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Tag: elisa flynn

The 50 Best Albums of 2018

This is a playlist – click on the links below to hear every album in its entirety.

The best album of 2018 was also one of the shortest. Songwriter Rose Thomas Bannister’s lushly orchestrated latest release, Ambition, is not the first time she’s written on Shakespearean themes, but it is by far her darkest and most relevant album. Originally commissioned for a dance adaptation of Macbeth, the song cycle deals with the most fundamental questions of evil and how to deal with it. Many of the characters in Bannister’s distantly sinister narratives make the worst possible choices at the most crucial moments.

Bannister, who made a name for herself with spare, poignant Great Plains gothic songs, has never written more psychedelically or diversely, or sung with as much nuance and power. From the creepy flurries of the title track, through the grim understatement of Lady M, themes of betrayal and revenge permeate these songs’ constantly shifting, intricate arrangements, Bob Bannister’s elegant lead guitar lines weaving along the central seam. Listen ad-free at Bandcamp.

Beyond the next ten albums or so – the creme de la creme of 2018 – these albums are listed in rough chronological order of when they were received here (which often doesn’t coincide with actual release dates over the past few months). Sp there’s no hierarchical ranking, considering how many completely different styles are represented on the list. If an album is one of the year’s fifty best, it has to be pretty amazing.

Ward White – Diminish
Catcny, erudite, purist three-minute janglerock tunesmithing matched to a withering, cynical, relentlessly grim lyrical sensibility. No songwriter alive writes more allusively macabre stories than this guy,  Endless puns, double entendres, and gallows humor are everywhere. White’s most surreal, psychedelic album to date, Bob, got the nod here as best album of 2013; everything he’s done since is on that level, this one included. The list of artists with as formidable a body of work as White has are very few: Bowie, Elvis Costello and Steve Wynn are points of comparison. Listen ad-free at Bandcamp.

Elysian Fields – Pink Air
Lush jangle and clang, propulsive new wave and haunting dystopic scenarios in what might be the best ever album in haunting singer Jennifer Charles and polymath guitarist Oren Bloedow’s majestic, artsy band’s twenty-plus year carer. Listen ad-free at Bandcamp.

Kotorino – Sea Monster
Carnivalesque latin noir, circus rock, suspenseful cinematic narratives and creepy steampunk tales on this brilliant New York crew’s tersest, most crystallized album yet. Listen ad-free at Bandcamp.

Michael Hersch – Violin Concerto; End Stages suite: International Contemporary Ensemble with violinist Patricia Kopatchinskaja, and the Orpheus Chamber Orchestra
The most harrowing recording of the year combines two macabre, microtonal pieces, the latter exploring the tortured, fitful final moments of terminally ill patients. Listen ad-free at Bandcamp.

Ensemble Fanaa – their debut albun
Multi-reedman Daro Behroozi’s otherworldly Middle Eastern/North African jazz trio play slinky, hypnotic, rivetingly microtonal originals. Bassist John Murchison doubles on the gimbri bass lute; percussionist Dan Kurfirst plays both a full kit and a boomy daf frame drum. Listen ad-free at Bandcamp.

Klazz-Ma-Tazz – Meshugenah
High-voltage violinist Ben Sutin’s wild, klezmer-jazz-rock jamband whirl through ferocious, epic remakes of Yiddish vaudeville and theatre classics from over the decades. One of the most adrenalizing albums released this year. Listen ad-free at Bandcamp.

No-No Boy – 1942
A catchy, jangly, harmony-driven Elliott Smith-tinged concept album tracing the injustices suffered by Japanese-Americans during and after their incarceration in US concentration camps during World War II. One of the year’s most savagely relevant albums. Listen ad-free at Bandcamp.

The Brooklyn Raga Massive – Ragas Live Retrospective
The most epic album ever featured on this page contains over six hours of classical Indian ragas, recorded live in the studio. A cast of some of this era’s best younger Indian music instrumentalists team up with jazz, Americana and rock musicians for some outside-the-box reinventions, from large ensembles to spare duos and trios. Some of this is pretty crazy; a couple of the tracks are bullshit, but the traditional stuff is consistently sublime. Listen ad-free at Bandcamp.

Todd Marcus – On These Streets: A Baltimore Story
The world’s only bass clarinetist currently leading a large jazz ensemble wrote this withering suite in the wake of the murder of Freddie Gray, a mix of lavish, intense, sometimes Middle Eastern-tinged epics and quieter, more somber material. Commentary from community members and activists is interspersed between songs for added, troubling context. One of the most politically important albums of recent years. Listen ad-free at Bandcamp.

Mehmet Polat – Ageless Garden
Sometimes haunting, sometimes kinetic, this collection of originals by one of the world’s great oudists and composers of Turkish music draws on Kurdish, Andalucian and flamenco sounds as well. Listen ad-free at Bandcamp.

Greek Judas – their debut album
One of the craziest albums on this list is this mix of heavy psychedelic remakes of classic Greek rembetiko anthems, originally dating from the 20s through the mid-50s. Rembetiko was the music of the gangster underworld, Turkish and Cypriot immigrants, and freedom fighters battling dictatorships; its slashing Middle Eastern chromatics take on extra menace when played with heavy metal savagery, Listen ad-free at Bandcamp.

Drunken Foreigner Band – White Guy Disease
Another crazy update on a slightly more modern sound. The lead instrument in this epic instrumental psychedelic band is an electrified phin lute, which gives their stately Laotian folk themes a surreal, twisted new dimension. If Country Joe & the Fish had been Laotian, they might have sounded something like this. Listen ad-free at Bandcamp.

