Chimney Choir

Ah, Presidents Day! Time to don your presidential finery, stuff yourself with presidential goodies and roam the neighborhood, singing presidential carols. Yes, if there’s one thing that we associate with Presidents Day — other than this pounding headache from having an extra night out this weekend — it’s music. And so, without further ado, Steal This Track brings you your Presidents Day presents — free Colorado music from freaky indie folkies Chimney Choir and eclectic electronic artist Sonaris. Your forefathers insist that you steal.
We first introduced you to Chimney Choir with a stolen track back in July. Since that time, the trio of Kris Drickey, David Rynhart and Kevin Larkin has continued to refine its eccentric brand of Americana into something truly original. Borrowing from the musicians’ diverse backgrounds, and incorporating some experimental and progressive influences, Chimney Choir has become a band to watch in Denver.

In fact, the best way to experience the threesome’s unique blend of traditional and out-there music is live, when traditional instruments are combined with suitcases, trash cans and even a ladder to create a sonic and visual performance unlike most you’ll see. You can catch the band this Saturday, Feb 25, at the Hi-Dive, performing with Dan Craig and the Raven and the Writing Desk. Best of all, you’ll be able to take home a souvenir, in the form of the band’s new live album, “(ladder).” We’ve heard it and it’s delightful. Whether you’re able to make it to the show or not, steal “All in Your Mind” to get an idea of what this group can do. You won’t be disappointed.

-Eryc Eyl - Denver Post (Reverb Blog)

Much like the town in David Lynch's Blue Velvet, Denver seems like a really normal place until you scratch the surface. But listen to the music that comes out of there — from 16 Horsepower to Laura Goldhamer & the Silvernail — and it becomes clear that something is a little, um ... off.

"Yeah, there's definitely a dark kind of folk thing happening here," says Kevin Larkin, who co-helms Colorado's no-less-quirky Chimney Choir with Kris Drickey and David Rynhart. "What's funny is that me and Kris lived in Boulder before moving to Denver, and there it's the exact opposite. Everything that comes out of Boulder is really sunny."

Where Chimney Choir falls on that spectrum is as tricky to pinpoint as the band's musical influences. Larkin, who spent some formative Denver years going to see gothic country bands like Slim Cessna's Auto Club, also played traditional Irish music with Rynhart in Boulder. He then went on to join a Mississippi string band for five years, before returning to Denver to form Chimney Choir in late 2010.

"We reconnected about a year and a half ago," says Larkin. "I'd played a lot of bluegrass, and David played tons of Irish music; he actually lived over there for a while, playing flute and guitar. And we all have diverse influences. He played classical piano and worked up a bunch of Jobim pieces, and I really love early '90s hip-hop and samba music. So we have this foundation where we can jump genres a little bit."

Apart from a lyrical nod to Jay-Z — "I got 99 problems / And three of them are girls / We argue and we yawn / At every wonder in the world" — there's nothing resembling hip-hop on (ladder), the art-folk trio's new debut album. And no, the track "Ace of Spades" is not a cover of the Motorhead classic.

Still, (ladder) is dynamically diverse, with band members trading instruments that include accordion and banjo, samples and synths, flute and piano. During live shows, a drum pedal and Samsonite suitcase take the place of the cajón hand drum that's used in the studio. They also serve up stunning three-part harmonies that should please any Haunted Windchimes fans in the crowd.

The seven-minute "All In Your Mind" epitomizes the band's eclecticism. Epic yet accessible, it starts off sounding like a jumpy silent film soundtrack, before venturing into Dan Hicks and Kurt Weill terrain, a vocal buildup suggesting Pink Floyd and the Incredible String Band, a mournful piano-and-Mellotron interlude, a swaggering "Hey Jude"-style coda, and maybe a little Railroad Earth and Phish thrown in along the way.

Recorded last month before a live audience in an old pipe organ chapel, (ladder) is a big sonic jump from the band's home-recorded EPs. It was financed by a $3,000 Kickstarter campaign that, Larkin notes, "covered the cost of recording, mastering and duplicating it — just barely. It's kind of hard to ask people for money. But, you know, a lot of people, even if they like you, they're not gonna pay to download your music. It doesn't even cross their minds."

So the electronic busking turned out to be worth it. After all, how long would it have taken to earn that much on the road?

"Oh, I don't know," says Larkin, "probably about 10 years."

