Enter the Flange Factory: Math the Band releases a multi-concept project

Troubled times call for audacious measures. Math the Band is back, this time with a whirlwind of multimedia the likes of which has never been attempted. Their latest project, Flange Factory Five, is an immersive experience that includes a novel, record, game boy cartridge, energy drink and boutique guitar pedal.

MTB, sometimes billed as “Math The Band The Band,” is the project of frontman Kevin Steinhauser and a rotating cast of characters, which currently features guitarist Max Holbrook, bassist Adam Waz and drummer Matt Zappa. The band has been operational for 20 years, and based in Providence for 12.

A characteristically joyous effort, the Flange Factory Five features the band’s signature combination of glitchy, 8-bit keyboards over distorted guitars. A project like this requires the boundless energy they put forward in their ecstatic live shows, and it totally comes through on the recording.

The uptempo “Dual of the Deer” features guitars and synth lines in roaring triumphiant harmony. “DKWIC” has a great Brian May-style guitar solo, and “Coach Says” is a hard-edged tune at the circle pit end of the spectrum. Stenhouser, who started the project in high school, puts every ounce of himself into the vocals.

Along with great playing throughout, this brings us the best of grit and nerddom, like a skater punk version of the music from Crash Bandicoot. But the video game sounds can belie the smart composition and clever lyrics. “Wet Cement” is ultra-catchy montage fodder about starting a new chapter: “The fear is exciting and I can’t wait to be born.”

An additional treat is a suite of “Flange Factory Five” instrumental interludes that could be the jingle for the cartoon television show of the same name.

I spoke with Kevin about the origins of this unique project.

Jake Bissaro (Motif): How did the multi-format concept come about? What made you want to release your own energy drink?

Kevin Steinhauser: I don’t really recall a moment of inspiration. Each piece was something I had kicking around in my head for a while. It’s basically the culmination of years of saying ‘wouldn’t it be funny if…’ and then we just decided to go all in and do it for real.

JB: What is the book about?

KS: It’s a choose-your-own adventure fantasy novel that plays off the ones marketed toward young adults, but very tongue-in-cheek with a lot of crass, dark humor. It revolves around a kid who meets a wizard and ends up needing to save the wizarding world. It ended up being a big universe of stuff; the novel mentions the pedal and energy drink heavily, and the Game Boy game is based on the novel.

JB: I have never heard of an album released on a piece of gear. How did that come about?

KS: The Flange Factory Five is a collaboration with our friend Frank, who makes small runs of handmade pedals under the moniker Frayed Knot. The pedal is a matrix of five flangers and five ring modulators, and also has the album stored on it, with a playback mode that lets you mess with the sounds. We’re trying to make as many as 55, but they are large and expensive, at $250. To keep things more accessible, we’re making the “Flange Factory Zero” a slimmed-down version that’s more of a collectible.

JB: Is there a particular fascination with the flange effect? Does gear play a big part in your inspiration?

KS: Not really. Personally, synths are really what I’m into. To be honest, we chose flange simply because “flange factory five” sounded funny. But I found a connection after the fact: The story goes that the effect was made for the Beatles as a way to mimic stereo. Apparently Paul, in an interview, was asked what the effect is called, and just said, ‘Oh it’s the flangelator,’ making up a nonsense funny word.

JB: How has the band been handling pandemic life?

KS: To be honest, we’ve probably never been more productive. This whole project has been like 90% of the way there for about a year, so it was the opportunity we needed. We all have our own home studios and have been passing files back and forth, and recorded basically the whole album that way.

JB: What’s next for the band?

KS: We’re hoping in December to throw a big performance in the black box theater at AS220, playing the album front to back and adding in some theatrics.

Math the Band (the Band)’s Flange Factory Five Universe is available for purchase at flangefactoryfive.com. To coincide with Bandcamp Fridays, MTE will release a limited-run FFF product every first Friday for the rest of the year. The current schedule for releases is as follows: September 4 — Energy Drink; October 2 — FFF record release; November 6 — Guitar pedal; December 4 — Game Boy game

The Brother Kite — Make it Real

I think it’s appropriate at this point to refer to The Brother Kite as a Rhode Island rock institution on which we can still depend for polished, top-shelf indie rock. With five full-lengths now under their belt, Make it Real is the band’s first release since 2013’s Model Rocket.

Fronted by Patrick Boutwell and Jon Downs, TBK’s specialty is a vintage jangle mixed with a deeply emotional frequency, like Teenage Fanclub mixed with Something Corporate. “Don’t Ask Why” blends the elements pretty well, where a moody verse gives way to a vigorous, full-throated chorus. The smart instrumentation and production “Afraid To Even Try” uses the sleigh bells to add to the chime, with bang-on harmonies throughout.

The songs are well-formed and sure of themselves, though the shimmery guitar is a little too much at times; in “Rotten,” the pedals seem to be the star of the show. Songs like “Hopeless Ghost” and “Dream to Me” tend to linger on your mind long after you’ve listened to them.

Make it Real is another compelling chapter in TBK story, and is worth your attention.

Check out Make it Real at the band’s Bandcamp page.

Live Music Rundown

Live! Outdoors! In the next few weeks!

Askew

Friday, Sep 4: The Copacetics

Sunday, Sep 6: The John Allmark Super Jazz Octet

Dusk

Saturday, Sep 12: Absolute Eddie and Three Points of Madness

Saturday, Sep 20: New Idol

Catch it While You Can!: Music is live and outside … for now

Throwing Muses — (Fire Records)

It’s amazing to think that Newport’s have been together 40 years now. To celebrate, Throwing Muses will release a new album, Sun Racket, on September 4. Sun Racket is packed with singer/guitarist ’s abstract poetry that floats and flails in the seas of psychedelic guitars echoing into the sunset. David Narcizo’s drumming is the glue that holds the ship together while ’ driving bass lines push it forward. The album kicks off with the haunting “Dark Blue,” which really is one of only two songs with anything resembling a “chorus.” On “Maria Laguna,” I can’t tell if Hersh is singing about someone who has drowned, but I do love the lyric “dotted with sharks, spilling prom dates’ videotapes.” “Upstairs Dan” is another stormy hypnotic shot where you can’t tell if the character is dying or if they are bracing for a hurricane (Hersh’s house got destroyed when Katrina hit New Orleans). “Kay Catherine” has a waltz feel that starts off with a line about a terrible secret that the abstract lyrics leaves buried in the sand. Sun Racket works as a blast of mysterious noise lying on a bed of uneasy harmony, like a diary that washed up ashore, half destroyed.