Gordon Grdina’s Marrow – Ejdeha
The album title is Farsi for “dragon;” the fiery jazz oudist and guitarist and his haunting, careening band switch between darkly slinky original levantine themes and smoldering guitar jazz that veers into dark metal in places. Listen at Spotify

Bombay Rickey – Electric Bhairavi
With her unreal four-octave vocal range, accordionist/sitarist/keyboardist Kamala Sankaram  fronts this catchy, slinky, darkly psychedelic unit, who mash up cumbia, surf and Bollywood with devious flair. Listen ad-free at Bandcamp.

Ben Holmes and Patrick Farrell – The Conqueror Worm Suite
A subtle but luridly vivid, klezmer and Balkan-tinged piece inspired by the macabre  Edgar Allen Poe short story, from the innovative trumpet/accordion duo. Listen at youtube.

Uncivilized Plays Peaks
Guitarist Tom Csatari and his careening ten-piece pastoral jazz outfit had the good sense to record their 2017 Barbes performances of these sprawling, darkly haphazard reinventions of iconic Angelo Badalamenti Twin Peaks themes, plus some choice originals. Listen ad-free at Bandcamp.

Alec K. Redfearn and the Eyesores – The Opposite
Hypnotically circling, kinetic, phantasmagorical original Balkan psychedelic rock, bandleader Redfearn running his accordion through a series of effects pedals for some wildly swirling, enveloping sounds. Listen ad-free at Bandcamp.

Eva Salina & Peter Stan – Sudbina
The renowned Balkan chanteuse and her pyrotechnic accordionist remake songs made famous by one of the greatest Romany singers of the 20th century, Vida Pavlovic, who was sort of the Edith Piaf of Romany music. Abandonment and heartbreak have seldom sounded so visceral. Listen at Spotify

The Lemon Bucket Orkestra – If I Had the Strength
Dark, edgy, wildly punk-inspired original klezmer anthems and dance numbers that draw on a hundred-plus years of Ukrainian, Russian and Lithuanian traditions. Listen ad-free at Bandcamp.

Gordon Grdina – Inroads
The great Middle Eastern jazz oudist and guitarist’s second album on this list features keys and alto sax rather than a string jazz lineup; it’s a little more sardonically funny and Sun Ra-like. Listen ad-free at Bandcamp..

The Michael Leonhart Orchestra – The Painted Lady Suite
The flight of a swarm of butterflies over the top of the world, all the way to Egypt, has never sounded more epic or cinematic. Saxophonist Donny McCaslin stars in this lavish, intense big band cycle of songs without words.  Listen ad-free at Bandcamp

Twin Guns – Imaginary World
The latest album by these reverb addicts is slightly less Cramps-influenced, a bit quieter and more macabre than their previous mashups of horror surf and biker rock. Listen ad-free at Bandcamp

The Electric Mess – The Beast Is You
These twin-guitar Brooklyn rockers channel the incendiary chromatic psychedelic punk attack of Australian legends Radio Birdman, with some of the most exhilarating fretwork of any album on this list. Listen ad-free at Bandcamp

Sarah Bernstein’s Unearthish – Crazy Lights Shining
The microtonal violinist – one of the world’s great string jazz players and composers – teams up with percussionist Satoshi Takeishi for an otherworldly, acerbic mix of jazz poetry tableaux and eerily wafting miniatures. Listen ad-free at Bandcamp

Xylouris White – Mother
The brooding Cretan lyra player and Dirty Three drummer team up for a bracing, sometimes slashing thicket of Middle Eastern-tinged themes. Listen at Spotify,

Sigurd Hole – Encounters
The Norwegian bassist leads a frequently Middle Eastern-tinged string trio through a brooding series of nocturnes, dirges and more atmospheric pieces. Listen ad-free at Bandcamp

SUSS – Ghost Box
Starry, eerily lingering, Twin Peaks-style guitar nocturnes, big-sky tableaux and the occasional detour into southwestern gothic themes. Listen ad-free at Bandcamp

Mary Halvorson – Code Girl
Amirtha Kidambi handles lead vocals on the perennially incisive guitarist’s deepest, most lavish plunge into artsy, shapeshifting, improvisationally-inclined, sometimes darkly humorous rock. Listen ad-free at Bandcamp

Alicia Svigals and Uli Geissendoerfer – The Beregovski Suite
The iconic klezmer violinist and film composer teams up with the German pianist to rescue these alternately moody and romping, decades-old klezmer themes collected on the eve of the  Holocaust by the great Russian musicologist. Listen at Spotify,

Qais Essar  The Ghost You Love
Incisive, often hauntingly poignant Afghani folk-tinged new instrumentals by this rising star composer and virtuoso of the rubab lute. Listen ad-free at his music page,

Maya Youssef – Syrian Dreams
A dynamic mix of relatively short pieces from one of the world’s most focused, purposeful players on the kanun – the magically rippling Middle Eastern zither. Listen at Spotify,

Satoko Fujii – Invisible Hand
The brilliant pianist celebrated her sixtieth birthday last year by releasing an album a month, including several riveting live sets. This solo performance is dark and dead serious, if hardly as horror-stricken as her Fukushima Suite, picked for best album of the year here in 2018. She improvises as purposefully and tunefully as anyone who ever lived. Listen at Spotify,

Thumbscrew – Ours
The second Mary Halvorson project on this list is the reliably edgy guitarist’s grittiest release this year, often drifting into the shadows for reverberating film noir ambience. Listen ad-free at Bandcamp

