New York Music Daily

Global Music With a New York Edge

Tag: noir music

Two Killer Singles and Some Comic Relief

Parsing the torrents of singles and videos that have come over the transom here in search of the very best ones: you’ll see some here every day until the tank is finally empty. Today’s first gem is a ten-minute art-rock epic, Call It Whatever by London band Santa Semeli & the Monks. It starts out like it might be just another moody Radiohead wannabe number, but hang with it as it hits a punk-inspired noir cabaret peak. Lots of eclectic stuff on this same soundcloud page, from quirky postpunk to more ornate material like this.

Joanne Weaver’s Golden Earrings is a luridly Lynchian three-minute masterpiece, torchy Vega noir pop with unexpected sonic flourishes like an eerie guitar track running through a watery Leslie speaker (youtube).

And for some comic relief, what would you think of a reggae song by Oasis? The Jackals offer one possible answer (soundcloud).

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.

Two Cool Singles and a Funny Video

A lot of people send  videos and singles here. Most of those folks aren’t playing New York anytime soon, so those videos and songs sit…and sit…and sit. While it’s not likely that any of that stuff is going to go stale, there comes a point where it’s old news…meanwhile, all those songs are screaming to be heard. Songs are like people, you know?

So over the next few weeks, prepare to be bombarded by a steady stream of them, a few at a time, so as to keep you entertained without being overwhelmed. Here we go!

The Chemistry Set reinvents the Hendrix classic Love or Confusion as an Indian jam (soundcloud)

Mail the Horse’s Yer So Gone is a Rhodes-fueled noir blues song with some killer unhinged Steve Wynn style guitar (also soundcloud).

And here’s a LMFAO moment via youtube: watch the bartender pour the world’s shittiest drink at :39. The crappy autotune pop song isn’t worth hearing, but that scene is priceless.

Different Styles, Same Cruel City

Don’t believe the hype: The corporate media may gush about all the twee tourist traps, and the NYPD brass may perform all kinds of statistical voodoo to help keep the real estate bubble going, but New York remains a dangerous city. There are two new singles out that reflect that, very memorably, and neither is the slightest bit nostalgic.

Give Trigger Me by the Rebel Factory a spin. Co-written by guitarist Joe Nieves and his late brother Gus – a Vietnam veteran – it slowly builds a menacing late 70s Lower East Side ambience. A slowburning, noisy guitar solo takes it to an incandescent peak, like the Dead Boys but slower and more focused. Nieves’ ominous baritone drives this doomed story home.

Fly Free, by New York rapper Curzon, is just as haunting. Over producer Canis Major’s moody, vintage RZA-style backdrop, Curzon traces a death-obsessed narrative from the streets to his own family. As a lyricist, he’s more concerned with telling a story, painting a picture, than he is with verbal gymnastics, closer to Guru than Biggie (although each seems to be an influence). We need more smart wordsmiths like this guy.

Yet Another Great Noir Album and a Rare NYC Show from Punk Jazz Legends Iconoclast

New York punk jazz group Iconoclast’s latest album Naked Rapture is a masterpiece of noir, a sound they’ve been mining since the 80s. Much of it is a cleverly assembled theme and variations based on a brooding, utterly abandoned Julie Joslyn alto sax theme, interspersed among short pieces as diverse as a stripped-down reimagining of Dizzy Gillespie’s A Night in Tunisia, a jazzed-out version of Chopin’s Revolutionary Etude (the only two covers among 25 tracks) and a deliciously acerbic sendup of takadimi drum language. Saxophonist/violinist Joslyn‘s evocation of the quintessential solitary busker, back up against a midtown brickwall sometime after midnight, serenading herself with a rapt, bittersweet beauty (heavier on the bitter than the sweet) is picture-perfect, unselfconsciously plaintive and worth the price of admission alone. She and her conspirator, drummer/pianist Leo Ciesa are playing a rare New York show this Friday, Oct 17 at 7 PM at Michiko Studios, 149 W 46th St.

