"Go on a Saturday night trip this weekend when burlesque mover and shimmy-shaker Honey Touche teams up with Arlo White of Hypnotic Turtle for Psychedelic Burlesque Jungle. The tiki-and-acid-themed evening of ’60s pop culture will deliver an all-star cast of vivacious local ladies and retro tunes courtesy of Tammy Shine and DJ Alf. You’ll find it all at the Broadway Roxy, 554 South Broadway, on Saturday, November 23, from 8 p.m. to midnight; admission is $15 in advance ($20 day of show) at brownpapertickets.com.”
— Westword Denver
"Arlo White’s bizarre radar for weird music and art mixes defies categorization — or falls, perhaps, into a category all his own: He’s an artist; a concert promoter; a musician in such bands as Deadbubbles, Sparkle Jetts and the Buckingham Squares; and, notably, the host of Radio 1190’s Hypnotic Turtle Radio as his alter-ego Diablo Montalban. He’s the kind of guy who rips off the little library model and instead installs an art installation in a DreamBox in his front yard — and then throws a party. He’s simply Arlo White.
What drives White’s peripatetic DIY practice and point of view? Get an inkling via his answers to the Colorado Creatives questionnaire.
Westword: What (or who) is your creative muse?
Arlo White: Love, anger and rock and roll!
Love: Everything I do is for my wife and two children. I'm in awe of each of them, and the support they give is immeasurable! Just trying to give them something to be proud of.
Anger: The same feelings that kept me from creating in my late teens and early twenties are the same ones that won't let me stop today. I can't explain how and when the change happened — maybe it was spiritual, maybe drug-induced. One day a door opened, and I ran screaming through it, and I'm trying very hard not to look back. Where once my anger was focused inward, I'm now able to project it creatively. There's no shortage of things to be enraged about for even a semi-conscious being.
Rock and roll: Amazing art and music have been around since the dawn of time, but as far as I’m concerned, the history of rock and roll in America is everything. Rock and roll helped blow open the floodgates in a lot of people's minds. Societal norms came crashing down and opened arenas for self-expression on a mass scale, especially around things like sexuality, gender and race/ethnicity. We needed to shake things up! “Fuck You” never sounded so good!
Which three people, dead or alive, would you like to invite to your next party and why?
Three people off the top of my head: Patti Smith, John Waters and Screamin' Jay Hawkins.
This IS a party right? They all might be a little stiff at first, but I think after a couple drinks, it would be nothing but fun! And they all know rock and roll!
What’s the best thing about the local creative community in your field — and the worst?
The best thing is that we have so many opportunities for creativity here; maybe not as many as there used to be, but they still exist. It’s about finding them. Several clubs in Denver will book a band or performer’s first show. Community radio stations around the state have many opportunities to get involved. Hundreds of calls for artists are posted each year, many of which don't charge fees. If you’re willing to hustle, you can get your name out there, and in the process, you're gonna meet some of the most amazing, talented and beautiful humans you could ever imagine. They're here!
On the other hand, the worst thing is the continued undervaluing of the arts and artists. It’s not a problem exclusive to Colorado. Artists should be recognized, celebrated and fairly compensated; artists make life livable! Art is in everything and everywhere. Everybody loves art, whether they know it or not!
What is the Hypnotic Turtle DreamBox?
Hypnotic Turtle DreamBox, an idea created and curated by my wife, Kim Kennedy White, and I, is a box of magic and art hidden in the suburbs of Broomfield. The DreamBox was born out of a desire to foster imagination through creativity and inspire a sense of wonder in our local community and beyond.
Essentially, it's a Little Art Gallery (for a visual, think of a lending library; instead of books, it's an art display). For the first DreamBox, I created a miniature immersive piece called “Science Fiction.” I was the first test subject for this social experiment! We plan to curate future installations with local artists who might transform the space into a miniature museum with itty bitty canvases or create a sculpture, or...
What’s your dream project?
