Darkly Intense Instrumentals from Lou Reed’s Last Great Lead Guitarist
Aram Bajakian was the last great lead guitarist in Lou Reed’s band. Since then, he’s shifted gears and gone on to play with Diana Krall. He’s also as strong and eclectic a composer as his background would suggest: a couple of years ago, he put out a fascinating trio album with with violinist Tom Swafford and bassist Shanir Blumenkranz that reimagined a series of old Armenian folk tunes. Bajakian’s new one, There Were Flowers Also in Hell (a William Carlos Williams quote), goes in a considerably different direction. It’s a feral, deliciously abrasive instrumental rock album, more informed by the blues than it is actually bluesy (although Bajakian is a strong and thoughtful blues player). This one again finds Bajakian leading a power trio, with Shahzad Ismaily on bass and Jerome Jennings on drums. It’s streaming at Bajakian’s Bandcamp page.
Bajakian nimbly weaves his way through many, many styles; he tends to work a concise, direct dirty/clean dichotomy. Ismaily is one of those rare players who listens in 360 degrees and improves everything he touches. As he does in Marc Ribot’s band, he excels at the dark, gritty stuff. Likewise, Jennings is an omnipresent, brooding. ready-to-pounce force at the low end. Much as everybody, especially the bandleader, can get completely unhinged, nobody wastes notes: for such a noisy record, it’s surprisingly focused.
The opening track is Texas Cannonball, which begins as lickety-split cowpunk and then gets all sludged out. One of Bajakian’s signature traits is that he can get just as wild and dirty (the crazed volleys of tremolopicking about two minutes in are only a hint as to how ferocious this album is going to get) as he can be expressive and lyrical. LouTone builds a clenched-teeth, apprehensively buzzing theme driven by Jennings’ leapfrogging, tumbling syncopation. Requiem for 5 Points, a somberly elegaic, minimalist piece, sets Bajakian’s lingering washes of sound over Ismaily’s stately, brooding, spacious lines.
Orbisonian, ablaze with a thicket of multitracked guitars, sounds like Big Lazy covering the Dead Kennedys, a contrast with the tender oldschool soul ballad, Sweet Blue Eyes, that follows it. Rent Party kicks off with a bouncy funk riff into a minor-key tune that’s part newschool Romany rock, surf music and Otis Rush blues – then they hit a long, surreal, muddy interlude reminiscent of 80s noiserock legends Live Skull as the bass growls to the surface. Bajakian then brings it down again with Medicaid Lullaby, a long, hypnotic tone poem that slowly develops a moody Middle Eastern-tinged theme.
Labor on 57th alternates between a hammering, anthemic, Darcy James Argue-like riff and noir surf. Japanese Love Ballad is a ghostly, spiky solo piece in the Asian scale that sounds like Bajakian is playing a resonator guitar with the strings muted. He picks things up again with the sardonic The Kids Don’t Want to Sleep, its growly, slowly simmering nocturnal groove bedeviled by flitting noise: all this pestering is driving dad nuts! The album winds up with For Julia, a spaciously pensive solo guitar sketch. Bajakian has made a lot of great music in recent years but this is some of his most interesting and adrenalizing – it’s one of the best instrumental rock records of recent years, hands down.