Torrential rain may have kept some at home on Saturday night, but I and about 120 others were willing to take our soaking to catch the Coyote Bones CD release show. I arrived at The Waiting Room after Dereck Higgins had finished his set, which is unfortunate because he’s one of the best musicians in town. Playing second was Flowers Forever fronted by Derek Pressnall of Tilly and the Wall. Their set was gritty and spirited, with pounding drums that forced home the grunge rock idea. (Editor’s note: Grunge rock? Eh?)

Each member of Coyote Bones donned a large sombrero in reverence to Cinco de Mayo. Their set thrived off of an almost unbridled energy. Never before has a tambourine been played so enthusiastically. It was refreshing to see a band play that’s not static and melancholy. At the center of Coyote Bones is David Matysiak and Mason Brown. For the show, they were supported by a large cast of friends, including Greg Edds (Little Brazil) on guitar, and (for a few tunes) Kianna Alarid (Tilly and the Wall). Their music combines pop rock and folk, but has a driving punch that keeps the energy flowing. It’ll be interesting to hear if that same energy transfers to their CD, which I was given in exchange for an owl-adorned book-end. Someone needs to explain that barter system to me. The show’s highlight definitely was the large cat piñata that was smashed to pieces during their last song.

SoTHEN – Lookatchurself Reggie Measuresworth (self-released) — If you can remember the early ’90s, then you already have a good grasp on what this album sounds like. Jangling and often inappropriate guitar riffs over roots-rock bass with trash drums. Add some raspy vocals that follow basically the same melody for every song. These guys remind me of a rehash of Bush. Ugh. Rating: No — Brendan Greene-Walsh

Tim Sez: Oh it’s not that bad (except for maybe “Surprise,” which features some creepy spoken lines). Frontman Jonathan Townes sounds like he grew up with Pearl Jam, Bob Mould, Foo Fighters and a slew of grunge and post-grunge bands. Yeah, there are obvious ’90s overtones throughout the whole disc, which is good or bad depending on your memories of that era. I don’t hate it, but there’s not enough here creatively to recommend it. Rating: No