Jesse Malin — ‘Todd Youth”/ “Sally Can’t Dance” (Wicked Cool Records)

On his new single, Jesse Malin pays tribute to his late friend Todd Youth, with a tune by the same name. Malin wrote the song by imagining his friend’s perspective on his last night before losing his battle with addiction. Some lines in the song like “sold my records and my last guitar, on a night so dark I couldn’t see the stars” capture the desperation that Youth was likely experiencing. HR from Bad Brains, who also had a side project with Youth, opens the song and appears throughout, singing lyrics that Malin borrowed from a couple of Bad Brains songs, such as “Leaving This Babylon” and “Sailing On.” It works as a fitting tribute because Malin, Youth and HR all came out of the early ’80s hardcore scene, even if this track is more at Tom Petty or Mink Deville level of rock. The B-side is a faithful cover of Lou Reed’s “Sally Can’t Dance.”

Live Music Returns!

Live music has started to return, albeit very slowly, at venues that have the means to do outdoor shows. I recommend seeing it while you can because nobody seems particularly optimistic about the prospect for live music once winter hits. Both Dusk and Askew are hosting live music every weekend outdoors. Dusk is having bands play in the parking lot behind the venue, and Askew has been closing down Chestnut St every weekend. Both venues adhere to social distancing recommendations with table seatings. Reservations can be made by contacting either club in advance; check out their respective websites/social media pages for more information. Here are some of the upcoming shows to mark on the calendar.

The Copacetics

The reigning kings of local ska return to get the dance party started on Chestnut Street. Social distancing regulations must be a nightmare for ska bands with horn sections.

The Copacetics play outside Askew on Sep 4. Steve Smith and The Nakeds

It would be like the summer of 2020 didn’t happen without a Steve Smith and The Nakeds concert. This is the 47th year of the band and surely one of the oddest. Steve Smith and The Nakeds bring it with a heavy dose of bar rock rock mixed with R&B. I also love going down to the Charlestown Rathskeller, which has their stage out back with chairs and picnic tables.

Steve Smith and The Nakeds are at the Charlestown Rathskeller on Sep 12.

Absolute Eddie and Three Points of Madness

Not even a pandemic can kill heavy metal. Absolute Eddie is an Iron Maiden band, so right away I know this show is going to be a hoot. Three Points of Madness mixes metal, heavy alternative and a smidge of prog-rock in their thunder batter.

Absolute Eddie and Three Points of Madness will rock Dusk on Sep 12.

University of Rhode Island Virtual Guitar Festival 2020

University of Rhode Island Virtual Guitar Festival 2020 will take place from September 25 thru 27. Featured artists include Adam Levin, Raphaël Feuillâtre, Bokyung Byun, Derek Gripper, Yacouba Sissoko, Redmond O’Toole, Zaira Meneses, Scott Borg, Matthew Rohde, Eliot Fisk, Corey Harris, William Knuth and Patricia Price, among others. Check it out at uriguitarfestival.org

Ponyboy

Ponyboy make their debut doing two sets (one of original material and a set of covers) outside at Askew. Ponyboy have a three-song single due to come out digitally later on this month. I’ve heard some of their stuff and it’s all over the map where one tune will sound like the Stooges, the next one will harken back to the Faces and third one will be something completely different. The band includes Dave Laros and Vic Foley from Blackletter, Bob Giusti on drums, and Eric Hanson on bass. I’m looking forward to this one!

Ponyboy will play outside at Askew on Sep 26.

Bonus Shows:

New Idols will rock Dusk on Sep 20, and Sweet Babylon and others will play Dusk on Sep 27.

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Summertime Blues: Can we get a re-do?

As I write this from the one air conditioned room in my house at the end of a six-day heatwave, I can’t help but think it would really be nice if we weren’t living through a global pandemic. With no air conditioned bars to escape to or concerts to keep our hearts energized, it feels like this summer deserves a re-do.

Post West – Bronco

Post West – Bronco

Providence’s Post West does an engaging take on the indie pop sound with their recent full-length, bronco. Tunes written by Tyler Nakatsu and Dylan Protus have a bedroom recording element to them and feature the dreamy guitar tones that have been in vogue since Mac DeMarco.

The song “astoria” is catchy, velvety punk that makes you feel like you’re ensconced in a warm blanket, and “secrets” is a subtle tune that sounds Strokes-inspired. “Arrivals” has some alt-country pedal steel energy mixed in with some ’90s overtones. Vocals are at times a little pitchy and the drums are sometimes rushed, but all in all the catchy hooks and melodies are there for the taking.

Buy bronco on Bancamp

Museum Legs – Much Like The Nest. Museum Legs – Much Like The Nest

On Museum Legs’ latest release, one man band Penn Sultan continues to sow the fertile landscapes he’s created with the first two records last year. Typical of his concept , Much Like The Nest. deals with a weighty subject: what it means to bring another human life into the world.

”It Never Ends.” talks about the endless work involved in raising children, and also somehow works anti-vaxxers into the mix. Sultan ponders the possibility of his own brood in “Nesting Time:” “Can a family wait till I’m feeling prime?/Till it’s my nesting time?”

He’s settled into a signature sound, characterized by translike loops and layering of guitars, keyboards and subtle percussion. Much like the previous releases, MorganEve Swain lends great backing vocals and viola. Sultan is the kind of enviable artist who can spin poetic silk from his thoughts in a fully realized way.

Buy Much Like The Nest. on Bandcamp

From the Depths of Bandcamp Steely Mario – Super Abbey Road World

Have you ever wondered what The Beatles’ swan song masterpiece Abbey Road would sound like in the world of ’90s video games? No? An artist called Steely Mario, straight outta Portsmouth, does a totally faithful version of the album using Super Mario World soundfont. For the adventurous, there’s also a gamified version of Steely Dan’s Aja.

Mesmerizing cover tunes like “Flattop’s Island World” (Come Together), “George’s Castle #1” (Something), and “No-Money Island World” (You Never Give Me Your Money) feature Far Four’s basslines, guitar riffs, and even Ringo’s drum solo! Sometimes you just have to stand back and be wowed by the magic of MIDI. To whoever you are: Thank you.

Check it out here

The RI Repository – ’s Vs.

Mission of Burma – Vs. In another installment of the series I made up that explores great Rhody records of that past, we examine Mission of Burma’s first album, Vs. Before you say anything, I know they’re from , but the album was actually recorded in sleepy Warren at Normandy Sound studio.

