Edgy Southwestern Rock and Existentialist Anthems with Tom Shaner in Long Island City

“I see a parade of people coming down the road,” Tom Shaner sang, cool and low, as the band behind him jangled and clanged through a catchy series of minor chords over a slow, undulating beat at LIC Bar Wednesday night. “All of those people are more or less alone.”

That song, Lake 48, goes back to the late 90s, when Shaner was leading a richly dusky desert rock band called Industrial Tepee. It was slower and slinkier then; over the years, Shaner has tightened it up a bit. The procession in the song hasn’t changed: all of those people are slowly making their way down to a place “Where the great spirit waits,’ and it seems they’re pretty determined to get there because if they miss their exit, they might end up at Lake 47.

“The number doesn’t matter,” Shaner ad-libbed. “But we won’t get there together,” he added.

There was also a parade in the slowly swaying, distantly spaghetti western-flavored opening number, another Industrial Tepee tune, along with several other slightly less gloomy existential moments. “It’s the wrong kind of silence here, like everybody wants to disappear,” he intoned in Viva Las Nowhere, pianist Mary Spencer Knapp adding twisted tango glitter. She calls herself an accordion shredder, which is true, but here she was just as colorful, shifting effortlessly and intuitively through two-fisted chords and jaunty riffage that drew as much on stride piano and oldtime blues as they did cabaret and circus rock.

“There were more trees here,” Shaner recounted, explaining to the crowd that he’d envisioned the drum sound in New York City Is Paradise Number 2 – a place you either eat, or it eats you – to evoke the echo of something being hit in the woods, rather than amidst concrete and steel. He’d grown up in Queens hearing both sounds, the latter more and more frequently.

Not everything in the set was as ominous. Shaner has written a lot of funny, theatrical numbers about she-devils, and the latest one, Carol’s House of Cruelty was an especially lurid, over-the-top tale about the unlucky guys who don’t have the sense to stay out. He also led the band through a pulsing take of Groove Queen, a cynically anthemic mashup of 60s Laurel Canyon psychedelia and Tom Waits blues. The rest of the show was a little more subdued, a chance for his purposeful bassist, drummer and lead guitarist to add subtle hints of oldschool soul and a little C&W.

Beyond sheer songwriting prowess, Shaner is an anomaly in what’s left of the New York rock scene. He doesn’t tour a lot – LIC Bar is his home base, more or less – but he gets a lot of high-profile film and tv placements and puts out the occasional excellent album. Watch this space for upcoming shows. If smart tunesmithing is your thing, LIC Bar has been on a roll with a lot of that lately: Melissa Gordon, frontwoman of the brilliant, new wave-ish Melissa & the Mannequins has a Monday night 10 PM residency there this month, including tonight, Feb 18. Another songwriter who has a lot in common with Shaner, the southwestern gothic-influenced Miwa Gemini, opens at 9.

Fearless Pro-Immigrant Advocacy and Catchy Tunes from Ani Cordero at Lincoln Center

“If you feel fed up with the current political situation, you can get out the streets…or you can sing along,” Ani Cordero teased the crowd at Lincoln Center last week.

““I’ve been to a lot of protests in the last three years,” the singer and multi-instrumentalist mused, her back to the Puerto Rican flag at the side of the stage. “How many of you have been to a Black Lives Matter protest?” she asked.

There was a small show of hands.

“We have to be there for each other across issues. There’s a lot of work to be done. So I’ll see you in the streets!” she grinned. “If you want to start some activism, see me after.”

When Cordero isn’t reinventing classic protest songs and freedom fighter anthems from every culture south of the border and throughout the Caribbean, she’s writing slashing, catchy janglerock tunes in both Spanish and English. Backed by a similarly eclectic, talented trio, this show was a mix of classics and politically-fueled new material from Cordero’s forthcoming album Machete. “We have some machetes over there,” she enthused, motioning to the far wall. “Don’t worry, they’re made of wood.”

