Whiskey Autumn

The dreamy "Monochrome Actress" is a live recording showcasing Whiskey Autumn’s evolving sound. - Westword

From political tension to dating apps to anxiety about impending war, Modern Doubt showcases Whiskey Autumn’s ability to tackle serious subject matter with catchy and infectious tunes. - 303 Magazine

The Local 303 spotlights new music from emerging and beloved Colorado artists. - Indie 102.3 (Colorado Public Radio)

Whiskey Autumn has a frightfully good new music video just in time for Halloween. - 303 Magazine

[Whiskey Autumn's "Modern Doubt"] is the perfect setup for the rest of their album that dives deeper into how creative the band can be. - Taste Music

[Whiskey Autumn's] two tracks are more dance friendly than usual making you want to let loose while you celebrate your eighth bobbing for apple championship. - Ultra5280

Mid-way through summer and Denver’s Whiskey Autumn just delivered one of the hottest releases of the year. - Whiskey Autumn

Modern Doubt captures [Whiskey Autumn's] electric guitars, synths, drums and beautiful vocal harmonies to create its most epic, huge-sounding release so far. - Culture Magazine

[Whiskey Autumn] has a knack for creating vivid imagery sprinkled with nostalgia through their synth-injected beach-pop tracks. - 303 Magazine

[Whiskey Autumn's] recent work indicates an after party — jamming out where your parents don’t know about. This music means to elicit a response, to make the listener feel funky and strange in the best way. - 303 Magazine

"Electro-pop rock... a sound that’s a bit nostalgic, yet wholly original." - Denver Post's The Know

"With a timeless electro-pop sound carried by fuzzy instrumentals and warm vocal harmonies that'll make you long for summer, Whiskey Autumn's Ice Cream in the Sun sounds like nothing coming out of Colorado right now." - The Prelude Press

Greg Laut is getting some rest after a 10-day tour.
And he’s about to embark on another tour, which will bring him to the Land of Enchantment.

“You take days of touring one day at a time,” he says in a recent phone interview. “It seems to keep our heads in a good space if we think like that.” - Albuquerque Journal

Folk band Whiskey Autumn released their new EP, “Ice Cream in the Sun” on April 14, with a sound they have never tried before. By exploring electronic tones on top of americana music, the Colorado-based group takes pride in combining genre-bending sounds in a traditional genre. Sept. 6 started the first night of their nation-wide tour to promote the EP, along with growing their fanbase. Before their concert at Duffy’s Tavern on Wednesday, Sept. 6, The Daily Nebraskan sat down to ask the band a few questions about their sound and “Ice Cream in the Sun.” - The Daily Nebraskan

Whiskey Autumn is a self-described indie-pop-rock band from Boulder. Comprised of Greg Laut, Jason Paton and Matty Schelling, the three-piece band started as a “basement folk project” that has since transformed into a full-time gig. Whiskey Autumn’s roots are strongly grounded in folk music — the vocals on older tracks like “Letterman Sweater” remind us of indie folk bands like Good Old War. However, with the release of their latest EP Ice Cream in the Sun, the band has transitioned into a newer sound, incorporating more of an electro/indie pop sound. This change is intentional, and the band says they draw inspiration from songwriters likes Robert Smith of The Cure and Elliott Smith, as well as J Dilla and Dr. Dre. Whiskey Autumn is currently touring across the West, but have four upcoming Colorado tour dates. - 303 Magazine

"A fluid blend of pop/soul, incredibly catchy synth work, and lyrical witticism." - Bolderbeat

This Boulder band's video boasts some of the higher production values on our list, with multiple rotating camera angles. Whiskey Autumn supplies a catchy and satisfying electronic pop song to accompany the visuals. - Colorado Public Radio

Bias ain’t all that bad of a thing. It gets a bad rap (and, sure, sometimes with good reason), but when it comes down to it, no matter the matter at hand, capital-B Bias is inevitable. No doubt I’m listening to/writing about Whiskey Autumn’s new record right now b/c I’m friends with the drummer—Matty Schelling—and no doubt I know Matty b/c he keeps bar at the best bar—”secret bar”—in the city of Boulder, CO,1 and no doubt I’ve spent many a cold night in Secret Bar b/c, when the snow starts to fall in Colorado, they’ve got the best Old Rasputin tap in town. Or, reverse engineered: Old Rasputin Imperial Stout; Secret Bar; Matty S.; Whiskey Autumn. That’s the narrative arc here—why I’m listening to the band’s new EP, Call You Mine. So of course there’s going to be bias of the friendly, “Sometimes you wanna go / Where everybody knows your name” variety. But here’s where that particular blend of Bias matters: Whiskey Autumn’s music, when it’s at its best, sounds like sonic cordiality.

I’d be hard-pressed to search my own record collection and find too many similar sounding albums—I’ve got some Brian Wilson, I’ve got some early S&G, and I’ve probably got some Byrds-ish stuff, but in all honesty it’s more hard rock, hip hop, and noisy jazz than anything (except for The Band… there’s always The Band, goddamn)—and I’ve certainly never written or even uttered the phrase “sonic cordiality” before. But Whiskey Autumn’s albums bring you in to listen, and I’ll be damned if it ain’t damn great to be there, listening, finding yourself singing back fragments of their infectious melodies on a first listen, even before you realize you’ve got the melodies between your ears. And it’s the personal ways, at various moments during WA’s songs, where the sounds surprise you that really make the listening so good.

