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Tag: carol lipnik

The Fearlessly Relevant Kath Bloom Returns to a Favorite Brooklyn Haunt

Since the 70s, songwriter Kath Bloom has enjoyed a devoted cult following, especially among her colleagues. Her influence can be heard in the work of artists as diverse as Carol Lipnik and Larkin Grimm; both Linda Draper and Rose Thomas Bannister cite Bloom as an important early discovery. Beyond the reverence of her fellow songwriters, what’s most astonishing is that Bloom may be at her creative peak at this point, even with a vast back catalog of eighteen previous albums. Her voice may have weathered somewhat, but her writing is more harrowing and unflinchingly direct than ever. She’s making a stop at her favorite intimate Greenpoint venue, Troost on Jan 21 at around 9.

Her latest album This Dream of Life is streaming at her audio page. The sound is more full and lush than you would expect from a simple blend of acoustic and electric guitars: Red House Painters’ Mark Kozelek is there to parse the tunes, with frequent contributions from Avi Buffalo and Imaad Wasif.

The catchy, propulsive, anthemically bluesy title track, which could easily be a Draper number, opens the album:

Someone’s stepping on the gas
Someone’s crawling up your ass
Everybody wants to go back…
We’re all crying in our cage
We’re all using half our brains
Don’t you wanna be free?
Someone says we’re getting out
Tell me what it’s all about
Everybody’s lying to me
This dream of life is not for the faint of heart…

Then Bloom gets political in the second verse. It’s hard to think of a more aptly bleak, wintry commentary on our times.

The  intricately fingerpicked, country-tinged lullaby I Bring the Rains is 180 degrees the opposite. Then Bloom finds middle ground over a lively country gospel-inspired bounce in the death-fixated Reminds Me of It.

The lush, psychedelic sweep of At Last contrasts with Bloom’s starkly plainspoken, lamentful lyrics. The guys in the band add moody, gospel-tinged harmonies in the methodically swaying Oh Baby. With its surreal litany of images, the catchy, echoey Changing Horses in Mid Stream is Bloom at her aphoristic best: this caustic kiss-off anthem could be her Positively 4th Street.

This Love Has Got a Mind of Its Own makes a return to enigmatic psychedelic folk, the guitars rising to a jaggedly majestic peak. Bloom keeps that hazily lingering atmosphere going through the anxious I Just Can’t Make It Without You, then flips the script with the playfully edgy symbolism of the aptly titled retro 60s folk-pop of Let’s Get Going:

Come on, you Southern
And Northern
Maybe we can meet in the middle
Look around you
Doesn’t it astound you
Or maybe you recognize it a little?

Cold & Windy is as tremulous as its title, but also hopeful. Bloom examines good intentions gone drastically off the rails in How Can I Make It Up to You?, probably the only song ever to rhyme “drama with “Dalai Lama.” She closes this sometimes devastatingly straightforward album with Baby I’m the Dream You Had: “Though you don’t remember, this happened to you,” Bloom reminds.

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The 100 Best Songs of 2017

This is a playlist. Click on each song title to stream it, click on the artist name for their webpage.

It was tempting to pick one of the segments of the Satoko Fujii Orchestra New York’s new release, Fukushima, as the best song of the year. But the single most relevant and mesmerizing album of 2017 is best heard as a contiguous suite. Taking one of its five movements out of context would spoil the experience. And it’s nowhere to be found online at the moment, anyway.

In lieu of that, the single best song of 2017, Kitten, by Dennis Davison, is still in the embryonic stage. It wasn’t released by a record label, or even recorded in a studio. It reached this blog as a voice memo, just vocals and guitar in a practice space. The frontman of cult favorite psychedelic band the Jigsaw Seen has written a lot of great songs over the years, but this one is the most harrowing. On the surface, it’s about a homeless guy who finds a kitten. He’s in trouble: he lives by the exit sign. And this is not a sweet love-conquers-all narrative. It’s a wish song – and a portrait of terminal depression as vivid and chilling as anything Phil Ochs or Ian Curtis ever wrote. And it’s as catchy as it is depressed.

Rather than trying to rank the other 99 songs here, they’re listed in rough chronological order of when they were either received or witnessed onstage. Rather than regurgitating the Best Albums of 2017 list, this one has a lot of songs that either haven’t been officially released, or were just so amazing to see live over the past year that it wouldn’t be fair to exclude them. Same rules as last year: one song per band or artist. Otherwise, half this list would be Ward White and Amir ElSaffar, and that would be counterproductive. You can go down the rabbit hole with any of the hundred artists on this list all by yourself without any further help from this blog.

Ward WhiteCoffee Maker
A pair of accomplices grow more desperate by the hour in this catchy yet characteristically enigmatic, Charming Disaster-esque post-murder narrative. The way White caps off his guitar solo is as cruel as it is priceless. From the even more inscrutable As Consolation, best rock album of 2017.

Jack GraceGet Out of Brooklyn
The baritone Americana crooner’s somber, heartbreaking requiem for a pre-real estate bubble New York. “The place held its own ground, the rivers separated where you bothered to go – really used to try to get out of Brooklyn, now everybody’s trying to get in.” From the album Everything I Say Is a Lie.

The Dream Syndicate  – Like Mary
The most harrowing track on Steve Wynn’s recently regrouped, legendary 80s band’s new album How Did I Find Myself Here is a catchy, tensely muted, grim portrait of a woman who may be a child killer…or just an Oxycontin casualty.

Amir ElSaffar’s Rivers of Sound – Ya Ibni, Ya Ibni (My Son, My Son)
A vast, oceanic Iraqi-flavored lament from the paradigm-shifting trumpeter/multi-instrumentalist’s Middle Eastern orchestral jazz group’s latest album Not Two. 

The Sadies – The Good Years
A brisk shuffle beat beneath hypnotically lingering guitars in this chilling Nashville gothic elegy for a disastrous marriage: “She couldn’t wait to clean out the place he occupied.” From the album Northern Passages.

Alice Lee – Your Blues
A savagely lyrical, spot-on soul anthem for the era of Ferguson and Eric Garner from the ex-New York singer/multi-instrumentalist’s brilliant new album The Wheel.

Charming Disaster – What Remains
The New York noir supergroup– led by Jeff Morris of lavish, dark, latin-flavored rockers Kotorino and Ellia Bisker of parlor pop existentialists Sweet Soubrette – slink their way through this chillingly allusive post-murder narrative inspired by Flannery O’Connor’s The River. From the album Cautionary Tales.

Los WemblersSonido Amazonico
A brand-new version of the eerie, slinky national anthem of psychedelic cumbia, which the Peruvian band wrote and first recorded almost fifty years ago. This one’s a lot longer and more psychedelic than any other version in existence, Chicha Libre’s included. From their unlikely and amazing comeback album Ikaro Del Amor.

 Sofia TalvikLullaby
Catchy, anthemic and resolutely optimistic on the surface: “Still you wish you were dead.” When the Nordic Americana songwriter played this at the American Folk Art Museum this past spring, you could have heard a pin drop. From the album Big Sky Country.

Castle Black – Broken Bright Star
Guitarist Leigh Celent’s evil, spare icepick intro kicks off this slowly marauding anthem that eventually explodes in a fireball of reverb. From the album Trapped Under All You Know.

Morricone YouthClunes Town
Del Shannon mashed up with Ennio Morricone – makes sense, right? – with distantly ghostly multitracked Karla Rose vocals. From the band’s Mad Max soundtrack

LusterlitCeremony
Frontwoman/drummer Susan Hwang gives this long, creepy, ineluctably crescendoing, chromatically-charged Cormac McCarthy-inspired anthem her most luridly Lynchian vocal ever. From the album List of Equipment.

