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Tag: amanda thorpe

A Look Back at Last Year’s Vocal Summit With Amanda Thorpe and Her Siren Friends

More about that Amanda Thorpe show coming up on June 13 at 8 PM at Hifi Bar. She’s playing in the intimate space in the back, where the Britfolk and chamber pop songwriter – the closest thing to Linda Thompson that this generation has produced – will be joined by guitarists Don Piper and her longtime Bedsit Poets bandmate Edward Rogers.

Mary Lee Kortes was one of three other women who joined Thorpe late last year onstage at the Treehouse at 2A for a summit meeting of four of the most haunting voices in all of rock. It was one of the half-dozen most spellbinding shows of the year: vocally speaking, no other performance all year came close. The quartet of Thorpe, Kortes, Lianne Smith and Debby Schwartz each played guitar, singing in the round, trading songs, joining voices as duos and trios and once or twice in four-part harmony: pure, unaffected, spine-tingling intensity.

Thorpe has an ambered delivery that can be either coyly fun or woundedly resigned in the low registers, but when she cuts loose and soars way up, that’s when the firepower really kicks in. Likewise, Smith channels hushed nunace as much as poignancy, has a spun-steel upper register and has never written better than she’s doing now. With her metalcutter crystalline tone and ability to effortlessly leap octaves, Kortes is probably one of the half-dozen best singers in the world, never mind the rock world. Schwartz, the former Aquanettas frontwoman, might have the most distinctive voice of all four singers,  both plaintive and atmospheric with a tinge of grit. She and Smith – who also draws on rockabilly, Americana and psychedelia – share an indie rock background. Kortes draws on all sorts of Americana, and like Thorpe is equally adept at jazz.

Smith had her Strat with the reverb turned up as she usually does. A typically allusive new number parsed the understated ache and longing from eyes that are “bright, bright, bright” in circumstances that are hardly “right, right, right” – chilling, especially in contrast to the power she unleashed on the chorus. A spare, skeletal, southern soul-tinged new song gave her a platform for the kind of simmering vengeance that Dusty Springfield would have killed for.

Schwartz aired out the sardonic, understatedly brooding Dreaming New York City in the Middle of LA and also the evening’s high point among many, a viscerally  spine-tinglingtake of the otherwise enigmatic, minor-key anthem Hills of Violent Green. Kortes’s high points were the wickedly catchy, darkly chromatic, soaring Vegas noir-tinged Learn from What I Dream and the jaunty, uneasily defiant oldtimey swing tune Big Times, along with a swinging, embittered, coiled-cobra new song that might have been the evening’s single best number.

Joining voices with Treehouse impresario and guitar monster Tom Clark, Thorpe elevated a sad Everly Brothers song far above early 60s folk-revival stuff, to the level of something from the Skooshny catalog, maybe. She channeled the most nuance of anyone, especially in a handful of shadowy, noir-tinged reinventions of Great American Songbook jazz-pop from the Yip Harburg catalog, which she memorably recorded in 2014. A longtime staple of the Lower East Side scene back when it was about art far more than commerce, she rarely makes it back to town these days: if you missed her the first time around, now’s your chance not to miss out again.

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The Best New York Concerts of 2015

On one hand, pulling this page together is always a lot of fun – and there could be a late addition or two, since the year’s not over yet. Of all the year-end lists here, including the Best Songs of 2015 and Best Albums of 2015, this is the most individualistic – everybody’s got their own – and reflective of the various scenes in this blog’s endangered but still vital hometown.

On the other hand, whittling this page down to a manageable number always hurts a little. With apologies to everyone who didn’t make the cut, for reasons of space or otherwise – seriously, nobody’s got the time to sift through the hundred or so concerts that realistically deserve to be on this page – this list feels bare-bones, even with a grand total of 28 shows.

In terms of epic sweep, intensity and gravitas, the year’s best concert was by Iran’s Dastan Ensemble in September at Roulette. This performance marked the New York debut of intense young singer Mahdieh Mohammadkhani, who aired out her powerful voice in a series of original suites on themes of gender equality by members of the ensemble, along with some dusky, austere traditional songs.

Since trying to rank the rest of these shows would be impossible, they’re listed as they happened:

Karla Rose and Mark Sinnis & 825 at the Treehouse at 2A, 2/15/15
The frontwoman of noir rockers Karla Rose & the Thorns in a chillingly intimate duo performance with her Tickled Pinks bandmate Stephanie Layton, followed by the Nashville gothic crooner and his massive oldschool honkytonk band.

Molly Ruth and Lorraine Leckie at the Mercury, 3/12/15
A savage, careening set by the angst-fueled punk-blues siren and her new band, followed by the Canadian gothic songstress and her volcanic group with newly elected Blues Hall of Fame guitarist Hugh Pool.

Lazy Lions and Regular Einstein at Rock Shop, 3/20/15
A feast of lyrical double entendres, edgy new wave and punk-inspired tunesmithing. Jim Allen’s band were playing their first gig since 2008 and picked up like they never stopped; Paula Carino’s recently resurrected original band from the 90s were just as unstoppable.

The Shootout Band and a nameless if good pickup band led by John Sharples at the Mercury, 3/22/15
Cover bands get very little space here for reasons that should be obvious, but the Shootout Band devote themselves to doing a scary-good replication of Richard & Linda Thompson’s Shoot Out the Lights, Erica Smith shattering in her role as Linda Thompson and Bubble’s Dave Foster doing a spot-on-Richard. Afterward, multi-instrumentalist John Sharples led a similarly talented bunch song by song through Graham Parker’s cult favorite Squeezing Out Sparks album

Ensemble Hilka, Black Sea Hotel and the Ukrainian Village Voices at the Ukrainian Museum, 4/25/15
In their first performance in over three years (see Lazy Lions above), the Ukrainian choral group ran through a rustic, otherworldly performance of ancient songs from the area around the Chernobyl nuclear disaster site. Innovative Bulgarian/Balkan trio Black Sea Hotel and then the esteemed East Village community singers were no less otherworldly.

Mamie Minch and Laura Cantrell at Union Hall, 5/5/15
Resonator guitar badass and pan-Americana songstress Minch, and then Cantrell – the reigning queen of retro country sounds – each took their elegant rusticity to new places. Cantrell’s final stand of a monthlong residency here, a mighty electric show, was also awfully good.

Emel Mathlouthi and Niyaz at the World Financial Center, 5/8/15
Menacingly triumphant, politically-fueled Arabic art-rock from Mathlouthi and then mystically hypnotic, propulsive Iranian dancefloor grooves from Niyaz.

Rachelle Garniez and Carol Lipnik at Joe’s Pub, 5/14/15
Noir cabaret, stark Americana, soul/gospel and deviously funny between song repartee from multi-instrumentalist Garniez, followed by the magically surreal art-rock of Lipnik and her spine-tingling four-octave voice in a duo show with pianist Matt Kanelos.

Amy Rigby at Hifi Bar, 5/28/15
The final show of her monthlong residency was a trio set with her husband Wreckless Eric and bassist daughter Hazel, a richly lyrical, puristically tuneful, characteristically hilarious career retrospective

Erica Smith, Mary Spencer Knapp, Pete Cenedella, Monica Passin and the Tickled Pinks at the Treehouse at 2A, 5/31/15
Guitarist and purist tunesmith Passin, a.k.a L’il Mo, put this bill together as one of her frequent “Field of Stars” songwriters-in-the-round nights here. Smith was part of a lot of good shows this year because she’s so in demand; this was a rare chance to hear her dark Americana in a solo acoustic setting, joined by eclectic accordionist Knapp (of Toot Sweet), irrepressible American Ambulance frontman Cenedella, and a surprise appearance by coyly edgy swing harmony trio the Tickled Pinks (Karla Rose, Stephanie Layton and Kate Sland).

Jim Allen, Kendall Meade and Ward White at Hifi Bar, 6/15/15
Songsmith Allen doesn’t get around as much as a lot of the other acts here, but he really makes his gigs count: this was a glimpse of his aphoristic, lyrical Americana side. Meade, frontwoman of the late, great, catchy Mascott, held the crowd rapt with her voice and her hooks, then White went for deep literary menace with a little glamrock edge.

