Cat Has Claws Release Oh Well EP at Dusk, Nov 16

Oh Well EP by Cat Has Claws (Artwork: Ren Mercer)

By walking the fine line between synthpop and , Cat Has Claws staked their claim to being one of the most talented acts in Providence’s music scene. Julie Bozek has stunning skills on electric guitar while the sonic tones of Matt Hebert on synth and keyboards are fantastic; their dual harmonies make them shine and the lyrics get stuck in your head. The duo’s latest EP, Oh Well, is a continuation of that unique style. They’ll be ringing in the release of it at Dusk in PVD on Nov 16 with new wave stalwarts Triangle Forest, garage punk up and comers Super Natural II and indie rock groovemeisters Thug Honey joining in on the fun.

Before the show, I had a chat with both Bozek and Hebert about the slight changes in the new release, writing music in small batches, the band’s Attleboro roots and plans for a tour next year.

Cat Has Claws (Photo: James Lastowski)

Rob Duguay (Motif): The new EP has the both of you embracing the synth side of Cat Has Claws’ sound more than in past releases. There’s also a bit of difference in the production quality as well. Where was it recorded and what do you think was vital in capturing the particular vibe Oh Well has?

Matt Hebert: We recorded it in our apartment in my own studio. For our last EP, we went and did it at Wooly Mammoth Sound in and we really enjoyed the experience we had, but, in order to capture the essence of us, I wanted to get back to us doing self-recordings and being able to take our time with it. We took eight months to make sure we got everything the way we wanted it, and it gave us the ability to tweak things, especially the synth sounds, a lot more as the songs built up in layers and we could go back in and adjust and change stuff rather than doing something on the fly. Depending on the song, I would adjust drum tracks, synthesizer tracks and keyboard tracks as we went along.

RD: You can definitely notice the tweaking versus your past releases. Cat Has Claws’ discography is all EPs so far: Do you plan on keeping it that way for the future or will there be a release of a full-length eventually?

MH: Right now, EPs work for us because it’s quicker to go through it and our sound changes a lot. We try and focus on five to six songs at a time, and to take the time to do 12 songs would probably be a bit more taxing. We’re always trying to keep ourselves up to date.

Julie Bozek: I think, with the style of music we like to play, that we focus more on building a song in multiple layers and parts. That’s more important to us than having multiple songs. We prefer to focus on songs that have more depth to them. I’d rather put out a few quality songs than force ourselves to put out a lot of them.

MH: Because our sound is evolving a lot, now I feel that we’re in a good place where our music is going. We could focus on an album of 10-12 songs but the turnaround rate with EPs is good for us.

JB: Who knows what the future will bring?

RD: It’s a different approach with each of you writing songs in small batches.

MH: Each EP also captures us where we are musically at a certain point in time.

JB: Yeah.

RD: Speaking of evolving, the band has gone through a couple changes over the past few years since you started out in 2011. I remember when you guys were called “The Adventures Of” and then you changed the name because of Facebook tagging and there was a band from England that had the same name.

JB: Yes.

RD: You both were annoyed by that so the name got changed to “Cat Has Claws.” Buck St. Thomas is currently in the folk act O.B. Howard, he used to be the drummer in the band and now it’s just the both of you. How did the adapting come into play when it came to maintaining a similar sound after Buck left?

MH: Buck’s style definitely influenced us and we worked really well with him and we love him. Unfortunately our schedules conflicted and we couldn’t have him in the band anymore, but you can still pick up hints of Buck on the drums.

JB: What was really cool was that Buck wasn’t a trained drummer so he did a lot of building of drum tracks on his own digitally. We learned from his style of building and incorporated that, with us learning how to build drums. At first it was definitely a challenge but a cool one and then we were like “Okay, we can do this.” Matt learned a lot about drum tracks and building them and it made us able to get our sound more hammered in together for the electronic thing.

MH: It’s nice being able to adapt to the drums on the fly between how our songs are going. Even if we’re just playing a song and there’s the same drum track being played every time we play live, we’ll go in and tweak it afterwards. I’ll change it and the next time people hear us, the drums might be a little different.

JB: It’s fun to be able to create drums during the evolution of how a song happens. We’re now getting into buying some drum machines so we can start building based on that.

RD: Very cool. The both of you are from Cumberland but Cat Has Claws has roots in Attleboro, Mass. Bands and musicians from the Southern Massachusetts area usually have a few choices to choose from: You start playing shows in Providence or Boston and either you devote most of your time to one city or you even it out between both places. When Cat Has Claws was trying to get established in Providence, what initially gravitated the both of you to this city?

