Live Review: Nathans & Ronstadt at Upton House Concerts

Nathans & Ronstadt at Upton House Concerts

photo by Geoff Wilbur

Nathans & Ronstadt

Upton House Concerts, Upton, MA

April 6, 2019

It has been about a year since I last attended an Upton House Concerts gig. As advertised, it’s a cozy event, like a gathering of friends in a living room. And the series has plenty of regular attendees, so in a way it is. And since this host of the series is a songwriter himself, the one thing I know about any artist invited to perform as part of the series is that he or she will be outstanding songwriters. Or, as in this case, they. Aaron Nathans and Michael Ronstadt.

Nathans & Ronstadt at Upton House Concerts

photo by Geoff Wilbur

Guitarist Nathans and cellist Ronstadt perform a unique style of song-driven folk music. Unique, yes, because all people are unique in their own ways. But that’s not what I mean, of course. Unique because you don’t often hear a guitar and cello duo.

Early in the first set, the duo performed a wistful song about “Old Film,” a tune that lyrically paints a vivid picture, while the cello adds a rich warmth. Also noteworthy early on were the energetic day-in-the-life song “Doing the Best I Can” and “Take My Words,” a song whose cello part can best be described as blues cello. (Really.)

Nathans & Ronstadt at Upton House Concerts

photo by Geoff Wilbur

After a crowdpleasing cover of “Englishman in New York,” Nathans & Ronstadt rolled out the rich, warm, energetic, Americana-esque toe-tapper “Corners.”

Next up was perhaps the angriest, darkest song I’ve ever heard about a peanut allergy, “Turncoat Peanut.” I can only assume Tom Lehrer was channeled during the writing of this song.

And yet there was no letdown as the first set closed with “I Go Low” and “Conshohocken Curve,” the latter a song about breaking up while stuck on the often backed-up Philadelphia-area freeway segment.

Nathans & Ronstadt at Upton House Concerts

photo by Geoff Wilbur

Ronstadt switched to mandolin to kick off the first couple of tracks of set two, bringing a new sound to the duo for “Ghost Writer” and “If I Had an Axe.”

After a power and intense mid-section of the set (during which I was paying such attention I didn’t even think to take detailed notes), the second set continued with “Range Anxiety,” a story-song built around electric car battery life (range anxiety), a great tension-building tune with verses reminiscent stylistically of the Dixie Chicks’ “Goodbye Earl.”

Nathans & Ronstadt at Upton House Concerts

photo by Geoff Wilbur

Next up was a nostalgic tune about confiding in your barber, “Old Joe’s Chair.” And the evening closed with a powerfully rockin’, heavy prog-folk reimagining of “All Along the Watchtower.”

In all, it was a fun evening with a pair of engaging characters, a couple great songwriters both lyrically and musically, and a duo of talented musicians. Those six people were, of course, just two. Aaron Nathans and Michael Ronstadt. Absolutely a pair of people worth spending an evening with musically.

Looking Ahead

Nathans & Ronstadt at Upton House Concerts

photo by Geoff Wilbur

Upton House Concerts have completed this season. Watch their Facebook page again later this year for next season’s schedule.

Nathans & Ronstadt have several gigs listed for the rest of this year on the gigs page of their website, though the only two shows currently listed before the end of the summer are June 8th in Phoenixville, PA, at the Black Walnut Winery Tasting Room & Wine Bar and July 19th in Lansdowne, PA, at Jamey’s House of Music. Obviously, check back to see if they add additional shows to their schedule.

Also check the individual, solo websites for Aaron Nathans and Michael G. Ronstadt to learn about some of their other musical endeavors.

Live Review: Ari Hest House Concert

Ari Hest

House concert in Shrewsbury, MA

March 30, 2019

Sometimes I simply trust the concert promoter. In this case, this concert series is hosted by Monica Mansfield, producer of Mostly Rock ‘n Roll – here’s a link to a 2017 episode featuring Ari Hest – so I reserved my spot at this show without even listening to any of Ari Hest’s music beforehand. I also didn’t look into Ari’s background before attending the show, discovering on-site that he was nominated for a Best Folk Album Grammy in 2017 for his collaboration with Judy Collins, Silver Skies Blue.