Playing acoustic guitar, she opened with Caminando, a song “About immigrants and how we should support them,” she said succinctly before launching into the catchy, bouncy anthem, backed by accordion, punchy bass and drums. They wound it up with a soaring accordion solo – then the accordionist switched to bass, and the bassist picked up a gorgeous, vintage Danelectro, and they kicked off an even more emphatic, catchy love song, Pienso en Mi.

Cordero put down her acoustic gutar and picked up her maracas for a rocking take of Ay Choferito, a big Pueto Rican plena hit from the 30s. The drummer got the conga patch on his syndrum going as the guitar fired of a new wave funk line to jumpstart Sacalo, a fiery number from Cordero’s Querido Mundo album that works as a broadside against violence on many levels.

Introducing a starkly pulsing, surf-tinged take of El Pueblo Esta Harto (which translates as “The People Have Had It Up to Here), Cordero explained that “I love pretty much everyone, but there’s some people…you’ve got to get them out of here quick. There’s a guy who has a building over here…”  – she pointed in the direction of the Trump Tower and let the crowd figure out the rest.

They went back to accordion rock for a gritty take of the ranchera-rock opening track from the album, Corrupcion: “The corruption in Puerto Rico is kind of legendary now, but the US is really rising in the ranks,” Cordero noted.

She left the politics behind for a coy plena-rock number about meeting somebody who might have been a viable option, say, fifteen years ago but has  since timed out. The rest of the set included  loping border rock, an insistent new wave-flavored number with a coy bread-and-butter metaphor for politicians on the take. They closed the set with another metaphorically-charged new one, Mi Machete, the guitarist firing off some terse, jagged funk lines, Cordero energizing the crowd with her guiro over a repetitive dancefloor thump.

As optimistic as Cordero’s performance was, it was sad to see Lincoln Center’s Meera Dugal making her exit official with this show. After many months of being one of the very few programmers in town creating genuinely visionary, cross-pollinated performances across cultures and artistic disciplines, she’s earned three weeks in Mozambique (that’s where she’s headed). Happily, the Lincoln Center atrium space remains in good hands as far as booking is concerned: it earned the annual award for Best Manhattan Venue when Dugal was working here and is just as strong a contender for that designation now.

The concerts here – on Broadway just north of 62nd Street – run the gamut from sounds from all over the globe, to jazz, rock, and classical. This week’s free show is tonight, Feb 7 at  7:30 PM with the Navarra String Quartet playing Pēteris Vasks’ hauntingly dynamic String Quartet No. 4 and Ravel’s String Quartet in F Major. Admission is free; be aware that the mostly-monthly classical shows tend to be wildly popular with a neighborhood crowd, so show up early if you want a seat.

Another Withering Lyrical Rock Masterpiece by Ward White

It’s time we put Ward White up there in the pantheon with Elvis Costello, Richard Thompson, Rachelle Garniez, Steve Wynn, Ray Davies and any other first-ballot hall of famer you can think of. Over the last fifteen years or so, the now LA-based White been on a creative tear to rival any one of those songwriting icons. Bowie’s work in the 70s is a good comparison, although where the Thin White Duke would reinvent himself just about every year, White has crystallized a classic three-minute janglerock sound, often veering off to the psychedelic side. 

Lyrically speaking, nobody writes more compelling, allusively macabre narratives. The devil is always in the details: in this case, the crack in the porcelain, the kind of soap in the bathroom, the objects on either side of where the dead bird has fallen out of the sky. White’s 2013 release Bob got the pick for best album of the year here, but that might just as easily be said for anything he’s put out since, including his latest one, Diminish, streaming at Bandcamp. As usual, White keeps his songs short, everything less than five minutes, some less than three. White plays all the guitars, elegantly and tersely, joined by keyboardist Tyler Chester and the low-key rhythm section of bassist John Spiker and drummer Mark Stepro.