Glass House Ensemble and Muzsikas at NYU’s Skirball Center, 6/17/15
Trumpeter Frank London’s collaboration with an all-star Hungarian group, recreating rare pre-Holocaust Jewish sounds, followed by the more stripped-down, rustic but high-voltage Hungarian folk trio.

The Claudettes and Big Lazy at Barbes, 7/11/15
Fiery, sometimes hilariously theatrical barrelhouse piano soul followed by New York’s most menacing, state-of-the-art noir soundtrack band. Big Lazy have an ongoing monthly Barbes residency; their two sets this past May were particularly scary.

The Bright Smoke at the Mercury, 7/25/15
This was the show where intense frontwoman Mia Wilson’s blues-inspired psychedelic art-rock band made the quantum leap and earned comparisons to Joy Division.

Robin Aigner & Parlour Game at Barbes, 8/8/15
The torchy, wickedly lyrical oldtimey/Americana songstress at the top of her captivating game with a trio including poignant, powerful violinist/pianist Rima Fand.

Ember Schrag, Alec K Redfearn & the Eyesores and Escape by Ostrich at Trans-Pecos, 8/23/15
The fearsomely talented Schrag did double duty at this show, first playing her own murderously lyrical, Shakespeare-influenced art-rock with her own band, then switching from guitar to organ in Redfearn’s equally murderous Balkan psychedelic group. Jangly no wave jamband Escape by Ostrich took the evening into the wee hours.

Sweet Soubrette and Kotorino at Joe’s Pub, 9/2/15
This time it was menacing chanteuse Ellia Bisker who did double duty, first fronting her richly horn-driven noir soul band, then adding her voice to the noir latin art-rock of Kotorino.

The Shannon Baker/Erica Seguine Jazz Orchestra at Shrine, 9/7/15
Lots of good jazz shows this past year, none more unpredictably fascinating and lushly gorgeous than the epic performance by this unique, shapeshifting large ensemble uptown.

Kelley Swindall at LIC Bar, 9/16/15
The noir Americana songwriter and murder ballad purveyor usually leads a band; this solo gig was a rare chance to get up close and personal with her creepily philosophical southern gothic narratives

Charming Disaster at Pete’s Candy Store, 9/30/15
Speaking of twisted narratives, this multi-instrumentalist murder ballad/noir song project by Bisker and Morris (look up three notches) never sounded more menacing – and epically inspired – than they did here.

Jenifer Jackson at a house concert on the Upper West Side, 10/1/15
A long-awaited return home by the now Austin-based Americana/jazz/psychedelic songwriter, in a rare trio show with amazingly virtuosic multi-instrumentalist Kullen Fuchs and violinist Claudia Chopek

Liz Tormes and Linda Draper at the American Folk Art Museum, 10/23/15
A rare solo acoustic dark Americana twinbill by two of the most potently, poignantly lyrical songsmiths in that shadowy demimonde.

LJ Murphy & the Accomplices and MacMcCarty & the Kidd Twist Band at Sidewalk, 11/6/15
Murphy has defined New York noir for a long time – and now he’s gone electric, with searing results. McCarty has more of a Celtic folk-rock edge and equally haunting, politically-fueled story-songs.

Karla Rose & the Thorns at the Mercury, 11/17/15
Enigmatic reverb guitar-fueled Twin Peaks torch songs, stampeding southwestern gothic bolero rock, ominously echoey psychedelia, venomous saloon blues and stiletto between-song repartee from another artist who made multiple appearances on this list because everybody wants her to sing with them.

The Sometime Boys at Freddy’s, 11/20/15
One of New York’s most individualistic, catchy, groove-driven bands ran through a sizzling set of haunting, gospel-inflected ballads, jaunty newgrass, acoustic funk and blue-flame guitar psychedelia

Amanda Thorpe, Mary Lee Kortes, Lianne Smith and Debby Schwartz at the Treehouse at 2A, 11/22/15
Impresario Tom Clark remarked that there might never have been so much talent onstage here as there was this particular evening, with noir Britfolk songwriter Thorpe, the soaring and savagely lyrical Kortes, the ever-darker and mesmerizing Smith and the powerful, dreampop/Americana-influenced Schwartz. For that matter, there have been few nights on any stage anywhere in this city with this much lyrical and vocal power, ever.

Like last year, the numbers here suggest many interesting things. Eighteen of these shows were in Manhattan, eight were in Brooklyn and two in Queens, which is open to multiple interpretations. More instructive is the fact that half of the twenty-eight were free shows where the audience passed around a tip bucket rather than paying a cover at the door. Most interestingly, women artists dominated this list, even more so than they did last year: an astonishing 39 of the 53 acts here were either women playing solo or fronting a group. That’s a trend. You’re going to see more of that here on the Best Albums of 2015 and Best Songs of 2015 pages at the end of this month.

The 100 Best Songs of 2014

If you count youtube clips, how many songs were “released” in 2014? Five million? Ten million? Considering the vast amount of material that’s out there, you can’t consider this page to be gospel any more than you can any other blog’s best-of-2014 list.

But it is a seriously good playlist. At first it seemed like a good idea to simply pull all of these songs into a Spotify playlist and call it a night, but that didn’t work since a lot – perhaps the majority – of the artists here aren’t on Spotify. But you can follow the links on this page and hear every song except for one mystery track which is one of the best of them all. Bookmark this page and enjoy!

As was the case last year with Matthew Grimm’s West Allis, one song stood apart from the pack this year as far as sheer visceral impact is concerned and that’s The Great Escape by artsy New York Americana band the Sometime Boys. Kurt Leege’s guitar provides an elegant, elegaic intro for frontwoman/guitarist Sarah Mucho’s carefully modulated, wounded, brittle vocals, which rise to a full gospel wail as the song hits a peak. It’s a bitter reflection on the lure of victory and the harsh reality of defeat, from the perspective of someone gazing into the night from a window in lower Manhattan. If you’ve ever faded away into yourself, scowling out at the glimmer in the distance and wishing you were there and not slaving away at some stupid dayjob – or contemplating suicide – this could be your theme song. It’s from the band’s album Riverbed, streaming here.

As with this year’s Best Albums of 2014 and Best NYC Concerts of 2014 pages, there’s no ranking here other than the #1 song of the year. For the sake of fairness, songs are listed in rough chronological order by the date they first got some attention at this blog, irrespective of release date. Which means that the last songs on the list aren’t the ass end of the list: they just made their first appearance here in December. To be clear: Karla Moheno’s mysterious Time Well Spent, which leads the rest of the pack here, is a lot different than Jennifer Niceley’s uneasily balmy Land I Love, the last song here. But they’re both worth a spin. Here we go!

Karla Moheno – Time Well Spent
A slinky, cruel noir blues dirge about deceit and revenge. Moheno’s genius is that her narratives are allusive; you have to brave the shadows to figure out what’s going on and who’s being killed. If the Sometime Boys hadn’t put out an album this year, this song, from her album Gone to Town, would occupy the top spot. Listen here.

Jessie Kilguss – Red Moon
The folk noir bandleader’s brooding, Spanish Civil War-inspired tableau could also be a present-day account of freedom fighters on the run from just about any gestapo – the NSA, Mossad or ISIS. It’s all the more powerful for Kilguss’ portrayal of the political as personal. From the album Devastate Me. Spotify link

Ward White – Bikini
This swaying, snarling art-rock narrative isn’t about beachwear: it’s a cruelly sardonic narrative set on a now-uninhabitable South Pacific atoll right after an atom bomb was set off there, gently ominous guitar multitracks subtly going awry over keyboardist Joe McGinty’s pillowy mellotron. From the album Ward White Is the Matador. Listen here

Marianne Dissard – Am Lezten
A portrait of total emotional depletion so vividly detailed it’s scary. And you don’t need to speak French to understand it – although that makes it all the more poignant. From her gorgeously orchestrated art-rock album The Cat. Not Me. Listen here

The Wytches – Gravedweller
Don’t let this song’s apparent references to zombies – which could simply be metaphorical – scare you away. Drenched in toxic reverb, this is a morbid, Middle Eastern-tinged horror surf number, and it’s genuinely evil. From the album Annabel Dream Reader. Listen here, free download

Willie Watson – Rock Salt & Nails
One of the year’s biggest buzz songs. Everybody covered this morose old murder ballad from the 1800s, nobody more starkly or hauntingly than the former Old Crow Medicine Show guitarist. It’s a version worthy of Hank Williams, no joke. From the album Folk Singer Vol. 1. Listen here

Ember Schrag – William for the Witches
At her Trans-Pecos show in October, the gothic Americana bandleader dedicated her careening Macbeth-inspired anthem to “all the Republicans back home,” ramping up the menace several notches with her litany of spells as guitarist Bob Bannister veered from monster surf, to ominous jangle, to a little skronk,  captured here on this video.

