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No New Abnormal

Tag: jenifer jackson

Lush, Elegant, Moodily Orchestrated Chamber Pop from Chanteuse Z Berg

Press releases usually can’t be trusted, especially when it comes to music. The one that came with the new album Get Z to a Nunnery, by a singer who goes by the name of Z Berg characterized the record as “a little bit Francoise Hardy…a little bit Dusty Springfield on drugs..” Intriguing, no? It’s streaming at Bandcamp – see for yourself.

While Berg’s lavishly orchestrated songs are totally retro 60s, her voice is very much in the here and now. There’s a big crack in it when she reaches for a crescendo, Amy Winehouse-style. In quieter moments, her mutedly husky musings bring to mind Americana chanteuses like Tift Merritt. And either the album cost a fortune to produce, or Berg has lots of conservatory-trained friends (or dad still has something left from the old days at the formerly big record label). Sweeping orchestration and classically-tinged piano pervade her moody narratives, full of artful chord changes, dynamic shifts and picturesque imagery. It’s more valium and vodka than Prozac.

The opening ballad, To Forget You sets the stage, floating along over lush strings and a gracefully swaying 6/8 rhythm. The theme of I Fall For the Same Face Every Time is that troubled birds of a feather flock together, set to elegantly arpeggiated piano and baroque harp cascades.

“We didn’t fear the things we did not know,” Berg asserts in another 6/8 number, Time Flies, a pretty generic pop song heavily camouflaged in layers of backward-masked guitar and symphonic gloss. She shifts to a straight-up waltz tempo for Into the Night, a more delicate number that could be Charming Disaster on opium.

A gentle foreboding pervades Calm Before the Storm, the gently fingerpicked guitar, 70s Nashville pop melody and Berg’s plainspoken lyrics bringing to mind Jenifer Jackson in Americana mode. Little Colonel is one of the more skeletal and haunting tracks here, rising to a low-key baroque pop arrangement:

Dear little colonel, one foot in the grave
Fighting the war with an unsteady aim
Is that the goal, to create a crusade
With nothing for no one, so no one is saved
Or safe

It was recorded before the lockdown, but it’s uncanny all the same.

Berg and I (that’s the title) is a doomed noir cabaret number gliding along with mutedly insistent piano, strings and backward masking. Charades, a duet, is more sardonic and ELO-ish, the piano receding behind fingerpicked guitar. “It was a scream when were young and dumb, acid on Topanga Beach, in my mind we’ll always be that free,” Berg recalls in The Bad List, an anguished holiday nightmare breakup scenario: it’s the album’s Fairytale of New York. There’s also a starry instrumental epilogue. This is a sleeper candidate for the shortlist of the best albums of 2020.

Smart, Poignant Songs and Disarmingly Shattering Vocals From Kari van der Kloot

Singer Kari van der Kloot’s new album The Architects is completely its own animal. The closest reference point is Jenifer Jackson‘s early zeros work: informed by jazz, with rock tunefulness, classical lustre, breathtakingly unselfconscious, crystalline vocals and disarmingly sharp lyrics.

The key to the record – streaming at Bandcamp – is Caution, Nathan Ellman-Bell’s subtle, quasi-martial drums behind Jamie Reynolds’ spare, brooding, chiming piano, violinist Lisanne Tremblay’s turbulent lines channeling the horror-stricken angst this country felt in the wake of the 2016 Presidential election. “Walk slow with your eyes closed, how could I have known how much more we could fall down,” van der Kloot wonders, rising to a leaping vocalese solo. There are no words for moments like that.

The title track is a hopeful sequel, pondering the kind of world we might be able to build in the wake of such a tragedy: van der Kloot’s vocals over Reynolds’ purposeful piano bring to mind another brilliant, poltically aware jazz songwriter, Sara Serpa.

The opening track, What I’ll Find has both tenderness and wistful anticipation, a portrait of searching for home set to a moody clave jazz backdrop. The layers of vocals reflect van der Kloot’s background as a chorister; Tremblay’s jagged lines nail the song’s persistent restlessness.

Swimming is a pensively circling, metaphorically-charged tableau about being in over your head, with an edgy chordal solo from Reynolds. It May Not Always Be So is a setting of an E.E. Cummings (sorry, capitalizing proper nouns is done for a reason) poem, with starkly resonant violin.

Same Song, an insistent, steady portrait of frustration and breaking away which could work on many levels, has a wryly oscillating synth solo from Reynolds. The disquieting intro to Ask reflects the theme of a shy person trying to get up the courage to ask for more: it’s a brave, violin-fueled, jazz-oriented take on Dan Penta‘s comment that “I would have been greedy if I’d have known my size.”

Hide and Seek is a contemplation of one-sided relationships, whether romantically or otherwise, set to a sternly circular minor-key backdrop. Arguably the album’s most lushly bustling number, Careful Construction reflects the precarious situation anyone who managed to move to New York faced in the past decade, surrounded by forbidding speculator properties decimating practically every streetcorner; yet van der Kloot refuses to let all this rob her of being centered.

The album winds up with Holding Pattern, a tersely minimalistic, suspenseful portrait of a long-distance relationship that actually worked out well, based on the changes to Steely Dan’s Dirty Work. Yikes! A stealth contender for best vocal jazz album of 2020, right up there with Aubrey Johnson‘s Unraveled.

Jenifer Jackson Returns to Her Catchy, Poignant Psychedelic Pop Roots

Of all the songwriters who built their careers in the incredibly fertile crucible of the Lower East Side New York scene in the late 90s and early zeros, Jenifer Jackson is one of the most prolific and arguably the best. Over the years, she’s moved from Beatlesque psychedelia to stark, brooding pastoral pop, bossa nova and harrowing, majestic art-rock. She’s also been a poineer of the DIY house concert tour circuit Her move to Austin in the early part of the decade springboarded a deep dive into Americana. Her latest album Paths – streaming at Bandcamp – is a return to the catchy, anthemic, eclectic psychedelic pop she made a name with early in her career. Jackson has a pair of New York gigs coming up next month. She’s at the Owl on Nov 3 at 8, then the next night, Nov 4 at the same time she’s at the big room at the Rockwood.

On the new record, her voice is more nuanced than ever; her lyrics are characteristically crystallized, imagistic and loaded with subext. There’s a restrained angst in her delivery as she soars up to the chorus on the elegantly waltzing opening track, Things I Meant to Tell You, Jim Hoke’s flute and Chris Carmichael’s one-man string quartet adding a stark baroque touch. As usual, Jackson lets the images of returning to a dusty room after a trip speak for themselves. It packs a gentle wallop.

There’s a delicate web of acoustic guitar fingerpicking beneath the orchestration in the tender early-dawn scenario First Bird. Then the band – which includes Brad Jones on guitars, bass and keys, Pat Sansone on guitar and mellotron and Josh Hunt on drums – picks up the pace with Back Home, a big, electric, organ-driven backbeat rocker. “The silence almost made me lose my mind,” Jackson confides: the tradeoff between organ and twelve-string guitar in the break is absolutely luscious.