With 1982’s Vs., guitarist Roger Miller, bassist and drummer Peter Prescott expanded the vision for which they’d laid the groundwork on their debut EP Signals, Calls, and Marches with a more chaotic and free-form approach. The groundbreaking sound expertly combined the angular jabs of British posk-punk bands like Gang of four with the scorched-earth aggression of the burgeoning hardcore punk movement.

“New Nails” is a jarring, frantic song rife with religious imagery, about the “special book” that “got changed by facist crooks.” “Trem Two” refers to the guitar effect that pulsates along with the tempo throughout the song, over cryptic, moody lyrics.

The album has an off-the-cuff, improvisational feel that isn’t as prominent now in the era of click tracks and digital recording.Vs. illustrates the band’s distinct ability to produce a cacophony of untamed noise while remaining super-tight.

That was partly due to the contribution of engineer and de-facto fourth member , who added noisy tape loops, first live and eventually on the recordings. The whirling samples are in full force on “Weatherbox” and “Fun World.”

In his great book Our Band Could Be Your Life, Michael Azzerad’s writes, “A lot of people never knew about Swope’s contribution and were mystified by how the musicians on stage could wring such amazing phantom sounds from their instruments.”

The syncopated beat of “Mica” is kind of like a blindsiding funk that throws you off-kilter. The final track “That’s How I Escaped My Certain Fate” is maybe the most single-like track, and proves they can bring the fierce hooks with the best of them. It also features the great line “honesty is an actor’s worst mistake.”

It wasn’t drugs or debauchery, but hearing damage that brought the end; Roger Miller’s worsening tinnitus led to Mission of Burma’s disbanding in ‘83. They took a 20-year hiatus and are the rare group whose post-reunion music, particularly 2004’s ONoffON and 2006’s The Obliterati, remains as or possibly more respected then their “classic era” releases.

Stream Vs. on Spotify

Normandy sound is now Triad Recording.

Rock ‘n’ Roll Villains: Ravi Shavi unleash Special Hazards

On their third full-length release, Special Hazards, Ravi Shavi unleash a collection of 14 songs chock full of grooves, trashy surf and classic pop. Gems like “Going Going Gone” come off like a letter to an old flame with singer/guitarist Rafay Rashid asking, “How’s the city, how’s your mom, do you still have a car, have you taken your pills, have you smoken a joint?” The wistful chorus features backing vocals from Roz Raskin. One of the older songs in Ravi Shavi’s repertoire, “Is It True,” is a sunny burst of classic pop buttressed by backing vocals from Raskin as well as Kate Jones and Emily Shaw of The Sugar Honey Iced Tea. “High Hopes” has a Cramps-style guitar-from-the-gutter stomp with a guest appearance by Ian O’Neil of Deer Tick. O’Neil also appears on “Violence,” which has an early 2000s flavor. “Absent Minded Fool” is a lament with the feel of a cool flamenco guitar gone wrong. The final track, “Casino,” is my favorite with its eerily seductive lyrics like, “Why don’t you take a gamble, I’ll be your casino,” floating like smoke through the air over a funky garage backbeat. Special Hazards is available now on Ravi Shavi’s Bandcamp page with physical copies on vinyl and CD coming later this year.

I spoke with Rafay Rashid to discuss pandemic living, how he and guitarist Nick Politelli write, and the villainous undercurrent flowing through Special Hazards.

Marc Clarkin (Motif): How have you been spending this weird time we’re all in?

Rafay Rashid (Ravi Shavi): I’ve been kind of going through it with everybody else. I’ve always felt that the world is ending, and this has just been sort of more concrete or a manifestation of that. I’ve been writing more and doing some side projects. I’ve been trying to spend more time with my friends and family while still, you know, trying to keep the disease at bay. I just got tested a week ago, not because I had any symptoms; I was just curious. I was negative, so hooray, right? No COVID for me!

MC: One of my favorite songs on Special Hazards is “Sixes and Sevens,” where you have a great line in the chorus: “We’re not going to heaven, we’re still stuck in traffic.” How did that song come about?

RR: Well that was the pinnacle of me and Nick Politelli, our guitarist, just writing in a frenzy to create material for the album. We had come up with God knows, like 40 to 50 songs. When we whittled it down, that was one of the ones that stuck. We kind of knew when we wrote it that it was going to stick. It was just a combination of trying to figure out how to be as abrasive as we were on our first two records while reflecting a little bit lyrically. It was more of a statement song in terms of where we’re heading. All the songs were written before COVID-19 or 2020. We actually wrote all these songs lyrically about four years ago. So everything that you hear on the album lyrically has been written well before this time, but yeah, it kind of felt prophetic in a way. Not saying that we’re soothsayers, but I feel like there’s a sense that like everybody kind of knew where this was headed. “We’re not going to heaven, we’re still stuck in traffic” is like, we all have to work through a lot of things in order to get to this idyllic place that our collective imagination brings us.

MC: “Red Hands” is carried by a funk backbeat that kind of reminds me of earlier Prince. Were there any new things you want to try with Special Hazards?

RR: So one thing about Special Hazards that is unlike the rest of the albums, it was a very concentrated time in which we were working on the album. On this one, because of the way the time schedule worked out with our label, we had a lot of time to work on demos. This was actually sort of a compendium of everything that we worked on while we were trying to catch up with ourselves in terms of releasing stuff to the label — whether it be album covers or waiting for the pressing plants, which take a certain amount of time. So we basically whittled it down to 50 to 60 of our best songs. I think this one was the most collaborative between myself and Nick. “Red Hands,” along with probably about 70% of the songs on the album, were a 50/50 effort between me and Nick, which was cool. So on “Red Hands,” Nick did all the music and I just wrote the melody and vocals on top of it. There was a cynical brooding element to it; our engineer pointed out that this is like kind of our foreboding album.

MC: You made a video for “Casino,” which, in addition to being one hell of a jam, doesn’t sound like anything else you’ve done. How did that one come about?

RR: I guess with songs like “Casino,” “High Hopes,” “Red Hands” and “Going Going Gone” we found a thread of a narrative in between these demos that we had done. Then we were like, “Where’s the story here?” even though we’re not really like a story or conceptual album band. We somehow found a story within the everything-and-the-kitchen-sink format. So we just picked the songs that fit the story, which was loose. It was somewhere between a heist and an emotional robbery. So there’s some love songs, there’s some nostalgic stuff, but then there’s some straight-up let’s go ahead and take what we can get type of thing. We did feel like the enemy a little bit — it came from a villainous perspective in a lot of ways.