LJ Murphy – Fearful Town
At the Parkside back in May, noir rocker Murphy’s show was a going-away party of sorts for pianist Patrick McLellan, who took out his angst on the piano keys, gently and elegantly exchanging creepy, lingering noir tonalities with guitarist Tommy Hoscheid as Murphy drew a morosely surreal portrait of a DiBloomberg era East Village of tourist traps and the grotesqueries who congregate there. This youtube clip is the studio version.

Benmont Tench – You Should Be So Lucky
Tom Petty’s organist released his debut album this year and this is the title track, as viciously brilliant a kiss-off anthem as anyone’s ever written, set to tersely murderous, bluesy Laurel Canyon psychedelia. Watch the video 

Big Lazy – Human Sacrifice
The cult favorite NYC noir soundtrack trio makes horror surf out of a flamenco theme, with its savage clusters and sudden dips and swells, and allusions to a famous Duke Ellington tune (via the Ventures). From the album Don’t Cross Myrtle, rated #1 for 2014. Listen here

Gord Downie & the Sadies – Budget Shoes
An ominously reverb-drenched southwestern gothic tale fueled by Mike Belitsky’s artfully tumbling, Keith Moon drums. Singer and longtime Tragically Hip frontman Downie traces the steps of a couple of desperados “walking through the valley of ghosts,” one with his eyes on the other’s superior footgear. From their album Gord Downie, the Sadies & the Conquering Sun. Listen here

Ernest Troost – Old Screen Door
A wailing, electrifying murder ballad. Troost succeeds with this one since the only images he lets you see are incidental to what was obviously a grisly crime, “lightning bugs floating through a haze of gasoline” and so forth. A teens update to the Walkabouts’ vengeful anthem Firetrap, from the album O Love. Listen here

Changing Modes – Ride
The band keeps the menacing chromatics going over a brisk new wave pulse, frontwoman/keyboardist Wendy Griffiths’ venomous lyric driven to a crescendo by a snarling Yuzuru Sadashige guitar solo. From the New York art-rockers’ album The Paradox of Traveling Light. Listen here

HUMANWINE – Our Devolution Is Televised
Tthe closest thing to the Dead Kennedys that we have these days: macabre chromatic Romany punk rock set in an Orwellian nightmare that very closely resembles today’s world. The recurrent mantra is “Can’t you feel the lockdown?” From the ep Mass Exodus. Listen here, free download

The Brooklyn What – Too Much Worry
Almost nine minutes of white-knuckle intensity, relentless angst and psychedelic guitar fury. A serpentine homage to early Joy Division, there’s an interlude where it evokes a tighter take on that band doing the Velvets’ Sister Ray, then a long, volcanic guitar duel worthy of the Dream Syndicate. From the year’s best short album, Minor Problems. Listen here

Briana Layon & the Boys – Cut My Man
The dark metal/powerpop rockers open the song with an icy, watery guitar lead over a sketchy, muted riff, frontwoman Layon joining in the ominous ambience and then rising toward murderous rage, airing out her wounded low range and in the process channeling the Sometime Boys‘ Sarah Mucho. They take it out as a waltzing danse macabre. From their album Touch & Go. Listen here

Cheetah Chrome – Stare into the Night
It’s the closest thing to the Dead Boys (right around the time of their mid-80s comeback) on that band’s iconic lead guitarist’s new album, Solo, most of its searing tracks recorded almost twenty years ago and seeing the light just now. It’s about time. Spotify link

The Annie Ford Band – Buick 1966
A cinematic, noir mini-epic that shifts from a creepy bolero to a waltz to scampering bluegrass and then back, fueled by Tim Sargent’s knee-buckling, Marc Ribot-like reverb guitar lines. From Ford’s debut album. Listen here

Golem – Vodka Is Poison
Over a rampaging circus punk stomp, bandleaders Annette Ezekiel Kogan and Aaron Diskin trade verses about why it either “Makes you round, makes you soft, makes it hard to get aloft,” or “Makes you happy, makes you free, makes you wish that you were me!” From the album Tanz. Spotify link 

The Fleshtones – Hipster Heaven
A hellish, Chuck Berry-flavored chronicle of the band’s old New York neighborhoods being swallowed by hordes of narcissistic gentrifiers fresh out of college but acting like kindergarteners. From their album Wheel of Talent. Watch the video

Guess & Check – Some DJs
An aptly downcast janglepop tale that will resonate with anybody who’s walked into a party all psyched and then realizes in a split second that it’s really going to suck. In other words, that it’s full of trendoids who are all a-twitter since some DJ just plugged his phone into the PA system! From their album Entanglement. Listen here

Orphan Jane – Lost Mind
A menacingly theatrical circus rock tune that builds from a sarcastically whiny, vaudevillian verse to an explosive choir of voices on the chorus. From their album A Poke in the Eye. Listen here

Mitra Sumara – mystery song
Mitra Sumara are one of New York’s most fascinating bands. Singer Yvette Perez’s group plays obscure psychedelic rock and funk covers from Iran in the 1960s and 70s. This particular number was the highlight of this year’s annual Alwan-a-Thon, a celebration of sounds from across the Middle East held at downtown music mecca Alwan for the Arts. But nobody seems to know what the song is called. It sounds like Procol Harum but more upbeat, with some seriously evil funeral organ. If anybody knows the title, please pass it on! It was the third song on the setlist that night.

The Reigning Monarchs – Thuggery
Sort of a Peter Gunne Theme for the teens, an intense, explosive monster surf instrumental with a slashing, off-the-rails guitar solo midway through. From the album Black Sweater Massacre. Listen here

Curtis Eller – The Heart That Forgave Richard Nixon
A riverbed grave, a Cadillac stalled out on the tracks and Henry Kissinger shaking it all night long serve as the backdrop for this snarling parable of post-9/11 multinational fascism. From the historically-inspired Americana cult favorite banjo player’s album How to Make It in Hollywood. Listen here

The Jitterbug Vipers – Stuff It
A co-write with Elizabeth McQueen from Asleep at the Wheel, this sassy oldtimey swing tune by the Texas stoner swing band has the sardonic wit of a classic, dismissive Mae West insult song. From the album Phoebe’s Dream. Listen here

Della Mae – Heaven’s Gate
A bitter, ghostly newgrass tale that begins with the fiddle mimicking the ominous low resonance of a steel guitar, then eventually goes doublespeed. Is this about a suicide, a murder, or both? Either way, it’s a great story. From the album This World Oft Can Be. Watch the video (WARNING – you have to mute the audio ad before the whole album streams)

Bad Buka – Through the Night
A big, blazing, full-on orchestrated minor-key Romany art-rock epic, the title track from this searing, theatrical Slavic art-punk band’s new album. Listen here

The Devil Makes Three – Hand Back Down
The wild punkgrass crew take an unexpected detour into surrealist stoner swamp rock with a cynical antiwar edge, from their album I’m a Stranger Here. This video is a live take.

