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Tag: kotorino

A Characteristically Creepy New Album From the Great Kotorino

You could make a very strong case that Kotorino are the best New York band of the last ten years. Combining circus rock and latin noir, with frequent detours into gothic Americana, their sound grew more lavishly orchestrated as the group expanded. Their new album Sea Monster, streaming at Bandcamp, brings the band full circle to their earliest years in quietly uneasy parlor rock, a vehicle for frontman/guitarist Jeff Morris’ allusively grim narratives. Kotorino don’t have any shows coming up, but Charming Disaster – Morris and singer/uke player Ellia Bisker’s devilish murder ballad side project – are playing Pine Box Rock Shop this Friday night, Feb 16 at 11:30 PM.

“Like a broken calculator, they tried, and tried, but never got her number,” Morris and Bisker harmonize over an unexpectedly funky strut as the new album’s opening track, Hell Yeah, gets underway. The horn section kicks in, then there’s one of the misterioso interludes the band love so much. As usual, there are as many levels of meaning here, a sideways shout-out to an enterprising girl in the 21st century Manhattan gig economy:

Downtown to the tarpits
Where the hedge funds employ mystics
She said it’s been real in the abstract,
But I want to break out of this contract

Now That I’m Dead, a slowly swaying, crescendoing soul ballad, is next. The glockenspiel against Morris’ grittily clanging old Gibson hollowbody is a typical, neat Kotorino touch. The band shift between a muted, suspenseful pulse and bright, horn-spiced flair in the increasingly ominous travelogue Daddy’s on the Road: all those doppler effects are irresistibly fun.

Rags to Riches is classic Kotorino, a creepy circus waltz: without spoiling the plot, the theme is be careful what you wish for. Likewise, Breakdown has a darkly jaunty, brassy oldtimey swing: it’s part escape anthem, part dayjob hell story.

Too Bad (You Haven’t Eyes Like Us Owls) is the album’s most haunting track, a brooding noir mambo ablaze with brass, pouncing along on the slashes from Morris’ guitar, with a succession of surreal vocal cameos from the women in the band (who also comprise violinists Molly White and Estelle Bajou, tuba players Jeanie Schroder and Liz Prince, and singing saw player Caroline Ritson).

Patricia Santos’ mournful cello infuses the brooding, metaphorically charged waltz Planes Land:

The higher you go
The thinner the air
Head in the clouds
Spoils the view

Right Way Wrong has an emphatically jagged latin soul groove that rises to a moodily lush chorus, an allusively imagistic criminals-on-the-run tale with a cynically gruff Stefan Zeniuk bass sax solo. Fall Asleep But Don’t Let Me Go isn’t the only shipwreck tale Morris has written, but it’s the gloomiest, rising out of hazy ambience to a towering, 6/8 sway and then back, with an absolutely delicious contrapuntal vocal arrangement.

The title cut closes the album, Mike Brown;s chugging quasi-ska bassline giving way to a surreal, tropically psychedelic interlude with coy allusions to the Beatles and maybe the Boomtown Rats. Name another band alive who can do all this and a lot more in the span of just this many songs, You’ll see this here on the best albums of 2018 page at the end of the year.

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The 100 Best Songs of 2017

This is a playlist. Click on each song title to stream it, click on the artist name for their webpage.

It was tempting to pick one of the segments of the Satoko Fujii Orchestra New York’s new release, Fukushima, as the best song of the year. But the single most relevant and mesmerizing album of 2017 is best heard as a contiguous suite. Taking one of its five movements out of context would spoil the experience. And it’s nowhere to be found online at the moment, anyway.

In lieu of that, the single best song of 2017, Kitten, by Dennis Davison, is still in the embryonic stage. It wasn’t released by a record label, or even recorded in a studio. It reached this blog as a voice memo, just vocals and guitar in a practice space. The frontman of cult favorite psychedelic band the Jigsaw Seen has written a lot of great songs over the years, but this one is the most harrowing. On the surface, it’s about a homeless guy who finds a kitten. He’s in trouble: he lives by the exit sign. And this is not a sweet love-conquers-all narrative. It’s a wish song – and a portrait of terminal depression as vivid and chilling as anything Phil Ochs or Ian Curtis ever wrote. And it’s as catchy as it is depressed.

Rather than trying to rank the other 99 songs here, they’re listed in rough chronological order of when they were either received or witnessed onstage. Rather than regurgitating the Best Albums of 2017 list, this one has a lot of songs that either haven’t been officially released, or were just so amazing to see live over the past year that it wouldn’t be fair to exclude them. Same rules as last year: one song per band or artist. Otherwise, half this list would be Ward White and Amir ElSaffar, and that would be counterproductive. You can go down the rabbit hole with any of the hundred artists on this list all by yourself without any further help from this blog.

Ward WhiteCoffee Maker
A pair of accomplices grow more desperate by the hour in this catchy yet characteristically enigmatic, Charming Disaster-esque post-murder narrative. The way White caps off his guitar solo is as cruel as it is priceless. From the even more inscrutable As Consolation, best rock album of 2017.

Jack GraceGet Out of Brooklyn
The baritone Americana crooner’s somber, heartbreaking requiem for a pre-real estate bubble New York. “The place held its own ground, the rivers separated where you bothered to go – really used to try to get out of Brooklyn, now everybody’s trying to get in.” From the album Everything I Say Is a Lie.