Sean Moran – Sun Tiger
The guitarist’s trio with cellist Hank Roberts (who also appears on this list as part of another guitarist, Gordon Grdina’s band) and drummer Vinnie Sperrazza smolders and burns, with frequent detours into pastoral jazz.  Listen ad-free at Bandcamp

Sean Noonan – The Aqua Diva
The weirdest album on this list. Alex Marcelo puts a slightly out-of-tune piano to better use than you would think possible, maxing out the overtones in this bizarre mix of mythologically-inspired stream-of-consciousness poetry, darkly magical jazz, gospel and theatre music. Listen ad-free at Bandcamp

The Women’s Raga Massive Compilation
The only reason that this is further down the list from the other compilation by the irrepressible Brooklyn Indian music collective is that it’s shorter – by about five hours. This mix of hypnotic, epic traditional performances along with rock and soul-tinged remakes of classic carnatic themes features seventeen of the women artists and female-fronted bands among the Raga Massive’s vast membership. Listen ad-free at Bandcamp

Bill Frisell – Music IS
This era’s preeminent jazz guitarist breaks out his trusty loop pedal for a characteristically tuneful, concise mix of pastoral themes, atmospherics, oldtimey melodies and noir-tinged cinematics. Listen at Spotify,

Elisa Flynn – The World Has Ever Been on Fire
The first-ever solo album by this historically-inspired, hauntingly soaring singer and multi-instrumentalist, with songs ranging from hypnotic, Radiohead-ish art-rock to jangly, toweringly angst-fueled anthems. Listen ad-free at Bandcamp

Lorraine Leckie – Live at Mercury Lounge
Further evidence that psychedelic bands should all be making live albums. The guys in this band seem so psyched to be playing these pulsing, Slavic-tinged themes that they’re jumping out of their shoes. There’s a sad backstory: this was the final show played by the late, great drummer Paul Triff. Listen ad-free at Bandcamp

Banda Magda – Tigre
A characteristically cinematic, mightily shapeshifting mix of Mediterranean psychedelia, coy French chanson, cumbia and lavish instrumentals by accordionist/multi-instrumentalist Magda Giannikou’s subtle, richly textured band. The theme is resilience in troubled times, inspired by the Greek struggle against European community bankster terrorism. Listen at Spotify,

Johnny Gandelsman – Bach: The Complete Sonatas and Partitas
It took the great Brooklyn Rider and Knights violinist eight years to finish recording this astonishingly dynamic album. The physicality, lithely dancing quality and Gandelsman’s signature, silken legato help explain why it soared to the top of the classical music charts. Listen ad-free at Bandcamp

The BC 35 compilation
In January of 2016, legendary producer and dark rock icon Martin Bisi held a marathon weekend session to celebrate the 35th anniversary of the revered Gowanus recording room, BC Studios, which he’d started while still in his teens. Many of the edgy rock acts he’s worked with since the 80s are featured on this vast collection of gothic, industrial, metalish and folk noir acts. Most notable is the first recording by 80s noiserock legends Live Skull. Listen ad-free at Bandcamp

The Coolerators – Diggin’ Bones
Australian soprano saxophonist Phillip Johnston leads this moody, carnivalesque, utterly individualistic  Monk-inspired organ jazz trio. Organist Alister Spence contributes deliciously smoky, Greg Lewis-tinged playing. Listen ad-free at Bandcamp

Mary Halvorson and Robbie Lee – Seed Triangular
The third and final Mary Halvorson project here is an acoustic-electric duo record with the brilliant, unpredictable guitarist playing vintage 18th century models in addition to her trusty electric, alongside multi-instrumentalist Lee. Pastoral jazz never sounded so unsettling and enigmatic. Listen ad-free at Bandcamp

Cliff Westfall – Baby You Win
If Elvis Costello had made an album of original country songs, it would have sounded something like this. The country crooner and songwriter writes period-perfect, aphoristic honkytonk and Nashville gothic tunes, spiced with lead guitarist Scott Metzger’s ferocious solos. Listen ad-free at Bandcamp

Jessie Kilguss – The Fastness
The title is a North Atlantic term for secret hideaway. The lustrous, soaring folk noir singer leads a concise, purposeful band through this brooding mix of rainy-day tableaux, new wave-tinged tunes and an offhandedly savage murder ballad. Listen at Spotify,

Amy Rigby – The Old Guys
Elvis Costello-class wordplay; broodingly silken Skeeter Davis-class vocals and a deeper drift into psychedelia than ever before from one of the most brilliant, hilarious, relevant tunesmiths of the past 25 years. Listen ad-free at Bandcamp

Edward Rogers – TV Generation
One of the world’s great voices in retro Britrock turns a withering eye on surveillance state fascism in this mix of artsy rock, spare acoustic ballads and Bowie-esque glam. Listen at Spotify,

Jen Shyu – Song of Silver Geese
A lavish, surreal, atmospherically haunting suite by the pan-Asian jazz multi-instrumentalist-singer. The nonlinear narrative follows the trail of the spirits of several friends, very young and somewhat older, whom Shyu recently lost. Listen ad-free at Bandcamp

Sleep  – The Sciences
Heavy psych album of the year. Who knew that these icons of doom metal would be completely undiminished – and surprisingly upbeat, and more psychedelic than ever – 25 years after they picked up where Black Sabbath left off. Listen at Spotify,

