedo shirt and with lox that Robert Plant would covet, the singer pounces around the stage and howls into his mic, channeling the spirits of Iggy Pop, Rob Tyner and Ozzie behind his psychotic, oversized eyes and maniacal grin. It’s the kind of performance that draws you in, and doesn’t let you get back out, until White’s good and done with you.

“Purity is really important to us, especially in the live show,” he explained. “We don’t have nay need or desire at all to mess things up bay adding too much. All we offer is pure music, and a strong sage presence, to raise the audience up.”

The band started out in 2006 when White asked Humphreys, who he’d met at a number of parties around town, to come by and work out some tunes, and to form a band.

“For the first time,” said White, “after so many other times I’d tried to get someone to help me get a band started, this guy actually showed up! I was floored! We started recording in my house, just Paul and I and his guitar, and a little Casio I have.”

Bassist Martinez, a long time friend of Humphreys from a boarding school in Fargo, North Dakota, joined soon after, and then the band began an almost Spinal Tap styled quest for a regular drummer – they went through eight – until Newman stepped in. Since then, the band has maintained that lineup, and solidified their sound, stage presence, and camaraderie.

“Our friends are really, really into us,” said White. “I think we offer a sound that brings freedom, purity, and more than a little sexual energy back to the stage, and they seem to identify with it.”

And, after only two records, 2007’s Reclamation Forklift Provider and 2008’s Frienemies, White has begun soliciting other bands to record a Deadbubbles tribute album. Another sign of egomania? Perhaps – but I think it’s brilliant, and wonder why more bands aren’t doing the same -regardless of their sphere of influence. And, he’s already got more than 8 tracks submitted.

“Our friends are really, really into us,” said White. “I think we offer a sound that brings freedom, purity, and more than a little sexual energy back to the stage, and they seem to identify with it.”

Deadbubbles is playing one more 2009 show, on Saturday, November 14, at Meadowlark. The show is a farewell for band Six Months to Live, and also features Dario Rosa. Don’t miss this show – the small venue is as likely as not to explode with the band’s fury, and it’ll be well worth it to say you were there.

"Less than a minute into Deadbubbles' latest offering, Frienemies, frontman Arlo White makes it clear that his band is all about "rock and roll music." And indeed, the Broomfield act roars off the line with some supercharged rock infused with the swagger of '70s punk from outfits such as the Dead Boys and the Stooges. From there, the guys add in a quart of garage and take a drive into Cramps territory on "6669," a tune about getting down with a she-devil, while on "Song for Robert Pollard," they pay spirited tribute to the Guided by Voices frontman. Save for a few tunes, Frienemies sounds and handles like it could have been made three decades ago."

 "The night’s show-stealers Wednesday night, though, had to be Deadbubbles. Their sound is a resplendent mashup of Sonic Youth from “Death Valley ’69,” Iron Butterfly and Mudhoney, splayed across solid guitar work that recalls the Stooges and MC5. Frontman Arlo White is somewhere between the Fluid’s John Robinson and Rob Tyner of MC5, with almost as much charisma. At one point, during the anthemic “Rock Solid,” which would’ve made a great Kiss song, Paul Humphrey’s guitar and Matt Martinez’s bass built a mountain of sound on a single chord for over a solid minute, almost recalling Loop. Deadbubbles’ straight- on, solid garage rock deserves more notice, and White’s personality should have no trouble attracting a loyal following."

"Dead Bubbles is one of those bands that thinks rock and roll needs saving and that they are the ones to save it. There’s a certain innocence to their belief that ends up working in their favor. The lead singer, Arlo, shakes as he sings/shouts the lyrics, and the backing players keep the songs going forward in barre chord, enthusiastic fashion."

"Loud, unabashed, unforgiving, relentless, rock-n-roll music; Deadbubbles are contributing to a style of music made famous by late 70’s early 80’s punk-rock. The production quality may also remind you of this era. Chalk-full of “sex, drugs, rock-n-roll” attitude, Frienemies is reminiscent of such acts as The Misfits, Dead Kennedy’s, Iggy Pop, and The International Noise Conspiracy."

