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Tag: alexander hacke

The 50 Best Albums of 2014

Of the hundreds of thousands of albums released every year, maybe ten percent of them are worth hearing. That’s about twenty-five thousand albums, possibly a lot more – it’s harder to keep track of the numbers than it was in the previous century. A very ambitious blogger can hear bits and pieces of maybe twenty percent of that total. That’s the triage.

A very, very ambitious blogger can hear, at best, maybe ten percent of that small sample, all the way through, at least enough to get the gist of what those few hundred albums are about. So consider this list – and the Best Songs of 2014 and the Best NYC Concerts of 2014 lists here – a celebration of good music released in 2014 or thereabouts rather than anything definitive. Links to listen to each album are included: whenever possible, the link is to an ad-free site like Bandcamp or Soundcloud rather than Spotify. So bookmark this page and come back to enjoy what you might have missed.

Every few years, there’s one album that stands out above all the rest, which transcends genre. This year, that was Big Lazy‘s Don’t Cross Myrtle, a creepy collection of reverb-drenched, Lynchian songs without words and desolate highway themes. Even by the standards of frontman/guitarist Stephen Ulrich’s previous work for film, tv and with this band, he’s never written with more delectable menace. Stream the album via Spotify.

Before the rest of the list kicks in, there are two ringers here from a couple years ago: Great Plains gothic tunesmith Ember Schrag‘s The Sewing Room, a quiet, allusive, disarmingly intense masterpiece (at Bandcamp), and a considerably more ornate and more chromatically-charged release, Philadelphia-based Turkish art-rockers Barakka‘s Uzaklardan (at Reverbnation). Both albums came over the transom too late to be included in the 2012 list here, but each of them is a real gem.

Beyond the choice of Big Lazy as #1, there’s no numerical ranking on this list. For fairness’ sake, the remainder of the fifty are listed in more-or-less chronological order as they first received attention here, without taking release dates into consideration. So the albums at the end aren’t the ass end of the list – they just happened to have been reviewed here at the end of the year. To be clear, the Ministry of Wolves, the last act on this list, are every bit as enjoyable as creepy surf band the Reigning Monarchs, who lead the rest of the parade:

The Reigning Monarchs – Black Sweater Massacre
Marauding crime-surf instrumentals from an unlikely cast of 90s powerpop types. Stream the album via the band’s page

Curtis Eller – How to Make It in Hollywood
Wickedly literate, historically rich, pun-infused and unexpectedly rocking Americana from the charismatic roots music banjoist. Stream the album via Bandcamp

Karla Moheno – Gone to Town
Nobody writes more intriguing noir musical narratives than this inscrutable chanteuse. If Big Lazy hadn’t put out their album this past year, this one would be at the top of the pile with a bullet. Stream the album via Soundcloud

Marissa Nadler – July
Arguably her best album, the atmospheric folk noir chanteuse and storyteller’s lushly enveloping adventure in Pink Floyd-style art-rock. Stream the album via Bandcamp

Marianne Dissard – The Cat. Not Me
A stormy, brilliantly twisted, angst-fueled, epically orchestrated art-rock album by the French southwestern gothic avatar and Sergio Mendoza collaborator. Stream the album via Spotify

Aram Bajakian – There Were Flowers Also in Hell
Darkly blues-inspired, characteristically eclectic, moody instrumentals by the last great lead guitarist from Lou Reed’s Band. Stream the album via Spotify

Rosanne Cash – The River & the Thread
A pensive southern gothic travelogue set to terse Americana rock, arguably as good as Cash’s iconic Black Cadillac album from a few years ago. Stream the album via Spotify

Laura Cantrell – No Way There from Here
The lyrically strongest and most musically diverse album yet by this era’s most compelling voice in classic country music. Stream the album via Spotify

The New Mendicants – Into the Lime
A janglefest of gorgeous Britfolk-infused powerpop from Joe Pernice of the Pernice Brothers, Teenage Fanclub’s Norman Blake and the Sadies’ Mike Belistky. Stream the album via Spotify

Siach HaSadeh – Song of the Grasses
Slowly unwinding, raptly intense improvisations on classic Jewish cantorial and folk themes from over the centuries. Stream the album via Bandcamp