Travelled Together, a bittersweet breakup ballad, has wintry, vintage 60s orchestration and Laurel Canyon psychedelic pop ambience: it wouldn’t be out of place in the Judy Henske catalog. Sultry Memory is a summery psychedelic soul ballad with shimmering vibraphone: it has the enigmatic lushness of Jackson’s classic 2007 Outskirts of a Giant Town and the lush Philly soul of Got To Have You, two standout numbers from Jackson’s vast output over the years.

Hey, Good is a wistful, hopeful, sprightly tune with ukulele and just a hint of brass: it could be a charming lost acoustic McCartney miniature from the White Album. Jackson brings back the electricity and the backbeat in Written in Stone: imagine the Byrds backing the Mamas & the Papas.

Jackson likes to put a good old-fashioned hard country tune on every album, and What Good’s a Memory is a picture-perfect vintage 60s tune, right down to the saloon piano and pedal steel. She wraps up the record with a country gospel-flavored piano ballad, Hail and Farewell. In a time where the brain drain out of New York stalled or even destroyed so many music careers, it’s testament to Jackson’s sheer talent (not to mention persistence) that she’s been able to stay on a creative tear that just won’t quit.

[If you’re looking for today’s Halloween installment, take a trip back to October 21 of last year for an underrated, darky psychedelic 2013 release – amazingly still available as a free download – by a New York band who should have gone a lot further than they did]

A Rare Chance to Hear Japanese Psychedelic Band Kikagaku Moyo This Weekend

Japanese band Kikagaku Moyo distill some of the best psychedelic influences of the past half-century. Their songs are long, expansive and shift between eras and genres with a hypnotic elegance. Their latest album House in the Tall Grass is streaming at Spotify. They’re hitting New York this weekend for a couple of shows; tonight, Sept 30 they’ll be at Sunnyvale at 10:30 PM for $15. Tomorrow night, Oct 1 they’ll be at Berlin at 9ish for three bucks less.

The album’s opening cut, Green Sugar kicks off with a dramatic, savagely meticulous flurry of tremolo-picking, then hits a strutting groove, an echoey web of Tomo Katsurada and Daoud Popal’s guitars and Ryu Kurosawa’s sitar over bassist Kotsuguy’s catchy, upper-register bass hook, like a gentler Brian Jonestown Massacre. Spare, twinkling bells and chimes add to the surreallistic, nocturnal ambience until suddenly the guitars take the song down toward metal.

Drummer Go Kurosawa’s careful, precise rimshots propel the jangly Kogarashi, a mashup of electrified Indian folk and Malian duskcore. Spare icicle piano drips between the reverb-drenched acoustic guitar mesh of Old Snow, White Sun. The band builds a sparsely lingering, slow post-Velvets ultraviolet ambience in the one-chord instrumental jam Melted Crystal, then picks up the pace with Dune, a catchy, upbeat Japanese folk theme, resonant Pink Floyd grandeur over a jaunty surf-tinged groove.

Pastorally trippy echoes of the Church, Jenifer Jackson, Sergeant Pepper-era Beatles and late 60s Grateful Dead filter throughout the album’s most epic track, Silver Owl, up to a surprise doom-metal crescendo. The group follows that with the swirly spacerock interlude Fata Morgana.

The tricky rhythms and surfy guitar of Trad offer no hint that the band’s about to take its Japanese folk melody into majestic Pink Floyd territory, then rise to White Light/White Heat freakout. The album closes with the gentle, fingerpicked folk-rock Cardigan Song. If there’s any band out there who sound like they could pull off a double live album, it’s these guys.

Jenifer Jackson Brings Her Erudite Texas Americana Charm to the New York Outskirts

The plushly ambiguous cover image of Jenifer Jackson’s latest and tenth album, aptly titled Cloud Ten – streaming at Bandcamp – speaks volumes. Look closely and you’ll see a furry cat! There’s a feline grace, and playfulness, and warmth, and hominess to the cutting-edge Americana songcraft and performances on this charming, irresistibly engaging new collection of songs. As a bonus, Jackson plays not only her usual guitar but also piano, drums and for the first time, ukulele. On her current US tour, she’s bypassing Manhattan for an intimate house concert on May 18 at 7 PM at 11 Bollenbecker Road in Rhinebeck. Westchester dwellers and adventurous city people can get information and rsvp here. She’s also doing house concerts on the 19th and 20th in Ancramdale and New Paltz, respectively.

Curmudgeons beware: she’s going to get you smiling like a big Texas sunrise, and asking yourself in astonishment, “Did they really just play what I think they did?” whether you like it or not. Which isn’t what you might expect from someone with such an extensive back catalog of thoughtfully crafted, often melancholy songs. Her career’s taken her from Beatlesque nuevo bossa nova, to harrowing folk noir, to classic Brill Building style pop, slinky psychedelia, blue-eyed soul, and now the Americana she’s been mining for such rich results over the last few years. Joining the brain drain out of New York City, her move to Austin in 2007 jumpstarted a career that had critics swooning but had reached critical mass in the big city. Cloud Ten reconfirms how fertile the Texas landscape has been for one of the most prolific, irrepressibly fun and unselfconsciously brilliant tunesmiths working today.

The innumerable little touches define this album. You might expect to hear multi-instrumentalist Kullen Fuchs’ good-naturedly purist honkytonk guitar in the vintage C&W sway of Pen to Paper, but probably not his glimmery Mad Men era vibraphone. But you get both! The Texas shuffle groove and Jackson’s own piano mingling with classic Beatles allusions in Love Me Best; hints of Laurel Canyon psychedelia and coy 50s exotica in the bossa-flavored Coriander; a little later, Jackson and Fuchs’ coyly aphoristic duet on the album’s title track makes gently narcotized uke indie-pop out of a classic western swing theme.

Some touches are somewhat more traditionally oriented to the various styles she expands on here, but no less apt. The elegantly rippling George Harrison Abbey Road lead guitar amidst her vividly summery fingerpicking in the Britfolk-tinged River Road; Fuchs’ deep floodwaters of accordion throughout Gravity, a lilting lullaby. Longtime Johnny Cash collaborator Earl Poole Ball’s elegant Floyd Cramer slip-key piano mingles with glockenspiel, enhancing the gently crepuscular ambience of Only in Dreams; Jesse Ebaugh’s deep-sky pedal steel on the sharply lyrical Wondering, which looks back to Townes Van Zant outlaw balladry. Perhaps the album’s most striking if shortest track is the wary, austere Birdy’s Lament, Fuchs’ melodica taking the song into surrealistic early 70s folk-rock terrain. Its most period-perfect is Mother Nature, a spot-on evocation of early 60s honkytonk.

Jackson draws on the multicultural fabric of her adopted state with two songs in Spanish: the tender, bolero-tinted Sabor a Mi and the gentle Bahia/Veracruz mashup Como Fue, Fuchs’ trumpet sailing overhead. It’s as heartwarming as it is just plain fun to hear this genuine American treasure continuing to evolve and keep audiences entertained: if there’s any album released this year that makes you reach for the repeat button, this is it.

