Considering the Butcher Knives’ and Dirty Bourbon River Show’s output on record so far, you might think that their twinbill tonight at the Knitting Factory – which starts at 8:30 PM for a $12 cover – would be a bad segue. But it isn’t. The openers’ guitar-driven, minor-key Gogol Bordello-style Romany rock makes a good setup for the New Orleans band’s more rustically raucous, canivalesque sound.
The Dirty Bourbon River Show’s latest album, The Flying Musical Circus, is aptly titled and streaming at Bandcamp. To sum things up, the brass-fueled five-piece group tackles Balkan and circus rock, reggae, Beatlesque psychedelia, soca, mariachi, oldtimey swing and gospel and pulls it off. If there’s a style of music that they can’t play, it probably hasn’t been invented yet. The opening track, Passion, is a brassy Balkan reggae tune, the bassline held down by Jimmy Williams’ sousaphone. Waltzing along with Noah Adams’ strutting electric piano and a dixieland-flavored horn chart, The Cruel and Hollow Fate of Time Travel takes an unexpected detour down a wormhole into Sergeant Pepper-era Beatles psychedelia.
“Everybody’s coming to my party, but I’m not fucking going to that party,” Adams insists in the funky All My Friends Are Dead. Matt Thomas overdubs cheery soca sax harmonies in Knockin’ on Your Headboard: it’s about watching out for “your crazy-ass dad and your crazy-ass mama,” who’d spoil the party if they could. My Name Is Soul is a scampering, surreal turn back to Balkan circus rock: “I’m in your mouth, I’m on your tongue, but you don’t know me,” you get the picture.
Hidalgo’s Lament is an unexpectedly biting, bittersweet, slowly swaying mariachi tune with a tantalizingly brief Adams accordion solo midway through. The steamboat soul tune Poor Boy, Rich Girl is as funny as you would expect: “Every leperchaun loves gold…you’re a circus, cartwheeling with no purpose.” Shark Belly, a pulsing Romany rock anthem, is even funnier: unleash your inner ten-year-old and laugh along with Adams’ litany of obscenities, echoed by the band, on the second verse.
Nick Garrison’s snaky trombone and Scott Graves’ tumbling drums anchor Roll It Around, a high-voltage stoner Balkan brass number. The album winds up with the gospel-infused title track, awash in mighty tasty horn harmonies, Adams’ accordion swirling amidst the storm. Definitely one of the ten best and most consistently fun albums to come over the transom here this year.