This second episode of the Gutterth Podcast focuses on the NX35 Conferette (that starts TOMORROW) and the bands that we have worked with that are playing the 4 day Denton music festival; featuring songs from New Science Projects, Sleep Whale (mom), Record Hop, The Heartstring Stranglers, RTB2, Shiny Around The Edges, The Timeline Post, Doug Burr, The Angelus, and a special performance and interview with NX35 organizer and founder of The Baptist Generals, Chris Flemmons.
Thanks to everyone who came out to J&J's Pizza last night for Rivers/Tides.
The bands were great and it was good to see everyone out on a Tuesday night.
We are proud to announce the launch of the new Gutterth Podcast!
The first episode is up now and features new/unreleased songs from Nervous Curtains, Dust Congress, The Family Circuits, New Science Projects, Parata, the pAper chAse, Magnets, Dirty Water Disease, Daniel Folmer, and a special interview and live performance from Ryan Thomas Becker.
We'd like to thank everyone who came out to Rubber Gloves last night for Waving Hands.
The bands, the artists and everyone envolved were absolutely amazing and we had a great time.
The goal is to list all of the good shows going on in North Texas (Denton, Dallas and Ft Worth).
No showlist can be complete, so we need your help. If we missed a show, let us know.
Go to shows. Buy records. Tell your friends. Link to us.
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We'd like to thank the bands and everyone who came out to the Hydrant and Good Records shows this week
to celebrate the release of Daniel Folmer's new album "The Roaring Twenties."
Make sure to catch Daniel this morning from 10:30 to 11:00 on 88.7 The Good Show.
"Picture Show: Daniel Folmer Album Release at the Hydrant Cafe"
By: Daniel Daugherty
"Daniel Folmer and Doug Burr played Denton's Hydrant Cafe last night, to celebrate the release of Folmer's new CD, The Roaring Twenties. And they brought along the Burnt Sienna Trio and Glen Farris with them, the latter of whom got the ball rolling around 10 p.m. and deserves some credit for setting the mood for the night (particularly with his mournful rendition of "Man of Constant Sorrow"). Photos from the show are up in our slideshow here.
The venue itself, The Hydrant Cafe, is hardly larger than most folks' living rooms and contributed to the informal atmosphere. So did the kitchen, which served as a staging area for the bands' gear. (Speaking of the kitchen, I must parenthetically mention that, spoon or no spoon, Folmer seems quite a fan of potato soup.) And while the lighting was a pain to work with (see my photos), I couldn't help thinking that acoustics were pretty damn good. Burr even went so far as to call them "beautiful."
Catch Folmer again tonight at Good Records for a free in-store performance with Dust Congress and Nervous Curtains.
The show starts at 7."
Back on August 10, 2008 Ryan Thomas Becker covered a Chris Garver song at 907 Denton St, as part of "Phatcamp."
This is what it sounded like that afternoon:
Matthew Barnhart mentioned "The Roaring Twenties" in his latest blog entry.
"I just finished mastering Daniel Folmer’s new album, The Roaring Twenties. This is the third album I’ve done for him in a year or so. Very prolific! Great singer, and very insightful songs. He’s playing a record release show this week in Denton at The Hydrant Café, then another at Good Records."
"Folmer's Latest An Even More Intoxicating Brew Than That Trash-Can Punch You Drank In Your Own Roaring Twenties"
By: Merritt Martin
Singer-songwriter Daniel Folmer is nothing if not prolific. Every time audiences digest an album from the young hockey player (in Denton no less), he's got another to throw out. And it's nothing short of a thrill to watch and hear someone wield the pen and a pick with talent that keeps just keeps growing more and more potent. Last year, Folmer doled out the consistent and satisfying A Leaf, and with his newest offering, The Roaring Twenties, he stays true to his own brand of dramatic, obsessive (realistic, not creepy), romantically spirited lyricism ("Skin & Bones," "Prison Guard" and "Roaring Twenties" are lyrical as well as melodic highlights), while showing even more skill at the musical self-edit -- something that many writers as inexhaustible as he never master. From "On Fire," with its tambourine-laden acoustic meanderings, clear through to electro-lullaby closer "Speed of Light," Folmer pushes his songs to the brink without ever coming off heavy-handed. Each strum is thoughtful, not over-thought. Every effect seems appropriate even if unexpected. Employing mid-century lounge organ ("City Sold Its Soul to Ben E Keith"), steel guitar ("Danny"), electronic glitches and other elements, Twenties could easily lose focus and seem like a sort of mixed-media, try-everything project. But the collection of 13 indie-pop tracks (all under three and a half minutes long) are finely tuned and cohesive—an intoxicating brew of styles and instrumentation matching Folmer's lyrics and evoking the emotions that one just might have in their own, um, roaring twenties.