-Bill Forman - Colorado Springs Independent (May 2012)

The mixing of artistic oddity and bombastic folk melodies makes Chimney Choir’s debut full length, (ladder), a snappy and unique listen. It’s really good is what I’m trying to say here and you should give it a whirl. Chimney Choir takes traditional instruments, guitar, mandolin, banjo, piano, and augments them with kitchen sink percussion, occasional computerized sampling, and freaky vocal interplays. If you checked out my reviews last year of The Low Anthem and The David Wax Museum then your grazing in the right pasture.

(ladder) was recorded live and in front of an audience in a pipe organ chapel outside of Denver and at times it sounds like the Holy Spirit could’ve been involved. On “Ace Of Spades” Kris Drickey takes the lead vocals and the result is a romp through a roaring 20’s spaceship ride. Other highlights include the sing-a-long ready “All The Time” and the album closing ruckus “Pie In The Sky.” Check, check, check their tourdates page because it looks like Chimney Choir will be spending the next couple of months on the road.
-Charles Hale - NineBullets

The mixing of artistic oddity and bombastic folk melodies makes Chimney Choir’s debut full length, (ladder), a snappy and unique listen. It’s really good is what I’m trying to say here and you should give it a whirl. Chimney Choir takes traditional instruments, guitar, mandolin, banjo, piano, and augments them with kitchen sink percussion, occasional computerized sampling, and freaky vocal interplays. If you checked out my reviews last year of The Low Anthem and The David Wax Museum then your grazing in the right pasture.

(ladder) was recorded live and in front of an audience in a pipe organ chapel outside of Denver and at times it sounds like the Holy Spirit could’ve been involved. On “Ace Of Spades” Kris Drickey takes the lead vocals and the result is a romp through a roaring 20’s spaceship ride. Other highlights include the sing-a-long ready “All The Time” and the album closing ruckus “Pie In The Sky.” Check, check, check their tourdates page because it looks like Chimney Choir will be spending the next couple of months on the road.
-Charles Hale - NineBullets

"Their harmonies fit together like Mayan stones. Their song structures keep you guessing. Even the instrumentation is cool: Synths, samples, banjo, acoustic guitar... Kevin Larkin on mandolin bangs out rollercoaster cross pick solos. Kris Drickey’s vocals are somewhere between soul, folk and gospel, almost like Dusty Springfield. David Rynhart writes complex, stick to your ear type songs on guitar and piano... Chimney Choir is a spooky amusement park of sounds." - G to C Magazine

Next up was Chimney Choir, an immensely innovative and talented indie folk-inspired rock band from Denver. It's a little difficult to describe what goes on in a Chimney Choir show, but only because so much awesomeness happens in different ways it can be a bit overwhelming to catch it all at once. Chimney Choir is the trio of David Rynhart, Kevin Larkin and Kris Drickey. The three all share vocal duties, often resulting in beautifully strong three part harmonies. They also rotate through an impressive array of instruments; guitar, banjo, keyboard, percussion, and synthesizer. Kevin Larkin also added mandolin and harmonica to the mix at times, and as an added bonus, drummer Carl Sorensen added an extra layer of goodness to their sound with a seemingly junkyard inspired drum kit - glass bottles, a trash can lid, shakers made from tin cans, a large gear from an engine.
Seeing the crazy collection of instruments on stage before Chimney Choir played made me wonder how they'd turn that chaotic display into ordered sound, but once the music began it was absolutely clear this band had a method to their madness. They began their set with "Vacation" from their album Turtle, a modern folk song with such intricate harmonies and polyrhythms that simply calling it folk doesn't fully describe what the song encompasses.
With factory-like precision, the members of the band would then trade places and instruments between each subsequent song, showcasing each member's multi-instrumentalism. Their songs ranged from fun and energetic to more solemn, introspective and soulful but each and every one was a powerful display of creativity through performance and a testament to good songwriting - an incredible journey through sound from start to finish. Hearing their recorded music is one thing, but if you haven't seen this band live, you haven't seen the wizard behind the machine and aren't getting the whole picture - this is definitely a band to go see. - Concerted Effort blog