One of them would be Turtle Spawn! I think of my radio show, Hypnotic Turtle Radio, as live radio art. I want to expand my little world inside the air studio and bring it to life on a larger scale. I would have several performance stages conducted and mixed live by our resident DJ Diablo Montalban — my alter ego — in a beautifully demented installation piece. Rock bands, free jazz, performance art and flash mobs would all come together into a symphony.
If you died tomorrow, what or whom would you come back as?
Ugh. I have to come back? Probably as some aerial creature. Assuming I survive adolescence, I would love to fly on my own! Done it a few times in my dreams, and it's magic! Or come back as John Coltrane's biggest fan who followed him around or follow the Velvet Underground like Jonathan Richman. Yeah, I'd come back as Jonathan Richman!
Denver (or Colorado), love it or leave it? What keeps you here — or makes you want to leave?
Still love, but hard not to be confused and angry, especially in Five Points or the ever-expanding RiNo district. The high cost of living and pushing fellow humans out of Denver at an alarming rate is heartbreaking and disgusting. Politics aside (if that’s a thing), the artists and musicians who are hanging in there are doing incredible work and lots of it. There is so much happening here!
Who is your favorite Colorado Creative?
Little Fyodor: possibly one of the most important people in the Hypnotic Turtle story. His radio show of thirty years, Under the Floorboards, aired after an equally influential show, Smash It Up, on KGNU; they were an amazing one-two punch to my consciousness. Through UTF, I was exposed to a dizzying variety of found-sound, plunderphonics, noise and self-made-cassette-driven art. He introduced me to Negativland (the biggest influence of Hypnotic Turtle Radio) and hundreds of artists/people (assumingly) like myself, with nothing but hand-held tape recorders, making any sorts of primitive noise, telling stories, or just walking through leaves and gravel.
So much genius.
What's on your agenda in the coming year?
Several band projects that I can't talk about yet. One I can hint at is a tribute band that should be ready by Halloween. If the names Lux and Ivy ring any bells, you know where we're heading.
Overdue episodes of our web series, Denver Rock City.
Lure in some of our favorite local artists for the DreamBox.
Promote more events: Currently, we’re co-promoting Claudio Simonetti's Goblin performing the live score to Deep Red on October 7, with Anchors Aweigh, both at the Oriental Theater.
We’ve also been fortunate to partner on some amazing events this year with the Gorehound's Playground in Fort Collins and CritterHype. We're always looking to expand on what’s possible with the radio show (guests, collaborations, etc.).
Who do you think will (or should) get noticed in the local arts community in the coming year?
40 West Arts District is about to blow up. We always love what Betsy Rudolph and everyone at Next Gallery has going on! Love the work of Kim Anderson and Valerie Savarie from Valkarie Gallery. I'm always jealous of the stuff the Mad Tatters do and love to see Karl Christian Krumpholz continue to reach a national audience with his comics and illustrations. We are always excited to see what Maureen Hearty will do next with her amazing sculptures and community work, both in Denver and out on the eastern plains. Also, the person who scrawled "I Tried My Best" on the back of a street sign I passed a couple months ago — it still haunts me. That's great art!
Follow Arlo White and Hypnotic Turtle at the website, on Instagram and on Facebook. ”
— Susan Froyd, Westword Denver
"What: Weird Wednesday: Gothsta, Dorian, Hypnotic Turtle Radio DJ, Cabal ArtWhen: Wednesday, 09.04, 9 p.m.Where: Bowman’s Vinyl and Lounge Why: Weird Wednesday is the monthly musical showcase that lives up to its name and curated by Claudia Woodman. This time she will be performing in her persona of Gothsta and for this performance she says, “Gothsta covers goth songs on the melodica that have some link to climate change-related themes, because Gothsta is depressed about global warming. Gothsta will have some extra special content that has to do with the Amazon burning and will be joined by Hypnotic Turtle’s Diablo Montalban for dueling melodicas/improv along with noise loops generated for this performance.” It’s rare that anything lives up to hype like that but this show probably will.”
