New York Music Daily

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Tag: free download

A Killer Punk Rock Show This Saturday Night in Williamsburg

How cool would it be if punk rock hadn’t been turned into a mallstore t-shirt and a bunch of Warped Tour boybands with matching tattoos?

Isn’t it pathetic how some kids confuse self-centered, joyless emo with inclusive, funny, politically aware punk?

Luckily, there are still some punk bands who haven’t sold out or lost their sense of humor, and one of them is the Car Bomb Parade. They don’t sound much like the Clash, but they have the same cynical, apocalyptic spirit and sense of fun despite everything. They’re playing the Gutter in Williamsburg at 9:45 PM this Saturday night, May 26; cover is $7. Dark psychedelic-and-latin-influenced punks Fisk open the night at 9; funny hardcore band But, Pyrite – whose big hit is Peeing in the Shower – play after at around 10:30. Skum City, who have a similar sense of humor, headline afterward.

Only guitarist Will E. Ramone remains from the band who released their debut World War Anthems – still available at Bandcamp as a name-your-price download – in 2014. Sadly, their killer live album The Car Bomb Parade Takes Queens isn’t available online anymore, but they still have the debut album, their latest release Death Destruction Chaos Filth and Greed, and Live with a Mouthful of Molotov Cocktails – a free download as well – all up at Bandcamp.

The last in that list is their longest one, a bunch of early versions of many of the tunes that eventually made it to The Car Bomb Parade Takes Queens, recorded live complete with crowd noise and drunken between-song banter at Blackthorn 51 in Queens in the winter of 2014.

The show that night kicked off with a bloody take of 50 Shades Of Red, veering in and out of doublespeed with fuzztone guitar crunch. “This song’s about god, because he’s not fucking real,” vocalist Rev. Nicky Bullets snarls, intruducing Fuck Your Gods, Ramone ripping through some Social Distortion-ish leads in between blasts of chords. They follow the doomy hardcore anti-police brutality anthem Occupation with Has-Been, a loping, amusing salute to guys who’ve outgrown getting their brains bashed in the moshpit and are content to just drink instead.

Drummer Dan Brown kicks off Burn with a big flurry against Vic Santos’ growling bass, then the two lead the stampede. The closest thing to Social D here is Fuck the World; after that, the band flip the script with Ninja, a bizarre zombie story. They wind up the set with the fastest numbers of the night, Salvation and then the refreshingly un-PC Riot Girls. The album also includes somewhat cleaner (clean is a relative word) studio “demo” versions of Ninja and Fuck the World.

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A Rare Chance to See Haunting Large-Ensemble Turkish Music in the West Village

One of the most serendipitous developments in New York music this year is that Seyyah, who might be this city’s most epic Turkish band at the moment, have been playing more lately. Which is more impressive than it seems, considering that percussionist/singer Jenny Luna has been plenty busy with her own similarly haunting Turkish-Balkan band Dolunay. Pretty much everybody else in Seyyah plays with other bands as well. Tanbur lute player Adam Good is also in Dolunay, and lends his prowess on many stringed instruments to numerous other groups including sizzling rebetiko metal band Greek Judas. Oudist Kane Mathis has his own project, his Indian-tinged groove duo Orakel, and plays in Nubian band Alsarah & the Nubatones. Clarinetist Greg Squared is in Raya Brass Band (who played a sizzling set this past Saturday night at Barbes) and Sherita. Violinist Marandi Hostetter plays with slinky Egyptian bands Nashaz and Sharq Attack (some might say that they’re the same group) and others, as do percussionists Simon Moushabeck and Philip Mayer.

Seyyah’s next gig is this Jan 15, with sets at 8 and 9:30 PM at Cornelia St. Cafe. Cover is $10 plus a $10 minimum; the food at the downstairs West Village jazz boite is actually a cut above what most jazz club kitchens throw at you. Seyyah are also one of the latest bands with the good sense to release a live album, a free download recorded at Barbes last May on a live WFMU Transpacific Sound Paradise broadcast which also featured a rather rare, starkly intense set of Georgian folk tunes by guitarist Ilusha Tsinadze and his trio, plus a lustrous, hypnotic, tantalizingly brief handful of tunes by a subset of lavish, paradigm-shifting Indian carnatic choir the Navatman Music Collective.