Marissa Nadler – Firecrackers
A menacingly opiated, reverb-drenched, mostly acoustic Nashville gothic ballad, painting a booze-fueled Fourth of July scenario that does not end well. From the folk noir icon’s album July. Listen here

Aram Bajakian – Rent Party
This instrumental by the former Lou Reed lead guitar genius kicks off with a bouncy funk riff into a minor-key tune that’s part newschool Romany rock, surf music and Otis Rush blues – then the band hits a long, surreal, muddy interlude reminiscent of 80s noiserock legends Live Skull as Shahzad Ismaily’s bass growls to the surface. From the album There Were Flowers Also in Hell. Listen here

The Delta Saints – Crazy
The centerpiece of the Americana jamband’s Drink It Slow ep is a nine-minute epic that works a slow, slinky noir blues groove with all kinds of up-and-down dynamics, a precise, angst-fueled guitar solo and every keyboard texture in this band’s arsenal. Listen here

Rosanne Cash – World of Strange Design
An harrowing Appalachian gothic tale that could be about a returning soldier’s family falling apart, or maybe just metaphorical, about a guy who “Set off the minefield like you were rounding first.” From the album The River & the Thread. Watch the video

Laura Cantrell – Washday Blues
This era’s most poignant, compelling voice in classic country music at her aphoristic best, cleaning up a lifetime’s worth of disappointed metaphors against a backdrop of steel guitar and mandolin. From the new album No Way There from Here. Spotify link

The New Mendicants – High on the Skyline
An enigmatically alienated folk-rock anthem that’s equal parts Strawbs Britfolk and lushly clangy, twanging Byrds from this psychedelic pop supergroup. “I’ll show you how deadly close faraway can be,” Teenage Fanclub frontman Norman Blake intones in his stately delivery. From their album Into the Lime. This live acoustic take isn’t the album version but it’s still really good.

Ihtimanska – Hicaz Hümayun Saz Semaisi
The most gripping and most distinctively Middle Eastern of all the tracks on the Montreal Turkish traditional music duo’s debut album. Listen here

Siach HaSadeh – Kuni Roni/Maggid’s Niggun
A darkly dancing North African-tinged diptych: the oud’s ironically triumphant run down into the abyss midway through might be the high point of the improvisational klezmer band’s album Song of the Grasses. Listen here

Son of Skooshny – Untold History.
This intense, richly arranged, artsy janglerock anthem traces an uneasy early atomic age childhood with an offhanded savagery: with Steve Refling’s keening slide guitar, it’s the hardest-rocking and most overtly angry song on the new album Mid Century Modern. Listen here

New Electric Ride – Marquis de Sade
This trippy vintage 60s psych tune casts the old philosopher as a stoner, from a funky Cream intro, through a little early Santana and then a galloping proto-metal interlude fueled by Craig Oxberry’s artful drums before some very funny vocals kick in. From the album Balloon Age. Listen here

Tammy Faye Starlite – Sister Morphine
A showstopper by the irrepressible chanteuse who’s carved herself out a niche for sardonic but spot-on reinventions of songs by brilliant and difficult people: Nico, Iggy, and others. She slayed with this one live at her Marianne Faithfull tribute/parody at Lincoln Center back in March. Watch the video

Isle of Klezbos – Noiresque
Shoko Nagai dazzles with her glimmering, darkly neoromantic and blues-tinged piano on this bracing latin- and Middle Eastern-tinted theme, shifting seamlessly between waltz time and a swing jazz groove. From the album Live from Brooklyn. Listen here

Jenifer Jackson – All Around
This flinty anthemic backbeat rock tune builds a mood of quiet apprehension via a wintry seaside tableau – it wouldn’t be out of place in the Steve Wynn catalog. From the stunningly eclectic Austin songwriter’s album Texas Sunrise. Listen here 

The Baseball Project – 13
Arguably the best song on the new album, 3rd – frontman Steve Wynn takes unsparing aim at at the A-Roid scandal over a corrosively sarcastic spaghetti western backdrop. Watch the video

John Zorn’s Abraxas – Metapsychomagia
Guitarists Aram Bajakian and Eyal Maoz and bassist Shanir Ezra Blumenkranz juxtapose puckish wit with flickering menace, building from an uneasy bolero groove to a staggered Middle Eastern monster surf stomp, both guitarists ranging from lingering and twangy to frenetic and crazed, epic art-rock infused with swirling noise. Title track from the new album. Watch the video

Martin Bisi – Invite to Heaven Hell
One of the most deliciously tuneful things the dark art-rocker has ever done, building a stygian spacerock ambience, like the Chuch or the Byrds at their most psychedelic, with hints of peak-era Sonic Youth peeking through the pulsing guitars, with disembodied vocals, soaring trumpet and a dead-girl chorus in the background. From the album Ex Nihilo. Listen here

Ichka – Glaziers Hora
This Alicia Svigals tune is a showcase for soaring solos from everyone in this fiery klezmer band, over a misterioso staccato rhythm. From their album Podorozh. Listen here

Jaro Milko & the Cubalkanics – Herido
A mix of Del Shannon noir with a creepy bolero: it’s arguably the strongest track on the psychedelic cumbia band’s creepily slinky new album Cigarros Explosivos. Listen here 

Holly Golightly & the Brokeoffs – For All that Ails You
With its mournful train-whistle guitar and stalking, noir blues sway, it’s uncommonly dark for even this creepy gutter blues/noir Americana band. From the album It’s Her Fault. Watch the video

The Mystic Braves – There’s a Pain
A briskly scampering noir blues recast as period-perfect 60s Laurel Canyon psychedelia, from the album Desert Island. Listen here

Barbez – Mizmor Leasaf
Italian poet Alfonso Gatto’s bitter wartime elegy, Anniversary, recast as an eerily reverberating, dirgelike noir soundtrack piece from the album Bella Ciao, which explores haunting Italian Jewish themes. Watch the video

Spottiswoode – Butterfly
With its anxiously fluttery, tremoloing intro, swooping clarinet and elegant electric harpsichord, it’s a characteristically moody, richly orchestrated chamber pop anthem. From the album English Dream. Listen here

Action Beat & G.W. Sok – Sentence Machine
A noisier take on what Joy Division did with Atrocity Exhibition, seemingly a Kafkaesque account of a tortuous execution machine, set to a choir of sawing, stabbing, frantically pinwheeling guitars. From the ex-Ex frontman and British noiserock band’s collaborative album A Remarkable Machine. Spotify link

Karikatura – Eyes Wide
A bracing latin reggae tune and the title track to the band’s new album, frontman Ryan Acquaotta chronicling what happens when the real estate mob decides to take over a sketchy part of town: “With the luxury developments they’re packing in, propaganda that the neighborhood is back again, watch whoever is moving in after, blowing their cover.” And then the displacement of the people who call it home begins. Listen here

The Skull Practitioners – Another Sicko
An out-of-focus vocal from guest Tom Derwent, long drones, allusions to funk, twisted bent-note mental asylum screams from Steve Wynn lead player and frontman Jason Victor going on for what seems minutes and an ending that the band finally allows to completely disintegrate. From the New York noiserockers’ ep ST1 – also available on cassette. Listen here

Zvuloon Dub System – Alemitu
An ominously organ-fueled minor-key instrumental that blends otherworldly Ethiopiques into a moody Israeli roots reggae groove. From their album Anbesa Dub. Listen here

The Last Internationale – We Will Reign
The fearless, politically-fueled Bronx rockers slayed with this snarling, defiant, Patti Smith-style anthem at the Mercury back in June, the title track from their new album. Watch the video

Hannah Thiem – Phavet
If you listen very closely, you’ll realize that the cinematic, intense violinist/composer’s slinky electroacoustic mood piece is a one-chord jam, as it shifts from an echoing, dancing, hypnotically bracing theme to a thicket of overdubs where Thiem becomes a one-woman string sextet.. From the ep Brym. Listen here

Amanda Thorpe – Willow in the Wind
With its haunting, subdued anguish, the intense Britfolk/art-rock chanteuse’s noir tropicalia version of Tin Pan Alley wordsmith Yip Harburg’s song surpasses any other take on it, fueled by drummer Robert di Pietro’s ominous tom-toms and misterioso cymbal work. From the album Bewitching Me. Spotify link 

Nick Waterhouse – Sleeping Pills
With echoey Rod Argent electric piano and baritone saxophonist Paula Henderson’s smoky lines, this was the most lurid song of the night at the LA psychedelic soul music maven’s show in Greenpoint back in June. From the album Holly. Watch the video

Puss N Boots – GTO
The darkest and arguably best song on the album No Fools, No Fun, a detour toward Eilen Jewell-tinged ghoulabilly by the the Americana super-trio of Norah Jones, guitarist/singer Sasha Dobson and bassist Catherine Popper. Watch the video

