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No New Abnormal

Tag: big lazy band

Darkly Lingering, Lynchian Atmosphere From Lucas Brode and Kevin Shea

Guitarist Lucas Brode went to the well for inspiration from David Lynch films and Paul Motian compositions, drank deeply, and came up with his new album Vague Sense of Virtue. A duo recording with brilliant, purposeful drummer Kevin Shea (famously of Mostly Other People Do the Killing), it often brings to mind Bill Frisell, Cameron Mizell or Don Fiorino at their darkest. It’s streaming at Bandcamp.

The two open with There Is Someone Softly Singing in the Other Room, a pensive, reverb-drenched pastoral jazz theme over Shea’s mist of cymbals and muted rumbles. Train-whistle slides emerge mournfully out of a fog as the duo slowly gather steam in We All Missed & Are Missed, rising to a spacious, twangy soundscape that could be a very long outro in the Big Lazy catalog.

The album’s most epic number is You Will Be Remembered Simply As an Idea. Here as everywhere else, Shea’s looming ambience and judicious use of his hardware are masterful while Brode runs variations on a simple, catchy, tremoloing, distantly Lynchian riff.

The title track comes across as a more ambient take on Pink Floyd’s Great Gig in the Sky, with some of Brode’s most unexpectedly lively work here. The album’s fifth number, a triptych, begins with a somber, slowly drifting song without words, Brode spiraling and squiggling around with his slide, hitting his distortion pedal as Shea prowls the perimeter. The twinkling, loopy outro is a surprise touch.

Shea supplies the uneasy energy in the spare nocturne Movement or Motionlessness, One and the Same as Brode parses his deep bag of riffs; he brings the album full circle at the end. This is a quantum leap, creatively speaking: he’s really found his muse in this immersively shadowy music.

The 50 Best Albums of 2019

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The 30 Best NYC Concerts of 2019

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Feral Tunefulness From Cellist Tomeka Reid and Her Quartet

The Tomeka Reid Quartet’s new album Old New – streaming at Cuneiform Records – is the rare jazz album you can play for people who hate jazz, and they’ll end up transfixed. It’s also the rare studio recording that burns, and seethes, and threatens to go off the rails just like a live show. It’s catchy, and ferocious, and bursting with tunes. What an amazing time it seems this band had making it.

In this era where jazz artists leap from one project to the next with barely enough time for it to coalesce, there’s a rare chemistry here, reflecting the group’s longtime associations. Drummer Tomas Fujiwara and guitarist Mary Halvorson play together in Halvorson’s Code Girl band,, while cellist Reid and bassist Jason Roebke share early roots in the Chicago scene.

The band scamper and swing hard over Roebke’s chugging bass on the increasingly jagged, noisy title track, Halvorson and Reid trading scrapes, wry trainwhistle lines, eerie jangle and stark, emphatic riffage. Reid says it’s a hymn at the core, but it also seems to draw on early 80s proto-hip-hop like Midnight Starr. Gotta love that Fujiwara rumble on the way out!

Wabash Blues is a Romany swing tune with Reid’s careening cello in the Stephane Grappelli role, at least until it switches to 12/8 time for a bracing, acidic verse, an allusively grim Halvorson pitch-pedal solo and some adenalizing tumbles from Fujiwara.

Niki’s Bop is a shuffling shout-out to Reid mentor Nicole Mitchell, with echoes of both New Orleans and Stevie Wonder, cello and guitar pogoing joyously in their respective channels until Halvorson goes off in a trail of whippit bubbles. Reid and Roebke bubble around a joyously circling Afrobeat riff as Aug 6 gets underway, Halvorson kicking sharp-fanged chords until the group take it out together as a catchy anthem.