"Mixing opposite ends of the ridiculous in band names, Deadbubbles combined death and happiness for their name. Which suits their music just fine since it is an increasingly vital mélange of glam, power pop and flashy guitar rock. Because this band’s approach is so alien in a climate where a perverse earnestness and being “real” seems to be the order of the day, they’re easily misunderstood. According to frontman Arlo White, “I’m tired of bands who get up and play wearing the same thing that they were wearing when they were painting the fence that day; and their set is like an in-joke between the band members. I’m a lifelong live music fan, and I’m addicted to the flow, the spectacle, the energy, the creating-a-moment-that-can-never-be-duplicated feel of live shows.” Indeed, whether that be an over the top performance and taking risks even if they don’t always work, a Deadbubbles show stays with you because you can tell they’re actually trying to put on a show and not getting up and faking it. As a frontman, White has the spastic energy of Kevin DuBrow in his heyday with a backing band that is able to transform that energy into something more akin to Tanx-era T-Rex. Their latest record, Frienemies, has certainly confounded a critic or two with its appropriation of hints of Roxy Music, but it introduces new layers to the band’s sound and shows that it doesn’t just rock, but it also has the imagination to go beyond mere rocking to creating an interesting collection of music that doesn’t merely aim to strip things down to the basics and keep grinding away at the same tired formula that makes many of their peers so boring. This is one act that continues to push its own boundaries and that’s always what has made for any band with any chance of making an impact."

"reclamation forklift provider seems instead a greatest hits CD created after years of work, rather than a debut album. Yet in a way it is a compilation, seeing that Paul Humphrey, guitar and vocals, and Matt Martinez, bass, have been friends since high school. deadbubbles' lead vocalist Arlo White and Humphrey had been playing a while already when Martinez joined his old friend, with drummer Dave Rosset ultimately coming on to wrap up the synchronicity. The group emanates the "pure rock n' roll sexual energy" of bands like MC5, T-Rex, and post-psychedelic rock like The Velvet Underground, Modern Lovers, and Big Star, to name a few.

Opening with bagpipes on "reclamation: declaration," mixing in a tribute to Trio's "Da Da Da" [ed: huh?] inside "man for you," and moving on to electric guitar solos accompanied by whistling [ed: huh?] in the last track - aptly named "fin" - deadbubbles' experimental-yet-retro sounds definitely bring out the "T-Rex-ness" that we all know and love.

Arlo White's bright lyrics, which if you are not careful about listening to, will catch you feeling really good. "zoo kicker and i" harks back to Harry Nilsson's "Me And My Arrow," while in "dream hard!," Arlo speaks of letting your subconscious lead the way. Who knew "cock rock" could kick so much heart-rending ass?"

"deadbubbles are here to 'reclaim rock from the undeserving' with their self-identified 'psychedelic cock rock.' They've showed up just in time to save us from the current emo-ness of the airwaves. Their versatile, British retro-electronica sound make me think that if Beck were raised by The Who in the 80's, then did the Warped Tour, not in the 90's but in 1972, he'd reincarnate himself as deadbubbles.

Arlo White, lead vocals, is the die-hard metal head, while Matt Martinez plays on influences of Danzig, The Clash, and Marvin Gaye, and with drummer Dave Rosset influenced heavily by The Red Hot Chili Peppers, you can see how many sounds there are in deadbubbles. Arlo grew up listening to Kiss, The Monkees, Sid & Marty Krofft, and mixing with his metal-mania brain, his childhood is apparent in his amusing, pleasurable lyrics. 'I typically write the lyrics; the music is more organic amongst Paul, Matt, and Dave,' White notes, 'We all have our own unique quirks and talents that we bring to the table.'

White tells me they are going back into the studio this spring. The next album is completely written, and they've been performing some of the songs live for a while now. deadbubbles are playing this month at 3 Kings Tavern, NOWhere Limited, and at Old Curtis Street Bar.

'We're always adding shows,' White says, 'We're constantly writing new music. We have tons of plans that include live recordings, music videos, new merch...we also have a deadbubbles tribute album in the works.'

As far as the future goes, Matt Martinez replies, 'Maybe some designer footwear and an El Camino.'

I'd drive that."