At a couple moments, singer Greg Laut contorts his delivery in unexpected ways that productively jar you out of the mellow lull you may’ve just began to slip into. Or sometimes it’s Matty Schelling and David Landry on harmonies who twist a note just so, and your ears tune in just a little tighter.2 Which is to say, as soon as you think you know the kind of song you’re listening to—in that way it’s so easy to hear a song as some autonomous sonic structure, disembodied—the three voices that make up Whiskey Autumn remind you that people and personalities are bringing you these tunes; they’re working within these familiar song structures—ranging from the kind of doo-wop that leaves beach sand all over the kitchen floor, to the rolling organ-thick tunes that kick up desert sand behind a cross-country car cutting through the South West—but all the while letting you know that it’s the people within the songs who’re singing to you. - Vannevar

Boulder’s Whiskey Autumn recently released Call You Mine, their newest four-track EP featuring the self-described “indie doo-wop rock power trio” in a bit of a departure from their previous sound (but not TOO much). “Turn the Key (Let it Roll)” closes out the album, and is a fantastically-produced introduction to the group. The money-maker here is quite frankly the perfect vocal production in which harmonies ebb and flow with the music backing them, giving the distinct impression that they are not just the focus of Whiskey Autumn’s artistic expression but an integral part of the instrumentation. Strumming guitar, stripped-down drum-set, organ accent, and solid bass walk fully compliment the group’s harmonization and listening to the track allows for a complete visualization of the band playing live in one of BoCo’s many indie-centric small-time venues. “Turn the Key (Let it Roll)” is only one look at the group’s new-found sound, just try listening to all four tracks without falling in love… Impossible! - Yellowscene

With their debut still less than a year old, Whiskey Autumn has already wrapped up their follow up, which they will release early this month.

Tracked at Crucible Studios in Eldorado Springs, and engineered, mixed and mastered by Andy McEwen, Whiskey Autumn’s Call You Mine comes across like a more directed, less far-out album than what Foxygen last released. With sing-songy, classic pop choruses and harmonies, Call You Mine never gets too boisterous, or too mellow. Instead Whiskey Autumn walks a line that allows them to dip their toes in a variety of genres, from indie pop to classic beach doo-wop, to hipster folk. - Marquee Magazine

This trio has no shortage of passion, and certainly none in the talent department either. Described by fans as Indie doo-wop Rock and by the band as a fusion of 60’s pop and 90’s rock, Whiskey Autumn offers distinct, authentic songs to the Boulder music scene. - Resound Magazine

Picture this: A stage dripping in deep blue and sea-green lighting, three talented acts pulling you closer to their sets with every melody like a gentle tide, and an ever-building swell of sound that eventually erupts into a full-on wave of a dance party. That’s how I spent my Saturday night last weekend at the Whiskey Autumn album release show at the Riverside in Boulder, CO. And if you weren’t there Boulder, you should have been.

Let’s start with the venue: The bands performed at the Riverside in a room that held over 200 people for a good part of the night, making it the mid-size venue that Boulder desperately needs for bands who have a following greater than the Pearl Street bars can hold, and who are just a step away from headlining the 625-person capacity that the historic Fox Theatre provides. Patrons drank the bar dry (insert irony of lack of whiskey at a Whiskey Autumn gig), and the interior added to the sea-vibes of the show, with colorful light splashes dangling from what looked like strands of choral on the ceiling’s stringy centerpiece. The Riverside proved a surprisingly prodigious spot for Boulder bands, and I hope more will take note and start forming its space into the weekend spot it ought to be.

Headliner Whiskey Autumn opened with their track June, charming the at-capacity showroom with pop harmonies dripping in buzzy guitar riffs and prancy piano parts. Following June, WA proceeded to play their full four-song Call You Mine EP which you can stream here. Hips were jiving when bassist David Landry summoned a deep, dirty funk opening for A Fool’s Errand and frontman Greg Laut kept us spinning with his hypnotic guitar solo in Turn the Key (Let it Roll) (personal favorite on the EP). These guys can make you move. The trio floated on with several unreleased songs and catchy number Call Me Out written by guest guitarist Robbie Steifel. I wish I could link you to some of these jams, but in this case you had to be there (here’s my shameless beg for a recording of Gold Rush and Grin WA dudes). Halfway through the set, the boys wrapped us in an unexpected undercurrent of energy when drummer Matty Schelling’s Octapad erupted unapologetic and deep hip-hop beats for the band’s original 07.04.07 and for the crowd-pleasing cover of Frank Ocean's Thinking About You. Greg Laut’s smooth and varying vocal range then somersaulted us into some familiar melodies from the band’s first EP Into Something New where everyone sang along to the fan-favorite Born Again.

In what made for a wildly enjoyable and ever-changing collaborative effort, the boys had a number of special guests throughout the course of their set: Robbie Stiefel on guitar, Crucible Recording Studio owner Andy McEwen on piano, Colin Kelly of Augustus on guitar, Andrew McNew on trumpet, and Ryan O’Malley of HelicopterBearShark on saxophone. These additions allowed the three-piece to build strong sonorific swells and also showcased the true beauty of the Boulder music scene: creative artists blending talents for the love of original sound in more than just their living rooms. The trio’s closing Jackson Five cover of I Want You Back burst into a full-on boogie, followed by their encore performance of the you-have-to-sing-along Ronnettes Be My Baby. With their dreamy harmonies, inventive lyricism, and alluring instrumentalism, I’d sail on whiskey waves with these guys any night. Get yourself to one of these Whiskey Autumn shows. - Bolderbeat

“Letterman Sweater” which opens this disc, is an aptly named track that sounds like it was listed from a 1950s sock hop playlist. It’s 1950, early 60s pop that is dripping with sing-songy harmonies and hooks. “So Wise, So Young” is somewhat along the same lines, though not quite as poppy, but the second half of this four-song EP is pure modern Americana. That dichotomy may be a bit jarring, but whichever side of the fence Whiskey Autumn is on at any given moment it is still highly engaging. “Born Again” is a catchy singer/songwriter tale with an infectious chorus. - Marquee Magazine