Dark Rocker Tim Foljahn Headlines an Excellent Kiam Records Night in Williamsburg
Much as CMJ just gets more and more pointless every year, there always seem to be a handful of fantastic multiple-act extravaganzas amidst the startstruck and the entitled and the dilettantes who haven’t yet gotten the message yet. And as much as most record labels have become just as pointless in this age of streaming, and endless touring, and licensing, there are a small handful who are actually artist-friendly and are doing good work. One of those is Jennifer O’Connor‘s Kiam Records, who are hosting an excellent multiple-band bill at Union Pool on October 14 that features vividly lyrical songsmith Amy Bezunartea at 9 PM followed by the wickedly tuneful, guitar-wielding O’Connor herself, and brillliantly dark, lyrical rocker Tim Foljahn headlining. Cover is $10.
Foljahn’s latest album – his first since his creepy 2012 psychedelic masterpiece Songs for an Age of Extinction – is titled Fucking Love Songs. It’s streaming at Kiam Records’ bandcamp page, a loosely thematic mix of brooding mood pieces that’s a lot more straightforwardly rocking than Foljahn’s more recent material. Prime example: the opening track, Wild Tonight. Who would have imagined Foljahn playing vampy, Stonesy Lakeside Lounge rock? He does here, expertly, his terse fretwork mingling with his fellow six-stringers Tom Beaujour and Smokey Hormel, O’Connor and Bezunartea adding period-perfect 70s Glimmer Twins harmonies.
Track two, Beloved, puts a reverb-drenched, Lynchian spin on a gentle Everlys-style waltz. Plain As Day works a snarling swamp-rock vamp that brings to mind Tom Shaner at his loudest and most agitated. Likewise, River follows a slow, nocturnal southern soul groove – with a fond nod back toward George Gershwin – simmering with echoey Rhodes piano and eerily watery, vintage chorus-box guitar. With its blackly smoking baroque organ and web of nimble acoustic fingerpicking, Legends explores love during wartime, hopg against hope.
Jon Langmead’s uneasily pouncing drums propel Étant Donnés (“Being Given”), an angst-fueled, catchy stomp that’s sort of a mashup of Arthur Lee and Matt Keating, with a guitar hook that might or might not be a sardonic Rick James reference. Beast reverts to moody soul-tinged balladry in the same vein as Steve Wynn or recent Richard Buckner. Sun Moon Thing reworks Iggy Pop’s Nightclubbing as a spare, lingering guitar blues.
Thanks adds distant gospel touches to luminous third-album Velvets folk rock. The album winds up with the unexpectedly if guardedly optimistic Garden Lady, which wouldn’t be out of place on the Jesus & Mary Chain’s Darklands album. Beyond the pensive lyrical theme, the connective tissue throughout this album is reverb, sometimes a little, occasionally a lot: it gives these carefully crafted, thoughtfully played songs extra sepulchral lustre. It’s good to see someone with such a vast and diverse back catalog as Foljahn – who’s played with everybody from Cat Power to Steve Shelley – still at the absolute top of his game.