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A Sneak Peek at the New Thurston Moore Record

What does covering the new Thurston Moore instrumental album say about a music blog? That the blog is not located on Mars, or somewhere in the mountains of Afghanistan where music was illegal for many years, and where there was and probably still is no wifi? That this particular blog had scheduled a piece on it in advance of Moore’s Rough Trade show on Oct 26, which ended up selling out, although not instantaneously like it was expected to? Considering that tickets to the show are long gone, and that you can’t hear the album online, does it make any sense at all to relate what it sounds like? Consider this a distant early warning.

The good news is that Northern Spy is going to release it on vinyl next February, and it’s definitely worth owning if richly harsh, assaultive sonics captured in the best possible audio format are your thing. Titled Full Bleed, it’s the third recording by the duo of Moore and Sunburned Hand of the Man drummer John Moloney, this time under the monicker Caught on Tape.

Compared to the two’s previous collaborations, it’s less spazz-jazz freakout and more sludgily cohesive, if spiced with plenty of the expected tasty/abrasive out-of-focus buzz and screech. The opening track, Age Limit is skronk versus swoosh, falling brickwork sonics and a surprisingly tight scramble up to a jet-engine roar out. Nothing Glamorous is exactly as advertised, a guitar nor’easter finally blowing in a plate-glass door. The title track is a dirge centered around a buzzy blown-speaker drone, finally exploding in a shower of sparks.

An echo study, Self-Rule finally gives Moloney centerstage. Arguing with a Balloon pairs Moore’s U2/Edge pointillisms with Moloney’s matter-of-factly careening rumble and a predictable (see title) sonic joke. Dispute veers between something of a parody (Moore’s distaste for extreme metal is well known) and unexpectedly epic gravitas. The two raise some seriously Hendrixian guitar-on-fire blisters with Reverse Funeral, Moloney cast as the voice of reason as he generally is here. The album’s closest approximation of Sonic Youth is Unsupervised, with its romping rhythm balanced by echoey/creepy guitar pings. Likewise, the closing track, Robber Grandma hints at an anthemic sensibility before going off the rails. Fans of serious noise are going to have a field day with this.

A Rare Live Gig in August Spawns Two Auspicious October Shows

Was drummer/impresario John Sharples‘ excellent, rare gig as a bandleader back in August responsible for two of this weekend’s most enticing shows? Maybe yes, maybe no. In the case of the show tomorrow night, Oct 24 at Freddy’s, definitely yes, since he’s booked it. It’s an eclectic lineup starting at 9 with a similarly rare performance by the jangly, edgy band that songwriter Paula Carino made a name for herself with back in the late 90s, Regular Einstein. After that there’ll be short sets by Psychic Lines and guitarist Tim Simmonds’ Ex Extract project followed at 11 by Calm King, which is members of Beefheart cover band Admiral Porkbrain playing “improvisational postpunk chamber pop.”

And an artist Sharples drew on for her nuanced but powerful, torchy voice at that August show, Americana songwriter Robin Aigner, plays the album release show for her long-awaited new album of historically-infused oldtimey songs and chamber pop at Barbes this Saturday, Oct 26 at 8 on a great bill (this one not booked by Sharples) that starts with oldtime blues guitar monster Mamie Minch at 6 and continues at 10 with harmony-driven noir cumbia and bolero band Las Rubias Del Norte at 10.

What was the August show like? Drummers have deep address books since the good ones play with a ton of people, and Sharples is no exception. This particular night started with crystalline-voiced songwriter Rebecca Turner opening solo with a wryly epic, brooding contemplation of family tensions. Then she brought up her band – including John Pinamonti on lead guitar and studio mastering legend Scott Anthony on bass – for terse, quietly bristling versions of older material like The Way She Is now and newer songs including the metaphorical Cassandra and The Cat That Can Be Alone. She and the band closed with Brooklyn Is So Big, which ten years ago was a triumphant shout-out to the borough’s musical riches and now seems more like an obituary.

Sharples played both six and twelve-string guitar out in front of a band that included Ross Bonadonna on guitar and Tom Pope on drums, mixing up material from the cult classic 2004 I Can Explain Everything album along with unexpected treats like the tongue-in-cheek, metrically Carino favorite Robots Helping Robots and a blistering take of Brooklyn, by Celtic punk band Box of Crayons.

