Janel & Anthony Headline a Darkly Enveloping Night in Gowanus
Astonishingly eclectic, tuneful guitarist Anthony Pirog is doing double duty at I-Beam in Gowanus on Dec 12. He’s opening at 8:30 with the album release show for his Bill Frisell-influenced debut as a bandleader, Palo Colorado Dream, with bassist Michael Formanek and drummer Ches Smith. That’s Pirog in jazz mode. After that, he’s doing a second set at 10 as half of lushly enveloping, broodingly cinematic duo Janel & Anthony with cellist/multi-instrumentalist Janel Leppin; cover is $15. Their most recent album is Where Is Home, which Cuneiform put out a couple of years ago.
In addition to guitars – which he frequently loops – Pirog plays electric sitar. Leppin plays cello (including a specially modified model with resonating, sympathetic strings, like a sitar), but also sarangi, sarod and various keyboards, many of them processed for extra atmospheric sweep. Yet as indelibly associated with Indian music as many of those instruments are, the pieces here are closer to Brian Eno, or Angelo Badalamenti – or, Bill Frisell, in the case of the ornately shapeshifting, brightly jangling opening piece, Big Sur (which for the record came out before the Frisell album of the same title). The album plays like a suite, many of the tracks segueing into each other, others separated by brief, lingering, occasionally Lynchian improvisations.
Leaving the Woods bookends a balmy, summery interlude with apprehensively vamping chromatics that would make a good horror film theme. Mustang Song is a wounded, moody, expertly assembled piece of guitar cinematics with judicious ambient touches. A Viennisian Life blends pensively ambered cello with gamelanesque ripples. Broome & Orchard begins as a somberly bluesy 19th century gospel-inflected tune and shifts to similarly downcast folk noir – a long history of Gotham decline, maybe?
The album’s final fullscale instrumental, Where Will We Go sets Pirog’s apprehensive fingerpicking and slide work over ominously cloudy atmospherics. There’s also a waftingly horizontal interlude livened with backward-masked guitar and a stately rainy-day one-chord guitar-and-cello jam with subtle variations. The backstory behind the album is an all-too-familiar one. Leppin’s childhood home – a bucolic summer camp in the Washington, DC suburbs – was sold and then bulldozed in order to pave the way for McMansions.