Album of the Week: The Orwells’ Disgraceland

Rock ‘n’ Roll from Chicago

What do you get when a group of kids in their late teens and early 20s grab a bunch of instruments, turn the amps up to 11 and join forces with a lead singer who looks like Robert Plant? You get a rip- roaring, brain-melting rock ‘n’ roll band from Chicago called The Orwells. They have their second album, Disgraceland, out this week and it’s a doozy of a record. Each track has the right amount of grit, angst and devil-may-care attitude to give your ears exactly what they need. If Disgraceland doesn’t kick popular music on its ass in 2014, I might actually lose faith in humanity. It’s that good.

Despite being so young, this quintet has been making music together since high school. Seven years later, you could consider them music vets even though they can’t legally drink. What impresses me the most about The Orwells’ new album is the perfect combination of production quality and powerful songs. Ranging from tales about innocent teenage love, to dramatic suicide and one night stands, Disgraceland is as rock ‘n’ roll as it gets. After listening to this beauty, I can’t imagine a better album coming out in 2014.

Racist owners of sports franchises, angry middle-aged men throwing rocks at Ferraris, neo-Nazi reality TV one-hit-nevers and people talking about how World War III is going to happen by the end of the decade. We live on a pretty crazy, messed-up planet. Take a break from all the madness and ease your mind with the top tracks off of my Album Of The Week. It might not stop the impending apocalypse, but at least it can serve as the perfect soundtrack. Anyways, here goes something:

If you have long hair and you don’t plan on cutting it anytime soon, “The Righteous One” is your ideal jam. This is an anthem for youth rebellion that will have you going crazy in an instant; once you hear that hook you won’t be able to stop. Another rocker on the album is “Let It Burn;” the drumming is simply seismic as the backbone for a song about lighting up a cigarette after a one-night stand. I always love the deep tracks of an album and “Gotta Get Down” is an exception. Those dueling guitars electrify the whole song by getting louder and louder with each riff. Disgraceland is a complete masterpiece from front to back.

The Orwells will be one of the premier acts to see at Riot Fest in the band’s hometown of Chicago between September 12 and 14, which is a perfect way to finish off your summer music festival season. They’ll be going on tour with New York City punk act Skaters this fall with a stop at Brighton Music Hall in Boston on October 9. Hopefully The Orwells come down to Providence sometime and show us music fanatics what rock ‘n’ roll is all about. Until then, get yourself a copy of Disgraceland. It’ll blow your music taste away to new heights and you’ll never want to come down.

The Orwells’ website: theorwells.com

Album of the Week: Gord Downie, The Sadies and The Conquering Sun

When two musical entities get together to make an album, you never really know what to expect. It could be like that load of crap Metallica & Lou Reed put out a few years ago — and it’s still a shame it’s the last release with Lou’s name on it — or it could be something truly incredible like The Roots’ and John Legend’s Wake Up! that hit record store shelves in 2010. But if you take the unexpectedness of it all, mix in a music legend and a band from Canada, neither of which gained prominence in the states, you get The Tragically Hip’s Gord Downie and The Sadies who joined forces to put out a masterpiece of a rock & roll record. Both acts are huge with our neighbors up north, but in my opinion, it’s a great injustice that neither Gord nor The Sadies have tasted the same success in America. Get acquainted with real rock and uncover a diamond to add to your music library.

What I love most about this album is that it’s a grand mix of roots, punk and blues, which reminds me a lot of The Hip’s early material from the ’80s. Downie croons like an amalgamation of Iggy Pop and Frank Sinatra while The Sadies let it rip to rhythmic smithereens. It’s an intense album that isn’t afraid to explore; some tracks are simply electrifying while others have a lot of heart and emotion. You can’t help but fall in love with the variety. Whether you like it hard and fast or soft and meaningful, this new album from Gord and The Sadies will put you in a state of bliss. It’s straightforward and wide-ranging at the same time, which is a rarity — most bands stick to one style throughout an entire record.

