Mike D’s Top Five Can’t Miss Shows of February

1. Fri, Feb 13: Kool Keith, Party Bois, Medusah Black, Balam, and music by DJ Nook and Dan Tanner; 8pm doors / 9pm show; $13 advance / $15 day of; All ages; The Met, 1005 Main St, Pawtucket. My favorite rapper of all time. Greatest rapper of all time? No, but he is the most eccentric and off-the-wall rapper of all time. Founding member of iconic hip-hop group Ultramagnetic MCs, Keith Thornton made a career out of making records as personas such as Kool Keith, Dr Dooom, Black Elvis, and Dr. Octagon. Dr. Octagon’s 1996 album Dr. Octagonecologyst, his first solo record and most acclaimed, is an intriguing blend of sex, gore, science fiction and the absurd. To get an idea of how eccentric Keith lyrically is and the control of pop musical culture he possesses, check out the track “Drugs” from Spankmaster. I asked him before his 2001 show at Lupo’s if he was going to play “Drugs.” Keith told me hadn’t learned it yet. The strange world that lives in Keith’s head spews out and isn’t meant to replicated, but he keeps producing. He’s released 16 albums in the last nine years. 2. Sat, Feb 21: Power Of Love (Huey Lewis & The News Cover Band), Hippy Johnny (The Modern Lovers Cover Band), Bikini Whale (B-52’s Cover Band); 8pm doors / 9pm show; $10 advance / $12 day of; All ages; The Met, 1005 Main St, Pawtucket. ’s Power of Love is bringing what Rhode Island has always needed: a Huey Lewis & The News Cover Band. Every time Huey comes to town, I want to pay homage to the music, but I don’t want to pay $50. Power of Love doesn’t try to be ironic or tongue-in- cheek when playing Huey’s music. They do an ernest job of playing the original arrangements, but attack them with fierce rock ‘n’ roll savagery. The five-piece and full horn section is comprised of many former and current members of Boston indie and punk bands such as Big D And The Kids Table, The Fatal Flaw, Razors In The Night and more. They created a scene in Boston with cover bands to acts like Billy Joel, Prince and Cheap Trick and now play to sold-out rooms. This is the first time they have come to the area and are bringing their friends Bikini Whale, a B-52’s cover band. This show also marks the second appearance of Providence’s premier Modern Lovers Cover Band, Hippy Johnny. 3. Tues, Feb 24: Dr John and the Nite Trippers; 7pm doors / 8pm show; $85; All ages; Narrows Center, 16 Anawan St., Fall River, Mass. Two acts on my never-have-seen-and-want-to list are coming to the area. The first is the Swans at the Columbus. The other, Dr John, I have been meaning to see for years. He usually plays every other year at the Newport Jazz Fest, but I am worn out from the Folk Festival, which falls the week before. The 74-year-old songwriter still has it, blending blues, jazz, zydeco and rock ‘n’ roll. His biggest hit was “Right Place At The Wrong Time,” but he is best known for his long body of work that has gained him a cult following and as well as musician admirers and contributors such as Eric Clapton, Mick Jagger and even Spiritualized. If you can’t make it to New Orleans Jazz Fest, then you should get out to The Narrows. The ticket shock can be canceled out by the venue’s BYOB policy. 4. Fri, Feb 27: The Gaslight Anthem, Northcote, The Scandals; 7:30pm doors / 8:30pm show; $25 advance / $28 day of; All ages; The Met, 1005 Main St, Pawtucket. Fresh off their European tour with hometown heroes Deer Tick and pop punk stalwarts Bayside, New Jersey’s The Gaslight Anthem come back to Providence. The band’s sound and crowd have grown alot since the days of them playing the Living Room (RIP). While the foundation might have been based on punk rock acts like The Bouncing Souls and Hot Water Music, the band also has been influenced by mainstay acts as fellow New Jersey icon Bruce Springsteen, The Replacements and Tom Petty. Lead singer Brian Fallon stated that their 2014 album, Get Hurt, was influenced by Pearl Jam’s No Code. Canadian punk folkies Northcote and New Jersey straight-ahead-punk-rock The Scandals open.