The Dream Syndicate  – Like Mary
The most harrowing track on Steve Wynn’s recently regrouped, legendary 80s band’s new album How Did I Find Myself Here is a catchy, tensely muted, grim portrait of a woman who may be a child killer…or just an Oxycontin casualty.

Amir ElSaffar’s Rivers of Sound – Ya Ibni, Ya Ibni (My Son, My Son)
A vast, oceanic Iraqi-flavored lament from the paradigm-shifting trumpeter/multi-instrumentalist’s Middle Eastern orchestral jazz group’s latest album Not Two. 

The Sadies – The Good Years
A brisk shuffle beat beneath hypnotically lingering guitars in this chilling Nashville gothic elegy for a disastrous marriage: “She couldn’t wait to clean out the place he occupied.” From the album Northern Passages.

Alice Lee – Your Blues
A savagely lyrical, spot-on soul anthem for the era of Ferguson and Eric Garner from the ex-New York singer/multi-instrumentalist’s brilliant new album The Wheel.

Charming Disaster – What Remains
The New York noir supergroup– led by Jeff Morris of lavish, dark, latin-flavored rockers Kotorino and Ellia Bisker of parlor pop existentialists Sweet Soubrette – slink their way through this chillingly allusive post-murder narrative inspired by Flannery O’Connor’s The River. From the album Cautionary Tales.

Los WemblersSonido Amazonico
A brand-new version of the eerie, slinky national anthem of psychedelic cumbia, which the Peruvian band wrote and first recorded almost fifty years ago. This one’s a lot longer and more psychedelic than any other version in existence, Chicha Libre’s included. From their unlikely and amazing comeback album Ikaro Del Amor.

 Sofia TalvikLullaby
Catchy, anthemic and resolutely optimistic on the surface: “Still you wish you were dead.” When the Nordic Americana songwriter played this at the American Folk Art Museum this past spring, you could have heard a pin drop. From the album Big Sky Country.

Castle Black – Broken Bright Star
Guitarist Leigh Celent’s evil, spare icepick intro kicks off this slowly marauding anthem that eventually explodes in a fireball of reverb. From the album Trapped Under All You Know.

Morricone YouthClunes Town
Del Shannon mashed up with Ennio Morricone – makes sense, right? – with distantly ghostly multitracked Karla Rose vocals. From the band’s Mad Max soundtrack

LusterlitCeremony
Frontwoman/drummer Susan Hwang gives this long, creepy, ineluctably crescendoing, chromatically-charged Cormac McCarthy-inspired anthem her most luridly Lynchian vocal ever. From the album List of Equipment.

Lorraine LeckieAmerica Weeping
Leonard Cohen died the day before the fateful 2016 Presidential election. This careening psychedelic riff-rocker is the eclectic bandleader’s anguished response. Free download!

Son of SkooshnyUntold History
With Steve Refling’s keening slide guitar, this is one of the band’s harder-rocking numbers, Mark Breyer’s chillingly autobiographical account of growing up amid all sorts of familial and social Cold War-era dysfunction. From the album Matchless Gifts.

Aimee MannLies of Summer
Slow and lush, heavy like a thunderstorm, this mutedly depressed orchestral rock tale doesn’t reveal whether the narrator is addressing a prisoner or a dead person until the very end. From the album Mental Illness.

Brian Carpenter & the ConfessionsCity on Fire
The Ghost Train Orchestra trumpeter/bandleader plays keys and guitar and lends his baritone voice to this brilliantly Lynchian band, duetting with chanteuse Jen Kenneally in this slinky, bolero-tinged smash. They managed to steal the spotlight from Big Lazy on a Friday night in the East Village last month, no joke. 

Changing ModesDust
Awash in orchestral keys and troubled close harmonies from the band’s two frontwomen, this slowly crescendoing apocalypse anthem makes an apt coda to the New York art-rock band’s brilliant album Goodbye Theodora.

James Williamson and Deniz TekNo Sense of Crime
The best and most death-obsessed track from the Stooges’ immortal Kill City album, reinvented as lush, poignant, similarly opiated acoustic parlor rock. Giant Drag’s Annie Hardy adds plaintive high harmonies, with violin from Petra Haden. From the killer, wryly titled ep Acoustic K.O.

Miramar  – Sin Ti
A psychedelically Lynchian, allusively Middle Eastern-tinged bolero, the highlight of the Virginia group’s show at Drom back in January.

Joshua GarciaThat’s the Way You Drop a Bomb
Oldschool first-wave-style folk revival narrative as one of the crew of the Enola Gay might have heard it. Chililng beyond belief, and a staple of the New York songwriter’s live show.

Greek JudasKontrabandistas
A drug-smuggling anthem from the 1930s Greek underworld reinvented as searing, menacing, twin guitar-fueled metal. From the band’s brand-new debut album. 

The New Pornographers – High Ticket Attractions
Motorik Pulp-style new wave satire of yuppie status-grubbing. Llittle do they know how much corporations are taking advantage of them. From the album Whiteout Conditions.

Kerem Guney – Sicak Bir Sevda
Is it fair to put a haunting Turkish psychedelic rock anthem from the late 70s – like the Doors with an electric saz – on a list of 2017 songs? It hasn’t been released outside Turkey until the Uzelli Psychedelic Anadolu compilation came out earlier this year. 

MeszecsinkaHajnalban (At Dawn) – fifteen minutes of evil shamanic post-Velvets Balkan crash and wail from this phantasmagorical female-fronted Balkan group. Another band who killed it back in January at Drom.