Now for the top tracks off of my Album of the Week. “Crater” is a fuzzy opus that oozes emphatic amplification that you can’t help but blast out of your speakers. The edgy riffs and drums are bound to make your ears cave in, so listen responsibly. One of the best punk tracks I’ve heard in 2014 is “It Didn’t Start To Break My Heart Until This Afternoon.” Downie finds his inner angsty youth and makes you feel as if he’s going to punch you in the face through your headphones. The bluesiness of “One Good Fast Job” has a gangster-eqsue tinge to it. I kind of want to listen to it on repeat while watching Lock, Stock & Two Smoking Barrels, but then I’ll feel like one of those dumb wastoids who thinks that Pink Floyd’s Dark Side Of The Moon is the perfect soundtrack to The Wizard Of Oz. Regardless of your wastoid status, you’re bound to fall in love with Gord Downie & The Sadies’ new album.

Gord and The Sadies put on one hell of a show at The Sinclair in Cambridge, Mass., on May 3 and they’ll be playing at Lincoln Hall in Chicago on May 10. Who knows when both acts will be touring together again, but if you get the chance to see Gord perform solo or with The Tragically Hip or if The Sadies roll through your friendly neighborhood music venue, I highly suggest you catch it.

Since this column is over and done until next week, there’s only one more task left for you to accomplish. Get your hands on Gord Downie,The Sadies and The Conquering Sun. It’s rock & roll from our neighbors up north that’s just as awesome as putting cheese and gravy on your french fries.

Gord Downie: gorddownie.com

The Sadies: thesadies.net

Album of the Week: PAWS’ Youth Culture Forever I’ve fallen in love with the music that has been coming out of Scotland for the past few years, as odd as it may seem. Sure, you’ve got rock groups like Franz Ferdinand, The Fratellis, The Vaselines and Teenage Fanclub that have been continuously putting out awesome music. Even those identical folk twins in The Proclaimers are still kicking around the can a little bit (and they also have a better version of Kings Of Leon’s “17” that you should check out). An up- and-coming garage punk act from Glasgow in PAWS are coming out with their second full-length, Youth Culture Forever, and it’s a very dynamic album that shows a variety of loud and quiet tones to please the senses. Get with the fuzz and give it a scratch; this record is a must have for any underground music junkie.

Like a lot of acts have done, the punk trio camped out in a studio in the woods just outside New York to create something that definitely has a homey vibe. It’s a tad different than PAWS’ debut Cokefloat! that was released in October 2012; a plethora of dimensions have been added to the songs on the new album to give their sound more structure and meaning. I do dig the parts where lead singer and guitarist, Philip Taylor, does his solo routines on nearly every track. It feels like he’s telling you a story and then the rest of the band turns up the volume for the conflict. Youth Culture Forever shows a talented group of rock & rollers not succumbing to the sophomore slump and instead reveling in their sophomore success.

It’s that time again, which could mean a lot of things in Providence. It’s the time again for the change in the weather, which means that you’ll probably become deathly ill sooner or later from making out with your significant other or accidentally drinking someone else’s beer at a party. It’s also that time again for my top tracks off of the Album Of The Week, which could either drive you mad or liven up your musical taste. Hopefully it’s exactly what you need. Here goes something:

The emphatic rhythms of “Someone New” will make your head rattle like a bobblehead doll; when the riff kicks in it’ll invade your soul. Another track that should make you become your own personal mosh pit is “Give Up.” The drumming is really the glue that holds everything else together for a righteous jam. The chorus on “Let’s All Let Go” is simply electrifying. It’s perfect syncopation gives your ears a jolt that’ll never go away. As always with this review, I can only name a few. That doesn’t mean that Youth Culture Forever isn’t awesome from start to finish, so you definitely should check it out. PAWS are currently in the middle of a tour with indie sonic rockers We Are Scientists and they played a show at Brighton Music Hall in Boston with them a few weeks ago on April 19. If you’re willing to make the trip, PAWS will be celebrating the release of Youth Culture Forever at Shea Stadium in Brooklyn on May 24. Until PAWS blows the roof off of your friendly neighborhood music venue, grab a copy of Youth Culture Forever. It’s an amazing album from a band across the pond that you’ll absolutely love.