But the best song of the night was a straight-up janglerock version of Pink Floyd’s Wish You Were Here, the lushness and overtones of the twelve-string providing some of the original’s angst-fueled grandeur. Or it might have been the ominously swaying version of Tom Warnick’s noir blues anthem The Impostor. Or for that matter, Dylan’s Positively 4th Street reinvented as tightly wound janglerock. Or the lusciously jangling Matt Keating cover, Mind’s Eye, with Aigner adding her plaintive harmonies. It was one of those kind of shows.

The night wound up with a catchy solo set by guitarist/frontman Tim Reedy, of indie rockers Electric Engine. Nobody evokes the mid-90s anthemic REM sound like that band, and it was cool to hear Reedy’s witty lyrics and frequent baseball references without the ring of the amps behind him.

2014’s Best Reinvention of a Classic Album: Wounded Buffalo Theory and Others Play Genesis at Rock Shop

It’s been a good past few weeks for intriguing cover band projects. Austin psych-funk rockers Brownout reinvented Black Sabbath, when they weren’t channeling that band at their mid-70s peak, at Brooklyn Bowl last month. William Maselli‘s clever orchestral mashup of Sabbath themes got a workout at Merkin Concert Hall about a week after that. Then there was Grey McMurray and band recasting Mike Oldfield’s Tubular Bells as lush, string-driven art-rock, a performance that will air on Q2 shortly. But the best of all of these shows was masterminded by Sometimes Boys and Wounded Buffalo Theory drummer Jay Cowit, who brought members of those two bands plus Afroskull, 29 Hour Music People, and the Trouble Dolls together to perform Genesis’ classic 1974 double album The Lamb Lies Down on Broadway. Other bands have done it over the years, and there’s a Genesis cover band, the Musical Box, who regularly perform it along with an elaborate set and projections for astronomical prices . But it’s hard to imagine anybody other than the original band doing it as energetically yet surrealistically hauntingly as this one-off pickup band. Best of all, the entire concert was recorded and has been immortalized on youtube, disc one streaming here and disc two here.

Keyboardist Eric Lipper did a spectacular approximation of Tony Banks at the top of his Terry Reid-like, rippling game while Vince Fairchild added more ambient textures, using a studio’s worth of vintage and near-vintage synth and organ patches. As the set went on, the keyboardists moved around and exchanged roles, notably when Matt Iselin joined the festivities as both third keyboardist and singer. Considering how long ago the album was recorded, with instruments – especially keys – that are now museum pieces, it was amazing how closely the timbres and overall sonics matched up with Genesis’ original. What was even more astonishing was how closely Cowit channeled the young Peter Gabriel’s antagonized bark. But the inclusion of other singers – Iselin doing Anyway with a nonchalant menace, the Trouble Dolls’ Cheri Leone delivering The Lamia with a wounded Marianne Faithfull restraint, and the Sometime Boys’ Sarah Mucho holding Counting Out Time together as the guitars roared and squeaked – added all kinds of unexpected dynamics.

Another playful deviation from the script was the inclusion of John Hockenberry of WNYC’s The Takeaway reading Gabriel’s drolly surreal album liner notes in between several of the songs. But otherwise, the attention to detail was meticulous: with its endlessly shapeshifting, kaleidoscopic, trippy pastiche of themes, this album is awfully hard to play. Bassist Rob Christiansen cycled through Mike Rutherford’s dizzying lines with a Bach-like precision and a biting, trebly attack amid the bluster, in tandem with nimble drummer Jason Isaac.

Just as the keyboard lines were divided up among a trio of players, Sometime Boys lead guitarist Kurt Leege and his fellow axemen Joe Scatassa and Alan Black shared duties and exchanged roles. Leege played with his signature, instantly recognizable, icily resonant blend of delay and reverb, handling the more resonant parts while Scatassa and Black took turns and occasionally traded off when Steve Hackett’s original lines would hit a snarling, bluesy peak. Meanwhile, Cowit’s vocals were amped well up in the mix so that his take of Gabriel’s frequent lyrical jabs and slashes could resonate. And ultimately, this band literally brought the album to life, revealing it not only as a trip through the underworld and finally out, but one with a vital, rather snide antiwar and antiauthoritarian message. They careened to a close through the incessant flood and drowning metaphors of side four, then kept the triumphant vibe going with a coy encore of I Know What It’s Like (In Your Wardrobe), from the Selling England by the Pound album.