As is so often the case in this particular concert series, tonight’s concert once again featured a memorable vocalist. Ari has a booming, rich voice with a little gravelly rasp and a sort of nasal echo that adds relatability, emotion, and poignance to his songs. I often found myself thinking of Ari’s sound as a modern, updated version of some of the full-voice, warm feeling-inducing maintstream, crossover folk singers of the seventies, people like Jim Croce, though there’s no historical exact match to Ari’s original sound.

Ari opened his first set with a couple personal songs among his initial trio – “Good to Be Back,” about family, and “Sato,” about his dog George Harrison.

Next up, “Willing to Try” was a ’70s-style, singer-songwriter pop song that rides a bit of a groove. “Still Crazy After All These Years” was a fitting cover. And I really liked the way “One Two” built to power, with its catchy, energetic vibe.

“Set in Stone” was a melancholy, emotional number with a kind of “traveling song” rhythm. And “Balcony” – a song from Bluebirds of Paradise, the duo in which Ari performs with his talented wife Chrissi Poland – was slow, mellow, and soulful. And it had some Brazilian guitar influence, which Ari pointed out and I, you know, then heard and was able to identify so specifically because he told us what we were listening to.

Ari then stepped up the tempo with “I’ll Be There,” a cheerful little ditty about an ex; the key lyric herein is “I’ll be there to make you miserable.” And he closed the first set with the uplifting “Bona Fide,” a song about his neice.

Ari opened his second set with an audience Q&A. Early in the set I heard a bit of a jangly Dirty Guv’nahs-esque vibe. Second-set standouts included a haunted, rolling number called “The Weight”; “All Because,” with its build to very insistent vocals and prominent use of gravelly lyrics; Bluebirds of Paradise song “Forever More,” with its cool, jazzy vibe; and rich, cheerful mid-tempo ditty “Cranberry Lake.”

Ari closed the evening with “Make It Up,” a tune with a bit of a funky rhythm, and the softly emotional and powerful “Concrete Sky.”

Though I allowed the evening to be a surprise, the result wasn’t really much of a surprise. It was a great evening featuring an exceptionally talented artist with a very special voice. And now I know to look forward to the next time I get to hear Ari perform.

Looking Ahead

Per the “Tour” page of Ari Hest’s website, he’ll be performing at Davidson College in Davidson, NC on May 4th. He also has May and June dates scheduled that will take him to New York, Maine, Michigan, and Virginia, plus more dates in North Carolina and Massachusetts. If you’re in any of those states, you should click through to see if you can catch him in your area.

And this house concert series continues on May 4th, with a concert by Pushing Chain.

Album Review: Persona – Metamorphosis

Persona

photo courtesy of Persona

Album Review of Persona: Metamorphosis

Persona - Metamorphosis

image courtesy of Persona

This is another extraordinary effort from heavy progressive metal band Persona. Comprised of Melik Melek Khelifa (lead guitar), Jelena Dobric (singer/piano), Yosri Ouada (rhythm guitar), Youssef Aouadi (drums), Walid Bessadok (keyboard), and Nesrine Mahbouli (bass), this Tunis-based outfit has produced a worthy follow-up to Elusive Reflections, which I reviewed here a couple years ago.

Jelena Dobric

Jelena Dobric; photo courtesy of Persona

From the start, you know Persona means business, as they kick off album-opener “Prologue – The Initiation” with a serious metal growl, proving the band’s progressive rock musicianship is matched by its metal attitude. “The Omen of Downfall” and “Esuriance Guilefulness Omnipotence” continue in that strain, with nearly angelic soaring vocals interrupted by growls as the tunes enter into heavier territory from time to time, supported by a menacing musical backdrop.

Melik Melek Khelifa

Melik Melek Khelifa; photo courtesy of Persona

The amped-up energy in “Esuriance Guilefulness Omnipotence” is carried over into “Armour of Thorns” via a less dense, energetic driving rhythm. I very much dig its rollicking tempo and baseline vocal melody, while musical explorations in the back half of the song add variety that keeps things interesting.

Still heavy and with some meaty, chunky guitarwork driving it forward in parts, the softer-touch “Netherlight” fits in nicely mid-album, though the opening growls of “Bete Noire” let the listener know the intensity is about to crank back up.

Nesrine Mahbouli and Youssef Aouadi

Nesrine Mahbouli and Youssef Aouadi; photos courtesy of Persona

I’m running out of adjectives, but “Invidia” and “Hellgrind” keep the energy level up, with “Hellgrind,” naturally, the darker of the two.