The Arcane Insignia – A Flawed Design
An all-acoustic string band playing vintage 70s style art-rock. Imagine ELO’s first album beefed up by an entire symphony orchestra, playing classic Peter Gabriel-era Genesis. After awhile it’s hard to figure out where one song ends and another begins, but it’s a hell of a song. Listen ad-free at Bandcamp

The Mystery of the Bulgarian Voices – BooCheeMish
Dead Can Dance’s Lisa Gerrard and others from the rock world guest on the renowned Bulgarian women’s choir in this surprisingly upbeat mix of otherworldly, chromatically charged folk themes and originals in the same vein. Listen ad-free at Bandcamp

Another Brilliantly Allusive, Eclectic Album From Haunting Singer/Multi-Instrumentalist Elisa Flynn

For over ten years, Elisa Flynn has been one of the most spellbinding and distinctive voices in New York music. Her songs are rich with history. They sparkle with images and tackle some heavy questions. Her melodies range from moody Radiohead complexity, to scruffy indie vignettes, to stark detours toward noir cabaret and 19th century art-song. Flynn’s vocals – full, meticulously modulated, often soaring, sometimes wrenchingly plaintive – are the shiraz that fuels the narratives on her latest album The World Has Ever Been on Fire, streaming at Bandcamp. She’s playing Picasso Machinery, 43 Broadway at Wythe in South Williamsburg on April 27 at around 9 PM. 

On the new record, Flynn is a one-woman orchestra, playing all the: guitars, banjo and drums. The Ballad of Richie and Margot rocks pretty hard, with a dreampop edge: spare, emphatic verse, big enveloping vintage Sonic Youth chorus, bitingly crescendoing stadium-rock guitar solo in the middle. She builds hypnotically ringing, pulsing grey-sky ambience with variations on a catchy, simple guitar hook in Before He Went Down – its doomed storyline ends suddenly, yet in the exact place where it makes sense.

Flynn picks out a spiky, distantly Middle Eastern-tinged vamp as Lost in the Woods shuffles along. “Maybe I’ll be addicted to those sleeping pills as well,”she muses in Syd, a catchy, darkly watery anthem. Paula Carino comes to mind: “I can only write these words in a kind of a trance…I can only feel like a girl when my lips are far too red.”

With its lush bed of multitracked, clanging guitars, the distantly tango-inflected escape anthem Wolves echoes the gloomy, anthemic intensity of Timber, the standout track on Flynn’s 2008 album Songs About Birds and Ghosts. The slowly swaying 6/8 ballad Prison Ship Martyr’s Monument – inspired by the Fort Greene memorial to the legions of US Revolutionary War soldiers who died in British captivity – is the album’s majestic centerpiece, a grim conflagration scenario. “Would you lend me your hand to climb out of the hold?” Flynn asks: the answer is all the more shattering for being left unsaid. It might be the single best song of 2018.

Veronica rises from a spare, rustic, allusively blue-infused one-chord banjo tune to a big, echoey, crashing full-band crescendo. The chiming, echoing No Diamond is even more hypnotic, an allusively wintry tableau capped off by an unexpectedly roaring guitar outro.

Sugar has a stomping, vamping mid-80s Throwing Muses vibe. The album winds up with Caution, a guarded love song that begins as a solo banjo number and then morphs into swirling, pouncing trip-hop. The contrast between sharp, translucent tunesmithing, Flynn’s enigmatic images and her strong, forceful vocals make this one of the best rock albums of 2018.

Fun fact: Flynn was a founding member of cult favorite kitchen-sink noiserockers Bunny Brains!

Another Killer Show in Brooklyn on March 24

Funny how crowds at the same event vary from one night to the next, isn’t it? February’s installment of Murder Ballad Mondays at Branded Saloon in Fort Greene was a mobscene. Last month’s was basically limited to  artists who’d played previous editions of the monthly celebration of twisted desire in song from throughout the ages. In a stroke of counterintuitivity, most murder ballads have traditionally been sung by men, yet most of the performers at Murder Ballad Mondays have been women. A necessary antidote? Karmic payback? Food for thought.

Ironically, despite the light turnout, this particular night was the best yet. Peg Simone opened, minimalist and inscrutable on piano, her back to the crowd. In a coolly enigmatic alto. she delivered a long, rainswept , eerily chiming noir blues. From there she segued into a hypnotically enveloping, quietly vengeful number, like Nico tackling Long Black Veil. Neville Elder of folk noir favorites Thee Shambels followed with a long, ghoulishly detailed Donner Party-inspired tale: Great Plains gothic as the Strawbs might have done it

Miwa Gemini reinvented the Nancy Sinatra hit Bang Bang from the point of view of a real femme fatale  And after playing the surrealistically Gun Club-ish, slide guitar-fueled coda to her Grizzly Rose song cycle, she decided that her imaginary muse doesn’t die in the end: she ends up being the killer.

Cello rock duo the Whiskey Girls – Patricia Santos and Tara Hanish – made their first New York appearance since a sizzling set here late last year, opening with tensefly syspenseful, stark minor-key blues and then a luridly menacing ba-bump latin swing tune, Not Anymore: “The view from the stage ain’t like the view from the floor,” Santos intoned ominously. If memory serves right, they also did a stark chamber pop version of the jazz standard Wild Is the Wind. And creepy parlor pop duo Charming Disaster – who host the night – treated the crowd to a gorgeously harmony-driven number with intricate call-and-response vocals and also a deadpan cover of a Foster the People cheeseball pop ditty. Guitarist Jeff Morris was game, even though his conspirator Ellia Bisker had to twist his arm to get him to play it.

