CD Review: Able Thought’s serene In Limbo

Local one-man band Able Thought brings a dose of tranquility to the Providence music scene with his latest album, serene In Limbo. People like Andrew Bird and Kishi Bashi have made looping an art form and removed the need for a backing band to produce a full sound. Able Thought uses a loop pedal — I’m assuming — to create his own brand of atmospheric, low-fi folk.

What’s striking on first-listen is the use of a nylon string classical as a specific choice. Where folk musicians usually swear by the metal strings, Able Thought embraces the nylon, giving serene In Limbo a signature sound. The guitar playing sounds like a mix of fingerstyle and traditional picking that works well, especially in songs like “In Limbo” and “Places.”

But the ambient quality that attracts people to this kind of music has a way of mashing the songs together and making it hard to differentiate one from the next. The level of manipulation makes me wonder if they’d be recognizable played with no effects. To be fair, this gripe is more of a comment on the musical style; I have been accused of not being able to enjoy “chill” music, but many artists these days seem to be drowning themselves in ever-increasing levels of reverb.

Maybe the best way to describe the sound is by simply recalling the name of the album. You feel like you’re floating in limbo in some echo-y, open forest. With tons of reverb. Much of the lyrical content also works to give the album a detached feeling, like in “From Space:” “Breathe, breathe quickly, the air around us sings / fall, fall with me, to the ground and to our knees/ this world seems so empty, compared to what this means.” The abstract language, though sometimes hard to hear over all of the studio tinkering, falls into place with the trance-like sounds.

For me, serene In Limbo (along with Able Thought’s influences Bon Iver and Youth Lagoon) is something you’ve really got to be in the mood for. But when you want to relax and avoid the 2-4 backbeat of whatever’s hot, sometimes it’s nice to listen to something that isn’t loaded with hooks. And even though the album didn’t blow me away, it’s pretty impressive that this guy can probably recreate all this live without much trouble. You can pick up Able Thought’s serene In Limbo locally. Or check out the band’s website.

Album of the Week: Cotillon

It’s a new year and 2015 already has a bunch of exciting new releases due out, including the debut full-length from Los Angeles fuzz pop act Cotillon. The moniker of singer- Jordan Corso, the new album has a cool mix of garage rock and Beatles-style pop with hints of different dimensions on each track. Overall, Cotillon’s debut absolutely rocks with jazzy horns, steady beats and a lo-fi sound, and a Lou Reed-esque charm that’ll hook you like a fish on a line.

One crazy thing about this album is that it was tracked at East West Studio 3 in LA, which fans might know as the place where The Beach Boys recorded their landmark album Pet Sounds. The vintage tones from Cotillon’s album show the production quality doesn’t fall far from the proverbial tree. No wonder why it’s being released on the underground indie rock label Burger Records — there’s a distinct vibe that mirrors The Velvets. It’s weird, mellow and emphatic at the same time — hard-hitting while making your ears feel that they’re being seduced by a feather. So far this year an artist decided to make dentures that look like David Bowie’s teeth that you can buy for $15,000. Looks like we haven’t wasted much time continuing the craziness of 2014. To take a break from the sickeningly entertaining madness, check out the top tracks from my Album Of The Week. Will it get weird enough for you? Let’s hope so. One track that really gets me is “Infection.” A mix between the early material of Guided By Voices and Jay Reatard, this is the most danceable song off of the album. Another groovy one is “Call Me Up.” This has those horns in it that complete the chorus brilliantly. Starting it off with a classic rock style riff that reminds me of The Allman Brothers’ “Melissa,” “Holding You Back” is a lovely number that will have your heart swooning. Cotillon will perform at Noise Pop 2015 at the Great American Music Hall in San Fransisco on Feb 25, but let’s hope Jordan and his band hit up New England to do a show here soon. Until then, grab a copy of Cotillon’s debut when it comes out on Jan 26. It’s a rad record that you shouldn’t ignore. Cotillon’s BandCamp: cotillon.bandcamp.com Slipknot and at Mohegan Sun – Prepare for Hell Tour

