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Tag: Jeremiah Lockwood

The Sway Machinery Release Their Richly Psychedelic New Album on a Killer Multi-Band Bill at the Knitting Factory

You might think that a song titled You Will Love No One But Me would be a creepy tale about a stalker. As the title track to the Sway Machinery’s new ep – streaming at Soundcloud – it’s a characteristically eclectic, warmly tuneful mashup of reggae, Afrobeat and psychedelia, frontman Jeremiah Lockwood’s enigmatic, deliciously jangly guitar solo at the center. Like most bands in this century, the Sway Machinery have recorded sporadically, if memorably: their previous album Purity and Danger, from earlier in the year, is a sparkling, psychedelic masterpiece, and this one picks up where that one left off. They’re playing smack in the middle of one of this year’s most enticing and eclectic bills on December 16 at around 9 at the Knitting Factory: country blues guitarist/songwriter Jon LaDeau opens at around 7, followed by funky psychedelic Ethiopiques band Nikhil P. Yerawadekar and Low Mentality, the Sway Machinery and then the People’s Champs, who lately have taken a hard turn from funk into Afrobeat at its most psychedelic. Advance tix at the box offfice, open on show nights, are a bargan at $10.

Beyond the title cut, the Sway Machinery ep’s other tracks are just as choice. Kith & Kin bubbles and dances on the wings of Matt Bauder’s sax and Jordan McLean’s trumpet up to Lockwood’s eerie, lingering minor-key twelve-string phrases, an uncanny approximation of a Middle Eastern kanun that works like a charm in the context of this Ethiopiques-tinged tune. Can’t Help But Stare veers from hints of garage rock, to reverb-drenched dub reggae over the steady pulse of bassist Yerawadekar and drummer John Bollinger, up to an almost stadium-rock grandeur.

This Kiss Blooms But Once a Year is the most straightforward and hard-hitting song here, Lockwood’s biting guitar and expressively melismatic baritone welded to a groove that’s part ominously foreshadowed Ethiopiques and part Marquee Moon-era Television. The final cut, My Beloved, is the most unselfconsciously gorgeous, a brass-spiced, simmeringly guitar-fueled, pouncing update on an ancient cantorial theme. As is typical with this band, there are allusions and frequently less oblique references to the Hasidic music that Lockwood came up in – his grandfather, Jacob Konigsberg, was legendary as a choir leader and soloist in that demimonde, and remains a profound influence in the group’s work as well as the guitarist’s many solo and theatrical projects.

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Jeremiah Lockwood and the Sway Machinery Blaze Into Union Pool This Sunday

If you follow this blog at all, you know all about the Curse of the Residency. It goes something like this: a band book themselves into a venue for a show every week for a month. First night is a success: everybody’s friends are there. But the second night doesn’t draw, and the third night is a wash. The final night of the month gets a better turnout, pulling all the stragglers who’ve blown off the first three shows and are feeling guilty about it. Last month at Barbes, guitarist Jeremiah Lockwood shook off the curse and played a monthlong series of early Satuirday evening shows that by all accounts were absolutely transcendent. This blog caught the second and third installments.

The first of those two was a simmering, low-key duo set with singer Fay Victor, emphasis on the blues. The second was another duo performance with multi-keyboardist Shoko Nagai, and gave Lockwood a chance to really cut loose on the fretboard. This guy is an absolutely incendiary player, and what’s more, for somebody who likes long, flashy solos, he doesn’t waste a note. He’ll be bringing that rare blend of adrenaline and economy to his show with his individualistic Malian cantorial psychedelic rock band the Sway Machinery this Sunday, August 9 at around 8 at Union Pool. Another high-energy crew, latin rockers El Imperio open the night at 7 PM. Cover is $10.

Both with Victor and with Nagai, Lockwood played National Steel guitar, amplified only by the club’s PA. He didn’t need anything more, firing off slithery filigrees, jackhammer chords, nimbly rustic delta blues lines, creepy klezmer chromatics and Middle Eastern riffs and the occasional flurry of wild tremolo-picking. He also varied his dynamics, particularly with Nagai, a longtime collaborator and purveyor of similarly eclectic sounds, from epic film themes to animated avant jazz improvisation.

Nagai’s first song, which she played on accordion, was a sweeping, bittersweeetly pastoral film theme: the duo did it as something akin to a duet between Bill Frisell and Tin Hat accordionist Rob Reich (both of whom have played Barbes, although probably not together). Then Nagai  ducked under the piano…and remained in that cramped position until it was humming, and then emerged, gracefully, managing to hold down the pedal without losing her bright orange, vintage Kangol hat. Had she dropped her phone, maybe? No. She’d begun by playing inside the piano. a la George Crumb, and since the Barbes piano is an upright, that’s where you have to go inside to pluck and brush the strings. From there the two alternated between frenetic clusters of notes and resonant, minimalist chords, diverging and then coming together for an intense cantorial theme that Nagai ornamented with every flourish she could muster.

Another cantorial rock theme rose to almost stadium proportions – Lockwood is as powerful a singer as he is a guitarist. Unleashing his passionate but minutely nuanced baritone, he belted with the intensity of someone who’s the heir to a line of famous cantors (which he is). His otherworldly, shivery melismas had the same white-knuckle intensity as his solos on the guitar. The two ended the show with some energetic if not quite as titanic exchanges of solos and riffs, through a trio of blues numbers: a tasteful, purposeful take of Blind Joe Taggart’s Everybody’s Got to Be Tried, Elizabeth Cotten’s Oh Babe It Ain’t No Lie and an instrumental encore where Nagai’s coy ragtime inflections and playful glissandos soared over Lockwood’s purist, spiky picking.

