New York Music Daily

No New Abnormal

Tag: Jason Robira drums

Vast, Hypnotic Asian Psychedelic Jams and a Rare Bushwick Show by the Drunken Foreigner Band

The Drunken Foreigner Band play epic, uneasily mesmerizing psychedelic rock jams on old folk tunes from Laos and Thailand. They’re sort of the Chicha Libre of music from that part of the world – or imagine a more atmospheric, enveloping Kikagaku Moyo. The Drunken Foreigner Band are playing a rare live show on Feb 8 at 8 PM at Secret Project Robot; the cover charge is also a secret, but’s probably a safe bet to assume that it’s ten bucks.

The band’s 2018 release White Guy Disease – a second sardonic reference to musical tourism by a bunch of Brooklyn stoners who couldn’t resist these exotic sounds – made the Best Albums of 2018 list here. But there’s another Drunken Foreigner Band album that fans of the best psychedelia should own. It’s the band’s 2015 debut, a live ep that’s almost shockingly still available as a free download at Bandcamp. The shock is that it’s still out there, considering that almost every time this blog has plugged a Bandcamp freebee, it’s disappeared soon thereafter. So grab it now!

They open it with “a new song we’ve just learned,” electric phin lute player Jim McHugh kicking it off with a catchy pentatonic wah-wah riff. He raises the surreal energy as the song goes on, organist Dave Kadden adding keening, funereal washes over the tireless pulse of drummer Jason Robira and bassist Peter Kerlin.

There’s a sax on the wild, sprawling, almost fourteen-minute second track, Molam Molam, spiraling over the rhythm section’s spring-loaded pulse. To call this an Asian take on 1967-era Country Joe & the Fish-style acid rock assumes that Country Joe & the Fish were this good. There are also very energetic vocals: one assumes that “Wah ah ya ah ya ah ya” means about the same thing in Thai and Khmer as it does in English. The third song is basically a throwaway, but what the hell, it’s a free album.

Hard-Hitting, Edgy, Tuneful Postrock Band Sunwatchers Opens for Smog’s Bill Callahan in South Williamsburg

Sunwatchers play hard-charging, psychedelic postrock instrumentals with Middle Eastern, Balkan and occasional African touches. Their sound blends the searing guitar and electric phin of Jim McHugh with Jeff Tobias’ atmospheric, resonant alto sax over the driving rhythm section of bassist Peter Kerlin and drummer Jason Robira. They’ve got a new, self-titled full-length album (sort of streaming online if you connect the dots – follow the individual links below) out from Thee Oh Sees’ John Dwyer’s Castle Face label, and they’re opening a kind of weird twinbill at Baby’s All Right starting the night of June 26, which happens to be sold out. As of today the two following shows, at 9 PM on the 27th and 28th, with Smog’s Bill Callahan headlining, are not. Cover is $25. On one hand, as loud, and catchy, and adrenalizing as these guys can be, putting Callahan – Mr. Mist – on after them is anticlimactic. On the other hand, it’s good to see a deserving band get to play to a captive audience. ***UPDATE – all three nights are sold out.

The suite – much of which has been released previously on cassette a couple of years ago – opens with Herd of Creeps, a pounding series of variations on a wickedly catchy minor-key hook, sax and guitar blasting together as a toxic swirl builds in the background over a punk stomp. It reminds of the kind of long, ska-flavored jams Tuatara would take back around the turn of the century. They vary it with more complex guitar on the second track, For Sonny (a Rollins dedication? It isn’t as far as out as the jazz sax icon could go with it) and then hit a hardcore drive as the guitar buzzes and oscillates and the sax swirls on track three, White Woman.

Eusubius moves toward the looseness of free jazz, but Robira’s decisive, spacious hits hold it together as the guitar flutters and bursts into flame and the sax does the same, but more warmly and low-key. It’s like an electric wacko jazz take on circular, spiky yet balmy West African kora music. The band goes back to the original theme for the most epic cut, Ape Phases, sort of a cross between the insistent aggression the album opens with, and the more varied second part. They finally hit a peak in a machete-thicket of tremolo-picked guitar and frenetically melismatic sax.

Moroner shifts from a (relatively, for these guys) easygoing, ultraviolet-lit Velvets/Black Angels style jam toward more haphazardly intense territory. Likewise, the final cut, Moonchanges rises out of spiky blues guitar phrasing over atmospherics, to a steady, surprisingly four-on-the-floor drive with amiable sax/guitar interplay.There are some good special guests here – Dave Harrington on guitar and keys, Hubble’s Ben Greenberg on guitar, Cory Bracken on vibraphone, Dave Kadden on keys and Jonah Rapino on fiddle, but it’s not apparent where any of these guys are exactly within the squall. Bite the bullet, go to the Baby’s All Right show and find out for yourself.