The Elgin Marbles Bring Their Wickedly Catchy, Psychedelic Jangle and Clang to Bushwick
What is up with this week? Suddenly it’s 2019 again. There are more great multiple-band bills around New York than there have been in, um, years. Wonder why that is?
The best of the bunch is at Gold Sounds on March 18 and starts anticlimactically at 8 with psychedelic janglerock guitar goddess Barbara Endes’ band Girls on Grass, followed by cult supergroup the Elgin Marbles, who play the wickedly catchy, serpentine songs of bandleader/guitarist Dann Baker’s previous outfit, Love Camp 7. Up next are Canadian country crew the Pickups and then Cementhead, who enjoyed a good run (and a revolving door of band members) as one of the few memorable indie bands in New York in the late 90s and zeros. Cover is $12, dirt cheap for a lineup of this caliber.
This blog was in the house for one of the Elgin Marbles’ first shows, at Troost in Greenpoint in August of 2019. It was a psychedelic janglefest. Bassist Dave Mandl did his usual swoop-and-dive routine where Love Camp 7’s late, great Bruce Hathaway would have punched in with his judicious, melodic lines (Hathaway was also a first-rate composer of new classical music: let’s hope his orchestral scores will someday resurface somewhere).
Drummer Heather Wagner had the hardest job of all. Negotiating the late, great Dave Campbell’s labyrinthine lines with any similar kind of flair would have been a steep learning curve under any circumstances, but she was up to the challenge and was relentless about it. The addition of Greek/Cypriot surf band the Byzan-tones‘ guitarist and bandleader George Sempepos added to the intricate, starry lattice of sound. Baker balanced his erudite jangle and chime with the occasional, unexpectedly buzzy blast of noise to keep the crowd on their toes, when they weren’t hanging on his winkingly sly lit-rock lyrics and cat-ate-the-canary vocals. There seems to be only one video from the show that’s made it to the web, but it’s a good one, Sempepos’ jagged, spiky slide guitar over Baker’s slinky sway.