Gato Loco Bring Their Creepy Latin Cinematics to Williamsburg
Probably the best way to describe how Gato Loco has evolved is to call them a noir jamband. Which on one level might seem ludicrous: jambands tend to play upbeat, goodtime psychedelic music. Gato Loco, on the other hand, play slow, slinky latin themes that suddenly become bustling and frantic, stalkers on the run from the cops and maybe vice versa. They spent a lot of time developing that suspenseful dynamic at their show last month at Barbes. Frontman/saxophonist Stefan Zeniuk first conceived of the group as an all low-register combo playing 1920s era Afro-Cuban classics. Then they started writing period-perfect originals, then branched further out into cinematic territory. Much as the first version of the band was an awful lot of fun, this is the best edition yet. They’re headlining a somewhat unlikely but solid twinbill on July 19 at around 9:30 at Brooklyn Bowl, with the considerably sunnier but similarly eclectic Tuelo & Her Cousins, who mash up jangly guitar pop with retro soul, opening at 8 PM. Cover is $8, which is two bucks cheaper than the ten bucks for the Barbes tip jar: two bands this good, what a deal!
Zeniuk has never written better or more murderously. The highlight of their set in Park Slope turned out to be Liar, a slowly crescendoing, boleroish noir cabaret theme, like Beninghove’s Hangmen at their most epically focused, or Big Lazy about fifteen years ago, when they were more likely to cut loose with a longscale jam. To compare this band to those two cult favorites isn’t overhyping them: Gato Loco have always been a lot of fun, but they’ve never been this fun before.
Gato Loco’s belated album release show for their mighty Enchanted Messa (a reimagining of the Verdi Requiem), at Joe’s Pub back in January, was more of a dark carnival, with a guerrilla team of baritone saxophonists leaping out of the audience to bolster the group’s low-register sound at optimum moments. The Barbes set, by contrast, was more creepily cinematic, awash in long tangents rising out of ominously catchy themes. “Tuba Joe” Exley held down the low end while Zeniuk switched between bass and tenor saxes, leading the horns through tightly biting minor-key mambo and bolero riffage, trombonist Tim Vaughan wailing with a majestically bluesy intensity while drummer Kevin Garcia added all kinds of evil rattletrap accents. Guitarist Lily Maase ranged from terse, acidic jangle, to some straight-up hard funk, to a Hendrixian tsunami of noise and meticulously rapidfire volleys of notes. Having her and Vaughan out in front of the band have really transformed this group’s sound: if darkly energetic cinematics are your thing, miss this show at your peril.