New York Music Daily

Music for Transcending Dark Times

Category: nashvillle gothic

Understatedly Troubling Music For Troubling Times From the Nine Seas

Folk noir superduo the Nine Seas take their name from the long-defunct, legendary Alphabet City bar 9C, located at the corner of 9th Street and Avenue C. Years before Pete’s Candy Store was anything more than a numbers joint, and more than a decade before the Jalopy opened, 9C was New York’s ground zero for Americana music. That’s where Liz Tormes and Fiona McBain cut their teeth at the wildly crowded, weekly bluegrass jam.

In the years since then, both would become important voices in Americana, as solo artists and with other bands (McBain best known for her longtime membership in the gospel and soul-tinged Ollabelle). This project, which began as a murder ballad cover act, also goes back several years, attesting to the chemistry between the two musicians. Their long-awaited debut album Dream of Me is streaming at their music page. It’s a mix of originals and imaginative covers, the two singer-guitarists occasionally abettted by keys and horns.

Tormes’ first number, Am I Still Your Demon is the album’s quietly potent opener. It has a classic Tormes vocal trick that she’s used before (see the devastating Read My Mnd, the opening number on her 2010 Limelight album). J. Walter Hawkes’ looming trombone arrangement perfectly matches the song’s understated angst.

The duo reinvent the old suicide ballad I Never Will Marry with a hazy dreampop tinge, as Mazzy Star might have done it. They do E.C. Ball’s fire-and-brimstone country gospel classic Trials, Troubles, Tribulations much the same way. Here and throughout the record, Jim White’s spare banjo, organ and other instruments really flesh out these otherwise stark songs.

Likewise, his glockenspiel twinkles eerily in Go to Sleep, an elegaic Tormes tune. McBain’s I Really Want You is just as calmly phantasmagorical: it’s more about longing than lust. Then Oliver de la Celle ‘s Lynchian guitar and White’s banjo raise the menace in a radical reinvention of Charlie Rich’s Midnight Blues

The hypnotic version of the murder ballad Down in the Willow Garden, a concert favorite, is all the more creepy for the duo’s bright harmonies and steady stoicism, White adding airy pump organ. McBain switches to piano for the even more atmospheric, Julee Cruise-ish Where He Rests.

They wind up the album with a pair of covers. They transform Midnight, a bluesy, Jimmy Reed-style 1952 hit for Red Foley, into minimalist girl-down-the-well pop. And they remake Don Gibson’s Sea of Heartbreak as jungly exotica: nobody plays with more implied menace than the Nine Seas.

The album also includes stripped-down alternate takes of Trials, Troubles, Tribulations and Midnight Blues. Beyond this album, since they’re unable to play shows at the moment, the Nine Seas have a weekly webcast, the Quarantine Chronicles, where they run through many other songs from the immense dark folk repetoire they’ve amassed over the years.

Three New Singles For Tough Times

Every Friday night at 8, Charming Disaster’s web series airs at their youtube channel. Kotorino‘s Jeff Morris and Sweet Soubrette‘s Ellia Bisker started the project as a murder ballad duo and branched out to include both Kotorino’s latin noir and Sweet Soubrette’s dark folk and soul, among an increasing number of styles. Their latest single, I Am a Librarian is an elegantly waltzing throwback to their creepy early days. Are you awaiting the moment you make your escape? Charming Disaster feel your pain.

Smoota – the boudoir soul crooner alter ago of trombonist Dave Smith – also has a new single, Catch It! (The Coronavirus Boogie). It’s a great oldschool funk tune, but if you’re 65 or older, or immunocompromised, you, um, might want to think twice about this particular path to herd immunity.

Once and future HUMANWINE frontwoman Holly Brewer continues to release singles at a breakneck pace. The latest one is Good Ole Fashioned Protest Song, up at Bandcamp as a name-your-price download. Brewer has been a big-picture person for a long time: follow the money and you’ll find the perp, whether you’re talking about petty crime, or the nonsense coming out of the Oval Office.

The 50 Best Albums of 2019

This is a playlist, plus one last record at the very end that can’t be heard anywhere online but might be the best of all of them. You can listen to everything else here, almost all of it ad-free: it couldn’t hurt to bookmark this page.

Lots of triage was involved. A very ambitious listener with a dayjob that allows for multitasking can hear maybe eight or nine hundred new albums a year, all the way through. An insanely dedicated blogger can hear bits and pieces of maybe five thousand more. That’s about the limit of what one human can do. You may see a few stragglers here which were technically 2018 releases but got overlooked that year. If your favorite album from 2019 isn’t here, that doesn’t mean it isn’t any good…and it might just turn up here next year.

Other than the very top of the list, there’s no hierarchical ranking. Being chosen as the #50 band out of 50 is like getting picked last for kickball, and that’s kind of mean. Besides, if an album is one of the fifty best out of the literally hundreds of thousands released every year, it has to be damn good. Here we go!

Big Lazy – Dear Trouble
The subtlest, most desolate and ultimately most dynamic album from a group synonymous with cinematic noir menace. Guitarist Steve Ulrich’s sense of irony has never been more refined, and the rhythm section of bassist Andrew Hall and drummer Yuval Lion has never been slinkier. Ulrich is the only musician in history who has been on three albums rated #1 for the year here. Listen at youtube

Changing Modes – What September Brings
Best album of the year with lyrics, the New York art-rockers’ finest, most cinematic, and most political release, a savagely lyrical, spot-on reflection on Trump-era narcissism and repression, laced with shapeshifting instrumentals and frontwomen Wendy Griffiths and Grace Pulliam’s disquietingly lush harmonies. Listen at youtube

The Bright Smoke – Gross National Happiness
The title reflects frontwoman/guitarist Mia Wilson’s signature, withering sarcasm. It’s the band’s most savagely political record, a grimly allusive measure of Trump-era inequality, despair and resistance against all that, with a haunting Joy Division undercurrent. Listen at Bandcamp