5. Sat, Feb 28: Two Cow Garage, Six Star General, The Pourmen, The Mcgunks; 8pm doors; $10; All ages; Firehouse 13, 41 Central St, Providence. I always take notice when a band is from Columbus, Ohio. Some of my favorite punk acts, such as New Bomb Turks, Cheater Slicks (by way of Boston) and Gaunt are from the city. Two Cow Garage has been touring the country for a decade and half with similar acts like Drag The River and Lucero, playing salt of the earth country touched with a dab of punk. Garage fuzz punks Six Star General, New Bedford’s celtic folk punks The Pourmen, and Providence’s rock ‘n’ punk mainstays The McGunks open the bill.

Photo Essay: Pearl and the Beard at The Met

Photo Essay: The Reverend Horton Heat at Fete

Interview with Tanya Donelly

Over the past few weeks Newport musician Bob Kendall has curated a series of acoustic shows at the brand new upstairs venue located at The Salvation Cafe on 140 Broadway in The City By The Sea. Rhode Island-based musical acts and artists such as Haunt The House, Allysen Callery, The Silks’ Tyler-James Kelly, Jess Powers, Smith & Weeden, Luke Randall and William Schaff have been part of the series so far and on Jan 29 and 30, a highly influential Newport native will be headlining. You might know her from ’80s alternative rockers or ’90s alt-pop act Belly, but Tanya Donelly has also forged a path as a solo musician. I had a chat with her about being entwined in both music scenes in Boston and Providence, nervousness on stage and the Swan Song series. Rob Duguay: What do you enjoy most about playing in your hometown?

Tanya Donelly: It’s been a really long time; I guess it’s been about 15 years or maybe longer. It’s interesting because in looking forward to it I feel comfortable and also really terrified. I think because it is a room full of people who have watched me grow up and vice versa. It can be a very nice feeling and I’m really looking forward to that and most specifically looking forward to playing with the musicians I grew up with and who sort of made me the musician I am now. It can also be nervewracking to sit in front of these people.   RD: Around these parts, musically it’s always been a tale of two cities with Providence and Boston. You’ve made your mark in both areas by putting yourself in both music scenes, sometimes at the same time. People say that there’s a little rivalry between the cities, especially now when both Providence and Boston have so many talented local musicians performing and honing their chops. What’s your opinion on what’s happening in both cities right now? Is it any different than when you were starting out in the early ’80s?

TD: I think that scenes always regenerate themselves generationally; that just happens and it’s always been the case. I can’t really speak about what’s new about what’s coming out of either city, which is sort of shameful, but for the most part when I play out and when I go out, it is to see the old guard of people that I continue to write with and play with. Occasionally there will be somebody new who floats into my limited orbit, but for the most part I’m not as on top of things as I used to be. Rhode Island has the most amazingly fertile, creative soil. There’s non-stop artistry and there’s this musical reinvention that always happens, which is pretty amazing. Boston has that too, but most of the people there came from somewhere else where in Rhode Island there are a lot of natives, which makes it a little bit different.

RD: You mentioned earlier that you feel a little “terrified” about performing at The Salvation Cafe. Some musicians I know have said that they feel a little more nervous performing by themselves than performing with a band. So what do you do to calm the nerves when it’s just you and an acoustic guitar?

TD: I’ve remedied that by asking people to come play with me tonight. I have Dave Narcizo, who I played with during my time in Throwing Muses; Fred Abong, who has played with me in both Throwing Muses and Belly; , who was in Belly with me; Bob Kendall and his brother are going to play; my husband is going to play; and Craig Jordan, who I’ve collaborated with a lot, is going to be on stage with me. So I’m having people stepping on and off with me all night.

RD: So you kind of have an all-star collaboration thing going on.

TD: Yea, I am a collaborator and a team player. I don’t like doing things by myself. For me, music is a communal experience so that’s how I always choose to do it.

RD: That’s a great way to look at it. You can very well be considered one of the first torch bearers of independent music in the early 1980s, so what do you think has changed the most when it comes to independent music in the last 30 years?

TD: The most glaring change is the fact that people are genuinely DIY now on a level that was not possible back when I was starting. I know there are a lot of quirks and issues to work out on the Internet in terms of people being unfairly treated via Internet distribution, but I think in general it has been an amazing tool for people to forge their own musical path in a way that is really exciting. I think it’ll become even more empowering in the future.

RD: Do you think that there will be a big growth in digital purchases because of the Internet, or do you think that the boom in vinyl sales will combat that and both will come to a head?

TD: I think they are very complementary to each other, to be honest. I think having it available in both formats is perfect. In a lot of instances, the vinyl people are calling for the vinyl after the digital release, and so the one leads to the other and I don’t think they’re mutually exclusive. I like having something in my hands.