MH: I have been playing in bands around Providence since 2008 and so I knew a few places. For one, yes it’s kind of closer and more convenient, but I just like the community in Providence a little more. The scene is more welcoming, and we’ve grown musically as the scene around here has grown, and we’ve been woven into the fabric of what’s going on in the city at this point.

JB: When we first started as The Adventures Of we were leaning towards Providence being our home. Davey Moore’s Midday Socials helped so much and we just saw that there is a community from there and we branched out and met so many more people. The venues are all welcoming and we had a strong feeling about Providence. Not to say anything bad about Boston but–

MH: It’s got a nice “home” vibe to it.

JB: Yeah, so we just felt that it was a natural fit over time and we felt that people here are good people for us.

RD: After the EP release show at Dusk, what does the rest of the year have in store for Cat Has Claws?

MH: We’ve got a show in Boston on Nov 19 at The Plough & Stars and, after that, we don’t have any other plans as of now. We might try to work on writing, rethink what we’re going to do and move from there maybe for the spring. If any shows come up over the next few months we might hop on some bills or whatnot.

JB: We’re going to wait and see I guess. Just like one of the songs on the new EP (laughs), no pun intended.

MH: The idea would to start playing down the coast and getting into different cities. Doing that takes a few months and since we haven’t had music out that kind of sounds like what we are now, it’s tough to try and book and put bills together based on that. We’re going to put the EP out and from there will book a tour in the spring and actually go down to [Washington,] D.C. and up to Portland, Maine.

Stream “Irregular Lines” from Cat Has Claws’ Oh Well EP here: soundcloud.com/thatcathasclaws/irregular-lines

Event: facebook.com/events/115036532526291

Web site: thatcathasclaws.com

Review: Bill Nye at URI’s Ryan Center

Bill Nye the Science Guy (Photo: URI Ryan Center)

In the age of climate-change denial and “alternative facts,” science communicator Bill Nye has proven to be a vital source of information when it comes to the current state of our world and our environment. Most Millennials grew up with Nye from his popular ‘90s TV show “Bill Nye the Science Guy” while the older generation noticed his popularity with the youth. These days, he’s on a self-proclaimed mission to help foster a scientifically knowledgeable society to ensure humanity’s suvival in the future. He’s also never afraid to express his thoughts on sustaining the planet for the generations to come. On October 20 as part of the University of Rhode Island’s Alumni and Family Weekend (that is, “homecoming”), Nye was the main focus of an educational and enlightening session at URI’s Ryan Center.

The stage was set up was reminiscent of the talk show “Between Two Ferns” with Zach Galifianakis, but with fall decorations. One of the stagehands received applause from the audience for placing water on the table between the two chairs on stage. Moments later Student Entertainment Committee Speakers President Adriana Wilding spoke on stage and introduced Bill Nye and his interviewer, Communication Studies and Theatre Professor, director of the Coastal Institute and Honors Faculty Fellow Judith Swift, and there was a joyous reaction throughout the arena. Both Nye and Swift sat down and the event started.

The session examined Nye’s effect on the current science and medical field along with how his love for science blossomed when he was young. Nye found his calling by playing around with his grandfather’s science equipment and doing experiments. His continues his drive for science with conversations about climate change and how it affects everything and everyone. He talked about how horrible the ‘80s were with polyester leisure suits and the United States abandoning the metric system. Nye also said that he wants the world to have more scientists in an effort toward a better society.

Swift presented questions from the students of the university’s Honors Colloquium: Origins, Life, the Universe and Everything. A question asked about the prospect of colonizing Mars, which Elon Musk and others made a hot topic, and expanding humanity beyond Earth. Nye initially stated the obvious, that people can’t breathe on Mars, but it’s also cold and there’s very little liquid water on the planet. Comparing it to the colonization of America and adapting to different climates, he said that wouldn’t be possible on Mars. Nye speculated about extending Charles Darwin’s ideas of evolution over time to what would happen if Mars were colonized.

About the possibility of life on other planets, Nye wondered, “How could there not be something else alive?” He said colonizing the Moon would be vital to humanity’s pilgrimage to Mars and, “If there’s liquid water on Mars, there’s probably some microbe present there as well.” He said he hopes to see the colonization of Mars happen in his lifetime.

About human longevity Nye said, “You don’t want to be old for the sake of being old. You want to be old and productive,” meaning he’s all for longevity as long as the quality of life is still good.

As Swift’s interview of him was winding down, Nye started to talk about the World’s Fair held in in 1964-1965, noting “The Yankees are fine” – Nye was presumably joking because it was the Mets, not the Yankees, who opened Shea Stadium five days before and across the street from the fair – which got a mix of boos and cheers from the attendees, prompting Swift to remind him that a rival team is popular around these parts by saying “That’s the Red Sox talking.”

