Murder and Mayhem in Brooklyn, Again
One of Brooklyn’s most unique music scenes is growing in the wilds of Fort Greene, where noir chamber pop connoisseurs Charming Disaster – Ellia Bisker of the darkly catchy Sweet Soubrette and Jeff Morris of the lushly orchestrated, latin-tinged, phantasmagorical Kotorino – host a monthly salon where artists from many different genres get together to explore the darkest side of songwriting. It’s only fitting that the latest installment of Murder Ballad Mondays would take place on the darkest day of the year, this December 21 at 8 PM at Branded Saloon. Featured artists include enigmatic art-rock cellist/chanteuse Serena Jost, haunting High Plains gothic songstress Karen Dahlstrom (of folk noir stars Bobtown), the luridly theatrical, Brechtian Orphan Jane, Americana singer-songwriters Karen Poliski and Terry Radigan and others.
One explanation for the monthly extravaganza’s popularity could be that the artists here don’t limit themselves to old Appalachian folk songs or Child ballads. They’re pushing the limits of how far murder ballads can go: who knows, maybe this could become more than a demimonde. As the turnout here proves, there’s no shortage of material, not to mention people who like creepy music. This past month’s lineup, in particular, featured some of New York’s elite songsmiths, who turned in some pretty amazing performances.
Jessi Robertson, with her impassioned, otherworldly, rustic blues voice, got the night started on a strong note with a morosely stately waltz. “Should have burned it to the ground, dance in the dark…it’s a sad old story,” she intoned, low and gloomy. Then she referenced Thomas Hardy’s Tess of the D’Urbervilles over a mesh of watery, open guitar chords.
Sharply literate Americana parlor pop chanteuse Robin Aigner followed with an almost gleeful take of Delia’s Gone – springboarding off the Johnny Cash version – and then reinvented Neil Young’s Down By the River as a brooding minor-key waltz. In between, she sang a brand-new song, a swinging, catchy oldtimey strut: “I can’t shut you up, I can’t shut you out but I can shoot you and put you in the ground,” she grinned, explaining that the victim was a composite of ex-boyfriends rather than a specific individual. Yikes!
Jessie Kilguss made her US debut on harmonium (she played it on her most recent European tour) on a riveting, soaringly enveloping take of the Nick Cave version of the old standard Henry Lee. as well as making her way through a rapt, stark take of an original, Hell Creek, backed by guitarist John Kengla’s icy, late Beatlesque chorus-pedal guitar. Guitarist Arthur Schupach led his Donald & Lydia duo project through another take of Henry Lee, this one based on the Jolie Holland version. Speaking of which, that’s who Ellis Dodi frontwoman Erica Diloreto brought to mind, throughout a mix of material including a hilarious acoustic punk tune where she dropped a whole slew of f-bombs on a clueless ex.
Juliet Strong played kinetic, rippling gospel and ragtime-fueled piano on a couple of originals, while Charming Disaster tantalized the crowd with a single tongue-in-cheek number about a couple of ghosts in love, pulsing with intricate, sophisticated vocal call-and-response between Bisker and Morris. And a familiar bass face from the Lower East Side scene took a haphazard turn on piano, drawing some chuckles with a bitter 6/8 ballad about killing the tech-obsessed, micromanaging boss from hell. A ghoulabilly number about doing in the sleazy front guy from a hydrofracking operation didn’t go over as well. And a cover of a brand-new, as-yet-untitled Karla Rose & the Thorns serial killer narrative – done as a dirgey bolero with horror-film chromatics – capsulized the danger of a guy with Lou Reed vocal range plundering the repertoire of an immensely more powerful singer. Which speaks to Murder Ballad Mondays’ value as lab for experimentation as much as entertainment.