People – Supersensible Hydrofracked Dystopia
Fiery jazz guitarist Mary Halvorson, irrepressible drummer Kevin Shea (of NYC’s funnest jazz group, Mostly Other People Do the Killing) and bassist Kyle Forester (from Crystal Stilts) toss off this barely minute-long but cruelly spot-on punk jazz miniature from the album 3xaWoman. Watch the video

Coppins – Great Day for Living
A sarcastic dystopic pre-apocalyptic narrative set to a reggae-tinged groove from the eclectic, funky, rootsy Toronto band known for their bagpipe funk. From the album The Prince That Nobody Knows. Listen here 

Marah – The Old Riverman’s Regret
A sad, vividly resigned oldtimey folk waltz, looking back nostalgically on 19th century commercial river rafting. From the album Mountain Minstrelsy of Pennsylvania, a mightily successful detour into Americana by the highway rock band. Listen here

Carsie Blanton – Don’t Come Too Soon
Sly, innuendo-fueled oldtime hokum blues from the torchy New Orleans chanteuse. Listen here, free download

Millsted – Televangelist
Over an uneasy, hammering pulse, the New York punk/metal band work murderously direct East Bay Ray-style horror-surf riffage that spirals out in acidic sheets of reverb, hits a misterioso interlude and then rises again. From the album Harlem. Listen here

The Butcher Knives – Could Be the End
The New York Romany/latin rockers’ slinky shuffle kicks off by nicking the intro from Elvis Costello’s Watching the Detectives and morphs into steady brisk spaghetti western rock, with a cool, offcenter Ethan Cohen banjo solo out. From their album Misery. Listen here 

The Bakersfield Breakers – Longing
A sad, spiky mix of honkytonk, incisive blues and Britfolk licks and moody ranchera rock via guitarist Keith Yaun’s virtuoso multitracks. From the album In the Studio with the Bakersfield Breakers. Listen here

The Jones Family Singers – Bones in the Valley
A funky update on an ancient, eerie spiritual livened with a combination of graveyard imagery and a message that’s ultimately hopeful, a launching pad for some impassioned call-and response. From the Houston gospel-soul band’s album The Spirit Speaks. Listen here

The Old Crow Medicine Show – Dearly Departed Friend
As much as the bluegrass road warriors are best known for explosive party music, this is a somber graveside requiem for an Iraq War casualty, with a creepy, spot-on redneck surrealism. From their album Remedy. Listen here

Andrew Bird – So Much Wine Merry Christmas
The funniest of the Handsome Family covers on Bird’s tribute to the iconic Americana surrealist duo, Things Are Really Great Here, Sort Of. One brilliantly twisted, literate Americana songwriter deserves another. Listen here

The Grisly Hand – Western Avenue
A ringer here, the title track from the Kansas City band’s 2012 debut, sounding like the Jayhawks circa Sound of Lies backing Neko Case. Yeah, that good. Their new album Country Singles is pretty damn good too. Listen here

Edward Rogers – What Happened to the News
Fueled by Byrdsy twelve-string guitar, it’s a snide swipe at how the media-industrial complex distracts us from what’s really going on. Fron the Britrock maven’s Kevin Ayers-inspired new album Kaye. Watch the video

Bombay Rickey – Pilgrim
Frontwoman Kamala Sankaram’s wickedly precise, loopy accordion winds through a misterioso, lingering, surfy stroll with ominous bass and alto sax solos, the latter building to a spine-tingling coda. From the psychedelic Bollywood-inspired band’s album Cinefonia, the year’s best debut release. Listen here

Sharon Jones – Retreat
The brooding, practically exhausted version that this era’s definitive soul-funk singer delivered out back of the World Financial Center back in June was considerably more ominous and menacing than the version on the record. From the album Give The People What They Want. Listen here

The Immigrant Union – Anyway
The epic title track from the lush Australian psych-pop janglerockers’ latest album has plaintive harmonies and a slow psych-pop sway much in the same vein as the Allah-Las. Listen here

Debby Schwartz – Hills of Violent Green
A lushly luscious folk noir anthem and a showcase for some literally breathtaking, swooping upper-register vocals by the former Aquanettas frontwoman (and current Ember Schrag bassist). Fron the Satan You Brought Me Down ep. Listen here 

Wormburner – Drinks At the Plaza Hotel
Fiery Stiff Little Fingers style punk-pop, a couple of smalltime scam artists trading faux-sophisticated banter and having a great time seeing how much they can get over on the snobs. From the album Pleasant Living in Planned Communities. Listen here

Banda Magda – Trata
A gorgeously swaying Middle Eastern-tinged Greek party tune with rippling hammered dulcimer, cheery brass and animated guy/girl vocals that builds to a towerine, majestic peak. Frmo the pan-global New York art-rock/jazz/Middle Eastern band’s album Yerakina. Listen here

Alsarah & the Nubatones – Bilad Aldahb
A bristling, broodingly expansive oud solo by the late, great Haig Magnoukian leads into a dusky lament lowlit by Rami El Asser’s stately frame drum work. From the New York Nubian funk revivalists/reinventors’ album Silt. Listen here

Mary Lee Kortes – Big Things
An irrepressibly jaunty hi-de-ho swing tune: the intense, soaring Americana tunesmith/singer slayed with this at the Rockwood a couple of months ago. From the album Songs from the Beulah Rowley Songbook ep – and possibly appearing on her forthcoming, long-awaited Songs of Beulah Rowley album, a thematic collection centered around a tragic, talented 1930s/40s cult favorite songwriter. Listen here

Mark Rogers & Mary Byrne – Green Gold Violet
A starkly vivid, hypnotic, wounded late-afternoon folk noir tableau, Rogers’ luminous dobro paired against Byrne’s tensely fingerpicked stroll. From the album I Line My Days Along Your Weight. Listen here

Matt Ulery – The Farm
The lively flair of this harmony-driven, climactic chamber pop number understates its corrosive portrayal of rural hell. From the eclectic, cinematic bassist/composer’s album In the Ivory. Listen here

The Larch – Mr. Winters
The jangliest track on the ferociously lyrical New York psychedelic new wave rockers’ new album In Transit is a metaphorical, nonchalantly ominous sort of a mashup of Squeeze and powerpop legends Skooshny. Listen here

Lachan Bryan & the Wildes – The CEO Must Die
A brutally insightful look at the psychology of going postal from the Australian Americana songwriter/bandleader’s purist, impeccably crafted album Black Coffee. Listen here

The OBNIIIs – No Time for the Blues
The closest thing to Radio Birdman that we have right now, lead guitarist Tom Triplett ripping through volleys of chromatic. Surprisingly, the studio version on the Third Time to Harm album is even more volcanic t han the live version on their Live in San Francisco album. Listen here

Jay Brown – Fox News (Jesus Save Me).
Snidely hilarious faux gospel from the Americana songwriter. Anybody who watches that channel should be tied to a chair and forced to listen to this on loop. LMFAO. From the album Beginner Mind. Listen here

Lorraine Leckie – The Everywhere Man
This song about a party-hopping serial killer originally appeared on the album Rudely Interrupted, her elegant chamber pop collaboration with social critic Anthony Haden Guest. But the simmering, noir version on her latest album Rebel Devil Rebel takes the energy up several notches. Listen here 

Mesiko – Mockingbird
A distantly disquieting, pastorally-tinged art-rock anthem with early 70s Pink Floyd resonance: “Put away the mockingbird inside your lungs, keep your cellular calls to a minimum,” drummer Ray Rizzo sings as the band rises to a squall. From the album Solar Door. Listen here

Kelley Swindall – The Murder Song
A talking blues destined to become a Halloween classic. The dark Americana songstress credits her acting coach for helping her get in touch with her dark side on this one – yikes! From her album Pronounced [KEL-lee SWIN-dul] or something like that. Listen here

O’Death – Isavelle
The most ornate, and arguably most menacing track on the individualistic, creepy circus rock/Americana/noir cabaret band’s new album Out Of Hands We Go, a murder ballad fueled by Bob Pycior’s icepick violin. Listen here

