New York Music Daily

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Tag: free download

Carsie Blanton Brings Her Sultry Southern Sound to the Rockwood and Elsewhere

Torchy New Orleans chanteuse Carsie Blanton is doing a different kind of American tour this year, inspired as much by her wildly popular blog as well as her music. She’s playing clubs, but she’s also appearing at sex toy shops. Here in New York, her first stop is at Babeland at 43 Mercer St. on July 12 from 3 to 5 PM. Then she’s playing the third stage at the Rockwood at 8 PM on July 13 for $10 plus a $10 drink minimum. Her aptly titled new album, Not Old, Not New is up at Bandcamp as a name-your-price download: you should grab it.

Is the album about sex? It’s more about innuendo. Blanton’s pillowy voice may be seductive, but in a genuine rather than campy or over-the-top way. She’s got a great, purist jazz combo behind her: Neal Caine on bass, Joe Dyson on drums, Rex Gregory on sax and clarinets, Kevin Louis on trumpet, Shane Theriot on guitar and David Torkanowsky on piano. The opening track, Azaleas sets the mood immediately, Blanton musing how “nothing evil can assail ya” against a sunmery backdrop of resonant piano, terse bass, brushed drums and balmy, muted trumpet. Blanton matches sly wit with southern charm on the slow, slinky Laziest Gal in Town, enhanced by a gently smoky bass clarinet solo. Then she and the band pick up the pace with the ragtime-flavored Heavenly Thing, a vibe they maintain on Two Sleepy People, a portrait of two lovers in the wee hours who’ve run out of gas yet can’t bear to part. It’s more coy than Daria Grace‘s unforgettably endorphin-infused version.

Blanton’s slow, wounded take of You Don’t Know What Love Is has a vividly stripped-down arrangement that contrasts brooding piano against fluttery tenor sax. Then she romps through a brisk take of What Is This Thing Called Love, spiced with a spiky Jason Marsalis vibraphone solo.

They go back to slow, low-key ballad mode for the picturesque Do You Know What It Means to Miss New Orleans. Blanton offers Sweet Lorraine from the perspective of a woman who’s getting gaymarried, with a slow, soulful piano-based arrangement that mirrors the album’s first song.

The funniest, most innuendo-fueled track here is the swinging hokum blues tune Don’t Come Too Soon. Blanton brings down the lights again with a slow, warmly wistful version of I’ll Be Seeing You and winds up the album with the title track, a miniature for just solo voice and acoustic guitar. Fans of oldtime Americana and swing jazz are in for a treat with this one.

A Grim Look into the Future from HUMANWINE

Boston’s best band, HUMANWINE have been making important, politically insightful, exhilarating Romany-flavored punk rock and noir cabaret for over a decade. They’re the closest thing to the Clash or the Dead Kennedys that we have right now. Those comparisons are especially appropriate considering that HUMANWINE (a cryptic acronym for Humans Underground Making Anagrams Nightly While Imperialistic Not-Mes Enslave) don’t just write songs about doom and despair under an all-seeing Orwellian eye. The band’s core, frontwoman Holly Brewer and guitarist/keyboardist Matthew McNiss envision an alternate future that’s NOT a corporate fascist surveillance state. Since the band came up right after the Bush/Cheney coup d’etat in 2000, their response has been venomous, and sarcastic, and articulate right from the start. They see this happening in their own country, and they take it personally. More of us should.

Right now they have a characteristically creepy, carnivalesque new album, Fighting Naked, and an ep, Mass Exodus, up at their Bandcamp page as name-your-price downloads, as ominously entertaining as they are prophetic. The music on the album is intense, and feral, and anthemic, and the message is spot-on. Are we going to be hypnotized by the “hypocritical fascist porno priests on the tv selling you shit you don’t need, ” while we let the billionaires and their multinational cartels inch us closer and closer to fullscale slavery – or are we going to join forces, all of us, delete our Facebook accounts and then give Big Brother the boot? It’s our call.

Many of the corrosively propulsive narratives here are told from the point of view of exiles and freedom fighters battling a murderous occupation. Some are set in the imaginary fascist state of Vinland, which is basically the world taken forward a few years to where every move a person makes is recorded and watched. But as Brewer reminds on the live acoustic version of the catchy, defiant protest anthem 1st Amendment, surveillance can work both ways. Who’s watching the watchers?

