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Tag: bob maynard bass

Two of New York’s Best Psychedelic Acts and an Indie Stalwart at Cake Shop on the 13th

The headliner of the triplebill this Sunday night, Sept 13 at Cake Shop will most likely draw an older, 90s indie crowd. Hamish Kilgour, who plays at 11, is best known for his work with aptly named New Zealand indie rockers the Clean, whose coolly nebulous sonics influenced a ton of bands back in the day. But that crowd will be balanced, demographically at least, by the two acts who open the night. Ember Schrag, who began her career as a “great plains gothic” tour warrior in the late zeros, has gone deeper and deeper into psychedelia lately: her shows this year with her band have been transcendent. She kicks off the evening at 9 in a rare duo acoustic show with her similarly superb lead guitarist, Bob Bannister. Then she’s leaving Monday morning to go on tour as the organist for another dark psychedelic outfit, the Balkan-infused Alec K Redfearn & the Eyesores.

Schrag’s latest album, a live recording and free download in the Folkadelphia Sessions series, offers a look at what Schrag does with a band: it capturs them at the peak of their subtle powers. The opening track, Lady M sets the stage, the guitar interweave between Schrag and Bannister so tight that it seems like a single, otherworldly, rippling twelve-stirng – until he cuts loose with a wry Tex-Mex-flavored solo. Meanwhile, Susan Alcorn’s pedal steel soars elegantly in the background. Schrag has a Macbeth fixation: the chorus of “your children will be kings” cuts both ways, in true Shakespearean fashion.

Iowa, an older song, has been a live showstopper lately, a slowly swaying ballad heavy as stormclouds over the Midwest. Schrag takes a series of three metaphorically-charged roadside images, weaves them into one of the most menacing, apocalyptic songs released this year, and sings the hell out of it. Schrag has a thing for taking biblical imagery and turning it inside out, and this is a prime example.

Virgin in the Shadow of My Shoe packs the iconoclastic wallop of PiL’s Religion, but a thousand times more subtly, with its spiky, psychedelic sway. The final cut, The Real Penelope, works a misty, opaque groove fueled by drummer Gary Foster’s masterful malletwork: it’s the most hypnotic and enigmatic track here, capped off with a slowly spiraling, acid-wah Bannister solo. You’ll see this album on the best albums of 2015 page here at the end of the year if we all last that long.

Another album that’ll be on that page is the latest release from the 10 PM act,  Goddess – the full review is here. It was also great fun to catch the band play a rare house concert in south Brooklyn a couple of months back.That phantasmatorical, tragicomic psychedelic suite opened with singer Fran Pado soaring over a a mashup of jangly Laurel Canyon psychedelia and Abbey Road Beatles, introducing the tale of “Grinny,” a witchy figure who takes over a New Jersey family, who then struggle to break free of the evil spell that paralyzes them.

As the tale unwound, Andy Newman’s enveloping, shapeshifting keyboard textures took centerstage, then receded, then returned, in an early Genesis vein. An eerily twinkling, strummy folk-rock number followed: “Grinny was great on Halloween,” Pado revealed as the mellotron oscillated in the background. The band took a twisted bit of neo-plainchant and made a mantra-like groove out of it as Newman let his flute settings resonate above while the narrative grew grimmer. After a bit of a waltz, a spacious, minimalist intro grew slowly into a march, with hauntingly echoey vocal counterpart between Pado and one-string violinist Tamalyn Miler, who then took the creepiest solo of the night as the song built to a horrified peak. The band worked that suspensefully lustrous/macabre dynamic for the rest of the show, capped off by Miller’s shivery glissandos: it wouldn’t be fair to give away the ending.

Goddess will also be on WFMU at midnight on 9/15, joined by Bannister, Leah Coloff, and Peter Zummo, who will also be part of the festivities at the Cake Shop gig. Cover is $10.