It opens with Titans, its plotline as inscrutable as its melody is straightforward and hard-hitting. Twin guitar leads roar up to a menacing, chromatic chorus: it’s one of White’s louder numbers. An infant’s death and a possible terrorist attack may be related, or just parallel events. “This is no time for dreams,” is the mantra: welcome to the end of the teens, USA.

Noise on 21, a punchy backbeat anthem with blippy organ, is a classic White urban tableau, the yuppies upstairs staying up late just to seal another sordid deal while the narrator reaches breaking point: “Some things that you should never see are happy in the shadows, now it’s time to go home.”

Back to the End, with its cruelly Beatlesque chorus-box guitar, is a throwback to White’s late 60s psych-pop period a few years ago, a characteristically allusive, twisted scenario tracing the ugly logic of a S&M scenario: “Cannibals don’t waste their time with darkening the roux.”

Canopy, a brief, catchy number with uneasily warpy 80s synth, is one of the more unselfconsciously poetic songs in White’s catalog, contemplating endings from contrasting viewpoints

Awash in jangle and starry synth orchestration, Flood paints a grim picture of dysfunction on a Hollywood film set, with a shout to Baudelaire:

Send a dozen roses up to Noah’s favorite failures
Don’t believe the rumors of a plague upon this town
This bar never closes and it’s filled with drunken sailors
For every one, an albatross who should have let him drown

Watch the Hands is the great lost track from Elvis Costello’s Armed Forces: “Your best laid plans will never bite you in the ass unless your turn your back and leave them starving,” the child killer taunts.

With White’s lingering, detfly textured guitar multitracks, Cowboy could be the most gorgeous, bittersweetly surreal number here. It’s White’s La Chute:

Tell Bob I’m not busy being born, or dying, just alive
Some flights leave too early out of Kennedy
And some pricks play the Castro card for years

White puts a fresh spin on an old myth in Sodom, bristling with Syd Barrett-ish changes, sardonic backing vocals and glammy guitars.

Some call us sacrilegious
The chafed and the chosen few
You polish your barnyard idol
I’ll tarnish the ewe

Alternately balmy and burning, Every Night I Have This Dream is another of the murder ballads White is unsurpassed at – it’s not clear whether this is really a dream or not:

Double nickels all the way
I can’t afford to lose the day
They pop that trunk trunk and we are done, and I’m not going out that way

White puts a sinister edge on a mashup of blithe Bacharach 60s bossa-pop and watery, artsy Beatlesque jangle in Uncle Bob (Akron), the album’s most corrosively cynical number. That’s hardly a surprise, considering it’s a tale from the campaign trail told by the manager of a candidate who turns out to be something less than ideal

The album’s final cut is The Living End, a somber, mostly acoustic portrait of defeat as harrowingly detailed as Richard Thompson’s Withered and Died:

Buried with your artifacts
Pharaoh’s favorite son
Too late to think of what you’ll do with what you’ve done

You’ll see this in a few days on the best albums of 2018 page.

Purist, Potently Lyrical Janglerock, Americana, Powerpop and Soul From the Bastards of Fine Arts

For the past several months, the Bastards of Fine Arts have been working up a formidable body of catchy, anthemic, purist rock songs via a mostly-monthly residency at 11th Street Bar. The project took shape as a challenge of sorts, songwriter/multi-instrumentalist Matt Keating and his lead guitarist co-conspirator Steve Mayone hell-bent on writing a new song every week. Their project caught on with social media and went viral. Fast forward to 2018, they’ve got a full band now (Jason Mercer on bass and Greg Wieczorek on drums) and a catalog as vast as a band who’ve been around for five times as long. Which means they can mine it for the real gems.

Playing as a duo at the American Folk Art Museum in May of last year, they were at the point where they were working every style they knew (and they know a lot!). Sam Cooke ballad? Check. Lou Reed (a guy Keating is unsurpassed at imitating)? Doublecheck. Honkytonk anthem, Wallflowers janglerock, wistful Americana waltz? Triplecheck.