The first track on the album is a macabre punkmetal waltz, UnEntitled States of Hysteria, Brewer’s machinegun vocals splattering a grim tableau of life under the occupation, with a snide outro that makes the connection between medieval witch trials and this era’s demonization of so-called terrorists. The next cut, Big Brother, a Middle Eastern-tinged punk tune, is more defiant and optimistic: when the “Eye of the pyramid is keeping track of your every move, every day your thoughts are all you got – so go and do what you gotta do.”

Tumbling drums – is that Brian Viglione or Nate Greenslit? – and McNiss’ murderously growing low-register guitar fuel the title track, another creepy waltz. Wake Up is next, a sarcastic, surreal lullaby that morphs into a viciously sarcastic faux military march, followed by a punk sea chantey that offers a hint of comic relief.

“Sometimes families change…create your own,” Brewer sings coldly on the chorus of Epoch, which opens as a deliciously ominous, Britfolk-tinged number and then bounces toward Balkan musical territory in 5/4 time. Likewise, the album’s most macabre song, Worthless Ode, shifting from a morbid march to a Transylvanian dance: it’s about love during wartime, and it doesn’t end well. Another menacing waltz, Script Language sounds like Vera Beren covering Trans-Siberian Orchestra, with some brooding trumpet from the Ghost Train Orchestra‘s Brian Carpenter.

The banjo-driven Rivolta Silenziosa has a World Inferno-style noir cabaret feel, shifting uneasily between low-key and anguished. The most vivid of the Bush-era parables is the pensive, defeated, Pink Floyd-ish art-rock anthem When in Rome: “You can’t see the dead as they’re arriving – many more in the back are under flags and hiding,” Brewer intones. The album ends with a radio transmission from Vinland, the hardy few remaining trying to enjoy themselves with “an apocalyptic night on the town,” or what remains of it, Brewer taking it up and out with an operatic intensity.

The ep also includes Our Devolution Is Televised, whose recurrent mantra is “Can’t you feel the lockdown?”, and the raging, surreal Death Wish for the Impostor. These are great albums, and they’re important ones. The whole point of this music is that in times like these, you become either a hero or a zero: it falls to ordinary people like us to do heroic things. And history is on our side: there’s plenty of precedent. The Nazis weren’t defeated by a race of giants. It was people just like you and everybody else who risked their lives – and lost them, sometimes – to put an end to that particular strain of fascism. We really don’t have any other choice. Imagine what the guards at Auschwitz would have done with GPS technology.

HUMANWINE are playing the album release show for these two on June 10 at the Lizard Lounge, 1667 Mass Ave. in Cambridge, Massachusetts with their acoustic side project the Folks Below opening.

A Brief, Unhinged Masterpiece from the Skull Practitioners

Jason Victor is the best lead guitarist/sparring partner Steve Wynn‘s ever had. That’s high praise, considering Karl Precoda’s unhinged work in Wynn’s iconic 80s band the Dream Syndicate. Then there’s Chris Brokaw, whose uneasy riffage in the early days of Wynn’s Miracle 3 band was probably the most menacingly gorgeous that group’s ever had. And let’s not forget Rich Gilbert’s similarly paint-peeling playing in Wynn’s sinister, ferocious mid-90s band. But Victor stands alone as a master of both noise and tunefulness, shifting gears in a split second from savage to beautifully terse. For a taste of some of the wildest guitar jams ever attempted, let alone recorded, check out Wynn’s archive.org channel – you can get lost there for days.

But Victor also plays in other bands. There was an adrenalizing, sludgy unit called DBCR who recorded an ep a couple of years ago that you should hear if noise is your thing. What’s even better is ST1, the awesome ep by the Skull Practitioners, Victor’s band with Kenneth Levine and Alex Baker, which is also up at Bandcamp as a name-your-price download (although what you really should own is the cassette recording – you have a boombox, right?). It’s as good as the best side on the Stooges’ Metallic KO.

This ep is so beautifully evil and assaultive and catchy despite itself that there’s really nothing that compares with it this year other than G.W. Sok’s album with Action Beat, and this is more tuneful. The first track evokes both Daydream Nation era Sonic Youth and 80s noiserock legends Live Skull, with desperate vocals from Ana Barie: “I’ll bring it down” is the mantra that she hits after every litany of doomed imagery. Victor hits a haphazard raga-ish solo that eventually echoes itself to death, then a vicious, Blue Oyster Cult-style progression as Barie wails to the end.