PAWS’ Website: wehavepaws.com

Motif Alternative Album Nominees

Sick Pills — Sickening

Earlier today I was blasting the new CD Sickening from the New Bedford-based band Sick Pills. With all that ground thumping new wave goodness pouring from my open window, my normally bucolic, suburban street was transformed into what the Bowery must have sounded like some 40 years ago when Television or Blondie were booked at CBGBs. Led by Chris Guaraldi (former of Blood Moons and Chris Evil & The Taints), these guys have used that late ’70s / early ’80s punk sound as merely the foundation for a vibrant, relevant and thoroughly modern sound. Standout examples include “Wormfood,” a classic middle finger to the religious establishment, inevitably proclaiming: “I don’t pray for what I want, or the loved ones that are gone….Because we all become wormfood in the end.”

DirtyDurdie — Group Therapy

Dirty Ice and Durdie Furby, aka DirtyDurdie, bring a cohesive, masterfully mixed compilation to the table with their latest album release, Group Therapy. Their fourth project gives life to the duo’s laid- back style and no-shits-given attitude, self-described as, “controversial, conscience and comical.” They take this lyrical style into the “group therapy” theme of the album, bringing issues like Oxycodone addictions and evil yet addictive women to the table. What is most striking about the flow of the tracks is that it keeps a strong cohesion while presenting an array of stylized beats, undoubtedly a result of working with nine different producers in their 16 tracks. They do this through a thematic use of classic and oriental instrumentals paired with vocal samples reminiscent of Gang Starr, MF Doom, Dr. Octagon and Wu-Tang Clan. Halfway through, the album mellows out with an easy-riding beat, in “Running,” and picks back up with “Han Jamboree,” skillfully looping a cut time flute riff under the beat. They again alter the pace a few tracks later with “Zero Gravity,” easing into a ¾ waltz-style time signature. Hope Anchor — Never Gonna Let You Go

Hope Anchor has released arguably one of the finest albums to come from the biggest little state in 2013, the highly eclectic Never Gonna Let You Go. Each of the disc’s nine tracks illustrate the band’s diverse sources of inspiration, ranging in styles from ’80s pop-tinged melodic rock, to the post-punk / new-wave sounds of the Psychedelic Furs, with even some Beach Boys-influenced harmonies thrown in the mix. To underscore this diversity, the disc opens with “Get Away Blues,” a heavy-driving, blues rock number that immediately declares these guys are loaded for bear. Throughout, Pip plays some relentless electric harmonica, with a confidence usually reserved for lead guitar slingers. In fact, if I didn’t know better, I would have thought I’d slipped in a Young Neal & The Vipers disc by mistake! Read the full review here: QRCODE

Torn Shorts — Through the Mill

With the album’s opening track “Brow St,” Josh Grabert demonstrates an ability to engage the listener with radio-friendly, hook-laden rock & roll. Delivered with a voice reminiscent of Albert Hammond combined with a bit of a New Morning-era Bob Dylan, he establishes himself as a virile songwriter. This fact is underscored all the more by his creative use of space within the verses, an underused yet potent technique, not only with writers, but soloists as well. “’Drink that scotch’ she says before the bad news – that’s why I keep crying The Nice Guy Blues – I was never ready for the big show – the older I get the less I grow.”As lofty as much of the lyrical content is throughout Through The Mill, great musicianship is at the forefront of the album. The groove-drenched instrumental “Bob’s House” and the hypnotic “Whiskey Song” are standout examples of that tuneful proficiency. Quite cleverly, the latter employs a very cool technique of using what I presume was a mono demo as a looped backing track, and then overdubbing vocals and band on top of it. Read the full review here: QRCODE Six Star General — Hair Supply Whether consciously or not, one band that seems to have garnered influence from and possesses many of the same prodigious qualities as musical pioneer Lou Reed is Providence’s Six Star General. Their latest CD offering, Hair Supply, is a concrete example of this trio’s ability to move effortlessly from post- psychedelic trippiness to hard metal authority, yet all the while remaining just esoteric enough to leave the listener intrigued. The band is made up of Kyle Jackson on guitar, Mark MacDougall on bass and vocals, and drummer Dan Ulmschneider. Though each of these gentlemen have incurred some health issues over the past year, which merely delayed the process of promoting Hair Supply, these generals are back in service and ready for action. Read the full review here: QRCODE