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Summer Guide: The road to nowhere…

I was telling my friend Louie that I had to write a music summer guide and he responded, “Guide to what?” Good question, damned if I know. Maybe the best songs to listen to at the beach? That list for local music always starts with Neutral Nation’s “Bad Music Beach” with honorable mention to Someday Providence’s “Summertime in Rhode Island.” Technically there is still The Mummies at Askew on August 23, but you’d get better odds at Twin River on roulette than whether that show happens. Sammy Hagar said live music should return to save the economy. He was willing to sacrifice himself for the benefit of his kids and grandkids. It makes sense. He had no problem sacrificing Van Halen. So … fuck him, I can drive 55. Black Lives Matter. Here are some new tunes to crank up like the fireworks in the middle of the night.

Bob Mould — “American Crisis” (Merge Records)

Bob Dylan is the best lyricist in the history of rock ‘n’ roll. He even has a lyrically stunning new album out but, with all respect to Mr. Zimmerman and his chart-topping 17 minute song, he’s not the Bob who came out of Minneapolis that the world needs now. I saw Mould solo in January in Fall River and he talked about coming of age as a gay male in the ’80s, when the emerging AIDS crisis was referred to as “the gay cancer.”

“American Crisis” starts off with this lyric: “To come of age in the ’80s was bad enough, we were marginalized and demonized, I watched a lot of my generation die.” And he is just getting started. “Wake up every day to see a nation in flames, we click and we tweet and we spread these tales of blame … world turning darker everyday, in a fucked up USA.” This song makes it feel like he was phoning it in with his old band, Husker Du, on Zen Arcade. Zen Arcade was one of the best records of the ’80s. In under two and half minutes Mould and bandmates Jason Narducy and Jon Wurster power through more twists and turns than the Corkscrew at Rocky Point. In the fadeout Mould chants, “Silence was death, never forget.” Yes. And vote! steadystate — Fast Machine

I loved steadystate’s debut EP, Two Moons, last year mostly because of the track, “Radiation,” which exemplified great electro-alternative ’80s rock ‘n’ roll. It took a while to appreciate the followup, Fast Machine, because it was kind of like going from Bowie’s Diamond Dogs to Low. Fast Machine is trippy in both a psychedelic and melancholy manner, kind of like the times. I recommend checking out Tyna Calderone’s (from Big Haired Sluts fame) video for the first single “Slider,” which was shot in Providence right after the shutdown on their social media. Singer/Keyboardist Christian Calderon ponders whether “our nightmares will come alive, or will they clean up everything.” The title track asks, “What’s the point of no return?” while the band paints a foggy ’80s electro-influenced wall of sound. The final track, “D+,” isn’t just my high school math grade, it starts slow till squalls of feedback usher in the beat. Fast Machine is the perfect EP to blast at the beach to chill between New Order and Jesus Jones.

Malyssa BellaRosa — Affinity

Malyssa BellaRosa has been a busy lady between this solo album and another record she’s ready to drop with her band, Sugar Cones. I was expecting a more mellow album in the vein of “these songs didn’t work with the band” type of thing, but Affinity ain’t afraid of a little rocking and a rolling. The opening, “Great Escape,” starts with BellaRosa’s smoky vocals that leads the listener into the titanic chorus about the need to get away. “All Used Up” is a tune that BellaRosa has done with one of her other bands, Malyssa and The Liberators. I can’t say it is my favorite, but I get why it sticks around — when the song goes into the rocking part surfing a killer hook, I get the appeal. “Wanting More” reminds me of Bonnie Tyler with strings. As a huge fan of Jim Steinman’s songwriting, I love this! It only works because BellaRosa has the pipes to pull this off. “By My Side” has the neo-’60s garage strut reminiscent of Edwyn Collins “A Girl Like You.” “It’s Alright” is dirty guitar punk rock rave up. The closing “Groove With Me” is a meditative electro jam to fall asleep to on the beach under the stars.

Sick Pills — Late Night Death Trip (75orLess records)

Got this biscuit in the mail and after glancing at the song titles, I had to reach out to singer/guitarist Chris (Dr. Evil) Guaraldi to make sure he was okay. The song titles include “Wanna Die,” “Waiting To Die” and the title track. It turns out it was inspired by some health problems last year, including a late night ambulance trip. Thankfully Dr. Evil is doing better, and from the suffering came great art. The frantic opener, “Wanna Die” rips in a Husker Du pace before settling into a late ’90s breakdown. “One More Chance For Love” is another punk rave-up with a hook that recalls early The Replacements. “Waiting To Die” reminds me of ’90s The Queers and is infectious as hell — seriously, wear a face mask while listening. The title track has the frenetic backbeat like Funhouse-era Stooges, but at the same time, sounds nothing like them all. The CD version rounds out with a Devo cover in “Gates of Steel” and Q Lazzarus’ “Goodbye Horses” that was featured in Silence of the Lambs. Late Night Death Trip is the album to crank at the beach when one has had too much tequila the night before.

Blackletter — Animal Farm

Singer/Keyboardist Dave Laros told me this record was a reflection of the times and is his effort to make sense of it all. The release party for Animal Farm was to be the week everything shut down, so if the times were weird before, good luck with the next one, Laros. Animal Farm starts off with a ’70s rock strut with bassist Rob Shaggs holding down the low end before guitarist Vic Foley unleashes a bomb of guitar pyrotechnics on the title track that rival anything in Providence at 2am these days. “Vlad The Impaler” reminds me a lot of Blue Oyster Cult when they are not being sweet and singing about the Grim Reaper. “Murder on the Run” is my favorite on the album with Foley’s blues licks playing against Laros’ keyboards till the chorus that kicks any other power ballad to the curb. “Better Rain” reminds me of a cross between ’70s stoner rock and Kilgore Smudge. “Invisible Chains / The Waltz” has the title backward because it starts off with a waltz before undergoing a metamorphosis into early Queen at a freak show. Animal Farm is the record to put on the ghetto blaster at the beach for those who apply 110 SPF and … it’s not enough.

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The Road to Reopening: How are local music venues going to handle Phase III?

This pandemic has taken a massive toll on the entertainment industry, and it’s one that might be insurmountable for small clubs. On a national level, the newly formed National Independent Venue Association (NIVA) revealed that “90% of independent venues report that if the shutdown lasts six months and there’s no federal assistance, they will never reopen again.” On June 18, NIVA released a letter signed by a who’s who of musicians calling for financial relief from Congress. Here in Little Rhody, there is a glimmer of hope on the horizon. As I was beginning to put this column together, Governor Raimondo announced in a press conference that indoor public spaces will be able to open with 66% capacity in Phase III of reopening. She was asked whether the indoor openings will include establishments with live music.