All this capsulizes something you might not expect from Murder Ballad Mondays: it’s not just about dark storytelling or the comfort of imagining someone dead, most likely an ex. It’s about the tunes! The music here is every bit as good as the stories. This month’s performance – rescheduled to SUNDAY, April 24 at 8 PM – includes cameos by the brilliant, historically-fixated Elisa Flynn, haunting folk noir bandleader Jessie Kilguss, shortwave radio operator/pianist Steve Espinola as well as the hosts, who’ve been on a serious creative roll lately.

Murder Ballad Mondays Makes a Mean Return to Fort Greene on the 21st

A monthly residency is a sneaky way to keep your fanbase coming out without stating the obvious, that they could always blow off your show this month and catch you next time around. After all, who can keep track of when the third Thursday of the month is going to fall, other than the band playing that night?

A lot of touring artists use small New York venues as an anchor when they’re here – or as a rehearsal room, basically. Barbes is home base to many of the elite among them, most notably Big Lazy (first Friday of the month at 10) and Rachelle Garniez (first Thursday at 8). There are also a trio of good acts using Sidewalk to keep themselves sharp: guitarist Lenny Molotov’s bitingly lyrical original oldtime swing band the Fascinators (first Saturday at 8), Mac McCarty‘s careening folk noir Kidd Twist Band (first Saturday at 9) and the darkly eclectic, avant garde-inclined Lorraine Leckie (third Friday at 11, including tonight the 18th).

This blog’s favorite monthly residency is Murder Ballad Mondays at Branded Saloon. Like Paul Wallfisch‘s late, lamented Small Beast at the Delancey, it’s blogbait. Any lazy blogger can save himself or herself four or five separate nights out and catch several of the best acts in town all on the same bill on an off night that doesn’t conflict with anything. And it’s become a hit with the local Fort Greene contingent.

Last month’s was a prime example: with cold rain pelting the slush outside, torchy noir singer Ellia Bisker and her guitarslinging Charming Disaster conspirator Jeff Morris packed the place and treated folks to a deliciously lowlit, lurid evening. They used to treat the crowd to at least a short set, but lately they’ve been teasing everybody with just a song or two. This time out their contributions were a slinky version of a shadowy, swing-infused new number with some hilarious rhyme schemes as well as Murderer, Charming Disaster’s signature song of sorts, a coldly wary, subtle cautionary tale reminding that the perfect crime has no witnesses.

Jessi Robertson set the bar high right off the bat. Hauntingly resonant, deeply soul-infused vocals fused with lead guitarist Rony Corcos’ similarly lingering, bluesy lead lines and elegantly jangly phrasing. Part of Robertson’s appeal is that her big crescendos sometimes seem triumphant and celebratory when they’re actually venomous, and their first song was a prime example. They also made their way through the bristling underbrush of a folk noir number and closed with a fiery PJ Harvey cover.

Liz Tormes, this city’s leading exponent of murder ballads, brought the ambience down to a blue-flame intensity, mining the catalogs of Peter Rowan and Bill Monroe, her own calmly and murderously alluring repertoire and closed with a stark Elizabethan suicide song. Former Snow frontwoman Hilary Downes sang a calmly brooding version of the Townes Van Zant classic Pancho & Lefty. And Mudville – singer/keyboardist Marilyn Carino and brilliant bassist Ben Rubin – kept the simmeringly ominous ambience going with noir cabaret takes on the Misfits and Tom Waits as well as an even more allusively venomous original.

That’s what makes Murder Ballad Mondays so interesting – it’s taking the concept of songs about killing people far beyond the time-honored Britfolk/Appalachian tradition. The more you know about music, the more you realize just how much we have in common: no matter the culture, people around the world just love to kill each other. And then write about it. This coming Murder Ballad Monday on March 21 starts at 8 sharp and features Charming Disaster, Elisa Flynn – whose rapturously haunting voice is matched by her historically-informed, erudite tunesmithing – and others TBA who will probably be just as good.

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.

Enigmatic Songwriter and Magical Singer Elisa Flynn Puts Out a Richly Nuanced, Eclectic Solo Album

Elisa Flynn‘s new album My Henry Lee – streaming at Bandcamp – picks up where she left off with her unselfconsciously haunting, historically-infused 19th Century Songs in 2011. Flynn has been one of New York’s most distinctive, poignantly powerful singers since the zeros, back when the founding member of Bunny Brains decided to study vocals with Shara Worden. If anything, this is Flynn’s most nuanced and dynamic album yet, maybe because it’s mainly just solo electric guitar and voice with the occasional echoey electric piano or guitar overdub. The music is both elegant and scruffy, and very catchy: Flynn likes to juxtapose enigmatic, simple variations on a spare guitar riff with more anthemic, sometimes majestic choruses. Flynn is also an irrepressible impresario: she’s playing one of her usual haunts, the Way Station tomorrow night, November 17 at 8 PM, leading “ an evening of songs of antagonism and rivalry” with Lys Guillorn, Maharajah Sweets, Dan Cullinan, Wifey, Sarah Bisman, Thee Shambels’ Neville Elder, John LaPolla, plus a reading by Kevin Kinsella (ex- John Brown’s Body).

The title track of Flynn’s new album sets the tone, a brooding, resonantly fingerpicked, carefully considered but also pretty radically reworked take of the classic murder ballad popularized by Nick Cave and PJ Harvey. Flynn follows that with the ominously picturesque My Blood, set to a hypnotically ringing, loopy guitar backdrop. Cheetah, the first of a couple of numbers celebrating animalian fearlessness, rises from a briskly strummy, fast 6/8 groove spiced with surrealistically echoey early 80s electric piano: it could be a demo from the Church circa 1983.

