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Sound and Shape aims for the ears

It was a balmy summer night in the ’Boro when I stepped in the fabulous air conditioning at Wall Street and made my way through the downstairs drunks to the upstairs venue. I knew local fellas also known as The Compromise were opening up the night of music, and I was expecting a good show from them. But I was really there to see Sound and Shape, a sometimes-Nashville-based trio of road warrior, working musicians, whose perfect balance of prog rock, composition sensibilities and respect for what makes us all love rock ’n’ roll have been making waves from coast to coast for the past three years.

How I missed them for three years is completely illogical.

As expected, The Compromise delivered a solid, engaging set. It’s hard not to like these guys, and I’m not just saying that because I reviewed their CD a few weeks ago and they sent me an honest to goodness thank you note on stationary. Their music is extremely accessible, and their live show gives their tunes a more authentic edge than their recording did.

Then Sound and Shape took the stage. There was no more bopping around to upbeat pop-rock music. There was a certain stunned, glorious stillness about the crowd as three very different looking young men launched themselves into a 35-minute no-holds-barred performance.

Quickly it became obvious that the boys of Sound and Shape aren’t dicking around trying to get you to bob your head. They’re there to blow your mind.

Drummer Jerry Pentecost is an extension of his drum kit. He doesn’t just sit on a stool and lazily aim for the skins somewhere on or near a beat. His percussion is an art. Arms flourishing, face intense, Pentecost is on behind his kit, with energy and precision behind every move he makes, and his entire body backing him up. It’s intoxicating to watch, and it was a few minutes before I remembered to look around again.

Next to Pentecost’s flurry of motion, David Somerall looks like your typical nonchalant bass player. His face is serious and his motions are minimal, but his fingers, oh his fingers, that’s another story. He’s completely on task, even when the song the three of them are creating rises, dips, pauses and swells. Guess they call him Jesus for a reason.

Rounding out the trio is guitar player and vocalist Ryan Caudle, who co-founded the band with Pentecost. Sometimes it seems like he’d rather just do those amazing things he does creating intricate melodies and phases on his guitar than sing. The vocals are still interesting, but sound much clearer and make more sense in the songs on recordings. Live they are a sidebar to the swelling musical stories these guys weave.

Their music is far from Nashville standard. It manages to be progressive and innovative without losing all sense of accessibility or throwing in some gimmick to sell the sound.

“We’ve been touring pretty much constantly for the past three years,” said Pentecost, adding that their sound seems to meet with the most success out in California.

Aside from the sound guy’s strange need to turn up the volume so much that people actually had to flee to the back of the room or go downstairs, it was a purely intoxicating set.

Their two albums, 2006’s Where Machines End Their Lives and 2007’s The Love Electric, do their best to capture the live veracity of Sound and Shape, but it’s a tall task.

Visit Sound and Shape online at myspace.com/ soundandshape1.

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The Murfreesboro Pulse: Middle Tennessee’s Source for Art, Entertainment and Culture News.

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