The second track, Nelson D (a reference to the New York Governor responsible for the state’s paleoconservative drug laws, maybe?) sounds like Arthur Lee on crank, an endless series of whistling, whirring, toxic guitar lines sputtering and chopping through riff-rock and then dreampop interludes: the Steve Wynn influence is everywhere. Foreign Wives is sort of their Psychotic Reaction: spiky icepick intro, sarcastically wailing guitar leads, brisk new wave beat. The final track is the longest, with an out-of-focus vocal from Tom Derwent, long drones, allusions to funk, sick bent-note mental asylum screams from the guitars going on for what seems minutes and an ending that the band finally allows to completely disintegrate – considering how tight they’ve kept everything this far, they’ve earned it. Crank this up whenever: getting up for work, coming home furious after a bad day at work, smoking up, it’ll hit the spot.

The Foxx Reinvent a Classic CBGB-Era Sound

The Foxx play an edgy, distinctively New York flavored style of powerpop that’s a dead ringer for what was happening at CBGB around 1978. At that point, new wave was still in its infancy, but glam was still fresh in everybody’s mind and some people, notably Lou Reed, were still playing it. That’s where the Foxx picks up. They’ve got a couple of albums up at Bandcamp: their most recent one, Lila, as well as their ep Born Tonite, recorded in 2009, a free download that you should grab immediately if this kind of stuff is your thing. The Foxx are at Death by Audio on March 26 at around 10 for a $7 cover.

Frontwoman Juliet Swango sings with a Chrissie Hynde seductiveness over an early Motown-style electric piano riff and Tim Cyster’s growly guitar on the ep’s title track, her deliciously swirly organ solo leading back into the stomp. Wanting Only You pairs Cyster’s Stonesy chords against Swango’s lush organ and quirky Missing Persons-esque vocals: they rip through it in two minutes on the nose.

With its darkly intricate interweave of guitar and keys, the artsy anthem Black Rainbow gives Swango a launching pad for some powerful, dramatic vocals in the same vein as Vera Beren. Waiting in the Dark bridges the gap between oldschool 70s soul music and gritty powerpop, with the album’s most sarcastic lyric. The final cut, Velvet Helmet layers Swango’s elegantly echoey Rhodes piano over a tense groove from bassist Zac Webb and drummer Jill McArthur up to a towering, anthemic chorus. With Swango’s creepy organ and practically operatic vocals as it rises, it’s the most menacing track here. .

The more recent release brings more of an anthemic C&W flavor into the mix: Swango distinguishes herself by writing and singing in a country vernacular without getting all cheesy or faking a southern accent. Standout track: Don’t Start Blaming Your Heart, a big anthem midway through the album.

Alternately Catchy and Noisy Sounds from Brooklyn Art-Rock Trio Goddess

Goddess may not be the optimum choice of band name if branding is the issue. But this particular Brooklyn Goddess – a trio with single-string fiddle, dulcimer, Casio and calm, unselfconsciously warm, folk-tinged, two-woman harmonies – has an intriguing name-your-price ep titled Mind Control up at Bandcamp. If the artsiest side of art-rock is your thing, you’ll love this stuff. This group likes circular melodies and vamping out on them, which they do best on the opening number, Confinement. Their songs are all about contrasts and juxtapositions, calm versus agitation, smoothness versus abrasiveness: in this case, it’s stark overtones from the fiddle against an attractively stately piano melody that runs over and over. The lyrics are enigmatic: is it “All I could find,” or “I’ll occupy?” Maybe it’s both.

The second track, Candle Magick, paints a picture of an animated black magic ritual against a gentle lullaby melody with faux mellotron and Rhodes electric piano settings, and a flute that adds an off-center edge midway through: it’s so pretty that it might well be sarcastic. The title track sets the hint of a tune emerging from the dulcimer over an increasingly abrasive string drone. Once again, the lyrics are on the opaque side: “Catch some rays, free your mind…special rates, free your mind.” It gets more ominous as it goes along.

A Killer Free Download from Jamband the Delta Saints

 

Nashville jamband the Delta Saints call themselves “bayou rockers,” but while it’s true that they draw on New Orleans sounds, they’re a lot more diverse. Although they can be funky, they’re first and foremost a rock band. And while most people think of New Orleans music as ecstatic and celebratory – and a lot of it is – that music has a dark side, and the Delta Saints absolutely get that. If long, smoldering psychedelic jams with searing guitar and trippy keyboards are your thing, go to their site and download their killer new ep, Drink It Slow, for free (you can also stream it at Soundcloud). It’s the closest you’re going to get to their Feb 15 show at Irving Plaza opening for newschool outlaw country band Blackberry Smoke because that show is sold out. Is that cool or what? A country band and a delta-flavored jamband selling out a venue the size of Irving Plaza – has that ever happened in New York, let alone during this never-ending depression?

