New York Music Daily

No New Abnormal

Tag: andrew vladeck

Simmering, Relevant, Lyrical, Cutting-Edge Americana Rock Sounds from Fireships

Accessible and anthemic as Fireships are, they’re also as cutting edge as rock bands get these days. More often than not, they play a style of music that barely registered on the radar fifteen years ago: you could call it Americana chamber pop. As Americana became this city’s, and this nation’s default music, it seems that a lot of musicians in that style wanted to create something more hefty than, say, country blues, but also more substantial and tuneful than Coldplay or Fleet Foxes. That’s not the only hybrid that Fireships cultivate: frontman/guitarist/banjoist Andrew Vladeck writes fearlessly populist, Dylanesque narratives, and the band gets gritty with some pretty straight-up highway rock from time to time. Their debut album is streaming at Bandcamp; they’re playing at the big room at the Rockwood on November 30 at 9 PM. Drinks at the Rockwood are scary expensive, and they enforce a drink minimum there, but you can get a seltzer for three bucks.

After a bit of a false start, the album gets cooking with Going Down Fighting and its mashup of Penny Lane Beatles, gospel and strummy Americana, a moody but ultimately optimistic anthem for the current global depression. Living the Dream follows even more of an epic, Roger Waters-inflected sweep, the violins of Hannah Thiem – who’s also a darkly brilliant solo artist in her own right – and guest Skye Steele teaming with Lauren Balthrop’s electric piano to provide a pillowy backdrop for Vladeck’s vividly torrential lyrics.

Likewise, Long Shadow takes Blonde on Blonde Dylan into Deer Tick territory as Vladek paints a grimly picturesque but defiant portrait among the down-and-out:

I went away to get my blood changed
Had my wires rearranged
You might think that I’m acting strange
I’m just acting tough
I fired a shot thru the floor
The circus ran straight for the door
You asked me what I did that for
I guess I I had enough…
Flying cars and ricochets
Not a soul escapes unscathed
You might think those were the days
The best left to the past…
Blinds are drawn and a deadbolt clicks
Those dirty dogs will rip you to bits
All that funky junkie shit, you just ask my mates…

Countdown Time also traces a troubled trajectory, a gloomy drinking-and-driving anthem set to an oldschool disco groove: “Kill the rocket boosters, we’re on cruise control, we’ll make a tiki bar out of the console,” Vladeck intones. Then drummer Jason Lawrence and bassist Chris Buckridge push the fiery revolutionary anthem Chasing the Sun with a symphonic Phl Spector ba-bump beat, Vladeck channeling both the angst and the withering dismissiveness of a milllennial generation sick of living without a future and those who’d steal it away: “You can’t distract us, you’re old and your done,” he snarls.

Likewise, All We Got reflects on a now-or-never choice of sticking with a broken system or breaking free: it’s the Wallflowers updated for the teens. Vladek again looks back to Spector with the ballad Words Escape Me. Carried Away builds an ominous, oldtimey bluesy ambience, shivery strings mingling with Vladeck’s steady fingerpicking. The most savagely funny number here is Passing Knowledge of the Sexes, a spot-on, creepily cynical look at the realities of online dating.

Fantasy is another really funny track, caustically chronicling how people fall for celebrity culture: “Are you meant to hang from a velvet rope?” Vladeck challenges. The album winds up with the dreamily surreal 99-percenter folk-rock of Unplug the Stars. If you want to know what the smart kids are listening to these days, this is it.

A Killer Murder Ballad Monday Coming Up in Brooklyn

What’s the likelihood of seeing two bands as brilliantly creepy as Bobtown and Charming Disaster on the same bill? And one of New York’s great lead guitarists, and one of the most distinctive banjo players on the planet, and a rising star in the cello-rock demimonde? It happened at the second installment of the new, monthly Murder Ballad Mondays series at Branded Saloon. It’s a salon held in a saloon – rather than an open mic, it’s a place for eclectic artists to prowl around in the darkest corners of the human psyche, pay homage to psychopathic urges in song from across the centuries, and work up new material in that hallowed tradition.

Charming Disaster – guitarist Jeff Morris from the estimable, phantasmagorical  latin noir/art-rock band Kotorino and Ellia Bisker from the similarly-inclined Sweet Soubrette and Funkrust Brass Band – run the show here, and treated the crowd to an all-too-brief, barely half-hour set of menacingly harmony-driven songs that veered from chamber pop to noir cabaret to circus rock. It was the one point in a deviously fun night of music where the songs deviated from the topic of killing to simply chronicling the intricacies of all sorts of troubled relationships, some mythical, some set in the here and now. Morris played with just a touch of distortion on his old hollowbody Gibson as Bisker wound through graceful lead lines on her electric ukulele.

Bobtown – one of the best loved and most menacing bands in folk noir – opened the show, percussionist/keyboardist Katherine Etzel, singer Jen McDearman, guitarist Karen Dahlstrom, bassist Fred Stesney and lead guitarist/banjo player Alan Lee Backer treating the crowd to some unexpected but typically ominous new material, the sparkling harmonies of the women in the band flying overhead. Backer then took a detour into his own vintage-style Americana and C&W, followed by folk singers Sarah Durning and then Karen Poliski parsing the classics with some murderous numbers from the repertoire of Gillian Welch and others.

The  most original of all the covers was a mind-warping take of Helter Skelter, played solo on banjo by Andrew Vladeck of jangly, Americana-inflected anthem band Fireships. Badass, eclectic cello-rock firestarter Patricia Santos (also of Kotorino) went deep into rustic blues/gospel mode with a new one of her own as well as another Gillian Welch tune. Comic relief was provided by Erica Smith‘s bass player taking a rare turn on piano. He’d written a song on the way to the show – a politically-inspired ghoulabilly tune – but couldn’t read the lyrics he’d scribbled moments before on the D train. Backer’s penlight came to the rescue.

This coming Monday’s installment, starting at 8 PM, features an even more auspicious lineup: powerful, soul-infused dark acoustic songwriter Jessi Robertson; brilliant Americana/janglerock tunesmith and harmonium player Jessie Kilguss; the similarly intense, historically-fixated Robin Aigner; songwriter Arthur Schupbach’s John Prine-inspired Donald & Lydia duo project; parlor pop songwriter Juliet Strong and more.

And Charming Disaster have a gig on Saturday night, November 14 at 8 at the Slipper Room; cover is $15.