New York Music Daily

No New Abnormal

Tag: elisa peimer

Catchy, Purist, Relevant Powerpop Songcraft From Elisa Peimer

It was about fifteen years ago that Elisa Peimer played a reasonably well-attended show at a long-gone Williamsburg venue, the Blu Lounge, as part of a multi-artist bill staged by the songwriters collective Chicks With Dip. It was early in her career, and she was one of the first of the acts to hit the stage that night, but it was obvious that she had a purist pop sensibility and a compelling blue-eyed soul voice.

In the years afterward, she’d contribute to a popular anthology celebrating the 40th anniversary of Joni Mitchell’s Blue album and then tour with the core group behind it. She’s also a founding member of the Sonic Youth and Wilco powerpop spinoff The End of Love, and has put out a series of solo albums as well. Her latest one, Navigator, is streaming at Spotify.

The opening track comes across as late 70s Pat Benatar without the cliched heavy metal guitar. In I’m Gonna Start, a defiant anthem about getting off the screen and staying off, the references are quaint: just tv and radio. But maybe Peimer’s already a step ahead of most everybody else in getting off of evil Facebook and Instagram too.

The second track, Shouldn’t I is a throwback to late 70s/early 80s CBs style powerpop. Peimer’s got a great, purposeful band behind her: Jay Deegan and Irwin Menken on guitars and a killer rhythm section of Whisperado’s Jon Sobel on bass alongside longtime Graham Parker and Mekons drummer Steve Goulding.

Cyrano has a Highway 61 Dylan sway and a telling lyric:

He thinks he isn’t pretty
But he’s being pretty blind
He doesn’t seem to know
That the girls, they always go for a beautiful mind

Adrift is a metaphorically loaded, electrified sea chantey, reflecting back on getting away from ever-present distractions and finding one’s own way. Peimer goes back to 6/8 time for the soul-tinged, ballad End of the Sunset and winds up the record with the bitttersweetly elegaic Slipped into a Dream. If catchy, purist tunesmithing is your demimonde, Peimer should be on your radar.

Spot-On, Frequently Hilarious Lyrical Tunesmithing and a Lower East Side Gig From Whisperado

Catchy, purist New York powerpop band Whisperado make irresistibly satirical videos. Check out Popstar Girl: she’s a meme, she’s a toy, she’s a tv show…and she might actually be human. Whisperado have a wildly lyrical new album, Out the Door, streaming at youtube. They’re playing the release show on Jan 20 at 9 PM at Arlene’s; cover is $10.

The first track is Vinegar Hill, an escape anthem tightly pulsing over the rhythm section of frontman/bassist Jon Sobel and drummer David Mills. The tradeoff between Sobel’s solo and Patrick Nielsen Hayden’s guitar is so subtle it’s almost imperceptible, a rare and unexpected detail. And Sobel’s never sung with such unleashed intensity as he does here.

The album’s second song, Precisely is a droll, picturesque, jangly Rickenbacker guitar-fueled examination of the vagaries of memory, and all that might imply. Signal to Noise is not the Peter Gabriel classic but an Emma Bull cover done as steadily swaying 70s British pub rock, Elisa Peimer’s organ swooshing as the band gather steam. She switches to bouncy piano for Nina (rhymes with “concertina”).

The album’s pouncing, blues-tinged title track could be about the apocalypse, or suicide…or both. Round the Bend is a towering, Celtic-tinged ballad with soaring vocal harmonies and honkytonk piano from Peimer. Mass Extinction No. 6 has hints of funk and a Dylanesque, spot-on, New York-centric catalog of dire images, reprised in an alternate acoustic take at the end of the record.

I Don’t Want to Do It Anymore is a coldly aphoristic look back at a pre-NAFTA America seemingly gone forever:

Factory, come back to me
I like those old machines
Pushcart tricks and Velcro strips
And all those ways and means
Folk songs on the radio
Sung out by human beings…

The Diddleybeat-driven Pretty Please is more optimistic but just as circumspect: it could be an upbeat Matt Keating tune. The album’s most surreallistically grim number is Stone Deaf, a mashup of the Kinks and Willie Nile, its narrator insisting that he “never left the grassy knoll.” The best serious song here is the towering 6/8 anthem Ghost of the Girl, with its icy Rickenbacker clang and Sobel’s loaded imagery: “The witches were legion, they blotted the moon while Satan was splitting the atom.”

With Hayden’s twangy riffage and Sobel’s growly bass solo, Winter Blues isn’t a blues in the strict sense of the word. Forbidden is beyond hilarious, a true insider look at how musicians take the easy way out: the jokes are way too good to give away. Best song of 2020 so far! The album’s only miss is that Little Feat ditty that everyone who’s ever played Rockwood Music Hall has covered at some point – and which, like Hallelujah and Hotel California, needs to be permanently retired.

