Paranoid Social Club may be the name of the band started by long time collaborators Dave Gutter (vocals, guitar) Jon Roods (bass, keyboards) and Marc Boisvert (drums) but it’s much more expansive than an array of melodies, chord progressions and arrangements. Call it an alliance, dub it an association, refer to it as a collective, hell, even label it a cult, but know it’s more than merely a musical melting pot.
To the thoroughly road traveled trio with intricate proficiency in every area of their craft, the PSC’s central essence lies in the ability to connect with its fervent followers. It’s a relationship the guys have been tirelessly forging throughout an array of intensely personal performances, undeniably relatable lyrics, after show hospitality and shockingly down to earth demeanors.
“We’ve built up a really loyal following that have become more than just a bunch of fans- they’ve become a club of sorts,” verifies Gutter of the Portland, Maine based operation. “You could totally compare it to starting a cult because of the degree people have gotten into it. We give them a high-energy experience, hang out to get to know them afterwards and in turn, they’ve become a huge part of what we do. When we first put the band together, it was our release and the support group we all joined to get by. But now it’s gone way beyond us, to the point where it offers the same to those we’ve met along the way.”
And what a long, strange trip it’s been, starting with the pre-adolescent friendship and musical tinkering by Gutter and Roods, which expanded into a sea of incarnations (including time in the celebrated Rustic Overtones and a tag team with the iconic David Bowie). But no matter where the artistic soul mates and their cohort Boisvert have traveled, Paranoid Social Club has been the most perfect match, allowing for no holds barred expressions of unclassifiable greatness and ambitious experimentation.
Such impressive groundwork was first laid down in 2002 with the aptly named Axis II album, which earned regional praise, including Gutter’s title as the Portland Phoenix's Male Vocalist of the Year for their "Best Music Poll 2003." Two years later the cleverly titled double disc Axis III & I hit streets, spawning the single “Two Girls,” which remained a top request at radio that summer.
From there, radio stations such as WCYY and WEQX crowned them with a spot in their Top Ten Songs of 2004, followed by a sweep of the Portland Phoenix's "Best Music Poll 2005." Titles of distinction include Best Act, Best Male Vocalist (Gutter), Best Song ("Two Girls"), Best Radio Rock Act and Best Album (Axis III & I). Such momentum has yielded a return trip to the studio to put the finishing touches on 2005’s explosive national debut, known for its aura of enthusiasm, intrigue and entertainment value within a remarkably diverse spectrum.
“It’s kind of hard to place us where music is going right now because it’s kind of a departure from everything else out there night now,” relates Roods of the sounds on PSC’s self-titled endeavor. “We take from a lot of influences- from the rock of the 70s to blues and soul music. But I’d say any music that has the potential to be timeless music can’t be pigeonholed.”
To compliment such an inviting enigma is a spacious assortment of thirteen outpourings packed with vivid imagery, comical observances and thematic relevance. Unlike previous offerings and projects where members felt confined by other colleagues or typecast to land within a certain setting, all restrictions and rules were thrown out the window in favor of unhindered extraction.
“When we did music videos in the past, I always wished songs could’ve been about something more visual- almost like a mini-movie,” Gutter explains. “Now with or without a video, we’re trying to create that place where every song has its own personality. Now we’re unloading more of the personal stuff and anything people can relate to- drinking, girls, guns, whatever. When people hear it, hopefully they’ll think of something going on in their lives rather than just interpreting a lyric.”
Several cases in point can be traced throughout the current dichotomy, including the vivid “Chocolate,” the vivacious “Two Girls” and the all around victory chant “The Cable Hookup.” The latter traces laugh out loud lines about a broke guy desperate for dough who partially uses his girlfriend for her jumbo, flat screen TV, complete with over 400 channels.
There’s also the unshakable toast to bubbling over booze during “Wasted”, the summertime vibe of “Headphones” and an ode to musical influences of the past, “Evolution”. And who can forget the album’s finale, simply titled “Theme Song,” pairing together the guy’s intriguing philosophies, quirky characteristics and daring personas.
But including such delightfully devilish ruminations with an unconventional sonic palette once again begs the question: What exactly is Paranoid Social Club’s place is in the modern musical arena? Though industry experts and critical bigwigs will continue their quest for diagnosis, only one truth remains.
“I don’t think we fit with anything or anyone,” Boisvert contends. “I’d like to use the term alternative, but that hasn’t been cool or the case for anyone since the early era of Nirvana, Fishbone, Jane’s Addiction and the Red Hot Chili Peppers. Times are different and it’s easier and actually accepted at large to fit into a formula that sounds exactly like any other band on rock radio. They all seem to over simplify everything and they’re whining about whatever they’re hurting over. We don’t want to be associated with that or anything. Just look at us for who we are and what we do and decide for yourself if you want to join the Club.”