The other bands don’t seem to have any upcoming NYC shows at the moment, but the Sometime Boys are at the Way Station this Friday, Oct 24 at 10, playing two sets. It’s not likely that they’ll cover any of this stuff, but they’re a killer jamband in their own right.

Saxophonist Kenny Shanker Nails an Edgy NYC Vibe, With an October 29 Hell’s Kitchen Show

Lots of vivid, frequently edgy, tuneful straight-up New York portraiture on alto saxophonist Kenny Shanker‘s new Posi-Tone album Action City – streaming at Spotify - with Mike Eckroth on piano, Daisuke Abe on guitar, Yoshi Waki on bass and Brian Fishler on drums. They’re playing the album release show on Oct 29 at 8 PM at the brand new Room 53, 314 W 53rd St. between 8th and 9th Aves.

Everything here centers around a tight piano/sax/bass/drums pulse. The first tune, Times Square is an interesting one – it seems to offer some shelter from the bustling rush hour crowd outside, Eckroth spinning an intricately enticing web away from the driving latin groove until Shanker brings it back with a similarly swirling but more angst-fueled intensity. It paints a good picture, albeit without the sketchy life-size Hello Kittys.

Another Morning is all about urbane chillout swing, Shanker’s carefree vibrato sailing over Eckroth’s precise, purposeful chords and spacious tradeoffs with the drums. This seems to portray the kind of stainless steel counter place where they break out the martinis starting at around noon.

Summer Siesta is a deliciously catchy, biting cha-cha, and not the least bit sleepy. The title track is a brisk stroll, everybody in the band occasionally stepping out of time as we do from time to time on a busy sidewalk: Eckroth’s bluesy, stride-inspired solo is especially choice. Punch isn’t the smackdown you might expect, but a very attractive slow soul groove, Eckroth firing off some tasty blues/gospel licks. Donald Fagen would kill to have written this.

Eckroth stays in the spotlight through the spacious, stately, neoromantically marching Prelude, which gives way to Shadow Dance, a cool jazz waltz where the sax does exactly that to the piano. The most striking track here is Midnight, crescendoing on the wings of some blue-flame eights from Shanker until Eckroth takes it back into the back of the bar where everybody’s still hanging after closing time. Marble Hill offers a no-nonsense but warmly congenial, nocturnal North Bronx tableau – it would have made a good nostalgic tv theme back in the 70s. Tortoise & the Hare scampers along as Shanker and Abe flurry and bob, a contrast with the balmy boudoir ballad Riverbank at Dawn: hey, outdoors is cooler in the summer. Interestingly, Shanker winds up the album with a catchy, dynamically-charged Philly soul groove titled Snow Paws. You don’t have to be a New Yorker (Shanker’s not) to appreciate this. But it helps.

The Wytches Burn Their Way Through New York

It’s a good week to see dark rock bands from out of town. Umpteen acts may reach for a menacing vibe, but British trio the Wytches actually nail theirs. The punk-inspired, dead-end desperation in frontman/guitarist Kristian Bell’s voice is so raw that it at least sounds like the real thing. And their narratives are all the more believable for being free of any kind of goth/ghoul cliche. They’ve got a savagely brilliant new album, Annabel Dream Reader – streaming at Spotify - and a clusterfuck of CMJ shows coming up. If assaultively doomy punk, horror surf or Lynchian sounds in general are your thing, you’ve got six chances to see this band in the next few days. Tomorrow, Oct 22 they’ll be at Glasslands at 9; on Oct 23 at Rough Trade at 3 in the afternoon and then at Baby’s All Right at 11 at night. They return to Baby’s All Right at one in the afternoon on Oct 24, then they’ll be at that free show at the Knitting Factory at four the same day (beware because the rsvp means you’ll get spammed). But you won’t have to get spammed in order to catch them when they return to Rough Trade at 7 on Oct 25.