Commerce Secretary Stefan Pryor answered in the affirmative, noting that performers will be required to be 14 feet from the audience, with musicians also spaced apart. He went on to say that venues will be required to come up with an approved plan, and that specific guidance for music venues will be released in the coming weeks. The governor has since announced that for free-flowing venues, like music venues, one person per 100 square feet is allowed.

But there remain many unknowns. Much of RI’s live music was silenced in March when entertainment licenses were pulled by the city of Providence, so it’s unclear how city regulations will jive with the statewide rules. And furthermore, is it worthwhile for small clubs to book shows at reduced capacities?

I talked to three local venues about their plans for the near future. Noah Donnelly of Nick-A-Nee’s cited an executive order from the City of Providence on June 18 that says nothing about lifting the live music ban, so they’re holding out on hosting music for more clarification on the rules.

As far as operational changes going forward, Donnelly “assumes it will be the same as it was prior” if music is allowed in Providence. He added, “We are going day by day. There does not seem to be a real plan for the arts, and that is very disappointing.”

In an effort to play it safe, The Parlour is also waiting it out. Gregory Rourke said that “with limited space and no outdoor seating, it’s impossible for us to socially distance effectively,” and that “the risk outweighs the reward.” He said they will be starting take-out food service after July 4.

Rourke’s concerns point to the element that may be the toughest for these neighborhood spots. For most patrons, it’s not about just the live music; it’s about getting together with friends at a bar for talking, drinking and general merriment. Implementing this new normal with social distancing is going to be a tall order.

Local musician Mark Lambert organized a wildly successful fundraiser to benefit The Parlour; it raised more than $8,000 after an initial goal of just $2,000. Rourke said without that, they would’ve closed for good. “This has been an incredibly hard time for many,” Rourke added. “The music/entertainment field has suffered greatly, and it’s been amazing to see so much love and support in the community.”

When I heard from Danielle Tellier of Dusk, they were in the beginning phases of formulating a Phase III reopening plan. They’re hoping to start off with limited live acoustic acts and DJs, with both indoor and outdoor seating.

Dusk is taking safety seriously, with plans to implement measures like “a designated ordering station, Plexi partitions, ample space between tables both indoor and out, mask requirements when ordering/going to the restrooms, disposable everything and available sanitizer.”

Teller also realizes the constraints. “Our largest hurdle is that our floor space is not set up for social distance with most live music, so providing entertainment, not only to draw in customers but to continue to support our music community, will be challenging,” she said. “We hope to survive as a bar and start integrating our musical format as time, law and safety allow.” Dusk will be updating their Facebook page regularly as their plans take shape.

None of the three clubs received any state or federal assistance; Nick-A-Nee’s didn’t apply because of “limited payroll and the lack of transparency in the PPP,” while The Parlour did apply for grants and loans but received no aid.

Like most small businesses during this time, your local venues need your help as they try to reopen. Hopefully, imagining your favorite venues shuttered gives you more than enough motivation. Yes, things will be different, but after more than three months with no live music, I’m certainly excited to give it a try.

The Music Plays On: Check out some tunes that’ll ease you into phase 2 Here we are, once again. I won’t pile on to the hundreds of commercials that begin with “In these times of uncertainty,” and offer some vague message of togetherness. Suffice to say I hope everybody is staying safe and sane.

U.G.L.Y — Goons Live Young

U.G.L.Y: band ain’t got no alibi, but they do have a pretty kick-ass debut record. Like a manic movie montage, Goons Live Young brings together the frantic pop-punk energy of the Vandals with the glamour of Panic at the Disco. They manage to put their own spin on the music of the early- aughts rock, and the results are impressive. This album sounds like a major label quality recording, plenty heavy but goes down smooth like a crisp pilsner. “Space Heater” is the most obvious single, with an addictive hook and a George Costanza sample. “Regret Juice” nimbly takes on the perils of addiction (“Red wine’s not gonna drown your demons/it’s just gonna water them down/one day you’ll be the one to drown”).

It’s clear that U.G.L.Y have their chops together; there’s excellent drumming and wiry riffs, as well as the occasional off-time, stuttering rhythm, showing a slight math rock influence. Their Bandcamp page had no info regarding the names of the reclusive band members, though I did no follow-up research, preferring to assume the drummer is named “J.D. Rage” or something cool like that.

Things do get political, with undertones of nuclear war in the revved-up “Honey, I 8 The Microwave,” and the brutal feminist anthem “Kill Your Local Cat Caller” (slice, gut and grind him).

“Minnesota” is another captivating one about getting away, and “Get Mad” is a rap-metal tune along the lines of Sum 41.

U.G.L.Y were nowhere on my radar, but this auspicious start should get them some attention.

Check out Goons Live Young.

Dan Blakeslee — Lincoln Street Roughs (Reissue)

One upside to the pandemic is the unearthing of once-buried art and music. Providence songwriter Dan Blakeslee’s Lincoln Street Roughs was released in 2007, but was lost after the original label, Peapod Recordings in Portland, ME, folded. He re-released the eight-song album last month, and it’s deserving of a listen.

Blakeslee’s brand of pastoral folk is a good relaxing agent during anxious times. The album relies on acoustic instruments — fiddle, cello and others — which make it sound like a sort of impromptu live session. A highlight is some tremendous flugelhorn in “Dear Ladies Of The Night,” as well as the fiddle in “Your Spanish Scarf.”

Though many of the songs have a standard folk feel, Lincoln Street mixes it up enough to stay refreshing, from the swampy blues “He Cannot Take Me” to the waltz “Carrie,” which features the great line “I’ll get the strength to stand up/if you don’t put me down first.”

Purchase Lincoln Street Roughs here.

Podcast Pandemonium

If you’re looking to kill some time, I hear that podcasts are the wave of the future.

Where the Living Room Used To Be

Host and creator James Toomey is just over a year into the WTLRUTB podcast, which boasts a diverse back catalog of notable local music foks, including Roz Raskin, Rich Lupo, Jen Long, Paul Dube, Keith Munslow and more.

With crisp production and effective promotion, the podcast explores how these artists got started and what they’ve learned along the way. Toomey’s laid-back demeanor leads to long-form interviews that reveal fascinating nuggets of wisdom.

Check out the WTLRUTB podcast here or wherever you get podcasts.

It’s Only Rock And Roll

The new kid on the podcast block is a veteran of the Providence music scene. Don DiMuccio, drummer of the longtime act Black & White Band, recently launched a podcast that’s managed to pull in some notable guests in only two episodes.