Dina Regine – Broken
A brooding yet brisk latin-tinged groove with Steve Cropper-esque guitar: “You beat the wall for your past oppressor – sometimes spirits treat you real kind but most of the time they mess with your mind,” Regine sings with a gentle unease. From the New York soul-rock cult figure’s long-awaited album Right On, Alright. Listen here

Wounded Buffalo Theory – You Have Left Me
A gorgeously angst-fueled art-rock anthem that builds to a thicket of chiming guitars; axeman Kurt Leege takes a rare turn on lead vocals and knocks it out of the park. From the New York art-rockers’ album A Painting of Plans. Listen here, free download

Sam Llanas – To Where You Go From
The elegant, regret-laden final cut from the soulful BoDeans frontman’s new solo album The Whole Night Thru, a vivid, broodingly nocturnal highway theme. Watch the video (be careful – you may have to mute an ad at the beginning since this is a full album stream)

Jessi Robertson – You’re Gonna Burn
Deep inside this volcanic noir soul anthem, it’s a bitter, menacing blues, resonant, sustained lead guitar lines fueling its big upward trajectory as the New York noir Americana singer airs out her powerful voice. From the album I Came From the War. Listen here

Opal Onyx – Arrows Wing
The atmospheric New York art-rockers’ anthem begins as folk noir before rippling keys and atmospheric washes of cello take it even further into the shadows. From the album Delta Sands. Listen here 

Metropolitan Klezmer – Baltic Blue
The shapeshifting klezmer/latin/psychedelic cumbia group cleverly move between grooves as alto saxophonist Debra Kreisberg’s slow, haunting theme heats up, mashing up the blues and Hava Nagila with soulful solos from throughout the band. From the live album Mazel Means Good Luck. Listen here

The Yiddish Art Trio – Guilt
Clarinet powerhouse Michael Winograd wrote this evocative, enveloping theme that pairs his wary, airy lines with dark, full-throttle washes from Patrick Farrell’s accordion, evoking the majesty of a classical organ prelude. From the group’s debut album. Listen here

Mark Sinnis – Your Past May Come Back to Haunt Me
Originally released by the dark country crooner’s original band, art-rockers Ninth House, this reinvents this haunting, crescendoing anthem as low-key but no less intense Americana. From the album album It’s Been a Long Cold Hard Lonely Winter. Here’s a live version

Robin Aigner – Greener
This pensive oldtimey number’s Gatsby-era setting is the exact opposite of what it seems to be, Rima Fand’s violin and Ray Sapirstein’s trumpet flying over a tensely flurrying, flamenco-tinged beat. From the brilliantly lyrical, deviously funny New York tunesmith/chanteuse’s album Con Tender. Listen here, free download

Jennifer Niceley – Land I Love
Swooshes and gentle booms from the drums and gorgeously lingering pedal steel color the song’s Lynchian Julee Cruise atmospherics, the Tennessee songstress brooding over her pastoral imagery and how that beauty “is never coming back.” From the album Birdlight. Listen here

If you missed the explanation on the Best Albums page, all the classical and most of the jazz is more likely to be found at this blog’s older sister blog Lucid Culture.

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.

Amanda Thorpe Goes Deep Into the Noir in Yip Harburg’s Torch Songs

Nobody sings a moody grey-sky melody with as much moving, wounded poignancy as Amanda Thorpe. Although she’s best known as a purveyor of uneasy, rustic Britfolk-influenced rock and chamber pop – she’s the closest thing to Linda Thompson this generation has produced – Thorpe has also been singing jazz since the 90s. And she’s just as hauntingly adept at it, shifting meticulously and sometimes wrenchingly from one emotion to another in a pensive alto. She’ll caress the lyrics on a verse and then hit a wailing, anguished peak on a chorus. But where she works her magic best is in between those extremes.

Thorpe’s new album Bewitching Me: The Lyrics of Yip Harburg was springboarded by a chance introduction to Ben Harburg, grandson of the ubiquitous swing era lyricist. Thorpe reinvents a bunch of old chestnuts as well as several  rarities from throughout Harburg’s career, backed by a tight band recorded mostly live in the studio. Sexmob‘s Tony Scherr plays tersely eclectic guitar, ranging from wee-hours, tremolo-tuned saloon jazz to vintage soul to the downtown grit he’s best known for. Rob Jost plays bass with an edgily incisive, woody tone; Robert di Pietro on drums with his typical, minutely focused nuance; plus Matt Trowbridge on keyboards, Serena Jost on cello and Ray Sapirstein on trumpet. Joe McGinty guests memorably on organ on a shatteringly wounded, nocturnal, oldschool soul-infused take of I’m Yours. Scherr switches to bass on a wryly jaunty, Anita O’Day-style take of Buds Won’t Bud alongside guests Michael Fagan on guitar and Nancy Polstein (Thorpe’s bandmate in the late, great Wirebirds) on drums. And Ben Harburg duets with Thorpe on a droll, tonguetwisting bonus track, I Like the Likes of You, over a bouncy pop backdrop.

Her stab at turning Over the Rainbow into a janglerock anthem, Scherr channeling Bill Frisell, is about as good as anything anyone’s been able to do with it. But her take of the other standard Harburg’s best known for, Brother Can You Spare a Dime, is a quiet knockout, rising out of a creepy, ambient intro with a thinly restrained anger, bringing it into the post-Bush era with a muted vengeance and vivid sense of abandonment. With its haunting, subdued anguish, Thorpe’s noir tropicalia version of Willow in the Wind is even better, fueled by di Pietro’s ominous tom-toms and misterioso cymbal work. Thorpe and the band work their way into It’s Only a Paper Moon as subdued Lynchian noir, then wind it up with an unexpected snarl fueled by Scherr’s bristling chords. And her misty, lushly waltzing, Adrift on a Star raises the doomed deep-sky intensity to a hushed peak.

Jost’s stark cello mingles with Scherr’s sparkly guitar as Paris Is a Lonely Town unwinds into Beatlesque psychedelia. Likewise, the jazziest tune here, April in Paris gives Thorpe plenty of room to remind how much a notoriously romantic city can amplify absence and regret. Old Devil Moon gets a lingering Nashville gothic treatment that grows more sultry the deeper Thorpe goes into the song: the old devil’s definitely up to no good here. Thorpe reinvents I’m Yours as slow swaying, jangly, organ-fueled oldschool soul and follows it with the album’s most sensual number, Last Night When We Were Young, Thorpe airing out her upper register with a lushly breathy, spine-tingling presence.

There are also a couple of considerably more lighthearted songs here. Thorpe has devilishly deadpan fun with all the tricky rhymes and innuendo in When I’m Not Near the Man I Love over the band’s tiptoeing red-neon ambience. And she gives Then I’ll Be Tired of You a swinging vintage soul-infused interpretation. The album’s liner notes compare the chemistry between Thorpe and Scherr to Julie London with Barney Kessel, or Mary Ford with Les Paul, and while this rocks harder than either of those duos ever did, the comparison holds true. As noir music and torch songs go, it doesn’t get any better than this. It this album the best of 2014 so far? It’s one of them.

More of the Sunday Salon and Such

In a lot of ways, New York Music Daily’s Sunday Salon at Zirzamin is a misnomer. It’s a sophisticated scene, but it’s not exactly sedate. There’s no telling what’s going to happen. A lot of the time there’s something during the parade of performers leading up to the 7 PM featured set that upstages the headliner. Drina Seay covering LJ Murphy’s Waiting by the Lamppost for You was one of them. On one hand, watching her sing “I’m hungover and showing my years” was just plain funny (she looks about grad-school age: if you were a bartender, you’d card her). But that didn’t matter: she can wail when she wants, but she hung back and gave it a poignancy and dignity that you wouldn’t expect in a portrait of sheer dejection and despair.

Then there was Charming Disaster  – Kotorino’s Jeff Morris with Elia Bisker – doing a jaunty yet absolutely creepy four-handed ragtime piano piece and managing not to claw each other, Bisker’s moonscape resonance over Morris’ deadpan romp. They headlined Salon number 22 with a menacingly charming duo set with Morris mostly on guitar and Bisker on ukulele. She’s got the distant femme fatale persona down, dead cold, the perfect foil for Morris’ brooding gypsy and swing-spiked bounces and waltzes. They did not one but two songs about murder conspiracies gone wrong, a similarly failed twin grifters’ tale as well as moody, nocturnal material from each others’ catalogs. They make a good team, and they play a lot of shows: watch this space.