Lorraine LeckieAmerica Weeping
Leonard Cohen died the day before the fateful 2016 Presidential election. This careening psychedelic riff-rocker is the eclectic bandleader’s anguished response. Free download!

Son of SkooshnyUntold History
With Steve Refling’s keening slide guitar, this is one of the band’s harder-rocking numbers, Mark Breyer’s chillingly autobiographical account of growing up amid all sorts of familial and social Cold War-era dysfunction. From the album Matchless Gifts.

Aimee MannLies of Summer
Slow and lush, heavy like a thunderstorm, this mutedly depressed orchestral rock tale doesn’t reveal whether the narrator is addressing a prisoner or a dead person until the very end. From the album Mental Illness.

Brian Carpenter & the ConfessionsCity on Fire
The Ghost Train Orchestra trumpeter/bandleader plays keys and guitar and lends his baritone voice to this brilliantly Lynchian band, duetting with chanteuse Jen Kenneally in this slinky, bolero-tinged smash. They managed to steal the spotlight from Big Lazy on a Friday night in the East Village last month, no joke. 

Changing ModesDust
Awash in orchestral keys and troubled close harmonies from the band’s two frontwomen, this slowly crescendoing apocalypse anthem makes an apt coda to the New York art-rock band’s brilliant album Goodbye Theodora.

James Williamson and Deniz TekNo Sense of Crime
The best and most death-obsessed track from the Stooges’ immortal Kill City album, reinvented as lush, poignant, similarly opiated acoustic parlor rock. Giant Drag’s Annie Hardy adds plaintive high harmonies, with violin from Petra Haden. From the killer, wryly titled ep Acoustic K.O.

Miramar  – Sin Ti
A psychedelically Lynchian, allusively Middle Eastern-tinged bolero, the highlight of the Virginia group’s show at Drom back in January.

Joshua GarciaThat’s the Way You Drop a Bomb
Oldschool first-wave-style folk revival narrative as one of the crew of the Enola Gay might have heard it. Chililng beyond belief, and a staple of the New York songwriter’s live show.

Greek JudasKontrabandistas
A drug-smuggling anthem from the 1930s Greek underworld reinvented as searing, menacing, twin guitar-fueled metal. From the band’s brand-new debut album. 

The New Pornographers – High Ticket Attractions
Motorik Pulp-style new wave satire of yuppie status-grubbing. Llittle do they know how much corporations are taking advantage of them. From the album Whiteout Conditions.

Kerem Guney – Sicak Bir Sevda
Is it fair to put a haunting Turkish psychedelic rock anthem from the late 70s – like the Doors with an electric saz – on a list of 2017 songs? It hasn’t been released outside Turkey until the Uzelli Psychedelic Anadolu compilation came out earlier this year. 

MeszecsinkaHajnalban (At Dawn) – fifteen minutes of evil shamanic post-Velvets Balkan crash and wail from this phantasmagorical female-fronted Balkan group. Another band who killed it back in January at Drom.

Jaye BartellSwim Colleen
With his deadpan baritone and reverb-drenched, spare guitar hooks, nobody’s better at allusive macabre narratives than this guy. From his album In a Time of Trouble, a Wild Exaltation.

Carol LipnikMy Piano
Stately, graceful art-rock eco-disaster parable: after all, pianos are made from trees. Her vocal crescendo will give you goosebumps. She and pianist Matt Kanelos held the crowd rapt with this at Pangea back in January.

The Jigsaw SeenMy Name Is Tom
A rare successful mashup of dark Indian raga theme and American psychedelic rock, and one of the LA band’s most iconic songs. They ripped the roof off with this at Bowery Electric back in March.. From their latest album For the Discriminating Completist.

Ran Blake & Dominique Eade It’s Alright, Ma (I’m Only Bleeding)
The iconic noir pianist and the brilliant jazz singer outdo Dylan’s original. Eade’s rapidfire articulation underscores the venom and bitterness in this exasperated capitalist treadmill tirade as Blake anchors it with his signature blend of eerie glimmer and murk. From their album Town & Country.

Rev. Billy & the Stop Shopping Choir End of the World
The fearless environmental activist and his mighty, roughly sixty-member choir opened their towering Prospect Park Bandshell set this past summer with this ominous original gospel tune: “Only so many beautiful days on earth!”

The Robert Sabin Dectet – Ghost
A portrait of a house whose occupant has just died, a somber belltone pavane punctuated with artfully suspenseful use of space and moody horns. From the bassist’s album Humanity Part II with his lushly cinematic large ensemble

Gacaltooyo Band – Ninkaan Ogayn (He Who Does Not Know)
Never before released outside of Somalia, this late 70s jam is a slow, haunting mashup of noir soul, Bollywood balladry, Ethiopiques and what sounds like J-pop – Somalian pentatonic scales come across as positively Asian in places here. From the compilation Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa

The Mehmet Polat TrioEverything Is in You
Joined by kora and ney flute, the brilliant Turkish oudist shifts between otherworldly Middle Eastern modes, Asia and Africa in this pensive epic. From the album Ask Your Heart

Black Lesbian FishermenRagged Ritual
This trippy, practically fifteen-minute drone-rock dirge has subtle Indian raga allusions, moody Middle Eastern ambience and a slow build to a darkly majestically macabre, resonant swirl of organ and guitar. From the album Ectopic Apiary.

Hearing ThingsStalefish
A mashup of growling go-go funk, horror surf, Middle Eastern music and the Doors, it’s a staple of Brooklyn’s funnest band’s live show.

NO ICELeave Her Alone
Musically, it’s a bitter, fiery soul-rock anthem. Lyrically, it’s one of the year’s classiest numbers: cool guys don’t harass women. From the Brooklyn band’s amazingly multistylistic, fun debut full-length album Come On Feel the NO ICE.

Orkesta MendozaContra La Marea
The  briskly strutting noir centerpiece of the slinky psychedelic mambo/cumbia band’s latest album ¡Vamos A Guarachar!, brooding baritone sax and clarinet alongside bandleader Sergio Mendoza’s reverberating guitar multitracks.

The Trio JoubranLaytaka
The gorgeously fluttering, understatedly elegaic intro to the oud-playing brothers’ album and DVD A’Lombre Des Mots (In the Shadow of Words), their tribute to their longtime collaborator, iconic Palestinian poet and activist Mahmoud Darwish. They mesmerized the crowd with this at their Lincoln Center show this past June.

Doug Wieselman’s Trio S  Dreambox
A cello drone and flickers from the drums underpin the bandleader’s moody Balkan melismas. building to a ferocious, Macedonian-flavored dance – the high point of their new album Somewhere Glimmer.

Money Chicha – Tamborcita
The most epic number on the debut album by the Austin psychedelic cumbia monsters (a spinoff of the slightly less psychedelic Grupo Fantasma), simmering and swooshing with ominous chromatics, reverb guitar and dub tinges.

Ella AtlasLeave Me in Blue
The most darkly lingering, epically sweeping track on 2017’s best debut album, The Road to Now, the Lynchian first release by enigmatic singer Tarrah Maria and Lost Patrol guitarist Steven Masucci.

King Gizzard & the Lizard WizardOpen Water
A hash-smuggling Red Sea speedboat theme of sorts, it’s got an energetic, hypnotically shuffling, qawwali-ish groove, icepick staccato guitar and all sorts of eerie chromatic hooks. From the album Flying Microtonal Banana.

Timatim FitfitLiving in the City
A stabbing parlor pop tune, John Cale mashed up with the Handsome Family from the menacing, carnivalesque solo album The Sugar Man, a creepy side project by Orphan Jane accordionist Tim Cluff.

