CIRCLES AROUND THE SUN

Boulder Weekly, Twist & Shout and Terrapin Care Station Present

CIRCLES AROUND THE SUN

Los Colognes

Sat Jan 5

Doors: 7:30 pm / Show: 8:30 pm

Boulder Theater

$22.50 - $25.00

This event is all ages

Ages 15+ without a parent

All tickets are non-exchangeable and non-refundable following purchase

Listed price does not include tax and service charge

Price is the same online, over the phone, or in the Box Office.

NO BAGS

All tickets are General Admission (GA) with limited seating available. If you require accessible seating or other accommodations, please purchase your GA tickets and reach out to Lee@z2ent.com to help us make your visit as enjoyable as possible.

Circles Around The Sun
Circles Around The Sun
Few albums have the creation myth of Interludes For The Dead by Neal Casal's Circles Around The Sun. The 10 instrumental jams that encompass the release were commissioned by Justin Kreutzmann, the filmmaker son of Grateful Dead drummer Bill Kreutzmann, to accompany the biographical visuals he was compiling to be shown during set break at the "Fare Thee Well" concerts the living members of the Dead played in the summer of 2015.

As guitarist in the Chris Robinson Brotherhood, and a sometime participant in Dead bassist Phil Lesh's Phil & Friends jam sessions, Casal was a natural for the project; he, in turn, brought on Brotherhood keyboardist Adam MacDougall, bassist Dan Horne and drummer Mark Levy. At the shows, their music was a smash sensation: deeply familiar to the reunited Deadheads in how it tonally, rhythmically and melodically mimicked the Dead's songs, yet possessing its own weirdo majesty. Some pieces were explicit in their reverence, while others applied the Dead's freewheeling modus operandi and took their own course.

At more than 20 minutes, "Kasey's Bones" is most certainly one of the latter. From the opening electric-piano-plus-guitar squall/lurch, there's a Bitches Brew vibe to the proceedings. If most of the track's first 10 or so minutes clip along at a shuffling pace Deadheads will recognize (and haters will cite as primary evidence), the latter half is a unique explosion. It begins around the 10th minute, when MacDougall's switch to a spacey-sounding Juno synth serves as a prompt, and then they're off. MacDougall is on a clavinet creating stabbing funk patterns, while Casal weaves lines around him, the pair mimicking the early-'70s interplay between Jerry Garcia and his non-Dead keyboard partners, Merl Saunders and Howard Wales.

Soon, though, Casal hits a turbo-charge of pure lead-guitar shredding, and the rhythm section supports him with equally intense playing that crackles continually for three or four minutes with zero let-up. When it comes out the other side, everyone takes a breath: Levy keeps a steady pocket with Horne on dubby support, while MacDougall and Casal drift slowly toward an ambient space before devolving into an electronic-music black hole. If you know the Dead's trajectory, it's a perfect distillation of the group's fusion-filled 1973-74 jams. If you don't, it's a wonderfully evocative soundtrack for posterity, as it was for five thrilling summer nights.
Los Colognes
Los Colognes
“Only the living feel the flow/only the loving let it go” - Unspoken

One of the highest and rarest aspirations in popular music is to reach for the transcendental, to access the spirit. On the third album “The Wave” by Nashville based Los Colognes, they succeed just this - in breaking through the confines of everyday pop song lyricism to tell a sort of holistic story. It’s not a concept piece, but it’s a brooding and still joyful song cycle filled with philosophical rumination, effortless hooks, inspiring musicianship, and expansive arrangements. It’s an album perfectly suited of the current zeitgeist of unease and hope.

“The Wave” is an album about archetypes and about the everyday. There are allusions to the Great Flood, to Plato’s Cave, to Poe, to the hero’s quest so iconically defined by Joseph Campbell. There are recurring metaphors about the water, about the vastness of the ocean and the delicate balance between riding the wave and being pulled under. There is struggle, there is dread, there is hope, there is ultimately the knowledge only gained by a journey. It’s an album
about attempting to gain acceptance with the flow of adulthood, life in the music business, the changing awareness that only time and maturity can hand to someone.

Guitarist/singer Jay Rutherford opines in the album’s initial single , “Flying Apart” ‘Nobody believed/We’re all just hoping/Floating down streams”. It’s a song that repeatedly invokes the wave metaphor of the album’s title while churning through its own sonic sea of
shimmering keyboards and guitars anchored by drummer Aaron Mortenson. The music evokes any of the best moments of late seventies or mid eighties FM radio while never being weighed
down by the specter of influence. Los Colognes are a young band who have managed to forge their own sound while channeling the best sonic worlds of the decades past.

Unlike the live approach used to record the group’s previous records, “The Wave” was built from the ground up so to speak and with attention to each track, each part. There is a certain economy of space in the songs that feels deliberate while never ceasing to be warm and
inclusive. Guitar and keyboard lines drift off each other in between lyrical exchanges while Mortenson propels the beat, sometimes meditative, sometimes driving. Each song passes into another with a thoughtful pause- a passing keyboard chord, a drone, a bit of noise, a breath before the next reflection. Like any fully realized album, there is a cyclical wholeness to it that beckons the listener not just to hear it in its entirety from the outset, but to hit ‘play’ again or lift the needle as soon as the last chord of “Can You Remember?” subsides.

Rutherford sings on “Can You Remember?” - ‘When you were young/there was a flood/ almost drowned’, but with the understanding that the journey didn’t end in tragedy, we didn’t drown, we are still navigating the waters and with new perspective. The journey to finish the recording of “The Wave” was its own quest of sorts for Rutherford and Mortenson, a more deliberate process of creation and craft that shows a band becoming fully aware of its voice and its vision. As current events in the world breed anxiety and unease, as the accelerating paces of the hyper information age make it yet harder to deliver contemplative messages in the arts, and as we all struggle to accept the uncertainty and mystique of ‘living in the moment’, Los Colognes have given us a singular collection of quietly anthemic tunes, held together by philosophical reflection and damn fine rock and roll chops. The Wave is coming.
Venue Information:
Boulder Theater
2032 14th Street
Boulder, CO, 80302
http://www.bouldertheater.com/