Lorraine Leckie followed them on a rare doublebill. This time out she had Calum Ingram on cello playing ominous low register ambience, with Banjo Lisa adding her stark, scary-beautiful otherworldly vocal harmonies. You would think that Leckie would have used this configuration to air out the darkest side – which is very, very dark – of her recent chamber pop songs, but instead she flipped the script and took a lot of her more upbeat rock catalog down into the abyss. What once had a T-Rex feel in this configuration sounded a lot more like Ziggy-era Bowie but with better vocals. She’s at the big room at the Rockwood on April 22 at 8.

To backtrack a little, Serena Jost headlined Salon 19 a couple of weeks previously . The multi-instrumentalist bandleader/chanteuse had a Joe’s Pub show to warm up for, and counterintuitively, instead of bringing the band and doing what would have been an open rehearsal, she went to a similarly stripped-down configuration featuring the eclectically brilliant Amanda Thorpe on slide guitar, keys, wood flute and also stark, scary-beautiful harmonies. Jost gets props for her cello work, but she’s also a brilliant singer – hanging out with Thorpe all these years has rubbed off. Through lithely jangling chamber pop, stark cello-and-voice tableaux, a stately 6/8 art-rock anthem, she radiated a lowlit allure with her precise, measured vocals, ripe to the point of drawing everyone in without falling off the vine. Then at Joe’s Pub, she and her full band – Julian Maile on guitar, Rob Jost on bass and horn, Rob DiPietro on drums, a keyboardist, and Thorpe and Greta Gertler on harmonies – soared and occasionally roared through most of the songs on her sensationally good new album A Bird Will Sing. The high point of the show – and maybe the past month, in terms of sheer sonic bliss – was the trio of high harmonies on an irresistibly pulsing, crescendoing version of Sweet Mystery, a song that could not have been more aptly titled.

The star of Salon 20 was Seay, who brought a full band featuring Eric Seftel on drums, Monica Passin a.k.a. L’il Mo playing bass as if she’d been doing it her whole life (she had about a week’s worth of practice, it turned out – who knew). “Is there a better guitarist in New York than Steve Antonakos?” one audience member wondered aloud as Seay’s lead player fired off keening pedal steel-style lines, cooly menacing Nashville gothic riffs and soulfully intricate jazz leads. Sassy, sophisticated country songs like the catchy shuffle Whatcha Gonna Do and the soul-infused, stop-time bounce Can’t Fight Falling in Love paired off against the absolutely gorgeous, minor-key Waking Up Crying, an absolutely evil, slide guitar-driven, oldtime swing-flavored All For You and the torchy, Julia Haltigan-esque Where Is the Moon Tonight. The high point of the set was when Seay segued from a slow, slinky, absolutely lurid take of one of her best ballads, Chase My Blues Away to Francoise Hardy’s Le Temps de L’Amour and gave that one a New York noir edge, singing in perfect French. A week later, Antonakos  would be the headliner at Salon 20 with his own tuneful, sardononically humorous songs, joined by Seay who this time added harmonies as she did so memorably back in the day at Banjo Jim’s before she started her own band.

The regular cast has had more memorable moments than can be counted. The Salon’s own Lauraly Grossman’s Cat Power-ish narratives edge closer and closer to noir, shadowy blues. LJ Murphy kicked off Seay’s set with a ferocious, bluesy intensity, hot on the heels of his careening trio performance at Hank’s Saloon the previous Saturday with Professor Jim Porter guesting and adding a whole other level of creepy surrealism on washboard. And this past week, Amelia Belle-Isle graced the stage with her ridiculously tuneful oldtime swing-flavored songs and subtle, alluring voice.

There have been plenty of other great shows happening around town, literally too many to chronicle here. The last week of the past month, the Wu-tang Clan’s Raekwon delivered a nonchalant, impressively tight, seemingly endless medley of his 90s hits at the swanky new Stage 48 way over past 12th Ave. on 48th Street. The place was packed with a mix of older people who knew every word and practicallly drowned out the vocals (the sound here seems to be a work in progress), and kids getting their first look at one of the icons of 90s East Coast hardcore. The Chef began with Cash Rules Everything Around Me and just got hotter from there.

Violinist Courtney Orlando and cellist Lauren Radnofsky’s performance of Luciano Berio sequenzas at the Miller Theatre last month deserves a mention. These pieces are like wartime: frenzied, anxious, cruelly frantic cadenzas that suddenly give way to still, suspenseful ambience, and while neither musician made it look easy – that would have been impossible – just getting through them without breaking strings would have been a triumph. That they were able to mine those weird juxtapositions for genuine emotion made the concert all the more worthwhile. That, and all the free beer the theatre was giving away.

The night of the Drina Seay show at the Salon, New York Junk played one of those oldschool New York punk bills at Bowery Electric. On one hand, their tunefully growling, glammy early 70s style isn’t covering any new ground, but just like the Dolls and Lou Reed, they’re catchy and they have the sound, and the wry, black humor-driven, black leather-clad doom and angst down cold. The bassist – formerly of 80s punk legends the B-Girls – bopped and pushed the songs along with catchy riffage underneath the Stonesy roar of the two guitarists.

This past week had a trifecta of good shows. Tom Warnick & World’s Fair played their usual gallows humor-driven mix of blue-eyed soul, horror surf, Doorsy jamrock and New England noir at Freddy’s Saturday night. Jerome O’Brien, late of the great Dog Show played a mix of his endlessly entertaining, literate rock tunes solo on twelve-string guitar at…where else…Zirzamin. And Maynard & the Musties brought their mix of wry oldschool country and dark highway rock to Cowgirl Seahorse down in South Street Seaport, Naa Koshie Mills’ violin/viola lines soaring over Dikko Faust’s trombone and Mo Botton’s richly twangy guitar. Frontman Joe Maynard writes some of the most nonchalantly poignant, richly tuneful songs around: it was a treat to hear him and the crew swing their way through the dark-sky, Neil  Young-ish expanse of Lightly Honest and the gorgeous yet utterly twisted Elvis Museum.

Serena Jost Takes Flight with a Brilliant New Album

Multi-instrumentalist Serena Jost’s songs are so direct and easy to sing along to that they seem to be perfectly clear, but they’re anything but. They draw you in with their calm allure and then hit you upside the head when you least expect it. Jost’s third album, A Bird Will Sing is due out on April 9; the former Rasputina cellist will feature a parade of her fellow New York elite players onstage in celebration of the album’s release at 9:30 PM at Joe’s Pub. Tickets are still available as of today; if art-rock is your thing, this is a must-see event. The whole album is streaming at Jost’s Bandcamp page.

On this one, Jost limits herself to cello and vocals, not such a bad idea considering the quality and diversity of the band: Julian Maile on guitars, Rob Jost on bass and horn, Rob DiPietro on drums, Thomas Bartlett on organ, backing vocals from Greta Gertler, Amanda Thorpe and Ursa Minor’s Michelle Casillas as well as producer Anton Fier making a cameo on bells. While Jost’s songs draw deeply on innumerable styles – 70s art-rock and Britfolk, classical, gospel, soul and even funk – she has a unique voice. Her vocals echo the deceptive translucence of her songwriting: clear, steady and minutely nuanced, they shine into the corners rather than the center. Likewise, her lyrics throw a succession of images at you, letting the listener connect the dots. It’s a mysterious and fun ride.

Jost makes a strong opening statement with the first track, Stay: that just cello and vocals would be enough to maintain interest pretty much speaks for what this album is all about. And despite the austerity of the tune, it’s optimistic: “All at once, right on top, winking is such fun,” she intones. It’s a prime example of the kind of lyrical hide-and-seek that will take place from here out.

Sweet Mystery sets deftly orchestrated powerpop over an irresistible Motown groove enhanced by the sepulchrally soaring beauty of Thorpe and Gertler on vocal harmonies. Maile’s shifting guitars – from powerpop crunch, to to a ringing 12-string bridge, to swirly psychedelics – are pure textural ear candy. By contrast, Blue Flowers takes a seductive pastoral theme and adds shadowy intensity, rising to a majestic, roaring chorus fueled by Maile’s slide guitar. Then the band takes it up jauntily with Fly, a jazz-tinged celebration of the joy of escape. But this particular escape isn’t the usual cathartic, angst-driven kind – Jost makes you feel the wind in your hair.