Next up was Chimney Choir, an immensely innovative and talented indie folk-inspired rock band from Denver. It's a little difficult to describe what goes on in a Chimney Choir show, but only because so much awesomeness happens in different ways it can be a bit overwhelming to catch it all at once. Chimney Choir is the trio of David Rynhart, Kevin Larkin and Kris Drickey. The three all share vocal duties, often resulting in beautifully strong three part harmonies. They also rotate through an impressive array of instruments; guitar, banjo, keyboard, percussion, and synthesizer. Kevin Larkin also added mandolin and harmonica to the mix at times, and as an added bonus, drummer Carl Sorensen added an extra layer of goodness to their sound with a seemingly junkyard inspired drum kit - glass bottles, a trash can lid, shakers made from tin cans, a large gear from an engine.
Seeing the crazy collection of instruments on stage before Chimney Choir played made me wonder how they'd turn that chaotic display into ordered sound, but once the music began it was absolutely clear this band had a method to their madness. They began their set with "Vacation" from their album Turtle, a modern folk song with such intricate harmonies and polyrhythms that simply calling it folk doesn't fully describe what the song encompasses.
With factory-like precision, the members of the band would then trade places and instruments between each subsequent song, showcasing each member's multi-instrumentalism. Their songs ranged from fun and energetic to more solemn, introspective and soulful but each and every one was a powerful display of creativity through performance and a testament to good songwriting - an incredible journey through sound from start to finish. Hearing their recorded music is one thing, but if you haven't seen this band live, you haven't seen the wizard behind the machine and aren't getting the whole picture - this is definitely a band to go see. - Concerted Effort blog

Next up was Chimney Choir, an immensely innovative and talented indie folk-inspired rock band from Denver. It's a little difficult to describe what goes on in a Chimney Choir show, but only because so much awesomeness happens in different ways it can be a bit overwhelming to catch it all at once. Chimney Choir is the trio of David Rynhart, Kevin Larkin and Kris Drickey. The three all share vocal duties, often resulting in beautifully strong three part harmonies. They also rotate through an impressive array of instruments; guitar, banjo, keyboard, percussion, and synthesizer. Kevin Larkin also added mandolin and harmonica to the mix at times, and as an added bonus, drummer Carl Sorensen added an extra layer of goodness to their sound with a seemingly junkyard inspired drum kit - glass bottles, a trash can lid, shakers made from tin cans, a large gear from an engine.
Seeing the crazy collection of instruments on stage before Chimney Choir played made me wonder how they'd turn that chaotic display into ordered sound, but once the music began it was absolutely clear this band had a method to their madness. They began their set with "Vacation" from their album Turtle, a modern folk song with such intricate harmonies and polyrhythms that simply calling it folk doesn't fully describe what the song encompasses.
With factory-like precision, the members of the band would then trade places and instruments between each subsequent song, showcasing each member's multi-instrumentalism. Their songs ranged from fun and energetic to more solemn, introspective and soulful but each and every one was a powerful display of creativity through performance and a testament to good songwriting - an incredible journey through sound from start to finish. Hearing their recorded music is one thing, but if you haven't seen this band live, you haven't seen the wizard behind the machine and aren't getting the whole picture - this is definitely a band to go see. - Concerted Effort blog

"Their harmonies fit together like Mayan stones. Their song structures keep you guessing. Even the instrumentation is cool: Synths, samples, banjo, acoustic guitar... Kevin Larkin on mandolin bangs out rollercoaster cross pick solos. Kris Drickey’s vocals are somewhere between soul, folk and gospel, almost like Dusty Springfield. David Rynhart writes complex, stick to your ear type songs on guitar and piano... Chimney Choir is a spooky amusement park of sounds." - G to C Magazine

Steinbeck noughties style

The vision of one man, Kevin Larkin, fuels this meditative concept record of sorts. Essentially an updating of bluegrass traditions – Larkin is excellent throughout on guitar, mandolin or banjo – against the backdrop of a fictional town. There’s a western darkness and a trace of Scott Walker on ‘Dust in the Eyes’, a song that reaches for widescreen cinematic and grasps it. ‘Back and Forth’ takes place against what sounds like a 50’s sitcom, the dialog continuing as the humming and strumming continue on unabashed; it is like sitting outside in the summer windows open, neighbourhood sounds competing for attention. The media theme continues with ‘Everytime I Turn the Radio Up’ and ‘Are You Familiar with the Alphabet’ which deals with the earliest form of mass communication - here the vowels and consonants are beautifully rendered with banjo, bouzouki, fiddle, guitar and mandolin, circling and squabbling like Scrabble tiles shaken in their bag: they all fall into place to spell out - impressive. Celtic overtones gather in ‘Nopal’ but don’t let that bother you; everywhere else creaks with a kind of melancholy beauty. He might have started with Bluegrass; the end result though is something much more contemporary. - Americana-UK