Son of Skooshny – Mid Century Modern
Mark Breyer achieved cult status in the 90s with powerpop vets Skooshny and continues to write biting, lyrically rich, beautifully jangly songs. Stream the album via Bandcamp

Isle of Klezbos – Live from Brooklyn
A deliriously fun concert recording by the mostly-female, pioneering New York klezmer whirlwind. Stream the album via Bandcamp

New Electric Ride – Balloon Age
Period-perfect, fantastic mid-60s style psychedelic rock in a Dukes of Stratosphear or Love Camp 7 vein. Stream the album via Bandcamp

The Baseball Project – 3rd
Catchy, characteristically insightful powerpop, paisley underground and janglerock from Steve Wynn and Peter Buck’s supergroup, rich in diamond lore from across the decades. Stream the album via Spotify

Ichka – Podorozh
Meaning “journey” in Russian. the new album by the Montreal klezmer group blazes through bristling chromatic themes. Stream the album via Bandcamp

Jaro Milko & the Cubalkanics – Cigarros Explosivos
The Firewater lead guitarist’s adventure in psychedelic cumbias comes across as a sort of a Balkan version of Chicha Libre. Stream the album via Bandcamp 

Bad Buka -Through the Night
A harder-rocking, more theatrical take on Gogol Bordello-style Slavic punk from these New York guys and girls. Stream the album via Bandcamp

Gord Downie, the Sadies & the Conquering Sun
Ominously jangly southwestern gothic and paisley underground rock from the Canadian Americana band and the Tragically Hip frontman. Stream the album via the band’s page

Cheetah Chrome – Solo
It took practically twenty years for this searing, intense album by the punk-era guitar icon to see the light of day, but the wait was worth it. Stream the album via Spotify

Andrew Bird – Things Are Really Great Here, Sort Of
The cult favorite Americana songwriter plunders the catalog of another similarly literate, frequently creepy Americana act, the Handsome Family, for an insightful and lyrically rich collection of covers. Stream the album via Soundcloud

Guided by Voices – Cool Planet
If the last of the final four albums from the indie powerpop band’s marathon of recording over the last two years is really their swan song, they went out with a bang. Stream the album via Spotify

Golem – Tanz
A wickedly hilarious, blistering mix of edgy punk rock, crazed circus rock and straight-up hotshot klezmer. Stream the album via Spotify

Matt Kanelos – Love Hello
Pensive, allusively lyrical Radiohead-influenced psychedelia and art-rock from the popular NYC jazz and rock keyboardist/multi-instrumentalist. Stream the album via Bandcamp

Spottiswoode – English Dream
Purist, richly arranged, artsy janglerock with psychedelic and Britfolk tinges from the cult favorite lyrical songwriter and bandleader. Stream the album via Bandcamp

The Skull Practitioners – ST1
Searing, pummeling, catchy noiserock and riff-driven jams from Steve Wynn lead guitarist Jason Victor’s explosive trio. Stream the album via Bandcamp

HUMANWINE – Fighting Naked
Creepy, menacing, chromatically-fueled narratives from an all-too-plausible, Orwellian nightmare future from the politically spot-on Vermont band. Stream the album via Bandcamp – free download

Amanda Thorpe – Bewitching Me: The Lyrics of Yip Harburg
The riveting Britfolk chanteuse reinvents songs by the Tin Pan Alley figure as noir-inflected janglerock, backed by a stellar NYC band. Stream the album via Spotify

Changing Modes – The Paradox of Traveling Light
Frontwoman/multi-instrumentalist Wendy Griffiths’ band’s most ornate, intricately crafted art-rock masterpiece, with the occasional departure into punk or powerpop. Stream the album via Soundcloud

The Bakersfield Breakers – In the Studio with the Bakersfield Breakers
These New York surf and twang instrumentalists put their own kick-ass spin on a classic Telecaster-driven sound from the early 60s. Stream the album via Bandcamp

The Sometime Boys – Riverbed
One of the most distinctively unique bands on this list, they blend newgrass, country blues, funky rock and Nashville gothic into a spicy, anthemically psychedelic, lyrically intense blend. Stream the album via the band’s page 

The Immigrant Union – Anyway
The Australian band – a Dandy Warhols spinoff – craft deliciously catchy Rickenbacker guitar janglerock. Stream the album via Bandcamp