— Queen City Sounds and Art
"Hypnotic Turtle DreamBox Grand Opening, and Arlo White, Science FictionBroomfield (address TBA) Opening Reception: Friday, August 16, 2019 7 to 11 p.m.RSVP on the Facebook page for more informationThe tiny collective empire of Hypnotic Turtle founders Arlo and Kim Kennedy White has spawned a radio show on 1190, a record label, an art factory and now, the Hypnotic Turtle DreamBox, a gallery and performance space located somewhere in Broomfield. For the grand opening, the group will be putting out lots of live music, including sets by Tammy Shine and John Fuzz of Dressy Bessy, Dead Orchids and Victoria Lundy, along with Science Fiction, an exhibition of works by Arlo White. Tune in to the Facebook page for the latest info.”
— Susan Froyd , Westword
"The huge floor tom and fat bass line that kicks off Stargasm launches Sparkle Jett’s new album into the stratosphere with classic punk bluster. But the “Denver Rock City” quartet Sparkle Jetts continue on to show rock and soul that seems as if it came straight from MC5 and Patti Smith. Sparkle Jetts — a supergroup of sorts — is anchored by Whitney Rehr (of Gata Negra and I’m a Boy) and Arlo White (of Deadbubbles, The Pretty Sure and The Buckingham Squares) who are joined on the album by half of the group’s original line up, Hope Hinkson (of the Blackouts) and Chris Kieft (of the Dirty Lookers), who have since left the band. They’ve both been replaced, but the new musicians (Arnie and AJ Beckman of Choosey Mothers) don’t appear on this raucous album that sounds as if it was recorded decades ago instead of this year. Monumentally hook-laden with a simple punk rhythm that makes Stargasm a crotch-driven, sexy affair, the album skids and drifts with a magnetic hot-rodded garage rock sound and powerful stadium rock posturing.”
— Marquee Magazine
November 12, 2015 Aural Innovations Little Fyodor is one the world’s truly fun and talented characters. He was one of the Godfathers of the American homemade music/cassette culture underground in the 1980s with his band Walls of Genius, who kicked started their activities in 2014 after a 30 year hiatus and have since demonstrated that they’ve still got it in a big way. Fyodor has been at it all these years under his own name too and after having covered the recent Walls of Genius recordings he sent me a care package with this latest single plus a couple from past years that I’d missed. Various Artists – “The Unscratchable Itch: A Tribute to Little Fyodor” (Little Fyodor/Public Eyesore 2013, CD/DL) I’ve got to hand it to Little Fyodor. Nobody sounds like him. Hell, he even rates a tribute album. The Unscratchable Itch: A Tribute to Little Fyodor consists of 21 artists doing their own renditions of Little Fyodor songs. The interpretations run the gamut from “relatively” normal, to attempts to go Fyodor style, to doing precisely what I always hope will occur when someone does a cover song which is to make it completely their own. All the contributors do a good job but I’ll give you a flavor of what for me are the standouts: The Voodoo Organist does a nasty 60s Garage-Psych rocking take on Get Out Of My Head. I love Dan Susnara’s lounge crooner take on You Give Me Hard On, nicely colored by incessant vinyl scratching and goofy effects. The Inactivists take the same song in a different direction, giving it a sultry Psychedelic-Jazz spin. Nobody but Amy Denio could make a Little Fyodor song sound lovely like she does with her Avant-Pop version of The God Gripe Song. Brian M. Clark is totally demonic with his sludgy Psychedelic-Doom rendition of Happy People. Diablo Montalban does a very cool and wildly chaotic cheesy keyboard and Throbbing Gristle Industrial version of Cruising (Bummer Scene). Gort vs. Goom do a very cool tripped out cover of I Don’t Know What To Do that’s like The Residents and Renaldo and the Loaf backing a singer, though it’s also got a tasty guitar solo. Fyodor’s brother moron in Walls of Genius Evan Cantor does a cool swinging lounge-Blues version of I Wanna Be The Buddha. Swami Loopynanda (Charles Rice Goff III) goes lysergic mind-fucked Psychedelic with his wigged out Residents gone Space Rock interpretation of Red Meat/Throbbing Earthworm. Darren