On Dec 5, heavy metal titans Slipknot brought their “Prepare for Hell” tour to Uncasville, Conn., at the Mohegan Sun Arena with nu-metal veterans Korn. Slipknot has been around for 19 years (actively touring for 15) and Korn for 21 years. Two bands with that sort of longevity drew a packed arena full of a few different generations of fans. Korn had just about a 50-minute set, packed mostly with their older hits like “Freak on a Leash,” “Shoots and Ladders,” “Got The Life,” and their first breakthrough single “Blind.” The crowd was electric from the moment the intro tape started rolling, and stayed that way until after thanked the crowd after the last song. Being around for a couple decades and maintaining almost as big of a following as your heyday is pretty awesome, and being a huge Korn fan myself, I was pretty excited to see these guys for the second time this year. They surely did not disappoint, and having Brian “Head” Welch back in the band after an almost 7-year absence was great to see. They seem a lot more like the old band from the early years, stepping back from the recent dubstep metal hybrid mumbo jumbo they put out during Head’s absence. If you missed them on this tour, be sure to keep an eye open for the next time they come around. Touring to promote their new album .5 : The Gray Chapter, Slipknot took to the stage at just about 9;30, with an overly anxious crowd waiting for the curtain to rise, flooding the arena with “SLIPKNOT!” chants. As the intro tape played (also the intro track “XIX” from the new album), the crowd shook the roof of the arena with cheers and singing along to the chant-like lyrics of the intro. Then “,” another new song, began with playing a clean, almost mellow intro on guitar. Then some light tom rolls from the drummer, and the curtain began to rise. The song then exploded with striking some seriously powerful chords to get the crowd going. As frontman stepped to the front of the stage, I couldn’t tell what was louder — the music or the crowd. This band has some of the greatest set openings I have ever seen. This tour is also a proving ground for two new members on drums and bass, yet to be officially named, but believed to be Alessandro Venturella on bass, and (son of Max Weinberg of the E-Street band) on drums. From what I saw, they definitely held their own, and there seems to be chemistry with the other guys on stage, which is a good sign. Slipknot played for well over an hour, and didn’t lose the crowd at any point in the show. The sound was on point, the members were on point, and they were entertaining as well. With a great stage setup, much like a carnival, and plenty of pyrotechnics, this was one of those full package concert experiences. With four songs from the new album and the rest being songs from every single other album in their catalog, there was something for every maggot (nickname for Slipknot fans), old and new. Corey Taylor was certainly impressed with the crowd that night, stating that he isn’t easily impressed, but we managed to do it. Truly grateful for the fans, Corey made that known as well. It’s great to see that kind of connection between musician and fan this day in age, where many other musicians in this and other genres seem to lose sight of who makes them who they are and supports them. For nine guys in weird or creepy masks, they’re pretty humble and appreciative.

I highly suggest giving Slipknot a look next time they come around and picking up their new album, which is a hybrid of their first three studio albums. It also debuted at number 1 on Billboard, and got them yet another Grammy nomination, so if those aren’t enough good reasons to buy it, then I don’t know what would be. Great band, great new album, and hopefully, more great shows to come. Top 10 Providence Shows of 2014