Likewise, Horse Race, with its weirdly echoey, lo-fi, bell-like guitar, except that this is Flynn at her sardonic, darkly amusing best: “There’s nothing rough about you, I’d just like to put that on you, I want you to be more like me…tell me what drugs you’re on,’ she poses to a complicated person who’s clearly vexing her. Keeper of Secrets is another number pairing unresolved minimalism against another wickedly catchy chorus, a possible elegy with hints of late Beatles as the music subtly builds from skeletal to lush. The final cut is a banjo tune that’s simultaneously stark and rustic and yet completely in the here and now: as ancient as this song sounds, it’s impossible to imagine it being recorded in, say, 1988. It’s an uneasy escape anthem that harks back to the Reconstruction-era milieu of much of Flynn’s previous album. There’s a lot going on here, lyrically especially – these songs grow on you. Watch this space for more full-length solo shows by Flynn, who’s just as funny a stage presence as she is an individualistic guitarist and rivetingly good singer.

Rachel Mason Unveils Her Gorgeously Lurid, Erudite Historical Song Suite at Joe’s Pub

Rachel Mason is best known as an uncategorizable performer who refuses to be pigeonholed. Throughout her extensive body of work, the theatrical and narrative aspects are typically as important as the music. Focusing strictly on songcraft, what was stunning at her performance at Joe’s Pub on Sunday night was how impactful her tunes are even without those theatrics – and what a spellbinding singer she is. In a rare concert performance, backed by a tight and inspired band – Tanner Beam on lead guitar, Stu Watson on bass, Robbie Lee on flute, Michael Durek on piano and theremin and Chris Moses Kinlow on drums – Mason aired out songs from her brand-new film and accompanying soundtrack album, The Lives of Hamilton Fish. Auspiciously, Mason’s latest magnum opus is currently in development as a theatre work written by Pia Wilson, to be produced by Cindy Sibilsky. As lurid and downright haunting as Mason’s music and the accompanying art-film are, a stage version could have mass appeal far beyond the confines of cutting-edge downtown New York performance.

Although Mason serves as a Greek chorus of sorts both in the film and on the soundtrack, her point of view takes a backseat to the twin narratives of two men, both named Hamilton Fish, who died on the same day in 1936. Mason has really done her homework, historically speaking – while the serial killer and pedophile Hamilton Albert Fish provides plenty of grisly grist for the mill, what might be most impressive is how she brings to life the other Hamilton Fish. He was the second in a line that would number a total of five men with that improbable name, a seemingly dour and tormented upstate New York political lifer upstaged by his famous father, a United States Secretary of State central to the doctrine and practice of manifest destiny. Exactly the kind of complex characters Mason loves to illuminate.

She opened the show with a tensely pulsing janglerock number, 60s Laurel Canyon pop through the swirly prism of 80s psychedelia in a Plan 9 vein, then going deeper into paisley underground territory as she traced the two lives that ended in side-by-side obituaries “tied together by the Evening Star.” She gave voice to the more benign Fish’s familial angst in Distinguished Line, a matter-of-factly strolling folk noir number, then took a stark, horrified, operatic tour through the deadly Fish’s horrific younger days in Wild Fish Pt. 1, an electrified take on late 19th century front-porch folk.

The narrative continued its harrowing, mysterious course with the uneasily Dylanesque, aptly titled Nightmare, the politician haunted by the ghost of his wife as the theremin whistled ominously in the background. Mason waited until The Werewolf of Wisteria – as the serial killer was known after a Staten Island murder – to spiral around at the top of her vocal range; throughout most of the show, her moody alto made a powerful vehicle for her grimly detailed story. The stark Broken Soul of a Hunan Being – based on a letter the killer wrote to the mother of one of his victims – made for a chilling example.

And in a cameo, pianist/singer M. Lamar delivered chills with his otherworldly falsetto and murky attack on the keys, channeling the horror and pain of a tortured child – throughout both the album and the film, Mason leaves no doubt that the killer Fish wasn’t born that way, he was made. It’ll be fascinating to see how this translates to the stage.

Rachel Mason’s Epic New Folk Noir Album Traces Two Twisted Historical Narratives

In addition to her work in film, video and performance art, Rachel Mason is one of the most entertaining artists in art-rock. An edgy surrealism, a laser sense for catchy tunes and a spot-on political sensibility define her work. She’s performed pieces which recreate a Rand Paul thirteen-hour filibuster in its entirety, sent shout-outs to freedom fighters in Chechnya and to inspirations as disparate as Beyonce and Marina Abramovic. Mason’s latest project is an ambitious film where she plays the role of a newspaper editor whose imagination is sparked by the January 15, 1936 deaths of two historical figures, both named Hamilton Fish. One is a New York State congressman and the most minor figure in a prominent political family, the other a sadistic serial killer and self-described cannibal executed in the Sing Sing electric chair. The accompanying double album, The Lives of Hamilton Fish is streaming at Bandcamp.  Mason has a couple of intriguing shows coming up: on July 21 at 7:30 PM sharp at Anthology Film Archives, she’ll be singing to accompany the film. Then on July 26 at 7 PM, Mason will playing the album with her band and countertenor M. Lamar at Joe’s Pub. General admission is $15, but advance tix are a good idea because it’s likely to sell out.