The title track is a balmy backbeat country song, sort of Patsy Cline gone to the conservatory, Jost’s low, subtle come-hither vocals and metaphorically-charged water imagery hitting some soaring highs as it winds out. Kiss the Wind, with its wryly muted exhilaration, echoes both Francoise Hardy’s psychedelic folk-pop, or Gruppo Sportivo in a rare bittersweet moment – or Lianne Smith. This carnival ride follows an upward arc fueled equally by excitement and dread.

Song without End sets sensual atmospherics and more water imagery over a terse, stately pulse, with a gorgeously intertwining, psychedelic outro. Nearly Beautiful, with its elegant, elegaic, baroque-tinged countermelodies, might be the album’s best song – it’s the most intense, and the subtext kills. “It’s nearly beautiful, I’m almost overjoyed,” Jost muses, letting the crushing sarcasm speak for itself.

The album’s lone cover is a terse, almost skeletal, absolutely accusatory version of the Doris Fisher classic Whispering Grass. Jost follows that with In the Garden, which evokes early ELO (or a late-period song by the Move), stark verse contrasting with lush chorus, riffs shifting artfully between instruments. The final track, Great Conclusions makes for a beautifully majestic coda, taking the album full circle with a restless unease and an ornate, snarling, guitar-fueled chorus that stops just this short of grand guignol. All the way through, the joy the band is having with these songs is visceral: a strong contender for best album of 2013.

Kami Thompson – A Surprise, Or What?

Spawn.

That’s what musicians derisively call the sons and daughters of famous rockers. Sean Lennon, anyone? How about Brian Wilson’s obese daughter? And wasn’t there a Howlin’ Wolf Jr.? Actually, there were probably a whole bunch of Howlin’ Wolf Jr.’s, but there was a particular one who took credit for being that man.

Of course, there are exceptions to the rule that the children of great musicians can’t be great musicians themselves. But those are few and far between. Probably the best example is Amy Allison (daughter of Mose). Rosanne Cash has written some great songs and is also a fine singer; Jakob Dylan had a good run back in the 90s; Zak Starkey (son of Ringo) is a sensationally good drummer, and Whitney Houston (daughter of Cissy) once had a hell of a voice, regardless of how you feel about her material or her tortuously public plunge into the abyss.

So with her debut album Love Lies, Kami Thompson has set herself up for a fate even crueller than what happened to Lana Del Rey (remember her fifteen minutes?). The daughter of Richard and Linda Thompson – whom many consider to be the greatest songwriter and the greatest singer of the past forty years – she faces being held to a standard that’s just plain unfair, that few living musicians in any style of music could hope to live up to (though the same thing happened to her artsy janglerock brother Teddy, who’s been able to carve out an audience for himself). Beyond that, it’s hardly cynical to emphasize that if she didn’t have such celebrated bloodlines, there’s no way, at her age (probably close to thirty) that she’d be signed to a major label (Warner). Yet she not only doesn’t embarrass herself: she proves to be not only a solid tunesmith, but also a fine singer. Like her mom, her voice is unadorned, pure, and at its best, genuinely haunting. The way she’ll take a little leap at the end of a phrase, insistently or indignantly, and then let the note slip away like a ghost, reminds of a very young Erica Smith: she’s that good. Her songs are catchy and anthemic, and are surprisingly eclectic (part of the credit goes to producer Brad Albetta, whose signature, soaring, melodic bass and inventive arrangements have brightened several first-class artists’ albums, most notably another Britfolk-influenced songstress, Amanda Thorpe). As a guitarist, most of the learning curve is still in front of her (she doesn’t seem to be able to play upstrokes) and though she tries, her plainspoken lyrics are on the prosaic side.

Hardcore RT fans are going to want this album for the two solos he contributes here: a characteristically dark, gorgeous one at the end of the album’s best cut, the wary, forlornly janglerocking Little Boy Blue, and a much terser but equally sharp one at the end of Stormy, a big, crescendoing electric anthem that sounds like Bauhaus playing Britfolk. And there’s another solo on the catchy, backbeat-driven folk-pop tune Gotta Hold On that’s a good approximation. The rest of the album is diverse: 4000 Miles sets minor-key Britfolk to a reggae groove, and surprisingly, it works. Never Again is a Gillian Welch/Erica Smith style Americana ballad, while Tick Tock has all kinds of clever touches: hip-hop allusions, a tongue-in-cheek, bouncy bassline and a sarcastic chorus that nicks the chords from PiL’s This Is Not a Love Song. The album ends with Want You Back (the Beatles via Elliott Smith); Blood Wedding (pensive and plaintive, “I lost my youth to a broken heart,” a thread that runs through most of these songs); and then just the Beatles themselves (Don’t Bother Me, done as a high-quality, high-spirited demo). If this is the only album Kami Thompson ever does, it’s nothing to be ashamed of; let’s hope there’s more where this came from. Ladies and gentlemen, fire up your browsers.

Amanda Thorpe’s Promenade: Stunning and Seductive

Amanda Thorpe has been a somewhat more elusive presence in the New York music scene lately, but the British expat singer/multi-instrumentalist continues to put out tremendously captivating albums. Her new one, Promenade, is a little more melodically diverse, less overtly dark than her 2008 masterpiece Union Square. As usual, the vocals are astonishing. By turns seductive, aching and charming, Thorpe can still say more in a single wounded bent note (or a raw, soul-infused wail) than most singers can communicate in an entire album. This time around, although most of the songs here are more straight-up rock, she’s followed her jazz muse into territory that most singers simply can’t reach: it’s not just a matter of chops, it’s a matter of soul, and Thorpe has both.

The attractiveness of the tunes often belies a darker undercurrent. Bar Tabac, which is essentially the title track, bleakly traces a woman’s steps from Cobble Hill to the Brooklyn Promenade, daydrunk on bloody marys, alone and miserable, while the band swings along on a jaunty bossa nova bounce lit up by Ray Sapirstein’s blithe trumpet. Monica Says, by Philip Shelley (who also serves as co-writer on the poppier numbers here), sets a portrait of a woman insisting she’ll never be happy again against crunchy Willie Nile-esque powerpop with some snarling slide guitar by Tony Scherr. Thorpe’s hypnotically gorgeous layers of vocals give the Nashville noir of Once Lovers and Bury It a creepy David Lynchian edge, while Harold Arlen’s Paper Moon gets reinvented as edgy urban country. And the jaunty closing track, Aloha Bobby and Rose, is the best song here. It’s got all the elements of a classic retro pop hit: a singalong, anthemic, country-tinged tune, and just enough imagery to keep the listener on pins and needles waiting to find out how this particular story of a drunken evening ends. When Thorpe finally cuts loose at the end, the impact is viscerally chilling.

The vocals on several numbers here are transcendent. On What Love Is (no relation to the Dead Boys classic), she’s torchy, and tender, and spine-tingling against Matt Trowbridge’s tersely echoey Fender Rhodes electric piano and Rob Jost’s slinky, soaring bass. It’s hard to resist Thorpe’s logic here: “”Try to believe in the dreams that you’re dreaming, that’s how they come true.” The country-tinged Amber pairs sultry, crystalline vocals with gentle ukulele from Craig Chesler, while Catching the Light builds from a wintry backdrop to a towering crescendo. When Thorpe asserts that “I would walk until sunrise if you needed me to,” she owns it: it’s impossible to believe otherwise. And Goodbye, with its oldtime swing sophistication, wouldn’t be out of place in the Moonlighters catalog.

And not everything here is all white-knuckle intense,either. Waking up in Brooklyn dares a guy to walk away from his daily drudgery, while Hey Hey Hey is an irresistibly cajoling, playful, indelibly New York song – Thorpe wants some fun, maybe a walk up Museum Mile and then a stop for biscuits and tea and she won’t accept no for an answer! What else is there to say about this artist that hasn’t been said already: tremendous singer, tremendous material, someone you should get to know if you haven’t already.