Intense, Purist, Catchy Tunesmithing and Devastating Wit from Elisa Peimer

Singer/keyboardist Elisa Peimer is a lot smarter, and edgier, and funnier than your typical folk-pop songwriter. She has a distinctive, soul-infused, slightly throaty delivery, has a way with a classic pop hook and also a devastating wit. When her lyrics aren’t uproariously amusing, they’re a lot more subtle. Case in point: Better, the big, Celtic-flavored 6/8 ballad that opens her new album Inside the Glass, streaming at her webpage. It’s not a typical kiss-off song: instead of chronicling a list of misdeeds, Peimer puts a positive spin on an otherwise gloomy storyline. Will the girl in the narrative realize that she can do better than the guy she’s with, who’s always got one eye on whoever’s coming through the front door of the bar? No spoilers here. Peimer and her excellent band – whose core is Paul Cabri on guitars, Irwin Menken on bass and John Clancy on drums – are playing the album release show on June 12 at 6 (six) PM at First Acoustics Coffeehouse in the basement of First Unitarian Church, 50 Monroe Pl. at Pierrepont St. in downtown Brooklyn. Take any train to Borough Hall; cover is $10 and includes yummy vegetarian food.

The funniest song on the album is titled Good Song. Anyone in the arts can relate to this one – see, the girl in the story used to write one great tune after another until she finally got into a good relationship with a guy. Now she’s happy…but she’s miserable all the same since all her new songs are trite and cheesy. The last verse is priceless. Bad relationships: the gift that keeps on giving!

The band blazes through stomping, new wave-inspired powerpop in the bittersweet Good for You, a dead ringer for vintage early 80s Motels. Bobby Hollywood, another Celtic anthem, is Peimer at her crushingly sardonic best. In a couple of tersely crafted verses and a chorus, she nails the pathology of the kind of gentrifier narcissists who frequent places like the Union Square greenmarket:

I was buying Brooklyn pickles
Made by a hipster out in Queens
Surrounded by my neighbors
In their hundred dollar jeans
But the one that caught my eye
Was the one that didn’t care
About the cooking demonstration
‘Cause Bobby Hollywood died right there
..But the teller of the story
Seemed to vanish in the crowd
Lost in trucker hats and strollers
Of the financially endowed…

Aloft with pilllowy strings, the parlor pop ballad Poetry is a lot more enigmatic – until the ending, which is way too good to give away. Hint: this song is MEAN! The band gets electric again on It’s All Right, a mashup of Rolling Thunder Revue Dylan and more recent folk-pop. Then Peimer switches to guitar for the delicously jangly, uneasly anthemic Can’t Make Me Stop Loving You.

She paints a guardedly hopeful late-winter tableau in Daffodils, then follows that with a considerably more morose, angst-infused parlor-pop ballad, What Would He Say. The album winds up with the towering, overcast art-rock anthem This Life. Another first-class release from a member of the Brooklyn-based Chicks with Dip songwriters’ collective, whose members include Aimee Van Dyne, Sharon Goldman, Carolann Solebello and several other cult favorite songsmiths..

Singles for the Weekend

Memorial Day weekend in New York – damn, it’s good to be alive. If only the trains weren’t such a mess, it would be fun to actually go out and enjoy this city since all the yuppie puppies have gone back to mommy and daddy in Minnesota. Last night at Barbes, there actually was a good crowd who’d come out to see Nikhil Yerawadekar & Low Mentality run through a tantalizing handful of otherworldy undulating Ethiopiques numbers, trumpeter Omar Little channeling Miles Davis with his moody resonance.

Meanwhile, the singles continue to pile up here. Here are some of the best of the bunch for your listening pleasure. Click on the artist name for their webpage; click on the song title for streaming audio.

Elisa PeimerGood Song
“I haven’t been this happy in a long long time – and I’ll never write a good song again.” The last verse is pricelessly funny. Bad relationships: the gift that keeps on giving! (via elisapeimer.com). She’s at First Acoustics Coffeehouse in downtown Brooklyn on 6/12 at 6 (six)  PM.

Brad Cole Hey Susanne
Noir bossa with disquietingly weird screechy electro tinges (youtube)

WoodheadPassage of Time
A darkly jagged, rhythmically tricky update on rainy-day late 70s King Crimson art-rock, with a killer chorus (soundcloud)

Paul De JongGolden Gate 
An echoey, gently ominous Clint Mansell-style soundtrack pastiche from the Books guitarist (via youtube). He’s at National Sawdust on 6/30

Fiona BricePostcards of…
A gently crescendoing, horizontal-ish, grey-sky cinematic mood piece for strings. Hang with it as it slowly rises and you won’t be disappointed (soundcloud)

Exploded ViewOrlando
Hypnotically echoing, icy post-Siouxsie postpunk from this politically fearless British crew (soundcloud)