has cast a unique shadow across Denver for years now, only in part because of his music. He’s personified a specter of death (and he still sometimes looks the part) and a look and feel of twisted rural life at its most gothic state. His smiles are rare enough to make the event cause for more than a little paranoia. Itap not just for the stage, either — he wears this part in high drama throughout his life, which is likely why he fits so well as one-half of the frontman duo in (one of Denver’s most elaborate stage shows — and also one of the best).
So his latest project, Munly & The Lupercalians, is not surprisingly yet another surrealistic creation, and may be even more drenched in a gothic look and feel. The band has been together for a while, though live shows have been few, which has enhanced curiosity among fans. They played a show at last Friday night that more than quenched that curiosity, and replaced it with a fervent desire for more.
The five-piece included almost half of Slim Cessna’s Auto Club in Daniel “Pants” Grandbois on one keyboard and Chadzilla in one of two drumming positions, and also featured Todd Moore as second drummer and Rebecca Vera (formerly cellist for The Lee Lewis Harlots) on another keyboard. Munly fronted on banjo and vocals while Vera added a saloon keyboard, as Grandbois used his for bass accompaniment — immediately recalling Ray Manzarek’s position in The Doors. Chadzilla and Moore backed up with some tribal drumming on two sets in back, one comprised of nearly all metal pieces (including a tall bbq smoker) and the other a more traditional trap set. The mix, while it still held much of the Munly sound, was fresh, somewhat lighter than past concoctions, and even sounded just a little bit electronic at times — think the with a dusting of Stereolab.
At least as interesting and provocative as the band’s sound was their costumes. Vera and Grandbois flanked both sides of the stage in full length black robes and capirotes (coned hats similar to those worn during Holy Week celebrations in Spain and, more familiarly, the KKK) while Chadzilla and Moore wore burlap hoods with eye holes (perhaps more ancient capirotes?) representative of pre-christian celebrations of Lupercalia, a pagan fertility rite that may have eventually led to Valentine’s Day. The stage show created an aura of ancient mystique, and formed the perfect backdrop to the songs, most of which should be on the band’s new album “Petr & The Wulf,” set to drop any day now.
opened the show, led by Kurt Overcaster (AKA Kurt Ottoway), with a strong set. My past experiences with Overcasters have been less than impressive, over-heavy affairs, but Friday’s show really was resplendent. The sound was perfect, and the band reached a unity and ease that amplified an early “Echo & the Bunnymen” side of their psychedelia.
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Billy Thieme is a Denver-based writer, an old-school punk and a huge follower of Denver’s vibrant local music scene. Follow Billy’s explorations at , and his giglist at .
Tina Hagerling is a Denver photographer and regular contributor to Reverb. Check out more of her .