The energy level sustains for the rest of the disc, with “The Seeress of Triumph” a back-end favorite, with its insistent rhythmic energy, driving the album toward its closing “Epilogue – The Final Deliverance,” a pleasantly low-key release of pent-up energy that carries Metamorphosis to its conclusion.

Walid Bessadok and Yosri Ouada

Walid Bessadok and Yosri Ouada; photos courtesy of Persona

I’ve now reviewed two Persona albums, and it’s clear they’ve earned a place at the heavy progressive rock table (and concert/festival circuit), likely to appeal to a broad cross-section of fans spanning several rock/metal sub-genres. Truly inventive, progressive axework. Sweetly powerful and soaring vocals punctuated with rough-edged metal chops, replete with the requisite growls. And the songwriting skills to add variety to the song mix. I’m not sure which album is my favorite, Elusive Reflections or Metamorphosis, but I’d urge heavy prog-rock/metal fans to pick up one, play it awhile, and then grab a copy of the other.

Persona

photo courtesy of Persona

Looking Ahead

Keep an eye on Persona’s concert schedule. There’s nothing listed on their Facebook events calendar at the moment, but watch for future shows. And maybe also sign up for the band’s newsletter via the bottom of their webpage to make sure you don’t miss out. If they make it to Boston one of these days, you bet I’ll be there. (As Europe has a better festival circuit, I imagine you’ll have better luck catching them live there, if you live outside the band’s native Tunisia.) Indeed, if you get a chance, Persona’s music is the sort of power rock assault you just don’t want to miss.

Album Review: Justin Piper – Transcend

Justin Piper

photo courtesy of Justin Piper

Album Review of Justin Piper: Transcend

You first read about Justin Piper here at the Blog in the spring of 2017, when he was one of the songwriters “in the round” featured during Off the Stage Music’s first Behind the Songs event. Today, I’ll take you through a spin of Justin’s latest release.

As you listen to Justin’s album Transcend, you’ll quickly discover instrumental guitar stylings that are unique and intricate; his music is memorable, with song structure and progressions forming tight single units, all cohesive within the album as a whole, tied together intentionally by writing and ordering the songs to connect to those before and after. And, of course, Justin does have an identifiable guitar style, intricate though it is, tying his songs together, as well. The style, if it must be categorized, is perhaps cool, nature-themed jazz, but very adult contemporary singer-songwriter structured (sans the singer part), forming its own little corner of the easy listening genre, as it sure is easy to listen to. In fact, it’s a form of music that stands up to dozens of listens a month for months on end – I know that from experience – without fading in enjoyment.

Justin Piper - Transcend

image courtesy of Justin Piper

Most of the songs on the disc evoke outdoor imagery. In cases like album-opener “Lakeside,” for example, you can almost hear raindrops falling on the lake, and also at times the lake washing against the shore.

“Through Composed” makes me picture an intellectual journey. There’s a meandering nature to the versus, with a faster pace to the chorus, which brings forth thoughts of an accelerated periods of understanding something, interspersed within prolonged periods of seeking and questioning. If I make an effort to picture physical events, I can, as well. That’s the cool thing about Justin’s compositions. They go somewhere, and they’re open to interpretation, even if/when he had something specific (and different) in mind. Of course, a lot of our favorite songs are that way.

Speaking of favorite songs, one of my preferred cuts on this disc, “Camels,” is next. It sports a recurring energetic series of notes that seem to exist in a few spots on this album, with soaring bridges in between. Very hip, cool, and jazzy in nature, this is one of the standout tracks on Transcend.

Justin Piper

photo by Geoff Wilbur

The soft finger-picking on “Rondo” forms a welcome, familiar, comforting North Star each time through the disc. Relaxing and calming. Recalling elements of many of the other tracks but with a light sense all its own, at times seeming to cheerfully indicate beams of sunlight shining through gaps in the pine forest before giving way to slightly different but sonically similar “Lenny Three.”

On “Falling Through the Dark,” Justin takes a little more exotic musical turn, with heavy strumming and a somewhat otherworldly twang driving the music. It flows nicely into “Mahavishnu’s Lullaby,” which softens the hard edges a bit and replaces them with some winding musical twists and turns.