Linda Draper’s New Album Adds to Her Hall of Fame Credentials

It’s time to head down to the quarry and hammer out a pedestal for Linda Draper. Eight albums into her career, not one of them anything less than brilliant: Richard Thompson, Elvis Costello, Steve Wynn, Aimee Mann brilliant. Draper is in their league both as a tunesmith and lyricist, and she can sing circles around all of them. And she’s explored a lot of styles over the past fifteen years or so: straightforward acoustic pop, surrealistic psychedelia, Nashville gothic and now a richly tuneful jangle and clang. Producer Matt Keating gets major props for making a big rock record out of Draper’s latest album, Modern Day Decay. It hasn’t hit the web yet, although you can hear a lot of it at her album release show on April 29 at 7 PM at the big room at the Rockwood.

Draper had the good sense to get the most out of Keating on this album. It’s arguably Draper’s strongest release to date, both lyrically and musically, and he really takes it to the next level, both as lead guitarist and keyboardist. Recorded mostly live in the studio in a single whirlwind 48-hour session, the songs have a bristling intensity, Draper’s strong but nuanced mezzo-soprano anchored by bassist Jeff Eyrich and drummer Eric Puente.

The gorgeously anthemic title track opens the album. With the layers of twelve-string guitar over piano and organ, it sounds like the Church with a woman out front:

In a world made for the masses
It ain’t easy to see
It all through rose-colored glasses
You know the thorns wait patiently
…Some say time is all we need
To heed, no matter the relevance
Or pick at the scab until it bleeds…

The matter-of-fact Keep Your Head Up has tinges of psychedelia and C&W and opens with a wry shout-out to Mary Magdalene. I’t s a prime example of Draper at her witheringly lyrical best:

We’re under the gun until one day we’re done…
Get on the latest medication
Join the rest of the brainwashed nation
Airport security, a little radiation
Stand in line, take a number
Don’t blame the stars for your lack of wonder
Like a wild tiger turned into a fur coat
We howl at the moon until we lose the fight

True Enough is another catchy, richly jangly 12-string guitar anthem, a rugged individualist trying to keep her cool under pressure:

Gone are the days of the heat and the haze
That once bled my eyes dry
They sensed in the place by the cold golden gaze
That a love almost passed me by
It’s just a blip on the screen, a switch in the scene
The rest is a big fat lie
Why can’t they just take me as I am…

Put Love In has some unexpected hip-hop tinges in the lyric over an uneasy acoustic-electric backdrop. The catchy, swaying Take Your Money and Run works on a whole slew of levels. On the surface, it’s an escape anthem of sorts:

I pawned my ring for everything and said let it ride
Now I’m here to tell you you reap what you sow
You sold me out, now you’d better let me go
Cause I’m done, all right, but I did it with love
Head for the hills tonight, no heaven above
Can stop me now
There’s nothing to slow down
There’s nothing to stop you
It doesn’t matter where you come from
That doesn’t mean that’s all you have to become
You have so much more love in your heart
Than the sum of your parts
So take your money and run

A slow, organ-infused soul ballad, the nonchalantly cajoling Lose with Me brings to mind Jenifer Jackson. “All my heroes are long gone, or sold their souls to some reality show,” Draper muses.

Awash in lingering, echoing psychedelic guitars, Burn Your Bridges sounds like the Church doing a late Beatles folk-pop number: “All hands on deck for the shipwreck, brace yourselves,” Draper warns.

Pedestal takes a careeningly successful detour into rockabilly: for that matter, it might be the most lyrically sophisticated rockabilly tune ever written:

Everyone’s listening to nobody else
The symphony sounds fine on the train
As we keep moving round in vain
Regurgitating joy and pain

Nashville builds from a stark, spare acoustic intro to a mighty cinematic sweep:

Into the evening
Out of my mind
What you call believing
I call dying
Can’t you see the bags under my eyes
Or the rags that I wore in disguise
The latest fashion, greatest curse
I don’t know which one should be worse….
Like cattle they packed us
Onto the bus
Eleven hours later we were in Nashville
The flames and the smoke followed me here
Ten years ago just seemed to disappear
Now I’m rnnning from the wind
‘Cause I know how fast it can blow
There ain’t gonna be a next time
All we’ve got is today
And all I see in my mind
Keeps driving away

The album winds up with a waltz, Good As New, another individualist’s manifesto

There’s nothing wrong if you don’t belong…
I spend my lifetime, I’ve made it a habit
Of staying on the outside, now why should I quit
“That’s just your way of hiding,” you say
You know, ’cause you see yourself in me

Just on lyrics alone – is Draper quotable, or what? – this is a strong contender for best release of 2016.

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.

Jenifer Jackson Treats an Intimate New York Crowd to a Rare House Concert

Artists who for better or worse get pigeonholed as singer-songwriters usually don’t have much in the way of instrumental chops. And bands with sizzling instrumentation often don’t have much in the way of lyrics or vocal alchemy. But that’s what Jenifer Jackson brought to a hushed, rapt house concert in comfortable, congenial Upper West Side digs last night. Not that Jackson should be, or for that matter, is somebody who necessarily gets tagged as a singer-songwriter. It makes more sense to call her a magically protean bandleader, whether the band behind her is playing psychedelic rock, bossa jazz-tinged songcraft or newschool honkytonk – or oldschool honkytonk. She also happens to be one of the pioneers of the house concert circuit. This one was a typically eclectic duo performance with Kullen Fuchs, who didn’t bring what might be his best instrument, the vibraphone. But he did bring his guitar, accordion, trumpet, percussion and ukulele and showed off elegantly virtuoso chops on all of them. Is there any instrument this guy can’t play?

Since her cult classic 2000 debut, Slowly Bright, Jackson has been through a million incarnations and these days, rather than settling on Americana, Beatlesque bossa-pop, pastoral psychedelia or C&W, is likely to bust out all of those styles in concert and this was no exception. Her voice was plush and airy, and stronger than ever in the low registers, like Rosanne Cash with a wider sonic palette. These house concerts, she explained, have forced her to come out of her shell onstage, to be the raconteuse and generally hilarious presence that she is once she’s out of the spotlight. So there were a lot of explanations on where and how songs came together, Jackson reminding that nothing in her catalog is what it seems; there are always umpteen levels of meaning. So it was interesting to discover that the windswept, poignantly desolate anthem All Around was not a Gulf Coast tableau but a wintry New England beach scene inspired by a momentary break on Cape Cod during a recent tour, observing a giant predatory bird from just inches away.

The duo did that one on guitar and uke, Jackson artfully shifting the harmonies around: she never plays a song the same way twice. The ballad Heart with a Mind of Its Own, with Fuchs on accordion, became a blend of Kitty Wells C&W seasoned with Tex-Mex flavor – and an unexpected trumpet solo from Fuchs midway through. Likewise, Fuchs matched Jackson’s brooding vocals with his washes of accordion on the bolero-tinged southwestern gothic waltz A Picture of May. They reinvented an old favorite, the Beatlesque, ornate When You Looked At Me, arguably the best cut on Jackson’s full-length debut, as a big twin-guitar anthem. Later the two entertained the crowd with a droll country duet from Jackson’s forthcoming thirteenth (!) album. Guest violinist Claudia Chopek came up to add lush, dynamic textures and vivid solos on a handful of numbers, all the more impressive considering she’d never played with the group. Likewise, a guest flutist added aptly ethereal textures in tandem with Fuchs’ soaring horn on Whole Wide World, a tropical soul number.