Jaye BartellSwim Colleen
With his deadpan baritone and reverb-drenched, spare guitar hooks, nobody’s better at allusive macabre narratives than this guy. From his album In a Time of Trouble, a Wild Exaltation.

Carol LipnikMy Piano
Stately, graceful art-rock eco-disaster parable: after all, pianos are made from trees. Her vocal crescendo will give you goosebumps. She and pianist Matt Kanelos held the crowd rapt with this at Pangea back in January.

The Jigsaw SeenMy Name Is Tom
A rare successful mashup of dark Indian raga theme and American psychedelic rock, and one of the LA band’s most iconic songs. They ripped the roof off with this at Bowery Electric back in March.. From their latest album For the Discriminating Completist.

Ran Blake & Dominique Eade It’s Alright, Ma (I’m Only Bleeding)
The iconic noir pianist and the brilliant jazz singer outdo Dylan’s original. Eade’s rapidfire articulation underscores the venom and bitterness in this exasperated capitalist treadmill tirade as Blake anchors it with his signature blend of eerie glimmer and murk. From their album Town & Country.

Rev. Billy & the Stop Shopping Choir End of the World
The fearless environmental activist and his mighty, roughly sixty-member choir opened their towering Prospect Park Bandshell set this past summer with this ominous original gospel tune: “Only so many beautiful days on earth!”

The Robert Sabin Dectet – Ghost
A portrait of a house whose occupant has just died, a somber belltone pavane punctuated with artfully suspenseful use of space and moody horns. From the bassist’s album Humanity Part II with his lushly cinematic large ensemble

Gacaltooyo Band – Ninkaan Ogayn (He Who Does Not Know)
Never before released outside of Somalia, this late 70s jam is a slow, haunting mashup of noir soul, Bollywood balladry, Ethiopiques and what sounds like J-pop – Somalian pentatonic scales come across as positively Asian in places here. From the compilation Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa

The Mehmet Polat TrioEverything Is in You
Joined by kora and ney flute, the brilliant Turkish oudist shifts between otherworldly Middle Eastern modes, Asia and Africa in this pensive epic. From the album Ask Your Heart

Black Lesbian FishermenRagged Ritual
This trippy, practically fifteen-minute drone-rock dirge has subtle Indian raga allusions, moody Middle Eastern ambience and a slow build to a darkly majestically macabre, resonant swirl of organ and guitar. From the album Ectopic Apiary.

Hearing ThingsStalefish
A mashup of growling go-go funk, horror surf, Middle Eastern music and the Doors, it’s a staple of Brooklyn’s funnest band’s live show.

NO ICELeave Her Alone
Musically, it’s a bitter, fiery soul-rock anthem. Lyrically, it’s one of the year’s classiest numbers: cool guys don’t harass women. From the Brooklyn band’s amazingly multistylistic, fun debut full-length album Come On Feel the NO ICE.

Orkesta MendozaContra La Marea
The  briskly strutting noir centerpiece of the slinky psychedelic mambo/cumbia band’s latest album ¡Vamos A Guarachar!, brooding baritone sax and clarinet alongside bandleader Sergio Mendoza’s reverberating guitar multitracks.

The Trio JoubranLaytaka
The gorgeously fluttering, understatedly elegaic intro to the oud-playing brothers’ album and DVD A’Lombre Des Mots (In the Shadow of Words), their tribute to their longtime collaborator, iconic Palestinian poet and activist Mahmoud Darwish. They mesmerized the crowd with this at their Lincoln Center show this past June.

Doug Wieselman’s Trio S  Dreambox
A cello drone and flickers from the drums underpin the bandleader’s moody Balkan melismas. building to a ferocious, Macedonian-flavored dance – the high point of their new album Somewhere Glimmer.

Money Chicha – Tamborcita
The most epic number on the debut album by the Austin psychedelic cumbia monsters (a spinoff of the slightly less psychedelic Grupo Fantasma), simmering and swooshing with ominous chromatics, reverb guitar and dub tinges.

Ella AtlasLeave Me in Blue
The most darkly lingering, epically sweeping track on 2017’s best debut album, The Road to Now, the Lynchian first release by enigmatic singer Tarrah Maria and Lost Patrol guitarist Steven Masucci.

King Gizzard & the Lizard WizardOpen Water
A hash-smuggling Red Sea speedboat theme of sorts, it’s got an energetic, hypnotically shuffling, qawwali-ish groove, icepick staccato guitar and all sorts of eerie chromatic hooks. From the album Flying Microtonal Banana.

Timatim FitfitLiving in the City
A stabbing parlor pop tune, John Cale mashed up with the Handsome Family from the menacing, carnivalesque solo album The Sugar Man, a creepy side project by Orphan Jane accordionist Tim Cluff.

Omar SouleymanMawal
An uncharacteristically slow, hauntingly violin-driven refugee’s lament from the gruff Syrian-born crooner’s album To Syria With Love.

Clint Mansell – Wheatfield With Crows
With its shivery violins, lustrous long tones and darkly ambient washes, this is where the film composer’s score to the Van Gogh movie Loving Vincent breaks into a scream.

 What Cheer? Brigade Black Cannon
Sort of a swaying Balkan brass Hawaii 5-0; the stampeding doublespeed bridge and the breathless charge on the way out are the high points of the East Coast’s largest brass band’s album You Can’t See Inside of Me.

The Legendary Shack Shakers  – White Devil
“White is the color of hipsters,” frontman JD Wilkes snarls as this noir blues stomps along, flickering with out-of-tune piano and Rod Hamdallah’s screaming distorted guitar. From the album After You’ve Gone.