“Peace Three” picks up the pace, perhaps one of the truly jazziest numbers on the album, with lightly dancing runs returning to a frenetic base rhythm. Followed by the memorable rhythm of “Fayetteville Honey,” this pair of songs is a welcome guidepost along the album’s musical journey that sparks a joyful smile of recognition each time through.

Justin Piper

photo courtesy of Justin Piper

From there, “Nearly Arriving” softly sets the stage for another of my absolute favorites on this disc, the pleasant “Snow Shower,” a song whose musical sprinkles land softly and joyfully with a light, upbeat energy. Brings forth images of frolicking in the snow and, during the slower segments, perhaps catching a flake or two on your tongue.

After “Bugs” zips by quickly, with an odd little sound at the end – a bug crawling or flying quickly and then getting zapped? – Justin showcases an odd, halfway off-kilter sound on “The Line.” It brings to mind, for me, an image of a snake-charmer getting a cobra to rise, though that’s only a 90% correct image, as there are a few notes that don’t quite fit. With these two tunes, though, Justin has added a bit of tension to the listening experience.

So he winds the album down with a couple songs that unwind the tension. First, “Stutter Steps,” which is a little stop-and-start – stutter step-like, I suppose – before washing the album out to sea with “Bobbing,” a number that (you guessed it) rises and falls pleasantly before twittering away to an end.

By the end of the first listen, you’ll realize Justin Piper’s dynamic, original talent, combining his songwriting skill with a unique guitar-playing style that’s soft but substantial. And the resulting Transcend is an album that’s enjoyable across repeated listens.

Where to Catch a Live Performance

At the moment, Justin’s performance calendar only lists his recurring Monday night gig at the Bell In Hand Tavern in Boston. Get out to see him some Monday night, and check back for more performances as he adds them.

Album Review: Shawn Butzin – Northern Trails

Shawn Butzin

photo courtesy of Shawn Butzin

Album Review of Shawn Butzin: Northern Trails

This review is long overdue, as Shawn Butzin has already released another EP, Adventures, since, but Northern Trails is such a great album I need to tell you about it. Shawn’s music sounds comfortable and familiar, like a favorite old shoe. I suppose it’s best described as Americana or, perhaps, folk-influenced country. At one time, I might have labeled this California country-rock due to its Eagles-ish rock edge with folky overtones, though Shawn lands on the country side of that equilibrium while I’d place the Eagles on the rock side. But you know by now I rarely have a favorite album that fits neatly into a category. Shawn emotive and not-quite-gravelly vocal combines with energetic strumming and, most importantly, imaginative and catchy songwriting that keeps the album moving forward, never settling into a rut, always turning out new wrinkles into a cohesive set of songs.

I have several favorites on this album, and disc-opener “Carefree to Carolina” is the first. A travelin’ song with twang and a feeling of wide open spaces, it’s driven by a hooky recurring guitar bit and a wisftul, edgy vocal, always persistently pushing forward without abandoning its laid-back posture.

Shawn Butzin - Northern Trails

image courtesy of Shawn Butzin

It’s followed by full-on contemplative moodiness in “What Did I Mean to You,” a plaintive ditty with a purposefully plodding rhythm, all serving the lyrics well. And, as with so many of his songs, Shawn’s lyrical skill shines on this song, with his words precisely chosen, suiting the song’s distinct flavor. In this case, descriptive but not showy.

The jangly, fun “Homemade Jesus” is a toetapper of the first order, its homespun twang delivering a vocal line full of emotion, while a more straightforward harmony vocal line adds stability. The song is over before it really settles in, a quick ditty (and “ditty” is descriptive in this case) that’s sure to be an audience favorite.

“Leaving Colorado” and “Hometown Blues” return the album to its wistful, melancholy lane. In this respect, Northern Trails‘ song order is one of the things that makes it such an interesting listen, a cohesive whole that never bores. Even though each song has its own distinctive sound, I can envision a grouping that wouldn’t accentuate the songs’ individuality as much.

Shawn follows those two songs with a very cool cover of “Blue Bayou.” His vocal waver adds a distinctive Butzin flavor to the well-worn favorite, and he even pulls out an insistive vocal edginess while hitting the high notes that’s not widely used in the rest of the collection. I wouldn’t necessarily have expected this cover based on Shawn’s other songs, but it fits quite nicely among Northern Trails‘ other entries.