Bombay Rickey – Cinefonia
The year’s best debut album is by spectacular, intense singer/accordionist Kamala Samkaram’s ornate, intricate, surfy Bollywood-inspired art-rock band. Stream the album via Bandcamp 

Hannah Thiem – Brym
Lush, moody, Middle Eastern and Nordic-inspired violin grooves and cinematic soundscapes from Copal‘s dynamic frontwoman/composer. Stream the album via Soundcloud 

The Larch – In Transit
Characteristically urbane, insightfully lyrical, Costello-esque powerpop with searing lead guitar from the highly regarded New York quartet. Stream the album via Bandcamp

The OBNIIIs – Third Time to Harm
The twin guitar-driven Austin garage punks are probably the closest thing we have to Radio Birdman these days. They released two albums this past year, one a sizzling live set, and this studio release which is more psychedelic and every bit as volcanic. Stream the album via Spotify

The Wytches – Annabel Dream Reader
Arguably the darkest album on this list, this harrowing collection mines the desperation of living at the fringes of society, set to scorching, reverb-drenched noir rock. Stream the album via Spotify.

Lorraine Leckie & Her Demons – Rebel Devil Devil Rebel
The Canadian gothic chanteuse returns to her fiery, electric Neil Young-influenced roots with this stampeding effort, driven by guitar great Hugh Pool’s ferocious attack. Stream the album via Bandcamp

Ward White – Ward White Is the Matador
The most intricately literate of all the albums on this list. Nobody writes more intriguing, or menacing, rock narratives than this New York tunesmith. And he’s never rocked harder, either. Stream the album via Bandcamp 

Jessie Kilguss – Devastate Me
The title is apt – the NYC folk noir singer/bandleader offers a quietly shattering. impeccably crafted collection of Nashville gothic and paisley underground rock. Stream the album via Spotify

Mesiko – Solar Door
One of the most tunefully eclectic albums on the list, the debut by Norden Bombsight’s David Marshall and Rachael Bell with all-star drummer Ray Rizzo has postpunk, paisley underground, psychedelia and kinetic powerpop, sometimes all in the same song. Stream the album via Bandcamp

O’Death – Out of Hands We Go
A characteristically careening, ominous mix of Nashville gothic, oldtimey, circus rock and noir cabaret from these Americana individualists. Stream the album via Bandcamp

Chuck Prophet – Night Surfer
One of the great lead guitarists in rock, Prophet is also a great tunesmith who spans from psychedelia to janglerock to Americana and powerpop. Stream the album via Spotify

Wounded Buffalo Theory – A Painting of Plans
The New York art-rockers have never sounded more focused, or more intense on this richly ornate, psychedelic collection. Stream the album via the band’s page, free download

Mark Rogers & Mary Byrne – I Line My Days Along Your Weight
A brooding, plaintive and vividly lyrical folk noir masterpiece, Byrne’s tersely evocative lyrics and luminous vocals over a darkly magical web of acoustic textures. Stream the album via Spotify

Jessi Robertson – I Came From the War
Combat is a metaphor for all sorts of angst on the riveting soul and Americana-influenced singer/bandleader’s intricate, atmospheric latest release. Stream the album via Bandcamp

Metropolitan Klezmer – Mazel Means Good Luck
An especially wild live album by this deliciously shapeshifting, latin and reggae-influenced New York Jewish music juggernaut. Stream the album via Bandcamp

Matt Ulery – In the Ivory
The jazz bassist’s lush, rippling compositions blend soaring neoromantic themes, edgy improvisation, cinematic instrumental narratives and frequently haunting interludes. Stream the album via Bandcamp

Jenifer Jackson – TX Sunrise
One of the most diverse songwriters here, she’s done everything from Beatlesque bossa pop to psychedelia to Nashville gothic. This is her deepest and most rewarding dive into Americana, comprising both classic C&W and southwestern gothic. Stream the album via Bandcamp

Mark Sinnis – It’s Been a Long Cold Hard Lonely Winter
A death-obsessed hard honkytonk album from powerful baritone crooner and leader of cult favorite dark rockers Ninth House. Stream the album via Spotify