"With unhinged twanginess, unabashed spaciness and unapologetic snottiness, deadbubbles plays raunchy, raucous rock and roll that exists out of time. The Broomfield-based outfit's psychedelic rhythm-and-blues-a-billy seethes, surges and snarls as it spans the rock decades, comprising the rhythmic romp of the Crickets, the sassy swagger of the Yardbirds and the lysergic liturgies of Syd Barrett. Arlo White's nasal taunts rile the restless rhythm section of bassist Matt Martinez and drummer Dave Rosset, while jittery guitarist Paul Humphrey eggs them all on with barre-chord bravado. The melee can get a little messy at times, but there's no denying the inexorable intensity of the quartet's zeal. There's nothing esoteric or remotely subtle about the group's devil-may-come barn-burners, but the metamorphic, rowdy rock of deadbubbles (due at Old Curtis Street this Saturday, January 26) rolls recklessly and gathers no moss."

"There's a giant cock on the cover of the Deadbubbles' debut album. It's a large, disgruntled rooster, and it symbolizes their self-designated style of music: psychedelic cock rock.

With band members from Broomfield, Longmont and Boulder, the Deadbubbles seem determined to fit the entire Front Range onto this CD. Reclamation Forklift Provider is an interesting and ballsy attempt to combine Pink Floyd's The Wall with Pretty Boy Floyd's Leather Boyz with Electric Toyz. They come down heavy on the psychedelic and light on the cock, but they definitely rock on songs like the swampy "Middleman" and the eerie "Reclamation: Declaration."

This CD is cool because it's kind of like Thomas Pynchon's Gravity's Rainbow in that it teaches you how to understand it as it progresses. I wouldn't call Reclamation Forklift Provider a concept album, but I wouldn't be surprised to see one of those from Deadbubbles soon enough."

Does the phrase “so smart, it’s dumb” mean anything anymore? If so, you couldn’t find a more perfect example of it than Sexyharrasment, the debut full-length by an enigmatic Broomfield duo known as Lint! Swinging blindly between remedial electro-pop and Negativland-esque noise collages, vocalist/programmers Arlo White and Jason McDaniel (a member of Dario Rosa’s twisted menagerie) take cheap shots at rappers, rock groupies and Teutonic techno, mumbling and stumbling their way through songs with freakish titles like “Crazy Foam + Crazy Face = Crazy Mother, Crazy Crazy” and “nostrawberries@thistable.com.” But there’s mentation to this madness. Sure, “Jolly Bobbins” sounds like Syd Barrett disemboweling a beatbox, but it’s as cleverly infectious as a miniature They Might Be Giants — and “Number Three Combo” is a heart- (and belly-) warming tribute to “the Mom and Pop teriyaki shop/Just down the block from my house.” Of course, there’s always the possibility that Lint! is simply so dumb, it’s dumb. Either way, Sexyharrasment is irrefutably retarded…and, strangely enough, charming and catchy as hell.

One of the worst questions to ever ask a band is: “How do you classify your sound?” It’s like asking an ugly person if they think they’re attractive. According to Denver-based band Lint, they describe themselves as “80s-influenced electro-retard rock.” This statement couldn’t be a more precise picture of their sound.

Lint’s latest release on PandaCandy Records, sexyharassment, is a ridiculous blast of cracked-out energy, heavy on the keyboards and the immaturity. Jason McDaniel and Arlo White lay random vocals over up-tempo beats like they have adult onset ADD, with each track being short, sweet, and to the point. Nothing about sexyharrassment makes sense, and that’s the way they like it.

I’m reminded of the randomness present in Beck’s earlier work (“One Foot in the Grave” or “Mellow Gold”), as Lint cuts and pastes their lyrics together to form hilarious takes on things like band t-shirts and supermodels. When I hear Lint, I wonder if The Cars ever made a guest appearance on Miami Vice, because if they did, this is what it would sound like.

I would hope that Lint is as attractive live as they sound are recorded. I’d like to see Lint throw down with White Girl Lust at Club Smash sometime soon and make the kids dance. Maybe throw Magic Cyclops in the middle and make it a sandwich. Yummy!

www.lintworld.com

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