Douglas Danahy is nicely spaced out too with his funky freaky electro-grooving cover of No Relief In Sight. The spaced out whack job vibes continue with Reverend Leadpipe and the Evil Do’ers doing an ultra-frenetic and rhythmically disorienting You Will Die. Blood Rhythms do what is probably the most challenging to recognize cover of a Little Fyodor song with Won’t Somebody Fill The Void. No surprise given that it was recorded live at the 2012 Denver Noise Fest. Lasse Jensen (who also curated this compilation) does a goofily rollicking cover of Everybody’s Fucking. And Nervesandgel do a nifty rhythmic Residents and darkly electro freaked out rendition of Doomed. Well… If you’ve read this far than I’ve apparently got your attention. Much fun awaits you at the following links… To stream, download and purchase these and other Little Fyodor albums visit: http://littlefyodor.bandcamp.comVisit the Little Fyodor web site at: http://www.littlefyodor.comThere’s lots of interview and live performance segments with Little Fyodor in the just released Great American Cassette Masters DVD documentary that I highly recommend. Check it out at: http://www.talkstoryfilms.net. You haven’t lived until you’ve seen Little Fyodor performing with a birdcage on his head. November 12, 2015 ” - Jerry Kranitz
Saturday's release party for Bob Rob Medina's illustrated memoir chronicling the '80s Denver punk scene, Denvoid and the Cowtown Punks, packed Mutiny Information Cafe — and that was before most attendees found out that the Frantix were going to play. The Frantix, who played their last show in 1983, said they got in a mere two practices before Saturday's mini-reunion. But you'd never know it by the reaction of the 100-strong crowd packed into the tiny coffee shop/record store on Broadway. Medina signed copies of the book and sold original illustrations for a mere $50 each. In attendance was a who's who of the Denver punk elite, past and present. It was the place to be Saturday, but if you missed it, the books are still available at Mutiny and at Albums on the Hill in Boulder, among other places. Check out a few photo highlights below. ” - Oakland L. Childers
Shonen Knife will attack Denver – and win – Thursday night, October 16, starting at the Oriental Theater. “Just the idea of a trio of Ramones worshiping Japanese girls roaming the earth playing their own brand of J-Rock, J-Pop, Pop/Punk Fun Time Soup, was good enough for us,” recalled local musician Arlo White, of Denver’s Sparkle Jetts. “When we finally heard them it was exactly like what it sounded like in our heads: Pure Innocence, Straight forward Rock and Roll Fun!” It’s a pretty perfect way to describe Shonen Knife, one of the ’80s and ’90s more obscure, but most delicious, Japanese exports. You may think that bands like Guitar Wolf hold the J-Punk torch (and they do, handily – but not completely), but it’s Shonen Knife that made the first real stab (pun fully intended) of Ramones-powered pop from Japan into America. Shonen Knife – and particularly Naoko Yamano – have enjoyed 32+ years of existence, and haven’t wavered once from their original happy, poppy, cat-, food- and youth-loving brand of punk rock. And they’re not about to slow down. The latest incarnation of the trio, featuring Yamano on guitar and vocals, Ritsuko Taneda on bass and Emi Morimoto on drums, is touring in support of the band’s 20th release, “Overdrive,” and they’re appearing at the Oriental Theater in North Denver this Thursday night. Not a show you want find out too late that you missed! Tickets. “Overdrive” is solid, just like it sounds, focusing on ’70s rock a la Kiss, Deep Purple or Thin Lizzy, but with the same naive, happy charm that the Knife has always been known for. Kittens, noodles, green tea win out over heartbreak, overdose, alcohol or endless groupie groping on this record – but the charm we’ve all come to love far outshines the gritty, grimy shortcomings (after all, we get plenty of ’70s lubed-up glam porn from all the Kimye crap, don’t we?). We had a chance to reach out and touch Yamano while she was on the road, between nearly 7-day-a-week gigging, to ask her a few questions. She was kind enough to reply – and we love her and the band all that much