Every year in Providence, there are plenty of unforgettable shows that’ll leave you in a state of astonishment and bliss. Nights of excitement and energy that seem to never leave you. With legends, diamonds in the rough and local up-and-comers gracing the many stages in The Creative Capital, it’s safe to say that 2014 was another great year for live music in our little city. Therefore, here are my Top 10 Providence Shows of the year: 10.) The Devil Makes Three @ Fete 4/18 An initial treat for all Providence music fans on this night was seeing Joe Fletcher and Brown Bird’s MorganEve Swain sharing the stage as part of The Wrong Reasons to kick off the show and The Devil Makes Three were the cherry on top with an incredible set that lasted nearly two hours. When this folk trio from Santa Cruz, Calif., gets together, people start dancing and going absolutely crazy. They absolutely did this time around at the big Ballroom at Fete. 9.) Atlantic Thrills Album Release Show @ Dusk 2/1 A show that almost didn’t happen, Providence garage rock ragers Atlantic Thrills celebrated the release of their highly anticipated self-titled debut album in front of a packed house at Dusk. With an all-local bill that also included revolution rockers Ravi Shavi, surf punks Gymshorts and shoegaze dreamers Littlefoot, this night was a complete riot from the start. I’ll never forget the scene of nearly 100 people dancing while Atlantic Thrills were blowing the roof off the place with “Acid Rain.” 8.) Roz and The Rice Cakes “Need To Feed” Album Release Show @ The Met 4/4 (I know The Met is in Pawtucket but since it’s a stone’s throw away from the city it counts as a Providence venue) If this show didn’t make people believe in the buzz around the music scene in Providence, I don’t know what will. For a person who has been following The Rice Cakes since they were first starting out, seeing them nearly sell out a place like The Met was jaw dropping. They had a few cool bands with them too — Richmond, Va., psychedelic math heads Houdan The Mystic, Providence rock ‘n’ roll supergroup Dr. Jones & The Shiners and psych-folkers The Low Anthem rounded out one hell of a night. Seeing people jumping up and down while The Rice Cakes were playing “Magma” was quite the sight. 7.) KRS-One @ Simon’s 677 4/16 Now I’m not the biggest fan of shows that have eight acts with most of them not getting paid and half of them sucking, but when a hip-hop legend comes to town you have to take notice. With “Tha Teacha” took the stage at Simon’s on this night there was an incomparable feeling of electricity resonating throughout the room. Getting the crowd revved up with classics like “South Bronx” and “My Philosophy” and then having a tribute to “The Godfather Of Soul” as the finale, this was a hip-hop show like none other. 6.) Atmosphere @ Lupo’s Heartbreak Hotel 11/18 Another spectacular hip-hop show was brought to the legendary Lupo’s Heartbreak Hotel when Minneapolis, Minn., duo Atmosphere came to town. With Slug leading the way with jams like “GodLovesUgly,” “Reflections” and “The Woman With The Tattoed Hands” and finishing everything it off with a thunderous rendition of “Trying To Find A Balance,” the packed crowd was crazed. Great vibes all around, it was a pleasure finally seeing an independent hip- hop icon live. 5.) Dinosaur Jr. & King Buzzo @ The Met 7/11 It’s rare when you magically get to see a double headliner on a bill anywhere nowadays, but when The Melvins’ King Buzzo and Dinosaur Jr. shared the stage at The Met it was incredible. Buzzo started things off acoustically as part of a special tour this year and then Dinosaur Jr. came on with a wall of amps for a ridiculously loud experience. I’ve had the pleasure of seeing Dinosaur Jr. live a few times before this night and this time around was absolutely the best. 4.) Bob Dylan @ The Providence Performing Arts Center 11/15 In this day and age, there are music legends and then there’s Bob Dylan. The man is a little older and he has changed his tune a bit since his glory days in the ’60s and ’70s, but on this night he still proved that he can put on one hell of a show. “Workingman’s Blues #2,” “Tangled Up In Blue,” “Love Sick” and “Simple Twist Of Fate” highlighted an amazing set and an encore of “Blowin’ In The Wind” and “Stay With Me” capped off a perfect night. 3.) Queens Of The Stone Age @ The Providence Performing Arts Center 7/14 Along with housing a legend, The PPAC also housed one of the best rock acts around today with Queens Of The Stone Age this year. They kicked off their set with raucous effect when “You Think I Ain’t Worth A Dollar but I Feel Like A Millionaire” blasted off the stage and numbers such as “Little Sister,” “If I Had A Tail” and “Go With The Flow” were part of an obliterating performance. Living up to the billing and the fame, Queens Of The Stone Age gave Providence music fans the time of their lives. 2.) Mastodon, Gojira & Kvelertak @ Lupo’s Heartbreak Hotel 10/30 It’s perfectly fitting to see a metal show around the time of Halloween and the night before All Hallow’s Eve at Lupo’s was insane when metal monsters Mastodon, Gojira, and Kvelertak rolled into town. Crowd surfing, drunken shenanigans and flat out mayhem was abundant while each band had a blistering set that left me in awe. An absolute gem of a night that no metalhead would ever forget. 1.) Celebrating Dave Lamb @ The Columbus Theatre 4/8 One huge blemish for the Providence music scene and music in general this year was the loss of Brown Bird’s Dave Lamb to leukemia. He was loved and adored by many, and fans had the opportunity to pay their respects to Dave and his family through a free show at The Columbus Theatre featuring Joe Fletcher, Death Vessel, Alec K. Redfearn & The Eyesores and Last Good Tooth. Two things I’ll never forget from this night was the humungous line of people waiting outside of the theater and Joe Fletcher leading the performers in a haunting rendition of Tom Waits’ “Come On Up To The House” for an epic finale to an emotional evening. It was more than just a show, it was a celebration of a man who touched so many lives with his music and it was a community coming together to rally around the loss of one of their own. 2014 was a magnificent year for going out and about around Providence. What will 2015 have in store? Well you might just have to walk around and see for yourself.

Top 20 Albums Of 2014 (Because 15 Wasn’t Enough)

2014, you just wanted to get weird from the get go. Weird in a very good way with surprise releases and collaborations that had strokes of genius. And locally, you saw a lot of bands in Providence really make their mark all over New England. As with every year, you also had a few albums that had a lot of hype and didn’t quite live up to expectations. None of those are on this list. Once again, here are my Top 20 Albums Of 2014 because 15 wasn’t enough.

20.) Gymshorts – No Backsies! (Manimal) It’s absolutely safe to say that Gymshorts brought punk rock back to Providence with a vengeance when they put out their debut album No Backsies! in February. Sarah Greenwell’s shouting vocals with raging on a lo-fi recording makes for a no nonsense and no frills punk album from front to back. Once you press play you will be looking to start a mosh pit wherever you are. Work, home, on the sidewalk and you won’t care. “You Olneyville Once,” “Bed(Stuy)” and “Oh Brother” will melt your brain into rebellious goo.