The first episode has Gary Gramolini and Michael “Tunes” Antunes from Beaver Brown Band, while episode two features big-time British Invasion producer Shel Talmy, whose resume includes early Kinks (“You Really Got Me”), Who (“My Generation”) and Cat Stevens. Talmy speaks about the volatile relations between the Davies brothers and working with Keith Moon.

A refreshing voice, Dimuccio approaches the interviews as an experienced performer and unabashed music nerd.

It’s Only Rock And Roll is available here.

The RI Repository

To celebrate the area’s fertile musical history (and frankly because there are no shows), I’m beginning a possibly-recurring segment that looks at notable, Rhode Island-sourced records.

Velvet Crush — Teenage Symphonies to God

Power pop is a nebulous term used primarily by journalists, but is generally agreed to fall somewhere between the Who, Big Star and Fountains of Wayne. A classic example of the genre was birthed right here; Velvet Crush’s sophomore effort, Teenage Symphonies to God is a masterful mix of hard rock and ’60s jangle with some country rock thrown in for good measure.

Paul Chastain (vocals/bass), Jeffrey Underhill (guitar) and Ric Menck (drums) formed Velvet Crush in Providence in 1989 after Chastain and Menck relocated here after playing in multiple acts in Chicago. Teenage was released by Sony records in the US, and the band spent a few years following as the backup band for Stephen Duffy.

From the big intro chords of opener “Hold Me Up,” you know you’re in for a treat. It’s an unpretentious sound born of overdriven amps and some chunky classic rock riffs, and there’s no deep dive required to find the delicious hooks. Track 2, “My Blank Pages,” is another stunner in the same vein.

From there, they break out the pedal steel and strings for the twangy “Why Not Your Baby,” a cover of country-rock duo Dillard & Clark (Gene Clark of the Byrds). Further on, “Keep On Lingerin’ On” sounds like it could be straight out of Sweetheart of the Rodeo.

The warm production is the work of Mitch Easter, known for producing R.E.M. in the early ’80s. “Faster Days” is another country-rock one with a Tom Petty Vibe, which contrasts well with the punk “This Life Is Killing Me.” The cherry on top of the power pop cake is a raucous cover of Matthew Sweet’s “Something’s Gotta Give.” A Late Night with Conan O’Brien appearance during the same year was the height of media exposure, but the band continued to release albums into the mid-2000s, and reunited last year with the original lineup for a string of New England shows.

Everybody knows of a band that should’ve been huge, but I feel that it strongly applies here. The album really holds up, and the songs have an enduring quality; good songwriting never goes out of style.

Check it out on Spotify.

Panic! Pandemic!: Quarantine and non- quarantine tracks to check out

So, we are on what, day 50-whatever of the apocalypse? And all the hot shows coming up are remarkably similar to last month: CANCELLED! I’m stoked, looking forward to seeing everyone and pouring a few back with ya.

Since I somehow … still have a little space left over after all those shows, let’s talk about some new jams and EPs that have been rocking my world. Before I get to them, I also recommend following your favorite bands because there are tons of cool livestreams to check out while quarantined. Let’s share that with our friends and on social media to keep us somewhat connected till we’re able to get back together. Thank you for tuning into this column now or hanging in there anytime for the past 15 years.

Quarantine Singles

Electric Six — “Panic! Panic!”

The pandemic might have become real to most when all your favorite clubs, bars and restaurants closed but for me, it wasn’t real ’til Dick Valentine weighed in. “Panic! Panic!” has a chorus that says “Wash your hands till you love me” and it made me pause writing this column in a combination of procrastination and/or just a need to hit my bedroom dance floor. The tune continues the upward trend that Electric Six has been on with their most recent album, Bride of The Devil. Check it out at soundclound.com/electricsix2020 — I give it a 7.4.

The Dirty Knobs — “Lockdown”

Tom Petty’s right-hand man, guitarist Mike Campbell, has a new number to rock the quarantine called “Lockdown.” It’s an enjoyable rocking take on un-rocking times with lines like, “I got a face mask and some rubber gloves, I’m washing my clothes in an old bathtub.” Check it out at thedirtyknobs.com. I give it a solid 6.7, but by August it might be an 8.2 — who the hell knows?

Non-Quarantine-Related Singles

Scott Janovitz — “The One Below” / “Over The Wire” Scott Janovitz is one of my favorite songwriters from the late ’90s and early 2000s. Back then I tried to hit every one of his shows with his bands, Rhino and Dragstrip Courage. I distinguished myself by being the one non-girlfriend or wife there back then. I saw them everywhere from playing on what is now PC’s soccer field to Mama Kin in Boston — back when Aerosmith decided they should have their own club on Boston’s Lansdowne Street. I still listen to those cassettes sometimes to hear the non-album shit “Screaming Gun Blues” and “I Feel Alright.” Anyways, my man Janovitz is back with two new jams. The first tune, “One Below,” is a gazing Brit-Pop love letter to the mid- to later-era Beatles. It’s infectious as fuck. The B-side, if you can call it that on a digital release, is a less rock but more groove straight shot. I give this a 7.1. Check out Scott Janovitz on Bandcamp.

Jesse Malin — “Backstabbers” / Crawling Back To You”

After the boom of his Lucinda Williams-produced Sunset Kids record, Jesse Malin is back with a new single, “Backstabbers,” that was recently named the coolest song of the week by Little Steven’s Underground Garage. To be fair, it is his record label, but Malin also cleaned up with three awards at the Independent Music Awards last week. It was a well-deserved honor as Sunset Kids is a great record and also a long time coming for one of my favorite modern day songwriters. On “Backstabbers,” Malin reminisces about his youth growing up in New York City where “the dealer and the doctor were charging the same price.” “Backstabbers” is a sneaky track that grows on you. It’s tough to rate. Today it might be a 6.1 and tomorrow it might be an 8.3. The B-side is a faithful cover of Tom Petty’s “Crawling Back To You.” Malin has talked about how the last verse really struck a chord with him. The lyrics of “it was me and my sidekick, he was drunk and I was sick, we’ve got caught up in a barroom fight, till an Indian shot out the light, I’m so tired of being tired, sure as night will follow day, most things that I worry about, never happen anyway.”

Thinking back, it’s just amazing how stacked Petty’s Wildflowers was. That was track 14 and still … straight-up fire. Malin doesn’t really add anything, but does it justice. I give the single a 6.6, and look for Malin’s new album, Lust For Love coming in 2021, the year we all make contact … allegedly.