RD: Would you consider yourself a vinyl junkie?

TD: Yes. I have a 15-year-old who genuinely is; she’s a huge collector and that’s pretty much all of what she listens to when it comes to music. I am to a certain extent, even though I’m much more iPod focused than she is. She’ll be up in her room with the turntable and I’ll be downstairs listening on the iPod, so that’s a tad odd. That tactile experience of having something in your hands, I think it’s a human impulse so I feel that vinyl will always exist, CDs will always exist or whatever else it is that’s in your hand is still part of music. I don’t think that digital will ever replace the need to hold something.RD: I think that people naturally enjoy the physical aspect of things and that need itself will either neutralize digital music or at least keep the two level. Recently you’ve been doing a series of EPs called the Swan Song Series, with the most recent 5th volume being released last year in March. You’ve referred to the series in the past as your way of taking control of an exit strategy as you retire from the music industry. Is your show at The Salvation Cafe one of your final shows or will you still be making music over the next few years?

TD: I’m still going to be making music for the next few years, but the reason it’s called the Swan Song Series, which is slightly tongue in cheek, is because it’s a series without a definitive end. It’s the last outlet, basically, so whatever the last song that appears in the Swan Song Series is that’ll be the last song, period. I don’t have a time, there’s no end date to that. Mainly because I’m continuing to collaborate and people are still sending me stuff. Authors are sending me stories and musicians are sending me music. So until that dries up, I’ll continue on recording EPs. That’s the plan anyway.

RD: So would you say that you’re playing it by ear with this timetable?

TD: Yeah, I am playing it by ear. I’m not going to be doing big world tours or any of that kind of stuff anymore. I’m envisioning in the next couple of years just focusing on the benefits that I do; I will always say yes to that. There is going to be a point where I’m not seeking out proper shows anymore.

RD: Now what does the post-music career of Tanya Donelly have in store?

TD: I’m sort of a very part-time postpartum doula, I work with new moms a lot. I’m not sure, I do focus on my kids quite a bit so that’s a huge priority for me.

The Jan 29 show at The Salvation Cafe is sold out but there might be tickets available for Jan 30’s theatrics. Regardless, you can listen in on 90.3 WRIU where Boudin Barndance will be live broadcasting the show. Bring a canned good that will be given to families in need courtesy of the Martin Luther King Community Center. See you there and don’t be square. Tanya Donelly’s website: tanyadonelly.com

Watch the Snow and Dream of Summer Festivals

And out comes the first blast of summer music festivals. Who’s playing? The answer is college dropouts. Who’s going? The answer is college kids. Which fest best suits your needs? Have no fear. I have done all the research and let my tried and true barometer of how many bands I would leave Rhode Island to see point you toward your summer vacation. Want to see Run The Jewels? Good. You should. And they are playing almost every fest. Want to see Tears For Fears? Of course you do, but pay attention as they are only playing one of the fests. Happy hunting! Kid Rock’s 6th Annual Chillin’ The Most Cruise; March 2 – 6; Departs from Miami, Fla.; Bands I would travel to see out of state: 0; Highlights: I think just checking out the website for this event is good enough. I hear Smith AND Weeden bought a Penthouse. Drawbacks: Do Kid Rock fans have passports? Will Mexico know any of his car commercials? Also, I think he might be the only one playing. New England Metal and Hardcore Fest 2015; April 17 – 19; The Palladium, Worcester, Mass.; Bands I would leave Providence for: A couple; Highlights: Lots of black t-shirt merch for sale and the chance to see living New England legend and promoter Scott Lee live in the flesh. Drawbacks: That sinking low you get when you leave Worcester thinking you’ll maybe never come back. Coachella; Two Weekends in April, check your local listings; Some desert in Calif.; 21 bands performing; Highlight: Will AC/DC pay to have any of the other bands killed? Drawback: Will AC/DC die on stage in the desert? Bonus points if you spot cast members of the OC. Subtract points if you can name them. New Orleans Jazz & Heritage Festival; April 24 – May 3; New Orleans, La.; 8 bands performing; Highlight: Chance to see legends like Jerry Lee Lewis, Elton John & Jimmy Cliff. Drawback: All seven artists in the second line of the ad look like my own personal Dante’s Inferno and includes such Pandora skips like No Doubt, Keith Urban, Pitbull??!?Shaky Knees Music Fest; May 8 – 10; Atlanta, Ga.; 24 bands performing; Highlights: Definitely the heavy weight champ of all the announced fests so far. Great line up front to back. Drawbacks: My son Jack will be mighty pissed if you (really, I) skip out on his birthday. The Hangout; May 15 – 17; Gulf Shores, Ala.; 8.5 bands (Beck counts as a half) minus 6 bands for being in Alabama = 2.5 bands; Highlights: There is a band called Saint Pepsi. Lowlights: All things Alabama. Roll (off the map and into the Gulf) Tide.Boston Calling; May 22 – 24; City Plaza, Boston, Mass.; 4.5 bands performing (Beck again); Highlights: Pixies and TV On the Radio are two of my favorite indie rock acts of all time and Run the Jewels made the album of 2014. Drawback: They might all play on separate days meaning I’d have to spend Memorial Day weekend on a concrete slab in Boston The Counterpoint; May 22 – 24; Kingston Downs, Ga.; 1 band performing; Highlight: You get to see The Roots. Drawback: You might get trapped in a hackie sack circle. Or even worse, a hula hoop troop.