Seyyah’s set – with a slightly altered lineup – opens with Mahur Saz Seman, a catchy, bouncy, somewhat bittersweetly anthemic tune. As the song goes on, the trills of Zoe Christiansen’s clarinet and Eylem Basaldi’s violin take it into more brooding territory before the main theme returns. Sultani Yegah veers between a jiggy, sea chantey-like bounce, and more wary, chromatically incisive interludes, with a spiky, moody tanbur solo. Basaldi takes centerstage with her microtonal nuance in the briskly flurrying, slashing Hicaz Zeybek, the set’s arguably best and most Arabic-inflected song.

Scampering percussion propels Hüzzam Oyun Havasi – like most of the songs here, it starts out with everybody playing the rippling, uneasy modal melody, then Good pulls away, then we get a moody, deliciously microtonally-spiced clarinet solo and a lively percussion break. The night’s coda is Çeçen Kizi, a wickedly catchy, broodingly intense, undulating theme with Basaldi leading the charge out this time. It’s amazing how good the sound quality is, considering how packed and noisy the bar was that Saturday night.

And if you’re going to Golden Fest this weekend, Greek Judas, Raya Brass Band and Dolunay will all be there on Saturday.

Classic, Poignant Rocksteady Sounds and More Uptown Saturday Night

Silvana up on 116th Street is not a place for listening. It’s a Columbia hangout, a place for those who can afford an Ivy League education without benefit of a scholarship. But with the precipitous decline of Manhattan nightlife, it’s become a magnet for a lot of good bands, especially from out of town, who don’t buy Facebook likes and “friends” to satisfy the bean counters who are booking more and more of what’s left of the borough’s music venues. Though the segues between bands uptown tomorrow, Dec 16 characteristically make no sense at all, it could be a fun night if you can get close enough to the stage to hear them. Entertaining, high-energy newgrass crew the River Bones Band kick off the evening at 8, followed eventually at 10 by the smoky roots vibes of Dubistry  and then at 11 by oldschool-style rocksteady/roots reggae singer Caz Gardiner and her excellent band.

Gardiner is a throwback to the glory days of the Skatalites and Darlene Shaffer, a singer with jazz chops and all kinds of subtle wiggles and blue notes. To get a sense of where Gardiner’s coming from, download her free single at Bandcamp. The A-side is a skanking, marvelously nuanced rocksteady cover of the Searchers’ classic 1964 hit Needles and Pins. it’s not as good as the Ramones’ version, but it’s awfully close.

The B-side, recorded live on tour in Argentina, is Cycles, a perfect evocation of late 60s Kingston, Gardiner’s voice equal part resolute calm and edgy unease in a situation where “things can’t get worse right now”. It’s a fair guess that a lot of people will be be dancing to this one Saturday night.

Relevant Mexican Sounds, and the Hip-Hop Elite Salute a Chinatown Legend

Fearless Mexican-American folk-rockers Las Cafeteras have a cool free download today just in time for President’s Day. If I Was President is off their forthcoming Tastes Like LA album. “We’ve got a different kind of party in the White House tonight.” For real!

And even if rap or stoner Chinese food isn’t your thing, and you’re a New Yorker, check out Narcotechs‘ great new video for their joint Chicken Lo Mein. They filmed it at Wo Hop. If you’re OG NYC, at one time or another you’ve indulged at the legendary Mott Street spot. This was filmed in the basement space – duh – not the street-level room, which draws the tourists in for more ducats. The production draws on a Wu-tang classic from back in the day. Relive your lost youth in this one if you can remember it.

A Playful Change of Pace for New Orleans Chanteuse Carsie Blanton

On one hand, for Carsie Blanton to put out a record of Lynchian retro rock is kind of like the Squirrel Nut Zippers making a heavy metal album. But the Zippers are great musicians – who knows, maybe they’d pull it off. Turns out Blanton is just as adept at allusive, nocturnal early 60s Nashville pop as the oldtimey swing she made her mark in. Her latest album, So Ferocious, is streaming at her webpage and available as a name-your-price download, the best advertising she could possibly want for her upcoming show at 7 PM on Feb 21 at the Mercury. Cover is $10.

Although it’s a switch for her, Blanton is just as badass and funny as she is out in front of a swing band. She sings and plays uke here, backed by guitarist Pete Donnelly, keyboardist Pat Firth, bassist Joe Plowman and drummer Jano Rix. One of the funniest tracks is Fat and Happy, a return to Blanton’s oldtimey days: the theme is “just wait and see,” and the way it turns out is too LMAO to give away.

Fever Dream builds a surreal New Orleans after-the-storm scenario, darkly spare bass paired against sepulchral toy piano. Hot Night offers a bouncy, energetic contrast, spiced with a distant brass chart; if Springsteen really wanted to write an oldschool soul song, he would have done it like this. Another nocturnal soul ballad, Lovin Is Easy pairs a spare string section against similarly low-key electric piano and Blanton’s unselfconsciously matter-of-fact, tender vocals.

