Supporting Acts: Tell Tale Broncho Harkening back to punk rock's glory days of the 70s, Oklahoma outfit Broncho captures the aggression, DIY authenticity and youthful exhilaration of a bygone era and then drags it by the hair into the Here and Now, creating a fresh sound that's unlike anything being played today. With echoes of The Replacements, Iggy and the Stooges and The Ramones, Broncho's exuberant ten song debut Can't Get Past the Lips is a blisteringly cathartic 20 minute flash of gritty, crunching guitar work supported by an assaultive rhythm section and made whole by songwriter Ryan Lindsey's aggressive, yelping vocal work. Lindsey's vocals and guitar are supported by Johnathon Ford (bass), Ben King (guitar) and Nathan Price (drums). The project began as an off-the-cuff recording session for Lindsey (who also plays keys for Starlight Mints, in addition to performing as a solo artist). He quickly laid down early versions "Pick a Fight" and "Losers" with the assistance of King (Cheyenne) and Price (Native Lights), and then sent them to Ford (Unwed Sailor), asking for feedback. Ford loved the songs so much that he suggested they begin playing shows as a band. "The next thing I knew, Johnathon had a show booked in Tulsa," Lindsey says. That first show, a manic, ultra-lean showcase of six songs that clocked in at less than 15 minutes, occurred in February of 2010, since then the band has toured across the U.S. and released their debut album Can't Get Past The Lips to international acclaim. The collective talent and cumulative experience of all involved with Broncho has resulted in an album that, for all its dirty-dishwater punk roots, is a masterwork of garage/pop simplicity. Speaking of the band's reference points, Lindsey says "We all love the way those records sound so we naturally went in that direction, as far as fidelity goes. But more than anything, it's the attitude of an era that I wasn't around for, but feel a connection with. We didn't set out to recreate a record from that era, we just took on that message and made it our own." Or, as Ford puts it: "It's not nostalgia, it's natural." Colourmusic Welcome to the beautifully strange world of Colourmusic, a place where concept albums - an LP named My _____ is Pink in this case-have nothing to do with structured narratives or loosely-linked lyrics. More like musical walls that must be climbed, whether that means shunning acoustic guitars or modeling the rhythm section of some songs after metronomic sex acts. Which isn't as titillating as it sounds. The way Hendrix sees it, "We wanted to focus on human sexuality and reproduction. Not in terms of turning people on; from a point of view of fear and anxiety, and how it's the prominent decision-making force in many people's lives." That explains a couple things, starting with My _____ is Pink's actual sound. Rounded out by bassist Colin Fleishacker, drummer Nicholas Ley, and guitarist Nick Turner, Colourmusic's new material amounts to an everevolving mass of melancholic melodies, gauzy vocals, shifty beats, and monophonic musical structures. Not to mention glimpses of agnostic gospel grooves ("You For Leaving Me"), hip-shaking R&B ("Feels Good To Wear"), acid-drenched pop ("Tog"), and Bladerunner-inspired psych ("Pororoca," which means - quite tellingly -"great destructive noise" in many parts of South America). And then there's "The Little Death," a five-part foray into the outer realm of sandblasted rock, subterranean drone tones, and the kind of headphoneready hooks that cause weak-willed speakers to spontaneously combust. Like a yellow brick road to the second circle of hell (lust, if you haven't visited Dante's Inferno in a while), it's a ten-minute guide to what makesColourmusic tick. Well, sort of. Truth be told, the Oklahoma-based band isn't spelling anything out. "If you write a song that's too literal, it dates it," explains Hendrix. "We'd rather make things a little more subconscious. It gives a song a longer life span because you never know what's really going on." "The music tells us what the song is going to be about," says Hendrix. "Once we have a drum beat, it's alive. And once we come back to it, it's basically beckoning us to finish it." $8.00 - $10.00