Pile stopped by O’Brien’s this past Tuesday, pharmacy for sale along with Fax Holiday, store stuff Radiator King, and Yazan. Apparently, this was a bit of a family affair, with every act of the night sharing at least one of their members for a portion of each other’s set. Whether it was their familiarity, or a subtle shared musical thread, this bill flowed nicely and the crowd was in healthy numbers for a Tuesday night.

First up was the New York based solo artist Yazan. While his current releases, Undress My Mind (2013) and the Robert Johnson inspired Your Crooked Part (2012) would lead you to expect a night of acoustic numbers, Yazan took the stage wielding a Gibson Flying V, suspenders and an uncanny resemblance to Frank Zappa. While watching him play, I found myself noting the almost Dylan-esque scaffolding on which Yazan seems to structure his songs. His soulful, stream of consciousness vernacular provides a mixture that feels both nostalgic and new. After performing a few songs in their original (albeit electric) arrangements, Kris Kuss (drummer for Pile) joined Yazan on stage. With the caveat of only ever having rehearsed together earlier that day, they proceeded to launch into a set of frenzied, delta-blues fueled numbers. While his recorded material definitely contains a level of a bluesy soulfulness, the addition of a percussive element allowed the songs to come to life in a blast of unrestrained, unrepentant slide guitar. It was a genuine pleasure watching Yazan and Kris feel out the changes as they went, a testament to both of their intuitive musicianship.

Now, if Tom Waits was locked in a room for a month with nothing but a copy of Springsteen’s Nebraska, I imagine he might come up with something that sounds like the next act of the night, Radiator King. Adam Silvestri, the sole member of the Boston-based project, writes songs that are the sonic equivalent to an old whiskey bar at the end of a dirt road. While his Waits-ian vocal affectation at times seemed to border on derivative, the songs themselves maintained an air of authenticity that had me willfully suspending any doubts. After a few numbers, Silvestri put down the acoustic and opted for a hollowbody electric, while Ian Macleod of Fax Holiday got behind a drum kit that utilized an oversized, vintage suitcase as a kick drum (to great effect, I might add). I found myself immediately preferring the more fully realized aesthetic. Silvestri’s songs flourished with the addition of a gritty guitar and the tasteful drumming provided by Macleod. In this context, the rust covered vocals seemed to have found a more suitable home.

Next up was the Allston-based Fax Holiday. Now, before seeing them live, I’d given a listen to Fax Holiday’s back catalog. And while I was prepared for the distinctly effective brand of violin and acoustic laced indie/folk as was presented on their bandcamp page, I was equally as pleased with the version of the band on display that night. Joined on guitar by Radiator King’s Adam Silvestri, Fax Holiday unleashed blues infused, dirge-like breakdowns and followed them with moments of absolute delicacy, as the dying sustain of guitars pulsed, moving the air between the amps and the crowd. Fax Holiday’s songs seem to pull you in with their own gravity. Eric Schermerhorn’s deliberate and yet effortless vocals complimented the restrained intensity that seemed to permeate the band’s music, always hinting at the promise of lift off. Towards the end of their set, they delivered on that promise, and let loose a string of more raucous, energized songs. I’m very interested to follow this band as their sound continues to evolve.

Finally, to cap off the night, was Pile. As soon as the members of the Boston-based quartet made their way to the stage, the crowd seemed to have doubled in size. Originally formed in 2007, as the solo project of frontman Rick Maguire, Pile has spent years amassing a passionate fan-base through consistent touring and their brooding, chaotic, and yet disarmingly catchy brand of rock. This was evident on Tuesday night, as you could feel the energy in the room spike as the music began.

Pile seems to write the kind of songs that suggest they want you to recognize patterns, only to then smash those patterns to pieces, in the best possible way. They play with an emotional intensity that almost makes you overlook the absolute skill and musicianship they possess as both live performers and songwriters. Discordant interludes and elements of blues rock riffing presented with the manic energy of a post-punk basement show.

While not always being able to decipher lyrical content seems to be somewhat of a theme of the acoustics at O’Brien’s, it did not seem to be an issue while watching a band like Pile. Rick Maguire’s vocal, equal parts contemplative crooning and frenzied “this-is-the-end-of-days” howl, sits perfectly atop the ebb and flow of the band’s musical duality. Bursts of immediate, cathartic chaos trading themselves in for moments of almost calm and collected simplicity.

According to their website, Pile is currently heading out on a three week tour, during which they hope to record a new album in Omaha, Nebraska. If you live in the area of any of the listed dates I would highly suggest checking them out.