What’s the most unlikely band reunion ever? The Velvet Underground? Or when Pink Floyd got back together for that live tv cameo? How about this August 27 at 7:30 PM, when Young Marble Giants will play their cult favorite 1981 album Colossal Youth at London’s Royal Festival Hall? There’s karmic justice, and no little irony in the fact that thirty-five years after they first broke up, the band are playing one of their biggest gigs ever. What’s probably just as unlikely is that they’d be together to do it at all. £17.50 balcony seats are still available for budget-minded London postpunk fans.
Meanwhile, on this side of the pond, a stellar and similarly unlikely collection of downtown New York rock talent are getting together at the exact same hour at Hifi Bar to play the album in its entirety. Springboarded by Elk City’s Renee LoBue, the performers include folk noir chanteuse Erica Smith, janglerock mastermind Paula Carino, the Bush Tetras’ Cynthia Sley, Toot Sweet‘s acerbic Mary Spencer Knapp, Speed the Plow‘s John and Toni Baumgartner, along with many, many others. This is a gig where there may be as many band members as audience members in the house.
The album itself is quirky, very humbly and rather primitively recorded, and an acquired taste for some. A favorite of college radio dj’s when it came out, it’s considered one of the foundations of lo-fi music in general. As precious and prissy as so much so-called bedroom pop is, it wouldn’t be a stretch to file the record within that genre. Stuart Moxham’s minimalist, tentative guitar and simple yet saturnine keyboards made an apt backdrop for frontwoman Alison Statton’s distinctive, unassuming, low-key vocals, punctuated by Moxham’s brother Philip’s incisive if similarly simple bass work. You can check it out – or revisit fond college dorm memories – at Spotify.
Speaking of performers who’re doing the tribute show, Smith and Knapp most recently shared the stage at 2A at the end of May, on a fantastic quadruplebill with American Ambulance‘s Pete Cenedella and host Monica “L’il Mo” Passin. Passin distinguished herself with her ability to shift seamlessly between innumerable styles, from Brill Building pop, to latin soul, rockabilly, oldschool C&W and rootsy bar-band rock. Her guitar playing was just as eclectic: she’s the rare player who can do a song solo acoustic, stick a solo in the middle and have it seem perfectly natural even without bass and drums.
Knapp’s accordion work was just as diverse, running the gamut from torchy French chanson, to enigmatic bedroom pop (if anybody on this bill really GETS Young Marble Giants, it’s her), ornately theatrical art-rock and an unexpected and very successful detour toward the avant garde. Passin playfully needled Cenedella for his handful of references to ganja, in several numbers from American Ambulance’s cult classic Streets of NYC album, a bittersweet look at uneasy teenage romance in New York in the late 70s. Which was funny, since Cenedella’s blend of twangy Americana and biting Graham Parker-esque proto new wave songcraft is the furthest thing from stoner music.
The star of the show was Smith, who held the audience rapt with a mix of new material and old favorites. As she told the crowd, her songs typically fit into three distinct categories: death songs, seduction songs and despair songs. An unexpectedly seductive number was the chilling, nocturnal Nashville, Tennessee, a stark waltz from Smith’s Snowblind album. Along with similarly spare, plaintive versions of the folk standards Pretty Saro and Wayfaring Stranger, she spun quietly through the wrenchingly poignant River King, a gently swaying, Fairport Convention-ish art-folk number with a knockout punch, a metaphorically loaded tale of snatching victory from the jaws of defeat. She also brought out a handful of new numbers: the night’s most impactful song was a brand-new one, Veterans of Foreign Wars, a brooding, suspensefully enveloping waltz with what could be a chilling allusion to the Eric Garner murder. Although Smith’s imagery is opaque and allusive – that’s the seduction thing going on – so you never know.
And after the four onstage had wrapped up their evening, the irrepressibly charming, ebullient, wickedly tight swing jazz harmony trio the Tickled Pinks lept onstage with their bassist and guitarist and kept the audience on the sunny side of the street with a brief set of standards. “They’re all the same song,” bandleader Karla Rose (of brilliant, psychedelic noir quartet Karla Rose & the Thorns) joked, but all that counterpoint, and all those harmonic leaps all over the place, aren’t exactly easy. But the trio sang as if they’d been doing this all their lives. Which they sort of have.
Passin’s next show upstairs at 2A is this August 30 at 9, where she switches to bass to play with countrypolitan chanteuse Drina Seay‘s fantastic noir-inclined band.