Steinbeck noughties style

The vision of one man, Kevin Larkin, fuels this meditative concept record of sorts. Essentially an updating of bluegrass traditions – Larkin is excellent throughout on guitar, mandolin or banjo – against the backdrop of a fictional town. There’s a western darkness and a trace of Scott Walker on ‘Dust in the Eyes’, a song that reaches for widescreen cinematic and grasps it. ‘Back and Forth’ takes place against what sounds like a 50’s sitcom, the dialog continuing as the humming and strumming continue on unabashed; it is like sitting outside in the summer windows open, neighbourhood sounds competing for attention. The media theme continues with ‘Everytime I Turn the Radio Up’ and ‘Are You Familiar with the Alphabet’ which deals with the earliest form of mass communication - here the vowels and consonants are beautifully rendered with banjo, bouzouki, fiddle, guitar and mandolin, circling and squabbling like Scrabble tiles shaken in their bag: they all fall into place to spell out - impressive. Celtic overtones gather in ‘Nopal’ but don’t let that bother you; everywhere else creaks with a kind of melancholy beauty. He might have started with Bluegrass; the end result though is something much more contemporary. - Americana-UK

“So local mountainside-folk bastion David Rynhart’s cooked out a new release composed of primarily local live recordings – A Simple Life. Let’s get out of the way that the CD is quite a different bird than its predecessor, the very full-bodied, compositional The Air Balloon. Some of the live performances by Reinhardt and Co. are spot-on quality (Rynhart’s Irish folksong medley, and “Congratulations”) while others are a bit lacking (mostly the solo piano pieces). However, the previous is all rendered moot by the arrival of probably one of the best songs I’ve ever heard recorded by a local artist, the live retooling of Rynhart’s “Bright White Lightning.” It is an absolute nuke of a song, with the ability to bash out any numbers of similar style on the national level. This song needs to be sung on the way to work, handed out on street corners, and end up on and episode of that bastion of American music - Grey’s Anatomy. It’s something that Rynhart needs to capitalize on immediately and something that you must obtain now. “
S. Wilson Skomal, Colorado Music Buzz, October 2008 - Colorado Music Buzz

"The tunes here run the gamut, from the saloon-vibe piano-led pop of “Run So Fast” to the accordion-led Spaghetti Western feel of “Motorbike” to the carnival-esque, modern sounds of the rap-heavy “Ruins” and the bluegrass vibe of “No Soundtrack.” Acutally, that’s just the first half of the album; that’s how varied and interesting this thing is. Songwriter Kevin Larkin is good at both the rustic sounds he creates from his instruments and the vocals he inventively lays on top of those songs, making for a fascinating and unique experience. Explaining it any more than that is nearly impossible to me; it’s such a complete, formed idea that it seems an injustice to try and explain it in words."
- Independent Clauses (Detached review, Jan 2011) - Independent Clauses

On the surface, Denver is a city of 300 days of sunshine per year and a sense of goodhearted community. It can be hard to see the underlying tension from a dark past that lives in our subterranean subconscious. With a history of Heroes and Villains, Gunslingers and corrupt, racist politicians, the people who live here have a strange personal dichotomy which is most apparent in our local musicians. Kevin Larkin has tapped into this opposing life of Denver, and exhibits the city’s personality in his Pineross album: Detached.

I went to see The Tanukis a few weeks ago at my favorite venue, The Walnut Room and ended up discovering a beating heart of Denver I never knew was there. Opening act Chimney Choir blew the room apart and left a heavy impression on the headlining acts and audience alike. I don’t really know how many people were there to see Chimney Choir, but those that got the chance to see them play undoubtedly became instant fans.

After the show I got a chance to talk with Kevin Larkin, mastermind behind Pineross and Chimney Choir, who – fortunately – agreed to an interview for 4to12…with enthusiasm.

4to12: How did Pineross come about?
KL: Well when I first started writing songs I wanted to do an acoustic concept album of sorts. Over a few years of writing and re-writing it turned into a loose account of a modern day Don Quixote in some American desert. I was reading Cervantes constantly for a while and recording onto a laptop in a cabin in Lefthand Canyon – I’d also drive to friends houses and record other parts. When it was finally came time to release it the name Pineross seemed a good fit; Ross is a family name and I’ve always liked pine trees – and it sounded better than Rosspine.

4to12: What was the transition to Chimney Choir like? Are both projects simultaneous or is Pineross no more?
KL: Chimney Choir has been great – I just moved back to Colorado in December after about 5 years living in Mississippi to make music with them. I was touring with a bluegrass band down there (Mayhem String Band) and when we decided to go separate ways it seemed like a good idea to record Detached. I reconnected with David Rynhart in the process, he played some piano on the album and showed me some music he was working on, amazing stuff! We tried a week long tour down South and Kris just bought a ticket on a whim – it ended up being an incredible time and moving to Denver happened a few months later. The focus now is definitely with Chimeny Choir but Pineross will always be there – its more of an experimental outlet, something that happens when it needs to happen.