A year later at an early 11th Street gig, they’d pulled the band together and had built up a set that transcended its origins. They opened with their catchiest number, the gorgeously bittersweet I’ll Take the Fall, Keating both self-effacing and witheringly cynical at the same time. Another even more vindictive number traced the story of an ex that the song’s narrator spies out on a date with some dude. On the way out of the bar, she drops her coat; the dude picks it up for her. Keating’s narrator would have left it there.

Because part of the project is “what style CAN’T we do,” there are plenty of jokes to go around, some more inside than others. Switching to piano, Keating turned a Mayone ballad into a gospel tune; Mayone added some sardonic metal licks to a Keating soul number. They worked a bossa groove, Mercer spiraling all over the fretboard during a more recent number, Walk in the Park, a rare instance of a song of theirs which doesn’t seem to have a cynical undercurrent.

In a very subtle Elvis Costello vein, they vamped along on a bouncy soul-blues tune for a good three minutes, at least, without changing chords once. At the end of the set, they brought up Keating’s daughter Greta, who flashed some incisive chops on Strat as well as a similarly edgy lyricism and soaring vocals. Most children of great musicians don’t go into music for obvious reasons; Greta Keating, like Amy Allison and Jakob Dylan, is every bit as formidable as her dad was when he was in his early twenties. Here’s hoping she sticks with it. The Bastards of Fine Arts are back at 11th Street Bar on Dec 18 at 9 PM.

No-No Boy’s Savagely Lyrical Songs Illuminate a Troubling Chapter in American History

“We think a lot about individuals,” electrifying singer Erin Aoyama explained toward the end of her band No-No Boy’s riveting Lincoln Center show this past evening. “When you hear a number like 120,000 people incarcerated, what does that mean? It’s a hard number to understand.”

Aoyama’s friend’s mother had been incarcerated at the Tule Lake concentration camp during World War II. Aoyama’s own grandmother had been another of almost 130,000 Japanese-Americans held prisoner without trial throughout the war. Yet among those people – most of them American citizens – “”The power of young love, finding this little bit of joy, even within a prison camp,” persisted, as Aoyama explained. This particular case was a clandestine romance where the young college student and her crush would steal moments to hold hands in the camp dishwashing room . With that, Aoyama’s high lonesome harmonies rose to the rafters as she launched into the wistful, ironically Americana-flavored anthem Heart Mountain. Songwriter/guitarist Julian Saporiti no doubt latched onto the double entendre in the song title, taken from one of the ten concentration camps where Japanese-Americans were imprisoned.

That was the night’s single moment to salute the resilience of the human spirit. Otherwise, Saporiti’s wickedly lyrical, historically rich double entendres and savage puns confronted hypocrisy, racism and collective amnesia. Like Aoyama, he’s an extremely strong singer, and a hell of a tunesmith, with an anthemic, Elliott Smith-inflected sensibility. What’s more, the band’s new album 1942 is only the tip of the iceberg: they’ve got about four more albums worth of material, and played a lot of those new songs throughout the show. Not bad for a guy who thought he’d never make another record after his artsy late-zeros janglerock band Young Republic broke up. “This project has been nine years in the making,” beamed Lincoln Center’s Meera Dugal, who’d booked the band – she’d been entranced by Saporiti’s vocals and songwriting chops since discovering Young Republic while in college.

With No-No Boy, context is everything. Saporiti and Aoyama offered as much insight between songs as during them, providing historical background for narratives that typically focused on Japanese-Americans in concentration camps, but also explored the experiences of Chinese, Filipino and Vietnamese immigrants. Saporiti revealed the he’d been inspired to start writing these songs in the wake of the 2016 Presidential election, when a Trump advisor cited Japanese-American incarceration as a precedent for the eventual Muslim travel ban. The rest is history.