The album’s opening track, Digsaw builds out of a squalling intro to an horror surf-tinged verse and then a screaming chorus over bassist Daniel Rumsey’s growling, trebly lines: you can hear some Jesus & Mary Chain, and Stranglers, and maybe Coffin Daggers, but more stripped-down than any of those acts.Wide at Midnight follows a creepy, Lynchian wammy-bar sway dripping with reverb; then the band makes horror surf out of a familiar Ventures theme.

Gravedweller is the best song here, a macabre zombie scenario with a reverb-tank menace that brings to mind Wooden Indian Burial Ground. Fragile Male for Sale blends the wet, poisonous reverb-tank echo with darkly distorted 60s psych riffage, while Burn out the Bruise has a snidely echoing sway until its desperate, screaming chorus kicks in.

“She shines a light from side to side, in my eyes it reflects from the corner,” frontman/guitarist Kristian Bell intones as the growly Transylvanian gothic anthem Wire Frame Mattress gets underway – and then the band makes surf rock out of it. Beehive Queen hits a slashingly sarcastic, slightly skronk-infused spaghetti western gallop, then they bring it down with Weights and Ties, a slow waltz with a little vintage PiL cached in its amped-up wee-hours Lynchian ambience.

The disarmingly catchy Part Time Model paints a disquieting tableau of what might be a S&M brothel – or the set of a snuff film, punctuated by the occasional muted gunshot burst from Bell’s reverb tank. The album’s longest track, Summer Again, another waltz, is all the more crushing for offering a hint of hope.

Robe for Juda builds a catchy garage rock tune out of a wicked chromatic riff and then hits an explosive, metalish crescendo. Crying Clown blends Orbison noir with an unhinged, doomed tableau straight out of the Doctors of Madness catalog. The album ends with a brief folk noir ballad simply titled Track 13. In a year that’s seen amazing albums by Karla Moheno and Marissa Nadler, and with Big Lazy‘s haunting new one still not out yet, this might be the best of them all. Miss these guys at your peril.

Richard Galliano Brings His Meticulous, Animated Accordion Jazz to Town

As obscure subgenres go, accordion swing is pretty close to the top of the list. Accordionist Richard Galliano tackles that methodically and animatedly on his latest album, Sentimentale. He’s celebrating the release with a four-night stand leading a quintet at the Jazz Standard,Oct 23-26, with sets at 7:30 and 9:30; cover is $25, $30 on the weekend, Galliano is known for his ability to effortlessly leapfrog between idioms, from the baroque to tango to Romany jazz without missing a beat. This time out, he leads a pretty straight-ahead jazz session with Tamir Hendelman (the Clayton-Hamilton Jazz Orchestra pianist, who wrote most of the arrangements), guitarist Anthony Wilson, bassist Carlos del Puerto and drummer Mauricio Zotarrelli.

Much of it is a 21st century update on how French and Belgian musicians were mashing up American jazz with their own vaudeville and barroom folk sounds back in the 20s and 30s, notably the opening track, Chick Corea’s Armando’s Rumba, which puts a continental spin on a song that was already a bit outside the Afro-Cuban tradition. The group immediately brings it down from there, adding an organic touch to Dave Grusin and Lee Ritenour’s Canto Invierno, then tackling Ellington’s In a Sentimental Mood with a lilting rhythm yet also with a similarly distant pensiveness – the accordion is one of the alltime wistful/bittersweet instruments, and Galliano owns that feeling when he chooses to go there.

Galliano’s take of Horace Silver’s The Jody Grind draws less on the original than Dee Dee Bridgewater’s boisterous version; likewise, the Broadway ballad Why Did I Choose You follows Bill Evans’ coloristic reharmonizations. There are two originals here, the jazz waltz Balade Pour Marion and the closing cut, Lili, a tender ballad dedicted to Galliano’s granddaughter and done as a guitar-accordion duo. Hendelman’s arrangements are remarkably contiguous, more than just a platform for soloing, which there isn’t a lot of here.

