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No New Abnormal

Tag: escape by ostrich

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.

A Killer Dark Psychedelic Triplebill in Queens

Having seen just one of the year’s best segues between two bands – in a year that’s been loaded with amazing twinbills – was there any sense in sticking around for the last band? Absolutely. Having already made the shlep out to Trans-Pecos in Ridgewood this past evening for Ember Schrag‘s potently lyrical psychedelia and Alec K. Redfearn‘s macabre, accordion-fueled psychedelic art-rock, hanging around for a rare appearance by Escape by Ostrich was worth it. The four-piece band – Willie Klein on guitar and violin, Bob Bannister on lead guitar, Chris Nelson on bass and Robert Dennis on drums – were like a no wave-tinged mashup of early Love Camp 7 (before they rediscovered the Beatles) and the Grateful Dead. They wound up a long but rewarding night with a particularly relevant, smoldeingly low-key cover of Woody Guthrie’s Deportees. Getting to that point was every bit as much fun.

Redfearn. who’s on tour at the moment, sounds like no other artist anywhere, the rare bandleader who’s iconic in psychedelic, art-rock and gothic rock circles. He also had the presence of mind – pure genius, actually – to enlist Schrag not as a guitarist but as a keyboardist. Redfearn gets his signature sound by running his accordion through a pedalboard: one minute he’s roaring like a guitar, the next he’s oscillating or adding devious wah-wah textures like Josh Camp did with his Electrovox in Chicha Libre for so long. Playing organ, Schrag harmonized seamlessly with Redfearn when she wasn’t adding hypnotic low drones or elegant baroque-flavored lines: you’d think that the band’s brilliant previous keyboardist, Orion Rigel Domisse, would have been irreplaceable, but Schrag adds her own similarly psychedelic edge. Redfearn sang in his signature powerful, brooding baritone while bassist Christopher Sadlers anchored the songs with his steady, pitchblende bowing, alternating with the occasional slinky rattlesnake groove. Drummer Matt McLaren enhanced the songs’ Balkan flavor with his sharpshooter rimshots on a kit with no cymbals. Horn player Ann Schattle supplied terse, incisive riffage when she wasn’t adding atmospherics, much like Schrag.

Auspiciously, much of the set was new material, most of the songs segueing into each other to make up a macabre suite. They opened with a thumping new number, murderous Serbian folk as done by Syd Barrett, maybe, then without stopping made their way into a swinging Balkan stripper vamp that sounded like it might be Redfearn’s classic Fire Shuffle, from his most recent album, Sister Death. As it disintegrated, radiating evil sonic radionuclides, it turned out not to be. A menacingly marionettish tune put Schattle’s horn front and center as Redfearn ran his accordion through the sonic strobe of a 1960s repeater box. The trickiest number was a Macedonian-inflected tune from Redfearn’s Exterminating Angel album from a few years ago; the darkest and catchiest material later in the set reflected a heavy Greek rembetiko influence. The folks at the Rock in Opposition Festival in France – where the band will be appearing next month – are in for a real treat.

Schrag and her amazing band – Bannister doing double duty on lead guitar, with Debby Schwartz on bass and harmony vocals and Gary Foster on drums – opened the night. Hearing her refer to herself as a “folkie” was pretty funny: although her first couple of albums are what she calls “great plains gothic,” her sound has evolved into shapeshifting, sometimes slithery psychedelic rock. Foster and Banister fueled the understatedly ominous flamenco flourishes on a bitter waltz early in the set, Schwartz and Schrag engaging in a brief, intense bit of trippy, contrapuntal neo-plainchant at one point. Seamlessly, they made their way through the straight-up, latin-tinged psychedelic pop of What Birds Do, the numbed Abbey Road Beatles angst of The Real Penelope and the shapeshifting Banquo’s Book, Bannister’s triplets mingling with Schrag’s hypnotically pulsing riffs. Likewise, it was impossible to figure out who was playing what throughout the deliciously clanging textures of one of Schrag’s several Shakespearean-influenced numbers, the agitatedly intense art-rock anthem Lady M.