CD Review: Atlantic Thrills’ Latest

Surf rock that strays from the simple sounds of the sea and adds a little punk

In the early 1960s, much of American Top 40 rock & roll was dominated by a Southern California phenomenon known as the surf sound. Made famous by the likes of Jan & Dean, The Rivieras, Dick Dale, and of course the quintessential sun and surf band The Beach Boys, this music style reigned supreme for a solid five-year run, until being all but disseminated by an invading army of floppy-haired English rock bands in 1964. But what if The Beatles had decided to turn right at Greenland and never made it to our shores at all? What if the surf sound had actually been given the opportunity to grow and mature beyond the primitive recording techniques and relative innocence of Kennedy-era USA? Obviously no one can say for sure, but I can imagine it sounding something like the Providence-based band Atlantic Thrills.

Starting in 2010, Dan Tanner (guitar/vocals), Eric Aguiar (bass/vocals), and newest member Josh Towers (drums) formed an outfit that exemplifies everything that is right about unbridled, wild, gin- soaked, frat party rock & roll! If you’re looking for a socially conscious band whose goal is to end global warming while searching for the lost chord, man are you on the wrong road! These guys are all about fun – that is, the kind of fun that’s had fathers locking away their teenage daughters for decades now.

Coming off the heels of a tour that saw stops in Brooklyn, LA, and all points between, Atlantic Thrills have been promoting their self-titled album across the country. The 12-song collection consists of authentic garage rock with a punk attitude. Granted, these boys aren’t shy about lifting a lick or two here and there, but I reckon that’s part of their anything-goes attitude, which actually defines their sound.

Atlantic Thrills kick off with a dark rocker, “Problems.” On this hard-driving track, Tanner uses that slightly Middle Eastern scale used in surf rock songs by guys like Dick Dale (himself being of Lebanese descent). The enigmatic lyrics portends the character ridding himself of a past haunt, human or otherwise: “I killed all them demons, let them drown in their blood – I squandered my time, I gave up more than I should. If she ever found me, likely be done for good – I killed all my problems, left ’em deep in the ground.” One of the standout tracks is the surf-rock opus “Day At The Beach,” for which the band also produced a hilarious accompanying music video. Addled with intertwining sand, sun and drug references galore, the song and video are like a Frankie & Annette Beach Blanket movie gone horribly wrong! “When I woke up in the city I was puffin’ on a mighty bone – I picked up a couple of biddys with some towels and a bag full of blow – I was high as a kite in the sand dunes…I wanna stay at the beach.”

If some younger music fans unfairly associate the surf genre with lighthearted beach romping through sea and sand alike, Atlantic Thrills go a long way to dispelling that myth. There’s no reason surf rock can’t be every bit as heavy and rebellious as modern alternative or old-school punk, and these guys are proving it at every stop on their hopefully never-ending tour!

CD Review — Hope Anchor’s Never Gonna Let You Go

If you should live out in Toad Suck, Arkansas (it’s a real place, look it up), the name Hope Anchor probably doesn’t immediately conjure up much, except perhaps some vaguely nautical term. But residents of the first colony to declare its independence from England know Hope Anchor is a direct reference to the seal of The State of Rhode Island and Providence Plantations (or as the cool kids simply call it – Rhode Island). Now if you happen to be one of them crazy music-lovin’ types, then you know Hope Anchor to be a Rhode Island supergroup, containing former members of various top area bands coming together to create well-written, cutting edge rock.

Formed in 2005 by Cranston native Terry Linehan, who had previously held the enviable job as backup guitarist for Green Day on their North American Tour, Hope Anchor came together as a project with impressive songwriting as the main objective. Accordingly, Linehan enlisted experienced, like-minded musical recruits Paul “Pip” Everett (formerly with Blizzard of 78) on vocals, veteran bass player Jack McKenna (of Backwash fame), drummer Paul Myers (also of Blizzard of 78), violin/cellist Matthew Everett, and the previous guitarist of Hope Anchor, former member Eric Fontana (formerly of Mother Jefferson), who still appears with the band on select occasions. Collectively, Hope Anchor has released arguably one of the finest albums to come from the biggest little state in 2013, the highly eclectic Never Gonna Let You Go.