Karen Dahlstrom – No Man’s Land
The best short album of the year, with metaphorically-loaded, sharply picturesque narratives referencing apocalypse, smalltown anomie, late-night despondency and a ferocious, defiant anthem for the Metoo era from the powerful Bobtown alto singer and Americana songstress. Listen at her music page 

Hearing Things – Here’s Hearing Things
The best debut albun of 2019, by Brooklyn’s funnest dance band, mashes up horror surt, Booker T & the MG’s, twisted go-go music, Afrobeat, Ethiopiques and the Doors, with organ, sax and surf drums. Listen at Bandcamp

The Dream Syndicate – These Times
Steve Wynn‘s iconic, feral, influential psychedelic guitar-duel band’s quietest, most allusively political and arguably most brilliantly lyrical album. Not bad for a group who put out their first record back in the 80s. Listen at youtube

Michael Winograd – Kosher Style
Unsurpassed for his sizzling clarinet chops, Winograd is also a very colorful composer. With sabretoothed chromatics and slashing minor keys, these new klezmer tunes run the gamut from blisteringly fun to mournful to sardonic, and the band is killer. Listen at Bandcamp

Raphael Severe with the Trio Messiaen – Messiaen: Quartet for the End of Time
Here’s another world-class clarinetist and ensemble playing an especially dynamic, inescapably vivid take on one of the most iconic, haunting pieces of classical music ever written (much of it composed in a Nazi prison camp). Riveting as it is, it raises questions as to how fair it is for this blog to rank it alongside the rest of the artists here. Listen at Spotify

Layale Chaker – Inner Rhyme
The brilliant violinist writes vivid, intense, often hauntingly beautiful compositions built around the rhythmic sophistication of classical Arabic poetry, equal parts Lebanese, Egyptian and western classical music, with occasional detours toward jazz or film score atmospherics. Listen at her music page

Los Wembler’s de Iquitos – Vision Del Ayahuasca
With almost all of their original members, this iconic psychedelic cumbia jamband from the heart of the Peruvian Amazon are as wildly trippy and original as they were fifty years ago. Along with Hearing Things‘ debut, this is the best party record of the year. Listen at Bandcamp

Miguel Zenon and the Spektral Quartet – Yo Soy la Tradicion
The formidable alto saxophonist teams up with one of the world’s edgiest string quartets for a mix of acerbic works with an unselfconsciously Bartokian intensity Listen at their music page

Rev. Screaming Fingers – Music for Driving and Film, vol iII (The Desert Years)
Dusky, loping southwestern gothic tableaux, twangy noir Americana, a little horror surf and ominous big-sky themes from these great guitar instrumentalists. Listen at their music page

Girls on Grass – Dirty Power
Like a female-fronted Dream Syndicate, guitar goddess Barbara Endes’ band rips through paisley underground psychedelia, spaghetti westen themes, snarling new wave and garage rock, with a defiant, politically fearless lyricism Listen at Bandcamp

Russ Tolman – Goodbye El Dorado
Jangly, vividly lyrical western noir rock: disappeances, shattered Hollywood dreams, dead-end kids who don’t have a prayer, and roadtrip anomie from the leader of 80s legends True West. Listen at youtube

Julia Haltigan – Trouble
Turns out that the torchy mistress of Manhattan noir is just as fluent with new wave and vintage CB’s-style powerpop, throughout these tales of nocturnal prowling in the East Village before it was yuppified and whitewashed. Listen at Bandcamp

The Felice Bros. – Undress
This could have been the great lyrical, populist record that Springsgteen made in between Born to Run and Darkness: surreal political broadsides, down-and-out characters and death lingering over everything. Listen at Bandcamp

Jay Vilnai – Thorns All Over
Poet Rachel Abramowitz supplies the lyrics for this haunting, mysterious collection of new murder ballads, over the guitarist/bandleader’s cold starscapes, Lynchian dirges and a relentless, lingering guitar menace. Listen at Bandcamp

Karine Poghosyan – Rachmaninoff & Stravinsky
Nobody plays the Russian Romantics with as much insighful flair as this irrepressible virtuoso. As with Raphael Severe above, it is fair to rate this ravishingly intuitive, picturesque performance of achingly beautiful Rachmaninoff Etude-Tableaux and punishingly difficult Stravinsky piano transcriptions against the current-day artists here? Listen at Spotify

Dina Maccabee – The Sharpening Machine
Epically eclectic, trippy art-rock, chamber pop, pastoral themes and occasional coy new wave from this shapeshifting violinist and songwriter. Listen at Soundcloud

The Sirius Quartet – New World
This adventurous, microtonally-inclined string quartet’s collection of original compositions is a fierce concept album in defiance of the current fascist climate in the US. Listen at Spotify

Yale Strom’s Broken Consort – Shimmering Lights
The un-cheesiest Hanukah instrumental record ever made, the violinist-bandleader’s new arrangements blazing with ferocious solos and bracing Middle Eastern modes. Listen at rockpaperscissors

Eleni Mandell – Wake Up Again
The iconic dark Americana and torch singer’s most hauntingly political album is a series of narratives set behind bars, inspired by her experiences teaching songwriting in the prison-industrial complex. Listen at Bandcamp

Charming Disaster – Spells & Rituals
The constantly shapeshifting murder ballad and dark rock superduo dive further into latin noir, 60s Britrock and even garagey psychedelic sounds, all with their colorfully dark lyricism. Listen at Bandcamp

Noctorum – The Afterlife
Lush, characteristically lyrical, jangly art-rock from iconic twelve-string guitarist Marty Willson-Piper – late of Australian psychedelic legends the Church – with a similarly allstar backing band. Listen at Bandcamp

Laura Carbone – Empty Sea
Bleak, Lynchian panoramas, highway-of-death narratives and some guitarishly snarling gutter blues from one of this era’s great noir singers. Listen at Bandcamp