Omar SouleymanMawal
An uncharacteristically slow, hauntingly violin-driven refugee’s lament from the gruff Syrian-born crooner’s album To Syria With Love.

Clint Mansell – Wheatfield With Crows
With its shivery violins, lustrous long tones and darkly ambient washes, this is where the film composer’s score to the Van Gogh movie Loving Vincent breaks into a scream.

 What Cheer? Brigade Black Cannon
Sort of a swaying Balkan brass Hawaii 5-0; the stampeding doublespeed bridge and the breathless charge on the way out are the high points of the East Coast’s largest brass band’s album You Can’t See Inside of Me.

The Legendary Shack Shakers  – White Devil
“White is the color of hipsters,” frontman JD Wilkes snarls as this noir blues stomps along, flickering with out-of-tune piano and Rod Hamdallah’s screaming distorted guitar. From the album After You’ve Gone.

BobtownMagilla Lee
New York’s best folk noir band blend their charming voices for this blithely bouncy narrative about “true meditation through medication” with dire consequences. They slayed with this at this year’s Brooklyn Americana Festival.

Nicole Atkins  I Love Living Here
A slow-simmering, crushingly sarcastic, angst-driven piano-and-horns anthem set in 2017 Brooklyn gentrifier hell. From the noir soul singer’s latest album Goodnight Rhonda Lee.

Anbessa OrchestraNagatti Si Jedha
The Israeli-American Ethio-jazz band jam the hell out of this uneasily catchy, slinky, reverb guitar-driven anthem, a mashup of vintage soul and ancient African riffs, when they play it live. From their most recent ep.

Red Baraat – Gaadi of Truth
Fiery, chromatic horn-driven live bhangra with a little hip-hop flavor: like an Indian Slavic Soul Party. From the album Bhangra Pirates.

The Sirius QuartetSpidey Falls!
This high-voltage microtonal string epic is part Big Lazy crime jazz, part Bernard Herrmann, part Piazzolla and part turbocharged tarantella.

Rahim AlHajChant
The Iraqi-born oudist and his trio entertained the crowd at Lincoln Center this past spring with an intimate version of this uneasily bouncy, subtly sardonic theme inspired by his mom trying to keep her kids out of trouble. This video link above is the full orchestrated version

Dos Santos Anti-Beat Orquesta – Red
Slinky, luridly organ-driven psychedelic cumbia mixed up withChicano Batman-style psychedelic soul. From the album Fonografic.

Nina Diaz – Star
Towering, angst-fueled noir punk cabaret, like a mashup of Vera Beren and Nicole Atkins. From the Girl in a Coma’s excellent debut album The Beat Is Dead.

Kalyani SinghEllis
An allusively grisly Ellis Island scenario set to a soaring Indian carnatic melody recast as gothic Americana – told from the point of view of a ghost. Or is she? You could have heard a pin drop when Singh sang this at the American Folk Art Museum last year. 

The NYChillharmonicBlumen
A lush, hypnotic, uneasily circling Radiohead-inflected epic from singer Sara McDonald’s mighty 22-piece New York band, who mash up big band jazz and symphonic rock. They raised the roof with this at Joe’s Pub last spring.

Dalava – The Bloody Wall
A murder victim haunts the crime scene over almost imperceptibly crescendoing art-rock in guitarist Aram Bajakian and singer Julia Ulehla’s reinvention of this old Moravian folk tune from their latest album The Book of Transfigurations.

Electric YouthIt’s Them
The Canadian duo’s enveloping, slowly crescendoing take on a classic Lynch film theme – in this case, for a movie that never came out. From the album Breathing.

Mulatu AstatkeYekatit
The godfather of Ethio-jazz, backed by an impressively tight pickup band including keyboardist Jason Lindner and trumpeter Adam O’Farrill, kept the uneasy, brassy groove going for almost fifteen minutes with this classic in Central Park back in August.

Los Crema Paraiso – Shine On You Crazy Diablo
The cinematic Venezuelan psychedelic trio have been playing their deadpan version of the Pink Floyd epic all the way through in concert. for more than a year now. They didn’t extend it all the way through at Barbes back in July, but it was still amazing how they can recreate it while adding wry dub tinges. This is a similar, relatively brief eight-minute studio version.

Melissa & the MannequinsCan’t Let Go
The latest deliciously catchy, jangly single from New York’s best new band of 2017; bittersweetly coy vocals, ringing guitars and a little vintage soul too. 

BrigaBela Sum
Mesmerizing singer Eva Salina and Balkan accordionist Sergiu Popa join the Quebecoise violinist on this broodingly gorgeous ballad from the album Femme.

Funkrust Brass Band – Dark City
The title track, and most distinctively chromatic, Balkan-flavored anthem from the debut album by New York’s largest and most explosive brass band.

 Sofia Rei – Arriba Quemando El Sol
The stark Violeta Parra peasant’s lament reinvented as relentless, marching art-rock fueled by Marc Ribot’s unhinged guitar. From the album El Gavilan.

Kelly GreenCulture Shock
A bustling, epic noir jazz theme that eventually descends into dissociative Sketches of Spain allusions, flutters loosely and then jumps back into the rat race again. Centerpiece of the album  Life Rearranged.

David Smooke & the Peabody Wind Ensemble – Nutshell Studies of Unexplained Death
The epic, sixteen-minute title track to the toy pianist’s new album is a real cinematic showstopper. Horrified tritone cadenzas, thunderous swells, unexpectedly dusky microtonal banjo, and then toy piano plinking and clicking mutedly under extreme duress.

Mike Neer’s Steelonious – Off Minor
Smoking steel guitar, organ and a rhythm section take Thelonious Monk’s classic to the next Lynchian level. From the band’s debut album.

Vigen HovsepyanGulo
The most haunting track on the powerful Armenian singer and multi-instrumentalist’s new album Echoes: Revived Armenian Folk Music is this slowly swaying 6/8 piano ballad.

La Mar EnfortunaAman Minush
Elysian Fields guitarist Oren Bloedow and singer Jennifer Charles’ Sephardic art-rock side project made entrancing psychedelic rock out this darkly bouncy old tune at their November show at the Jewish Museum

Noura Mint SeymaliSoub Hanak
A microtonal duskcore anthem, the most straight-up rock number from the fearless jamband leader’s album Arbina.

Hilary DownesSecrets of Birds
The art-rock songwriter’s band take their deepest plunge into noir on the album’s title track: “Save me from these thoughts, divebomb every part,”…yet, “I am not afraid of the  darkness in my way.”

Trina Basu & Arun RamamurthySindhu Bhairavi
Haunting, edgy, hypnoticallly dueling Indian violins – since this live recording from their amazing Noguchi Museum show in September is an audio-only clip, it’s tantalizingly hard to figure out who’s playing what.

The Hooten Hollers – Scrapper’s Lament
An amusing, amped-up oldschool country ballad about the joys of scrounging for scrap metal – a perfect job in these new depression times. From the band’s 2017 album.

Borbely Mihaly Polygon2/1
A bouncy, uneasy, staccato Hungarian bass clarinet/cimbalom/drums theme, one of the highlights of the trio’s amazing show at Drom back in January.

Tomas Fujiwara’s Triple DoubleLove & Protest
Mournful, spacious blues trumpet over a twin-drum stampede spiced with burns and scrapes from guitarists Mary Halvorson and Brandon Seabrook: Wadada Leo Smith clarity and Amir ElSaffar majesty. From the group’s debut album.

River CultShadow Out of Time
Epic Daydream Nation-era Sonic Youth slides into galloping post-Sabbath in this careening live track from the heavy psych band’s latest ep Live at WFMU.