19.) Modern Vices (Autumn Tone) When this dirty doo-wop garage rock act from Chicago released their self-titled debut back in October I was completely astounded. The best way of describing Modern Vices’ sound is to imagine the vocals of Morrissey without the pretentiousness mixed with the sounds of Frankie Valli and The Stooges. Sounds pretty cool doesn’t it? “Pleasure Gun,” “Cheap Style” and “Smoke Rings” are incredible tracks that are sure to impress.

18.) Smith & Weeden (Self-Released) Highly anticipated from nearly everyone involved in the music scene in Providence, Smith & Weeden’s self-titled debut wowed people and did a whole lot more with excellent production and unapologetic rock ‘n’ roll. Jesse Smith’s songwriting is impeccable, but what really gets me are Seamus Weeden’s scorching lead guitar solos. The guy can really play. You gotta give “Aim To Please,” “Boys In Bands” and “Playing A Part” a listen. Wonderful stuff from one of the best acts going right now in The Creative Capital. 17.) Sean Rowe – Madman (Anti-) With that trademark deep and soulful voice, Troy, NY, singer-songwriter Sean Rowe put out one heck of an album, Madman, in September. Ranging from soul in the vein of Otis Redding to down-home blues and even a few ballads, Madman has everything a music fan looks for in an album. “Desiree,” “The Real Thing” and “The Game” are great examples of how much versatility Sean Rowe has when it comes to how he crafts a song.

16.) The Both (Super Ego) A collaboration that made for a fantastic album, when Aimee Mann and Ted Leo got together to form a rock band it became a thing of beauty. There are some bluesy tones and a sheen of pop mixed with distorted riffs that show both Mann & Leo haven’t strayed away from their punk roots. “The Gambler,” “The Prisoner” and “Milwaukee” are very cool tracks that I highly suggest you dive into.

15.) The Viennagram – Learn To Tame The Patterns (Irrational Solutions Inc.) First off, this album is just insane. Providence by way of New Bedford psychedelic space punks The Viennagram put out a marvelous album with Learn To Tame The Patterns on Halloween with production that sounds like something out of “The Twilight Zone.” Imagine listening to Rain Dogs by Tom Waits while on a bad acid trip and rolling through a vortex to a crazed dimension, and you got this. You get what I mean? Listen to “Straight To The Void,” “Teenage Haircut” and “Only The Good Ones Die” and you’ll catch my drift.

14.) Aphex Twin – Syro (Warp) Yes, an electronic music album has made it onto the list and deservedly so. Also known as Richard D. James, when Aphex Twin snuck up on us all with his first studio album in 13 years with Syro in September, music fans everywhere joined the applause. Abstract beats and even some piano keys every now and then really make Syro a stunning album to listen to. I would usually tell you what tracks to try out, but you should go from start to finish with this one.

13.) – 1984 (PAX AM) Now I know what you’re going to say. First, yes I know that Ryan Adams put out a self-titled full length album this year. Second, I know that 1984 is considered to be an EP, but hear me out. 1984 has 10 songs on it, which in my opinion is enough for it to be considered a full-length album. Also in my opinion, it beats the holy hell out of his self-titled release. Harkening the sounds of ’80s punk bands like The Replacements and Husker Du, 1984 comes at you like a bat out of hell with reckless abandon. “When The Summer Ends,” “Why Did They Leave You Alone?” and “Bones And Ash” are jolting in the best way possible.

12.) Ravi Shavi – Courage (Self-Released) Since these revolution garage mod rockers from Providence put out two releases on the same night this year, to be fair to everyone else I could only choose one to include in this list. So why not the one that has eight riveting songs on it? With contagious energy and Rafay Rashid’s ability to show his brash confidence through his songwriting, Courage could very well be Ravi Shavi’s best release yet. “Midnight,” “Permanent Damage” and “Radical” are excellent reasons why.

11.) TV on the Radio – Seeds (Harvest) Going back to their eclectic roots, TV on the Radio put unbridled feeling and passion on canvas when they put out Seeds in November. Combining synth, funk, soul and rock together to form a sound that goes back to their early releases while still progressing as a band, these Brooklyn art-rock fiends got back to basics in outstanding fashion. “Winter,” “Lazerray” and “Could You” will give your ears a sense of joy they’ve never felt before. 10.) Mean Creek – Local Losers (Old Flame) A very powerful album that hits you straight in the gut, ’s Mean Creek delivered a musical knockout punch when they released a punk album with Local Losers in April. Still retaining that heart on the sleeve aesthetic, Chris Keene’s fury on vocals, Aurore Oujian’s impeccable skills on lead guitar and Mikey Holland playing drums like a jet engine give this album an invigorating sense of rhythm. “Cool Town,” “My Madeline” and “Mass. Border” are musical missiles heading straight for your soul.