Each of the disc’s nine tracks illustrate the band’s diverse sources of inspiration, ranging in styles from ’80s pop-tinged melodic rock, to the post-punk / new-wave sounds of the Psychedelic Furs, with even some Beach Boys-influenced harmonies thrown in the mix. To underscore this diversity, the disc opens with “Get Away Blues,” a heavy-driving, blues rock number that immediately declares these guys are loaded for bear. Throughout, Pip plays some relentless electric harmonica, with a confidence usually reserved for lead guitar slingers. In fact, if I didn’t know better, I would have thought I slipped in a Young Neal & The Vipers disc by mistake!

In contrast, the upbeat “Here We Go” is a three-minute slice of jangly power-pop, which introduces a tastefully punctuating horn section. The much darker “Got To Be Alright” contains some powerful lyrics, sung in subtle shades of Michael Hutchence: “We sat down on the back porch, the birds are singing time, if you climb in my overalls I’ll show you a good time – my mind was in the gutter till you hiked up that dress, you sent my heart a thousand miles and now its truly blessed.”

Much like Blind Faith, The Traveling Wilburys, and Foo Fighters before them, Hope Anchor contains individuals who have enjoyed at the very least a modicum of success, in their previous incarnations. And as Never Gonna Let You Go proves definitively, when combined the sum of their parts equals one hell of a powerful rock & roll outfit.

Mike D’s Top Five: Can’t Miss Shows of April

Musical Month of April

1. Friday, April 11: WBRU Rock Hunt Finals featuring Jetty, The Rare Occasions, The Stilts; $5; 7pm doors / 8pm show; All ages; The Met, 1005 Main St., Pawtucket, RI. Spring is here, and so is the annual WBRU Rock Hunt finals. The contest is often the shape of the local pop alt rock music scene for the few years to come and has included such winning acts as Monty Are I, Zox, Fairhaven, Rice Cakes and most the recently crowned Torn Shorts. Having correctly predicted the last three winners, here are my 2014 odds. Rare Occasions best fit the WBRU brand and come in at 2 to 1. Jetty are definitely in the hunt, and seem to have a strong following so they are coming in at 4 to 1. The Stilts, like most coming out of Woonsocket, are a long shot, and I would say 10 to 1 chance. There will also be a internet voted band added, but not knowing who it would be, it’s almost impossible to quantify their odds, so here it is anyway. TBA is a 15 to 1 odds chance. And there is a 1 to 1 chance Marc Clarkin reviews the concert without actually going to said concert.

2. Sunday, April 20: Pizza Underground (featuring Macauley Culkin), Baylies Band (20th anniversary show), Six Star General, Guerilla Toss; $12; 7pm doors / 8pm show; All ages; The Met, 1005 Main St., Pawtucket, RI. Finally a band that takes the Velvet Underground tunes and changes the lyrics into pizza-related scenes. And of all people, it has actor Macauley Culkin in the band, a man with whom we now spend every Christmas while watching Home Alone stuck with family. And here he comes with his fellow pizza folk heroes on stoner Americans’ favorite holiday, 4.20 (it’s also Easter). Will they be any good? No idea, but for $12 definitely worth finding out in person. This show is also a celebration of Baylies Band, together for 20 years(?!). I can’t imagine how I was in the same band for two years, let alone what it would be like being in one for 20. Congrats guys! Rhode Island hellraisers Six Star General and Boston’s Guerilla Toss round out the bill.