Shawn Butzin

photo courtesy of Shawn Butzin

I’d place “You and I” at the alt-country edge of the disc, if only due to the sort of Talking Heads-reminiscent music bed. (I didn’t catch that comparison until after a few dozen listens, but now I can’t unhear it.)

“Back Together Someday” is more pure folky Americana twanger, a notably hopeful number that utilizes brief but abrupt vocal pauses to great emotional advantage.

Shawn plays with the tempo a bit in “I’m Your Loving Man” before slowing things down on album-ender “Your Sweet Love,” a drawn-out-sounding ballad that seems like what you might hear during a slow dance at an old-school country music/’50s pop-rock dance hall; there are a couple spots where I almost expect Shawn to break into “Please Mister Postman.” (I checked, and that was a 1961 release, but yeah, the early ’60s still had that ’50s vibe.) Picture a mirror ball and a sea of couples slowly swaying to the rhythm, and you’ll get the vibe of “Your Sweet Love.”

As a whole, Northern Trails is a collection that stands the test of time. I should know – it’s been on my playlist for more than a year, and I still dig it every time through. So, yes, even though there’s a more recently released EP in Shawn’s repertoire now, this is still the last full-length release, and I heartily endorse checking it out.

Shawn Butzin Live

The “events” tab of Shawn’s Facebook page lists a couple of upcoming gigs. On Saturday, December 15th, he’ll be at the Acoustic Tap Room in Traverse City, Michigan. And on Saturday, January 12th, he’ll be at Rocky’s Bar and Grill in my hometown of Grand Rapids, Michigan. Shawn’s bandsintown page lists a lot more upcoming gigs, including January 4th at the Snowbelt Brewing Co. in Gaylord, Michigan; January 24th at the Traverse City Whiskey Co. in Traverse City; and several more shows across Michigan (plus a March 15th date at Uncommon Ground in Chicago) through the rest of the winter.

Live Review: Los Goutos at Lizard Lounge, with Jimmy Ryan & Dana Colley

Los Goutos at the Lizard Lounge

photo by Geoff Wilbur

Los Goutos and Jimmy Ryan & Dana Colley

Lizard Lounge, Cambridge, MA

October 20, 2018

As you’ve probably read here before, I don’t make it into the city for shows very often. Partly because I’m out in the suburbs. And partly because the headliners go on so late, and I prefer early sets that allow me to get a good night’s sleep for work the next day. I also don’t usually go out by myself on Saturday nights. Those nights are reserved for family, so if it’s a Saturday night show, I usually don’t go; and if I do go, it’s rarely by myself.

Los Goutos at the Lizard Lounge

photo by Geoff Wilbur

This performance broke all of those rules. It was a late event in the city on a Saturday night. But it was a big CD release show for the highly-anticipated release of Mighty by Los Goutos, a band I had heard about but not yet seen – or rather, “witnessed” would probably be a better term. I also hadn’t been to the Lizard Lounge before. Hard to believe, yes, but that’s the case. It opened a few years after my first stint in Boston, which is when I started my music journalism career, and I hadn’t gotten to the venue yet since I moved back. So for this event on this night, I made an exception.

The evening began with a set by Los Goutos, followed by a set by Jimmy Ryan and Dana Colley, and then a set of “Los Goutos and Friends” (the band plus Jimmy and Dana; and I can’t be sure if there were others, as I called it a night sometime between 12:30 and 1:00). But I’m getting ahead of myself.

Featured Band: Los Goutos

From the very first notes, one thing became clear: Los Goutos is Spanish for “Party in a Box.” OK, I made that up. But it could be. An eight-piece band including three singer-songwriters, the band takes up a lot of real estate – a stageful of musicians generating a roomful of fun.

Los Goutos at the Lizard Lounge

photo by Geoff Wilbur

Stylistically, Los Goutos is a band with a quirky approach, lots of spastic energy, plenty of group-sung vocals, and horns, combined with songwriting talent. That’s a recipe for success in a college town like Boston. The energy of the evening reminded me of a typical college-town-favorite ska band, someone like the Mighty Mighty Bosstones or Chucklehead. But just the energy; Los Goutos’ sound is quite different. I know the band is generically categorized as Americana, but in reality it’s more like a demented hoedown, rockabilly on acid.