Dark Star Jubilee; May 22 – 24; Legend Valley, Thornville, Ohio; Highlight: I’d like to see Los Lobos again. Drawback: Where to begin? Is there a website for MeetTrustfundafarians yet? If not and dreaded children of wealth is your bag, get yourself to the Legend Valley. Or you could just go to a Whole Foods west of Worcester. Also, I would like to find out if Jeff Austin Band is any relation to the WWE Hall Of Famer Steve Austin, but not interested enough to Google it, let alone go to this fest.

DelFest; May 21 – 24; Cumberland, Md.; 1 band performing; Highlight: You could get a t-shirt with some cool art and the first three letters of my last name. And another chance to see Stone Cold Austin’s estranged brother Jeff Austin and his band?! Give me a calm and orderly heck yeah!!! Warning: Del fest being in Maryland rather than Delaware sounds like a trap.

Governors Ball; June 5 – 7; Randalls Island, NYC; 13 bands performing; Highlight: Being in the capital of the world. Being in a crowd with all you beautiful women who for some reason like Lana Del Ray. Drawback: I am afraid that Lana Del Rey might be a modern-day Tori Amos and rather than mingling with attractive women, I might get caught in a crying circle.

Wakarusa; June 4 – 7; Ozark, Ark.; A very liberal rating of 4 bands performing; Highlight: The Roots slay and I haven’t seen them in a very long time. Drawback: the Ark. after Ozark stands for Arkansas.

Bonnaroo; June 11 – 14; Manchester, Tenn.; 17 bands performing; Highlight: Unless you live in Canada, this might be your only chance to see the Billy Joel / Slayer / Tear For Fears arena tour tearing up the north all month of summer long. Drawback: Lots of smelly people.

Newport Folk Festival; July 24 – 26; Fort Adams, Newport, RI; ? bands performing; Highlights: I wear some of my most colorful and socially off-putting shirts of the year these three dates. And the wait for the non-grass-fed burgers is barely five minutes. Drawbacks: Tickets are on sale and no one knows for who yet, and they most likely will be sold out before they announce the performers. Alt-Nation: A Benefit for Thea Shaheen

The Columbus Collective is putting on a benefit for Thea Shaheen who was screwed over by her insurance company. The tale goes that after waiting a year for her gender affirmation surgery and making three preparatory visits to San Francisco to work with a specialist, Blue Cross Blue Shield gave her two days notice that they were reversing their authorization of the surgery. She had bags packed, plane tickets for herself and family, hotels and had been counting down the days.

As awful as Blue Cross’ actions were, Thea never lost her cool. She just had a sad vacation trying to find out what happened and looking into legal options. Everyone told her the same thing: The insurance company wrote the small print and there is no legal recourse.

Yet the story has a happy ending. After the Daily Beast wrote an article about the debacle that began to make the rounds on the internet, Thea got a call from Blue Cross Blue Shield asking if they could initiate an appeal on her behalf. Blue Cross Blue Shield reviewed her case and agreed to cover the surgery after all as a “medical necessity.”

This show has something for everyone. From the ghost folk/roots of The Low Anthem to the garage punk of Gym Shorts to the indie pop Pixels, this promises to be a great night of local music. The show also corresponds with Thea’s birthday and should be a great party. In addition the show will be a benefit to help recoup the money that was lost so she can make another trip to San Francisco in April to have the surgery.