Check out his Saturday livestreams on YouTube at 4pm and his interview show, “Meet Me At The End of The World,” on YouTube on Wednesdays at 5pm.

123 Astronaut — “Cry Baby Cry”

One of my favorite local bands, 123 Astronaut, released a new jam that is completely different from the rocking stomp that is their usual calling card. At first, I was like, ‘I don’t know, Jeff,’ but the guitar riff is just so hypnotic that it spreads like love. I can’t wait to see it live. It started as a 4.1 on my scale, but it’s a 6.7 now. It’ll probably be an 11 by the time this all ends. Check it out on 123 Astronaut’s Bandcamp page and check out their lyric video on their social media page.

Okay, I’m halfway through so this means I will do at least one more column. Till next time, stay safe, stay healthy, stay positive and email me shit at [email protected]. Time to vamos! Put Down Those Chips: Snack on these biscuits instead

Keep on Movin’ is a good message during this trying time, and unfortunately it may have to be heeded for a long time. As I write this intro, the Newport Folk and Jazz Festivals have just been officially cancelled; I guess that one seemed inevitable, but I’m really hoping that our local venues will be able to operate in some way. A summer without live music? Lame. It would be a hit to our enjoyment, but way more importantly, a huge blow for the musicians and venue owners that make this their living.

If you’re spending your days trying not to snack uncontrollably in between binging the news like I am, we’ve got some new music to help you pass the time, and hopefully not let the madness overtake you.

Lazertüth — Leon

New Bedford prog rockers Lazertüth have a new record, Leon, that delves into sci-fi themes on a bed of synth-driven hard rock. With album-long songs, complex time signatures and tales of the fantastical, the genre is totally indulgent by nature, but with a great capacity for storytelling and possibilities for musical innovation.

Inside the prog pantheon, Lazertüth’s subject matter sticks to hard-edged interplanetary battles rather than woodland folklore. The 11-plus minute first track, “White Hot Chariot,” takes elements of Rush and Yes, and tells us: “The end is near/battlefields of red/countless heads will roll.” How’s that for an opener? Just when you think you’ve found your bearings, one movement bleeds into another, which can be dizzying.

The production and the performances have the juice for an epic soundscape, but it’s hard to feel the full concept with Leon. “Of The Same Design Part I” begins with a slogging groove and that classic prog mellotron sound, and features lines like “Saw the Sun split in half/ in a dreamscape for two.” But what follows is a bunch of random clanging noises followed by some decadent synth noodling, both of which total four and a half minutes.

Maybe it’s a lack of imagination or my internet-era short attention span, but I’m not sure it moves the story forward. It’s times like these when I think, “Where am I? Get me back to three-and-a-half minute singles!”

“Of The Same Design Part II” gets things started with a hardcare shuffle with some cool drumming and epic electro-arpeggios, then sprawls into a lot more jamming over repetitive riffs.

Everything they are going for coalesces in “The Rider,” the pick of the litter. To me, it’s the kind of prog you want: the whimsy of Jethro Tull mixed with the crunchy riffs of The Sword. The song begins with a chimey, 12-string classical guitar intro and builds into a pleasantly irregular rocker.

And then, the second it ends, it’s all a complete blur — what did I just listen to again?

Leon is set to release on America’s birthday, July 4. Sprues and Runners — Trips to the Caribbean

Sprues and Runners is a Providence-based band that just put out Trips to the Caribbean — a very well-rounded effort that shows a lot of maturity. When I think of emo, it’s usually some sort of build-up with noisy guitar, and the vocals eventually exploding into a full-throated confession. Trips Doesn’t completely shirk genre conventions — it will give you the yelling — but they manage to blaze their own trail through the constraints.

Having grown up a prententious twit during emo’s peak, I always dismissed it as a lot of boo-hooing, but I can now appreciate the great songwriting behind that boo-hooing. S&R has the kind of craftsmanship that brought so many people into the fold back then.

Trips to the Caribbean boasts catchy arrangement build-ups throughout. The album’s opener, “Glitch,” fits these great, jagged guitar riffs together à la Built to Spill. “The Opening” is a good example of the jangly but acerbic guitar sound throughout the record and it has super-powerful guitar harmonies at the bridge.

“Red Teeth” has a loose jammy feel, eventually revealing a charged-up punk outro and some powerful imagery about something sneaking up on you: “I didn’t see the red until it was halfway up my teeth.”

In general, Sprues and Runners have a real way with lyrics, like conveying the feeling of general restlessness with your place in the world in Trips. “A hive that’s grown tired of its own honey/A buzz, a constant drone/the incessant taste of money.” The song has the best moment of the album, a huge refrain that really connects: “I’m looking for a place to rest my head/I’m looking for a place to start again.” And the metaphor in “Cactus” about “harvesting root rot” is downright literary.

Trips to the Caribbean is a high-reaching record that is definitely worth a listen.

The album can be purchased at: https://spruesandrunners.bandcamp.com/album/trips-to-the-carribean

Hidden Place: Songs Inspired by the Paintings of Maggie Siegel

Unfortunately, COVID-19 hasn’t meant a stop to the hard times that many were already going through. Maggie Siegel is a local painter who was diagnosed with brain cancer last year. Local musicians recently interpreted her paintings through song, and the proceeds from the release are going toward her medical bills. This very cool project includes Dan Blakeslee, John Faraone, Anthony Savino, Courtney Swain and Dylan Harley.

Buy the album or donate to the fundraiser.

And from the Depths of Bandcamp:

Modern Solutions is a page that features a bunch of old school audio from what I would guess are local TV news and local access intro and credits music, describing itself as “an ode to morning television, the sounds of meaningless information and the mundane moments of childhood.” Thank you to whoever you are; there’s something about the warble of a worn-out VHS tape that brings me back to simpler times.

COVID-19 Relief And finally this month, I thought it would be good to share some ways to support our local artists and venues. Pre-buying the beers you will inevitably buy when this is all over is a good way to lend a hand.

Relief Funds

The Rhode Island State Council on the Arts (RISCA) Artist Relief Fund Newport Festivals Musician Relief Fund

Support Local Venues:

Buy an Askew gift card Buy a Narrows Center gift card Buy a Galactic Theater gift card Donate to AS220

And Bandcamp will once again be waiving their fees to support artists on June 5 and July 3.