Joslyn, for the most part, maintains a stiletto clarity on the sax, occasionally diverging to a haphazard wail, or creepily cold and techy when she hits her pedalboard. She plays violin less here than on other Iconoclast albums, using the instrument more for atmospherics or assaultiveness than for melody. Ciesa is a similarly nuanced player, even though he may be best known for his ability to summon the thunder (he also plays in long-running art/noise band Dr. Nerve). In addition, he provides alternately moody, resonant, Satie-esque or rippling, hammering Louis Andriessesn-ish piano and keyboard loops here and there.

The album is best appreciated as a suite, a single, raindrenched, wee-hours urban mood piece rather than a series of discrete tracks. Dancing, furtively stalking motives hand off to more austere, poignant passages. Ciesa leaps and bounds through the more jaunty parts, but he’s always there with a muted roll of the toms or a skull-cracking thud to signal a return to the mystery. There are also occasional moments of humor, a death-obsessed, Burroughsian jazz-poetry piece, and a hint of gamelanesque mayhem. It’s a Sam Fuller film (or Manfred Kirchheimer doc) for the ears. Now where can you hear this sonic treat? Right now, live, all the more reason to check out the show if dark cinematic sounds are your thing. There’s also plenty of audio and video documentation of the band’s career at their webpage.

Ciesa also has a solo drum album out that on face value might only be of interest to his fellow drummers – which it assuredly is, but is also a must-own for anyone who records music. Can’t afford to hire Ciesa for a record date? No problem. There are so many good, swinging beats here, from the simple and relatively four-on-the-floor to more complex and thought-provoking, perfectly suitable for innumerable projects across many genres.

The Year’s Best New York Rock Show Happened in Queens Last Week

The best New York show of 2014 happened last week at Trans-Pecos. There’s no way anybody’s going to top the quadruplebill of art-rock cellist-singer Meaner Pencil, charismatic Great Plains gothic bandleader Ember Schrag, the starkly entrancing duo of guitarist Mary Halvorson and violist Jessica Pavone and the darkly psychedelic Christy & Emily. After the show had finally ended, the challenge of getting home from Ridgewood at half past midnight seemed pretty much beside the point. Nights like this are why we live here instead of in New Jersey.

Meaner Pencil takes her stage name from the online anagram generator. Her music is plaintive and poignant but also occasionally reveals the kind of quirky humor that you would expect from someone who would do that. Or, from someone who honed her chops and her ability to hold a crowd by playing in the subway. This crowd responded raptly – you could have heard a pin drop as she sang in the arrestingly bell-like, soaring voice of a chorister, playing solo on her cello with a elegant, minimalistic blend of gentle plucking and bowing. Her second song, with its sadly tolling, funereal chords and hypnotically drifting sense of resignation, was a quiet knockout. Longing, alienation and abandonment were recurrent themes, set to slow tempos with the occasional hint of renaissance plainchant, pansori stateliness, and maybe Stereolab. And there was a riff-based art-rock piece that wouldn’t have been out of place in the Serena Jost catalog.

Ember Schrag’s albums have a similar kind of low-key, lustrous elegance, but with a more distinct Americana flavor. Onstage, she leads a fiery, virtuosic art-rock band who are unrivalled in all of New York. Drummer Gary Foster established an ominous tone with rolling toms and deep-fog cymbals in tandem with bassist Debby Schwartz as their hypnotically rumbling first number, The Real Penelope got underway. Schrag varied her vocals depending on the lyrics, from austere on this particular one, to torchy, gritty and often downright haunting, playing nimble rhythm on a beautiful vintage Gibson hollowbody guitar while lead guitarist Bob Bannister aired out a deep vault of eclectic licks. In this case, he started out with wry wah-wah and ended up ankle-deep in murky surf.

They followed with the bittersweet, trickily rhythmic, distantly Beatlesque Sandhill/Seaside: “Is it worse to kill a god or kill a child?” Schrag challenged. Tell Me a Nightmare blended sardonic ba-ba harmonies into its lushly theatrical sonics, the band joined by a string trio featuring both Pavone and Lenna M. Pierce (an anagram of Meaner Pencil) as well as violinist Sana Nagano, playing an arrangement by June Bender.