Purist, Soulful Guitar Polymath Jeremiah Lockwood Continues His Residency at Barbes

Because Jeremiah Lockwood is such a protean guitarist, you never know where he’s going to go. He can spiral through a long psychedelic break, take his time with a mysterious, haunting, chromatically-charged Middle Eastern melody, or jam out on a Malian desert rock vamp. He’s also a fantastic country blues player. The leader of the long-running, brilliantly psychedelic Sway Machinery is in the midst of a weekly residency this month at Barbes on Sundays at 5 PM – that’s right, five o’clock in the evening, pretty much on the nose. Which is perfect, because it’s a work night. He’s got a couple more shows to go – on the 19th, he’s with the absolutely brilliant and similarly protean Shoko Nagai on accordion, which ought to be a great opportunity to air out his repertoire of otherworldly, ancient cantorial themes. Then on the 26th he’ll be leading the “The Fraternal Order of the Society Blues,” where he’ll be joined by fellow axemen Ernesto Gomez from Brotherhood of the Jug Band Blues and Ricky Gordon of the Wynton Marsalis Ensemble, playing a tribute to their mentor, the great Piedmont blues guitarist Carolina Slim.

Lockwood’s Barbes show last week was an intimate duo performance with singer Fay Victor. It was an all-blues set, the two sharing a warm camaraderie as they made their way through a set of both standards and obscurities. They’d trade off solos, Victor sometimes just singing vocalese, subtly building to some unexpectedly powerful peaks, Lockwood hanging out in a mysterious midrange on his old resonator guitar. And as much as the vibe was rustic and antique, they reinvented the material. They did Memphis Slim’s morbid Back to Mother Earth as the kind of delta blues that he probably heard as a kid and decided to make bitingly elegant piano music out of. They did the much same when they went into the Muddy Waters catalog. A little later, they did a Jimmy Reed number, and instead of Jimmy Reed-ing it, all slinky and sly and lowlit, they picked it up with an emphatic bounce. Lockwood is a maven of so many styles; if blues is your thing, the show on the 26th should be off the hook, and this Sunday’s show is also definitely worth checking out if you’re in the neighborhood in the early evening. And the Sway Machinery will be at Union Pool with edgy latin rockers El Imperio on August 9 at around 9.

The Sway Machinery Release Another Fiery, Eclectic, Psychedelic Masterpiece

The Sway Machinery are one of the real feel-good stories of the New York rock scene. They’ve come a long, long way since their days in the early zeros, when as one esteemed New York guitarist put it, they were sort of the “cantorial AC/DC.” There’s no band in the world who sound remotely like them. Mashing up hypnotic Saharan duskcore, biting postpunk, Afrobeat, funk and ancient Hasidic ngunim with a searing, guitar-fueled undercurrent, they’re one of the most individualistic and consistently exciting groups to emerge from this city in this century. They’ve got a new album, Purity and Danger, due out next week (hence no streaming link, although three of the tracks are up at soundcloud) and an album release show on March 1 at 6 (yes, six) PM at Baby’s All Right. Cover is $10, which is dirt cheap for that venue.

The big difference with this album is that it’s something of a return to their hard-rocking roots. Bass saxophonist Colin Stetson has been switched out for Antibalas‘ guitar-bass team of Tim Allen and Nikhil Yerawadekar, who provide a bouncy contrast for frontman Jeremiah Lockwood’s tersely searing reverbtoned guitar riffs. The album opens with the brisk, punchy Afrobeat-tinged instrumental title track, Lockwood’s chords blasting in the right channel, Allen playing lithe jangle in the left against the bright harmonies of trumpeter Jordan McLean and saxophonist Matt Bauder over a groove that’s equally catchy and hypnotic.

Rachamana D’Onay mashes up Middle Eastern rock, reggae and Ethiopiques into a surreallistically dancing stew. Revive the Dead has an irrepressible drive that’s part Sly Stone, part pensive 70s European art-rock, with a long jam that’s a study in tasty guitar contrasts, and a soulful trumpet solo out. My Dead Lover’s Wedding circles and careens around a rhythm that’s part 70s stoner art-rock, part camelwalking assouf desert rock.

On Magein Avos, Lockwood makes a bouncy, trickily rhythmic anthem out of its otherworldly, rustic cantorial theme, drummer John Bollinger pushing it with a restless, hard-hitting pulse. The band does Longa, another number based on an ancient traditional theme, as marauding Middle Eastern surf: imagine Eyal Maoz out in front of Budos Band. Then Lockwood returns to a lingering, resonantly psychedelic groove with Al Tashlicheini, a launching pad for his soaring, impassioned baritone vocals.

Od Hapaam is a mashup of joyous oldschool soul, blazing Ethiopiques and searing, suspensefully cinematic stadium rock, Lockwood’s rumbling solo leaving a long trail of sparks in its wake. My Angel’s House skirts funk, desert rock and rhythmically shapeshifting art-rock without hitting any of those style head-on, although Lockwood’s sputtering guitar here wouldn’t be out of place in a Bombino song. The album winds up with Rozo D’Shabbos, by the great Russian-American cantor Pierre Pinchik, reinvented as a vigorously crescendoing anthem that rises out of a hypnotic Afrobeat vamp. Knowing the band, they’ll probably jam the hell out of these songs live.