4to12: Where was Detached recorded, and by who?
KL: A lot of it was done in my kitchen in Taylor, Mississippi. Most of the basic tracking was done at Moja Magic in Boulder with Morgan Harris. I also recorded a lot of the horn parts and overdubs in different studios in North Mississippi; Tweed, Black Wing, Delta Recording Service (Jimbo Mathus’ studio). One of the fiddle parts was recorded in Brooklyn by a friend from Boulder, it was the only place I could track him down! It was all mixed at the Lip Studio in Oxford by Tom Queyja, who continued to make changes in California and Spain.

4to12: I like that you include a sheet with the musician lineup for the recording. What was it like organizing such an army of musicians for the album?
KL: Gotta give credit where its due! For most of the recording I had a pretty good idea of the instrumentation and feeling of the songs. Nothing was scored so I would just kind of pitch ideas to the musicians before the take. It ended up being really easy working with such great talent and I met a lot of musicians along the way. Morgan recommended Jon Gray (Supercollider) for the trumpet parts and David put me in touch with Tyson Bennet, who adapted a piano part to something completely new. In Oxford all you have to do is have a 12 pack of Budweiser and the local musicians will spend a couple of hours working up tunes.

4to12: Who plays with you at gigs?
KL: For the last year I have been traveling around as a solo act – sitting on a Sampsonite suitcase with a bass drum pedal and tambourine. For the CD release shows we rehearsed two different bands – one in Mississippi and one in Colorado. The Colorado band in December was David Rynhart (piano, flute, guitar, and vocal), Kris Drickey (vocal percussion), Fransisco Marques (percussion), Jon Gray (Trumpet, keyboard) and Kenny Martinez on upright bass.

4to12: Do you have a favorite venue here in Denver?
KL: The Walnut Room kicks ass. The sound is amazing, people listen, great bar staff, tasty pizza.

4to12: Drink of choice?
KL: Jamison. Although I’d like to think one day it will be rare Scotch.

4to12: What was your thought process for releasing a digital download, block print and deluxe issue of Detached, and your connection between your art and your music.
KL: No one really buys CDs anymore and I hate the fact that .mp3s are taking away the artwork of an album. I really wanted to do vinyl, its an ideal size and feel for great album art, but couldn’t really make that happen. But I still wanted to do something a little extra for people that bought the CD. It started with an idea much like the music, a combination of old and new where it looks familiar at first but there is a whole different thing going on underneath, which then turned into a Russian photo montage: a street shot of people walking around with TVs on their heads, Pepsi cans for buildings, kudzu covering skyscrapers, a record in the sky like the sun. It was too much to cram into a CD sleeve so it ended up being the album release poster. The cover got reduced down to a basic geometry – appealing ratios, shapes, and colors to grab the eye instead of the cluttered images. I ended up doing a linoleum block block carving and rolling 300 covers, each one is numbered and initialed.

4to12: Any shows coming up?
KL: We’ve got a Walnut Room show on May 6th with Chimney Choir, that is really the next big show in Denver – right before hitting the road for the summer! We’re also playing the Springs, Boulder and Nederland this month and I’m doing a few solo shows around town. But there will definitely be more things around Denver popping up that we’ll toss up on the ole’ webpage.

4to12: Any thoughts on the local Folk/Country etc. scene?
KL: I love that dark edge to Denver country – Slim Cessna, Munly, Red Cloud (RIP), etc. And Nathaniel Rateliff’s new album blew me away. Haven’t been to many Denver bluegrass picks yet but I know they are out there. The Irish sessions are always rocking, and the Samba is great too! The Tanukis are my new favorite Denver band though, everyone should go see them live. - 4to12 music blog (February 2011)

On the surface, Denver is a city of 300 days of sunshine per year and a sense of goodhearted community. It can be hard to see the underlying tension from a dark past that lives in our subterranean subconscious. With a history of Heroes and Villains, Gunslingers and corrupt, racist politicians, the people who live here have a strange personal dichotomy which is most apparent in our local musicians. Kevin Larkin has tapped into this opposing life of Denver, and exhibits the city’s personality in his Pineross album: Detached.