From there Schrag led the band into a wickedly catchy, waltzing Celtic-tinged anthem, The Plant & the Seed and then the menacingly sensual, carnivalesque 60s psychedelia of As Birds Do. Schrag dedicated William for the Witches – not the first Macbeth-inspired song she’s written – to “all the Republicans back home,” ramping up the menace several notches with her litany of spells as Bannister veered from monster surf, to ominous jangle, to a little skronk. They went back to Nashville gothic with Sycamore Moon, lowlit by Bannister’s blue-flame slide work and closed with a sardonic art-pop anthem, Virgin in the Shadow of My Shoe that would have fit well in the Hannah Fairchild songbook. There is no more interesting, intelligent rock songwriter than Ember Schrag anywhere in the world right now. To put that in context: Steve Wynn, Richard Thompson, Paul Wallfisch and Neko Case, scooch over and make some room for your sister.

Flipping the scirpt and putting Halvorson and Pavone next on the bill was a smart piece of programming: it kept the intensity at redline even as the idiom completely changed. They’re two of the world’s foremost improvisers, yet what they played seemed pretty much composed. An alternately lively and broodingly conversational repartee between Pavone’s meticulous, elegant washes and biting, austere motives, and Halvorson’s similarly precise, pointillistically rhythmic tangents took shape immediately and kept going. Like the night’s opening act, a feeling of unease pervaded the duo’s short, two-to-three-minute pieces, both instrumentals and moody vocal numbers, yet there was subtle, sardonic humor that bubbled up from time to time as the melodies and voices intertwined. A distantly Balkan-tinged instrumental, Halvorson bobbing and weaving through the flames shooting from Pavone’s viola, was the high point of the set.

Guitar/keyboard duo Christy & Emily opened with a droning, pitchblende organ dirge that was a dead ringer for the Black Angels, but with better vocals, enhanced by a harmony singer who contributed to several songs. Christy stabbed against Emily’s neo John Cale drone, All Tomorrow’s Parties without the drums, so to speak. At one point Emily played nimble broken chords in her lefthand on the organ while hitting a boomy tom-tom – crosshanded, without missing a beat. Cheery, clear vocals contrasted with the enveloping ultraviolet sonics as the show went on, Emily’s sometimes minimalisticaly echoing, sometimes ornately neoromantic phrases counterbalanced by Christy’s off-the-rails attack on the frets. They wound up the show with a Lynchian Nashville gothic ballad and then a more lighthearted, bouncy singalong. Schrag has another full-band show coming up in Greenpoint next month while Pavone can be found next with Clara Latham’s Same Size at Radio Bushwick a couple of days from now, on Oct 16. Halvorson is at the Firehouse Space on Nov 6 with Dan Blake and Sam Pluta.

A Haunting New Album and a Rockwood Show from Mark Rogers & Mary Byrne

Mark Rogers & Mary Byrne‘s haunting, plaintively lyrical debut album I Line My Days Along Your Weight is a masterpiece of folk noir, one of the best releases of 2014. They’re playing the album release show on Oct 14 at 6 (six) PM at the small room at the Rockwood and one of the reasons why they’re doing it that so soon after work is that you’ll probably be hungry by 7. So they’ll have pizza at the little bar next door, just to the north, where reduced drink specials are also promised. But don’t go for dinner, go for the music. Their recent impromptu show uptown at the American Folk Art Museum turned out to be one of the most enjoyably intense sets witnessed by this blog in recent months.

The two make a good and rather striking pair. Byrne is wiry and determined, with a thousand-yard stare. Rogers is big, rugged and fixated on taking his formidable guitar chops to a new level. Neither are newcomers. She cut her teeth in hypnotic, lo-fi Atlanta band Hot Young Priest, while he was part of the core of brilliant southwestern gothic band Myssouri. Their new album – recorded more-or-less live to analog tape and streaming at Athens music blog Flagpole Magazine – opens pensively with the evocatively brooding First Fall Nights. Byrne’s voice has a distinctive, unselfconsciously down-to-earth quality reminiscent of Paula Carino and this is a prime example.