more for it. Read on: DenverThread: Wow – nearly 33 years, and 20 albums, all amped full of consistently catchy, unavoidably addictive Ramones-y power punk. Any end in sight? Do you plan to retire, or keep kicking ass until you just can’t anymore? Naoko: Keep kicking ass is ROCK! But if there will be no Shonen Knife fans, I have to retire. DT: Many of your dates on this US tour are back-to-back. Is it exhausting – just how you like to roll? Naoko: Actually, long drive makes me exhausted but once I see our fans at our show, I get power. DT: Since the happy, positive power behind your output hasn’t, how has your world view changed over the past 30+ years? Naoko: My world view hasn’t changed. I just get well experienced. DT: So much rock n’ roll is heavy, emotional, overbearing (especially in the US), yet you are constantly able to maintain a light, carefree feeling in the subject matter and feel behind your songs. Do you think that comes from your own personal outlook, or your upbringing in Japanese culture? Naoko: It comes from my personal character. Many bands are singing about love in Japan and US and sometimes about social problems in US. I don’t want to be the same with others. I like to make one and only unique music. DT: There are so many to choose from – and they’re all great – do you each have favorite Shonen Knife songs/albums? Naoko: I always prefer the latest album. Thus “Overdrive” is the best so far. I especially like “Black Crow”, “Shopping”, “Like a Cat” and “Jet Shot”. DT: Your songs often have a food focus – and the USA spreads a giant table of wonderful, tasty – and sometime just plain weird – food choices. Anything in your travels that fits in the “weird,” “super-weird” or “just plain crazy” category? Naoko: “Weird” — “chicken cutlet waffles and hazelnut chocolate cream on the side”. I like the taste of both chicken cutlet and waffles but the combination is a little odd. Waffles should be separated from chicken. “Super-weird” — too colorful artificial colored sweets and cakes. DT: Is there any American food you just couldn’t do without? Naoko: I don’t have any particular food but American Rock. DT: You seem to be cat lovers – why is that? Are they more preferable than other animals in your opinion? More preferable pets than dogs? (Full disclosure: I love both, but prefer cats). Naoko: I love both two but for dogs, I have to take them outside for walk. Cats are more free and independent. DT: Your sister Atsuko used to design and make all of your costumes – does she still influence the onstage costumes? Naoko: She made our new costumes. Her design and sewing is the best! DT: Did you know any of the opening bands for the Denver show – Sparkle Jetts, Sonic Archers 0r 9 Volt Fatale – before hearing they were opening for you? Naoko: I don’t know them but I’m looking forward to play with them. DT: Do you often find bands on tour that you end up really liking, or following? Any that stick out from other sites on this tour? Naoko: I like [The] Mallard that they opened up for our US tour in 2012 in the west coast. Don’t miss this one, presented by local promoter Girl Wreck Presents, at one of Denver’s classic, beautiful venues – the historic Oriental Theater. Besides the headliners, there will be an impressive collection of Denver local bands warming up and filling out the lineup, including glam rockers Sparkle Jetts, Mod-Brits The Sonic Archers and noise merchants 9 Volt Fatale. Continuing from above, Sparkle Jetts’ Arlo White – also the host of Radio 1190‘s Hypnotic Turtle Radio, and a Denver celebrity in his own right, had a few things to say: Sparkle Jetts are… “Whitney Rehr (guitar/vocals), vocal/guitar goddess and one of Denver’s most underrated performers, also plays inGata Negra, I’m A Boy, and Meta Lark. Arlo White (lead vocals), flat-footed, rock and roll mephisto, formed DEADBUBBLES and The Pretty Sure, and currently hosts Radio 1190’s Hypnotic Turtle Radio. Hope Bertsch (drums), crazed, primal powerhouse, also plays in The Blackouts. Chris Keift (bass), lays down the low end with post-punk devotion, was the bassist for The Dirty Lookers.” “We’ve all been around the Denver music scene for a long time, playing in various bands, and the stars finally aligned,” White went on to explain. “Our uniting of superpowers came about almost a year ago, and we’re now ready to use our powers for good!” “SPARKLE JETTS are currently playing a mixture of songs from my previous bands DEADBUBBLES and THE PRETTY SURE, plus SPARKLE JETTS originals,” he continues. “I want SPARKLE JETTS to be Denver Rock City’s go to band for the pure Rock and Roll experience!” Once again – you don’t want to miss this one. We’ve been fans of Deadbubbles and The Pretty Sure since their get-go. We know what you’re going to like. ” - Billy Thieme