As entertaining as the rest of the set was, arguably the best song of the night was a hypnotically dreamy, understatedly plaintive Americana waltz, After the Fall, from Jackson’s 2002 Birds album:

Love is an ocean
Love is a stone
Love is a wish that you make on your own
If all of these ghosts would just leave me alone
I know that I would be free

Can a song get any more universal than that?

Jackson’s current US tour continues; dates are here, with a return hometown show on Oct 21 at 8 PM at Hole in Wall, 2538 Guadalupe in Austin.

Purist Americana in Park Slope with Mamie Minch and Laura Cantrell

Mamie Minch and Laura Cantrell have a lot in common. While each has a devoted following in her own Americana niche – Minch is a blues maven and Cantrell is steeped in vintage country music – they’re fans of each other’s styles and each other’s work. What’s the likelihood of seeing the two charismatic, often mesmerizing performers on the same stage? It happened last night at Union Hall in Park Slope, where Cantrell played the first night of her weekly May residency there. She’ll be playing at around 9 on Tuesdays for the rest of the month, with a rotating selection of special guests opening at around 8. Cover is $10. Shows like this one are why we live in New York, folks.

The room was pretty full by the time Minch hit the stage, solo with her trusty late 30s resonator guitar. She quickly reminded what a connoisseur she is when it comes to songs, and tunings – she used a new one on practically every song – and licks. For a first-class country blues player, she’s very economical, true to her influences. Her version of Mattie Delaney’s Big Road Blues alternated deliciously between a dancing, walking beat and a resonant, spiky shuffle. A little later she reinvented Bessie Smith’s Sing Sing Blues – the unrepentant tale of an abused woman who killed her man – as a chillingly rustic, practically otherworlldly feminist anthem. She also reinvented a handful of her own songs, moving effortlessly from her resonant alto voice to unexpectedly  higher registers on Border Radio, an upbeat, swinging hillbilly ballad dedicaated to the Carter Family; Razorburn Blues, a rapidfire litany of the things women endure for guys who don’t appreciate them; and Fortifiied Wine Widow, a morose Roaring 20s-style lament for a guy who couldn’t stay away from the patent medicine. She’d return later to join Cantrell and her band for a soulful, nuanced duet on Ivory Joe Hunter’s I Almost Lost My Mind, trading off on solos with a similarly nimble, purist guitarist, Boo Reiners. And it was fun to hear the two frontwomen ponder influences, and song origins, out loud between songs, a revealing look at two world-class musicologists in their element

Minch engaged the crowd with plenty of sardonic background for her songs, no surprise since she’s known for being a cutup onstage. But Cantrell can also be LMAO funny when she wants to be, and she was in an even more talkative mood than she usually is. Her funniest story involved the old Civil War song When the Roses Bloom Again – which she and her group played using the melody by Wilco – and a version sung by Barry Gibb. That’s right, a Bee Gee on the Grand Old Opry. The youtube clip is every bit as priceless as Cantrell said it was.

In her family, song collecting is a tradition going back to her great-aunt Ethel, who got credit for a possible edit/update on that song, as well as the murder ballad Poor Ellen Smith, which Cantrell and her sensational four-piece acoustic band with fiddle, Reiners on lead acoustic guitar and banjo and Jeremy Chatzky on bass –  did as a pretty straight-up bluegrass tune.

The set was a mix of fan favorites and expected numbers, like a couple of Amy Allison songs: a joyous take of Can’t Wait and an aptly somber, sober version of The Whiskey Makes You Sweeter as the encore. Cantrell also soared through a lively take of Jenifer Jackson‘s What You Said, then brought the lights down with a stark take of the brooding, ornate breakup ballad No Way There From Here, the title track to Cantrell’s most recent and characteristically brilliant album. She paid tribute to 1940s country hitmaker Molly O’Day with the pensive Mountain Fern and then to her most obvious influence with a robust version of Kitty Wells Dresses. From the jaunty swing of All the Same to You to the Neko Case-style simplicity of Maybe Sparrow, Cantrell worked every corner of her magical, crystalline voice from whispery lows to spectacular highs.

She was a transcendent singer fifteen years ago and she’s even better now, if such a thing can be possible. Arguably the best song of the night was Churches Off the Interstate, an early song from her debut album Not the Tremblin’ Kind, which won her a national following after she’d won over this city. On album, it’s a brisk, buttersweet shuffle. This all-acoustic version was more spare, and bucolic, and haunting: Cantrell seemed to want to clarify that it’s about hope rather than any kind of expectation of a happy ending. In the context of being a concert favorite by someone who used to play it all over what’s now a sometimes unrecognizable East Village, it was heartbreaking. Cantrell’s back here this coming May 12, preceded by a screening of films selected by archivist Russell Scholl. And the next cuople of weeks after, the band will be rejoined by another brilliant guitarist, Jon Graboff. Yeah, Graboff and Reiners on the same stage, that should be something.

The 100 Best Songs of 2014

If you count youtube clips, how many songs were “released” in 2014? Five million? Ten million? Considering the vast amount of material that’s out there, you can’t consider this page to be gospel any more than you can any other blog’s best-of-2014 list.

But it is a seriously good playlist. At first it seemed like a good idea to simply pull all of these songs into a Spotify playlist and call it a night, but that didn’t work since a lot – perhaps the majority – of the artists here aren’t on Spotify. But you can follow the links on this page and hear every song except for one mystery track which is one of the best of them all. Bookmark this page and enjoy!

As was the case last year with Matthew Grimm’s West Allis, one song stood apart from the pack this year as far as sheer visceral impact is concerned and that’s The Great Escape by artsy New York Americana band the Sometime Boys. Kurt Leege’s guitar provides an elegant, elegaic intro for frontwoman/guitarist Sarah Mucho’s carefully modulated, wounded, brittle vocals, which rise to a full gospel wail as the song hits a peak. It’s a bitter reflection on the lure of victory and the harsh reality of defeat, from the perspective of someone gazing into the night from a window in lower Manhattan. If you’ve ever faded away into yourself, scowling out at the glimmer in the distance and wishing you were there and not slaving away at some stupid dayjob – or contemplating suicide – this could be your theme song. It’s from the band’s album Riverbed, streaming here.

As with this year’s Best Albums of 2014 and Best NYC Concerts of 2014 pages, there’s no ranking here other than the #1 song of the year. For the sake of fairness, songs are listed in rough chronological order by the date they first got some attention at this blog, irrespective of release date. Which means that the last songs on the list aren’t the ass end of the list: they just made their first appearance here in December. To be clear: Karla Moheno’s mysterious Time Well Spent, which leads the rest of the pack here, is a lot different than Jennifer Niceley’s uneasily balmy Land I Love, the last song here. But they’re both worth a spin. Here we go!

Karla Moheno – Time Well Spent
A slinky, cruel noir blues dirge about deceit and revenge. Moheno’s genius is that her narratives are allusive; you have to brave the shadows to figure out what’s going on and who’s being killed. If the Sometime Boys hadn’t put out an album this year, this song, from her album Gone to Town, would occupy the top spot. Listen here.