Unnatural Ways – The Paranoia Party
A grimly surreal, volcanically noisy, rhytmically disorienting concept about contact with aliens from guitarist Ava Mendoza’s searing doom/art-rock power trio. Listen at Bandcamp 

The Maureen Choi Quartet – Theia
Epically twisting, high-voltage, flamenco and Romany-inspired string band music from the violinist and her equally eclectic ensemble Listen at Bandcamp

Budos Band – V
The imaginative Afrobeat and Ethiopiques instrumentalists’ most doom metal-inspired album yet. Listen at Bandcamp

JD Allen – Barracoon
A big comeback of sorts for this era’s most potent tenor saxophonist, scorching his way through a Zora Neale Hurston-inspired mix of ominously modal, tersely evocative protest jazz tunes with a new trio. Listen at youtube

Nancy Braithwaite – To Paradise For Onions: Songs and Chamber Works of Edith Hemenway
The classical clarinetist and her dynamic, nuanced chamber ensemble explore stunningly imagistic, darkly clever, tersely crafted pieces by a now Rhode Island-based, nonagenarian composer whose work has never been released on album before. A major rediscovery. Listen at Spotify

Fabian Almazan – This Land Abounds with Life
A glittering, epically cascading eco-disaster themed concept album from one of this era’s most tunefully virtuosic jazz pianists and his dynamic rhythm section Listen at Bandcamp

Doomstress – Sleep Among the Dead
Pervasive gloom, minor keys, purposeful guitar and unusual elegance from frontwoman Alexis Hollada on the Texas doom metal band’s debut album. Listen at Bandcamp

Bobtown – Chasing the Sun
Bewitching three-part harmonies from Katherine Etzel, Karen Dahlstrom and Jen McDearman and folk noir songwriting that’s just a hair less relentlessly dark than the material that put them on the map. Listen at Bandcamp

Petros Klampanis – Irrationalities
Slinky, brooding, Middle Eastern and Greek-inflected ballads and more kinetic, pulsing material from the eclecic bassist and his excellent trio. Listen at Spotify 

The Well – Death & Consolation
Grim, Sabbathy dirges, paint-peeling Stooges sonics and ornately macabre heavy psychedelia from this Texas band. Listen at Bandcamp

Jason Yeager – New Songs of Resistance
A short parade of first-class pan-latin singers deliver the pianist’s protest jazz reinventions of classic nueva cancion from across the Americas in the 70s, alongside some chillingly lyrical, politically-fueled instrumentals. Listen at Bandcamp

Amy Allison – Pop Tunes & the Setting Sun
A characteristically bittersweet, brilliantly crystallized, lyrical collection of rarities and outtakes by the inimitable Americana singer. Listen at youtube

Soundwalk Collective with Patti Smith – Mummer Love
Rousingly hypnotic North African grooves and immersive atmospherics behind acerbic, often savage poetry by Patti Smith and one of her big influences, Arthur Rimbaud. Listen at Bandcamp

Andplay – Playlist
The meticulously focused, tightly intertwining, colorful violin/viola duo negotiate the dynamic twists and turns of pieces by David Bird, Ashkan Behzadi and Clara Iannotta on their debut ep. Listen at Bandcamp

The Shootouts – Quick Draw
Spot-on, classic 1965-style honkytonk, hard country, Bakersfield twang and a little rockabilly from this slyly aphoristic Akron, Ohio band. Listen at Soundcloud 

The Ragas Live Retrospective
Members of the paradigm-shifting Brooklyn Raga Massive, who put all kinds of radical new spins on classic Indian raga themes, captured live in the studio over more than sixteen hours worth of music. Most of it is sublime; nobody at this blog has listened to the entire record yet. You can start at Bandcamp

Sarah Pagé – Dose Curves
Hypotically shimmery electroacoustic psychedelia and an Indian raga performed on the concert harp. Unselfconsciously magical,  cutting-edge stuff. Listen at Bandcamp 

Zosha Di Castri – Tachitipo
Vocal ensemble Ekmeles, the Jack Quartet, pianist Julia Den Boer, percussion ensemble Yarn/Wire  and a chamber orchestra join the thoughtfully eclectic pianist/composer in a diverse mix of acerbic, socially relevant compositions and art-songs. Listen at Bandcamp

Funkrust Brass Band – Bones & Burning
Sizzling Balkan chromatics, undulating New Orleans grooves and a pretty relentless sense of doom on the theatrical, sprawling brass band’s latest ep. Listen at Bandcamp 

Castle Black – Dead in a Dream
The ferocious female-fronted power trio look back to the most darkly ambitious of the first wave punk bands with their surreal, often haunting latest ep. Listen at Bandcamp 

The Manimals – Multiverse
Crunchy, catchy powerpop and a darkly pervasive Bowie influence on the new album from New York’s’ most entertainingly theatrical band. Listen at Bandcamp 

The Ann Arbor Blues Festival 1969 compilation
Digitized and somewhat sonically tweaked field recordings of icons like Howlin’ Wolf and cult figures like Magic Sam, shredding and wailing in their element onstage, captured by a college kid with a cheap tape recorder. Listen at Bandcamp

Beat Circus – These Wicked Things
One of the first and best of the carnivalesque rock bands of the 90s, back and revitalized with a lavish, darkly picturesque southwestern gothic concept album. Listen at Bandcamp 

The Sometime Boys – The Perfect Home
A characteristically enigmatic mix of distantly Americana-influenced, slinky originals and imaginatively reinvented covers from New York’s most charismatic, kinetically psychedelic band. Listen at Bandcamp

Locobeach – Psychedelic Disco Cumbia
Truth in advertising: trippy chicha, serpentine highway themes and some woozy dub from this tropical supergroup led by members of Los Crema Paraiso and Chicha Libre. Listen at Bandcamp 

Ran Blake & Jeanne Lee – The Newest Sound You Never Heard
Recorded live and in the studio for Belgian radio in 1966 and 1967, these radical reinventions and a handful of originals by the iconic noir pianist and the shatteringly subtle jazz singer rival the brilliance of their iconic 1961 debut. Not streaming anywhere but available on vinyl.