The Low Anthem, Gymshorts, Pixels, and Pyramid will play a benefit for Thea Shaheen to get gender affirmation surgery on at the Columbus Theatre on Jan 29. Doors open at 7pm with the show starting at 8pm. Advance tickets are available online at benefitforthea.brownpapertickets.com for $20 advance.

Email music news to [email protected] Braving the Terrorists at the Cable Car Cinema

The Cable Car Cinema in Providence was among a phalanx of independent theaters that screened The Interview after all of the major chains abandoned it, fearful of controversy and terrorist threats generally assumed to emanate from North Korea, where some were unhappy to see their dictator Kim Jong-Un portrayed as an assassinated buffoon.

The first two showings on opening day, Dec 26, had sold out well in advance and the last showing, although starting after midnight, nearly did. At 7pm there was already a line down the block for the 7:30 show. A Providence police car was parked in front of the theater and patrol officers Sion and Levesque were keeping watch over an orderly crowd devoid of North Korean terrorists or any other trouble. According to owner Daniel Kamil, the officers were provided at the initiative of the Providence Police Department, which he said “has been lovely and supportive.”

Enough has been written about The Interview that we assume pretty much everyone reading this knows by now that (SPOILER ALERT) Kim ends up set on fire: first his clothing, then his hair, and eventually his head explodes with parts of his skull blown away. According to news reports, Sony of Japan intervened for the first time ever in a production by their American subsidiary, Sony Pictures Entertainment (formerly Columbia Pictures), because of concerns that the death scene was too graphic. They requested fewer skull fragments. The scene is intentionally grating in a comedy, but by that point in the film worrying about the number of pieces of skull flying around is on par with putting orange traffic cones in front of the Grand Canyon.

Seeing The Interview in a theater is a different experience than watching it alone at home. Because there is no laugh track and the funniest lines are delivered deadpan, watching with at least a group of a few other people vastly improves the viewer’s experience of the film. I had the film available for viewing days earlier but deliberately avoided watching it privately because I wanted to see it for the first time with the sold-out crowd at the Cable Car. A number of audience members approached at random expressed different motivations for attending.

A group eating pizza in the cafe before the show, who gave their names as Ross, Adam and Ben, did not even share the same reasons, although all were fans of past Rogen/Franco movies. Ross said that he wanted to “see it with a crowd, see it with a whole group of people.” Adam observed that it was “way more likely for people online to be victims of hacking than to have the projection room blown up.” Ben, referring to the initial cancellation of the release, said that he was motivated by “freedom of speech, because they tell me I can’t see it.”

Eric and his 14 year-old son Henry were more emphatic about the political consideration. “We came here despite the [negative] reviews to support free speech,” Eric said.

Joe said that he was a “huge fan of Rogen and Franco” and that it is “always better to see movies in person [at a theater]. I’m not going to be bullied into not seeing it.” Melissa, who was with Joe, said that she was “reassured to see the cops.”

Former Providence mayoral candidate Lorne Adrain and his wife, novelist Ann Hood, were also in the audience. Adrain emphasized that he did not criticize the decision by Sony and other theaters to pull the movie “in an abundance of caution,” but Hood disagreed, saying, “Sony made a mistake when they pulled it.” Adrain said, “The truth is we probably would not have come without the controversy. It’s really important to make sure artists can continue to produce art and have venues.” Hood added, “It’s important to make a statement,” and that she had come “to support the Cable Car [showing the film], and it’s great for Providence.”

Owner Kamil said that he was happy to participate in the move by independent theaters nationwide to screen the film. “It was an issue of ‘we are a venue that shows things other people won’t show,’ but I never thought a Franco-Rogen buddy comedy would fit into that category.” Speaking to the audience before a door-prize drawing for a film promotional poster, Kamil said, “It’s a core belief [here] that any government entity or individual can’t threaten what we want to see.”

When his ticket was drawn, the winner of the raffle was so excited that he jumped out of his seat, punched the air, and shouted, “BOOM!” Kamil immediately quipped, “Don’t say ‘Boom.’”

Funda Fest Returns to RI

It’s story time once again as Rhode Island Black Storytellers puts on their 17th annual family festival, Funda Fest. FUNDA, meaning to teach and to learn in Zulu and KiSwahili, is a Rhode Island tradition showcasing favorite local storytellers, such as Ramona Bass Kolobe, Raffini and Len Cabral, and importing award-winning talent from across the country.