3. Monday, April 28: TDE Presents ScHoolboy Q (Oxymoron World Tour), Isaiah Rashad, Vince Staples; $22.50 advance / $25 day of; 6pm doors / 7pm show; All ages; Lupo’s, 79 Washington St., Providence, RI. Self proclaimed “Man Of The Year” seems to be actualizing it in the hip-hop world in 2014. His new record Oxymoron opened at number 1 on the Billboard charts and has been getting a lot of critical acclaim from not just the hip-hop blogs and mags, but also from the rock community. Rolling Stone‘s 4 star review went as far as comparing the records beats to Nas’ Illmatic, the greatest hip-hop record of all time. High praise indeed. Top Dawg label mate Isaiah Rashad and Vince Staples open.

4. Tuesday, April 29: 95.5 WBRU presents the Annual Earth Day Concert featuring BLEACHERS; $15 (A portion of the proceeds will benefit the RI Earth Day clean-up); 8pm doors / 9pm show; All ages; The Met, 1005 Main St, Pawtucket, RI. 4.20 isn’t the only holiday we celebrate this month. As part of its yearly campaign to help out the environment, WBRU is bringing Bleachers to the Met for Earth Day awareness. Bleachers is the white hot new project by Jack Antonoff (from the band Fun. / formerly of Steel Train). Their new single “I Want To Get Better” is the hottest self help party jam single of the year! Come check out their Providence debut, and go get a bag and pick up some garbage while you are at it. Unrelated, I saw what I thought were coccoons in the trees of Route 95 north by the zoo. Nope, a series of plastic bags. Gross.

5. Saturday, May 3: Smith & Weeden (CD release), Ravi Shavi, The Sun Parade; $7; 8pm; All ages; As220, 115 Empire St, Providence, RI. This show commemorates the release of Providence’s Smith & Weeden’s self titled debut. I asked Olly about the record and he said, “This record is the culmination of several years of writing and playing shows, both here in Providence and across the country. We recorded it live (but not in front of an audience) so that we could capture the feeling and emotion we get when we play on stage; there was very little overdubbing happening on this record. It was recorded at The Columbus Theatre over a five-day period, and was simultaneously the most rewarding and exhausting experience we’ve had as a band yet.” For an alternative view point from a different band member, Jesse Smith says, “S&W has been slowly climbing to the top of the OK bands in Providence over the past two years. You could almost call them the captain of the B team.. Grab a copy of the CD and you decide: Varsity or JV? Providence garage burners Ravi Shavi and Northampton’s The Sun Parade round out the bill. CD Review: Torn Shorts’ Through the Mill

Josh Grabert tears through competition

It looks like the good folks with the WBRU Rock Hunt got it right again this year. They usually do (not counting 1993 when a band intimately related to the author of this article lost out to Angry Salad…but I digress). And as with acts like The Schemers in 1982, and Sasquatch & The Sick-A-Billys in 2005, Providence’s own Torn Shorts has taken top honors in 2013’s edition of the prestigious competition.

Technically, Torn Shorts is the collective name for the creative efforts of the multitalented musician/songwriter Josh Grabert. Though Grabert has gained a great deal of notoriety performing live shows throughout New England as a one-man-band under the Torn Shorts banner, Grabert has enlisted the help of Zach Zarcone on bass, Nick Molak on guitar and drummer Brendan Tompkins to record Through The Mill.

With the album’s opening track “Brow St,” Grabert demonstrates an ability to engage the listener with radio-friendly, hook-laden rock & roll. Delivered with a voice reminiscent of Albert Hammond combined with a bit of a “New Morning”era Bob Dylan, he establishes himself as a virile songwriter. This fact is underscored all the more by his creative use of space within the verses, an underused yet potent technique, not only with writers, but soloists as well. “’Drink that scotch’ she says before the bad news – that’s why I keep crying The Nice Guy Blues – I was never ready for the big show – the older I get the less I grow.”

“Dying Houses” is a dark requiem for urban decay and those who endure the daily fight for survival. More than just a lament or a first-person decrying of their own dreadful situation, Torn Shorts presents an indictment on all of society for a broad sense of apathy toward their strife. “All these dying houses on these dying streets, in the deadest part of town – Don’t offer up any redemption, just cry your tears while we drown.”