The 30 Best NYC Concerts of 2019

Enormous triage was required to trim this down to a manageable number. Despite a desperate climate where practically every corner property in this city is being removed from the stock of housing and commercial space and handed over to speculators, thousands of stubborn musicians and patrons of the arts won’t leave this sinking ship.

Time to celebrate that tenacity! Consider this an informed survey rather than a definitive statement:  this is the most personal of all the year-end lists here. It’s impossible to count the number of shows over the past several years where this blog was in the house even though most New Yorkers couldn’t get there (or, more likely, couldn’t get home from there) because of the subway melting down at night and on the weekend. The reverse is just as true. You want FOMO? Move to Brooklyn.

The best show of 2019 was Rose Thomas Bannister‘s wedding, at Union Pool in late September, where the Great Plains gothic songstress sang her heart out on a killer festival bill which also included her polymath guitarist husband Bob Bannister, her bagpipe wizard dad Tom Campbell jamming with the mesmerizingly trippy 75 Dollar Bill, plus sets by psychedelic indie rockers PG Six and delirious Afrobeat crew Super Yamba. For anyone who might consider it pretentious to pick a private event as the year’s best concert…it wasn’t really private. Anybody who was at the bar, or just randomly walking by, could have come in and enjoyed the music – and as the night went on, a lot of people did.

Here’s the rest of the year, in chronological order:

House of Echo at Nublu 151, 1/15/19
French keyboardist Enzo Carniel’s hauntingly improvisational quartet built Lynchian ambience throughout a smoky, hypnotic series of cinematic tableaux.

Golden Fest, 1/18-19/19
Night one of the annual blockbuster South Park Slope festival of Balkan and Balkan-adjacent music was a delirious dance party with brass band Zlatne Uste, their smaller spinoff Kavala, pontic lyra player Dimitrios Stefanides and otherworldly Turkish oboe band Zurli Drustvo. Night two went for about nine hours with about a hundred bands. Some highights: chanteuse Eva Salina fronting the Balkan Doors, Choban Elektrik: Amir Vahab‘s plaintive Iranian ballads; Raya Brass Band‘s chandelier-shaking intensity; Souren Baronian‘s deep, soulful Near Eastern jazz; clarinetist Michael Winograd‘s lavish klezmer orchestra; and thunderous Rhode Island street band What Cheer Brigade closing the festivities

Ethel at the Jewish Museum, 2/28/19
It’s shocking that it took twenty years before there was ever a world premiere performance of the complete, witheringly intense Julia Wolfe string quartet cycle…and it’s a good thing these champions of 21st century music took the job

Hearing Things at Barbes, 3/1/19
Slinky, allusively sinister, Balkan and Doors-tinged organ-and-sax grooves with a surf beat: the crowd danced hard at this wild post-happy hour gig

Josh Sinton’s Krasa at Issue Project Room, 3/15/19
Seated with his back to the audience, pushing his contrabass clarinet to its extreme limits through a huge pedalboard, Sinton’s solo show was one of the most deliciously assaultive sets of the year, over and out in less than 40 minutes.

Girls on Grass and the Sadies at Union Pool, 4/2/19
Luscious clang and twang, some Nashville gothic and surf and a little punkgrass from the legendary, jangly psychedelic band who got their start in the 90s, with a similarly brilliant, psychedelic act they highly influenced opening the night

The Juilliard Trombone Choir at the Greene Space, 4/3/19
NY Philharmonic principal trombonist Joseph Alessi‘s explosive, wickedly tight band of future classical stars ripped and pulsed through irresistibly imaginative, sometimes amusing arrangements of works from Gabrieli to Beethoven to Warlock

Mary Lee’s Corvette at the Mercury, 4/13/19
With former Pogue Cait O’Riordan bopping and slinking around on bass, Mary Lee Kortes’ rivetingly lyrical, multistylistically jangly band brought equal parts ferocity and fun

The Coffin Daggers at Otto’s in the wee hours of 5/5/19
The undisputed kings of horror surf were as loud as ever and maybe even more murkily, assaultively psychedelic

Lee Narae at Lincoln Center, 5/9/19
Backed by a terse psychedelic folk band, the individualistic pansori singer unveiled a withering, provocatively feminist remake of the ancient Korean epic Byeongangsoe-ga, told from the long-suffering bride’s point of view

Greek Judas at Niagara, 5/9/19
A great night – this is the first time there have ever been two separate shows from a single evening on this list. Guitarists Wade Ripka and Adam Good sparred through one sinister chromatic Greek rembetiko metal hash-smoking anthem after another, over the supple groove of bassist Nick Cudahy and drummer Chris Stromquist

Kayhan Kalhor and Kiya Tabassian at CUNY’s Elebash Hall, 5/10/19
Kalhor is the renowed, intense master of the Iranian kamancheh fiddle; this evening was a very rare performance on setar lute, building serpentine, hauntingly relevant epics with his protege

Loreto Aramendi at Central Synagogue, 5/14/19
In a rare US appearance, the pioneering Spanish organist played wickedly imaginative arrangements of Rachmaninoff’s iconic C# Minor Prelude, Saint-Saens’ Halloween classic Danse Macabre and pieces by Buxtehude, Liszt and Ligeti

Bobtown at Rockwood Music Hall, 6/9/19
The iconic folk noir harmony band cheerily harmonized, slunk and bounded through a mix of somewhat less creepy material than usual, with lots of tunes from their new album Chasing the Sun, plus a brooding cameo from cellist Serena Jost

