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Check this out. YEAH is a completely non-profit organization dedicated to helping young Nashville musicians and artists nurture their talent in an effort to make sure good music prevails in Music City and it’s surrounding areas. Awesome stuff, we’ve never really had anything like this before.

Act II: The Father of Death, the second installment of Protomen‘s unfolding epic, brings the story to a dark, yet hopeful place. Protagonist, Dr. Tom Light, wrongfully blamed, accused and subsequently banished for the murder of his love, serves as the political impetus for his rival’s, Dr. Wily, calculated march towards global, or at least civic, domination. As the saga progresses, the tragic hero is left with both the guilt of innocent life lost and the subsequent charge to take up the messianic-mantle on behalf the fallen and his beloved city.

Musically, the album is anthemic, dire and aggressive; all things rock-opera. Protomen succeed in creating an aural quality which enhances each scene through an all-out-nailing of traditional rock conventions. “The Hounds” features a guitar and drums combination which conjure up a strong sense of motion, almost chasing, thus symbolically aiding Dr. Light as he flees the scene of a murder. More subtly, “How the World Fell Under Darkness,” chronicling Dr. Wily’s transition of his city from one of human cultivation to one of mechanical rule, instrumentally transitions from acoustic, earthy strings to one of computerized synths.

One of the more poetic moments on the record is the way in which death is symbolized; a glorious choir of unrepentantly positive voices proclaiming “there will be light” ultimately cut short mid-proclamation; martyrdom in the face of unrelenting tyranny.

Act II features an interesting play between height and depth. The height of a tower, the depth of a plunge, and the distance of Dr. Light’s banishment give a geographical presence to the fictional city in the story, but also mimic the emotional extremes of the characters as they embrace cathartic motorcycle rides or look into the face of something created, broken and spoiled. Like any second act worth its salt, The Father of Death leaves the listener eager for resolution; or, at least the next chapter. Make sure to follow along in your booklets! – Trevor Nyman

Check out JEFF The Brotherhood’s new video for "U Got the Look" off of their new album

This is a weekly entry that highlights some of the artists who posted their upcoming shows in our show listing section (right hand side column of this page). Any band can promote their show in The Deli’s DIY Live Show Listings section for free.

Tuesday 10/20:Max and the Wild Things @ Dan McGuinness

Heartbeater @ The Basement

Wednesday 10/21: Get Got, James Fate, and Tallest Trees @ Mercy Lounge

Thursday 10/22: Music Society, Zach Broocke, The Kingston Springs, Max Beizer, and Luke & The Late Nights @ Dan McGuinness

The Worsties @ Mercy Lounge

Friday 10/23: Blue Cadet Three @ Little Hamilton

The Carter Administration, a Nashville group whose members look like they took a break from fixing computers to play rock music, opened The Basement NBN showcase Thursday, Oct. 8. Mixing nerd charm with infectious riffs that are easy to follow, they keep things at mid-tempo unlike the following Wheels on Fire.

Wheels on Fire was a screech of garage rock simmered down by a lot of keys and tambourine rattles. Touches of soul and a country twang sophisticated a sound that was energetic but not especially memorable.

The venue was pretty full by the time The Deep Vibration was up, and Reno Bo, who apparently seems determined to play in every Nashville band at some point (in addition to fronting his own killer act), took the stage with the guys from The Deep Vibration to show his support. The band put on a decent show with Matt Campbell’s high, quirky vocals layered over happy, americana guitar-heavy melodies.

Mississippi band Colour Revolt followed and presented more standard rock fair with a trippy, meandering edge in the guitar. Sometimes it just sucks to be the fourth rock band in a lineup, at which point the audience, apart from avid fans, ceases to be entertained by the typical guitar-bass-drums combination. Yet despite this obstacle, they still held their own respectably.

Kopecky Family Band was the night’s highlight, picking things up in a brotherly-sisterly fashion. Looking like The Outsiders with a female addition. They have Carter Family-closeness and a ghostly, rustic sound quite like what is found on Sun Kil Moon’s “Ghosts of the Great Highway.” Mountain folk achieved through strings mixed with the tech-savvy sound on the keys makes modern Appalachian music. –Jessica Pace