Blab Music
Colorados Summer 2026 Music Scene: From Doom Metal to Indie Folk and House
When the June sun rises over Denver, the city’s soundscape unfurls into a patchwork of raw aggression, wistful introspection, and dance‑floor euphoria. Across the month, local artists dropped a dizzying array of releases that span doom metal, deathcore, punk, indie folk, funk, and house—each one underscoring Denver’s reputation as a hotbed for underground collaboration.
On June 12, emo‑inspired Denver outfit A Place For Owls shared the acoustic single “To Be Found” through Broom of Destruction. The slow‑core track, a gentle duet with Nashville lo‑fi artist phoneswithchords, hints at the band’s forthcoming EP, “All Thieves, Vol. 1,” slated for September 25. Fans can expect the same intimate vibe that defined the single, with a roster of familiar collaborators returning for the full project.
Just two days later, the city’s death‑core scene exploded when Crypts of Golgotha released their debut LP, “Disembodied In the Arms of Perdition,” via San Diego’s Return Trip Records. The eight‑song album blends OSDM, brutality, and classic deathcore, featuring tracks like “The Cross on Cavalry,” “Order to Comply,” and “Elegy for a Forgotten God” that showcase the band’s razor‑sharp riffing and relentless blast‑beat onslaught.
On the same day, Denver punk trio Dead Pioneers unveiled their third studio effort, “Wagon Burner,” on London’s independent Hassle Records. Frontman Gregg Deal uses the record’s lyrics to tackle contemporary social issues; “Seeing Red” in particular reflects Indigenous‑informed perspectives. The album also boasts guest spots from Colorado Springs femmecore group Cheap Perfume on “Nazi Teeth” and Southern California ska outfit The Interrupters on “Never Alone.”
A day earlier, progressive‑metal group Entropist independently released the concept album “The Vision.” Eight tracks explore a cosmic narrative of demons and celestial beings, with vocalist Parker Kitching and guitarist‑vocalist Solomon Smith guiding listeners through songs such as “The Ritual” and “Revelation.” The record blends off‑kilter post‑metal with djent‑style precision.
Funk collective Float Like a Buffalo brightened the scene on June 4 with the upbeat single “Get in the Van.” Lyricist Cory “Beef” Meier described the track as an ode to wanderlust, and the song’s bright horn section and syncopated groove capture the group’s funk‑centric spirit.
Denver indie trio Hooper dropped the EP “Carry Your Own Saints” on June 2 via local label Snappy Little Numbers. The five‑song collection carries forward the nostalgic ’90s aesthetic that defined the band’s 2023 album, “Swim The Races Nobody Wants,” with tracks like “92U” and “Lurid Blue” highlighting their melodic sensibility.
On June 6, doom‑metal veterans Khemmis issued a self‑titled fifth studio album through Nuclear Blast. The release marks the band’s first full‑length in five years and features the signature dueling guitar leads of Ben Hutcherson and Phil Pendergast. Songs such as “Corpsebloom Garden” and “Carrion King” showcase polished production and an epic metal approach.
Pride Month was celebrated in the city’s house scene when DJ Matt Suave released “My House” on June 19 through his independent label PlayHaus. The single blends a vocal disco‑house style with a piano breakdown, a signature sound Suave has cultivated from his time on the dance floor.
Boulder‑based folk‑country band Trouble’s Braids added a four‑song EP, “Tarantula,” on June 5. With new members drummer Ryan O’Malley and bassist Jordan Smith, the record offers original tracks like “Lion’s Mouth” and “Drug of Choice,” showcasing the group’s Western‑influenced sound.
Weapönizer, Denver’s speed‑metal act, released the single “Victory” on June 6. The track, part of the band’s upcoming third album, is dedicated to the fight against fascism and was issued on the anniversary of World War II’s Operation Overlord.
Collectively, these releases illustrate Denver’s capacity to produce high‑quality music across a spectrum of genres, supported by both local and international labels. The month’s output underscores the city’s role as a hub for collaborative projects and genre‑blending experimentation.