Los Goutos at the Lizard Lounge

photo by Geoff Wilbur

The eight band members are Mike Eigen, Chris Gleason, Paul Stewart, Bruce Bartone, Shamus Feeney, Emily Grogan, Eddie Barrett, and Jakub Trasak. Multi-instrumentalists, let’s just say, rather than listing their many roles within the band, enabling multiple instrument and role changes during the set.

As for the show itself, Los Goutos’ first set began with a beginning-to-end performance of Mighty. “Tequila Set the House on Fire” is sure to be a frequently-named fan favorite with its persistent energy, singalong-worthy lyrics (after a few listens to the disc so you can remember them), and guitar, horns, and growled lyrics splashing across a rhythmic wall-of-music bed. Party in a box. Or on-stage, rather.

Los Goutos at the Lizard Lounge

photo by Geoff Wilbur

“Down to the Studs” is another standout track, a raucous number reminiscent of Weird Al-meets-cowpunk.

The fourth song of the evening, “Can’t Hurt” was a notable change of pace; it’s still very much true to Los Goutos’ rhythmic Americana style, and quite an energetic song, but it was the first indication of the evening (and on the album) that Los Goutos doesn’t need to have all of its instruments blasting all the time to maintain its trademark sound.

Los Goutos at the Lizard Lounge

photo by Geoff Wilbur

A couple other standout Mighty songs made it into my sparse notes of the evening. First, “Moscow Mule,” a song that, musically, is part O Brother Where Art Thou, part “Cotton Eye Joe.” And “Corkscrew,” primarily because it’s perfect song for a college town band with its singalong lyrics, “screw! screw! screw!

Past the Mighty portion of the first set, “Broken” was another standout song of the evening. Way too enthusiastic for its lyrical content, the song seems like a great shout-along number, nonetheless.

Guests: Jimmy Ryan & Dana Colley

Jimmy Ryan & Dana Colley at the Lizard Lounge

photo by Geoff Wilbur

The middle set of the evening was a treat, as well. A nice change of pace, perhaps, from the full-tilt energy of Los Goutos. Mandolin player Jimmy Ryan teamed with Morphine co-founder, saxophonist Dana Colley. Especially on the back half of their set, they were joined by a member or two of Los Goutos for various songs.

It was a fun set from a pair of top-shelf musicians. When they leaned on the sax, there was a bluesy jazz flavor. At other times, more singer-songwriter (with sax). Jimmy’s vocals are the sort that can cut through a very full sound. Frequently, I felt a Paul Simon-ish vibe from Jimmy’s singing – not that he sounds like Paul Simon, but his style and presence are similar.

Jimmy Ryan & Dana Colley at the Lizard Lounge

photo by Geoff Wilbur

The song I noted as a standout was “Relax Your Body,” a number that shows great stylistic variety, at times a rolling blues number with a little deep Johnny Cash flavor, then some George Thorogood, maybe a little hipster, back to straight-up blues. This song alone was a terrific journey, indicative of the whole set.

The Third Set: Los Goutos and Friends

The final set was “Los Goutos and Friends.” In other words, Jimmy and Dana joined Los Goutos for a rollicking third set, a jam band extraordinaire (and an extremely full stage of musicians) that carried the party deep into the night.

Los Goutos & friends at the Lizard Lounge

photo by Geoff Wilbur

Though I only stayed for a few songs of the set – I wasn’t going to stay until 2:00 AM because I had responsibilities to get up for the next day – I can only imagine when the set ended an hour-plus later it must have been with reluctance. Because, you know… party in a box.

Bonus Coverage: The Charles River Reprobates at the Corrib Pub, Brighton, MA, October 23, 2018

On Tuesday nights, The Corrib Pub features Eddie Scheer’s Tuesday Night All-Stars. Some weeks, he performs with his supergroup The Charles River Reprobates. Scheer, Blog favorite (and artist number 7 in my Blog-launching “Road Back to Music Journalism” seriesDanielle Miraglia, Jimmy Ryan (who I had just seen perform for the first time a few days earlier), and Bob Enik, who are all featured on the band’s promo photos, were joined by Randy Bramwell on bass. Chris Leadbetter (who I’ve seen perform in Bob Malone’s band a couple times) is listed on the band’s Facebook page as the fifth Reprobate, but he wasn’t part of the band on this particular night.