The Brooklyn What – Minor Problems
The best short album of 2014 has explosive, dynamic guitar duels, a catchy anthemic sensibility, psychedelic intensity and edgy, sarcastic wit. Stream the album via Bandcamp

Robin Aigner – Con Tender
Historically rich, period-perfect, sultry and often hilariously lyrical tunesmithing equally informed by stark southern folk music, vintage blues and oldtimey swing jazz. Stream the album via Bandcamp, free download

The Ministry of Wolves – Happily Ever After
The second album of creepily theatrical art-rock songs based on Grimm’s Fairy Tales by the all-star band of Botanica‘s Paul Wallfisch, Alexander Hacke and Danielle de Picciotto from Crime & the City Solution and Nick Cave & the Bad Seeds co-founder Mick Harvey. Stream the album via Spotify 

If you’re wondering why there’s hardly anything in the way of jazz or classical music here, that stuff is more likely to be found at this blog’s older sister blog, Lucid Culture.

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The Ministry of Wolves Update the Brothers Grimm with Twisted Art-Rock

You could make a case for the Ministry of Wolves as a gothic rock supergroup; or you could take them up a few notches and call them the latest incarnation of the urbane existentialist art-rock that Botanica‘s Paul Wallfisch has mined so memorably since the 90s. Alexander Hacke and Danielle de Picciotto are members of the latest edition of Crime & the City Solution; Hacke also did a long stretch in Einsturzende Neubauten. Mick Harvey was a founding member of Nick Cave & the Bad Seeds; Wallfisch is the least gothic but most musically defining member of this unlikely and wildly successful pickup band, which first came together to supply a soundtrack to Claudia Bauer’s theatre production Republik der Wolfe. That spectacle was first staged at the Theater Dortmund in Germany, where Wallfisch is artistic director. Its songs use Grimm’s Fairy Tales and most specifically, Anne Sexton’s take on them from her 1971 collection, Transformations, as a stepping-off point. The group released many of the songs from the production earlier this year; their new album, Happily Ever After (streaming at Spotify) includes unreleased material as well as several tracks with lyrics in the original German.

De Picciotto delivers both the English version and a German translation of Sexton’s pointedly sarcastic poem The Gold Key (Der Goldene Schluessel) with counterintuitive brightness over Harvey’s  lingering guitar multitracks and Wallfisch’s ominously reverberating Wurlitzer. It makes a good title theme here and would work just as well for pretty much any horror film. She does the same with a creepy, music box-like version of White Snake Waltz (Die Weisse Schlange). Wallfisch casts Little Red Riding Hood as a Jersey tourist in Manhattan on a Saturday night in a Lou Reed-inspired narrative, over a noisy one-chord jam that’s one part Taxi Driver soundtrack, one part Blind Idiot God.

Hacke narrates a particularly twisted version of the most epic of the previously unreleased tracks here, The 12 Dancing Princesses. The guys in the band shamble through the chilling folk-rock of The Wonderful Musician, “Like a fish on a hook, dancing the dance of death,” Hacke’s banjo adding rustic textures in the background.

Rapunzel gets a lushly angst-fueled, absolutely Lynchian overture in her name, via Wallfisch’s one-man multi-keyboard orchestra. Der Froschkoenig (The Frog Prince), starts as a stately waltz and brings back the undiluted menace of the opening theme. Wallfisch’s piano drives the final cut, Rumpelstilzchen, with a noir boogie riff as it reaches its expected conclusion. You’ll see this here again on the best albums of 2014 page in a couple of days.

A Classic Small Beast Reunion of Sorts

[cross-post from NY Music Daily’s sister blog Lucid Culture]

Is it possible to be nostalgic for something that happened just four years ago? Is nostalgia a healthy emotion to begin with? Probably not. But with today being the four-year anniversary of Small Beast, seeing that date memorialized last week upstairs at the Delancey brought back fond memories of the weekly series’ glory days here in New York. Botanica frontman Paul Wallfisch – this era’s finest rock keyboardist – founded the night in 2008 as a solo residency, followed by an endless cavalcade of some of New York’s, and the world’s, finest and darkest rock acts. This past Monday’s show was a fond reminder of what an amazing run Small Beast had up to the summer of 2010, when Wallfisch took his show on the road to Germany. He now runs the State Theatre in Dortmund, which also serves as the European base for the Beast.