Hospital keeps the grey-sky atmosphere going, a lush intertwine of fingerpicked guitars underpinning the menace implicit in Byrne’s narrative, Rogers adding one of his signature terse, rustically blues-infused resonator guitar solos. And he plays biting, catchy hooks on a hundred-year-old mandolin on When Your Elders Are Tall, something of a more hypnotic take on the Handsome Family.

With its moodily vamping minimalist ambience, A Racing Heart brings to mind Randi Russo, Rogers capping it off with a glimmering Middle Eastern-tinged solo. The even more hypnotic Green Gold Violet paints a wounded late-afternoon tableau, Rogers’ luminous dobro paired against Byrne’s tensely fingerpicked stroll. “Put a sticky there – honey,” Byrne reminds as the absolutely chilling, metaphorically searing A Gracious Host gets going: this remembrance has serious baggage.

Walk With Me pairs mandolin with more of that hypnotic, circular acoustic guitar. Cold Spring has a briskly scampering bluegrass shuffle groove: “I wanna go more north with you , where it’s more serious…where children run from dangers, only then when the wolves howl,” Byrne suggests. And then Rogers channels George Harrison.

With its torrents of doomed imagery, Sirens Call paints a haunting, indelible outer-borough New York nocturnal scenario: with Byrne’s nimble fingerpicking, it wouldn’t be out of place in the Linda Draper songbook. Rogers and Byrne revisit that milieu with the album’s closing cut, Sing a Fare Thee Well, the mandolin adding a surreal Macedonian edge. Play this with the lights out, late at night and discover two people who share your precarious world.

Melanie DeBiasio Brings Her Haunting Jazz-Influenced Sonics to the Rockwood

Belgian chanteuse Melanie DeBiasio explains her music not as jazz but as influenced by it. Whatever genre she may fall into – torch song, soul, blues, indie classical or rock – it’s unquestionably noir. Go to DeBiasio’s bio at her webpage and see how gratuitously one writer managed to wrap up his review with a bit of dialogue from the classic film noir Ascenseur Pour L’Echaufaud…and the irony is that the reference actually isn’t gratuitous at all! DeBiasio has a second album, No Deal, streaming at Spotify and an album release show on Oct 1 at 8 PM at the big room at the Rockwood. The show is free but you have to rsvp to burexny@gmail.com.

DeBiasio straddles the line between brassy and brittle on the album’s achingly brief opening track, I Feel You against minimalist piano and swooshy cymbals, capping it off herself with a lingering bass flute solo. Singing in English with a bit of a Wallonian accent, she slinks into noir blues (in 11/4 time), dancing drums contrasting with ominously echoing Rhodes piano, on the album’s second track, The Flow.

DeBiasio’s stoic but wounded vocals on the album’s rainswept title track draw a straight line back to one of her big influences, Nina Simone, while the terse, pensive piano and outro atmospherics look back to Pink Floyd’s Richard Wright. Resonant piano and brushy drums build a Lynchian suspense on the instrumental With Love, followed by the swaying, syncopated noir blues Sweet Darling Pain, another vividly Nina Simone-influenced, hypnotic one-chord jam of sorts. Then DeBiasio does the same thing with I’m Gonna Leave You, a woozy electronic loop oscillating in the background. The album’s final, longest and most minimalist cut is With All My Love, eight-plus minutes of resignation and apprehension from DiBiasio against a brooding backdrop of spacious, distantly eerie drum rolls, piano and electronic atmospherics. Monochromatic? Absolutely: black and white and every shade of grey, like a good film noir.

JD Wilkes Brings One of His Great Bands to the Knitting Factory

Isn’t it cool when a band lives up to the name they have the balls to call themselves? From the early zeros through about the turn of the past decade, high-voltage Nashville gothic band the Legendary Shack Shakers became a cult favorite and a popular draw on the midsize club circuit. Lately frontman JD Wilkes, one of the real mavens of punk blues and Americana, has concentrated on his other, more blues-oriented project the Dirt Daubers. Wilkes’ latest Cheetah Chrome-produced recording, Wild Moon, features that appropriately named band (a dirt dauber is a particularly vicious wasp native to the Bible Belt), but most recently he’s been back with the Legendary Shack Shakers for a couple of tours, with an upcoming show on 9/11 at around 10 at the Knitting Factory. Tix are $14.