Bridget KibbeyToccata in D
This is the famous J.S. Bach organ piece that’s been used in a million horror movies…played solo, matter-of-factly and celestially, on the harp. It’s as funny as it is subversive, but ultimately it’s still arguably the creepiest piece of music ever written. A downtown crowd at the Times Arrow Festival earlier this year didn’t know what to make of it. 

Dawn ObergNothing Rhymes With Orange
The most bleakly hilarious song of the year is this sharp, literary middle finger raised at “Putin’s little bitch” in the Oval Office. Title track from the parlor pop pianist’s latest ep.

Kacy & Clayton – A Certain Kind of Memory
A dead ringer for Jenifer Jackson in wounded dark country mode circa 2007, down to the slow, lingering, Richard Thompson-esque arrangement. From the album The Siren’s Song.

Super Yamba BandControl Per Capita (C.P.C.)
One of the Brooklyn psychedelic Afrobeat band’s most lavish, funky jams. They got a packed house at Barbes boiling over with this last summer. 

 Chicano BatmanThe Taker Story
A anti-imperialist broadside, part Isaac Hayes hot butter, part Gil Scott-Heron, with a hazy latin tint from the psychedelic latin soul stars’ latest album Freedom Is Free.

Marcellus HallStill in Range
The ex-White Hassle frontman treated a Williamsburg crowd to an unexpectedly slashing take of this deviously allusive, pouncingly catchy, sardonic social media-era critique last spring. From the album Afterglow.

The Klezmatics – The Yoke
A crushingly bitter Catalan dirge told from a slave’s point of view, the highlight of NYC’s original klezmer punks’ latest album Apikorsom/Heretics. They held a Central Park crowd rapt with this last summer. 

Agnes ObelTrojan Horses
Creepy horror-movie piano and dark low strings anchor the evil, whispery harmonies of this moody Nordic art-rock waltz from the album Citizen of Glass.

 Pokey LaFargeSilent Movies
An offhandedly stinging, sarcastically swinging oldschool soul anthem for an era of selfie overkill. He and his band motored through this at Bowery Ballroom back in July. From the album Manic Revelations.

Algiers – Cleveland
A fierce yet enigmatic anti-police violence anthem, part noir gospel, part postrock, part postapocalyptic film theme from the band’s second album The Underside of Power.

Paris ComboBonne Nouvelle
Big bustling noir swing tune with a bitter undercurrent from a darker, more lyrically hilarious French counterpart to the Squirrel Nut Zippers. From the album Tako Tsubo.

Bridget KearneyLiving in a Cave
Orbison noir through the prism of 2017 new wave revival. From the Lake Street Dive bassist’s excellent, catchy debut album Won’t Let You Down.

Gold DimeDisinterested
The side project by Talk Normal’s Andrya Ambro punctuates this surreal drone-rock epic with all kinds of delicious, darkly explosive riffage. From the band’s debut album Nerves.

The Dirty Bourbon River ShowPoor Boy, Rich Girl
A sly steamboat-soul slap upside the head of an easy target – but some targets deserve to be hit upside the head. From the album The Flying Musical Circus.

 Meaghan BurkeGowanus
A swirling, theatrical orchestrated rock lament from the charismatic cello rock songwriter’s new album Creature Comforts.

The Ed Palermo Big BandOpen Up Said the World At the Door
A wry big band jazz cover of the haphazardly careening Jeff Lynne cult favorite from the Move’s 1970 Looking On album that perfectly crystalizes the angst-fueled bustle the original was shooting for. From the album The Great Un-American Songbook Volumes 1 & 2.

Touched By GhoulMurder Circus
The title track from the darkly enigmatic, female-fronted Chicago punk/postrock band’s debut album works artfully cynical variations on a familiar carnival theme. 

 Marta SanchezScillar
The jazz pianist and her band artfully shift roles in this broodingly modal, looping, haunting elegy of sorts. From her new quintet album Danza Imposible.

Seun Kuti & Egypt 80African Dreams
“Conscious capitalism doesn’t exist,” the torchbearer of the original Nigerian Afrobeat legacy remarked at his Central Park show this past summer before launching into this pouncing, undulating cautionary tale for those who might want to play that game.  

Ensemble Mik Nawooj Gin & Juice
A deadpan, operatic orchestral cover of the Snoop Dogg driving-while-wasted classic. For real. They killed with this in Harlem back in March.

NehedarThe Grudge
Broodingly punchy 60s psych pop with coy 80s new wave tinges and a deliciously vengeful lyric. “Wanna step on me so you can rise to a better pedigree?…Put the claws back in your kitty paws.”

 Ani Cordero – Culebra
Growling surf bass contrasts with spare Spanish guitar and ominously reverberating electric riffage in this kinetic number from the fearless protest song specialist. From the album Querido Mundo.

Maximo ParkWork and Then Wait
A defiant 99-percenter singalong anthem, sort of a cross between mid-90s Blur and an artsy dance act like the Cat Empire. From the album Risk to Exist.

The PorchistasMr. Chump
Which raises a middle finger to the American Boris Yeltsin. This orange-wigged creep is a “draft-dodging scum” who “beats on little girls and cheats on Monopoly.” Then the girlie chorus chimes in: “Eats shit!” From the album Axis & Allies.

GalanosFeel Good
Echoey and surreal, this macabre, whispery, reverb-drenched noir theme slowly coalesces out of a Lynchian spoken word interlude laced with evil guitar flickers. From the album Deceiver Receiver.

Spellbinding Singer Maria Cangiano’s New Album Rescues Undiscovered Piazzolla Treasures From Obscurity

Maria Cangiano and Astor Piazzolla share Italian heritage as well as passion for taking tango to new and transcendent places. She takes the title of her new album, Renacere – streaming at Spotify – from the lyrics from Piazzolla’s Prelude For the Year 3001. Which makes sense – Piazzolla was always shifting the paradigm, blending jazz, classical and a long list of other influences into tango, and Cangiano does the same here. Along with material that’s easy to pigeonhole as nuevo tango, there’s also Cuban-flavored danzon, rhumba, candombe and several detours into jazz and even 90s pop at the end. The songs’ and instrumentals’ new arrangements, by pianist Miguel Pereiro and guitarist Hernán Reinaudo, do justice to Piazzolla’s dedication to the cutting edge.

The tracklist mirrors Piazzolla’s career trajectory, from sideman in Anibal Troilo’s orchestra, to Europe and New York, then back to Argentina where he distilled everything he’d absorbed in his travels. The album opens with an especially jazz-flavored take of Llueve Sobre Broadway, alto saxophonist Bernardo Monk’s contemplative lines over Pereiro’s incisive chording and scurrying phrases. Fabián Bertero’s tensely vibrato-infused violin dances over similarly incisive, flashy piano in Milonga de la Anunciación.

Cangiano’s wide-angle vibrato maxes out the drama in Pequeña Canción Para Matilde, a rumba spiced with the nimble flamenco touches of Quique Sinesi’s guitar. Bertero’s violin again takes centerstage in Fugitiva, with a long, high-lonesome solo to kick it off. Llanto Negro, a candombe number that’s been a highlight of Cangiano’s live show for years, opens with some irresisitibly fun echo effects and tiptoes along on the misterioso pulse of bassist Nicolás Zacarías and percussionist Quintino Cinalli.

A spare, plaintive piano intro, Cangiano’s similarly poignant vocals and Snesi’s elegant fingerpicking follow in Aire de la Zamba Niña. Preludio Para el Eño 3001 features Piazzolla’s grandson Pipi on percussion, Pereiro artfully switching up the syncopation, edging between postbop jazz and Debussy-esque glimmer through a series of playful trick endings. Sinesi’s muted, pensive picking makes an apt introduction to Graciela Oscura; Pereiro’s somberly flickering piano is the album’s musical high point.