Aoyama took a wistful, stoic turn on lead vocals on the band’s usual opening number, a slow, steady Romany jazz-flavored, shuffling cover of Smoke Rings,  clarinet wafting pensively through the mix as grim back-and-white imagery of detainees played on the screen overhead. ““Imagine this beautiful song Erin’s singing for you, but behind barbwire,” Saporiti told the crowd.

The duo followed that wiht Tony Ramone, a vivid, delicately bouncy tour of 1980s Chinatown through the eyes of punk rocker from the neighborhood. Guest violinist Kishi Bashi’s spiky flourishes and plaintive washes spiced the harrowing travelogue Boat People, whose collective tales of outrunning the cops and cheating death in flimsy fishing boats in Pacific storms were some of the night’s more harrowing moments.

Both Imperial Twist – a surreal mashup of doo-wop and 1960s Vietnamese faux-French psychedelic pop – and the night’s folk-tinged closing number, Little Saigon each sent a shout out to the pioneering South Vietnamese psychedelic bands of the late 60s and early 70s. The more upbeat, catchy Khmerica pondered the experience of Laotian immigrants whose story is even less part of the popular narrative: “Some kids move ‘cause parents take jobs, some move because of napalm,” Saporiti intoned.

Aoyama moved to keyboards for Saint-Denis, a muted vignette about Vietnamese immigrants in Paris. The skeletal yet anthemic Gimme Chills, with its litany of grim historical events and sarcastic chronicle of American products, offered a look at American imperialsim in the Philippines: “Gimme trial without jury, gimme Imelda Marcos’ shoe,” as Saporiti put it.

The most grisly image of all was the corpse of a suicide who’d put his head on the railroad tracks outside a World War II concentration camp. That image panned overhead while the group played Only What You Can Carry, reminding that while those camps were not designed specifically for killing, a lot of people didn’t make it out alive. And Two Candles, with a soaring Kishi Bashi violin solo midway through, was a somber salute to those who remained silent about their experiences in the camps, Aoyama’s grandmother among them.

And for what it’s worth, the band’s output – both the album and multimedia tour – are Saporiti’s doctoral project at Brown University. Let’s hope the rest of the Ivy League is as open to artistic achievements like this one. As Saporiti said with a laugh, you can reach lot more people with catchy songs than you can with a thesis that ends up gathering dust on somelibrary shelf.

The series of free concerts at the Lincoln Center atrium space on Broadway just north of 62nd St. continues with a rare Tuesday show this coming Nov 20 at 7:30 PM with Canary Islands chanteuse Olga Cerpa and her band. If you’re in town, get there early if you want a seat.

Single of the Day 11/11/18 – Lush, Majestic, Searingly Lyrical Janglerock

Noctorum – the duo of Marty Willson-Piper, this era’s greatest twelve-string guitarist and longtime member of the Church – with longtime collaborator Dare Mason – capture an indelible London moment with Piccadilly Circus in the Rain (via Soundcloud). The way they pivot out of very subtle satire to withering realism will rip your face off. Another contender for best song of 2018.

Another Deliciously Catchy, Jangly Album From the Warlocks

What would Halloween month here be without the Warlocks? The well-loved psychedelic rockers’ latest album Songs from the Pale Eclipse is streaming at Bandcamp. It might be the most consistently tuneful record of 2018. Just about shadowy, jangly retro ultraviolet-rock band from the Mystic Braves to the Allah-Lahs to the Growlers owes a debt to these guys: they resurrected that acid-washed 60s sound first.

The album’s opening track, Only You, contrasts vast, echoey 80s goth chorus-box guitar on the verse with a gritty, distorted chorus: imagine the Chameleons UK if they actually could write a tune. Lonesome Bulldog is a lusciously jangly psych-folk anthem, frontman Bobby Hecksher’s hushed vocals channeling desolation and despair until guitarist John Christian Rees kicks in with some toxic distortion as the song winds out.