BobtownMagilla Lee
New York’s best folk noir band blend their charming voices for this blithely bouncy narrative about “true meditation through medication” with dire consequences. They slayed with this at this year’s Brooklyn Americana Festival.

Nicole Atkins  I Love Living Here
A slow-simmering, crushingly sarcastic, angst-driven piano-and-horns anthem set in 2017 Brooklyn gentrifier hell. From the noir soul singer’s latest album Goodnight Rhonda Lee.

Anbessa OrchestraNagatti Si Jedha
The Israeli-American Ethio-jazz band jam the hell out of this uneasily catchy, slinky, reverb guitar-driven anthem, a mashup of vintage soul and ancient African riffs, when they play it live. From their most recent ep.

Red Baraat – Gaadi of Truth
Fiery, chromatic horn-driven live bhangra with a little hip-hop flavor: like an Indian Slavic Soul Party. From the album Bhangra Pirates.

The Sirius QuartetSpidey Falls!
This high-voltage microtonal string epic is part Big Lazy crime jazz, part Bernard Herrmann, part Piazzolla and part turbocharged tarantella.

Rahim AlHajChant
The Iraqi-born oudist and his trio entertained the crowd at Lincoln Center this past spring with an intimate version of this uneasily bouncy, subtly sardonic theme inspired by his mom trying to keep her kids out of trouble. This video link above is the full orchestrated version

Dos Santos Anti-Beat Orquesta – Red
Slinky, luridly organ-driven psychedelic cumbia mixed up withChicano Batman-style psychedelic soul. From the album Fonografic.

Nina Diaz – Star
Towering, angst-fueled noir punk cabaret, like a mashup of Vera Beren and Nicole Atkins. From the Girl in a Coma’s excellent debut album The Beat Is Dead.

Kalyani SinghEllis
An allusively grisly Ellis Island scenario set to a soaring Indian carnatic melody recast as gothic Americana – told from the point of view of a ghost. Or is she? You could have heard a pin drop when Singh sang this at the American Folk Art Museum last year. 

The NYChillharmonicBlumen
A lush, hypnotic, uneasily circling Radiohead-inflected epic from singer Sara McDonald’s mighty 22-piece New York band, who mash up big band jazz and symphonic rock. They raised the roof with this at Joe’s Pub last spring.

Dalava – The Bloody Wall
A murder victim haunts the crime scene over almost imperceptibly crescendoing art-rock in guitarist Aram Bajakian and singer Julia Ulehla’s reinvention of this old Moravian folk tune from their latest album The Book of Transfigurations.

Electric YouthIt’s Them
The Canadian duo’s enveloping, slowly crescendoing take on a classic Lynch film theme – in this case, for a movie that never came out. From the album Breathing.

Mulatu AstatkeYekatit
The godfather of Ethio-jazz, backed by an impressively tight pickup band including keyboardist Jason Lindner and trumpeter Adam O’Farrill, kept the uneasy, brassy groove going for almost fifteen minutes with this classic in Central Park back in August.

Los Crema Paraiso – Shine On You Crazy Diablo
The cinematic Venezuelan psychedelic trio have been playing their deadpan version of the Pink Floyd epic all the way through in concert. for more than a year now. They didn’t extend it all the way through at Barbes back in July, but it was still amazing how they can recreate it while adding wry dub tinges. This is a similar, relatively brief eight-minute studio version.

Melissa & the MannequinsCan’t Let Go
The latest deliciously catchy, jangly single from New York’s best new band of 2017; bittersweetly coy vocals, ringing guitars and a little vintage soul too. 

BrigaBela Sum
Mesmerizing singer Eva Salina and Balkan accordionist Sergiu Popa join the Quebecoise violinist on this broodingly gorgeous ballad from the album Femme.

Funkrust Brass Band – Dark City
The title track, and most distinctively chromatic, Balkan-flavored anthem from the debut album by New York’s largest and most explosive brass band.

 Sofia Rei – Arriba Quemando El Sol
The stark Violeta Parra peasant’s lament reinvented as relentless, marching art-rock fueled by Marc Ribot’s unhinged guitar. From the album El Gavilan.

Kelly GreenCulture Shock
A bustling, epic noir jazz theme that eventually descends into dissociative Sketches of Spain allusions, flutters loosely and then jumps back into the rat race again. Centerpiece of the album  Life Rearranged.

David Smooke & the Peabody Wind Ensemble – Nutshell Studies of Unexplained Death
The epic, sixteen-minute title track to the toy pianist’s new album is a real cinematic showstopper. Horrified tritone cadenzas, thunderous swells, unexpectedly dusky microtonal banjo, and then toy piano plinking and clicking mutedly under extreme duress.

Mike Neer’s Steelonious – Off Minor
Smoking steel guitar, organ and a rhythm section take Thelonious Monk’s classic to the next Lynchian level. From the band’s debut album.

Vigen HovsepyanGulo
The most haunting track on the powerful Armenian singer and multi-instrumentalist’s new album Echoes: Revived Armenian Folk Music is this slowly swaying 6/8 piano ballad.

La Mar EnfortunaAman Minush
Elysian Fields guitarist Oren Bloedow and singer Jennifer Charles’ Sephardic art-rock side project made entrancing psychedelic rock out this darkly bouncy old tune at their November show at the Jewish Museum

Noura Mint SeymaliSoub Hanak
A microtonal duskcore anthem, the most straight-up rock number from the fearless jamband leader’s album Arbina.