Ravenous, a chirpy look back at adolescent friskiness, has a roller-rink charm that brings to mind both the Kinks and the Cucumbers, a mashup that Blanton revisits on the understatedly biting title track.. She turns the clock back anothe twenty years in Scoundrel, a coy Phil Spector pop tale about a couple of troublemakers.

Musically speaking, the album’s best track is probably The Animal I Am, a defiant individualist’s anthem set to artsy Jeff Lynne-style Nashville gothic pop. The album’s darkest track is To Be Known, part brooding Jimmy Webb chamber pop, part early BeeeGees existentialist lament. “Isn’t it al you ever wanted, to be alone?” Blanton ponders. Or is it “To be known?”. There’s also Vim and Vigor, a funnier take on what Amy Winehouse was up to before she self-destructed. Download this irrepressibly fun, dynamic mix and get to know one of the real genuine individualists in retro rock and many other styles as well.

Ellen Siberian Tiger Bring Their Smartly Lyrical, Eclectically Artsy Rock to Fort Greene

Philadelphia band Ellen Siberian Tiger play an enigmatic blend of dreampop, growly early Pixies-style anthems, and more delicate Americana and chamber pop-oriented material, all of it with an uneasy psychedelic tinge. Most of the songs on their album I Can’t Help It – up at Bandcamp as a name-your-price download – contain elements of all of those styles.They’ve got a gig at 10:15 PM (that’s what the calendar says) on Nov 29 at the Way Station in Ft. Greene. The venue, with its yappy gentrifier bar crowd and lousy sound, isn’t the most hospitable place to see a band, but since so many people are out of town this weekend, this might be the time to do it.

The album’s opening, title track risese from an elegant web of acoustic guitar fingerpicking to a swirly, crashing, electric dreampop chorus, a mashup of Linda Draper and the Cocteau Twins, maybe, with vocals closer to the former than the latter.

“I begin to end,” frontwoman/guitarist Ellen Tiberio-Shultz intones in her cool, clear voice in Sylvia, as the song rises from a swirly/jangly dichotomy crashing, anthemic heights. With the emphatic violins of Catherine Joy Parke and Drew Percy, I Smelled the Rain is a catchy mashup of newgrass and chamber pop:

You’ve got a heart like Cinderella but a curfew that you keep
Your love goes home at midnight but I’m losing sleep
But you have no glass slipper, no test for you to take
Even if the shoe did fit how long til it breaks

Likewise, Asleep in the River takes a brooding folk noir theme and takes it toward electric Jefferson Airplane territory, lit up with drummer John Cox’s hailstorm cymbal work: it brings to mind New York’s similarly eclectic Sometime Boys. “It only takes so many words to tell the truth and half as many to tell a lie,” Tiberio-Shultz reminds acidically. “Run to the river, throw me in, see if I float.”

Cuttlefish shifts back and forth between tempos,  Cox’s spiky banjo juxaposed against lush strings. Mrs. Pontellier is a blaze of haphazard cowpunk with a joyously fun Collin Dennen bass solo midway through, while Pine Needles comes acrosss as a blend of Surrealistic Pillow-era psych-folk and unsettled Little Silver jangle. When We Grow Up has dancing pizzicato violin to light up its moodily hypnotic Randi Russo-esque ambience and segues into the album’s final, most ornately psychedelic cut, Lion Hearted, rising out of deep-space ambience toward Radiohead majesty. This album is like an artichoke, with many tasty layers and also spines that will grab you if you stop paying attention for a second.

Nuclear Codes for the Game-Show Host

Mike Rimbaud recorded his grimly prophetic Going Down to Trumpistan – a free download – before last night’s election results.It’s sort of a mashup of early, classic Public Enemy and late 60s Carlos Santana. In his ominous baritone, the New York songwriter considers how

Journalists are the enemy
Torture is an art, seriously
Crowd control
No privacy
Going down, down, down to Trumpistan

He’s playing Otto’s this Saturday night at 11: it’ll be a party for our right to fight.

And for historical context, here’s Gil Scott-Heron’s similarly prophetic 1976 requiem, Winter in America.