The Charles River Reprobates at The Corrib Pub

The Charles River Reprobates; photo by Geoff Wilbur

I was returning home from an evening business event in the city on Tuesday, October 23rd, and the Reprobates were performing that night, so I took advantage of the opportunity, stopped by the Corrib Pub, and caught most of a set. No notes, so no real review, but I’ll share a photo and suggest that when this group of Boston-area all-stars assemble, it’s always worth a bit your time. The evening leaned blues and blues-rock, with lots of classic tunes, and a whole lotta fun.

Looking Ahead

Los Goutos are performing several times in the Boston area in the coming weeks, as you’ll see on the “Shows” page of their website. There’s their ongoing Sunday night residency at The Burren in Somerville every Sunday. And then there are some other big shows: a late afternoon/early evening gig Sunday, December 9th at the Aeronaut Brewing Company in Somerville; Los Goutos’ “Mighty Holiday Hootenanny” on Saturday, December 22nd at the Burren Back Room in Somerville; Saturday, December 29th at the Lizard Lounge in Cambridge; and Saturday, January 12th at The Bebop in Boston.

You can catch Jimmy Ryan playing in a variety of groups, per the “Shows” page on his website: with Wooden Leg on Friday, November 29th at Sally O’Brien’s in Somerville; with Jimmy Ryan & Hayride on Sunday, December 2nd at Atwood’s Tavern in Cambridge; with the Sado-Domestics on Sunday, December 9th at the Aeronaut Brewing Company in Somverville; and with Jimmy Ryan & Hayride on the last Sunday of every month, December through April, at Atwood’s Tavern.

EP Review: Edge of Paradise – Alive

EP Review of Edge of Paradise: Alive

Edge of Paradise‘s follow-up to Immortal Waltz continues its full-on edgy hard rock aural assault. Margarita Monet’s emotively powerful voice again combines with a hard-driving, shredding metal music bed to deliver a set of memorable tunes. The songs are in Edge of Paradise’s trademark slightly off-balance, funhouse mirror metal style.

I gave a sneak peek at a couple of this EP’s tracks at the end of my Immortal Waltz review in 2017. One of those was the title track, “Alive.” Driven by churning guitars, some nearly-full-stop tempo changes, and a breathy flavor to a fair portion of the vocals, this is a power rock track. And it’s stylistically very clearly an Edge of Paradise song.

Edge of Paradise - Alive

image courtesy of Edge of Paradise

I totally dig the harmonies in hard rocker “Dust to Dust.” Yet, as straightforward as this track is, it still keeps the listener off-balance with croakily growled vocals and off-balance musical backing during the bridges. Indeed, nothing about an Edge of Paradise song is ever perfectly straightforward, but this churning rocker sprinkles EoP’s trademark song-twisting elements with a light touch for a fun change of pace.

It’s followed by “Mystery,” a theatrical ballad, suitable for anything from radio play to a rock opera performance. Monet’s straining vocals sit atop a music bed based on piano and orchestral strings, driven by booming drums and a rock guitar growl. An extremely touching, emotional, sensitive ballad, “Mystery” shows off Edge of Paradise’s range and is the song on this disc with the broadest cross-genre appeal.

The power is back with “Shade of Crazy,” with Monet’s expressive vocals providing texture to the otherwise hard-driving, powerful, crunchy melodic metal song.

“Humanoid” closes the Alive EP. Kicking off with frenetic drums and guitars behind an odd croaking vocal, the song evolves into a rhythmic power rocker in which Monet’s vocals are largely another instrument, and the beat is the real star.

I’m never sure if Edge of Paradise is one of the more uniquely original progressive rock-influenced melodic heavy metal acts or if they’re one of the more mainstream power rock-influenced heavy theatrical progressive bands on the scene. Regardless, their music is fun to listen to, their musicians and vocalist are top-shelf hard rock/metal talent, and I always look forward to hearing what they’ll do next.

Looking Ahead

I’ve taken so long to get this review written that Edge of Paradise’s new album will be out in just a few months, so there’s plenty to look forward to, but if you don’t already have this EP, it’ll be a great way to fill the gap while the next disc is in the works. In the meantime, also check the band’s website for tour dates. Currently listed are a couple early 2019 shows in Japan – January 31 in Yokohama and February 2, 2019 in Tokyo.