The simply titled Ballad is the group’s White Rabbit, a relentlessly uneasy shuffle, Reid’s ominous low-register flutters and shards contrasting with Halvorson’s steady incisions over an increasingly agitated, murky groove. Sadie, a swing tune dedicated to Reid’s grandmother, is the most trad number here, Reid alternating between a second bassline and wryly muted horn voicings, with an unexpectedly hypnotic bounce out.

The album’s most epic and adrenalizing track is Edelin, opening as a misterioso tone poem with flickers and washes from the strings and suspenseful cymbals, eventually coming together as a twisted road theme to rival anything Big Lazy ever put out, all the strings taking turns fanning the flames as the pyre explodes into a conflagration. Peripatetic makes a good segue, a series of increasingly savage climbs that eventually go completely haywire: Halvorson brings in a little funk, but this beast can’t be controlled. The album winds up with RN, which is Reid’s Watching the Detectives, a steadily swaying, broodingly plucked modal theme and variations that unexectedly drift toward sunnier, more psychedelic terrain. It’s one of the best albums of the year in any style of music.

Fun fact: according to the record’s press release, Reid was voted “Violinist/Violist/Cellist of the Year for the second consecutive time by the Jazz Journalists Association.” Does this mean we can vote for JD Allen as trumpeter/clarinetist/saxophonist of the year? Maybe Brian Charette can be pianist/harpsichordist/organist of the year too! Googling for jazz harpsichordists doesn’t get you much, but Brian would no doubt be amped to contend for the award. Or maybe the JJA is just trying to save paper…or precious hard disc space on that old Commodore from the 80s.

A West Village Gig and an Dark, Underrated Gem from Guitarist Cameron Mizell

This blog once called Cameron Mizell the best pastoral jazz guitarist not named Bill Frisell. But aside from last names that rhyme, the two musicians’ talents extend far beyond that demimonde. Quietly and efficiently, Mizell has put together a remarkably tuneful, eclectic, understatedly cinematic body of work. In a world overpopulated by guys who play a million notes where one would do, Mizell’s economical, purposeful style stands out even more. He’s got a new duo album with fellow six-stringer Charlie Rauh and a show coming up at Greenwich House Music School at 7:30 PM on Sept 20. Harvey Valdes, who works a more traditional postbop vein, plays the album release show for his new solo record afterward; cover is $15.

Mizell’s arguably best, most Lynchian and most relevant album so far might be Memory/Imagination (streaming at Bandcamp), a brooding, multitracked deep-sky solo record he put out about a year after the fateful 2016 Presidential election. It opens with the distantly uneasy, lingering title cut, a tone poem awash in reverb and backward masking effects: imagine Big Lazy‘s Steve Ulrich making a 1970s style ECM record.

As puckishly picturesque and Pink Floydian as the second cut, Melting is, it’s also a surreal acoustic-electric portrait of global warming. A Toast is meant to evoke a boardroom full of corporate robber barons congratulating themselves: is the loopiness a snide poke at their groupthink, maybe? Interestingly, the song has a visceral, Indian-tinged sense of longing: maybe even those who destroy the world will also miss it when it’s gone.

The Wind Will Never Blow Us Out, a more minimalist take on pensive Jim Hall-style postbop, offers a somewhat more resilient perspective. A haunting, spikily fingerpicked waltz, Vulnerabilities was inspired by a chance meeting with a homeless vet searching in vain for a power outlet to juice his electric wheelchair. Mizell’s inspiration for the hypnotically echoing The View From Above came from a NASA photo of the earth from space, which had been deleted by the time Mizell went back to try to find it again. “Maybe it made America look too small for the new administration,” he relates.

We’ll Find Our Way Out of This Mess begins as a wry study in how to construct a pretty, folksy melody out of backward masking but then takes on epic, ominous proportions. Mizell, a natire Missourian, reflects on the murder of Michael Brown and the Ferguson protests in A Turning Point, an echoey, edgy, bluesy number akin to what David Gilmour could have done if he’d played on Quincy Jones’ In the Heat of the Night soundtrack. The album comes full circle with Decisions, a brighter, more optimistic series of variations on the opening theme. It’s a great late-night listen.