Like the vultures circling beneath the dark clouds
Looking for the rain
Just like the cities that stagger on the coastline
And a nation that can’t stand much more
It’s Winter in America
All of the heroes have been killed, sent away
It’s Winter in America
And ain’t nobody fighting
‘Cause nobody knows what to say

Walter Ego Brings His Hilarious, Edgy Marathon Recording Project to a Saturday Night Show

Walter Ego could be characterized as Elliott Smith with a better sense of humor and command of a more diverse number of styles. Bass is Walter Ego’s main axe, but he also plays pretty much every other instrument you’d want in a rock band. Last year, he challenged himself to record two songs a month. The result is his 24 in 2015 playlist, streaming at his site and available as a free download. He’s playing his dozen favorite tracks from the project this Saturday night, March 26 at 7 PM at Sidewalk.

Much as a lot of these songs are very funny, they’re also relevant. Walter Ego doesn’t suffer fools gladly, he abhors gun violence and blind obedience. The project’s first songs are typically just a single instrument and vocals; as it goes on, the songs get more fleshed out, Walter Ego as a one-man orchestra. The first number, Triangle Player, is a characteristically tragicomic one. See, Walter Ego is also a classical music fan. This elegant piano waltz contemplates the job of an orchestral triangle player, who doesn’t have a very hard job…yet it has some unique frustrations. The second January tune, Why Can’t It Stay Exactly Like This Forever is guitar and vocals, a subtly sarcastic look at how change might not be such a bad thing after all:

Dylan goes electric
John Henry is replaced
She loves you not, she doesn’t care
Dylan stays acoustic
John Henry keeps his job
She loves you yeah, yeah, yeah

The punchline after that, like a lot of them here, is too good to spoil.

February’s first song is a darkly chromatic noir cabaret piano number, We’re Going In the Wrong Direction, with another metaphorically-charged lyric and one of the album’s more vividly icy vocals. Be My Enemy also has a noir cabaret feel, an irresistibly amusing reference to an iconic Pink Floyd song, and the kind of subtly savage political message that will recur many times throughout these songs.

March’s first song is In Threes, an art-rock piano ballad, Walter Ego having fun with numbers and celebrity death myths. The second one is The Banishment Button, a swinging phaser-guitar rocker that seems like it’s going to be punk rock but has a lot more depth than that. April’s recordings include the darkly catchy art-rock anthem Everything’s Captured, weighing the “pros” and cons of the surveillance state, and Do Over, a sardonic new wave vignette weighing the dilemmas of ontogeny recapitulating philogeny.

The diptych Difficult Street is a slinky, sarcastic organ-and-drums number told from the point of view of a spoiled one-tenth-of-one-percenter. After that, the Moody Blues-esque folk-rock anthem Making Money – a droll counterfeiter’s tale – makes a good segue. June is represented by This Is What Happens, a coy right-brain-versus-left-brain scenario, and the absolutely brilliant I Woke Up In the Modern World, a vintage Springsteenesque sendup to paleoconservatives.

Set to swinging parlor piano pop, My Manifesto offers a subtly creepy look inside the head of a Unabomber type. If You Could See Inside My Head continues the theme – as goofy as this shuffle is, in a way it’s even creepier: “I guess that you think that amatuer brain surgery is fun,” the narrator taunts.

The surrealistically bouncy Radio Backwards is a twistedly hilarious counterpart to Elvis Costello’s Radio Radio. Say What’s On Your Mind take a snidely slinkys slap upside the head of a passive-aggressive type, one of the few songs here where Walter Ego really cuts loose on the bass.

Who Says I Have to Be Consistent is one of the funniest and most spot-on tracks here: as usual, it’s the song’s implication that’s funniest. The punchy psych-pop tune What Was I Thinking About? introduces horns for the first time; it’s one of the most poignant numbers here, bringing to mind Lee Feldman‘s recent work. By contrast, the swaying paisley underground-tinged White Bones offers a cruelly accurate answer to anyone who might dispute the science that establishes Africa as the birthplace of humankind.

Electric lead guitar makes its entramce in The Red Mercury Blues. a salute to a dangerous element that’s not easily labeled. I Am Here Now is the most surreal number here, a vamping Velvets-ish look at a post-Facebook world, with a trick ending.

The playlist winds up with three of its strongest tracks. With its jungly drums, blippy organ and synth brass, Welcome to Us blends elements of Afrobeat and psychedelia: finally, twenty tracks into the album, Walter Ego takes a guitar solo, and it’s good! Give Me a Gun For Christmas is just plain hilarious as a spoof of Xmas songs in general. And Martin Luther King Zombie Killer is just about as amusing, imagining a secret life for the civil rights leader, who “had a dream but also had a nightmare.” As usual, the subtext is murderously funny, and cruelly accurate. If the best album of the year is measured in terms of both quality and quantity, it’s going to be next to impossible for anyone to top this in 2016.