Los Amores de Noviembre slinks along with a tropical danzon groove, Pereiro’s incisive phrasing pushing it further toward jazz. His spacious, noir intro to a dynamic, nocturnal take of Vamos Nina builds a lingering intensity, up to a pulsing series of peaks in tandem with Roberto Amerise’s bass.

Monk’s meticulously flurrying. spiraling sax returns in Greenwich; Cangiano’s forlorn, tortured melismas will give you chills. The album ends with Piazzolla’s big enchilada, Libertango, Julián Vat’s flute weaving in and out until Pipi Piazzolla takes it into trip-hop territory. As rich and evocative as the playing on this album is, it would be even more of a treat to hear more of Cangiano’s otherworldly, evocative voice: here, she’s sort of the Carol Lipnik of nuevo tango.

Haunting Singer Carol Lipnik’s East Village Residency Takes On New Relevance

This past Sunday evening at Pangea, Carol Lipnik reached for the rafters, with her voice and with her hand, as if trying to pull stars from the sky. It wasn’t as if she was imploring some unseen force, but there was a quiet desperation as her four-octave voice rose to the stratosphere. Behind her, Matt Kanelos built a twilit mist of electronics and then played steady, lustrous neoromantic piano chords to anchor his longtime collaborator’s uneasy flights upward.

“We’ve fallen backward into a strange abyss of imperfection,” Lipnik mused, in between songs. Iridescent in a shimmery midnight blue dress, she addressed the ugly events of the past week with grim understatement. “Our pleasure ship has hit an iceberg. My life raft is made of paper, and my oar, a pen…my song is a torn sail, my voice the ripping wind.” Much as Lipnik’s performances, and especially her lyrics, can be both hilarious and heartwrenching, this was out of character.

Then again, we’ve all been wrenched from our comfort zones. Calmly and matter-of-factly, Lipnik built a dynamic intensity that rose and fell, laced with dark punk rock humor and ominous nature imagery. The fun stuff included a leap to the rafters with a boisterous cover of Screamin’ Jay Hawkins’ I Put a Spell on You that its author would no doubt have been proud of. Lipnik channeled Klaus Nomi in a phantasmagorical version of The Twist. She drew the most feverish applause when she introduced a famous 60s cabaret-rock hit. “The Barnum and Bailey circus is going out of business, Lipnik explained. “Now there’s a new circus in town. Let’s all drink to the death of a clown!” Without further elaboration, the duo onstage brought out every ounce of creepiness in Dave Davies’ metaphorically-loaded circus narrative. Later, the two brought out far more angst than hope in a relentlessly steady take of Leonard Cohen’s Anthem.

The most bittersweet number of the night was a brand-new, rather elegaic collaboration with David Cale titled A History of Kisses. The most apt for the moment was an insistent minor-key art-rock anthem titled Beast Bird, a familiar bestiary facing an even more familiar peril. An elegantly surreal “torch song to a wild goose,” a disquietingly airy take of Goddess of Imperfection – Lipnik’s theme song for her ongoing Pangea residency – and the allusive eco-disaster parable My Piano (which was a tree in a past life) completed the picture. Lipnik’s weekly Sunday shows in the sonically exquisite back room at this comfortable East Village boite are almost as legendary as her vocal range; the show continues this Sunday, Feb 5 at around 7 PM.

Midway through the show, Lipnik brought up Witchfinder Witch, the brand-new duo collaboration between Dennis Davison, frontman of LA psychedelic rock legends the Jigsaw Seen and folk noir songstress Lorraine Leckie, who were making their Manhattan debut. She delivered a cute singalong about legendary Lower East Side dive Mars Bar; he held the crowd rapt with The Unhappiest Man Under the Sun with Leckie on piano, a song that no doubt spoke for a lot of people in the crowd.

Lorraine Leckie and Her Demons Open for Americana Rock Legends the Long Ryders at Bowery Ballroom

One of the year’s most highly anticipated twinbills is this coming Nov 10 at 9 PM, when eclectic songwriter Lorraine Leckie and Her smoldering Demons open for the Long Ryders, who pretty much invented Americana rock back in the 80s. They haven’t played New York in this century, or for that matter, toured the US in almost thirty years. Their four-cd career retrospective, Final Wild Songs – which includes a stampeding live set recorded in Europe – is just out this year. This concert features the classic late 80s Long Ryders lineup of Sid Griffin on guitar and vocals, Stephen McCarthy on guitar, Tom Stevens on bass and Greg Sowders on drums. $20 advance tix are still available as of today.

Leckie’s most recent fullscale New York show was a rare smalll-club gig back in June at Pangea, a momentary homecoming sandwiched between European and US tours. As much as this was more low-key than she typically is on a big stage, the set was no less fiery for being somewhat quieter and a lot more intimate. She and a scaled-down version of the Demons – Hugh Pool on lead guitar and Tim Kuhl on cajon and percussion – opened with a hushed, seethingly waltizng take of Little Miss X, a sarcastic portrait of a bimbo du jour. From there the band made their way through a stripped-down version of the T Rex-ish Rainbow and then the rousing anthem Paint the Towns, Pool’s tersely resonant lines channeling 60s Memphis soul.

Kuhl pushed the sardonic nocturne Happy City along with a trip-hop groove, Leckie switching from Telecaster to piano. “When I go, I leave a scar,” she intoned with an understated, gleeful menace in Come A-Dancing, then gave an airy vocalese intro to a wickedly catchy, slinky, minor-key new number, Shake Off the Devil, Kuhl again supplying a clickety-clack trip-hop rhythm.

Leckie is hard to categorize – one minute she’s wailing through Neil Young-style electric Americana rock, the next she’s using all sorts of strange guitar tunings and playing enigmatically minimalist art-rock. She put the spotlight on that side of her vast repertoire with the propulsively brisk Man Who Walks in the Rain, the acidic, hypnotic waltz Dangerous Friends, and Climb Ya Like a Mountain, a shout-out to the noted mountain climber Aleister Crowley. From there the band shifted gears with another new number, the anthemic vintage 70s Lou Reed-ish Under the Vampire Moon.

The high point of the night, volume and intensity-wise, was another open-tuned guitar number, It Ain’t the Blues, Leckie airing out her powerful low register with the aching “It ain’t the blues, it’s only YOUUUUUU!” chorus. She closed with a couple of snarkly macabre, carnivalesque piano tunes. And electrifying guest singer Carol Lipnik – whose popular 7 PM Sunday evening residency at Pangea is now in its second year – contributed plaintive takes of two Leckie tunes. The highlight was Bliss, with its poignantly misty portrait of an old couple gone irrepairably off the rails, reinvented as an a-cappella showstopper where which Liphik accompanied herself on spoons. She’d brought them from home, she explained after the show, wanting to make sure that she had cutlery in hand that she could play in the same key as the song’s melody.

Carol Lipnik Sings This Year’s Most Hauntingly Mesmerizing Halloween Show

Last night a hunter moon cast its merciless stare over downtown Manhattan, opening some casually concealing corners to predators of all kinds. Inside on the lowlist stage at Pangea, Carol Lipnik took a rapt, silent audience on similarly moonlit journey through ominously murky water imagery, into a world populated by dead clowns, where spirit wolves circle your tracks, hungry ghosts gaze on your flesh and where the only real way to happiness is to get high. With her right hand raised, palm up, as if to conjure a stairway to a better galaxy, she worked every inch of her vast four-octave range throughout a chillingly dynamic, loosely thematic, tragicomically existentialist show. Lipnik has held down a weekly 7 PM Sunday night residency at Pangea for the better part of two years – if there’s any show you should see this Halloween month, this is it. Cover is $20, deals are available through Lipnik’s website and the good food here will ground you in reality while Lipnik takes you elsewhere. One suspects that she’ll really pull out all the stops at the October 30 show.