The New York Philharmonic in Prospect Park, 6/14/19
In his Brooklyn debut, maestro Jaap Van Zweden led this country’s flagship orchestra through a stunningly vivid, resolutely vindictive performance of Rachmaninoff’s Symphony No. 2

Chicha Libre at Barbes, 6/26/19
The psychedelic cumbia legends reunited and warmed up for a South American tour with a couple of shows on their home turf. This was the second night, the one this blog didn’t review, and it was even better than the first, beginning with the gleefully uneasy Papageno Electrico and closing after midnight with the group’s creepy electric bolero version of Satie’s Gnossienne No. 1

Nashaz and Gato Loco at Barbes, 7/5/19
Oudist Brian Prunka’s undulating Middle Eastern band jammed out both otherworldly Egyptian classics as well as similarly edgy, entrancing originals; afterward, multi-saxophonist Stefan Zeniuk’s mighty noir mambo band burned through an even more towering, angst-fueled set

Hannah vs. the Many and the Manimals at the Nest, 7/11/19
The most entertaining show of the year began with charismatic frontwoman Hannah Fairchild’s withering, torrentially lyrical noir punk band and ended with catchy powerposters the Manimals’ incendiary bandleader Haley Bowery skidding to the edge of the stage on her knees, seemingly covered with blood. Costumes and a quasi-satanic ritual were also involved.

Michael Winograd at Lincoln Center Out of Doors, 7/28/19
The supersonic klezmer clarinetist and composer defied the heat, leading a similarly sizzling band through wildly cinematic originals from his new album Kosher Style

The Drive East Festival, 8/5-11/19
NYC’s annual celebration of traditional and cutting-edge Indian classical arts featured rapturous ragas from sitarist Hidayat Khan, hypnotic soundscapes by saxophonist Prasant Radhakrishnan, spellbinding violinists Trina Basu & Arun Ramamurthy’s Carnatic-inspired Nakshatra Quartet, and a sardonically riveting Metoo-themed dance performance by Rasika Kumar, festival creator Sahasra Sambamoorthi and Nadhi Thekkek, with a dynamic live score by Roopa Mahadevan

Looking at You at Here, 9/6/19
Kamala Sankaram and Rob Handel’s new opera, billed as a mashup of the Edward Snowden affair and Casablanca, is a satire of Silicon Valley technosupremacists falling for their own bullshit. It was as chillingly Orwellian as it was hilarious, with a subtly immersive live score .

Ben Holmes’ Naked Lore and Combo Lulo at Barbes, 9/14/19
The dynamic, resonant, klezmer and noir-inspired trumpeter, guitarist Brad Shepik and drummer Shane Shanahan built darkly chromatic mood pieces and more jaunty, acerbic tunes; it was a good setup for the organ-driven psychedelic cumbias, edgy Ethiopiques and trippy dub sounds afterward.

Wajde Ayub at Roulette, 9/28/19
The powerful Syrian baritone crooner – a protege of legendary Syrian tarab singer Sabah Fakhri – led a lavish, kinetic orchestra through a mix of harrowingly vivid, socially relevant anthems and ecstatic love ballads.

Nights one and two of the Momenta Festival, 10/15-16/19
To open their annual festival of underperformed and brand-new string quartet music at the Americas Society, the perennially relevant Momenta Quartet played a haunting Julian Carrillo microtonal piece, premiered a fierce, allusiveley political Alvin Singleton quartet as well as a more elegantly circling one by Roberto Sierra plus works by Ligeti and Mario Lavista.

The Takacs Quartet play the Bartok string quartet cycle at the 92nd St. Y, 10/18-20/19
A revelatory, slashingly energetic, insightful tour of some of the most harrowing, intense work for string quartet ever written

Big Lazy’s album release weekend at the American Can Co. building, 11/8-9/19
Bandleader and guitarist Steve Ulrich had lost his mom the night before the sold-out two-night stand started. He’d played Cole Porter’s I Love You to her that evening, and reprised the song on night one with his cinematic noir trio, bolstered by organist Marlysse Simmons, trumpeter Steven Bernstein and baritone saxophonist Peter Hess. Night two’s music was less mystical and pensive, more thrillingly, grittily menacing and macabre – when it wasn’t slinky and cynically playful.

Hamid Al-Saadi and Safaafir at Roulette, 11/23/19
The gritty, impassioned Iraqi crooner and this hemisphere’s only ensemble dedicated to classical Iraqi maqam music were tighter and more electric than they’d been at Lincoln Center in the spring, through a mix of metaphorically charged, socially relevant themes and more lively, traditional repertoire.

The Grasping Straws and Lorraine Leckie & Her Demons at the Mercury, 11/24/19
For anybody who might have missed seeing Patti Smith back in the 70s, or Jimi Hendrix in the 60s, this was a good substitute, the openers’ elegant, incisive lead guitarist Marcus Kitchen contrasting with the headliners’ feral, Hendrixian Hugh Pool

Karen Dahlstrom at Scratcher Bar, 12/8/19
The powerful, gospel-inspired singer and folk noir champion held the crowd rapt through brooding Old West narratives, wryly torchy blues, gorgeously plaintive laments and the fierce Metoo anthem No Man’s Land, the title track from her brilliant new album.

A Characteristically Rich, Diverse Year of Shows at Manhattan’s Best Venue for Acoustic and Folk Music

The American Folk Art Museum won the annual award for Best Manhattan Venue here back in 2016. It would be just as easy to say that again in 2019. Impresario Lara Ewen‘s mostly-weekly Free Music Fridays series is still the most transit-accessible way to discover new songwriting and traditional music talent in this city, artists from all over the world covet playing in the museum’s rich natural reverb…and you can get a glass of wine here for a third of what it would cost you at Rockwood Music Hall.