A Rare Live Show by Composer Christopher Marti’s Intense, Cinematic Postrock Project

Guitarist Christopher Marti is best known for his film scores. But he also has a pummeling, epically vast postrock instrumental project, Cosmic Monster. He’s released several albums under that group name over the years, and he’s bringing that project to do an improvisational show tonight, Sept 5 at 6 PM at Holo in Ridgewood. What’s more, the show is free, and since it’s so early, you still have time to get home on the L train before the nightly L-pocalypse begins.

To get a sense of what Marti does with Cosmic Monster, give a listen to their eponymous 2014 six-track ep up at Bandcamp as a name-your-price download. The ominously titled first track, Strontium 90 – inspired by the Fukushima disaster three years previously, maybe? – has a pounding attack and multitracked guitars that strongly evoke Daydream Nation-era Sonic Youth, coalescing out of enigmatic close harmonies to a straightforward, anthemic chorus and then retreating.

Electric Battle Masterpiece has a watery 80s dreampop vibe – it could be Sleepmakeswaves covering a track from the Church’s Seance album. Marti brings back the vintage SY feel for Monster/Monster, awash in vigorously slamming tremolo-picked chords and big bass/drums crescendos, then returns to punchy Aussie-style spacerock with Answers From Space.

Ten Thousand Pink Satellites is both the densest and most concise track here, a spacier take on My Bloody Valentine. Marti winds up the album with the evilly majestic The Deep Blue Sleep, part Big Lazy noir surf, part coldly drifting deep-space tableau, part crawling Mogwai menace. It’s anybody’s guess what Marti might do in Queens, flying without a net, but it’s a good bet it might sound like all of the above.

Noir-Tinged Transcendence from Thumbscrew

Thumbscrew‘s show earlier this week at what has become an annual festival at the Provincetown Playhouse on Washington Square West was more plaintive and haunting than expected. Guitarist Mary Halvorson left her pitch pedal alone for the most part until the last couple of numbers, where she went crazy with both live loops and warpy Jabba the Hut space lounge sonics. And although she did goose the audience, and maybe her bandmates too, with wry upward swipes at the end of a couple of numbers, she went for noir, and poignancy, and angst throughout most of the rest of the show.

It was almost funny to watch bassist Michael Formanek,, the group’s spokesman this time out, matter-of-factly walking a swing interlude in a tune by drummer Tomas Fujiwara. Otherwise, Formanek punched out miminalist pedalpoint, the occasional looming chord and plenty of somber, bowed phrases, often echoing Halvorson’s lingering, chilly, reverbtoned resonance. His comedic moment was a Sisyphian series of climbs, moving further and further up the scale with a predictable but irresistible tumble at the end.

Fujiwara was his typical counterintuitive self: trios tend to have busy drums, but not this unit. He opened and closed the set with tricky, peek-a-boo polyrhythms, driving the music forward against the beat. Beyond one relatively brief, stampeding cascade toward the end of the set, he kept his cymbals flickering,  with a subtle, lithe attack on the snare and toms.

The trio opened with Snarling Joys, a Halvorson tune, the guitarist foredshadowing the gloom ahead via a pointilllistic series of icepick riffs. Many of the set’s numbers bore a close resemblance to Big Lazy at their most haunting, and exploratory, notably Formanek’s bitterly aching Cruel Heartless Bastards, a take of Jimmy Rowles’ moody classic The Peacocks and Julio De Caro’s Buen Amigo, a tango from the band’s most recent all-covers album, Theirs. The companion album, Ours – all originals, naturally- was also well represented, particularly with a strutting but wounded reinvention of Herbie Nichols’ House Party Starting which turned out to be a lot more of a lament than a dancefloor hit. Other material was less harrowing: a tricky, serpentine take of Fujiwara’s Saturn Way; an even more rhythmically maddening yet supertight song that sounded like 70s British rock band Wire spun through a cuisinart; and the closing tune, Things That Rhyme with Spangle (that’s a very short version of the official song title), which Halvorson bent and twisted, finally hitting her distortion pedal for some roaring punk chords.