The group gently bounce their way through The Island and Verbos de Amor, adding some bulk to the songs’ tropical balminess, then pair hard-charging swing with more pensiveness on Plus Fort Que Nous. They do the Coltrane classic Naima as surprisingly weird psychedelia with a guitar sitar (?!?), then go back to the tropics with Mantiqueira. All this is a good indication of what the band will sound like here, maybe allowing for a little more guitar, which won’t be a bad idea since Peter Bernstein will be filling that spot. And you’ll have to go to the show to hear it since the album isn’t anywhere to be found on the web.

Vicious Austin Garage Punks the OBNIIIs Hit New York For a Couple of Shows

The OBNIIIs may be from Austin, but their sound is a lot more Detroit, 1979. Or for that matter, Sydney, 1979. They’re one of a select few bands who’ve been able to capture the ferocity and menacing, chromatically-charged brilliance of legendary Australian-via-Detroit garage punks Radio Birdman. They get one of the best guitar sounds of any band on the planet, a deliciously screaming, natural distortion-fueled burn. And as you would expect, they’re a volcanic live band. They’ve got two recent albums out, one a delicious live set, and a couple of NYC shows coming up. On Oct 24 they’ll be at Baby’s All Right in south Williamsburg guessing at around 11 (the club calendar doesn’t say) and the following day, Oct 25 at Cake Shop at 5 PM for free. Much as they deserve to headline a venue like Bowery Ballroom, there’s nothing like being up close to their overdriven amps in a small club.

The Live in San Francisco album – streaming at Bandcamp - is the latest one. They open with Off the Grid, which draws a straight line back to the Stooges’ Search & Destroy. Runnin’ on Fumes opens with an unhinged Tom Triplett lead guitar line straight out of the Cheetah Chrome playbook and pounces along with a Train Kept a-Rollin-on-crank intensity. So What If We Die takes the Iggy vibe a couple of years forward toward the Kill City era: “California smokes too much weed,” frontman/rhythm guitarist Orville Bateman Neeley III randomly informs the crowd as the song nears the end.

New Innocence mashes up  garage-rock changes with more off-the-rails leads from Triplett. After putting a heckler in his place, Neeley leads the band into more post-Yardbirds stomp with Damned to Obscurity. “I gotta get me a new line of work ’cause this don’t exactly pay,” he muses on the stomping Birdman-style party anthem Uncle Powerderbag. The band jams raggedly while Neeley taunts the crowd – the guy is funny – and then winds up the show with No Time for the Blues, the most evilly Birdman-ish song of the night.

Third Time to Harm – also streaming at Bandcamp – is the studio album before that. To their credit, it sounds just as live as the concert album. The version of No Time for the Blues on this one has Triplett ripping through volleys of chromatics like Deniz Tek back in the day. And the version of Uncle Powderbag has studio-clear lyrics, which helps – we all know somebody like this guy. Maybe it’s us…yikes.

The band gets slightly more calm on The Rockin’ Spins, a Flamin’ Groovies soundalike. They go in an unexpectly metalish, growling direction with the long instrumental intro to Queen Glom until bassist Michael Goodwin goes way up to the top of the fretboard and signals a turn into Brian Jonestown Massacres-style murk. They follow that with Beg to Christ, a macabre mini-epic that brings to mind Blue Oyster Cult or the Frank Flight Band - or the Radio Birdman classic Man with Golden Helmet.

From there they segue into the similarly ghoulish, goth-metalish Brother, propelled by drummer Marley Jones’ brontosaurus thump. Parasites goes in more of a snide roots-rock direction, like the Del-Lords. They bring back the Birdman savagery with Worries, a sarcastically apocalyptic number that’s the the best one here. If adrenaline is your thing, it doesn’t get any better than this.

A Pensive, Quietly Dynamic, Relevant Album of Japanese-Tinged Themes from Kojiro Umezaki

Kojiro Umezaki‘s axe is the shakuhachi, the rustic Japanese wood flute, an instantly recognizable instrument that can deliver both ghostly overtones and moody, misty high midrange sonics. Umezaki’s background spans the world of folk music and indie classical – he’s a member of Yo-Yo Ma’s Silk Road Ensemble -and is a frequent collaborator with groundbreaking string quartet Brooklyn Rider. Umezaki also has an album, Cycles, out from that group’s violinist Johnny Gandelsman’s maverick label In a Circle Records and streaming at Spotify. It’s a mix of originals along with reinvented themes from folk and classical music. As you might imagine, most of it is  quiet, thoughtful and often otherworldly, a good rainy-day listen.