Widely regarded as the best singer in New York, Lipnik and her longtime pianist Matt Kanelos distill elements of noir cabaret, art-song, psychedelic rock, 70s freak-folk, theatre music and jazz into a blacklit reflecting pool. Kanelos – who is every bit as integral to this performance as Lipnik – held mostly to a rapturous low-midrange resonance, equal parts neoromanticism and jazz, often adding sepulchral electronic touches as well. The duo reinvented Nick Drake’s Black Eyed Dog as a relentless stalker theme, with a glittering chain-link rattle from the piano and Lipnik’s increasingly apprehensive echo effects. She worked two mics, one with a murderously muffled reverb, taking the phantasmagoria in Ray Davies’ Death of a Clown to new levels. The Screamin’ Jay Hawkins classic I Put a Spell On You was more slow conjury than it was outright witchy – until Lipnik picked up her kazobo and blew evilly jealous crow’s cries at the end.

The two gave a bittersweet Celtic lilt to Biff Rose’s cult classic, Molly, but left no doubt that this sad clown’s descent ends at the very bottom of the abyss. Ride on the Light of the Moon, a Lipnik/Kanelos co-write and the night’s most guardedly optimistic interlude, waltzed along with a pensive grace, the singer pulling out all the stops for a stratospheric, operatic coda. The night’s sardonic theme song, Goddess of Imperfection (a co-write with Taneke Ortiz) brought back the lingering echo effects thanks to Michael Jurin‘s pinpoint-precise sound design. Lipnik introduced him at the end as the “fifth Beatle” in this project, and she’s right.

She looked back with equal parts fondness and tongue-in-cheek ghoulishness to Klaus Nomi for her creepy outer-space version of The Twist. But her originals were the night’s strongest songs. A new one set a bestiary of aphroristic Brothers Grimm images over Kanelos’ insistent minimalism. The brooding waltzes Oh, The Tyrrany and The Oyster and the Sand contemplated the ravages of time along with waterborne apocalypse. A steady, suspenseful nocturne based on the James Tate poem Peggy in the Twilight found Lipnik half-singing, half-speaking a wry mystery tale about a woman whose eccentricity isn’t limited to cocktail hour choices like grasshoppers and sidecars. They closed with a harrowing, galloping, Sisyphean art-rock setting of Helen Adam’s poem Farewell, Stranger, encoring with what could be the most enigmatic Moon River ever, then Kanelos’ doomed, politically-charged parlor-pop ballad Nonviolent Man.

And special guest chantuese Gay Marshall – who has a four-week, Paris-themed stand this month at Pangea starting this Tuesday, Oct 18 at 7 PM – made a vivid and apt cameo midway through the show, joining Kanelos in a take of Autumn Leaves featuring Marshall’s own translation of the original French lyrics, revealing new levels of angst and longing.

Carol Lipnik Hangs a Star in the Heavens at Joe’s Pub

Considering the rapt, otherworldly ambience that singer Carol Lipnik likes to create onstage, there’s always some kind of magic in the ether. But even by her bewitching standards, this past week’s first installment of her three-Thursday March residency at Joe’s Pub was a special kind of sorcery. She and her new trio – longtime pianist Matt Kanelos joined by his longtime collaborator Kyle Sanna on lead guitar and keyboards – had opened with a deep-space cover of Harry Nilsson’s Lifeline, evoking an anguish and desolation unmatched even by the original..

Expanding on a key line from the song, Lipnik asked the crowd, “Is there anybody out there?” Laughter was their first response. Afterward, when she scampered out into the audience with her mic at the end of Tom Ward’s Spirits Be Kind to Me, there was no joke in how almost instinctively they sang along with her vocalese, in harmony, even.

And kept that ghostly “oooooh” going into the next song: Michael Hurley’s The Werewolf. All of a sudden the singalong had new dimension. Was this suddenly supposed to be creepy, or mysterious, or coyly funny? All of the above, maybe. That’s Lipnik at the top of her enigmatic game, always allowing for fun but also for 180 degrees from that.

Like the longingly elegaic title track from her most recent album, Almost Back to Normal, which gave her one of many opportunities to go to the stratospheric top of her four-octave range. She’d written that, and much of the album, in the wake of Hurricane Sandy. “It’s not like you can go back to normal…whatever that might be,” she cautioned the crowd.

Decked out in a slinky black lace dress and shimmery vintage silverplate necklace, dark brown eyes glistening and intent under sharp auburn bangs, she swayed, and shimmied a little during a drolly hilarious, Klaus Nomi-influenced goth-opera cover of The Twist. More than once, she stood tall and then gently hung invisible stars from the sky, mirroring the elusively distant places her voice would travel to, along with the hope and longing in her darkly allusive songs.

Kanelos is a polymath pianist and a masterful, meticulous accompanist. He and Lipnik have a rare chemistry, her vibrato modulating in perfect time with his steady, resonantly Schubertian phrasing throughout their hour onstage, when he wasn’t taking wit-infused detours into saloon blues, acerbic downtown jazz or lingering Keith Jarrett-like phrases. Sanna is the rare guitarist who knows that less is more and that in this project, especially, every note counts. When he wasn’t providing methodically propulsive jangle, carefully considered fingerpicking or judiciously minimalist accents, he was adding coolly low-key washes of synth for dub-like atmosphere.

Lipnik ended the set with a brand-new number, My Piano – as in “My piano was once a tree” – taking a steady, mysterious climb upwards, one note at a time, until it seemed that there was no high note that her voice couldn’t hit. Listening back to the show, that high note appears to be Eb above Eb above Eb above middle C – but you know how recordings sometimes aren’t pitch-perfect. Wouldn’t it be a thrill if Lipnik could come out of this month’s residency with a live album to show for it? She’s back at Joe’s Pub on March 10 and 17 at 7:30 PM; cover is $16.

The 50 Best Albums of 2015

Seven or eight years ago, everyone was predicting the demise of the album. That hasn’t happened, and as long as we have recording technology, it won’t. A few other predictions from the past decade, however, have come true. Albums these days tend to be shorter, and artists are releasing fewer of them. And as a result, they’re consistently better, since acts are no longer contractually obliged to record labels to churn out product regardless of whether or not they’ve got first-class material ready to go. A couple of artists on this list are on boutique labels, but everybody else is independent.

On this page you’ll find a link to stream each album in its entirety. Whenever possible, those links are to ad-free sites like Bandcamp or Soundcloud so you can multitask in comfort without having to ride the fader to mute the ads. Considering the vast number of albums released in any calendar year, you shouldn’t regard this list as gospel. It is, however, an informed survey based on careful triage followed by a sampling of several thousand releases, and then a locked-in, analytical listen to the best 500 or so, from this past January up to the present date. A LOT of time went into this. For purposes of keeping the list under control, none of the many thousands of excellent jazz, classical and avant garde releases are represented here. Realistically, there’s a limit on how much territory a single blog can cover.