Hilary DownesSecrets of Birds
The art-rock songwriter’s band take their deepest plunge into noir on the album’s title track: “Save me from these thoughts, divebomb every part,”…yet, “I am not afraid of the  darkness in my way.”

Trina Basu & Arun RamamurthySindhu Bhairavi
Haunting, edgy, hypnoticallly dueling Indian violins – since this live recording from their amazing Noguchi Museum show in September is an audio-only clip, it’s tantalizingly hard to figure out who’s playing what.

The Hooten Hollers – Scrapper’s Lament
An amusing, amped-up oldschool country ballad about the joys of scrounging for scrap metal – a perfect job in these new depression times. From the band’s 2017 album.

Borbely Mihaly Polygon2/1
A bouncy, uneasy, staccato Hungarian bass clarinet/cimbalom/drums theme, one of the highlights of the trio’s amazing show at Drom back in January.

Tomas Fujiwara’s Triple DoubleLove & Protest
Mournful, spacious blues trumpet over a twin-drum stampede spiced with burns and scrapes from guitarists Mary Halvorson and Brandon Seabrook: Wadada Leo Smith clarity and Amir ElSaffar majesty. From the group’s debut album.

River CultShadow Out of Time
Epic Daydream Nation-era Sonic Youth slides into galloping post-Sabbath in this careening live track from the heavy psych band’s latest ep Live at WFMU.

Bridget KibbeyToccata in D
This is the famous J.S. Bach organ piece that’s been used in a million horror movies…played solo, matter-of-factly and celestially, on the harp. It’s as funny as it is subversive, but ultimately it’s still arguably the creepiest piece of music ever written. A downtown crowd at the Times Arrow Festival earlier this year didn’t know what to make of it. 

Dawn ObergNothing Rhymes With Orange
The most bleakly hilarious song of the year is this sharp, literary middle finger raised at “Putin’s little bitch” in the Oval Office. Title track from the parlor pop pianist’s latest ep.

Kacy & Clayton – A Certain Kind of Memory
A dead ringer for Jenifer Jackson in wounded dark country mode circa 2007, down to the slow, lingering, Richard Thompson-esque arrangement. From the album The Siren’s Song.

Super Yamba BandControl Per Capita (C.P.C.)
One of the Brooklyn psychedelic Afrobeat band’s most lavish, funky jams. They got a packed house at Barbes boiling over with this last summer. 

 Chicano BatmanThe Taker Story
A anti-imperialist broadside, part Isaac Hayes hot butter, part Gil Scott-Heron, with a hazy latin tint from the psychedelic latin soul stars’ latest album Freedom Is Free.

Marcellus HallStill in Range
The ex-White Hassle frontman treated a Williamsburg crowd to an unexpectedly slashing take of this deviously allusive, pouncingly catchy, sardonic social media-era critique last spring. From the album Afterglow.

The Klezmatics – The Yoke
A crushingly bitter Catalan dirge told from a slave’s point of view, the highlight of NYC’s original klezmer punks’ latest album Apikorsom/Heretics. They held a Central Park crowd rapt with this last summer. 

Agnes ObelTrojan Horses
Creepy horror-movie piano and dark low strings anchor the evil, whispery harmonies of this moody Nordic art-rock waltz from the album Citizen of Glass.

 Pokey LaFargeSilent Movies
An offhandedly stinging, sarcastically swinging oldschool soul anthem for an era of selfie overkill. He and his band motored through this at Bowery Ballroom back in July. From the album Manic Revelations.

Algiers – Cleveland
A fierce yet enigmatic anti-police violence anthem, part noir gospel, part postrock, part postapocalyptic film theme from the band’s second album The Underside of Power.

Paris ComboBonne Nouvelle
Big bustling noir swing tune with a bitter undercurrent from a darker, more lyrically hilarious French counterpart to the Squirrel Nut Zippers. From the album Tako Tsubo.

Bridget KearneyLiving in a Cave
Orbison noir through the prism of 2017 new wave revival. From the Lake Street Dive bassist’s excellent, catchy debut album Won’t Let You Down.

Gold DimeDisinterested
The side project by Talk Normal’s Andrya Ambro punctuates this surreal drone-rock epic with all kinds of delicious, darkly explosive riffage. From the band’s debut album Nerves.

The Dirty Bourbon River ShowPoor Boy, Rich Girl
A sly steamboat-soul slap upside the head of an easy target – but some targets deserve to be hit upside the head. From the album The Flying Musical Circus.

 Meaghan BurkeGowanus
A swirling, theatrical orchestrated rock lament from the charismatic cello rock songwriter’s new album Creature Comforts.

The Ed Palermo Big BandOpen Up Said the World At the Door
A wry big band jazz cover of the haphazardly careening Jeff Lynne cult favorite from the Move’s 1970 Looking On album that perfectly crystalizes the angst-fueled bustle the original was shooting for. From the album The Great Un-American Songbook Volumes 1 & 2.

Touched By GhoulMurder Circus
The title track from the darkly enigmatic, female-fronted Chicago punk/postrock band’s debut album works artfully cynical variations on a familiar carnival theme. 

 Marta SanchezScillar
The jazz pianist and her band artfully shift roles in this broodingly modal, looping, haunting elegy of sorts. From her new quintet album Danza Imposible.

Seun Kuti & Egypt 80African Dreams
“Conscious capitalism doesn’t exist,” the torchbearer of the original Nigerian Afrobeat legacy remarked at his Central Park show this past summer before launching into this pouncing, undulating cautionary tale for those who might want to play that game.  