The new Dirt Daubers album – which other than a single Youtube clip of the title track, isn’t due out til Sept 24 – opens with a brief, brisk instrumental, Rod Hamdallah’s frenetic guitar intertwining with Wilkes’ Little Walter-style chromatic harp. Wilkes’ wife Jessica sings the swinging, snarling, noir gutter blues Apples & Oranges, with its Iggy Pop references and vernacular lyrics:

You can follow me down, hold my feet to the fire
Turn my pockets inside out
You know I’m in for a penny, down for a pound …
I’m taking my debts to the afterlife

With its screaming, bent-note Hamdallah guitar and twisted fire-and-brimstone imagery, the album’s title track continues in a careening noir blues vein. Drive brings to mind New York gutter blues band Knoxville Girls, but with better production values, another droll Iggy quote and a brief, gritty Wurlitzer solo from the frontman. His wife sings the shuffling No Rest for the Wicked, her seductive lyric contrasting with all the creepy guitar chromatics.

Wilkes’ low, haphazard minor-key piano adds to the doomed ambience on the suicide ballad No More My Love. Angel Crown brings to mind early Jon Spencer in simmering, low-key mode, with a creepy lyric about a dead baby underscored by echoey chromatic harp and Hamdallah’s broodingly rustic series of chords. Let It Fly is much the same but faster, followed by the torchy, lurid Clairy Browne-ish shuffle You Know I Love You, with more of that red-neon piano and smoky baritone sax from Tom Waits sideman Ralph Carney.

The macabre stomp Hidey Hole is the album’s creepiest track – what’s down in that hidey hole, anyway? – an appropriate place for Hamdallah to fire off his most memorable, menacing guitar solo. Throughout the album, there’s more than a hint of hypnotically unwinding Mississippi hill country blues, especially on Don’t Thrill Me No More, which is basically a long, moody one-chord jam.

River Song brings back a punk blues bounce, like a more lo-fi take on what Dylan did on Love & Theft. The album winds up with God Fearing People, which sounds like Smokestack Lightning at triplespeed. Dark, offhandedly savage, lo-fi electric blues doesn’t get any better than this. It wouldn’t be out of the question to hope for some of this stuff at Wilkes’ show at the Knit with his old band.

Alice Boman Brings Her Creepy Music to a Creepy Neighborhood

Alice Boman comes across as sort of a Nordic Julee Cruise, the Lynch girl at the bottom of the well. She’s got a new ep, her second, streaming at her Tumblr and a New York show coming up on Sept 14 at Baby’s All Right in Bed-Stuy sometime after 10, where catchy Seattle retro 60s psychedelic sunshine-pop band Tomten are opening the night at 8.

The new record’s first cut, simply titled What, sets the stage. There’s reverb on literally everything, lots of it – the piano, the ghostly vocals and the low-string guitar that hits on the beat, Angelo Badalamenti soundtrack style. All that reverb gives an orchestral lushness to what’s an otherwise very crystallized, simple tune.

“You know I need the darkness just as much as I need the light,” Boman intones as Over gets underway, funeral parlor organ swirling eerily over a simple, scratchy percussion track that sounds like an early 1970s drum machine. Burns is an airy, hypnotically minimalist piano-based lament, while Be Mine sets more of that funeral organ and electric piano over white-noise drum brushing and a similarly atmospheric, red-neon horn arrangement.

“Don’t know where I’m going, but I’m not alone,” Boman half-whispers on Lead Me, a diversion into folk noir. The last song on the ep is All Eyes on You, a portrait of longing and the most Julee Cruise-influenced song here. Boman also has a previous ep that’s even more lo-fi and minimalist. It’ll be interesting to see how much of this ambience Boman can replicate in a lo-fi ghetto space – this may take on the even more skeletal, minimalist feel of Boman’s debut ep.

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