9.) Roz and The Rice Cakes – Need To Feed (Team Love) It’s hard to believe that this is only the second full length album from one of the hardest working bands out there today, but Need To Feed from Providence indie-pop power trio Roz and The Rice Cakes showed how much these three talented individuals have progressed over the years. There’s a cornucopia of styles and techniques that come together all over the album, but The Rice Cakes pull off perfectly by always keeping a rhythmic groove. “Hay Fever,” “Floor Boards” and “Push and Pull” will get you going crazy, but in a fun way.

8.) Jack White – Lazaretto (Third Man) Continuing his solo trend of mixing Motown soul, Nashville country, Chicago blues and old fashioned rock ‘n’ roll together to create brilliant music, Jack White lived up to his reputation once again as one of the best musicians in rock with Lazaretto. With some tracks down and dirty while others are poppy and folky, Jack shows his influences on this album in full throttle fashion. “Three Women,” “High Ball Stepper” and “That Black Bat Licorice” are three songs off of Lazaretto you’ll totally dig.

7.) Against Me! – Transgender Dysphoria Blues (Total Treble/Xtra Mile) An album that will go down as one of the most socially important albums of the decade, Against Me! went back to their honest brand of punk led by Laura Jane Grace and brought out a bunch of unapologetic anthems. Having an identity crisis, the death of a friend and hating the misogynistic macho attitude are all covered in the album, but musically this bad boy hits hard in the best way punk can. “True Trans Soul Rebel,” “Black Me Out” and “Obama Bin Laden As The Crucified Christ” make you want to put your fist in the air and tear down brick walls.

6.) The Orwells – Disgraceland (Canvasback) After listening to this album, I’m convinced that these kids from Elmhurst, IL, who call themselves The Orwells will become the new face of rock ‘n’ roll in less than five years if they keep it up. They’re barely old enough to drink at the places they play at. Frontman Mario Cuomo looks like a young Robert Plant who commands an audience like vintage Iggy Pop and their songs are catchy in a pleasing way. Garage rock to the fullest, “The Righteous One,” “Gotta Get Down” and “Who Needs You” are just three tracks off an album that kicks ass from front to back.

5.) Deerhoof – La Isla Bonita (Polyvinyl) When abstract noise rock act Deerhoof released their 12th studio album with La Isla Bonita in November, I became an instant fan. The distorted guitars mixed with jazzed out pop is comparable to the styles of Talking Heads meeting the styles of The Ramones — really cool tones that had me hooked from the first time I gave it a listen. “Paradise Girls,” “Exit Only” and “Black Pitch” are weird and you’re going to love listening to them along with everything else.

4.) Death From Above 1979 – The Physical World (Last Gang/Warner Bros.) It only took nine years to follow up their debut masterpiece, You’re A Woman, I’m A Machine, but Death From Above 1979 did it justice with The Physical World. One thing that really got me with the album was the little hints of influence from Jesse F. Keeler’s electronica project MSTRKRFT and Sebastien Grainger’s solo material. Listen to “Cheap Talk,” “White Is Red” and “Government Trash” and see for yourself. 3.) Ty Segall – Manipulator (Drag City) A guy who has put out more records than his own age (the guy is 27), Ty Segall put out a jewel with Manipulator this past August. Proving that everything he touches is gold, this rock ‘n’ roll wunderkind does no wrong with a whole lot of fuzz. If you don’t dig that mix of punk with ’60s style psychedelia, I don’t know what to tell you. “The Faker,” “It’s Over” and “The Crawler” are so badass they might light your headphones on fire.

2.) Antemasque (Nadie) For a while no one knew when the debut album from the new band headed by At The Drive-In and The Mars Volta’s Cedric Bixler-Zavala and Omar Rodriguez-Lopez was going to be released, and all we had was a Youtube stream to tempt us. This grand merging of punk and progressive rock really made Antemasque something else, it doesn’t hurt that you have Bixler-Zavala being ferocious on the mic and Rodriguez-Lopez reaffirming himself as one of the best guitarists alive. This is best exemplified by getting revved up with “I Got No Remorse” and “In The Lurch” along with being mellowed out by “Drown All Your Witches 1.) D’Angelo & The Vanguard – Black Messiah (RCA) This album had me shocked due to the sheer excellence I was listening to when I first pressed play on Black Messiah. It’s Parliament-Funkadelic meets Prince meets Al Green meets Marvin Gaye, it’s funky r&b with a full band and it’s pristine. His first release in 14 years, D’Angelo made it definitely worth the wait on this. Whoever played bass on this is a golden god. Tracks like “Ain’t That Easy,” “The Charade”, “1000 Deaths” and “Prayer” make this album the absolute best of 2014. It’s real, genuine and beautiful in so many ways. Those are my top 20 albums of the year, take it or leave it. You probably love it and agree with everything or you flat out hate it and you want to tell me how much of an idiot I am in three different languages. There’s usually no in between with these types of things. Can we expect anything similar in 2015? Well you gotta start paying attention and listening to the music.