Ensemble Mik Nawooj Gin & Juice
A deadpan, operatic orchestral cover of the Snoop Dogg driving-while-wasted classic. For real. They killed with this in Harlem back in March.

NehedarThe Grudge
Broodingly punchy 60s psych pop with coy 80s new wave tinges and a deliciously vengeful lyric. “Wanna step on me so you can rise to a better pedigree?…Put the claws back in your kitty paws.”

 Ani Cordero – Culebra
Growling surf bass contrasts with spare Spanish guitar and ominously reverberating electric riffage in this kinetic number from the fearless protest song specialist. From the album Querido Mundo.

Maximo ParkWork and Then Wait
A defiant 99-percenter singalong anthem, sort of a cross between mid-90s Blur and an artsy dance act like the Cat Empire. From the album Risk to Exist.

The PorchistasMr. Chump
Which raises a middle finger to the American Boris Yeltsin. This orange-wigged creep is a “draft-dodging scum” who “beats on little girls and cheats on Monopoly.” Then the girlie chorus chimes in: “Eats shit!” From the album Axis & Allies.

GalanosFeel Good
Echoey and surreal, this macabre, whispery, reverb-drenched noir theme slowly coalesces out of a Lynchian spoken word interlude laced with evil guitar flickers. From the album Deceiver Receiver.

The 50 Best Albums of 2017

Scroll down for links to stream each of the albums here…except for the very newest one, which happens to be #1.

The best and most relevant album of 2017 was Fukushima, by the Satoko Fujii Orchestra New York. This haunting, epic five-part suite is not a narrative of the grim events of March 11, 2011, but rather the Tokyo-born pianist/bandleader’s reflection on personal terror and horror in the wake of the worst nuclear disaster in world history.

Fujii’s stock in trade is not political music. Her vast catalog – over eighty albums as a leader or co-leader since the 90s – encompasses everything from epic improvisational soundscapes, to dark, acerbic piano compositions, rainy-day Japanese-flavored jazz-folk and collaborations with a global cast of artists. This may be her greatest achievement to date, as lush and sweeping as it is anthemically tuneful. And as a response to greed-fueled attempts to cover up the deadly environmental damage caused by the meltdowns, it’s as savage as Shostakovich’s greatest symphonies or Charles Mingus’ political broadsides.

It’s not streaming anywhere at present (end of December 2017), but it’s just out and available from Fujii’s Libra Records. Watch this space for a link! 

Vast research and triage went into the rest of this list. If you count multitasking as listening, an extremely ambitious listener can digest maybe three new albums a day. That’s about 1200 albums a year. An extremely ambitious music blogger can sample several thousand and then attempt to make sense of the very best. As in previous years, these albums are listed in rough chronological order considering when they were received here, rather than in any kind of hierarchical ranking. Which would be absurd, anyway – if an album’s one of the year’s fifty best, it’s got to be pretty damn good.

Ran Blake & Dominique Eade – Town & Country
Protest jazz, icy Messiaenic miniatures and luminous nocturnes from the noir piano icon and his brilliant longtime singer collaborator. Listen at Spotify 

Ward White – As Consolation
The best rock record of 2017 is a surreal, twistedly psychedelic, ferociously literary masterpiece, from the guy who also put out the album ranked #1 here in 2013. Listen at Bandcamp 

The Dream Syndicate – How Did I Find Myself Here
Iconic noir songwriter Steve Wynn regrouped his legendary, influential 80s band, who picked up like they never left off with a mix of psychedelia, dreampop and volcanic jams. Listen at youtube

Amir ElSaffar’s Rivers of Sound – Not Two
The paradigm-shifting trumpeter/santoorist/singer’s latest large-ensemble recording, blending elements of Middle Eastern, Indian music and jazz is an album for our time: turbulent, restless and packed with poignant solos from a global lineup. Listen at New Amsterdam Records 

Son of Skooshny – Matchless Gifts
Wickedly lyrical songwriter Mark Breyer, longtime leader of powerpop cult favorites Skooshny, carries on with this richly jangly magnum opus, which collects his best songs of the last ten years or so. Listen at Bandcamp 

Phil Ochs  – Live in Montreal 10/22/66
What’s the iconic 1960s political firebrand doing on a list devoted to new music? This is new – a never-before-released set of many of his most shattering songs. It’s probably the definitive solo acoustic Ochs album. Listen at Spotify 

Charming Disaster – Cautionary Tales
The New York noir supergroup – led by Jeff Morris of lavish, dark, latin-flavored rockers Kotorino and Ellia Bisker of parlor pop existentialists Sweet Soubrette – expand their palette from murder ballads to apocalyptic anthems, spy themes and a novelty song that had to be written. Listen at Bandcamp 

Alice Lee – The Wheel
The long-awaited new album by one of the most brilliantly lyrical, sardonically insightful, captivating soul singers and songwriters to emerge from this city in this century. Listen at Bandcamp 

Changing Modes – Goodbye Theodora
Postapocalyptic art-rock, noir surf and snarling dreampop are just the tip of the iceberg on the keyboard-driven, female-fronted cult favorite New York band’s seventh album. Listen at Spotify

The Mehmet Polat Trio – Ask Your Heart
Serpentine, uneasily picturesque, dynamic Middle Eastern, African and Balkan themes from the virtuoso oud player and his eclectic group. Listen at Spotify 