The one collection that packed the most mighty wallop – a pretty quiet one, actually – and wins the title of best album of 2015 is Who’s Counting, by Rachelle Garniez. With gallows humor, terse piano, accordion and spare acoustic guitar, it’s the New York songwriter’s shortest, most intimate and darkest album, a masterpiece of existentialist rock, grim explorations of mortality and global carnage juxtaposed with jaunty, sultry, cabaret-flavored set pieces. This is the second time a release by Garniez has topped this list: her 2007 album Melusine Years ranked #1 that year at this blog’s predecessor. Stream it at Spotify

As far as the rest of this rich crop is concerned, there’s no ranking here, since there are so many styles to choose from. Seriously: what’s better? Carol Lipnik‘s otherworldly art-rock, Twin Guns’ savage garage-punk and horror surf, or Hungrytown‘s magnificently pensive folk noir? Apples and oranges, right? These albums are all so good that they can stand alongside anything here.

Les Sans Culottes- Les Dieux Ont Soif/The Gods Are Thirsty
The New York-based faux-French rockers deliver their most satirical, bitingly hilarious, spot-on critique yet…in French, of course, with a harder, more guitar-fueled edge than the retro 60s psychedelic pop they’re known for. Stream it at Soundcloud

Regular Einstein – Chimp Haven
Velvet-voiced, wickedly lyrical janglerock songwriter Paula Carino is another artist who topped the Best Albums of the Year list at this blog’s predecessor. In her case, that release was 2010’s Open on Sunday. This is her first new one – since the 90s, in fact -with her original New York band, packed with delicious double entendres, bittersweet narratives and tricky time signatures. Stream it at Bandcamp

The Bright Smoke – Terrible Towns
Haunting singer/guitarist Mia Wilson’s full-length debut with this atmospheric, blues-infused art-rock project ranks with Joy Division for angst-fueled, white-knuckle intensity. Stream it at Bandcamp

The Sideshow Tragedy Capital
Guitarist/frontman Nathan Singleton brings a ferocious, bitterly apocalyptic lyrical sensibility to his fiery gutter-blues band. Stream it at Bandcamp

Charming Disaster – Love, Crime & Other Trouble
Jeff Morris of the phantasmagorical Kotorino and Ellia Bisker of dark chamber pop band Sweet Soubrette join forces on their debut full-length release, a lyrically and historically rich mix of murder ballads and tales of relationships gone spectacularly wrong. Stream it at Bandcamp

Carol Lipnik – Almost Back to Normal
The best album by the best singer on this list, a launching pad for her spectacular four-octave vocal range, backed by luminous, hypnotic piano from Matt Kanelos and strings by Jacob Lawson. Allusive apocalyptic themes of natural and manmade disaster and post-9/11 terror linger in the distance. Stream it at Mermaidalley.com

Ember Schrag – The Folkadelphia Sessions
Hypnotically Beatlesque art-rock, smoldering Macbeth-inspired narratives and a killer Great Plains gothic anthem by the style’s most lyrical and distinctive practitioner. Stream and download it free from the Folkadelphia page

Twin Guns – The Last Picture Show
A mighty leap for the ferocious power trio, including but not limited to their Cramps-style stomp. This one’s a lot more psychedelic and noir surf-oriented. Stream it at Bandcamp

Lorraine Leckie & Pavel Cingl – The Raven Smiled
Spare and surreal yet majestically enveloping art-rock and Slavic folk noir sounds from the Canadian gothic songstress and Czech violin wizard. Stream it at Bandcamp

Rachel Mason – The Lives of Hamilton Fish
One of the darkest albums on this list, this lush, evocative mix of historically-inspired janglerock and folk noir traces the seeemingly unconnected lives of two early 20th century figures who shared the same name: a serial killer and the scion of a famous New York political legacy. Stream it at Bandcamp

King Raam – A Day & a Year
A majestic, brooding Iranian art-rock record by the pseudonymous expat baritone crooner and bandleader. Lyrics in Persian. Stream it at Soundcloud

Fernando Viciconte – Leave the Radio On
The noir rock bandleader originally hails from Argentina; this haunted, doomed concept album, with significant contributions from REM’s Peter Buck and others, could be the great lost Steve Wynn release. Stream it at Bandcamp

Litvakus– Raysn: The Music of Jewish Belarus
A rousing, exhilarating mix of rare Jewish dance numbers,lively originals and morose folk tunes from the badlands of Polesia, in the corner where Belarus, Poland, Latvia and the Ukraine meet. One of the best party albums on this list. Stream it at Bandcamp

Raya Brass Band – Raya
Another awesome party album, the third release by the New York Balkan group is their most original, stylistically and emotionally diverse one yet, incorporating Ethiopian and latin sounds into their rapidire chromatics. Stream it at Bandcamp

Tipsy Oxcart – Upside Down
A fat rock rhythm section anchors these deliriously edgy minor-key Balkan, Turkish and Jewish themes and originals. Stream it at Bandcamp

Marianne Dissard – Cologne Vier Takes
The southwestern gothic/art-rock chanteuse and bandleader at the top of her uneasy game, in a mix of richly atmospheric yet intimate versions from her darkly lyrical catalog. Lyrics in French. Stream it at Bandcamp

Tom Warnick & the World’s Fair – Side Effects
The well-loved noir rock cult figure turns in a characteristically diverse mix of ghoulabilly, noir swing, soul and blues, all with his signature black humor and a luridly smoky band behind him. Stream it at Spotify

Matt Keating – This Perfect Crime
Getting away with murder is the loosely interconnecting theme on this typically diverse blend of janglerock, Stonesy stomp, Americana and soul-infused sounds, all with Keating’s richly sardonic, literate lyricism. Stream it at Mattkeating.com

Tracy Island – War No More
The long-awaited full-length debut from captivating singer/multi-instrumentalist Liza Garelik Roure – former leader of deviously psychedelic popsters Liza & the WonderWheels – is her catchiest and most pensively colorful yet, fueled by husband Ian Roure’s sizzling lead guitar. Stream it at Lizasongs.com

Bliss Blood & Al Street – Unspun
The iconic noir torch song heroine builds lowlit, lurid, delectably lyrical ambience in an intimate duo recording with her longtime flamenco-inspired six-string guy. Stream it at Bandcamp

Orphan Jane – A Poke in the Eye
Deviously witty, creepy noir cabaret and circus rock from this irrepressibly theatrical, Brecht/Weill-inspired New York crew. Stream it at Bandcamp

The Universal Thump – Walking the Cat
Famously recorded at Abbey Road Studios, frontwoman/keyboardist Greta Gertler has never written with greater wit or purist pop chops than she does here with her lush chamber pop/art-rock project. Stream it at Bandcamp

Sarah Kirkland Snider – Unremembered
The most lavishly orchestrated album on this list features vocals from Padma Newsome and Shara Worden throughout a mix of brooding, sweeping art-rock reflections on harrowing childhood experiences and similar trauma. Stream it at Bandcamp

Goddess – Paradise
The latest release by the phantasmagorical New York art-rock band captures them in creepily enveloping psychedelic mode. Stream it at Bandcamp

Bobtown – A History of Ghosts
Eerie, sepulcural Appalachian folk tunes, creepy newgrass, retro soul, murder ballads, black humor galore and exquisite four-part harmonies from the band that might be the best folk noir act around. Stream it at Bobtownmusic.com

Mike RimbaudPut That Dream in Your Pipe and Smoke It
Yet another provocative, surrealistically lyrical, tight powerpop and retro new wave record from one of the most fearlessly funny, spot-on chroniclers of post-9/11 global society anywhere. Stream it at Spotify

Hungrytown – Further West
The most elegantly arranged and arguably best album by poignant Americana songstress Rebecca Hall and multi-instrumentalist Ken Anderson’s plaintive folk noir band Stream it at Spotify

The Sway Machinery – Purity & Danger
One of the great guitar albums on this list, this richly textured, intricately arraanged, soaring collection of anthems sees the band venturing further from desert rock toward cantorially-inspired psychedelia. Stream it at Spotify