Nye said he remains optimistic about the future of the planet due to humans having more control over it than ever before. He related the surprising facts that the state of Iowa makes 99% of the world’s popcorn and they get most of their electricity from the wind. He encouraged people to check out an organization, the Solutions Project, while stressing the importance of renewable energy.

After ending the session by saying that if oil was out of the equation we would have a better shot at world peace, there was time for the audience to ask questions. Asked how to get the word out about climate change, Nye said, “Vote. If you don’t want to vote then just shut up.”

Nye emphasized the importance of recycling, the importance of changing to efficient lightbulbs and the importance of supporting legislation that improves the climate. Another great question was whether Nye thinks space exploration is more important than ocean exploration, and he said that it’s easier to explore the surface of the moon than to explore the bottom of the ocean, but we should devote our intellect to both.

Seeing Bill Nye live was entertaining and people got to learn things that they didn’t know before. It was also a down-to-earth discussion about the issues affecting our planet that we sometimes take for granted. To get more of Nye, watch his current Netflix series “Bill Nye Saves The World.” Don’t be afraid to take it upon yourself to improve the planet while consciously educating others to do the same.

Bill Nye: billnye.com

Ryan Center: theryancenter.com Album of the Week: And So I Watch You from Afar – The Endless Shimmering

The Endless Shimmering by And So I Watch You from Afar

Pushing the musical envelope has always been part of And So I Watch You from Afar’s forte. The instrumental experimental progressive math rock act from Belfast, Northern Ireland, use an abundance of guitar shredding and rhythms that escape the inhibitions. It’s a sound that hits on multiple levels and never lets up. Their fifth full-length album The Endless Shimmering released on Oct 20 by the indie label Sargent House shows the band moving forward while bringing back what made them great in the first place.

The main difference between The Endless Shimmering and the past couple of from And So I Watch You from Afar is that they stopped doing the group chanting and singing. They went back to purely instrumental jams, much like what’s in their initial releases. There’s also a different tone that keeps the band’s raw amplification intact along with having everything sounding clearer. It’s an album that pleases the senses. The variety of progressions within each song’s structure also makes for an interesting listening experience.

A band pushing their sound forward by harking back to their beginnings is unheard of these days. Usually they will keep going with whatever they discovered while making a successful album and riding the wave of its success, but musically it amounts to something that’s nothing like what they started out with. And So I Watch You from Afar reached back to their artistic origins in stunning fashion and made an album that’s brilliant. Check out my top tracks off of the Album of the Week:

“Mullally” is a scorcher that exudes energy and vigor; seismic breakdowns occur at many instances for a powerful structure that shocks the ears. And So I Watch You from Afar has a knack for making a track seamlessly transition into another and “All I Need Is Space” is a great example: There’s some hypnotic guitar work happening from start to finish, and then it goes into the title track with no stopping. The longest song in the album is “Dying Giants,” and it has a build-up that crushes everything in its musical path.

And So I Watch You from Afar are currently touring Europe with a handful of notable shows coming up. These include Lido in Berlin on Nov 9, Festival La Ferme in Louvain-La-Neuve, Belgium, on Nov 18 and Academy 2 in Manchester on Nov 24. They’ll also be spending New Year’s Eve at Roisin Dubh in Galway, Ireland. Hopefully they come back to the States next year and rip it up at a venue in the New England area. While we all wait for that to happen, grab a copy of The Endless Shimmering and get electrified.

Bandcamp: asiwyfa..com/album/the-endless-shimmering

Web site: asiwyfa.com

HerMajesty Releases New Single “I Saw The Dog”

HerMajesty

New York City art rock act HerMajesty bring a lot to the table with their music. They blend new wave, alternative rock and pop into an original sound of their own. The theatrical way of singing by frontman John Pasagiannis adds an interesting dimension. On Oct 17, the band released the single “I Saw The Dog” via Providence label Midday Records. I had a chat with Pasagiannis about the making of the single, putting it out on multi-colored vinyl, his view of the current political landscape in the United States, his profession as a psychologist and his looking forward to the holiday season.

Rob Duguay (Motif): HerMajesty’s new single “I Saw The Dog” is currently out on vinyl and there’s a bunch of different colors to choose from. From what I’ve seen there’s blue, yellow, orange and red vinyl. Who came up with the idea for that? Was it you or Davey Moore from Midday Records? John Pasagiannis: It was actually a mutual idea after we talked about it together. He suggested that it might “pop” more and I went along with it.

RD: It’s a pretty unique thing. For a single, you rarely see a bunch of little 45s in different colors when most of the time it’s the classic black.