This is one creepy album. There are a grand total of twenty-one tracks on Mason’s folk noir magnum opus, mostly just reverbtoned acoustic guitar and vocals. Mason has really done her homework, filling out the narrative in rich detail. For example, in the opening cut, Two Strangers, Mason alludes to the many sewing pins that the killer Fish inserted into his abdomen…and also references the most likely apocryphal stash of cash that his shady Republican county boss namesake buried in the woods somewhere in New England. Mason’s voice is richly nuanced, depending on the song; sometimes muted and somber, sometimes horrified and reaching for the rafters with a spine-tingling, dramatic edge, as on The Werewolf of Wisteria, one of the monickers given to the sadomasochistic Fish in the contemporary press.

Likewise, the music is typically somber and minor-key as a lurid crime chronicle takes centerstage. On one hand, Mason doesn’t downplay the grisly, hallucinatory storyline, but she also doesn’t deny dignity to the victims, many of them children. And there’s plenty of sympathy here for the tortured orphan who would later turn his demons loose on the world – he claimed to have killed, dismembered and eaten more than a hundred victims, a claim that’s been subject to plenty of dispute. Mason also poignantly reminds that an innocent man was tried – and acquitted – for one of Fish’s crimes.

The sarcasm rises to fever pitch in A Distinguished Line, contemplating the irony in how history remembers a mass murderer better than the undistinguished scion of a Republican political fortune. Mason’s sarcasm is crushing: “I sang soprano in the little boys’ choir, and the things they did to me made my voice grow higher,” she sings in Wild Fish, a broodingly subdued chronicle of the killer’s horrific childhood. Mason really works the mystery – despite the two central characters’ divergent life stories, sometimes it’s hard to tell which Fish Mason is talking about. Throughout the album, two other similarly brilliant, historically-inspired songwriters, Robin Aigner and Elisa Flynn often come to mind. The arrangements occasionally get more fleshed out, encompassing creepy Alec Redfearn-esque organ-fueled psychedelia and shuffling Americana or 80s goth-tinged rock.

And what of the largely forgotten upstate New York politico? There’s a happy ending here, at least on his side. While not addressed on the album, Hamilton Fish V – the last of the line, Hamilton-wise – redeemed the name, turning the family’s Republican legacy on its axis, becoming a prime mover behind the resurgence of the influential progressive weekly The Nation. After springboarding a respected think tank and independent media center, the Nation Institute, Fish V now runs a consultancy that aids environmentally sustainable businesses. At least that’s what he does when he’s not growing organic produce.

My Brightest Diamond Bring Their Lush, Kinetic Art-Rock to Bowery Ballroom

Is Shara Worden the female Peter Gabriel? Consider: her songs are serious and meticulously put together, but also quirky and fun. In concert, she loves costumes and wry theatrics. And she’s an accomplished composer of indie classical music. Then there’s the matter of that exquisite voice (Worden also gets props for teaching Elisa Flynn – one of the best folk noir songwriters of recent years – how to unleash a similarly luminous voice). Worden and her kinetic, woodwind-driven art-rock band My Brightest Diamond have a new album, This Is My Hand – streaming at NPR – and a monster world tour coming up, with a stop at Bowery Ballroom on Sept 25 at 9. Advance tix are $20 and very highly recommended.

.While the album traces the arc of a doomed romance, the music is usually anything but gloomy. Worden may be best known as a singer, but she’s an elite songwriter, the songs here veering between seamlessly polished, new wave-inflected pop and gusty art-rock. Flurries of marching band drum rudiments, punchy horn charts and bubbly woodwind flourishes punctuate Worden’s pensive yet kinetic tunesmithing.

She channels her inner soul sister on the album’s opening track, Pressure, an emphatically bouncy tune that contrasts tinkly keys with a bluesy synth bassline, rising to an unexpected ending. With a playfulness that brings to mind Nicole Atkins, Before the Words is sort of a triumph of the organic over the techy and cheesy, the orchestra mounting a sneak attack on the woozy keybs and eventually taking over.

Worden’s ripe, wounded vocals and imagistic lyrics bring to mind another great art-rocker, Serena Jost, on the title track: after a rousing orchestral coda, the way that Worden backs off just a hair when she gets to the song’s punchline will give you goosebumps. On the trickly rhythmic, new wave-ish Lover Killer, Worden hitches an ominous lyric to perky brass and a funky rhythm section that gets funkier as it goes along.

A mashup of Philly soul and indie classical, I Am Not the Bad Guy is the album’s most minimalist number: midway through, she runs her vocals through a watery Leslie speaker effect for extra menace. The contrasts continue throughout Looking At the Sun, knottily kinetic verse paired off with a soaring, lush chorus, the music perfectly matching the push-pull tension of Worden’s lyrics. The album’s longest song, Shape is a kaleidoscope of polyrhythms, keys and vocal overdubs: “You never know how I may appear, first time unlike the wind, next time like a storm,” warns Worden. “I know prismatic!” is the tag out of the chorus – and does she ever!

So Easy brings to mind glossy 80s pop bands like ABC, juxtaposing echoey electric piano, chilly string synths and a dancing pulse against Worden’s angst-fueled narrative. Resonance sounds like an artsy update on a well-worn Soft Cell theme, with more tricky rhythms, big orchestral swells and layers of vocal harmonies. The album ends with its darkest, most ethereal song, Apparition: “You were a spoiled child, your careless hand is dropping,” Worden accuses. “The leaves will smoke with perfumed stars.” It’s a powerful payoff, considering all the angst that’s been building up to it.