CD Review: Mike Gendron’s The Day That I Give Birth Don’t you hate when you see someone on TV, or even worse, on the street, and can’t quite place from where you know them? We start running through the alphabet in our head, hoping to hit upon their name. We flip through our cerebral Rolodex. Maybe we went to school with them? Maybe they work in our office… maybe we were in the service together… college? JAIL!!??

I went through those same machinations when I first set sight on The Day That I Give Birth, the new CD by Mike Gendron. I knew that I had seen/heard this guy before, and then it hit me. OF COURSE I know him! Not only was he with perennial local favorites GrandEvolution, but he’s the “Mike G” behind Mike G & Associates (both of whom I’ve covered for Motif in past columns).

In fact (with apologies to the late Godfather of Soul), Mike Gendron just might be the hardest working man in show business. Well at least in RI. In between recording this original material, for which he plays almost all of the instruments (more on that later) Gendron boasts residency in not one but TWO popular tribute bands (a John Lennon act called Lennon Live, and the tribute “Young Rust,” which Gendron fronts). Not bad for a kid who made his bones playing gigs at The Living Room at the tender age of 15.

A few moments into a deep listening of The Day That I Give Birth, it becomes amply apparent exactly from where Mike Gendron culls his songwriting influence. While much of the music throughout is deep driving rock & roll, his lyrics expose a poetry that often leans toward the surreal. The title track alone repeatedly reveals Gendon’s unconditioned ability to turn quite the thought-provoking phrase: “Fault lines crack where lava flows deep beneath the earth… Spiders raise and eat their young, they’re boiling in the pot… Let me paint you gold so you can shine.”

The acoustic folk ballad “Universus” sparingly utilizes a Neil Young strumming style and borrows melodically from Bob Dylan’s “With God On Our Side.” That said, Gendron unabashedly displays his vulnerable side by calling out to some higher power for guidance and strength to face an unknown future: “My path has been laid out before my blinded eyes to see. Somewhere deep into the fog is who I’m supposed to be. I can’t cut through this haze. Guide me through this treacherous, all consuming maze.” I’d be remiss if I didn’t mention the final, somewhat disturbing track, “Anonymous.” What can only be described as the “Revolution 9” of the album, an ominous backing track plays over the recorded voicemail message of a very disturbed woman. With wailing guitars, she’s heard claiming the government has targeted her for assassination, which will come about by the explosive device they previously implanted in her head. Unfortunately her near-whisper is practically inaudible, and had it not been for an explanation detailed in the album’s press kit, I wouldn’t know what I was listening to. Frankly, unlike The White Album’s “Revolution 9”, “Anonymous” does nothing for what up to that point had been a strong body of work.

That small point aside The Day That I Give Birth excels as an example of Mike Gendron’s ample gifts as a singer-songwriter. The disc was engineered by famed member of The Schemers, Emerson Torrey. And based on this output of work, Mike Gendron has earned his deserved spot alongside Torrey, and Mark Cutler, and all the other best Rhode Island has to offer.

Album Of The Week: Caddywhompus’ Feathering A Nest When you think of the music of New Orleans, the obvious route you’ll take will be delving into The Big Easy’s rich history of jazz and brass bands. Well, there’s a spectacular duo from there with a new album out that sounds nothing like Jelly Roll Morton or your high school marching band. Psychedelic math noise rock (is that even a genre?) act Caddywhompus has a righteous record out, Feathering A Nest, that’s as inventive and weird as their name. Distortions, downbeats and an amazing flow with each track makes this album a true diamond in the rough.

An interesting way of recording that makes listening to it that much better is that there are no gaps of silence in between the songs on Feathering A Nest. It gives the experience of their live performance (which is pretty awesome) raging right through your speakers. The whole album deserves to be listened to from front to back due to each track having its own special quality and fantastic tone. The melding of Sean Hart’s feverish drumming skills and the impeccable notes on guitar from vocalist Chris Rehm really makes this duo something else. Prepare for loud riffs and beats that’ll sneak up on you throughout the album.