NO ICE – Come On Feel the NO ICE
The Brooklyn What’s Jamie Frey continues as part of this careeningly diverse group, arguably the best band to come out of Brooklyn in the past five years. Fearless soul-rock, unhinged post new wave and loud, enigmatic anthems with a killer, spot-on sense of humor. Listen at Bandcamp

Aimee Mann – Mental Illness
Morose, muted, characteristically slashing acoustic waltzes and orchestral pop from the perennially relevant psychopathologist. Listen at Spotify 

The New Pornographers – Whiteout Conditions
Sardonic, bitingly insightful new wave for an age of greed and narcissism from this era’s preeminent powerpop supergroup. Listen at Spotify 

Orkesta Mendoza – ¡Vamos A Guarachar!
The world’s darkest and slinkiest southwestern gothic psychedelic cumbia noir mambo band. Listen at Bandcamp 

Los Wemblers – Ikaro Del Amor
That a four-song ep could make this list testifies to how genuinely incredible, and improbable it is. Legendary in their native Peru, where they started almost fifty years ago, this psychedelic cumbia family band jam as eerily and otherworldly as they did when they first emerged from the jungle. Listen at Spotify 

The Uzelli Psychedelic Anadolu compilation
Spanning from 1975 to 1984, this collection of kinetic Turkish psychedelic rock and funk seems even more current in this era of surreal cross-cultural mashups, comprising songs by artists including Erkin Koray, Asik Emrah, Ali Ayhan, Deniz Ustu Kopurur and others. Listen at Spotify 

The Sadies – Northern Passages
The moodily jangly Canadian gothic cult favorites’ hardest-rocking and most psychedelic album. Listen at Bandcamp 

Morricone Youth – Mad Max
The iconic New York noir cinephiles’ first release of the year – one of a planned fifty recordings of scores for films they’ve played live to over the years – is far darker and more southwestern gothic-oriented than the road warrior film’s plot. With a Karla Rose vocal cameo, too. Listen at Spotify 

James Williamson and Deniz Tek – Acoustic K.O.
Two iconic guitarists who largely defined the uncompromising Detroit proto-punk sound of the 1970s flip the script with an acoustic ep of lushly orchestrated Stooges classics. Listen at Spotify 

Andina: Huayno, Carnaval and Cumbia – The Sound of the Peruvian Andes 1968-1978
Seventeen trebly, reverby, even rarer tracks than the psychedelic cumbia unearthed by Barbes Records on the iconic Roots of Chicha compilations. Los Walker’s are the best-known group here; Los Compadres del Ande, Los Jelwees and Huiro y su Conjunto, among others, are also included. This isn’t just chicha, either: there are horn bands and cha-cha groups here too. Listen at Bandcamp

Melange – Viento Bravo
The Spanish Nektar jangle and swirl and spiral through one brooding, psychedelic art-rock mini-epic after another. Listen at Bandcamp 

The Legendary Shack Shakers – After You’ve Gone
Unstoppable after twenty years on the road, the iconic ghoulabilly/noir Americana band dive deeper into their twisted, swampy roots. Guitarist Rod Hamdallah makes a furiously triumphant return. Listen at Spotify 

Mames Babegenush – Mames Babegenush With Strings
Dynamic, lush, soaring, swooping brass-and-reed-fueled original klezmer dance numbers and anthems from this powerhouse Copenhagen unit. Listen at Spotify

Briga – Femme
The Montreal-based violinist’s eclectic, incisive mix of Romany, Balkan and klezmer sounds, with a little psychedelic and hip-hop flavor. Listen at Bandcamp

Saffron – Will You
Magical singer Katayoun Goudarzi and sitarist Shujaat Khan team up with Rolling Stones saxophonist Tim Ries, pianist Kevin Hays and others for this hypnotic, otherworldly reinvention of centuries-old Indian carnatic themes. Listen at Rockpaperscissors 

Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa
Newly digitized, rare, otherworldly 1970s and 80s Somali psychedelic rock, funk and Afrobeat from cassettes and master tapes buried to hide them from bombing raids. Amazing stuff. Listen at Bandcamp 

Arthur Lee & Love – Coming Through to You: The Live Recordings 1970-2004
Four sprawling discs comprising most of this psychedelic rock legend’s best songs, which he rocks the hell out of in concert. Most of this stuff is previously unreleased, and further proof that Lee’s career was far from over by the time he was done with Forever Changes. Listen at Spotify 

Steelism – Ism
Friends of Dean Martinez meets Morricone Youth in this surreal, catchy mix of keening steel guitar-driven instrumentals. Powerhouse soulstress Ruby Amanfu guests on a track. Listen at Spotify 

Neotolia – Neotolian Song
Pianist Utar Artun’s acerbic, moodily cinematic, sometimes jazz-inspired Turkish ensemble with the great Jussi Reijonen on guitar and oud. Listen at Soundcloud 

Dalava – The Book of Transfigurations
Slashingly eclectic ex-Lou Reed guitarist Aram Bajakian and his singer wife Julia Ulehla join forces and reinvent haunting, often harrowing Moravian folk songs with a psychedelic edge.Listen at Bandcamp 

Vigen Hovsepyan – Echoes: Revived Armenian Folk Music
The evocative singer/guitarist’s brooding, eclectic ballads and anthems from decades past, featuring the great oudist Ara Dinkjian. Listen at Spotify 

Money Chicha – Echo in Mexico
This is psychedelic south-of-the-border funk band Grupo Fantasma proving how deeply they can go into heavy psychedelic cumbias. Listen at Soundcloud