The opening track, (Cycles) America reimagines a theme from Dvorak’s New World Symphony as a solo percussion piece for Joseph Gramley, who opens it on drums with hints of majestic grandeur, then provides loopily resonant vibraphone. The album’s thoughtfully spacious second track, 108 is where Umezaki makes his entrance, joined after a terse, slowly crescendoing intro by Dong-Wan Kim on janggo drum and Faraz Minooei on santoor. It builds to a swaying and then rather jauntily dancing groove with hints of South Indian classical music as Umezaki chooses his spots.

The traditional Japanese lullaby that follows is as gentle – and ghostly – as you might expect from a melody that could be a thousand years old, a graceful solo performance. Umezaki then delivers a circular, uneasily looping piece modeled after a famous 1923 post-earthquake work by Japanese composer Nakao Tozan, bringing it into the present day as a tense, distantly angst-ridden contemplation of a post-3/11 world.

On For Zero, Gramley plays lingering vibraphone  interspersed with the occasional emphatic cymbal crash or fuzzy wash of low-register synth. The album’s final track is a new version of a collaboration with Brooklyn Rider that originally appeared on the quartet’s 2010 album Dominant Curve, alternating between raptly inmersive atmospherics and edgy interplay between the quartet and the wood flute, a shakuhachi concerto of sorts.

Brooklyn Rider’s Latest Album Capsulizes Their Paradigm-Shifting Sound

For the past few years, Brooklyn Rider have pushed the envelope pretty much as far as a string quartet can go, and in the process have raised the bar for other groups: they transcend any preconception about what serious composed music is all about. Their latest album, The Brooklyn Rider Almanac – streaming at Spotify - is their most ambitious effort yet, and may well be the one that most accurately captures what the group is all about. They draw on a wide composer base, including their own members, an A-list of mostly New York-based players and writers across the musical spectrum, from indie classical to Americana to rock and now even jazz.

It’s also a dance album in many respects – pianist/flutist Diana Wayburn‘s similarly eclectic Dances of the World Chamber Orchestra also comes to mind. Beyond the rhythms – everything from funky grooves to waltzes and struts and the hint of a reel or a stately English dance – dynamics are everything here. The pieces rise and fall and shift shape, often with a cinematic arc. The first track is Rubin Kodheli‘s Necessary Henry!, the group – violinists Johnny Gandelsman and Colin Jacobsen, violist Nicholas Cords and cellist Eric Jacobsen – establishing an ominous/dancing dichotomy out of a stormy intro. It may have originally been written for Kodheli’s snarlingly majestic cello metal band Blues in Space.

Maintenance Music, by Dana Lyn shifts from a lustrous fog with distant echoes of Pink Floyd’s Wish You Were Here to a slow waltz and then a chase scene – it’s the most cinematic piece here. Simpson’s Gap, by Clogs‘ Padma Newsome makes a good segue, an Appalachian ballad given bulk and heft with fluttering echoes, as if bouncing off the mountain walls and down into the valley below.

The Haring Escape, by saxophonist Daniel Cords veers from swaying, echoing funk, to slowly shifting resonance, to an aggressive march. Aoife O’Donovan’s Show Me is akin to something Dvorak would have pieced together out of a gentle Hudson Valley dance. Jazz pianist Vijay Iyer‘s Dig the Say gives the quartet a  theme and variations to work, a study in counterrythms, funky vamps bookending a resonantly atmospheric interlude.

There are two pieces by indie rock drummers here. Deerhoof’s Greg Saunier – most recently witnessed  trying his best to demolish the house kit at Glasslands a couple of weeks ago – contributes the most minimalist piece here, Wilco drummer Glenn Kotche’s Ping Poing Fumble Thaw being more pointillistic. The album continues on a kinetic path from here until the very end, through Ethan Iverson‘s Morris Dance – which blends contrastingly furtive and calm themes – then Colin Jacobsen’s Exit, with Shara Worden on vocals, a triumphantly balletesque, swirling, rather Reichian piece. The most rhythmically emphatic number here is by Gonazlo Grau, leader of explosive psychedelic salsa band La Clave Secreta. After Christina Courtin’s raptly atmospheric Tralala, the quartet ends with a warmly measured, aptly pastoral take of John Steinbeck, by Bill Frisell.