The series of free concerts at the Provincetown Playhouse continues into next week, resuming Monday, July 22 at 7 PM when Rolling Stones multi-saxophonist Tim Ries leads his band. Get there early, i.e. by 6:45 if you want to get in.

Enigmatic, Cinematic Instrumentals and a Williamsburg Gig from the Royal Arctic Institute

The cover photo for the Royal Arctic Institute’s latest album Accidental Achievement – streaming at Bandcamp – shows the utterly flavorless top section of a 1970s adobe-tinged concrete highrise apartment complex. If only we could have stuck with that kind of quality construction…then again, nobody’s ever going to live in those cheap plastic-and-glass highrises that are being thrown up by sleazeball developers to replace perfectly good brick buildings on seemingly every Manhattan and Brooklyn streetcorner. Seriously: somebody could get murdered there and nobody would ever know. The cinematic instrumental trio’s latest album has a similar sardonic edge. They’re playing Rough Trade on April 16 at 9 PM; $13 advance tix, which you can and should get at the box office at the back of the record store, are still available as of today

The album’s first track, Leaky Goes to Brooklyn hints at spacerock before bassist Gerard Smith and drummer Lyle Hysen start tiptoeing behind guitarist John Leon’s lingering noir lines; then he switches to pedal steel for a mournful southwestern gothic feel. Then the band completely flip the script with The Grubert Effect, switching coyly between hypnotic, insistent Raybeats attack and a loungey theme.

A shout-out to surrealist poet Raymond Roussel has a lingering, reverbtoned, strolling menace, the steel adding a big-sky wonder over the jangle and eventual roar below. Graveltoned bass soars over resonant steel in When Razors Were Works of Art, Leon savaging the upper registers with his guitar as the rhythm section stays chill.

The Lark Mirror is a steady, distantly bittersweet, conversational stroll highlighted by plaintive violin – it’s the album’s most haunting track. Frosted Tips sardonically channels Celtic balladry via Sonic Youth. The Vorth is an icily dreampop-tinged march, while Dear Mr. Bookman – a Joe Maynard shout-out, maybe? – is a surreal mashup of western swing and triumphant new wave stadium rock.

Dark Matter (Song for Randy Newman to Sing) slowly coalesces into a pastoral waltz that quickly shifts into cold, cinderblock postrock territory. The album winds up with the jaunty, jangly, Northern Progress Exploration Company, the missing link between Fairport Convention and maybe early zeros Hoboken instrumentalist the Subway Surfers. The album makes a good companion to this year’s highly anticipated forthcoming release by this era’s premier noir guitar soundtrack band, Big Lazy.

Haunting Film Noir and Desert Rock Themes from Reverend Screaming Fingers

Reverend Screaming Fingers’ cinematic, surfy instrumental themes don’t often scream, but boy do they resonate. And there are no doubt films in development screaming out for these songs. The guitarist (real name: Lucio Menegon) layers colorful multitracks over a steady, low-key rhythm section for a mix of creepy noir themes, spaghetti western tunes and midtempo surf rock. The Desert Years, his new third volume in his series of Music for Driving and Film, is streaming at Bandcamp. Big Lazy’s highly anticipated new album isn’t out yet, but until then, this twangy, dusky masterpiece will do just fine. It’s a lock for one of the best albums of 2019.

Here Menegon is supported by a rotating rhythm section: Wally Ingram on drums, with Danny Frankel, Damian Lester, Kip Powell and Janie Cowan sharing bass duties.The opening track, No Destination starts out with a fleeting, insistent new wave guitar riff but quickly slinks into the shadows with a southwestern gothic ambience capped off midway through with a little Tex-Mex. Then the bandleader completely lfips the script with the tender, oldtimey country ballad Chapparal Kiss, with low-key mandolin over a graceful 6/8 sway.