Jessie Kilguss – Red Moon
The folk noir bandleader’s brooding, Spanish Civil War-inspired tableau could also be a present-day account of freedom fighters on the run from just about any gestapo – the NSA, Mossad or ISIS. It’s all the more powerful for Kilguss’ portrayal of the political as personal. From the album Devastate Me. Spotify link

Ward White – Bikini
This swaying, snarling art-rock narrative isn’t about beachwear: it’s a cruelly sardonic narrative set on a now-uninhabitable South Pacific atoll right after an atom bomb was set off there, gently ominous guitar multitracks subtly going awry over keyboardist Joe McGinty’s pillowy mellotron. From the album Ward White Is the Matador. Listen here

Marianne Dissard – Am Lezten
A portrait of total emotional depletion so vividly detailed it’s scary. And you don’t need to speak French to understand it – although that makes it all the more poignant. From her gorgeously orchestrated art-rock album The Cat. Not Me. Listen here

The Wytches – Gravedweller
Don’t let this song’s apparent references to zombies – which could simply be metaphorical – scare you away. Drenched in toxic reverb, this is a morbid, Middle Eastern-tinged horror surf number, and it’s genuinely evil. From the album Annabel Dream Reader. Listen here, free download

Willie Watson – Rock Salt & Nails
One of the year’s biggest buzz songs. Everybody covered this morose old murder ballad from the 1800s, nobody more starkly or hauntingly than the former Old Crow Medicine Show guitarist. It’s a version worthy of Hank Williams, no joke. From the album Folk Singer Vol. 1. Listen here

Ember Schrag – William for the Witches
At her Trans-Pecos show in October, the gothic Americana bandleader dedicated her careening Macbeth-inspired anthem to “all the Republicans back home,” ramping up the menace several notches with her litany of spells as guitarist Bob Bannister veered from monster surf, to ominous jangle, to a little skronk,  captured here on this video.

LJ Murphy – Fearful Town
At the Parkside back in May, noir rocker Murphy’s show was a going-away party of sorts for pianist Patrick McLellan, who took out his angst on the piano keys, gently and elegantly exchanging creepy, lingering noir tonalities with guitarist Tommy Hoscheid as Murphy drew a morosely surreal portrait of a DiBloomberg era East Village of tourist traps and the grotesqueries who congregate there. This youtube clip is the studio version.

Benmont Tench – You Should Be So Lucky
Tom Petty’s organist released his debut album this year and this is the title track, as viciously brilliant a kiss-off anthem as anyone’s ever written, set to tersely murderous, bluesy Laurel Canyon psychedelia. Watch the video 

Big Lazy – Human Sacrifice
The cult favorite NYC noir soundtrack trio makes horror surf out of a flamenco theme, with its savage clusters and sudden dips and swells, and allusions to a famous Duke Ellington tune (via the Ventures). From the album Don’t Cross Myrtle, rated #1 for 2014. Listen here

Gord Downie & the Sadies – Budget Shoes
An ominously reverb-drenched southwestern gothic tale fueled by Mike Belitsky’s artfully tumbling, Keith Moon drums. Singer and longtime Tragically Hip frontman Downie traces the steps of a couple of desperados “walking through the valley of ghosts,” one with his eyes on the other’s superior footgear. From their album Gord Downie, the Sadies & the Conquering Sun. Listen here

Ernest Troost – Old Screen Door
A wailing, electrifying murder ballad. Troost succeeds with this one since the only images he lets you see are incidental to what was obviously a grisly crime, “lightning bugs floating through a haze of gasoline” and so forth. A teens update to the Walkabouts’ vengeful anthem Firetrap, from the album O Love. Listen here

Changing Modes – Ride
The band keeps the menacing chromatics going over a brisk new wave pulse, frontwoman/keyboardist Wendy Griffiths’ venomous lyric driven to a crescendo by a snarling Yuzuru Sadashige guitar solo. From the New York art-rockers’ album The Paradox of Traveling Light. Listen here

HUMANWINE – Our Devolution Is Televised
Tthe closest thing to the Dead Kennedys that we have these days: macabre chromatic Romany punk rock set in an Orwellian nightmare that very closely resembles today’s world. The recurrent mantra is “Can’t you feel the lockdown?” From the ep Mass Exodus. Listen here, free download

The Brooklyn What – Too Much Worry
Almost nine minutes of white-knuckle intensity, relentless angst and psychedelic guitar fury. A serpentine homage to early Joy Division, there’s an interlude where it evokes a tighter take on that band doing the Velvets’ Sister Ray, then a long, volcanic guitar duel worthy of the Dream Syndicate. From the year’s best short album, Minor Problems. Listen here

Briana Layon & the Boys – Cut My Man
The dark metal/powerpop rockers open the song with an icy, watery guitar lead over a sketchy, muted riff, frontwoman Layon joining in the ominous ambience and then rising toward murderous rage, airing out her wounded low range and in the process channeling the Sometime Boys‘ Sarah Mucho. They take it out as a waltzing danse macabre. From their album Touch & Go. Listen here

Cheetah Chrome – Stare into the Night
It’s the closest thing to the Dead Boys (right around the time of their mid-80s comeback) on that band’s iconic lead guitarist’s new album, Solo, most of its searing tracks recorded almost twenty years ago and seeing the light just now. It’s about time. Spotify link

The Annie Ford Band – Buick 1966
A cinematic, noir mini-epic that shifts from a creepy bolero to a waltz to scampering bluegrass and then back, fueled by Tim Sargent’s knee-buckling, Marc Ribot-like reverb guitar lines. From Ford’s debut album. Listen here

Golem – Vodka Is Poison
Over a rampaging circus punk stomp, bandleaders Annette Ezekiel Kogan and Aaron Diskin trade verses about why it either “Makes you round, makes you soft, makes it hard to get aloft,” or “Makes you happy, makes you free, makes you wish that you were me!” From the album Tanz. Spotify link 

The Fleshtones – Hipster Heaven
A hellish, Chuck Berry-flavored chronicle of the band’s old New York neighborhoods being swallowed by hordes of narcissistic gentrifiers fresh out of college but acting like kindergarteners. From their album Wheel of Talent. Watch the video

Guess & Check – Some DJs
An aptly downcast janglepop tale that will resonate with anybody who’s walked into a party all psyched and then realizes in a split second that it’s really going to suck. In other words, that it’s full of trendoids who are all a-twitter since some DJ just plugged his phone into the PA system! From their album Entanglement. Listen here

Orphan Jane – Lost Mind
A menacingly theatrical circus rock tune that builds from a sarcastically whiny, vaudevillian verse to an explosive choir of voices on the chorus. From their album A Poke in the Eye. Listen here

Mitra Sumara – mystery song
Mitra Sumara are one of New York’s most fascinating bands. Singer Yvette Perez’s group plays obscure psychedelic rock and funk covers from Iran in the 1960s and 70s. This particular number was the highlight of this year’s annual Alwan-a-Thon, a celebration of sounds from across the Middle East held at downtown music mecca Alwan for the Arts. But nobody seems to know what the song is called. It sounds like Procol Harum but more upbeat, with some seriously evil funeral organ. If anybody knows the title, please pass it on! It was the third song on the setlist that night.