A Long Overdue Appreciation of a Great Defunct Powerpop Band

In a career that spanned the better part of three decades, Skooshny played a grand total of one live gig. It was an Arthur Lee benefit.

That pretty much sums up what this band was all about. But a lack of gigs didn’t stop them from making great albums. Frontman/guitarist Mark Breyer, guitarist/bassist Bruce Wagner and drummer David Winogrond started right around the time punk was getting off the ground, finally packing it in sometime in the late zeros. Undeterred, Breyer continues as Son of Skooshny, releasing both new material and somewhat more lush versions of old Skooshny favorites. For a taste of where this cleverly lyrical, purist tunesmith is these days, check his Bandcamp page.

Although their substantial catalog is still in print, probably the best introduction to the band is their lavish 2004 best-of collection streaming at Spotify, coyly titled Zoloto, Russian for “gold” (the band name means “boring”). As you might expect, they have a cult following in Russia, and for many years were popular with the Bucketfull of Brains crowd. The songs span the band’s career, beginning in 1978, although the tracks don’t follow any kind of chronological sequence.

As a singer, Breyer pushes his airy voice to the limit without breaking: craft is one of this band’s defining qualities. Wagner is the rare guitarist who knows that less is more, and Winogrond’s stadium-riser drums are integral to the group’s often majestic sound. Lyrically, Breyer writes in the same vein as Elvis Costello or Steve Kilbey: he can’t resist a double entendre or a wry pun. And like those two, he’s a psychopathologist, dissecting relationships with a finely honed scalpel.

Alcohol is a frequent prop in Breyer’s bitter tableaux, right from the first few lines of the wickedly catchy Even My Eyes, which borrows an old Alice Cooper riff and reinvents it as vintage Cheap Trick-style powerpop. Flawed depicts a romance that was doomed from the start, over a tune that would be perfectly at home in the Marty Willson-Piper catalog.

Beautiful Bruise has a tasty blend of twelve-string and electric guitars, a ponderous waltz beat and a painterly (pun intended) Breyer lyric. The band bring in wistful Britfolk ambience with Sad Summer Spring and follow that with the even more gorgeously melancholy Holy Land, a vividly metaphorical passenger’s tale. Private Jokes nicks a classic Elvis Costello riff and beefs it up: it’s the hardest-rocking track here other than Masking the Moon, which finally goes over the edge into raw rage.

Science Changes Everyone has one of Breyer’s more clever lyrics…and a trick ending that totally blindsides you. The Water Song is the saddest number in the collection: it’s something of a more low-key update on the Stones’ Paint It Black. I See You Now maintains a jangly, Churchlike melancholy edge, while Ceiling to the Lies is the closest thing to 70s radio rock here.

Wagner takes over vocals on No Life Story, which could be a Stiv Bators ballad, and the epically aching, intense, Kevin Ayers-ish  Lullabye. And Michael Penn makes a guest appearance, playing jaunty chamberlain – which sounds like the flute setting on a mellotron, appropriately enough – as well as bass on the low-key Dessert for Two, which he also produced. It makes a good segue with Mike Thompson’s organ intro on the otherwise much more roughhewn It Hides More Than It Tells, the first of the 1978 tracks.

I Never Change My Mind sounds like the Church circa 1984 covering a catchy psych-pop hit from 1967 or so, while You Paint My World evokes that band’s jangly originals from the 80s, particularly when Wagner’s solo kicks in. And the guitarist also wails on the snarling post-Byrds anthem Crossing Double Lines. The last of the 25 tracks here is Clicking My Fingers: “Sterno in a paper cup, drink up, we’re having a party,” Breyer sardonically orders over a backdrop that’s part Byrds, part Magical Mystery Tour. Including an unexpectedly elegant cover of Davie Allan & the Arrows’ psychedelic pop classic Angel with a Devil’s Heart makes sense especially considering Wagner and Winogrond’s longtime membership in Allan’s band. What’s most striking about these songs is how consistent they are: clearly, the three had a vision and stuck with it throughout a career that deserves more than cult status.

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