Spring Into It!: Album releases and shows to start the season off right

Fluffernutter — “Got It So Bad” / “Got What You Came For” Single

Fluffernutter is an all-star local collaboration between multi-instrumentalist / all things recording wizard Kraig Jordan and vocalist Jodie Treloar. Billed as “pop sex metal,” Fluffernutter lives up the hype while managing to sound nothing like Poison. One listen to “Got It So Bad” and the whole pop sex metal all makes sense. Musically, it reminds me of Eagles Of Death Metal but not just any track; Fluffernutter is comparable to track 1 or 2 that one make you buy the Greatest Hits compilation. As rocking as the music is, what really makes “Got It So Bad” is Treloar’s vocals which alternate between sweet, seductive and sinister. The breakdown has this cool flamenco guitar-like accent as Treloar croons, “Why can’t you sit still, let me take your pills, here’s what I’ll do, I’m going to run you through.” “Got It So Bad” is in my top 10 of tunes for 2020 and even made it to the inner circle, my hockey pregame Spotify playlist. “Got What You Came For” is in the same vein, but not quite as powerful. I give it a 7.4 overall; check it out on your favorite streaming service if you can’t find the cassingle.

Foul Weather Friend — Hang On / Hang Out (75orLess Records)

One of the biggest questions looming over the Rhode Island music scene heading into 2020 was whether Foul Weather Friend could avoid the dreaded sophomore slump with their upcoming release, Hang On / Hang Out. So it was with grave trepidation that I tore off the shrink wrap and popped Hang On / Hang Out for the first time. By the second tack, “A Million Cuts,” I was feeling much better about this record and my place in the universe thanks to the glacier-sized hook carrying the chorus. The vocal harmonies stuffed into the chorus like a calzone make lines like “Killing me with the games that you play, I don’t know who I am anymore, feel myself just slipping away, my heart keeps dripping, dripping all over the floor” burn. “Mercy In Retrograde” is kind of like the stereotypical rock song that bands write to have something to rock out to live. Better on the rocker spectrum, though, is “I Got Nothing” (no relation to the Iggy Pop song), which features plenty of shredding packed in tight to a ’60s garage rock structure. The opener, “Good Day,” tries to have early R.E.M. feel. “Misfits” is a wistful look back on youth blowing in a poppy breeze like the sprouting seeds of Big Star. No sophomore slump here; I give Hang On / Hang Out a solid 6.2.

Rodeo Roundup:

Chance Emerson

This 19-year-old Brown University student from Hong Kong recently came on my radar. I was really struck by the power of his narrative in his songwriting. No joke — it is really like listening to the second coming of Paul Simon. Emerson’s debut album is coming out later this month and the advance single, “How Can I,” is already blowing up on Spotify with nearly 100,000 spins.

Chance Emerson will be playing two upcoming shows in PVD at Dream Hau5 in on Mar 6 and at Askew on Mar 7.

Dustbowl Revival

Dustbowl Revival returns to town in support of their new record, Is It You, Is It Me, which I’ve been digging. The only constant with the Dustbowl Revival is the ass-shaking beat. The sound of Dustbowl Revival is like if Americana, NOLA style horns, campfire folk and ’70s AM Gold all collided in a multi-car pileup on an interstate highway.

Dustbowl Revival will be at the Columbus Theatre on Mar 11.

Jonathan Richman

The original Modern Lover returns for what promises to be another joyous night of sing-a-longs in various languages, flamenco guitar played as quietly as possible, solo Jojo dance breaks and memories that will endure. Whether you prefer the rocking “Roadrunner” Modern Lovers stuff or his later stuff from his cameos in Something About Mary and Kingpin, it is impossible to walk out of a Jonathan Richman show not grinning ear to ear like a less psychotic version of the Joker. One anomaly for this Richman show is there will be an opening act; the added bonus is it will be Bonnie “Prince” Billy.

Jonathan Richman (performing with Tommy Larkins) and Bonnie “Prince” Billy (performing with Emmett Kelly) will be at the Columbus Theater on Mar 12.

Against Me

This is probably the national punk show of the beginning of spring. One of the more popular punk bands of the millennium, Against Me, has a few doozies as far as albums go, notably Reinventing Axl Rose. As far as fist-pumping bangers, I’ve always been a “Thrash Unreal” dude, but I know some prefer the earlier stuff.

Against Me will rock The Met Cafe on Mar 13. Too-Rye-Ay — A St. Patrick’s Tribute to Dexys Midnight Runners featuring Ted Leo

I’m not sure exactly what is going to be happening here, which makes it the most intriguing show of the month. Best I can tell, you have left-of-the-dial indie rock stalwart, Ted Leo, having a St. Patrick’s Day- themed show to pay tribute to the English band that sang “Come On Eileen.” I didn’t see this one coming, but it does sound awesome. It got me to go beyond “Come On Eileen” in Dexys Midnight Runners’s catalogue. They are to soul music what The English Beat are to ska.

Too-Rye-Ay — A St. Patrick’s Tribute to Dexys Midnight Runners featuring Ted Leo is going down at the Columbus Theatre on Mar 13.

Soraia, Kris Rodgers and The Dirty Gems, Blackletter

I’m definitely looking forward to catching Soraia and Kris Rodgers and The Dirty Gems, who are both making a dent nationally. Both bands are getting regular spins on Little Steven’s Underground Garage station, which is great, but what I’m really excited for here is Blackletter. Blackletter’s sound splatters like the carnage of some heavy glam-goth rock bomb; think Blue Oyster Cult with less cowbell. This will be the release party for Blackletter’s long-awaited second or third album, math never was my thing. The album will be released on streaming services that day.

Soraia and Kris Rodgers and the Dirty Gems and Blackletter will be at Dusk on Mar 18.

Brian Fallon & The Howling Weather

This is a pretty stacked lineup between Brian Fallon (Gaslight Anthem) and Justin Townes Earle. Everyone who cares about the Gaslight Anthem knows who Brian Fallon is, and I’d be surprised if this doesn’t sell out on that on it’s own. I saw Justin Townes Earle last fall. He mixes country and rock like his father and can ramble on between songs, but he’s entertaining when doing so. Earle covered The Replacements, which always earns points in my book.

Brian Fallon & The Howling Weather, Justin Townes Earle, and Worriers will be at the Columbus Theatre on Mar 27.

The Silks with Drivin N Cryin

It took one listen to “Fly Me Courageous” to take me back to that late ’80s WHJY/WAAF (R.I.P) style of rock ‘n’ roll. It still holds up. I think the case could be made that Drivin N Cryin should be getting a cut of Buckcherry royalties. The Silks also are on the bill, so this isn’t just a show, it is a certifiable banger to dance the night away.

The Silks and Drivin N Cryin will rock Askew on Mar 27.

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