Easy to Forget has the same kind of moody, catchy, jangly newschool Laurel Canyon psych-folk four-chord vibe, Hecksher’s voice rising unexpectdly toward fullscale angst: it could be the great lost track from the Church’s Seance album.

“You make my hands clammy with tears,” Hecksher complains in Dance Alone, shifting back and forth between a wah-wah Beatles verse and stately chorus awash in watery guitar multitracks. All the guitars – Hecksher, Rees and Earl V. Miller – get into the picture as this mini-epic winds up.

You might expect a track titled We Took All the Acid to be a surreal Revolution 9 trip-scape, but this one turns out to be a dreampop number, like early Lush with a guy out front. The band go back a couple of decades for the tightly propulsive, catchy, Love Is a Disease, driven by Christopher DiPino’s bass and Jason Anchondo’s drums. Then they fast-forward back to the 80s for the slow, undulating Drinking Song, another elegantly ornate Church Seance soundalike.

Special Today is especially moody for a love song. I Warned You has reverbtoned blues harp filtering through the vampy jangle and clang. The album’s final cut is The Arp Made Me Cry – that distinctive, slightly warpy, sharp-toned synth from the 70s must have really made a mark on Hecksher, at least enough to come up with this swirly ballad. You’ll see this on the best albums of 2018 page at the end of the year.

British Folk-Rock Supergroup The Rails’ Brilliant New Album Chronicles Real Estate Bubble-Era Hell

The Rails are as much of a supergroup as you could possibly want, on every front. With withering contempt for speculators and the plague of gentrification that continues to decimate urban areas throughout the western world and beyond, this band jangle and clang with the kind of purist tunefulness you would expect considering their pedigree. The sonics are luscious beyond belief: guitarist James Walbourne’s attack ranges from gentle acoustic filigrees to electric slings and arrows punctuated by equal parts scream and slither.

The core of the group also includes Walbourne’s singer wife Kami Thompson (daughter of Linda and Richard Thompson) with Son Volt’s Jim Boquist on bass and the North Mississippi Allstars’ Cody Dickinson on drums. Their album Other People – as in “There are other people in this world, not just you” – is streaming at Spotify. They’re playing the Mercury on July 25 at 7 PM. Cover is $20; if smart, fearlessly relevant songwriting is your thing, don’t miss them.

The album opens with the bitter, brooding ballad The Cally, a slowly unwinding, imagistic tale of a seedy bar under siege amid wretched real estate bubble excess. Walbourne muses about how refreshing it is to see a prostitute still out there, typical of the crushing irony in many of these songs.

Thompson sings the tensely pulsing breakup anthem Late Surrender, bubbling over with Walbourne’s spiky, lingering Strat work, up to a tantalizingly brief solo out. With her resolute, low-key vocals, the album’s title track is as apt a smack upside the head of yuppie narcissists as anyone’s written this year:

Take the candy
Steal the money
Pull the blind down
Kick the dog

Walbourne seethes and grits his teeth through the slowly waltzing Drowned In Blue, Thompson just slightly more restrained over the lushly textured, watery guitars and stinging steel. The guitar multitracks are just as rich but more spare and acoustic in Hanging On, which works just as well as a requiem for a relationship as for a burnt-out freedom fighter.

For a minute it seems like Walbourne’s narrator in Dark Times got a raw deal with the richkid cokehead girlfriend, but there’s more to the story – and a delicious Farfisa organ break that gives way to a typically searing guitar solo. Shame, a drunkard’s lament, has a more upbeat Britfolk feel.