As lofty as much of the lyrical content is throughout Through The Mill, great musicianship is at the forefront of the album. The groove-drenched instrumental “Bob’s House” and the hypnotic “Whiskey Song” are standout examples of that tuneful proficiency. Quite cleverly, the latter employs a very cool technique of using what I presume was a mono demo as a looped backing track, and then overdubbing vocals and band on top of it.

From what I understand, Josh Grabert and his Torn Shorts put on a wildly frenetic and energized live show, somewhat contrastive to the overall vibe of Through The Mill. Admittedly, I’ve yet to see them in action. But judging them solely on the album, I’m quite confident that WBRU got it right once again in 2013.

Six Star General’s Hair Supply

An endless supply of true alternative rock

In October of last year, we lost a musical pioneer who many consider to be the father of alternative rock, Lou Reed. Hailing from an era where the vast majority of teenage record buyers were still consuming “boy loves girl” lyrical content, he and his band The Velvet Underground provided a truly alternative approach to songwriting and performing. Though seen at the time as a commercial flop (their debut album selling less than 350,000 units upon release), his deadpan vocals and gritty prose contributed in elevating rock to an art form, and went on to influence four generations of musicians and still counting.

Whether consciously or not, one such band that seems to have garnered influence and possesses many of those same prodigious qualities is Providence’s Six Star General. Their latest CD offering, Hair Supply is a concrete example of this trio’s ability to move effortlessly from post-psychedelic trippiness to hard metal authority, yet all the while remaining just esoteric enough to leave the listener intrigued. The band is made up of Kyle Jackson on guitar, Mark MacDougall on bass and vocals, and drummer Dan Ulmschneider. Though each of these gentlemen have incurred some health issues over the past year, which merely delayed the process of promoting Hair Supply, these generals are back in service and ready for action. The disc opens with the ethereal “Christopher Walken,” a rhythmically driving, four-chord tour de force, that’s every bit as mysterious as its namesake. In a musical styling reminiscent of The Flaming Lips, and a stolid vocal delivery that evokes the aforementioned Reed, MacDougall presents the listener with beautifully disjointed poetry: “You walk in, Chris Walken claims he’s the king of New York… Milwaukee, Wisconsin will keep all the teachers away….Keep smoking, keep joking, it all evens out in the end.” Throughout, an angelic chorus subtly blankets the entire mix, culminating to a steep end, as the band- proper fades out.

The band changes course in the next track, the riotous “I Don’t Know Where We’re Going (But I know That It’s Not Good).” Kyle Jackson dials in his best Tony Iommi guitar-tone for this cautionary tale of inebriate excess. “Thrill your brain with alcohol, let me buy this round for you – You took too many shot glasses, so what are we gonna do… I don’t know where we’re going, but I know that it’s not good.”

One surprise on Hair Supply was Six Star General’s raucous rendition of Daniel Johnston’s “Life In Vain.” Done originally as an acoustic number, MacDougall and the boys transform a whiny, teenage angst-ridden song (featured last season in an episode of HBO’s original series “Girls”) into a catchy, palatable rocker, far better suited for national broadcast than its impotent original.

There is little wonder why Six Star General’s eight-song Hair Supply has been nominated for Alternative Album of the year. In fact, the only thing that has me scratching my head is one line in the band’s biography section of their website: “[Six Star General] make very little money from their music.” How can that possibly be true, considering the band regularly plays to packed houses in rooms throughout New England? It’s a disgrace and a scourge on the entire local music scene that talent this extraordinary goes relatively uncompensated for their efforts. I’ll have more to say on the overall topic in an upcoming article. But suffice it to say that Six Star General has earned their stripes over their past decade of creating absorbing alternative rock.

Venue Envy Venues that deliver

At a live performance, many elements contribute to the overall mood of the evening. The ambiance of the venue, the staff, the sound system and lighting, and even your fellow patrons will alter the experience. It falls on venues’ shoulders to deliver a show that leaves fans with a positive experience, and when the mark is missed, the fans remember.