Looking ahead, Khemmis plans a new album—though a release date remains unspecified—while Weapönizer’s third studio record is slated for future distribution. The local scene continues to thrive, with artists engaging in cross‑genre collaborations and maintaining a strong presence on independent distribution channels.
On June 12, emo‑inspired Denver outfit A Place For Owls shared the acoustic single “To Be Found” through Broom of Destruction. The slow‑core track, a gentle duet with Nashville lo‑fi artist phoneswithchords, hints at the band’s forthcoming EP, “All Thieves, Vol. 1,” slated for September 25. Fans can expect the same intimate vibe that defined the single, with a roster of familiar collaborators returning for the full project.
Just two days later, the city’s death‑core scene exploded when Crypts of Golgotha released their debut LP, “Disembodied In the Arms of Perdition,” via San Diego’s Return Trip Records. The eight‑song album blends OSDM, brutality, and classic deathcore, featuring tracks like “The Cross on Cavalry,” “Order to Comply,” and “Elegy for a Forgotten God” that showcase the band’s razor‑sharp riffing and relentless blast‑beat onslaught.
On the same day, Denver punk trio Dead Pioneers unveiled their third studio effort, “Wagon Burner,” on London’s independent Hassle Records. Frontman Gregg Deal uses the record’s lyrics to tackle contemporary social issues; “Seeing Red” in particular reflects Indigenous‑informed perspectives. The album also boasts guest spots from Colorado Springs femmecore group Cheap Perfume on “Nazi Teeth” and Southern California ska outfit The Interrupters on “Never Alone.”
A day earlier, progressive‑metal group Entropist independently released the concept album “The Vision.” Eight tracks explore a cosmic narrative of demons and celestial beings, with vocalist Parker Kitching and guitarist‑vocalist Solomon Smith guiding listeners through songs such as “The Ritual” and “Revelation.” The record blends off‑kilter post‑metal with djent‑style precision.
Funk collective Float Like a Buffalo brightened the scene on June 4 with the upbeat single “Get in the Van.” Lyricist Cory “Beef” Meier described the track as an ode to wanderlust, and the song’s bright horn section and syncopated groove capture the group’s funk‑centric spirit.
Denver indie trio Hooper dropped the EP “Carry Your Own Saints” on June 2 via local label Snappy Little Numbers. The five‑song collection carries forward the nostalgic ’90s aesthetic that defined the band’s 2023 album, “Swim The Races Nobody Wants,” with tracks like “92U” and “Lurid Blue” highlighting their melodic sensibility.
On June 6, doom‑metal veterans Khemmis issued a self‑titled fifth studio album through Nuclear Blast. The release marks the band’s first full‑length in five years and features the signature dueling guitar leads of Ben Hutcherson and Phil Pendergast. Songs such as “Corpsebloom Garden” and “Carrion King” showcase polished production and an epic metal approach.
Pride Month was celebrated in the city’s house scene when DJ Matt Suave released “My House” on June 19 through his independent label PlayHaus. The single blends a vocal disco‑house style with a piano breakdown, a signature sound Suave has cultivated from his time on the dance floor.
Boulder‑based folk‑country band Trouble’s Braids added a four‑song EP, “Tarantula,” on June 5. With new members drummer Ryan O’Malley and bassist Jordan Smith, the record offers original tracks like “Lion’s Mouth” and “Drug of Choice,” showcasing the group’s Western‑influenced sound.
Weapönizer, Denver’s speed‑metal act, released the single “Victory” on June 6. The track, part of the band’s upcoming third album, is dedicated to the fight against fascism and was issued on the anniversary of World War II’s Operation Overlord.
Collectively, these releases illustrate Denver’s capacity to produce high‑quality music across a spectrum of genres, supported by both local and international labels. The month’s output underscores the city’s role as a hub for collaborative projects and genre‑blending experimentation.
Looking ahead, Khemmis plans a new album—though a release date remains unspecified—while Weapönizer’s third studio record is slated for future distribution. The local scene continues to thrive, with artists engaging in cross‑genre collaborations and maintaining a strong presence on independent distribution channels.