JP: Yeah.

RD: The song itself has a dystopian, romantic vibe that revolves around the current political landscape and the existence of “alternative facts.” When you were writing this song, did you write it to serve as a mental release from all the craziness that’s been happening these days or did you write it because you wanted to say something?

JP: The song was written in a few stages. Originally, when I started, my focus was dominant, submissive relationships and unrequited love. I was playing with the idea that in intimate relationships sometimes there is this unintentional lack of respect that takes place and sometimes it has an exploitative feel to it. As I got into the song, with all of these things happening in the United States and specifically United States politics, everything started taking a different connotation and I really started fleshing it out. I noticed that there’s a majority of the population that has a sadomasochistic relationship to, at the time, the presidential candidate who is now the president of the United States.

It started being a narrative of a bad relationship but also of United States politics on a global level. As I was thinking about these things, it was beginning to emerge with this connection between submissive, dominant, disrespectful, personal relationships and the kind of politics that the United States has been involved in for decades throughout the world and the current political climate within the United States. Out of that came all these really interesting lyrics that were originally not in the song. The lyrics in some ways reference the war in Iraq, they reference waterboarding, they reference the use of fascist symbols within communist symbols, and it’s all there in the songs for the listener to put together for themselves. That’s how the song came to be, and I really wanted from a musical perspective the orchestrations to tap into this dystopian, spooky vibe.

I started having a conversation with a producer named Nic Hard and he said that he had the people who could really make this happen for HerMajesty and bring that out in the song. Then I connected with Chris McQueen from Snarky Puppy, he’s one of the guitarists in that band.

RD: Those guys are great.

JP: Yeah, for sure. They’re pretty amazing. He also played as part of the orchestra in the limited theatrical run of David Bowie’s Lazarus. I also brought in Henry Hey who played keyboards on one of Bowie’s albums and who was also the musical director for Bowie’s Lazarus play. These guys really tapped into what I was attempting to do and what I was working towards.

Henry Hey really did a wonderful job with the keyboards and he tapped into the sad and desperate aspect of the song. Chris McQueen just went for the jugular with all these really incredible howls and almost strutting guitar rhythm parts that runs from beginning to end. It was an amazingly great experience working with those two.

RD: Along with being a musician, you’re also a psychologist. JP: That’s true.

RD: When it comes to writing lyrics, do you ever find yourself including stuff from your studies or does it have any sort of creative effect on you?

JP: Being a psychologist, I’m constantly thinking about what it means to be human, who I am as a person and who I am in relation to others. I’m usually reflecting on my experience, reflecting on my environment, and things come into that place because I approach my world, my experience and my relationships with others with a lot of curiosity. I create a space out of that generosity and a lot of things come in. I often don’t know how they come in or where they come in but things come in and I write out of that place.

RD: One thing that’s striking about HerMajesty, in my opinion, is the way you sing. You have a very operatic style and you have an incredible range. How did you find your own singing voice? Did you have vocal lessons when you were a kid and it grew from there or was it something that influenced you to sing that way when you were starting the band and you just went with it?

JP: That’s an interesting question. I think a lot of factors contributed to the way I approach my singing and the way that I sing. I’m an immigrant and I come from first generation migrants from Greece. Part of the Greek culture is tragedy, and tragedy usually comes from things that are larger than life. The Greek culture in general can be larger than life and express itself in intense ways. I think that kind of drama has influenced my vocal style.

Coupled with that at a very young age I started listening to David Bowie. What really appealed to me about David Bowie was that there were many things but his voice really stood out for me. No one could ever confuse David Bowie with someone else. He had a really unique voice and I really aspired to sing in the way that was unique. David Bowie was kind of the prototype for that, as were other singers that I admired. Elvis Presley and Bryan Ferry from Roxy Music also come to mind, these guys had unique voices and it turned out that after that I pursued vocal lessons.

I really trained myself to sing properly and I studied with a few opera teachers. One of them that I still study with is Beverley Myers, just a wonderful woman who has taught me so much about my instrument and my approach to my instrument. I think all of the influences come together and have paved the way for the way that I sing and the way that I approach my singing. With that being said, it also helps that I already have a unique sounding voice to begin with. That’s just something that I was born with so that’s it in a nutshell.

RD: It also shows that you have your own artistic identity through singing like yourself, you’re not trying to sound like anybody else but you also incorporate your influences so it’s something that you love to play while also being uniquely you.

JP: Yeah.

RD: HerMajesty are currently on tour in support of the single. Afterwards, what are your plans for the holidays? Do you have any plans for Thanksgiving and Christmas in store?