Don’t be fooled by the fact that that the ep has only three tracks: there’s more music than you would expect. It’s rare that you find a band that can go on to such great lengths yet still be as purposeful and consistently interesting as the Delta Saints are. Their not-so-secret weapon is lead guitarist Dylan Fitch, a monster blues player who can be very fast and frenetic, but he doesn’t waste notes. Likewise, Nate Kremer, the band’s keyboardist, who switches effortlessly from icepick piano lines, to swirling, majestic organ, and electric piano, varying his textures from echoey deep-space sonics to sly wah-wah licks.

Frontman Ben Ringel’s burning electric dobro kicks off the first track, Cigarettte with snarling riffage over drummer Ben Azi’s loose, laid-back, funky shuffle before the organ and piano wash in like a volcanic vent on the riverbottom. It’s a revenge anthem: Ringel tells the girl he wants to feel her choke from that smoke. Ouch! The second song, Crazy, is the centerpiece and it is a doozy, a nine-minute epic that works a slow, slinky noir blues groove with all kinds of up-and-down dynamics, a precise, angst-fueled Fitch solo and every keyboard texture in this band’s arsenal. Again, Azi’s drumming is just plain killer, hanging along a misterioso edge with his boomy kickdrum and haunting cymbal work during the song’s quieter moments. The last song is Drink It Slow, a live take that’s the funkiest thing here (although it’s more of a soul song) and another showcase for the keys: organ, wah Rhodes and finally a gritty explosion of guitar as bassist David Supica finally takes the band upward as it nears the end. The Delta Saints pretty much live on the road, so they’ll probably be back in town before you know it.

A Deliciously Creepy Free Download from Orphan Jane

Orphan Jane have what they call “demos” of their upcoming album available as a free download at their Soundcloud page. These “demos” are sonically superior to what most other bands release as a final album. And this circus rock band’s songs are creepy! Their sound is rustic noir cabaret with jaunty but sinister vaudevillian overtones, and theatrics that can be silly one moment and disquieting the next.

They mine the inner desperation in Alabama Song for all it’s worth with Bob Desjardin’s pulsing bass, Tim Cluff’s swirly accordion, Dave Zydalis’ biting, skronk-tinged guitar and Jess Underwood’s dramatic, stagy vocals: by the end, she’s gone from whiskey bars to pretty boys to simply scrounging for cash. Likewise, they take Dylan’s You Ain’t Going Nowhere and max out the surrealism: Underwood sells the absurdist intrigue of lines like “Buy me a flute and a gun that shoots, tailgates and substitutes, drop yourself at a tree with roots” as perfectly natural.

But the originals here are the best. Lost Mind, a menacing minor-key tune, builds from a sarcastically whiny, Broadwayesque verse to an explosive choir of voices on the chorus – it reminds a bit of Brooklyn circus rockers Not Waving But Drowning. Mansion Song is a vividly scampering Roaring 20s noir cabaret song with uneasy Hawaiian-tinged steel guitar and a strange tale of wrongdoing and karmic payback among the idle classes. Underwood sings the sad, pretty waltz Still Life with a bitterly nostalgic edge: it ramps up the klezmer influence even more than the previous tune.

The most vaudevillian number is Hole in the Head, a bizarre duet between Underwood and Zydalis: he seems to be a quack doctor, she likes a smoke and a pill and some wine as a chaser, you think you can guess the rest but you really can’t. The indignantly strutting murder ballad that ends the playlist is the only song here that sounds more like a demo than a finished take, but it’s still an entertaining story, and it’s reason to look forward to hearing the genuine article when it’s a wrap.

Horror Surf for the Holidays

Mysterious Michigan horror surf band Zombie Zen A Go Go have a very cool, ghoulish new ep, Music for Hoards, up as a name-your-price download at their Bandcamp page. This band distinguish themselves from the rest of the horror surf contingent with their spacious, elegant guitar and snaky, slinky funeral organ over terse, uncluttered bass and drums. In other words, it’s more horror and less surf, although there’s tons of reverb on the guitars.

Don’t let the silly song titles give you the wrong idea: there’s not a single bad song here. The first one, Groovy Ghoul A Go Go, sets the stage with its droll horror film sonics, pulsing groove and tongue-in-cheek synth. Midnight Alien Creep mixes up an amazing amount of elements into barely two minutes: a bluesy intro, a marching organ theme, a handful of slashes from the guitar, a little piano and a quote from the original Invasion of the Body Snatchers.  NYC Zombie Love Story has a delicious interweave of organ and jangly reverb guitar, and a turnaround that hints at Bach.