Foster raised the suspense to murderous levels on the intro to Sutherland, an allusively creepy badlands tableau from Schrag’s most recent solo album, The Sewing Room. And although there’s all sorts of (usually implied) mayhem in Schrag’s double entendres, biblical and historical allusions, she can be riotously funny when she’s in the mood. My Brother’s Men, as she told the crowd, wasn’t actually about a goon squad: she got the inspiration from the title from the legions of barbecue joints run by brothers in her native Nebraska.

Dark Psychedelic Bandleader Ember Schrag Joins a Killer Triplebill at Trans-Pecos on the 23rd

Ember Schrag‘s most recent gig at Hifi Bar was one of the year’s best. For that matter, the enigmatic, charismatic psychedelic bandleader’s previous show at a house concert in south Brooklyn with phantasmagorical art-rock band Goddess was pretty amazing too. Schrag and her band open the night at Trans-Pecos at 8:30 PM this Sunday, August 23, followed by intense Balkan noir psychedelic band Alec K. Redfearn & the Eyesores, with whom Schrag will air out her chops on creepy Farfisa organ. Groove-driven no wave cult faves Escape by Ostrich give the evening an acidic coda; cover is a measly $8.

Counterintuitively, Goddess opened the Brooklyn show with their album release performance, a deliciously macabre, theatrical suite about a genuine monster who takes over a hapless New Jersey household. As electrifying as that show was, Schrag and her band were every bit as intense. On album, Schrag’s signature style until this year has been great plains gothic: low-key, reserved, with a subtle, white-knuckle intensity and allusively murderous narratives. This year, on the heels of her release of her live Folkadelphia session album, she and her band have taken those songs as well as a whole bunch of new material into vastly more trippy, artsy terrain.

Guitar polymath Bob Bannister alluded to Muscle Shoals and Fairport Convention and Blonde on Blonde Dylan, among numerous other reference points, but always twisted those styles into something terse and erudite of his own to match Schrag’s venomously symbolist lyrics. Bassist Debbie Schwartz (formerly of the Aquanettas and a fantastic, similarly psychedelic songwriter in her own right) played a surf groove on one number, slides and hammer-ons on a handful of others, and bolstered Schrag’s soaring, distantly angst-fueled voice with her high vocal harmonies. Meanwhile, drummer Gary Foster colored the songs with witchy rimshots and cymbal splashes, misty crescendos and, when necessary, a swinging four-on-the-floor garage rock drive.

Bannister’s nimble accents mingled with Schrag’s hypnotic, circular fingerpicked hooks and Foster’s brushwork on the pensive Sutherland, an understated murder ballad and the night’s opening number. Virgin in the Shadow of My Shoe, a swaying, psychedelic folk noir number, might be Schrag’s most definitive new song. She doesn’t even bother to stomp on a religious icon: she lets her shadow do it. Bannister and Schrag’s rainswept jangle blended as one on the late Beatlesque psych anthem The Real Penelope, followed by a catchy southwestern gothic clang-rock number, part Steve Wynn, part astringent 80s Boston.

Schrag likes to turn Biblical imagery inside out, and she also has a Shakespearean side, most evident in the Arthur Lee-esque number that followed that, and later the ominous Lady M, Bannister’s icepick accents taking the place of the resonant, keening Susan Alcorn steel guitar on the recorded version. From there the band made their way through another ominous waltz that also brought to mind Arthur Lee, as well as a sad, misty Laurel Canyon psych-folk anthem that exploded the Abraham myth. Schrag wound up the set with another wounded waltz where she raised her voice to a shivery Ann Wilson wail, then the slow, cruellly sardonic I Ain’t a Prophet, and a wickedly catchy janglerock song spiced with nimble triplet figures and a biting, bluesy solo from Bannister: the guy can play anything and make it his own. The Trans-Pecos show should be every bit as good.