The 17th Annual FUNDA FEST: A Celebration of Black Storytelling, goes from Jan 18-25 to provide an entire week of the best cultural arts programming across the state.

This years’ special guests include a well-loved reoccurring traveling griot, Teju Ologboni, from Milwaukee; master storyteller Derek Burrows, who specializes in Afro-Caribbean and African Diaspora tales including his own compositions, “Itinerate African Bard;” Temujin Ekunfeo; and presenting her “Suki Lue Ambers” character (a blueswoman who tells the stories behind the blues songs), Deborah Asante.

“We are excited about many things this year,” said festival director, Valerie Tutson. “For one, we will have our ever-popular Liar’s Contest at the Local 121 in Providence on Friday night where folks can come in for a fun night of hilarity. You can sign up to tell your biggest lie before a panel of judges. It is a great night out.”

There are many all-ages events that provide family fun. From Temujin’s workshop on beads and stories, where he helps participants create beads to tell their stories, to the Family Storytelling Concert, which will include the locals as well as RIBS members, to a Storytelling Concert at the Mt Pleasant branch of Providence Community Library, this year’s Funda promises to give more than just entertainment, but a full array of emotion, love, laughter and stories you are going to want to tell yourself.

“We are also very excited to be back at the RISD Auditorium for our Saturday Night Storytelling Concert for Adults,” says Valerie. “We are thrilled for the partnership with RISD and to be back in the wonderful theater. That night will feature our invited guests. Derek Burrows is a wonderful musician and storyteller, Temujin also drums and tells, and, very exciting, is Deborah Asante.”

For Full Festival Information, join Rhode Island Black Storytellers on Facebook or check the website at ribsfest.org.

Interview with High On Fire’s Matt Pike

Photo Credit: Travis Shinn

Tonight at The Met in Pawtucket, local metalheads Churchburn and New Orleans instrumental hellions Mountain Of Wizard will be opening up one hell of a show with Oakland, Calif., sludgeheads High On Fire. Before this evening’s festivities I got to have a chat with frontman Matt Pike about the reuniting of his old band Sleep; the rebirth of sludge, stoner and thrash metal bands; the genre’s credibility; performing without a shirt on and many other things.

Rob Duguay: Along with being part of High On Fire, you’re the guitarist of the influential metal band Sleep. Eleven years after Sleep broke up in ’98, the band got back together and Sleep resumed performing live. Does managing your time ever get difficult when playing in both bands? Matt Pike: Oh Jesus, yeah. It’s now getting easier to deal with, but at first it was a nightmare. Playing in Sleep is only part time where being in High On Fire is a full-time thing, but it does get a little difficult when it comes to managing my time. I’ve had trouble with being at home because I’m never home. But that’s part of the business. RD: I can imagine that when Sleep got back together it must have taken you a little while to fall into a type of routine without destroying yourself. MP: It can get pretty hectic and it does take a lot out of me. RD: Lately in metal there’s been a huge boom in sludge, stoner and thrash metal bands. Mastodon, Torche, Kylesa, Baroness, Gojira, Kvelertak, Toxic Holocaust and many others, along with High On Fire, are gathering huge followings and getting a lot of press. As a musician who has been associated with the metal genre for your whole career, how to do you feel about this new explosion? MP: Well, it’s good for me. Obviously my career recently has gone kinda crazy, which is awesome, and it’s what I’ve worked at for my whole life. On a personal level, it’s great for me and my fellow bandmates. There’s been a huge sense of success going on and it makes it a lot easier for us to keep going and keep creating. Every time you have people who want to hear something that you’ve created, the market gets larger and it keeps me employed. RD: It is great seeing hard-working musicians having their work pay off in a big way. Metal has to be the most wide ranging genre of music with all the styles it encompasses. You have black metal, doom metal, death metal, extreme metal, progressive metal — the list goes on. Do you think that all of these classifications water down metal or do you think it just solidifies metal’s credibility? MP: It depends on the bands, but I think it gives metal more credibility. As a musician I try to be well- rounded, I don’t want to be put into just one category. I like having my other band members run stuff off me that they wrote. Some of it might be proggy, some of it might be thrashy, some it might be a little doomy. Whatever their music is, I think a good band has a lot of different tempos and a lot of different rhythms while conveying emotion. Being well-rounded just makes for being a great band, along with covering all the bases. It gives metal credibility because it shows that the people playing are incredibly talented while mostly likely they’re also messed up with some sort of emotional problem, which usually makes for a good musician. RD: One thing a lot of metal fans know about you, and it’s not a rare thing nowadays, is that you have a habit of performing without a shirt on. Has there ever been a time at an outdoor festival where it’s late at night, you’re in the middle of a set and because it’s chilly out you would like nothing more than a sweater or something? MP: I’ve worn shirts before. I feel more comfortable without wearing a shirt, but it’s kind of become of expected of me now. Sometimes I’ll wear a shirt anyways. I’ve always felt comfortable with the way a guitar strap moves across me, it’s just a comfort thing. RD: There have been rumors floating around for a little while now that both Sleep and High On Fire are working on new albums. Can we expect either band or both bands to have a new release this year? MP: Yeah. High On Fire is actually heading into the studio tomorrow to record with Kurt Ballou from Converge in Salem, Mass. With Sleep, I’m not sure what we’ll be doing next. Get ready for a whole lot of metal at The Met tonight, you might even hear some unreleased songs live from High On Fire. Be there or be lame. High On Fire’s Website: highonfire.net Tickets to High On Fire @ The Met: bit.ly/HighOnFireMet