As you would expect at a museum whose equally amazing exhibits document folk art and outsider art spanning the past few centuries, there’s plenty of folk music here. But even the oldtime sounds extend well beyond the world of fingerpicked front-porch acoustic guitar tunes. The best traditional show here this year was by singer Vienna Carroll, a historian whose insights into a set of rousing blues, gospel and string band songs reflected the triumphs of African-Americans over 19th century slaveowner terrorism and racism rather than the more common narrative of endless suffering. Queen Esther, a Folk Art Museum regular, reaffirmed that same fearlessly subversive esthetic at a couple of shows in February and July, featuring both Eastern Seaboard blues and soul-tinged originals.

Other entertaining oldtime folk shows included sets by the harmony-driven Triboro in May, as well as Irish tunesmith Brendan O’Shea (whose defiant, populist originals were even better) in July. Of all the original songwriters here, the most shattering was Karen Dahlstrom, whose November set featured a lot of material from her latest release No Man’s Land (a lock for best short album of 2019).  With her fearsome but meticulously nuanced alto, she aired out the fiery, gospel-infused title track, a Metoo-era broadside, as well as the metaphorically haunting After the Flood – a look at both personal and global apocalypses – and a new number, My Benevolent Destroyer, a chilling portrait of a broken marriage through the prism of imperialist domination.

Joshua Garcia, with his flinty voice and harrowing, Phil Ochs-inspired narratives, put the struggles of new immigrants and battered women in potently political perspective, along with the most chillingly allusive song about the Hiroshima bombing ever written. Miriam Elhajli sang in both English and Spanish, looking outward at the grim political climate as well as more inwardly, with intricate guitar fingerpicking and some intriguing jazz and Latin American riffs.

Niall Connolly held the crowd rapt with his brooding, tersely crystallized songs of struggle and emotional abandonment and rage against the Trumpies (a reaction that ran high at practically every show here this year). Soulstress Dina Regine, who played here in both April and June, was much the same, thematically, although her music draws more on classic 1960s American grooves.

How torchy singer Jeanne Marie Boes managed to get so much epic power and range out of her tiny keyboard is a mystery, although her towering, angst-fueled ballads and a couple of detours into darkly majestic blues had a relentlessly direct intensity. With her resonant chorister’s voice and deadpan surrealism, cellist/singer Meaner Pencil a.k.a. Lenna M. Pierce (she got her stage name the online anagram generator, she explained) was just as gripping, in a completely different vein.

Songstress/acoustic guitarist Kalyani Singh illuminated a dark inner world with a similar, often minimalistic focus, while southwestern singer Kate Vargas got the crowd going with singalongs and innumerable chances to have fun with beats. And Feral Foster – who runs the Jalopy’s longtime Roots & Ruckus series – didn’t let being under the weather get in the way of a characteristically haunted, expertly fingerpicked set of grim Nashville gothic laments and ballads.

The American Folk Art Museum’s Free Music Fridays series resumes January 10 at 5:30 PM with the soaring, brilliantly lyrical Linda Draper. There’s also an ongoing free series of guitar jazz concerts most every Wednesday at 2 PM with Bill Wurtzel and bassist Jay Leonhart.

Best New York Concert of the Year

The best New York concert of 2019 was Rose Thomas Bannister‘s wedding. In case you think it’s elitist to choose a private event over something everybody in town theoretically could have gone to…you could have been there too if you happened to wander into Union Pool the night of September 29. “You thought you were coming to a wedding!” the protean, psychedelic Great Plains gothic lit-rock songwriter beamed. “I gave you a music festival!”

Super Yamba Band headlined. By that time, plenty of people had come out to the bar, with no idea that two of this era’s most formidable musical minds had just tied the knot. And soon there were plenty of random strangers getting down to slinky Afrobeat in the back room with all the wedding guests.

It’s probably safe to say that Super Yamba’s set was a mashup of their mid-July 2018 show on an old shipping pier by the water on the Upper West Side, and their gig at Barbes this past March. If there’s any band in town worth seeing more than once, it’s these guys. The pier show seemed to be louder and heavier on the horns, the keyboardist doing double duty on both, while the Barbes gig had more dynamics, instruments leaving and then rejoining the mix, Both shows were heavy on the minor-key, sometimes distantly, sometimes closely Ethiopian-tinged jams. Impassioned frontman Leon Ligan-Majek a.k.a. Kaleta did a long stint in Fela’s band toward the end, so he learned from the guy who invented Afrobeat. Cantering, undulating rhythms, sharply sparkly electric piano, looming organ and spicy, emphatic horns and brass filtered through the mix, sometimes for minutes on end, sometimes shifting quickly to a faster tempo or back the other way.

Super Yamba Band’s next gig is at 9 PM on Dec 14 at Bar Chord for the tip jar. For those who can’t make it to deep Brooklyn, they’re playing Symphony Space on Dec 19 at 7:30, where you can get in for $20 if you’re thirty and under.

The rest of the wedding was a mix of searing jams and savagely brilliant tunesmithing. The wildest jam was when Bannister’s virtuoso bagipiper dad Tom Campbell came up to the stage and joined 75 Dollar Bill for a hypnotic yet searing duel with guitarist Che Chen. It was as if the freedom fighters in Tinariwen had flown to Scotland for a predawn raid to liberate a Trump property.

Bannister has never sung more powerfully, or with more triumphant intensity. Which made sense in that marrying guitar polymath Bob Bannister was the crowning stroke in a career that began when she escaped from a Christian supremacist environment, driving off in a little car with her secret collection of forbidden secular cassettes. In that context, the sudden, wary martial flurry in the opening number, Ambition, made sense on every possible level: a word of warning, but also a vengeful, martial riff. Whichever motivation you might ascribe to the slowly crescendoing anthem – a portrait of greed, or revenge – it worked.

Working on only two rehearsals, drummer Rob Smith colored the music with his subtle brushwork and cymbals while the groom wove restlessly articulated webs of notes, from saturnine Richard Thompson-esque leads to lingering jangle and clang, austere blues, warmly soulful Beatlesque lines and even a little wry Tex-Mex. When bride and groom calmly matched voices in the stately, understated, Macbeth-inspired Lady M – “Your children will be kings” – there was no mistaking how much of a victory had been snatched from the jaws of defeat.