Thompson’s voice rises plaintively in Leaving the Land, a wounded, defeatedly waltzing ballad with a cynically roaring Celtic dance midway through. It sets up the album’s big bombshell, Brick and Mortar, which might be the best song of 2018. Over a savage minor-key strut, Walbourne paints a grim picture of one historic district after another being destroyed as working people get displaced:

I can’t hear the beat on Denmark Street
Silenced by the sound of mute concrete
And it’s never coming back
Just another luxury flat
It’s farewell to all of London’s brick and mortar

“Why does evil taste so sweet? Leads you down a dead-end street,” Thompson muses to complete the trilogy in yet another pensive waltz, Mansion of Happiness, set to Walbourne’s black widow web of guitars and mandolin. The group stay in 3/4 time throughout Australia, a mutedly cynical would-be escape tale, then add a fourth beat to the measure in the stark, doomed, Everly Brothers-tinged I Wish, I Wish.

Willow Tree is an unexpectedly successful detour toward oldschool American C&W. The album winds up with the aching Low Expectations: “There must be something more than this,” Walbourne broods. He’s done plenty of memorable lead guitar work with the Pretenders and Ray Davies but this is his masterpiece so far. And it’s also a high-water mark for Thompson as standard bearer of a mighty songwriting legacy.

Poignant, Pensive Brilliance on Jessie Kilguss’ Allusive, Eclectic, Wickedly Tuneful New Album

You’d think that someone who’d taken a star turn in stage productions with Daniel Day Lewis and Marianne Faithfull would stick with a successful theatrical career. But Jessie Kilguss was drawn to music – and that’s our victory and the theatre world’s loss. Over the past decade, she’s become one of the most haunting singers in any style of music. Her delivery is intimate, like she’s letting you in on a secret – whether that might be a sly joke, an innuendo or something far more sinister. While she’s best known as a purveyor of folk noir, her back catalog spans from witchy art-rock to anthemic janglerock to Richard and Linda Thompson-esque, Britfolk-influenced stylings.

Her new album The Fastness – streaming at Spotify – is not about velocity. It’s about refuge. The title is a North Sea term for a secluded hideaway: a place to hold fast. That sheltering theme resonates mightily through a mix of imagistic, often poignant songs blending elements of 60s soul, 80s goth, new wave and art-rock. And Kilguss’ voice has never soared more mightily or murmured more mordantly than here on this album. She and her first-class band are playing the album release show this Thursday, June 28 at 8:30 PM at the downstairs third stage at the Rockwood; cover is $10.

With Kirk Schoenherr’s contrasting layers of guitar – icy and Siouxsie-esque in the left channel, watery and organ-timbred in the right – the album’s opening track The Master is an elegaic masterpiece. In usual Kilguss fashion, it’s enigmatic to the extreme. “Who will be the oracle when he is gone?” is the final refrain. A Bernie Sanders parable, maybe, or a more ancient, mythological reference? 

Kilguss follows that with Spain, a guardedly optimistic if understatedly brooding update on 60s soul balladry, spiced with guitar grit over the calmly swaying pulse of John Kengla’s bass and Rob Heath’s drums. Strangers comes across as a wistful mashup of Guided By Voices and Blondie, while Dark Corners of Your Mind follows a hypnotically vamping, psychedelic path, akin to the Frank Flight Band with a woman out front. Kengla’s bass dances amid the sheets of rainy-day guitars as Kilguss ponders the danger of being subsumed by the demands of a relationship.

New Start is a surreal, unlikely mashup of classic 60s C&W and echoey new wave, but Kilguss manages to make it work, all the way through one of the album’s catchiest choruses, awash in the waves from her harmonium. Hell Creek – a co-write with Kengla – is one of the murder ballads she writes so well. With its lingering atmospherics, Kilguss references current-day atomization and how its ramifications can do far more damage than just playing tricks with your mind.

Likewise, Rainy Night in Copenhagen has aptly echoey, Cure-like ambience. Bridge the Divide is the monster anthem here, an eerily propulsive Laurel Canyon psychedelic verse giving way to soaring new wave on the chorus.