So this is my last Album Of The Week of 2014, but I guess you have so many gift ideas now. Why not give the gift of music this holiday season? It’s way better than giving tighty whities or an old pair of socks as a present. To prep you for the gift giving extravaganza, along with dealing with your creepy uncle that you still question your relation to, here are the top tracks off of my Album Of The Week:

Echoing vibes on guitar and stick tapping kick off “Stuck” in soothing fashion, but then those echoes become feedback and those tapping sticks become energetic beats for truly electrifying portions of the track. Another great one is “Company;” walls of immense sound from the drums and guitars getting rigidly loud are all over this number for an epic experience. Very punk and shoegaze, “Thirst” is the biggest candidate to be the mosh pit starter from the album with driving riffs and forceful vigor.

Caddywhompus are currently in the middle of a West Coast tour in support of the release of Feathering A Nest, and they’ll be hitting up The Church Of Fun in Los Angeles on Dec 13. They played an awesome show at The Fatt Squirrel in Providence back in November and let’s hope they come back to The Creative Capital sometime next year. Until then, you better get a copy of Feathering A Nest. Once you give it a listen your inner sense of bliss will definitely hatch.

Caddywhompus’ Website: http://www.caddywhompusband.com

Halestorm Rocks The Palladium Halestorm recently came through New England and played the Worcester Palladium on Nov 29. The show was nothing short of amazing. Frontwoman Lzzy Hale was on fire with her incredible vocal range as well as her ability to lay down awesome guitar riffs with the forefathers of hard rock. Opening the set was their hard and heavy track, “Mz Hyde” off of their last studio album The Strange Case Of…. The crowd was eating it up from the moment Lzzy stepped out onto the stage. The night was full of their signature tracks, old and new, and with a few surprises thrown in the mix.

Known for their ability to do any songs they’ve covered justice, there were a couple curveballs in the night’s lineup of songs. First, was the classic Judas Priest song “Dissident Aggressor.” Being a huge Halestorm fan, this took me by surprise. A very pleasant surprise. To see this band rock such a killer song from one of the godfathers of heavy metal, and have Lzzy do Rob Halford such justice, was just something you had to see to believe. The other cover choice toward the end of their set was the Fleetwood Mac hit “Gold Dust Woman.” Stevie Nicks is a big influence for Lzzy’s more mellow vocals, and I can only assume that Stevie herself would be incredibly proud. The cover was absolutely flawless.

I think this is how Halestorm appeals to such a wide range of age groups. They have their own classic hard rock sound, but are tweaked to appeal to younger generations. It’s no surprise they won a Grammy by their second studio album.

Another highlight of the night showcases Lzzy’s love for her fans — one in particular tonight. A young fan named Becky had won over Lzzy’s heart and after hearing her story, she came out on stage alone with her guitar, and dedicated a solo performance of “Hate It When You See Me Cry” to this fan. The song hit home with her, and Lzzy had surprised her by doing an intimate performance of this song for her. A true, kind-hearted gesture by a woman who really does adore all of her fans. I can attest to this after meeting her after the show (in the freezing cold) around 2 am and she was such a sweetheart. She gives hugs, not handshakes. She doesn’t rush people. She talks to you like a friend.

A couple more surprises were two songs from an upcoming album to be released in early 2015. We got a taste of the tracks “Mayhem” and “I Like It Heavy.” After hearing them live in their most raw format, I feel it is an indicator of an extremely promising album.

I look forward to seeing them again when they tour in support of the new album, and I highly recommend that anyone take a night to go see them when they come around. If you have any sort of good taste in rock ‘n’ roll, you won’t be disappointed.

CD Review: Karma and The Truth’s Between Standing & Falling

A few weeks ago I received word that guitarist Joey Magnanti (formerly of Hawkins Rise) had formed a new band with the enigmatic name of Karma and The Truth (the cool kids call them KatT for short). With a ‘fresh from the manufacturing plant’ CD already making waves throughout the area, I had to know more. Intrigued, you ask? Why yes, I was. When that new release titled Between Standing & Falling finally arrived, I excitedly tore through the packaging like Kirstie Alley opening a box of Krispy Kreme, and earnestly began to give each of the 11 tracks a thorough listening.

From the get-go, these guys reek of professionalism and demonstrate an ability to take a legitimately heavy rock style and turn it into radio-ready, major label-sounding gold. Certainly aided in no small measure by the fact that Between Standing & Falling was co-produced and engineered by local studio svengali Joe Moody, the resulting performances illustrate an excessively adroit and mature execution. Basically this album kicks some serious rock ‘n’ roll ass.

The disc of all-original material starts off with the heavy driving, “Circling The Drain.” With dueling, grunge-laden guitar work provided by Seth Salois and the aforementioned Joey Magnanti, the song’s rhythm pulses along with a dynamically deliberate groove provided by drummer Nino Trovato and bass man Tofer Simpson. Salois’ vocals, in shades slightly reminiscent of Geoff Tate and Eddie Vedder, provide a classic hook in the chorus “You can change your life or stay the same. In the end it’s all the same – When you feel alive escape the blame, instead of circling the drain.”