The Reigning Monarchs – Thuggery
Sort of a Peter Gunne Theme for the teens, an intense, explosive monster surf instrumental with a slashing, off-the-rails guitar solo midway through. From the album Black Sweater Massacre. Listen here

Curtis Eller – The Heart That Forgave Richard Nixon
A riverbed grave, a Cadillac stalled out on the tracks and Henry Kissinger shaking it all night long serve as the backdrop for this snarling parable of post-9/11 multinational fascism. From the historically-inspired Americana cult favorite banjo player’s album How to Make It in Hollywood. Listen here

The Jitterbug Vipers – Stuff It
A co-write with Elizabeth McQueen from Asleep at the Wheel, this sassy oldtimey swing tune by the Texas stoner swing band has the sardonic wit of a classic, dismissive Mae West insult song. From the album Phoebe’s Dream. Listen here

Della Mae – Heaven’s Gate
A bitter, ghostly newgrass tale that begins with the fiddle mimicking the ominous low resonance of a steel guitar, then eventually goes doublespeed. Is this about a suicide, a murder, or both? Either way, it’s a great story. From the album This World Oft Can Be. Watch the video (WARNING – you have to mute the audio ad before the whole album streams)

Bad Buka – Through the Night
A big, blazing, full-on orchestrated minor-key Romany art-rock epic, the title track from this searing, theatrical Slavic art-punk band’s new album. Listen here

The Devil Makes Three – Hand Back Down
The wild punkgrass crew take an unexpected detour into surrealist stoner swamp rock with a cynical antiwar edge, from their album I’m a Stranger Here. This video is a live take.

Marissa Nadler – Firecrackers
A menacingly opiated, reverb-drenched, mostly acoustic Nashville gothic ballad, painting a booze-fueled Fourth of July scenario that does not end well. From the folk noir icon’s album July. Listen here

Aram Bajakian – Rent Party
This instrumental by the former Lou Reed lead guitar genius kicks off with a bouncy funk riff into a minor-key tune that’s part newschool Romany rock, surf music and Otis Rush blues – then the band hits a long, surreal, muddy interlude reminiscent of 80s noiserock legends Live Skull as Shahzad Ismaily’s bass growls to the surface. From the album There Were Flowers Also in Hell. Listen here

The Delta Saints – Crazy
The centerpiece of the Americana jamband’s Drink It Slow ep is a nine-minute epic that works a slow, slinky noir blues groove with all kinds of up-and-down dynamics, a precise, angst-fueled guitar solo and every keyboard texture in this band’s arsenal. Listen here

Rosanne Cash – World of Strange Design
An harrowing Appalachian gothic tale that could be about a returning soldier’s family falling apart, or maybe just metaphorical, about a guy who “Set off the minefield like you were rounding first.” From the album The River & the Thread. Watch the video

Laura Cantrell – Washday Blues
This era’s most poignant, compelling voice in classic country music at her aphoristic best, cleaning up a lifetime’s worth of disappointed metaphors against a backdrop of steel guitar and mandolin. From the new album No Way There from Here. Spotify link

The New Mendicants – High on the Skyline
An enigmatically alienated folk-rock anthem that’s equal parts Strawbs Britfolk and lushly clangy, twanging Byrds from this psychedelic pop supergroup. “I’ll show you how deadly close faraway can be,” Teenage Fanclub frontman Norman Blake intones in his stately delivery. From their album Into the Lime. This live acoustic take isn’t the album version but it’s still really good.

Ihtimanska – Hicaz Hümayun Saz Semaisi
The most gripping and most distinctively Middle Eastern of all the tracks on the Montreal Turkish traditional music duo’s debut album. Listen here

Siach HaSadeh – Kuni Roni/Maggid’s Niggun
A darkly dancing North African-tinged diptych: the oud’s ironically triumphant run down into the abyss midway through might be the high point of the improvisational klezmer band’s album Song of the Grasses. Listen here

Son of Skooshny – Untold History.
This intense, richly arranged, artsy janglerock anthem traces an uneasy early atomic age childhood with an offhanded savagery: with Steve Refling’s keening slide guitar, it’s the hardest-rocking and most overtly angry song on the new album Mid Century Modern. Listen here

New Electric Ride – Marquis de Sade
This trippy vintage 60s psych tune casts the old philosopher as a stoner, from a funky Cream intro, through a little early Santana and then a galloping proto-metal interlude fueled by Craig Oxberry’s artful drums before some very funny vocals kick in. From the album Balloon Age. Listen here

Tammy Faye Starlite – Sister Morphine
A showstopper by the irrepressible chanteuse who’s carved herself out a niche for sardonic but spot-on reinventions of songs by brilliant and difficult people: Nico, Iggy, and others. She slayed with this one live at her Marianne Faithfull tribute/parody at Lincoln Center back in March. Watch the video

Isle of Klezbos – Noiresque
Shoko Nagai dazzles with her glimmering, darkly neoromantic and blues-tinged piano on this bracing latin- and Middle Eastern-tinted theme, shifting seamlessly between waltz time and a swing jazz groove. From the album Live from Brooklyn. Listen here

Jenifer Jackson – All Around
This flinty anthemic backbeat rock tune builds a mood of quiet apprehension via a wintry seaside tableau – it wouldn’t be out of place in the Steve Wynn catalog. From the stunningly eclectic Austin songwriter’s album Texas Sunrise. Listen here 

The Baseball Project – 13
Arguably the best song on the new album, 3rd – frontman Steve Wynn takes unsparing aim at at the A-Roid scandal over a corrosively sarcastic spaghetti western backdrop. Watch the video

John Zorn’s Abraxas – Metapsychomagia
Guitarists Aram Bajakian and Eyal Maoz and bassist Shanir Ezra Blumenkranz juxtapose puckish wit with flickering menace, building from an uneasy bolero groove to a staggered Middle Eastern monster surf stomp, both guitarists ranging from lingering and twangy to frenetic and crazed, epic art-rock infused with swirling noise. Title track from the new album. Watch the video

Martin Bisi – Invite to Heaven Hell
One of the most deliciously tuneful things the dark art-rocker has ever done, building a stygian spacerock ambience, like the Chuch or the Byrds at their most psychedelic, with hints of peak-era Sonic Youth peeking through the pulsing guitars, with disembodied vocals, soaring trumpet and a dead-girl chorus in the background. From the album Ex Nihilo. Listen here

Ichka – Glaziers Hora
This Alicia Svigals tune is a showcase for soaring solos from everyone in this fiery klezmer band, over a misterioso staccato rhythm. From their album Podorozh. Listen here

Jaro Milko & the Cubalkanics – Herido
A mix of Del Shannon noir with a creepy bolero: it’s arguably the strongest track on the psychedelic cumbia band’s creepily slinky new album Cigarros Explosivos. Listen here 

Holly Golightly & the Brokeoffs – For All that Ails You
With its mournful train-whistle guitar and stalking, noir blues sway, it’s uncommonly dark for even this creepy gutter blues/noir Americana band. From the album It’s Her Fault. Watch the video

The Mystic Braves – There’s a Pain
A briskly scampering noir blues recast as period-perfect 60s Laurel Canyon psychedelia, from the album Desert Island. Listen here