The rest of the set was a mix of the hypnotic and the ferocious. The Real Penelope, a mashup of Revolver Beatles psychedelia and Britfolk, was wistful yet guardedly optimistic, the future Mrs. Bannister realizing that she’d found the lead guitarist of her dreams. Same Name Blues, which she rarely plays live, had a seethingly sardonic edge, as did the most relevant song of the night, Heaven Is a Wall, a shapeshifting fable about border walls packed with the cynically appropriated Old Testament imagery that she loves to use to drive a point home. And Iowa, with its simple yet eerie Midwestern imagery and coda that fell away abruptly at the end, seemed to synopsize her flight from repression, knowing that there would be possibly apocalyptic consequences, both personally and globally,

After that, most of the band reconvened as PG Six, frontman/guitarist Pat Gubler a steely, dapperly suited presence out front. Debby Schwartz, fresh off a sizzling set with the Bannisters, was even more of a whirlwind, firing off incisive chords, raga riffs working around an open string and sinuous, soaring leads that gave the band a third lead player. Gubler’s resonant, darkly opaque chords and tersely circling lines rang out as Bannister’s leads slashed and wailed around them, sometimes bringing to mind Jerry Garcia in “on” mode, at other times veering closer to unhinged Sonic Youth territory. His bride eventually came up to sing harmonies, one of the great Brooklyn musical power couples reveling in making it official.

Jessie Kilguss Brings Her Subtly Sinister Songcraft and Soaring Voice to Gowanus Next Week

There was a four-song stretch in Jessie Kilguss‘ set last week at 11th Street Bar that was as evocative and mysteriously enticing as any show anywhere in New York this year. The first song was What Do Whales Dream About at Night, which was both enigmatic, and quirky, and had an ambitious sweep. Kilguss kept the jaws of fate open with Great White Shark, then sang the most haunting song of the night, The Master, one of the best of her folk noir masterpieces. Sinister as it seems, it’s actually a shout-out to Leonard Cohen, arguably Kilguss’ biggest influence

Then Kilguss and her jangly four-piece backing band careened through House of Rain and Leaves, a broodingly steady grey-sky narrative. With her calmly nuanced, crystalline voice soaring to the highs and murmuring among the lows, Kilguss channeled distant disaster and sudden menace as well as sardonic detachment. She knows that singing is acting, which makes sense since she built a career as a stage actress before plunging into songwriting more or less fulltime. She’s playing on an intriguing acoustic bill on Dec 4 at 7 PM at Mirror in the Woods, a tea shop at 575 Union St. in Gowanus. Take the R to Union St. and walk away from the slope. The other acts on the bill range from similarly strong tunesmiths like dark duo Lusterlit (Kilguss’ bandmates in lit-pop collective the Bushwick Book Club),, soulful cello-rocker Patricia Santos, Americana songstress Andi Rae Healy and some open mic lifers.

Kilguss’ other songs at the East Village show last week were subtler and somewhat more lighthearted. She opened, playing swaths of chords on harmonium, with Spain, a pensive blend of new wave and vintage soul and continued with Strangers, an opaque mix of Guided By Voices and Blondie, maybe. She closed the show with an unexpectedly upbeat Lori McKenna cover and then an almost completely deadpan take of a big radio hit from one of the most awful chick flicks of the 80s, a moment where nobody in the band could keep a straight face all the way through. Kilguss will probaby bring just as much angst, and menace, and ridiculous fun to the Brooklyn gig: it’s a pass-the-tip-jar situation.

The Greenpoint Songwriters Exchange Create the Newest Sound Around

Every month, the Greenpoint Songwriters Exchange plays the freshest material you can hear anywhere in New York. That’s because almost all of the Brooklyn collective’s songs are brand new. Ringleader Lorrane Leckie hosts a weekly salon where a rotating cast of some of the best songwriters you’ve never heard of – and some that you definitely have – workshop new material, then they take it to the stage in Williamsburg. Leckie in particular has been working on new material for her upcoming show on Nov 24 at 7 PM with her ferocious, psychedelic band the Demons at the Mercury. Fellow guitarslinger and charismatic singer Mallory Feuer’s equally ferocious band the Grasping Straws open the night at 6; cover is $10.

The October Greenpoint Songwriters Exchange lineup was typically diverse and just as interesting. Leckie debuted a forlornly strolling tribute to her recently departed French bulldog, Eloise, one of the more memorable musician mascots in this city in recent years. LJ Murphy, the group’s cleanup hitter, recast a couple of broodingly aphoristic older tunes as vintage soul music. Another first-class singer, Paul Anthony, went just as deeply into Sam Cooke-tinged soul.

The edgiest new material of the night was from Jeannie Skelly, one of the group’s strongest singers and guitarists. Her first number was a hilariously vindictive anti-fascist rant; the second was just as amusing, an apparently true story about an old friend who returns from his world travels a changed man: he’s become a vegetarian supremacist!

Carly Spell, a relative newcomer, held the crowd rapt with an allusively haunting chronicle of addiction and its most dire consequences. Likewise, Sara Hurwitz‘s poignant opening number, assesseddiminishing hopes for artistic community in a city completely devastated by gentrification. Lead guitarist Robert Troise added some neat bluegrass flatpicking on that one.

Eve Blackwater got everybody laughing and singing along to one of the funniest and most explicit fuck-you anthems written in recent months. Eric Richmond took the crowd back to a 1979 of the mind with a bleakly imagistic, tightly composed, Graham Parker-esque new wave tune. Teresa Toro, the latest and brighest addition to another collective, the Bushwick Book Club, brought down the lights with a couple of understatedly torchy, jazz-inflected numbers. Feuer also set aside her usual firepower for an enigmatic, more dreampop-flavored tune. And Sarah Murdoch, who might be the most powerful singer of the entire bunch, validated the argument that she’s just as nuanced and intense a blues singer as she is with jazz and Americana.