I went to see The Tanukis a few weeks ago at my favorite venue, The Walnut Room and ended up discovering a beating heart of Denver I never knew was there. Opening act Chimney Choir blew the room apart and left a heavy impression on the headlining acts and audience alike. I don’t really know how many people were there to see Chimney Choir, but those that got the chance to see them play undoubtedly became instant fans.

After the show I got a chance to talk with Kevin Larkin, mastermind behind Pineross and Chimney Choir, who – fortunately – agreed to an interview for 4to12…with enthusiasm.

4to12: How did Pineross come about?
KL: Well when I first started writing songs I wanted to do an acoustic concept album of sorts. Over a few years of writing and re-writing it turned into a loose account of a modern day Don Quixote in some American desert. I was reading Cervantes constantly for a while and recording onto a laptop in a cabin in Lefthand Canyon – I’d also drive to friends houses and record other parts. When it was finally came time to release it the name Pineross seemed a good fit; Ross is a family name and I’ve always liked pine trees – and it sounded better than Rosspine.

4to12: What was the transition to Chimney Choir like? Are both projects simultaneous or is Pineross no more?
KL: Chimney Choir has been great – I just moved back to Colorado in December after about 5 years living in Mississippi to make music with them. I was touring with a bluegrass band down there (Mayhem String Band) and when we decided to go separate ways it seemed like a good idea to record Detached. I reconnected with David Rynhart in the process, he played some piano on the album and showed me some music he was working on, amazing stuff! We tried a week long tour down South and Kris just bought a ticket on a whim – it ended up being an incredible time and moving to Denver happened a few months later. The focus now is definitely with Chimeny Choir but Pineross will always be there – its more of an experimental outlet, something that happens when it needs to happen.

4to12: Where was Detached recorded, and by who?
KL: A lot of it was done in my kitchen in Taylor, Mississippi. Most of the basic tracking was done at Moja Magic in Boulder with Morgan Harris. I also recorded a lot of the horn parts and overdubs in different studios in North Mississippi; Tweed, Black Wing, Delta Recording Service (Jimbo Mathus’ studio). One of the fiddle parts was recorded in Brooklyn by a friend from Boulder, it was the only place I could track him down! It was all mixed at the Lip Studio in Oxford by Tom Queyja, who continued to make changes in California and Spain.

4to12: I like that you include a sheet with the musician lineup for the recording. What was it like organizing such an army of musicians for the album?
KL: Gotta give credit where its due! For most of the recording I had a pretty good idea of the instrumentation and feeling of the songs. Nothing was scored so I would just kind of pitch ideas to the musicians before the take. It ended up being really easy working with such great talent and I met a lot of musicians along the way. Morgan recommended Jon Gray (Supercollider) for the trumpet parts and David put me in touch with Tyson Bennet, who adapted a piano part to something completely new. In Oxford all you have to do is have a 12 pack of Budweiser and the local musicians will spend a couple of hours working up tunes.

4to12: Who plays with you at gigs?
KL: For the last year I have been traveling around as a solo act – sitting on a Sampsonite suitcase with a bass drum pedal and tambourine. For the CD release shows we rehearsed two different bands – one in Mississippi and one in Colorado. The Colorado band in December was David Rynhart (piano, flute, guitar, and vocal), Kris Drickey (vocal percussion), Fransisco Marques (percussion), Jon Gray (Trumpet, keyboard) and Kenny Martinez on upright bass.

4to12: Do you have a favorite venue here in Denver?
KL: The Walnut Room kicks ass. The sound is amazing, people listen, great bar staff, tasty pizza.

4to12: Drink of choice?
KL: Jamison. Although I’d like to think one day it will be rare Scotch.

4to12: What was your thought process for releasing a digital download, block print and deluxe issue of Detached, and your connection between your art and your music.
KL: No one really buys CDs anymore and I hate the fact that .mp3s are taking away the artwork of an album. I really wanted to do vinyl, its an ideal size and feel for great album art, but couldn’t really make that happen. But I still wanted to do something a little extra for people that bought the CD. It started with an idea much like the music, a combination of old and new where it looks familiar at first but there is a whole different thing going on underneath, which then turned into a Russian photo montage: a street shot of people walking around with TVs on their heads, Pepsi cans for buildings, kudzu covering skyscrapers, a record in the sky like the sun. It was too much to cram into a CD sleeve so it ended up being the album release poster. The cover got reduced down to a basic geometry – appealing ratios, shapes, and colors to grab the eye instead of the cluttered images. I ended up doing a linoleum block block carving and rolling 300 covers, each one is numbered and initialed.