The night opened explosively with Valerie Kuehne. She’s part punk classical cellist, part performance artist, but her performance art isn’t the foofy, mannered kind – it’s oldschool 80s style and it has fangs. And it’s hilarious. Whether or not Kraft pasteurized processed American cheese qualifies as food, or how yoga has been transformed from oasis of relaxation to yuppie clusterfuck, might seem obvious. But Kuehne’s rapidfire rants about both were irresistibly funny all the way through to the punchlines…and then she played a roaring solo cello piece that became surprisingly lyrical, as violinist Jeffrey Young strolled in through the audience, and then she and accomplice Esther Neff  donned masks and handed out instructions to the audience. Which turned out to be a cruel kind of dada – watching the crowd make fools of themselves, looking up at them from the floor of the club (music bloggers aren’t immune to being spoofed) was almost as funny. Then she and Neff ran off to Cake Shop, where they were doing another show.

Martin Bisi cautioned before his duo improvisation with fellow guitarist Ernest Anderson that it might be “sleepy.” Nightmarish, maybe, but definitely not sleepy: fifteen seconds into it, and Bisi hit a ringing tritone and then sent it spiraling devilishly through the mix as Anderson anchored the ambience with keening layers of sustain from his ebow. Meanwhile, Bisi slammed out chords when he wasn’t building a murky, echoey cauldron of implied melody. And then in a raised middle finger to the sound system, he stuck his guitar in his amp and mixed the noise through a labyrinth of bleeding, pulsing effects. Although he’s not known as a jam guy – epic dark songcraft is his thing – he’s actually a tremendously entertaining improviser who never plays the same thing the same way twice. Jamming out soundscapes is probably the last thing he or anybody who knows his music would expect him to be doing, but this was good trippy fun.

Roman Wallfisch was the star of this show. The guitarist son of the night’s impresario has been playing banjo for a couple of weeks now, and he’s already figured out all sorts of cool voicings mixing old folk tropes with new rock ones. He casually made his way through a couple of shambling narratives, Monsoon Season and Parts of Speech, both songs showing off a wryly surreal lyrical sensibility and a wicked sense of melody: the apple obviously didn’t fall far from the tree. Oh yeah – in case you’re wondering, Roman Wallfisch is fourteen years old.

And the Wiremen – in a duo performance with guitarist/bandleader Lynn Wright and violinist Jon Petrow – could have been anticlimactic, but they weren’t.  Wright’s plaintive English/Spanish vocals over broodingly jangly, reverb-toned southwestern gothic melodies were as surrealistically dusky as ever. Wright held the crowd rapt with a quiet new song and ended the set with Sleep, which seems to be a cautionary tale, Petrow’s even more reverb-drenched lines raising the sepulchral ambience as high as anything sepulchral can go.

Guitarist Alexander Hacke and electric autoharpist Danielle Depicciotto treated the crowd to an equally brooding southwestern gothic ballad and then Cuckoo, the old Austrian folk song, complete with yodeling. Noir cabaret personality Little Annie was supposed to be next, but she was under the weather, so pianist Wallfisch was  joined by another brilliant dark chanteuse, Sally Norvell, whose takes of three haunting tracks from her duo album with him a few years back were lustrous and riveting, running the gamut from joyously torchy and seductive to funereal.

Wallfisch wrapped up the night with the kind of intuitively eclectic mix that defined the Beast for a couple of years, capturing the raw innocence of the Kinks’ Waterloo Sunset and the apprehension of Dylan’s Blind Willie McTell before a wry Little Annie Christmas song, the furtive gypsy punk of the Botanica song Money (from their latest, towering, intense album What Do You Believe In) and then the scorching gypsy punk of How, a crowd-pleaser from the old days. Petrow made another ghostly cameo or two. By now, it was after one in the morning, so Wallfisch wrapped up the evening with the nocturne Past One O’Clock (an audience request), the towering anthem Judgment (centerpiece of the new album) and a gorgeously brooding new number inspired by – among other things – the college kid in New Jersey who lept to his death from a bridge after being outed as gay. If there’s any lesson to take away from this show, it’s carpe diem: if there’s a scene this vital that you hang out in, don’t hide yourself at home, even if it’s Monday night. It could be gone sooner than you think.