Dream of the Desperado comes across as a mashup of rapt Japanese temple music mingled with slow-burn Black Lodge guitar that finally coalesces as a creepy slide guitar blues: it would be a solid track on any Big Lazy album. Monsoon Gully has snarling, distorted, serpentine guitar leads set to a gently tumbling cha-cha beat: Beninghove’s Hangmen are a good point of comparison.

Spare, spaciously fingerpicked guitar figures mingle above a backdrop of rain and tree frog samples throughout Funereal. Speaking of funereal, the organ beneath the loping, savagely crescendoing desert theme Dance of the Dust adds immensely to the ominous ambience.

Delicate tremolo-picking beneath lingering reverbtoned riffs raises the suspense in Yuma Interlude, up to a tantalizing exchange of riffs in both channels, then back down again. Lost Alien Highway slowly builds into a simmering roadhouse blues. Almost Home is a lively blend of Buck Owens twang and roller-rink organ theme. The final cut is Rattler Ranch, an upbeat, catchy, woodsy groove for guitar and bass.

Book of J Reinvent Classic Spiritual Sounds With a New Album and a July Barbes Residency

Book of J are Sway Machinery guitarist/bandleader Jeremiah Lockwood and singer Jewlia Eisenberg of Charming Hostess. Each have brought an impassioned, vocally-driven approach to their own projects, equally informed by classic Jewish and African-American melodies and spiritual traditions. Together they reinvent those influences, from haunting, medieval Jewish piyutim love laments, to oldtime country blues and gospel. Their debut album is streaming at youtube. They have a weekly Saturday 6 PM residency at Barbes this July, a venue where the two have collaborated memorably in the past.

The new album opens with a steady version of the spiritual 12 Gates to the City, Eisenberg taking the lead, Lockwood’s harmonies shadowing her as he drives the song with his shivery acoustic slide blues work. Likewise, Lockwood’s nimbly tumbling phrases propel the gorgeous Agadelkha, Eisenberg’s raw vocals out front, up to an enigmatic chordal guitar solo. The verse sounds like an acoustic Balkan predecessor of the Jefferson Airplane’s White Rabbit: was Grace Slick into that stuff?

Lockwood switches to Telecaster for a boogie-flavored take of the country gospel tune Do Lord, Remember Me which they transform into an oldtime union anthem after a spiky Lockwood guitar solo. The duo exchange impassioned, conspiratorial vocals over Lockwood’s eerily tremoloing guitar in the Yiddish dirge Khavele; their hauntingly fluttering, sotto-voce, French/English take of Leonard Cohen’s The Partisan is much the same.

They go back to classic African-American gospel for Freedom Plow, adding unsettled indie rock chords underneath. Their call-and-response in the country blues-flavored Tell God is much more rustic. Then they do Sweet Inspiration as proto Ike & Tina Turner, with some sweet, Indian summer blues guitar riffage.

Eisenberg sings an unvarnished take of the lament Seven Sons Had Hannah over Lockwood’s spare, hypnotically Malian-influenced guitar. Tzir is the shortest, most whispery and most starkly gorgeous, bittersweet song on the album. The duo follow with Kum Mayn Kind, a distantly blues-inflected European lullaby

They do a final spiritual, My Sun Will Never Go Down as a turn-of-the-[past]-century Pete’s Candy Store number, with some starkly incisive picking from Lockwood, and close with a hushedly fervent, brooding interpretation of Fiery Love, an edgy Yiddish theme.

Lockwood always invites a whole slew of killer talent to his Barbes residencies; the July 14 edition with his sometime collaborator, Big Lazy noir guitar genius Steve Ulrich, should be particularly intense.