The Greenpoint Songwriters Exchange’s monthly show continues at Pete’s tonight, Nov 11 at 6 PM, so you won’t have to worry about the L train going down on your way home.

Karen & the Sorrows Celebrate Their Excellent, Eclectic New Americana Album at Littlefield This Week

Over the last few years, Karen & the Sorrows have individualistically skirted the fringes of the New York Americana scene. Not all their songs are sad, and frontwoman Karen Pitttelman has no fear of mashing up different styles. Their debut album was a creepy New England gothic suite. Their second ome was a country-tinged janglerock record. Their latest album. Guaranteed Broken Heart – streaming at Bandcamp – is even more eclectic, featuring some of New York’s most electrifying musicians. Pittelman’s vocals are more dynamic and diverse than ever as well. She and the band are playing the album release show on Oct 18 at around 10:30 PM at Littlefield. Nimble, pensive acoustic guitarist/songwriter Genessa James‘ Onliest open the night at 8:30, followed by the exhilarating, fearlessly political, historically inspired Ebony Hillbillies, NYC’s only oldtime African-American string band. Cover is $10.

The title track opens the album: it’s a briskly brooding southwestern gothic shuffle with some cool tradeoffs between lead guitar and pedal steel. Cole Quest Rotante’s lingering dobro spices the loping second track, There You Are, blending with the pedal steel, mandolin and Rima Fand’s plaintive fiddle.

The band go back to darkly shuffling desert rock with the organ-driven Jonah and the Whale, Girls on Grass guitar goddess Barbara Endes winding it up with a deliciously slithery solo. Why Won’t You Come Back to Me has an even more haunting, spare, 19th century African-American gospel feel: “Oh my little angel, send me back to hell,” is the closing mantra.

Bowed bass, mandolin and banjo mingle with Fand’s mournful fiddle in the similarly rustic Appalachian gothic ballad Your New Life Now. Drummer Charles Burst gives the sad, lingering ballad Far Away a muted country backbeat: “Some people you can love up close, some from afar/The trick is knowing which they are,” Pittelman observes.

Third Time’s the Charm is an upbeat, pedal steel-fueled honkytonk number: “Fool me once, shame on you; fool me twice, shame on me” sets up the chorus. Then they bring it down with the mournful Queen of Denial.

When People Show You Who They Are is a subdued, downcast, hypnotic folk-pop tune in Americana disguise. The group mash up electric Neil Young with tinges of oldschool soul in It Ain’t Me, then quietly shuffle through the melancholy Something True, with tantalizingly brief mandolin and fiddle solos. They close the album with a love ballad, You’re My Country Music. It’s inspiring to see a genuine New York original taking her sound and her songwriting to the next level.

Folk Noir and Fearlessly Political Songwriting: Still Going Strong in the East Village

Sunday night at Scratcher Bar in the East Village, Lara Ewen and Niall Connolly strung together a couple hours worth of memorably surreal narratives and catchy acoustic guitar tune with a crafty expertise that’s become increasingly rare in this city.

Ewen, who is probably best known as the founder and fearless impresario of the mostly-weekly Free Music Fridays series at the American Folk Art Museum, is also a distinctive tunesmith in her own right and opened this particular show. There was a lot of fresh new material in her set, an auspicious preview of her long-awaited new album, mostly likely due out sometime next year. This time out, there was more bluesy grit in her voice than usual, and she fingerrpicked a lot more as well.

“I don’t write political songs,” she told the crowd, “Politics is something we tend to do in every moment of our lives,” she explained, prefacing a witheringly sarcastic new number about an sexual assault survivor, and then a kid who narrowly misses getting shot by the cops, each emphasizing how incredibly lucky they are.

Another aphoristic, darkly sparkling new song concerned a guy who manages to dig himself into a hole where he’s comfortable, way down in the dark. In the final verse, he brings a length of rope down there, although Ewen never reveals what exactly he does with it. Her other character studies, some new and some older and full of strange, unresolved chords, had similarly lingering imagery, situated among the down and out, or the about to be down and out. Like hell Ewen isn’t political: she just doesn’t preach.

Watching Connolly parse a series of terse, judiciously picked tunes, it’s obvious that he’s a rock guy: it was easy to imagine him playing those lines on a Strat with a rhythm section behind him. He’s more overtly political than Ewen, with an unassuming, raw, often melancholy vocal delivery. The big audience singalong was a soaringly anthemic portrait of the last days of Irish Revolutionary hero James Connolly (an ancestor, maybe?): “Lily, don’t you cry, I’ve lived the fullest of lives” was the chorus.

The best of the new ones was a spot-on, strange account of a late-night Rockaways bus ride (interrupted for Miller High Life and a shot of well whiskey at a watering hole along the way), and the kind of weirdos you meet there, everybody sharing the near dream-state surrealism of outer-borough afterwork fatigue.

Connolly is also a great storyteller without his guitar (Ewen said that she’d stolen all her stage banter from him: not a bad place to start). The funniest tale of the night concerned a bus driver who pulled to the curb for a second, exited the vehicle and shouted his order for fried rice to the Chinese restaurant cook taking a break across the street. Connolly, a populist to the core, explained that he has a special appreciation for any employee who likes to bend the rules.This particular takeout joint’s fried rice is apparently worth a risk.

Connolly’s next gig is Oct 17 at 8:30 PM at the Hunterian at 413 E 70th St. between First and York Aves.. Theres also an excellent bill coming up at the Folk Art Museum on Oct 18 at at 6 PM with  Sharon Goldman – one of the great tunesmiths to come out of the NYC acoustic scene since the turn of the century – and dark, brilliantly lyrical oldtimey songwriter/multi-instrumentalist Pete Lanctot.