Noir Night at Zirzamin In Case You Missed It

It seems inevitable for music bloggers to start booking shows. In the case of this blog, that meant coming full circle. Where did New York Music Daily’s debut as live music promoter take place? At New York’s best new venue, of course: Zirzamin, the lowlit subterranean music parlor at the corner of Houston and LaGuardia. It was an aptly dark and stormy evening for what was billed as “noir night.” It wasn’t lucrative in any commercial sense, as the early part got more or less rained out, thanks to crazy winds and flying trashcans and intermittent explosions in the sky, two hundred years of CO2 emissions coming back to haunt us all. But the music was transcendent.

Elisa Flynn opened. With a polymath’s insatiable curiosity and a keen sense of history, she proved as knowledgeable about classic Americana roots as she is with indie rock, and it showed in her music. Armed with just her acoustic guitar, her trusty loop pedal and a richly nuanced voice that she let trail off with a suspenseful vibrato, she made her way through aching big-sky themes, a bitter returning Civil War soldier’s lament and a disarmingly pretty but grimly sarcastic Afghan War narrative told from a perspective looking out from inside an “iron galleon.” She reinvented the old folk standard Henry Lee as bitingly atonal, nimbly fingerpicked indie rock, underscoring the doom of the lyrics. A little later, she ran through a wistful high school reminiscence that referenced both Johnny Thunders and Ian Dury, which has got to be the only song in existence that does that. Moving from a catchy, simple, circular riff to fiery, anthemic minor chords, she brought a Marc Chagall picture to life, mixing gypsyish tonalities, enigmatic open chords and a little late Beatles. And just to prove that not all of her songs are dark, she played a new one that ended up hitting a bittersweet note despite itself: “Oh, won’t you tell me what drugs you’re on,” she sang, not a little jealous of how blithely some people carry themselves. Flynn has booked an intriguing show of her own on September 18 at the Way Station in Ft. Greene, where she and a parade of songwriters will be playing the entire Harry Smith Anthology of American Folk Music.

As eclectic as Flynn’s set was, Liz Tormes set a single mood and never wavered from it. That mood was menacing. Tormes makes it work because she does it so nonchalantly, and takes great pleasure it: when she described a song or two as murder ballads, her face lit up noticeably as the word “murder” crossed her lips. While between songs, bantering with her bandmates – Ollabelle keyboardist Glenn Patscha and guitarist/singer Fiona McBain – she broke character from the stoic, wounded femme fatale persona, it served her equally well throughout a mix of originals and classic country/folk covers, including understatedly haunting, gorgeously harmonized versions of Rosalie, I Never Will Marry and the old honkytonk hit Comin’ on Strong. The version of Read My Mind on Tormes’ brilliant 2009 Limelight album is a fiery rock song; stripped to its brooding acoustic roots, it was even darker. As is often the case with her, the subtext was crushing: “And I want you to read my mind. Dear,” she sang, with just the slightest hint that this was not exactly a love song. A bitter resignation and sense of all hell about to break loose dominated several other songs, including one hypnotic number that wouldn’t have been out of place in the Randi Russo catalog, and the steady, pulsing Maybe You Won’t, another track from Limelight. Eerily and methodically calm, the trio made their way through a troubled East Village nocturne that worked on a million different levels, and a Carter Family cover that could have been the Velvet Underground doing country gospel, with the piano in…um…western saloon tuning. Patscha would have been within his rights to have complained, but he didn’t. Toward the end of the set, Tormes catalogued a list of things that haunted her: “Nothing haunts you – I think it should,” she sang again and again as it wound out, raising her voice just enough to drive the point home, hard. There is no singer in the world who channels heartbreak or unconsummated rage more potently than Tormes.

By the time Beninghove’s Hangmen took the stage, the storm had subsided and a crowd had gathered to see saxophonist Bryan Beninghove and a six-piece version of his powerhouse noir soundtrack band careen through a wild, improvisational set. While what they’re playing is essentially film music, this time out they went deep into their diverse jazz roots, transforming the Neil Diamond cheeseball Girl You’ll Be a Woman Soon into a Russ Meyer set piece. A little later, they rampaged through a practically twenty-minute version of Quatro Loko, an unexpectedly cheery number fueled by Beninghove’s jaunty soprano sax before going completely haywire, drummer Shawn Baltazor and bassist Kellen Harrison wailing on each others’ instruments, trombonist Rick Parker (also of the fascinating Bartok cover band Little Worlds) wailing on the out-of-tune piano for extra amperage.

Beninghove began a distantly apprehensive, swinging gypsy jazz tune on melodica, then switched to tenor sax and took it into more lurid territory, handing off to Parker, whose long, shivery, microtonal solo maxed out the menace. Guitarist Dane Johnson opened a horror-surf tune with some bracing, off-kilter grit, juxtaposing a klezmer-flavored dirge theme that shifted to a surprisingly warm, soul-infused chorus, Parker blasting over it with a coldly haphazard rage, Beninghove following with a long, electrically chromatic, achingly tense tenor solo. Their version of Hangmen’s Waltz took the macabre mood of the version on the band’s amazing, self-titled album from last year and expanded on it, polyrhythmic and hallucinatory. After diversions into calypso, samba and dixieland flair and then a morbid surf stomp highlighted by Johnson’s echoey, overtone-drenched intensity, they wrapped up the night at around half past eleven with another album track, Roadhouse, a surreal, volcanically Lynchian boogie. Beninghove’s Hangmen will be in residency several Mondays at 9 in September at Zirzamin; watch this space for details.