I don’t go to a whole lot of rocknroll shows lately. I listen to a bunch of records at home, and I see plenty of music before and after the shows I play myself, or with Amanda Jo, or with Cricket & The 2:19. But it isn’t so often that I go out and pay money to see people play who don’t live in my neighborhood.

Monday night I walked down to the Echo with Z for an A+ triple bill, worth at least the $10 each we paid admission.

First up was the Horse Thieves, who live in my neighborhood. Good songs, good good playin. Their singer / guitarist Alex amplifies his acoustic guitar through a record player. He doesn’t play a lot of what you’d call “lead” guitar, but when he does it is tasty.

Next was a set from the Master Musicians Of Bukkake, a sort of underground supergroup based mainly in Seattle. The musicianship in this band is astonishing, and the show is much more than a gratuitous display of chops. There are seven people in the band, including bass, 2 guitars (sometimes 3), 2 drummers, an astonishing singer, and various and sundry non-United-Statesian instruments. The music ranged from sustained heavy guitar drones to minor key eastern-style melodies and off-time grooves, plus interludes of ambient grunting. I don’t want to tell you what they looked like, cos I want you to be surprised. They have to be seen and heard to be believed.

The “headliners” was Six Organs Of Admittance, aka Ben Chasny and friends. The first half of his set was an acoustic duet between Ben and “my friend Andrew,” some instrumentals and some vocals, renditions of songs from Six Organs’ last four albums or so.

In the second half of the set, some (or all) of the Master Musicians returned to the stage to be a world-class rocknroll band for a while. More interpretations of the last few years worth of Six Organs material - lots of jams, but not too many or too much. Sky guitar (from Master Musician “Milky”) to make Duane Allman whimper in something that could be ecstasy or agony or even both.

All topped by Ben’s wonderful and honest voice, like a mellower Tim Buckley or a more theatrical Fred Neil, anchoring the Big Sound with just-audible-enough melodies and lyrics.

Yum.

I just had a listen to what I believe is the first record (double-vinyl my preferred format) by Akron/Family. It seems to be called “Akron/Family”. Hence my supposition.

It doesn’t really remind me of anything - including their other record, “Love Is Simple”. (They may have records besides these two, but these are the two I have heard). If I had to compare it to something it would be Six Organs Of Admittance. But that is a bit of a stretch. The commonalities are acoustic guitars, a post-folk sensibility, and the occasional odd noise. But Six Organs is darker and more intense, and generally I like Six Organs better.

“Love Is Simple” feels more like an album by a band. There is more of what seems to be a Beatles influence. The songs are for the most part either cracked folky-country-blue-eyed-soul or full-on weirdo assault. Usually one of each per side (four sides).

This is not to discount the earlier record, which is a fine listen. If anything it is less demanding than “Love Is Simple,” so I may end up playing it more - and also because it feels like less of a monadic statement, less complete in itself, less demanding of a listen from start to finish… Whereas “Love Is Simple” is a WORK, a psychically exhausting experience, if a rewarding one.

Both albums include lyrics influenced strongly by what seems to be Shambhala Buddhism - to the point where these records can be considered Useful. This approach could be didactic, assaultive, off-putting or proselytizing. But here it works - which is part of the Neil Young comparison: the ability to make a lyric work that, by any objective measure, shouldn’t.

Live, by the way, this band is great. Something like Phish crossed with Acid Mothers Temple and Neil Young. But really nothing like any of those. A wonderful live band experience. Worth your time. Worth your money. In fact, I am tempted to guess that the solidified temperament of “Love Is Simple” owes something to a pile of touring experience.

I’m finally listening to the “new” record(s) from Six Organs Of Admittance, called “RTZ” which means “Return To Zero” in analog.

Well, I’m listening to side one. Over and over. There are reasons for this.

For one thing, “RTZ” is a compilation of sorts. Of music we are unlikely to have heard. Limited editions, split singles, that kind of thing. And each of the six LP sides is a set unto itself. So I am concentrating, for now, on the first one. I will eventually move on. But it could be weeks before I do.

Anyway, it’s great. This is not a surprise, although it is a bit of a relief. For all I knew, this was going to be an unlistenable set of “experimental” avant garbage. But it’s beautiful and melodic and raw and weird and in-and-out-of-tune in all the right ways at all the right times. I am pleased with my acquisition. Thank you, Six Organs Of Admittance!

And even if the rest of it listens like Royal Trux’ “Twin Infinitives” as a misguided hangover cure… well, I bought that one the same day so I guess can’t complain.