Above the Moon Bring Their Edgy Intensity to a Jersey City Triplebill Friday Night

This Friday, March 11 starting at 8 there’s a solid bill of three female-fronted acts at the Citizen, 332 2nd St. in Jersey City, about six blocks from the Grove St. Path station. The opening band, Pepperwine, works a sassy saloon blues vibe. Headliner Debra Devi, one of the most exhilarating and bluesily purist lead guitarists in psychedelic rock, plays a rare solo set.. In between there’s Above the Moon. who have an edgy, very 90s sound, blending noisy indie rock and propulsive powerpop in the same vein as Versus. Frontwoman/guitarist Kate Griffin has an edge in her voice that brings to mind Fontaine Toups and Ursa Minor‘s Michelle Casillas, although Above the Moon have a heavier sound, with their two guitars.

Their debut ep is up at Bandcamp as a free download. The opening track, Coat, has Griffin and lead player James Harrison’s guitars punching at each other up to the big, catchy chorus where they join forces. It’s an escape anthem of sorts: “It’s so warm I’ll leave my coat behind, for someone else to find, I won’t need it anymore,” Griffin asserts.

Bassist Shawn Murphy and drummer John Gramuglia give Easy a brisk groove that anchors it rather than letting it drift into skittish Strokes territory. Out of the Woods,with its burning, multitracked downstroke guitars and Griffin’s calmly warm vocals, is the closest thing to Versus here;  The final cut is a kiss-off number, Loving & Leaving, Griffin clear and resolute over a web of stabbing, bellicose minor-key guitar.

These songs have a sense of defiance and optimism despite it all. Blast this on your way home from work or school and feel good about yourself again. Discovering bands like Above the Moon makes all the drudge work of a music blog worth the effort.

A Smartly Enigmatic New Album From the Shapeshifting Parlor Walls

Parlor Walls – part of the Famous Swords art collective – call themselves trash jazz. It’s a modest handle for their ferociously kinetic, shapeshifting, noisy songs. Much as their sound is distinctly teens, their esthetic looks back to the no wave era of James Chance & the Contortions and Lydia Lunch’s various projects, if with a lot more focus and emphasis on melody and memorable hooks. In music-school terms, their songs are pretty much through-composed. Not only do verses and choruses tend not to repeat: the music just flows, or leaps and bounds, rather than following a distinct progression. Tempos and meters shift in a split-second.

Onstage they’re a lot of fun to watch. Drummer Chris Mulligan anchors the music with a mighty rumble and crash while playing organ, ambitiously, with his left hand. Frontwoman/guitarist Alyse Lamb spins and pounces and fires off shards of noise one second, then evilly lingering, noirish phrases the next. Alto saxophonist Kate Mohanty provides a calm yet similarly brooding presence with her resonant, minimalist lines and astringent, boxcutter tone. Parlor Walls also find a way to join a lot of really good lineups onstage. This Thursday, January 14 they’re at Aviv at 496 Morgan Ave. (Division/Beadel) in Williamsburg starting at 8 with the restlessly noisy, hypnotic, surprisingly groove-driven, bitingly lyrical Pill, then the more assaultive, noisier Guardian Alien, Parlor Walls at around 10, darkly psychedelic art-rock legend Martin Bisi and finally guitarist Arian Shafiee of dance-punks Guerilla Toss at the top of the bill. Cover is $10.

Parlor Walls’ latest album, Cut is up as a name-your-price download at Bandcamp. It opens with Bloodsport, a maze of guitar loops quickly giving way to a mashup of circling indie classical riffs and what sounds like wry faux urban corporate pop. The Key, clocking in at just a little over two minutes, sets haphazardly lingering guitar, warping organ and sax over a drum stampede.

Mulligan and Mohanty work a creepy/jaunty contrast for all it’s worth on Me Me My, Lamb adding a similar dichotomy with her menacing guitar flares and enigmatically playful vocals: “Push me out,” is the mantra. The build up to bell-like hypnotic ambience over Mulligan’s tersely dancing drums as the surprisingly dreampop-influenced Sundress reaches toward escape velocity is a lot of fun. Likewise, the final track, Birthday, which rings and clangs as it follows an unexpectedly warm, Afrobeat-tinged triplet groove before a tempo change, Lamb and Mohanty throwing off sparks over Mulligan’s pulsing syncopation. Get this album, crank it and revel in the fact that we live in such uneasy, interesting times.