4to12: Any shows coming up?
KL: We’ve got a Walnut Room show on May 6th with Chimney Choir, that is really the next big show in Denver – right before hitting the road for the summer! We’re also playing the Springs, Boulder and Nederland this month and I’m doing a few solo shows around town. But there will definitely be more things around Denver popping up that we’ll toss up on the ole’ webpage.

4to12: Any thoughts on the local Folk/Country etc. scene?
KL: I love that dark edge to Denver country – Slim Cessna, Munly, Red Cloud (RIP), etc. And Nathaniel Rateliff’s new album blew me away. Haven’t been to many Denver bluegrass picks yet but I know they are out there. The Irish sessions are always rocking, and the Samba is great too! The Tanukis are my new favorite Denver band though, everyone should go see them live. - 4to12 music blog

"Just from looking at the liner notes of David Rynhart's By the Hollow Tree, which quote Henry Miller, Paul Gaugin and Vincent Van Gogh, it's evident the guy has some depth. But Rynhart's not just name-dropping. In fact, "A Puddle on the Ground," one of the album's many high points, with its piano-propelled, swift-waltz feel, is taken from a musical that the singer-songwriter is writing about the last nine weeks of Van Gogh's life. Musically on Tree, Rynhart draws from a vast and diverse pool of influences, including hints of classical and Eastern European as well as blues and folk. While at times dark and melancholic and at others filled with hope, Rynhart's first official studio release shows off his incredibly sharp songwriting and storytelling skills."
-Jon Solomon - Westword (Denver)

'Chimney Choir’s delicate, dusty indie pop is the result of three veteran Colorado multi-instrumentalists who just came together in late 2010. David Rynhart, who plays guitar, flute and piano, is best known by local followers of traditional Irish music for his years in Bodha. Kevin Larkin, on mandolin, harmonica, sampler(!) and accordion, has recorded ghost town bedroom folk under the name Pineross for the past five years. Rounding out the trio is secret weapon Kris Drickey, who accompanies her hauntingly soulful vocals with guitar, banjo, percussion and violin.
Together, the threesome released its debut EP, “(feather)”, back in May and then set off to introduce appreciative audiences across the country to its unique take on Americana. Carefully crafted vocal harmonies, sparse and organic instrumentation, and the occasional odd electronic blurp provide an ethereal setting for earnest lyrics and memorable melodies. If you’ve ever sat on the porch of a cabin in the mountains, looked up at the stars and wondered why people can’t be nicer to one another, then the music of Chimney Choir will feel like home.'
-Eric Eryl - The Denver Post (July 2011)

Chimney Choir is a Denver-based "experimental Electro-Acoustic trio," according to their PR, a description that doesn't nearly touch on how awesome they are. They have put out a five-song EP that is the most interesting debut I listened to this month, and I certainly don't mean interesting to mean anything close to boring, because this is as excited as I have gotten listening to anything in the last six months. They have a very retro feel – that's due mostly to the "primal percussion" – and the composition is excellent, as are the vocals. I would compare it to the Alan Lomax tribute to come out of Swallow Hill, in terms of overall atmosphere and pure quality. They are supposed to be a knockout, live, which I don't doubt since this is a collaboration of three seasoned artists. The musicians – multi-instrumentalists Kevin Larkin (mandolin, harmonica, synth, sampling), David Rynhart (guitar, flute, piano) and Kris Drickey (banjo, guitar, percussion) – said the songs on Feather were recorded over a weekend in a South Denver warehouse "whose unique character found its way into the mix."

The trio began collaborating in December last year after Rynhart had been touring Europe with a poetry/music troupe called "The Voice and the Verse" while Larkin had been performing under the name Pineross in Mississippi, which tells you a lot about the backcountry texture. According to the PR sheet, "an impromptu tour of the South formed an instant musical synergy leading Larkin to relocate to Denver soon after." That's a good thing for people who get their hands on this CD: Feather has a good karmic feel and is a pleasure to listen to. It happens to be my top recommendation this month, No. 1 out of the five CDs I reviewed. - Colorado Music Buzz (August 2011)

In December last year three multi instrumentalists – Kevin Larkin, David Rynhardt and Kris Drickey - got together in Denver Colorado and less than six months later recorded their first EP over a weekend. I think they may be fibbing: I don’t think any one could sound so good, so together, and so effortless in such a short space of time.

Chimney Choir, with their use of banjo, mandolin, and guitars coupled with exquisite harmonies, manage to sound as old as the Rocky Mountains; yet with synths, samples and soundscapes blended in make the five tracks on ‘Feather’ sound fresh and vibrant.