Barbez – Mizmor Leasaf
Italian poet Alfonso Gatto’s bitter wartime elegy, Anniversary, recast as an eerily reverberating, dirgelike noir soundtrack piece from the album Bella Ciao, which explores haunting Italian Jewish themes. Watch the video

Spottiswoode – Butterfly
With its anxiously fluttery, tremoloing intro, swooping clarinet and elegant electric harpsichord, it’s a characteristically moody, richly orchestrated chamber pop anthem. From the album English Dream. Listen here

Action Beat & G.W. Sok – Sentence Machine
A noisier take on what Joy Division did with Atrocity Exhibition, seemingly a Kafkaesque account of a tortuous execution machine, set to a choir of sawing, stabbing, frantically pinwheeling guitars. From the ex-Ex frontman and British noiserock band’s collaborative album A Remarkable Machine. Spotify link

Karikatura – Eyes Wide
A bracing latin reggae tune and the title track to the band’s new album, frontman Ryan Acquaotta chronicling what happens when the real estate mob decides to take over a sketchy part of town: “With the luxury developments they’re packing in, propaganda that the neighborhood is back again, watch whoever is moving in after, blowing their cover.” And then the displacement of the people who call it home begins. Listen here

The Skull Practitioners – Another Sicko
An out-of-focus vocal from guest Tom Derwent, long drones, allusions to funk, twisted bent-note mental asylum screams from Steve Wynn lead player and frontman Jason Victor going on for what seems minutes and an ending that the band finally allows to completely disintegrate. From the New York noiserockers’ ep ST1 – also available on cassette. Listen here

Zvuloon Dub System – Alemitu
An ominously organ-fueled minor-key instrumental that blends otherworldly Ethiopiques into a moody Israeli roots reggae groove. From their album Anbesa Dub. Listen here

The Last Internationale – We Will Reign
The fearless, politically-fueled Bronx rockers slayed with this snarling, defiant, Patti Smith-style anthem at the Mercury back in June, the title track from their new album. Watch the video

Hannah Thiem – Phavet
If you listen very closely, you’ll realize that the cinematic, intense violinist/composer’s slinky electroacoustic mood piece is a one-chord jam, as it shifts from an echoing, dancing, hypnotically bracing theme to a thicket of overdubs where Thiem becomes a one-woman string sextet.. From the ep Brym. Listen here

Amanda Thorpe – Willow in the Wind
With its haunting, subdued anguish, the intense Britfolk/art-rock chanteuse’s noir tropicalia version of Tin Pan Alley wordsmith Yip Harburg’s song surpasses any other take on it, fueled by drummer Robert di Pietro’s ominous tom-toms and misterioso cymbal work. From the album Bewitching Me. Spotify link 

Nick Waterhouse – Sleeping Pills
With echoey Rod Argent electric piano and baritone saxophonist Paula Henderson’s smoky lines, this was the most lurid song of the night at the LA psychedelic soul music maven’s show in Greenpoint back in June. From the album Holly. Watch the video

Puss N Boots – GTO
The darkest and arguably best song on the album No Fools, No Fun, a detour toward Eilen Jewell-tinged ghoulabilly by the the Americana super-trio of Norah Jones, guitarist/singer Sasha Dobson and bassist Catherine Popper. Watch the video

People – Supersensible Hydrofracked Dystopia
Fiery jazz guitarist Mary Halvorson, irrepressible drummer Kevin Shea (of NYC’s funnest jazz group, Mostly Other People Do the Killing) and bassist Kyle Forester (from Crystal Stilts) toss off this barely minute-long but cruelly spot-on punk jazz miniature from the album 3xaWoman. Watch the video

Coppins – Great Day for Living
A sarcastic dystopic pre-apocalyptic narrative set to a reggae-tinged groove from the eclectic, funky, rootsy Toronto band known for their bagpipe funk. From the album The Prince That Nobody Knows. Listen here 

Marah – The Old Riverman’s Regret
A sad, vividly resigned oldtimey folk waltz, looking back nostalgically on 19th century commercial river rafting. From the album Mountain Minstrelsy of Pennsylvania, a mightily successful detour into Americana by the highway rock band. Listen here

Carsie Blanton – Don’t Come Too Soon
Sly, innuendo-fueled oldtime hokum blues from the torchy New Orleans chanteuse. Listen here, free download

Millsted – Televangelist
Over an uneasy, hammering pulse, the New York punk/metal band work murderously direct East Bay Ray-style horror-surf riffage that spirals out in acidic sheets of reverb, hits a misterioso interlude and then rises again. From the album Harlem. Listen here

The Butcher Knives – Could Be the End
The New York Romany/latin rockers’ slinky shuffle kicks off by nicking the intro from Elvis Costello’s Watching the Detectives and morphs into steady brisk spaghetti western rock, with a cool, offcenter Ethan Cohen banjo solo out. From their album Misery. Listen here 

The Bakersfield Breakers – Longing
A sad, spiky mix of honkytonk, incisive blues and Britfolk licks and moody ranchera rock via guitarist Keith Yaun’s virtuoso multitracks. From the album In the Studio with the Bakersfield Breakers. Listen here

The Jones Family Singers – Bones in the Valley
A funky update on an ancient, eerie spiritual livened with a combination of graveyard imagery and a message that’s ultimately hopeful, a launching pad for some impassioned call-and response. From the Houston gospel-soul band’s album The Spirit Speaks. Listen here

The Old Crow Medicine Show – Dearly Departed Friend
As much as the bluegrass road warriors are best known for explosive party music, this is a somber graveside requiem for an Iraq War casualty, with a creepy, spot-on redneck surrealism. From their album Remedy. Listen here

Andrew Bird – So Much Wine Merry Christmas
The funniest of the Handsome Family covers on Bird’s tribute to the iconic Americana surrealist duo, Things Are Really Great Here, Sort Of. One brilliantly twisted, literate Americana songwriter deserves another. Listen here

The Grisly Hand – Western Avenue
A ringer here, the title track from the Kansas City band’s 2012 debut, sounding like the Jayhawks circa Sound of Lies backing Neko Case. Yeah, that good. Their new album Country Singles is pretty damn good too. Listen here

Edward Rogers – What Happened to the News
Fueled by Byrdsy twelve-string guitar, it’s a snide swipe at how the media-industrial complex distracts us from what’s really going on. Fron the Britrock maven’s Kevin Ayers-inspired new album Kaye. Watch the video

Bombay Rickey – Pilgrim
Frontwoman Kamala Sankaram’s wickedly precise, loopy accordion winds through a misterioso, lingering, surfy stroll with ominous bass and alto sax solos, the latter building to a spine-tingling coda. From the psychedelic Bollywood-inspired band’s album Cinefonia, the year’s best debut release. Listen here

Sharon Jones – Retreat
The brooding, practically exhausted version that this era’s definitive soul-funk singer delivered out back of the World Financial Center back in June was considerably more ominous and menacing than the version on the record. From the album Give The People What They Want. Listen here

The Immigrant Union – Anyway
The epic title track from the lush Australian psych-pop janglerockers’ latest album has plaintive harmonies and a slow psych-pop sway much in the same vein as the Allah-Las. Listen here