JP: Along with it being mostly a tour of the northeast, we’re also going to be venturing out as far as Cleveland and it’ll be our first time out there. I’m really looking forward to visiting the Rock ‘n’ Roll Hall of Fame and when we come back I’m going to complete mixing our next song called “Weightless” with Nic Hard. We’re going to finish all of that before the holidays. The holidays are a time that I really enjoy being with family and being grateful for the things that I have in my life while taking stock of what I’ve been able to achieve as an artist in my life and planning out what next year is going to look like for myself and HerMajesty.

“I Saw The Dog” on Soundcloud: soundcloud.com/hermajestyny/i-saw-the-dog-1

Web site: hermajestynycmusic.com

2017 Fall Tour Dates 11/3 Buffalo, NY @ Mohawk Place 11/4 Rochester, NY @ Bug Jar 11/6 Cleveland, OH @ Coda 11/8 New York, NY @ Bowery Electric 11/19 Philadelphia, PA @ The Pharmacy

Album of the Week: Bully – Losing

Losing by Bully

When their debut album Feels Like came out during summer 2015, Bully instantly catapulted themselves into being one of the top independent acts of the decade. Alicia Bognanno screams honest and truthful lyrics while getting highly amplified with her guitar. The rest of the band has guitarist Clayton Parker backing up Bognanno while drummer Stewart Copeland (not the one from The Police) and bass guitarist Reece Lazarus make up a stellar rhythm section. This act from Nashville combines the raw grit of classic ‘70s era punk with the electrified coolness that came with alternative rock’s boom in the early ‘90s. Their sophomore release Losing, which hit record store shelves on Oct 20 via the legendary label Sub Pop, is a great continuation of a style that wears its heart on its sleeve. Losing is a little less tame than the band’s debut: Bognanno gets more intense during the chorus of various songs. Each track also has a hard-hitting structure that musically breaks down while also maintaining a certain level of catchiness. Bully walks a fine line between being worthy of adoration by rock ‘n’ roll purists and accessibility by the casual music listener: not a lot of bands can pull that off these days and it’s definitely a special trait this band possesses.

Right from the first song, you can definitely experience an act of catharsis from Bognanno. She gets personal and straight to the point when she sings. It’s all done in a very unapologetic way. That certain aesthetic is inspiring and profound. The fearlessness has to be respected. Let’s delve into that fearlessness a bit more with my top tracks off of the Album of the Week:

“Kills to Be Resistant” begins in melodic fashion but, when the chorus hits, everything is unleashed: It gets louder and louder until it reaches a level equivalent to a jackhammer. “Guess There” starts out relaxed and groovy; Bognanno’s and Parker’s guitars have extraordinary and supercharged distortion. Another great example of that distortion is “Not The Way” along with an infectious amount of harmony.

Bully will be rolling through Great Scott in Allston, Mass., on Nov 12, but the show is reported sold out; hopefully you already have a ticket or you can grab one somehow. If you end up getting into the show, get yourself a copy of Losing. It’ll energize the senses with lyrics that make you think.

Spotify: open.spotify.com/album/0T5W8q4JXryl3iiogSJ0zC

Web site: bullythemusic.com

Viennagram’s A.V. Vienna: 2017 Halloween Unlike Any Other A.V. Vienna of The Viennagram

In the Providence music scene, there is one band that identifies itself with the celebration of Halloween more than any other. That act is The Viennagram, who mix vintage macabre, punk essence and maniacal energy to create an uncanny style. The trio of bassist Chip Pietraszek, keyboardist Scott Peloquin and drummer A.V. bring an essence of madness that’s absolutely infectious. They have the power to completely take over a room and make people go crazy. It’s quite a spectacle to which no other local act within the city can compare.

The Viennagram will be ringing in All Hallow’s Eve at the Columbus Theatre in the heart of Providence’s west end for the third year in a row. Joining them will be intergalactic space jammers Zoink Zulag & The Galactic Shag along with a stunning 3D experience. There will also be a costume contest with celebrity judges and secret prizes. Vienna and the band will be performing a set of brand- spankin’-new songs. It promises to be an unforgettable experience that no one should miss.

“Originally, I got the name ‘The Viennagram’ while I had a fever of 103, which was like 15 years ago,” Vienna says about the band’s beginnings. “I wrote down a bunch of stuff because I was writing a lot around this point. This was before I even had the idea of making a band. I read this essay afterwards that I wrote while having this fever and at the end of it, it said ‘end Viennagram.’ I wanted to know more about it and it made me wonder what that ending really meant. It has been an interesting pursuit of the irrational really, especially at this point. I’m definitely looking at things more as me not being in a band but as more as me being a part of an experiment.”