What Is It You Want From Me is the closest thing here to Kilguss’ purist pop masterpiece Don’t Let’s Go to the Dogs Tonight, from her 2014 album Devastate Me. She winds up this cycle with with the metaphorically-loaded Edge of Something, an easy place to fall off one way or another. Another triumph for one of the most unselfconsciously brilliant tunesmiths to emerge from this city in recent years and a strong contender for best rock record of 2018.

An Allusively Haunting New Album and a Low-Key Neighborhood Gig by Dark Songwriter Jaye Bartell

Gothic Americana crooner Jaye Bartell sings in a deadpan but rather guarded baritone. He plays with a ton of reverb on his guitar, whether with a steady clang or more sparsely. His songs don’t typically follow any kind of predictable verse/chorus pattern. On his latest album, In a Time of Trouble, a Wild Exultation – streaming at Bandcamp – he often just vamps along on a couple of major chords, vintage Velvets style. Which has a lulling effect…until he gets to the punchline, or the suspense in his hauntingly imagistic narratives builds to breaking point. Bartell is off on a long European tour next month; fans of dark lyrical rock in his adopted Greenpoint neighborhood can catch him Friday night, Dec 28 at around 9 at Troost.

Throughout Bartell’s work, the devil is in the details. “Think I picked a bad time to have a good time, hanging upside down,” he muses in the album’s opening track. “My confetti is stuck in the garden…the water’s coming higher than the edges.” Definitely not a wild exultation,

“Come walk in the dead grass,” Bartell instructs, “I have come to ruin you; I have come to room with you,” he announces, somewhat hesitatingly, in CawCawCaw. He leaves the monologue without a response: is he that heavily symbolic bird, or talking to the bird, or somebody else? That sensibility is what draws you into his songs. And he keeps you guessing – even as an image jumps out at you, it could be a red herring.

Angel Olsen sings calm harmonies in Give Erin a Compliment (So Kind). Both the vocals and the song’s country stroll bring to mind the late, great Joe Ben Plummer and his band, downtown New York cult favorites Douce Gimlet. The sparse arrangement of Wilderness – just a couple of jangly guitar tracks, lightly brushed drums and simple bass – is much the same. Like everything Bartell does, it works on many levels. Somewhere out there in the woods, “There must be somebody warm enough to mistake for love, somebody cold enough to just take some.”

The album’s most chilling number is Swim Colleen. Shifting back and forth between waltz time, Bartell keeps the suspense going most of the way through. On the surface, it’s a beach tableau, but of course there are unexpected depths:

Scream at the waves
The waves scream back
There’s no ship coming in
There never has been
Swim, Colleen, swim

Army of One is Bartell at his most self-effacingly wry  – does General Superego have it in for loafing Private Ego?  Contrastingly, Mercy seems to be pretty straightforward – it’s akin to Jonathan Richman, or Lee Feldman at his most faux-naive. Bartell builds another brooding waterside scenario in the otherwise gentle Ferry Boat: it’s easy to imagine Nico singing it on Chelsea Girl.  

“I can’t think of anyone else with whom I’d ever go out of doors,” Bartell insists in  Out of Doors – but who wants to date an agoraphobic, right? The methodically swaying, Laurel Canyon psych-tinged Feeling Better Pilgrim is much the same – this guy may be ok, but a lot of people (water imagery alert!) aren’t. The final cut is If I Am Only For Myself Then What Am I, which, with delicate glockenspiel in the background, offers a sliver of hope. E

Earlier in the fall, at Bartell’s most recent gig at Troost – his home base between tours – he sang much more powerfully, even dramatically, than he does in the studio. This acoustic set mixed up some of the more low-key numbers from this album and a couple of sepulchral tales from his fantastic 2016 release, Loyalty. But the high point might have been an absolutely chilling take of the Brecht/Weill classic September Song, reinvented with more than a hint of noir bolero. “That was magic,” one spectator in the crowd murmured afterward.