Debby Schwartz – Hills of Violent Green
A lushly luscious folk noir anthem and a showcase for some literally breathtaking, swooping upper-register vocals by the former Aquanettas frontwoman (and current Ember Schrag bassist). Fron the Satan You Brought Me Down ep. Listen here 

Wormburner – Drinks At the Plaza Hotel
Fiery Stiff Little Fingers style punk-pop, a couple of smalltime scam artists trading faux-sophisticated banter and having a great time seeing how much they can get over on the snobs. From the album Pleasant Living in Planned Communities. Listen here

Banda Magda – Trata
A gorgeously swaying Middle Eastern-tinged Greek party tune with rippling hammered dulcimer, cheery brass and animated guy/girl vocals that builds to a towerine, majestic peak. Frmo the pan-global New York art-rock/jazz/Middle Eastern band’s album Yerakina. Listen here

Alsarah & the Nubatones – Bilad Aldahb
A bristling, broodingly expansive oud solo by the late, great Haig Magnoukian leads into a dusky lament lowlit by Rami El Asser’s stately frame drum work. From the New York Nubian funk revivalists/reinventors’ album Silt. Listen here

Mary Lee Kortes – Big Things
An irrepressibly jaunty hi-de-ho swing tune: the intense, soaring Americana tunesmith/singer slayed with this at the Rockwood a couple of months ago. From the album Songs from the Beulah Rowley Songbook ep – and possibly appearing on her forthcoming, long-awaited Songs of Beulah Rowley album, a thematic collection centered around a tragic, talented 1930s/40s cult favorite songwriter. Listen here

Mark Rogers & Mary Byrne – Green Gold Violet
A starkly vivid, hypnotic, wounded late-afternoon folk noir tableau, Rogers’ luminous dobro paired against Byrne’s tensely fingerpicked stroll. From the album I Line My Days Along Your Weight. Listen here

Matt Ulery – The Farm
The lively flair of this harmony-driven, climactic chamber pop number understates its corrosive portrayal of rural hell. From the eclectic, cinematic bassist/composer’s album In the Ivory. Listen here

The Larch – Mr. Winters
The jangliest track on the ferociously lyrical New York psychedelic new wave rockers’ new album In Transit is a metaphorical, nonchalantly ominous sort of a mashup of Squeeze and powerpop legends Skooshny. Listen here

Lachan Bryan & the Wildes – The CEO Must Die
A brutally insightful look at the psychology of going postal from the Australian Americana songwriter/bandleader’s purist, impeccably crafted album Black Coffee. Listen here

The OBNIIIs – No Time for the Blues
The closest thing to Radio Birdman that we have right now, lead guitarist Tom Triplett ripping through volleys of chromatic. Surprisingly, the studio version on the Third Time to Harm album is even more volcanic t han the live version on their Live in San Francisco album. Listen here

Jay Brown – Fox News (Jesus Save Me).
Snidely hilarious faux gospel from the Americana songwriter. Anybody who watches that channel should be tied to a chair and forced to listen to this on loop. LMFAO. From the album Beginner Mind. Listen here

Lorraine Leckie – The Everywhere Man
This song about a party-hopping serial killer originally appeared on the album Rudely Interrupted, her elegant chamber pop collaboration with social critic Anthony Haden Guest. But the simmering, noir version on her latest album Rebel Devil Rebel takes the energy up several notches. Listen here 

Mesiko – Mockingbird
A distantly disquieting, pastorally-tinged art-rock anthem with early 70s Pink Floyd resonance: “Put away the mockingbird inside your lungs, keep your cellular calls to a minimum,” drummer Ray Rizzo sings as the band rises to a squall. From the album Solar Door. Listen here

Kelley Swindall – The Murder Song
A talking blues destined to become a Halloween classic. The dark Americana songstress credits her acting coach for helping her get in touch with her dark side on this one – yikes! From her album Pronounced [KEL-lee SWIN-dul] or something like that. Listen here

O’Death – Isavelle
The most ornate, and arguably most menacing track on the individualistic, creepy circus rock/Americana/noir cabaret band’s new album Out Of Hands We Go, a murder ballad fueled by Bob Pycior’s icepick violin. Listen here

Dina Regine – Broken
A brooding yet brisk latin-tinged groove with Steve Cropper-esque guitar: “You beat the wall for your past oppressor – sometimes spirits treat you real kind but most of the time they mess with your mind,” Regine sings with a gentle unease. From the New York soul-rock cult figure’s long-awaited album Right On, Alright. Listen here

Wounded Buffalo Theory – You Have Left Me
A gorgeously angst-fueled art-rock anthem that builds to a thicket of chiming guitars; axeman Kurt Leege takes a rare turn on lead vocals and knocks it out of the park. From the New York art-rockers’ album A Painting of Plans. Listen here, free download

Sam Llanas – To Where You Go From
The elegant, regret-laden final cut from the soulful BoDeans frontman’s new solo album The Whole Night Thru, a vivid, broodingly nocturnal highway theme. Watch the video (be careful – you may have to mute an ad at the beginning since this is a full album stream)

Jessi Robertson – You’re Gonna Burn
Deep inside this volcanic noir soul anthem, it’s a bitter, menacing blues, resonant, sustained lead guitar lines fueling its big upward trajectory as the New York noir Americana singer airs out her powerful voice. From the album I Came From the War. Listen here

Opal Onyx – Arrows Wing
The atmospheric New York art-rockers’ anthem begins as folk noir before rippling keys and atmospheric washes of cello take it even further into the shadows. From the album Delta Sands. Listen here 

Metropolitan Klezmer – Baltic Blue
The shapeshifting klezmer/latin/psychedelic cumbia group cleverly move between grooves as alto saxophonist Debra Kreisberg’s slow, haunting theme heats up, mashing up the blues and Hava Nagila with soulful solos from throughout the band. From the live album Mazel Means Good Luck. Listen here

The Yiddish Art Trio – Guilt
Clarinet powerhouse Michael Winograd wrote this evocative, enveloping theme that pairs his wary, airy lines with dark, full-throttle washes from Patrick Farrell’s accordion, evoking the majesty of a classical organ prelude. From the group’s debut album. Listen here

Mark Sinnis – Your Past May Come Back to Haunt Me
Originally released by the dark country crooner’s original band, art-rockers Ninth House, this reinvents this haunting, crescendoing anthem as low-key but no less intense Americana. From the album album It’s Been a Long Cold Hard Lonely Winter. Here’s a live version

Robin Aigner – Greener
This pensive oldtimey number’s Gatsby-era setting is the exact opposite of what it seems to be, Rima Fand’s violin and Ray Sapirstein’s trumpet flying over a tensely flurrying, flamenco-tinged beat. From the brilliantly lyrical, deviously funny New York tunesmith/chanteuse’s album Con Tender. Listen here, free download

Jennifer Niceley – Land I Love
Swooshes and gentle booms from the drums and gorgeously lingering pedal steel color the song’s Lynchian Julee Cruise atmospherics, the Tennessee songstress brooding over her pastoral imagery and how that beauty “is never coming back.” From the album Birdlight. Listen here

If you missed the explanation on the Best Albums page, all the classical and most of the jazz is more likely to be found at this blog’s older sister blog Lucid Culture.