Listening to ‘Feather’ is an eerie experience, especially on their take on R L Burnside’s ‘Going Down South’ and ‘The Rattlesnake Attack (Part II) where the samples make for a claustrophobic sound. I would normally now complain that this is only an EP and not an album and say how I hope that there is another release soon. Well, there is. Their second EP ‘Turtle’ has just been released, and I’ve just bought it. - Americana UK (August 2011)

“David Rynhart must be one of Denver’s better best-kept secrets, which is odd considering how great an artist he is, because I was not acquainted with his work until being handed this CD, and I’m quite grateful for the introduction. As a Folk artist, Rynhart brings into focus new territory but, if pressed, could be described as channeling equally a bit of Ben Folds and later Beatles’ sounds. (His list of influences on MySpace includes Paul Simon and one of my personal favorites, Sigur Ros.) Rynhart plays the guitar, piano and flute very well and orchestrates compelling songs, but where he really flattens competition is with his lyrical narrative. Just wow. He’s definitely as fine a poet as the Metro area can muster.”
Jeanie Straub, Colorado Music Buzz, May 2010 - Colorado Music Buzz

David Rynhart drew from a diverse pool of influences, including folk, blues and Eastern European music, on his excellent solo effort, By the Hollow Tree. He also founded the traditional Irish quartet Bodha. Kevin Larkin, one of Rynhart's bandmates in Chimney Choir, released music under the Pineross moniker, which fused Irish, Spanish and American Western music. So it's no surprise, given their affinity for all types of music, that these two multi-instrumentalists and vocalists (along with the equally talented Kris Drickey) would do something quite special. With impressive harmonies and acoustic instruments throughout the disc, Chimney Choir creates music that at times sounds like decades-old backwoods folk ("Goin' Down South") and conjures early Harry Nilsson ("Come What May") at others. There are just five songs on this debut EP, and they're all keepers.
-Jon Solomon - Westword (August 2011)

I went to see The Tanukis a few weeks ago at my favorite venue, The Walnut Room and ended up discovering a beating heart of Denver I never knew was there. Opening act Chimney Choir blew the room apart and left a heavy impression on the headlining acts and audience alike. I don’t really know how many people were there to see Chimney Choir, but those that got the chance to see them play undoubtedly became instant fans. - 4 to 12 Music Blog

Pineross: the name of Kevin Larkin’s neo-Western folk band; the title of the first full-length CD of said band; the piecemeal, mythical soundtrack for our Western heritage; the musical embodiment of a dead or dying ghost that is the Great American West. This eleven-song CD shades in the gaps between The West’s endless highways, stumbles through tumbleweed-ridden expanses, encounters and outruns bandits, waxes quixotic, drinks itself to oblivion, turns country legend, and rides off into the sunset, six-gun shining at Kevin Larkin’s side. Larkin’s website defines Pineross—the project—as being, “Two parts highway; 1 egg; 2 cups ground nails; 6 pints beer; 1 empty afternoon; 2 tsp paprika; a dash of doubt - Bake for 30 min at 325. Serves 4.”
Larkin shines when weaving myth into memorable, catchy song. Mandolin dances over the mythological union between Cervantes’ Don Quixote and the West in “Soy Quixote.” A drunken mid-song hurly-burly is summed up as the chorus cries: “I lost my mind out in the desert / you’d lose your mind out in the desert just the same.” My favorite tune, “Country Legend,” gathers the reflections of self-christened criminal; here Larkin’s knack for character-development is most evident. The incriminating and borderline-mythological chorus relates, “And in the press there’s news I’m out on the loose / I’m going to end up like a country legend, / and only fade away; / and only fade away.” Larkin re-casts an American past; he does so fluently, with eyes as encompassing as Walt Whitman’s. - Independent Clauses

"David Rynhart must be one of Denver’s better best-kept secrets, which is odd considering how great an artist he is, because I was not acquainted with his work until being handed this CD, and I’m quite grateful for the introduction. As a Folk artist, Rynhart brings into focus new territory but, if pressed, could be described as channeling equally a bit of Ben Folds and later Beatles’ sounds. (His list of influences on MySpace includes Paul Simon and one of my personal favorites, Sigur Ros.) Rynhart plays the guitar, piano and flute very well and orchestrates compelling songs, but where he really flattens competition is with his lyrical narrative. Just wow. He’s definitely as fine a poet as the Metro area can muster." -Jeanie Straub - Colorado Music Buzz (June 2010)