“We actually used to have 22 people in the band at one time,” he said about the changes within The Viennagram since its start in the late 2000s. “There was a full horn section and dancing girls. There was a nutcracker that had a real sword, it was fuckin’ wild. The way that we’ve progressed, if anything, the experiment of The Viennagram has been through controlling a certain amount of chaos. I really think I’m on to something that what I was originally going for, which is getting the conceptual vision side of it more involved. To me, a song is really a unique window into another world and it takes the listener and/or audience into that world. It’s always been my mission ever since I could ever remember.”

Everyone has their favorite Halloween costume that they’ve worn over the years and A.V. is no different. “I wish I still had this awesome purple and black jester outfit, that was really great to wear,” reminisces A.V. about his personal favorite. “I think Halloween truly is a state of mind. I would stay in character for days when I was a kid and I certainly wanted to be a clown. I definitely want to get that purple and black jester outfit made again.”

“I’m pretty sure I have 17 costumes for Halloween and we’re upping the insanity this year by quite a lot on this year,” he said about what The Viennagram plans on wearing for the upcoming show. “In terms of actual costumes, we have matching capes, we have matching bunny ears, we have matching clown noses and we going to have matching shades too. Everyone’s going to love it.”

Along with the costumes, Halloween is also a time to indulge in candy. “Wax lips,” A.V. puts on a list on what he enjoys when he has a sweet tooth. “I used to say that the 5th Avenue Candy would be the A.V. Vienna official candy bar but it’s not necessary at this point. I definitely think that candy has come a long way. There’s this place called Billy Boy’s Candy in New Bedford, Mass., that is like a candy factory and they’re amazing. When I was in high school at School One in Providence, I had this series I was doing of these cobras and I made this cobra entirely out of candy. It was wild.” The Columbus Theatre has a strange parallel to a story of Vienna’s friend and his voyage of building his art studio during a snowstorm. “There’s no synchronicity, there’s only the hand of fate that’s being guided with this story,” A.V. begins. “Ben Silva, who does lights for us, he has a studio spot at the Durfee Mills in Fall River, Mass. These mills are really, really old and, in my opinion, somewhat haunted if you can imagine all the people who used to work there and kids who probably used to work there too. Who knows? There are some really freaky parts of these mills that haven’t been touched in such a long time. He has a spot on the third floor of this mill building and he was there during a snowstorm a couple years ago.”

“He had a flashlight, he was just wandering around and he realized that there was a staircase that he didn’t know was there before,” A.V. continues. “He goes down to the second floor and there’s this troll hoard of random stuff. There was a boat inside of this place, I’ve been there and there are just tons and tons of stuff. The first time he went down there during the storm and just wandering around in the dark, kind of like half freaked out. He comes over to this big pile of boxes and happens to look into this one box for whatever reason. He opens it up and it’s filled to the brim with 3D glasses. He then closes the box and I think this box is from the early ‘70s. Turns out that it was addressed to the Columbus Theatre and that’s pretty much it. It’s crazy random stuff.”

There’s a lot in store for this special performance and A.V. has some high expectations for it. “I have a lot of things planned. The 3D Halloween video stream experience is going be something unlike the world has ever known before. I’m merely on the brink of something that’s going to change the way we’ll be able to communicate to audiences around the world and access this whole frontier. I accidentally discovered the most amazing canvas where I can really take an audience on a vision quest. It’s like the ultimate adventure and also we’re playing music. We’re going to explore new territory both musically and visually with this album that we have been working on.”

“I don’t know how bands usually do stuff but I never stop working on stuff,” A.V. concludes on the immediate future. “I’m always at the studio creating some form. We have an album/vision quest called You, View, New Uptopia and it’s going to be a wild, inter-dimensional adventure.”

The Viennagram: viennagram.bandcamp.com

Zoink Zulag & The Galactic Shag: facebook.com/GalacticShag

Columbus Theatre: columbustheatre.com

Facebook event page: facebook.com/events/2476471199160607

Album of the Week: + – Lotta Sea Lice Lotta Sea Lice by Courtney Barnett + Kurt Vile

Songwriting collaborations have the ability to meld two distinct styles to create an astounding sound. When everything lines up correctly, there’s an experience of two artists riding on the same wavelength. Lo-fi Americana fuzz master Kurt Vile and garage rock upstart Courtney Barnett got together to put out an album titled Lotta Sea Lice that was released Oct 13 via Matador Records. It’s a great fusion of Vile’s eccentric melodies and Barnett’s deadpan pop sensibilities. Vile’s trademark twang also complements Barnett’s signature wit.