This: A Look at Human Frailty

This, presented by Epic Theatre Company, is a haunting meditation on human frailty. Playwright Melissa James Gibson created a story about the intertwined lives of a group of middle-aged New Yorkers who have a variety of unfulfilled needs.

Jane (Emily Lewis) is recovering from the death of her husband. She is a teacher and has a daughter named Maude. Tom (Robert C. Reynolds) and Marrell (MJ Daly) are the unhappily married parents of an infant. Alan (Christopher Verleger) is a gay man who is an expert at remembering things in public. They have all been friends since college.

Tom and Marrell throw a party at their apartment one night. Jean-Pierre (Motif‘s Terry Shea) is the handsome French doctor who Tom and Marrell hope will date Jane.

The strength of Gibson’s script is that it can find the humor in the most tragic situations. Each character has unfulfilled longings.

Jane has never been able to let go of her late husband Roy. She keeps his ashes in a brown bag on top of her refrigerator and brings the bag to Tom and Marrell’s apartment, producing a darkly funny debate about the disposition of the ashes. Alan believes he is unattractive and unlikable and yearns for adventure to combat the boredom of his life. Tom faces his infatuation with Jane, while Marrell confronts the great distance between her sex life and the sex life she would like to have.

The performances are uniformly excellent. Lewis is steely and vulnerable as a woman trying to rebuild her shattered life. She finds consolation with her friends who are all enduring their own form of suffering. Daly and Reynolds also shine as a couple dealing with the stress of raising a baby amid a rocky relationship. Verleger displays expert comic timing and earns a lot of laughs as the pudgy aspiring star who wants to be the life of the party, but ends up shunted off to the side. Shea, is amusing when he reacts to the chaos erupting all around him.

Director Lara Hakeem has crafted a crisp and powerful 75-minute show that always captivates. The production design is bare bones — just a few couches and a makeshift bar. There are no elaborate sets to distract us from the heart of the story.

This shows that life doesn’t always go according to plan. Our hopes, our dreams and our frustrations often messily collide with those of others, and we have to sort through the emotional fallout. Despite her great tragedy, Jane learns she is not alone in being unhappy. Her sometimes troubled interactions with the people in her life lead her to a type of catharsis at the play’s climax.

Gibson obviously has tremendous compassion for her characters, who all seek happiness but are unable to find the ways to get it. We walk away wondering if they will ever figure that out.

This is another triumph for Epic Theatre Company, maintaining its run of successes at staging intimate and quirky human dramas.

This runs through January 25. Theatre 82, 82 Rolfe Square, Cranston; artists- exchange.org/epictheatrecompany.html; 401.490.9475

Directed by Lara Hakeem

Stage Manager: Michael Shallcross Assistant Director: Kerry Giorgi

Sound Design: Terry Shea

Lighting Design: Robert C. Reynolds Set Design: Lara Hakeem and Kerry Giorgi Poster Design: Ashley Arnold

Featuring

Emily Lewis

Robert C. Reynolds

MJ Daly

Christopher Verleger

Terry Shea