The TarantinosNYC – Surfin’ the Silver Screen
Catchy, fun, vividly cinematic surf rock, spy themes and psychedelic soul from one of NYC’s most original instrumental units. Stream it at Spotify

Dalava – their debut album
Guitar polymath Aram Bajakian and his haunting singer wife Julia Ulehla combine to reinvent stark traditional Moravian themes with an electric edge. Stream it at Bandcamp  

Patricia Santos – Never Like You Think
The auspicious, intense, eclectic soul-infused debut by the charismatic cello rocker and Kotorino member. Stream it at Bandcamp

Eleni Mandell – Dark Lights Up
Los Angeles noir soul, bittersweet torch song and Americana by an icon of dark retro songcraft. Stream it at Spotify

The Whiskey Charmers – their debut album
Twin Peaks C&W, Appalachian gothic, dark blues and jangly rock from this shadowy, female-fronted Detroit dark Americana band. Stream it at Thewhiskeycharmers.com

Figli di Madre Ignota – Bellydancer
High-energy, Gogol Bordello-esque circus rock and Romany punk songs with hilarious, satirical lyrics in Italian and English. Stream their “spaghetti Balkan” sounds at Soundcloud

The Frank Flight Band – The Usual Curse
The British counterpart to Blue Oyster Cult reach back into the vaults for this haunted mix of Doorsy art-rock, shapeshifting psychedelia and unexpectedly macabre gothic sounds. Stream it at cdbaby

Dawn Oberg – Bring
The irrepressible parlor pop pianist/chanteuse at the top of her sardonic, lyrically rich game in this mix of personality portraits and psychopathological analysis. Stream it at Dawnoberg.com

Jennifer Hall – her debut ep
An intriguing, auspicious mashup of noir soul and art-rock from the powerfully nuanced Chicago song stylist and her excellent, eclectic band. Stream it at Spotify

The Grasping Straws – their debut album
Edgy songwriter/guitarist Mallory Feuer’s snarling, hard-hitting, scruffy, defiantly lyrical first full-length effort goes in a more straightforward, less jazz-inspired direction than the band’s initial ep. Stream it at Bandcamp

Ben Von Wildenhaus– II
Southwestern gothic, slinky bellydancer noir themes and Twin Peaks atmospherics from the loopmusic guitar master and esteemed noir soundscaper. Stream it at Soundcloud

Naked Roots Conducive – Sacred521
Cellist Valerie Kuehne and violinist Natalia Steinbach’s tormentedly cinematic, surrealistically intense art-rock dives menacingly and blackly amusingly into themes of alienation and ahwer despair. Stream it at Bandcamp

Lions – their debut ep
A slinky, trippy mix of Ethiopian grooves, Israeli stoner rock jams and cinematic themes. Stream it at Bandcamp

George Usher & Lisa Burns – The Last Day of Winter
Intense, autumnal purist powerpop, blue-eyed soul and psych-pop tunesmithing from two highly regarded, veteran songcrafters. Stream it at Spotify

Banda de los Muertos – their debut album
Epic, ornate, richly arranged, reinvented Mexican brass band ranchera themes and sweepingly majestic, blazing originals from trombonist Jacob Garchik’s imaginative big brass ensemble. Stream it at Spotify 

Spanglish Fly – New York Boogaloo
A hard-hitting, wickedly arranged, cleverly crafted update on classic 60s salsa soul from this irrepressible, danceable, psychedelic New York outfit. Stream it at Bandcamp

Curtis Eller & the New Town Drunks – Baudelaire in a Box: Songs of Anguish
Intriguing new translations of classic, surrealistically creepy Baudelaire poems set to starkly bluesy, phantasmagorical tunes by the charismatic circus rock bandleader and the Eastern Seaboard noir group. Stream it at Bandcamp

Elisa Flynn – My Henry Lee
The darkly eclectic songwriter and hauntingly luminous chanteuse’s most spare, terse album blends starkly funny individualist anthems with more pensive material and a classic murder ballad. Stream it at Bandcamp

Fireships – their debut album
Imaginatively arranged Americana rock and chamber pop with a fearlessly aware, Dylanesque, populist lyricism. Stream it at Bandcamp

The Amphibious Man – Witch Hips
Enigmatically lo-fi, twistedly Lynchian, surf-tinged reverb rock. Like nothing else on this list and yet in a way like an awful lot on this list, in terms of general darkness. Stream it at Bandcamp

The Honeycutters – Me Oh My
Oldschool female-fronted honkytonk with a newschool, sharply literate, defiantly populist lyrical edge. Stream it at Spotify

The Old Ceremony – Sprinter
Folk noir and serpentine, intricately arranged, Lynchian art-rock and chamber pop from Django Haskins’ darkly eclectic band. Stream it at youtube – but BE CAREFUL – a loud audio starts immediately when you click the link, mute the sound before you do

For more yummy clickbait, other 2015 lists here include the forthcoming playlist at the Best Songs of 2015 page and the Best New York Concerts of 2015 page.

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.

Imaginative, Lynchian Chanteuse Karina Deniké Slinks Into Brooklyn and Manhattan This Weekend

Darkly eclectic San Francisco singer/organist Karina Deniké plays with her band at Union Hall tonight, October 30 at 9:30 PM for $12. Then she’s at Cake Shop on Nov 2 at the same time. Her excellent latest album, Under Glass, is streaming at Bandcamp – it’s a ride packed with both thrills and subtlety, the rare collection of songs that’s so good that you don’t notice that there’s no bass on any of them.

“First you rev it, then you move it, but you never park it here for good,” Deniké sings on the bouncy, oldschool 60s style number, Park It, that opens the album. Anchors Away opens with ethereal, creepy vocal harmonies that bring to mind late, great New York rockers DollHouse, then shifts back and forth: “What shall we do with a drunken sailor?” ponders Denike with a tender menace that brings to mind Karla Rose in a rare semi-vulnerable moment.

Aviatrix, a starkly strutting Weimar cabaret waltz, is over way too soon. Musee Mecanique, the album’s title track more or less, blends layers of funereal vintage organ over a simple lo-fi 70s drum machine beat: imagine a more soul-oriented Siouxsie. Then the lurid ambience really sets in with Sideshow, Aaron Novik’s bass clarinet lingering under blippy organ and Meric Long’s staccato reverb guitar: “Do we get whatever we want at the Sideshow?” Deniké asks, completely deadpan. The song wouldn’t be out of place in the Carol Lipnik catalog.

Boxing Glove brings back the cabaret strut, fueled by pianist Michael McIntosh’s blend of ragtime and grand guignol. The best track is the menacing, plaintive bolero-soul ballad Stop the Horses, reverb-drenched guitar and Eric Garland’s vibraphone echoing in from the shadows: it draws a comparison to Marianne Dissard’s brooding desert rock. Then the band picks up the pace with Havin’ a Go, a deliciously upbeat mashup of early 60s soul, doo-wop and macabre garage rock with a decidedly ambiguous Novik solo.

Golden Kimonos opens with what’s either the vibes or an ominously twinkling glockenspiel setting on the organ, then picks up with a moody 80s sway. Balmy backing vocals bolster the album’s sparest track, the distantly gospel-tinged soul ballad You’re So Quiet. Deniké offers sympathy for the doomed on the metaphorically-loaded Persephone, Bay Area tenor sax great Ralph Carney (who just played an AWESOME show at Barbes a few weeks back) adding his signature, darkly soulful touch. The album winds up with the stately, elegantly poignant piano ballad Až Budeš Velký, Deniké drawing on her heritage as the child of expat Czech dissidents. Albums like this make every night Halloween – or Blue Velvet – if you’re in the mood.