Goddess Releases One of the Year’s Best and Most Hauntingly Psychedelic Albums

Goddess are one of New York’s most phantasmagorical, individualistic bands. There is no other group in town who sound remotely like them. Part creepy 60s psychedelic act, part folk noir, part underground theatre troupe, they create a magically eerie ambience, whether live or on record. It was a treat to be able to catch their most recent performance at a private party in south Brooklyn: the album release show for their fantastic new one, Paradise, streaming at Bandcamp. Maybe it was the low lights over a leafy back courtyard – or maybe it was Ember Schrag‘s dangerous gin punch-  but as it went on, the show built an electrically suspenseful ambience, like being invited to a wiccan ceremony or some kind of sacrifice, a real-life Stonehenge hidden away just up the block from Fourth Avenue.

Andy Newman’s lushly enveloping multi-keys are one of the keys to the band’s sound. The other is Tamalyn Miller’s one-string violin, which she built herself. With no training as a violinist, she created her own otherworldly style, sometimes trancelike, other times savage and menacing. Singer Fran Pado maxes out both the band’s surrealistic, theatrical side and also the creepiness factor. Bassist/keyboardist Bob Maynard and polymath guitar sorcerer Bob Bannister complete the picture.

The album’s opening track, Leave Here builds a gorgeously enveloping web of acoustic guitars, the women adding their eerie vocal harmonies, rising to a hauntingly bracing interlude, the stark overtones of the violin contrasting with the gently suspenseful lattice behind it. Death by Owls, a mini-suite, juxtaposes an uneasy lullaby theme with pulsing, warily echoey vocals and then a psych-folk march that looks back to vintage King Crimson or the Strawbs at their most psychedelic. Begins sets soaring, stately, gorgeous vocal harmonies over what could be a horror-film piano theme. By now, it’s clear there’s a narrative of sorts, if a rather opaque one: “Like a finger in the palm, like the death of remorse,” the women intone.

Ponies, a slow folk-rock piano theme, switches from a Brothers Grimm-style tale of mass drowning to a balmy, nocturnal Peter Zummo trombone solo. The band builds contrastingly ethereal vocals and droll electronic keys throughout the anthemic, late Beatlesque Belladonna Honey. Grey Skull works a disquieting dichotomy between ethereal, mellotron-like art-rock orchestration and stark, spare strings, Prado’s mysterious vocals soaring calmly overhead.

Married opens with the mantra “this is not a dream,” those richly soaring vocals over spare, baroque-tinged classical guitar, Miller providing a menacing, multitracked outro. The album winds up with the majestically elegaic title track, an escape anthem fueled by organ and violin, Pado’s gently alluring vocals joined by a choir of voices: a shot of hope breaking through the gloom that’s been gathering all the way to this point. What is this all about? It’s not clear. What is clear is that this is an album you have to spend some time with, and get lost in. Its closest relative is Judy Henske and Jerry Yester”s 1969 cult classic Farewell Aldebaran; someday this too may be just as prized by collectors of magical esoterica.

The outdoor show featured another, similarly phantasmagorical suite, this one a sinister, tragicomic tale of a witch who hypnotizes and then moves in with a hapless New Jersey family, who must then use what little strength they have left to break free of the spell. No spoilers here! And for the icing on the cake, Schrag played a set afterward with her full band, Bannister doing double duty on lead guitar, with Debby Schwartz playing lusciously slippery slides and chords on bass and Gary Foster behind the drum kit, matching Bannister’s edgy nuance. Highlights of the set were not one but two Macbeth-themed new ones. What’s become more and more intriguing, watching Schrag’s repertoire grow over the past several months, is how she takes fire-and-brimstone biblical imagery and turns it back on itself, a savagely articulate critique set to similarly biting, incisive psychedelic rock. Speaking of which, she’s playing Hifi Bar (the old Brownies) at 8 PM on July 2. Watch this space for upcoming Goddess gigs – with their theatrical, multimedia bent, they like to make their events special and for that reason haven’t been playing live a lot lately.