— Denver Thread
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 email@example.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' 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 'Electric Concrete.' Dec. 13, 2013 (Photo courtesy of Arlo White) ”
By Darren Thornberry For the Enterprise
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. ” - Ashley Dean
— Boulder Daily Camera / Colorado Daily
“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.” ” - Kelsey Whipple
— THE PRETTY SURE: CD Review of Subtle Sabotage, Westword Playlist
“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. ” ” - Tim Wegner
— THE PRETTY SURE: CD Review, Subtle Sabotage, Colorado Music Buzz
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 ” - Brian F. Johnson
— THE PRETTY SURE: CD Release, Subtle Sabotage, The Marquee
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 ) ” - Julie Baxter, Broomfield Enterprise
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. ” - Marlee Keeven
— DEADBUBBLES: CD Review of Reclamation Now! A Tribute to Deadbubbles, Scene Magazine
“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.” - Billy Thieme
— DEADBUBBLES: CD Review of Reclamation Now! A Tribute to Deadbubbles, Denver Thread
“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! ” - TruBlu
— DEADBUBBLES: CD Review of 24 Hr. Nemesis: The John Carpenter EP, Colorado Music Buzz
“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!” - Billy Thieme
— DEADBUBBLES: Steal This Track, Reverb
“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!” - Billy Thieme
— DEADBUBBLES: CD Review of 24 Hr. Nemesis: The John Carpenter EP, Denver Thread
““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. ”” - Eryc Eyl
— THE PRETTY SURE: Steal This Track, Reverb
“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. ” - Jon Solomon
— DEADBUBBLES: Moovers and Shakers, Favorite Local Releases of the Year, Westword
“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. ” - Tom Murphy
— DEADBUBBLES: Show Review, Denver Post
“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. ” - Billy Thieme
— DEADBUBBLES: Locals Only Interview, Denver Thread: Denver's Deadbubbles' unbeatable live show comes easy, but packs plenty of raw power
“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.” - Jon Solomon
— DEADBUBBLES: CD Review, Frienemies, Westword
“ "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.” - Billy Thieme
— DEADBUBBLES: Show Review, Denver Post
“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.” - Gene Davis
— DEADBUBBLES, Denver Daily News
“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. ” - Kaffeine Buzz
— DEADBUBBLES: CD Review, Frienemies, Kaffeine Buzz
“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.” - Tom Murphy
— DEADBUBBLES: CD Review, Adventure Records Release, Cairn Magazine
“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? ” - Judy Wolf
— DEADBUBBLES: CD Review of reclamation forklift provider, Colorado Music Buzz
“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.” - Judy Wolf
— DEADBUBBLES: Colorado Music Buzz
“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. ” - Eryc Eyl
— DEADBUBBLES: Critics Choice, Westword
“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. ” - Dale Bridges
— DEADBUBBLES: CD Review of reclamation forklift provider, Boulder Weekly
“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 “firstname.lastname@example.org.” 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. ” - Jason Heller
— Lint! CD Review of Sexyharrassment, Westword
“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” - Bree Kutz
— Lint! CD Review of Sexyharrassment, Kaffeine Buzz