Dr. Devious keeps a suspenseful, dynamically-charged pulse going all the way up to a slinky bridge with a touch of crime-jazz: it’s basically a variation on the Peter Gunne Theme. The final track is It’s Hammer (Horror) Time!, a surreal, woozy, fuzzed-out tribute to the great B-movie studio – it’s the least surfy track here; it’s closer to the Marshmallow Ghosts than surf music. Which doesn’t make it bad, it only makes it different. For anybody who’s wondering why there’d be such a Halloweenish album on this page at this time of year, that’s because this blog doesn’t do holiday music – unless, of course, it’s Halloween.

Lively, Intriguing Folk-Rock Jams from McGuffin Electric

Italian acoustic trio McGuffin Electric build an attractively pastoral psychedelic folk sound out the lush interweave of Matteo Fiorini’s guitars, banjo and uke, Erica Polini’s violin and Domenico Peluchetti’s bouzouki and bass. Their album Brightelephant, a free download from the atmospherically-inclined Acustronica netlabel, is aptly titled; their long instrumental vamps have a colorful airiness as well as elephantine length and heft.

The title track is a long, pretty, swaying Neapolitan folk-rock theme with atmospheric violin juxtaposed against slightly out-of-tune ukulele that adds a surreal edge. Kismet, Hardy rises and falls over a spare acoustic waltz tune, basically a dreamy, elegant one-chord jam like something off Pink Floyd’s Atomheart Mother. Somewhere in the North of Italy, a gently gorgeous stroll for guitar and bouzouki, works slowly shifting waves of dynamics – it sounds more lush than it actually is, credit to Fiorini and Peluchetti’s tight interplay. Seaside builds slowly with ghostly whispers echoing  around a quietly purposeful boogie riff.

I Don’t Give a Damn, the longest track here, is an extended jam that’s part Nick Drake, part Velvet Underground, lit up by Polini’s alternatingly stark and sailing violin. Kiss Me, Hardy is a considerably livelier blend of bluegrass fingerpicking, boisterous strumming and incisive violin work, with a nod to early 70s acoustic Hot Tuna. The album ends with Vivre Sa Vie and its sideways allusions to Romany jazz.  Who is the audience for this? Fans of the quieter side of jamband rock, the contemplative side of jazz, the rich Italian folk tradition, or simply the kind of music you can drift away to on a sunny Saturday morning. In addition to this album, Fiorini has a bunch of good stuff streaming at his Soundcloud page.

Video Dump Day: Emptying the Tank

One final day of videos and singles and then there’ll be a brand-new New York City live music calendar up here. That’s why all these videos! It literally takes days to pull the calendar together, which explains why so many videos and such have been stockpiled here over the past month. More concerts and albums coming on October 2. Til then:

Mike Rimbaud is one of the surprisingly few artists who realize that in a lot of respects, we’ve gone back to an age of singles instead of albums. That’s not to say that people don’t make albums anymore: he does that, too. His coolest single of late is The Ballad of Anthony Weiner, which does its best to humanize (well, semi-humanize) a serial sexter. And it’s not just joke-rock – that’s a neat, slinky latin soul groove he’s got going (itunes). The other one is Learning More About Less, a savage slap upside the head of teeenage textards and faceboogers (youtube). But all is not lost, Mike: the new generation is off Facebook, pays with cash instead of credit cards and is gaining traction for an overthrow of the surveillance state!

Another quintessentially New York group, the noir chamber pop duo Charming Disaster, serenade the virtues of public transportation with their East River Ferry Waltz (bandcamp).

Biggest news of the day is that snarling, twin-guitar Paisley Underground revivalists Mud Blood & Beer are offering their brilliant latest album The Sweet Life as a free download. A lot of this stuff is just as good and menacing as the Dream Syndicate or True West (bandcamp). They’re at the Way Station at 9 on 10/9.

Certain General guitarist Phil Gammage also has a noir thing going on much of the time. He’s got a new single, Giveaway (soundcloud).

Songwriter Melaena Cadiz offers up Bluestem Grass, a collaboration with another paisley underground type, Scott Collberg on dobro and other stringed instruments. It’s a gorgeous rock tune disguised as bluegrass from her single-a-month project (bandcamp).

And Icelandic band Mum have a pretty chamber trip-hop tune, Toothwheels, just out as a 7″ vinyl single (youtube).

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