Barnett and Vile initially got together out of mutual admiration and it grew to them putting together an all-star band in Barnett’s home country of Australia that was met with wide acclaim. The music that comes out of both of them writing together is electrified folksy pop that incorporates noticeable characteristics from both musicians. There’s some quirkiness but there’s also a stunning amount of musical brilliance. It sounds like the product of two songwriters playing acoustic guitars while backed with a talented band. Lotta Sea Lice brings a lot to the senses for the listener to enjoy.

There have been countless collaborations in music over the decades, but what makes this one with Barnett and Vile different is how they fuse their weirdness together. Both of their artistic identities are present, but they both take a backs eat to the result. A few songs are low key and relaxed while others are amplified and hard-hitting. The harmony of Barnett and Vile leaves a lasting impression. Examine that impression and more with my top tracks off of the Album of the Week:

An anthem for isolation, “Fear Is Like A Forest” has more of a rock tone than the more stripped-down songs; the track has a blues tinge that throws love out the door and embraces being by yourself. “Continental Breakfast” is an adorable song about crushes and the importance of friendships from afar; there’s an acoustic base present while the steady, soft drums set a relaxing mood. Barnett also does a great version of Vile’s “Peeping Tomboy” and she nails a bit of his drawl.

Barnett and Vile are currently in the midst of a tour supporting Lotta Sea Lice, and New England fans can catch them at the Orpheum Theatre in Boston on Nov 4. It’s bound to be a special experience with different versions of both of their songs being played along with the originals they wrote together. Don’t forget to grab a copy of the album while you’re there. This record is ideal for fans of either musician’s solo material, but it’s also ideal for anyone who likes great music.

“Continental Breakfast” music video: youtube.com/watch?v=wHCtH15dpmU

Stream Lotta Sea Lice: open.spotify.com/user/sleepingrobot/playlist/23Jsut3kmuQtdwCdLvEgm8

Web site: courtneybarnettandkurtvile.com

Album of the Week: Night Idea – Riverless

With the originality and inventiveness seen in their 2016 debut Breathing Cold, Night Idea’s sophomore release had an immense amount of anticipation months before it came to be. The progressive rock act from Richmond, VA, unveiled Riverless to the masses on Oct 13 via the vinyl-only label Gigantic Noise, their hometown cassette-only label Hand to Mouth Tapes and their other hometown label JUJU. This new album pushes along their uncanny style of songwriting while incorporating electronic dimensions. It has more of a psychedelic vibe than their first album but it also keeps their trademark abstract style intact. There’s an abundance of variety with nothing sounding anything close to generic.

Guitarists Carter Burton and Reid LaPierre complement each other in wonderful ways with Burton taking the lead on vocals and LaPierre backing him up to provide harmony. LaPierre also brings electronic presence via his sampling and keyboard skills. Joey Anderson on bass guitar melds his talents with Ethan Johnstone’s multi-dimensional drumming to be the backbone for Night Idea’s sound. It’s a stellar display of music that has Night Idea tapping into various tones. The senses are bound to be intrigued once the play button is pressed.

Other than simply being a follow-up, a sophomore release has a distinct amount of importance to a band’s evolution. Some acts will keep things steady by relying on the sound of their first record in order to maintain the fan base that they originally had. Other acts will push themselves to move forward and discover new ways of playing their instruments. It goes without saying that Night Idea accomplished the latter. For a closer look, let’s check out my top tracks off of the Album of the Week:

“Gift Horse” starts off with a mix of smooth jazz and a hip-hop beat into a cavalcade of mellow and groovy tones; it’s both a prime example of Burton and LaPierre’s harmonies and of LaPierre’s including sampling into Night Idea’s music. Johnstone’s drumming shines during “Perfect Water,” the base for a track that goes all over the place with captivating riffs and numerous elements. There’s a bit of a stripped down vibe in “Wandering” along with a blissful feeling due to the subtle distortions.

Night Idea will be celebrating the release of Riverless at The Broadberry in their hometown of Richmond on Oct 20. Eric Slick (of Dr. Dog), Antiphons and Magnus Lush will be rounding out the bill for what should be a wild time. While you’re there you should obviously grab a copy of the new album. It’s a record that explores soundscapes and soothes the soul.

Bandcamp: nightidea.bandcamp.com/album/riverless

Facebook: facebook.com/NightIdeaMusic

Album of the Week: Weaves – Wide Open

Wide Open by Weaves

Toronto alternative rock act Weaves have been giving independent music an eccentric jolt. They have an art-punk sound that incorporates jangle pop and abstract harmonies. Their second LP, Wide Open, came out Oct 6 on the Brooklyn indie label Kanine Records and it’s a stellar follow-up to their acclaimed self-titled debut that came out during the summer of 2016. The way Jasmyn Burke sings is tough to pin down with her unique delivery that exudes a screaming soul. Morgan Waters on guitar holds down particular progressions, and the rhythms supplied by drummer Spencer Cole and bass guitarist Zach Bines generate infectious energy.