This past month I saw a variety of shows around the northeast. I don’t often plan my shows too far ahead, but if something feels right I usually look for a road trip partner and pack a bag. To start things off, I journeyed to New Haven with a close friend to experience Shakedown at Toad’s Place. The companion you choose for a show is important, so pick someone comfortable, reliable, and often amusing. My fellow traveller and I did not arrive in time for opener Eggy, an unfortunate circumstance as they are an up and coming group that I’ve heard nothing but good things about. New Haven has a friendly feeling and Toad’s Place staff and energy matches. This was a larger venue, coupled with an easy going crowd. Dancers gave each other space and the security didn’t seem too concerned with those embracing herbal pleasures. We were in the front and experienced Shakedown’s set in full motion. The sound and lighting were on point, and we gave a thumbs up for Toad’s Place and Shakedown’s performance.

Next Lettuce came to Providence’s Fete for the first time and I was in full force with friends. Fete has a classy feel and the setup is well geared toward the patron, with a highly visible stage and great sound anywhere in the room. For this show, the levels seemed to be slightly overcompensating for the number of people in the room, which was somewhere over 500. The keyboard was hard to define in the mix, but this in no way stopped us from approaching the stage and enjoying the experience front and center. Being close to a stage gives you a much more fluid and dynamic show experience and I always recommend it, which is why I prefer being in general admission if a venue is set up for it. Fete bar staff and security were swift, accommodating, and seemed to enjoy the evening. Although parking can be a hassle for busy shows, this is pretty much the only minor drawback to the venue. Fete gives you an uncompromised music experience and Lettuce provided a night to remember.

I’ve visited Lupo’s countless times, and on my last visit to see Umphrey’s McGee I remembered why I enjoy shows that are not quite as busy as this one. Entry is typically hassle-free and getting a drink easy, although I can’t ever remember seeing the Lupo’s staff with even the suggestion of a smile. Some friends and I decided to go in front of the stage, which was challenging. After a good push ahead we were in crowded comfort along the left side of the stage. The band was perfectly dialed into the sound system and lighting was masterfully done by Umphrey’s renowned lighting designer Waful. The crowd had an aggressive energy. Someone said this show should be called “Bump and Push McGee.” Even a non-confrontational friend found himself in an altercation that left him with a bruised face, which had us questioning if the venue is attracting violence or if Umphrey’s fans are getting more aggressive. Perhaps a random occurrence, I hold no grudge against the venue or the band. It was a great evening. Another night, at The Spot Underground, Yo Mama’s Big Fat Booty Band and Pigeons Playing Ping Pong had the venue decently filled on a Wednesday night. Double rooms and two stages allow for continuous live music throughout the night, which is one of those things you don’t really appreciate until you experience it. I missed Pigeons’ first set and the beginning of Yo Mama’s set, but there was still plenty of music to be delivered by both. The Spot has the relaxing feel of a lounge, with an array of comfortable seating, interesting artwork and the benefit of interacting directly with your favorite performers. I spent a fair amount of time in the ambient lit seating area in the main stage room, where I enjoyed the elevated view. Staff members give off a positive vibe, and this extends to patrons who are often friendly without being forward. The sound and lighting are tightly monitored and give the main room stage a large show feel in an intimate setting.

The Disco Biscuits drew me to the Electric Factory in Philadelphia for the last night of their three-show run at the venue. I picked a suitable partner-in-crime and we journeyed to the Factory, a new experience for us both. Security was tighter than we expected, and after a thorough pat down we made our way inside. To stop underage drinking, this location separates the older crowd from the younger with a physical divider that goes straight through the entire venue. We chose the 21+ side, which consisted of two levels. Although busy at the bar, staff was friendly and quick to fill orders. The sound was mastered well, and the lighting effects Disco Biscuits are known to deliver were some of the best I’ve seen. Once the show was in full motion, the large crowd eased up to make space for extreme get- down dancing. I enjoyed this show and the venue, but wished for the ability to roam without restrictions.

These weren’t the only shows I saw recently, but they exemplified great nights of musical talent and each venue had to deliver. Whether making your staff act friendly, adhering to expected time schedules, or working to get the sound just right, it takes a multifaceted, well-brewed recipe for a great show. When a venue books a strong performer, it’s an opportunity to shine as much as the musical talent. Those that go beyond a fan’s expectations will foster their own following for years to come.