The quasi power-ballad “Time To Let Go” is a perfect example of what I mean by my claim that these guys are major label-ready. One hundred professional songwriters locked in a room for a week couldn’t come up with a prettier melody or more potent lyrics. “I woke up today and planned escape, the note you left was all in vain, I still believe the plan was three days late … Chasing down our last mistakes, we’ve burned the bridge but not the gates.”

And while on the subject of songwriting, Karma and The Truth outdo themselves on that front with “Dont Fear The Water,” a track that could top any pop, rock, adult contemporary or alternative charts with ease. The number contains all the earmarks of a well-crafted song, including a memorable chorus: “Dont fear the water and hide behind and watch it pass you by…”

Sure everybody wants to be a rock ‘n’ roll star, yet for over 50 years few have figured out exactly how to make it happen. But once in a while a group of musically like-minded artists join together to create a cohesive, convincing product that has the potential for mass appeal. Karma and The Truth are that band, and Between Standing & Falling is an indication that these guys are a serious band with a potent product. KatT has already proven themselves a formidable live act, crisscrossing New England for the better part of a year, not only opening for nationals, but also headlining venues themselves. With music like this, these guys have earned themselves some seriously good KARMA…and that’s THE TRUTH!!! See what I did there… Karma … Truth…? What, no good?

Mark Erelli’s Milltowns: A Tribute to Bill Morrissey at Stone Soup Coffeehouse

Years ago, I narrowly met Mark Erelli. We were two of three finalists in a songwriting competition. I say narrowly as we were both backstage, pre-performance, practicing – no time to talk.

I do not remember the winner’s name, but I do remember Mark Erelli. I remember Mark Erelli because Mark Erelli works very, very hard – music is his job. He has a remarkable stick-to-itiveness, and an I- won’t-give-up attitude about his position in the music scene.

Mark has completely woven his god-given gifts into the fabric of the acoustic performing songwriter community: songwriter, performer, recording artist, noted side-man and producer. Now, years later, he is hitting his biggest stride. He has recorded too many CDs to count and if his past recordings have been overlooked or forgotten, his most recent, Milltown, will certainly float him to the top of the charts and encourage listeners, old and new, to review his full catalog.

Milltowns is Erelli’s tribute to the late Bill Morrissey, a performing songwriter whom he admires and respects so much it warranted putting his own writing aside to delve into recording this collection.

Men have difficulty expressing themselves – Bill was no different. Quiet with a hard finish and emotionally sensitive core, Bill’s lyrics are the voice of every man. Erelli’s selections for Milltown cover such emotions and more.

The CD opens with classic Morrisey – “Birches.” “Birches” takes a heart-warming look at a couple in the winter of their years. Harboring emotion that extends far beyond its 3-minute song frame, Mark’s rendition is every bit as passionate as Morrisey’s.

Erelli’s cover of ”Letter from Heaven” truly captures Morrissey’s keen sense of humor. This cut is so good it has you wondering if Mark received a bit of Bill’s coaching from on high.

“Long Gone” sings of a traveling man, fueled by thoughts of home and his love still waiting. This song is very nicely produced with Anais Mitchell’s rich backing vocal and Charlie Rose’s rambling banjo and pedal steel parts. Charlie will also be the supporting act for this performance.

An album of this type can be a hit or a miss – a cheesy shot at trying to sound like the real deal. There is absolutely none of that here. Erelli captures a few of the cracks and crackles in Bill’s voice, a raspy affectation here or there, yet never overdone. This might best be noted in “She’s that Kind of Mystery,” which is nicely arranged with Rose Polenzani’s delicate backing harmony.

If you were to buy one cut from this selection, this author’s pick would be “Handsome Molly.” It just embodies all that Erelli is trying to achieve with this tribute. There are also beautiful backing vocals by .

The final cut, “Milltowns,” was written by Erelli. It opens with a personal retelling of a night Mark spent drinking and playing songs with Bill, moving on to share reflections of a performing songwriter as he passes from town to town.

Bill Morrissey has a long history with Stone Soup Coffeehouse; he was a returning favorite of the late Richard Walton. When they found Bill in his hotel room, the police dialed the last number he had dialed, hoping it might be a family member, and instead reached Stone Soup. Bill had called that evening to confirm his next booking.

Morrissey was a songwriter’s songwriter; his legacy will be carried on by those who follow in his footsteps. Milltown may just be the result of Bill’s passing along of a musical torch to Mark Erelli.

Come listen to Mark Erelli (and maybe Bill) at Stone Soup on Saturday, Dec 6 at 7pm.