The main difference between Wide Open and Weaves’ debut is the amount of fearlessness. On their debut, it was apparent that the band was still trying to shed their nerves. Their latest release pushes artistic boundaries and Burke finds a charismatic identity. She also confronts various issues in today’s society through her lyrics. Musically, the sound is more noisy and distorted than their previous material along with bringing a variety of tones.

Musical inventiveness is a rarity these days. Everyone wants to sound like their idols or, even worse, they sacrifice what they genuinely enjoy so they can get with what’s “popular.” It’s refreshing to see a band like Weaves doing whatever they want and making it sound good. The anticipation for their next release is bound to be mounting by the end of the year. Let’s take a closer look at this band’s inventiveness with my top tracks off of my Album of the Week:

“Slicked” has a sonic funk vibe that’s smooth as silk; Cole and Bines are vital to the way it sounds by serving as the anchor for the track’s structure. There’s a plethora of fuzz within “La La” along with the song being an excellent example of Burke’s soulful charisma. Stripped down a bit while still maintaining the energy exhibited in the rest of the album is “Gasoline,” where Waters’ guitar isn’t as amplified but Burke’s vocal presence makes up for it in more ways than one.

Weaves are currently embarking on a tour throughout North America and Europe until later in the fall. New England live music addicts have two chances to check them out at ArtsRiot in Burlington, VT, on Oct 12 and at the Middle East in Cambridge, MA, on the following night. There will be no excuses when it comes to multiple opportunities to see a really cool band live in person. If you’re at either show, grab a copy of Wide Open. This album is expansive and enjoyable – and all you have to do is press play.

Stream Wide Open via Bandcamp: weaves.bandcamp.com/album/wide-open-lp

Web site: weavesband.com

Album of the Week: J. Roddy Walston & The Business – Destroyers of the Soft Life Destroyers of the Soft Life by J. Roddy Walston & The Business

For 15 years, Baltimore rock ‘n’ roll energizers J. Roddy Walston & The Business have been tearing up the independent music circuit. Walston brings a vintage flair with his talents on and guitar while guitarist Billy Gordon, drummer Steve Colmus and bassist Logan Davis round out a stellar sound. The band walks the line between a classic rock homage and contemporary alt-pop with their fourth studio album Destroyers of the Soft Life that came out on Sep 29 from ATO Records. It’s harmonious and emphatic with a heartfelt vibe. Walston gets soulful with his vocals in various songs while conveying a sense of longing.

The band’s latest release is a bit more refined than their previous releases. Walston & The Business maintain their trademark raw and fierce aesthetic, but this record definitely leans towards being more accessible to the casual music listener. There’s a solid rhythm from start to finish and there’s nothing about the album that’ll leave the ears feeling bored. It’s a testament to the band’s steady rock ‘n’ roll progression that also shows Walston’s fearless way of songwriting. Long time fans are sure to appreciate the new album, while people who are just getting introduced to them are bound to be impressed with what they hear.

Destroyers of the Soft Life is different from Walston & The Business’ previous releases: For anyone who loves the band, they love them because of their rambunctious style with Walston’s lyrics that give people the urge to party and bang their head, but this album departs from that with lyrics getting real about relationships and life while the sound is more driving and forceful. It’s not a bad thing, but it’s a bit unlike what they’re known for. To really get down to what makes a difference, let’s examine my top tracks off of the Album of the Week:

Colmus’ drums and Walston’s piano are the main musical focus of “You Know Me Better” – the chorus is hypnotic while the downbeats have a seismic presence. “Bad Habits” deals with personal demons, and both Walston’s and Gordon’s guitars have a dreamy sound; whatever pedal they got to make their riffs sound like that, I suggest any guitarist get immediately. With a wail and a holler, “Blade Of Truth” roars and is an example of that driving and forceful sound.

J. Roddy Walston & The Business started a tour of the southern United States at Duling Hall in Jackson, MS, on Oct 4. Unfortunately, they won’t be rolling through New England this time around but hopefully they’ll be coming sometime soon. For now, grab a copy of Destroyers of the Soft Life. It’s a record that’ll leave a lasting impression.

Destroyers of the Soft Life on Spotify: open.spotify.com/album/3BfVRMIfODB0EHBaIPZrVO

Web site: jroddywalstonandthebusiness.com