Castle Black – Trapped Under All You Know
Layers of reverb guitars flickering and roaring through the shadows, Leigh Celent’s power trio put out the best short rock album of 2017. Listen at youtube 

The Sweetback Sisters – King of Killing Time
Hard country, early 50s style from the eclectic, purist, badass duo of Emily Miller and Zara Bode with a great band behind them. Listen at Bandcamp 

Clint Mansell – Loving Vincent soundtrack
A classic 21st century horror film score. It’s not a horror film per se, but you can see the madness coming a mile away. Listen at Spotify 

Ella Atlas – The Road to Now
Enigmatic, allusively torchy singer Tarrah Maria’s band put out one of the most Lynchian releases of the year, joining forces with Lost Patrol guitar mastermind Stephen Masucci. Listen at Bandcamp 

Kelly Moran – Bloodroot
Enigmatically glistening, baroque-tinged multi-keyboard instrumentals inspired by many species of woodland greenery. Listen at Bandcamp 

King Gizzard and the Lizard Wizard – Flying Microtonal Banana
On which the well-loved Aussie psychedelic band took their initial leap into eerie, Middle Eastern-tinged microtonal music. Listen at Bandcamp 

Nina Diaz  – The Beat Is Dead
The Girl in a Coma bandleader gets ornate and cinematic with this dark, 80s new wave-style collection. Listen at Spotify 

Funkrust Brass Band – Dark City
High-voltage, rat-a-tat original Balkan brass anthems from this huge Brooklyn ensemble fronted by Charming Disaster’s Ellia Bisker. Listen at Bandcamp 

The Warlocks – Songs from the Pale Eclipse
Jangly, punchy, catchy 60s Laurel Canyon-style psychedelic rock – in lieu of a new album by the Allah-Las, this one will do fine. Listen at Bandcamp 

Galanos – Deceiver Receiver
With a gutter blues influence, some Thee Oh Sees dark garage-psych and some Black Angels ambience, this group are sort of the X of creepy 21st century rock. Listen at Bandcamp

Chicano Batman – Freedom Is Free
Organist Bardo Martinez and his shapeshifting band swing kaleidoscopically between latin soul, Zombies-style psych-pop, hard funk and Isaac Hayes-style epics. Listen at Bandcamp

Bridget Kearney  Won’t Let You Down
One of the year’s catchiest albums features Lake Street Dive’s killer bassist playing most of the instruments, through a mix of powerpop and new wave-flavored sounds. Listen at Bandcamp  

Algiers – The Underside of Power
Politically-fueled punk soul meets postrock meets postapocalyptic film score in gritty singer Franklin James Fisher’s ominously smoky narratives. Listen at Spotify 

Eric Ambel – Roscoe Live Vol. 1
One of the most distinctively brilliant, entertaining rock guitarists of the last couple of decades at the top of his game at an upstate outdoor festival with a killer band. Listen at Bandcamp 

Red Baraat – Bhangra Pirates
Wave after wave of undulating, crescendoing, cinematic, insanely danceable original brass-fueled live bhangra jams. Listen at Spotify 

Olcay Bayir – Neva/Harmony
Quietly intense new versions of ancient Turkish ballads and Balkan songs from the nuanced Turkish singer’s debut album. Listen at Spotify 

Gogol Bordello – Seekers & Finders
Amazing how fresh and energetic the original Eastern Bloc punks sound after all these years. Tight, catchy, never boring. Listen at Spotify

Ihtimanska – Yuz Yuze
A low-key but bouncy duo album of biting, minor-key Turkish and Bulgarian tunes from the duo of reedwoman Ariane Morin and accordionist Yoni Kaston. Listen at Bandcamp 

Daniel Ruiz – Purple Bird and Other Strange Songs
A haunting mix of of Doors and Nick Cave-influenced dark psychedelic rock and pop  from this Spanish songwriter. Listen at Bandcamp

The Top Thirty New York City Concerts of 2016

An informed snapshot of some of the most amazing performances across the five boroughs from a year that started out with some promise and ended with the whole world on edge and dreading the worst. Of all this blog’s year-end lists, including the 50 Best Albums and 100 Best Songs of 2016, this one’s the most fun to put together. And the most most individualistic: everybody’s got their own favorite concert moments. While it wouldn’t be hard to think of a hundred from the past year that deserve mention, that would be overkill. It all comes down to triage: apologies to the dozens of artists who played transcendent shows in this city in 2016 who aren’t represented here because of space constraints. Next year, dudes!

Concerts are listed chronologically; the very first one could be the best of the bunch.

Karla Rose at 11th St. Bar, 1/6/16
With her allusive lyrics, her silken voice and enigmatic stage presence, Karla Rose personifies noir. In 2016, out in front of her psychedelic, darkly cinematic twin-guitar band Karla Rose & the Thorns, she played Webster Hall, opened for first-wave punk legends the Dickies and the king of powerpop, Paul Collins. But her most intriguing show of all might have been this low-key trio set with World Inferno bassist Sandra Malak and pianist Frank LoCrasto, unveiling several new, mysterious numbers.

The 35th Anniversary of BC Studios, 1/15-16/16
Producer/guitarist/art-rocker/professional antagonist Martin Bisi booked a global cast of talent to perform and record a long timeline to commemorate his legendary Gowanus space, which might not last much longer if it isn’t landmarked. Highlights of the marathon weekend included slinky jazz punks Barbez, goth legend JG Thirlwell, haunting Middle Eastern noir singer and bandleader Ajda the Turkish Queen, a historic reunion of legendary 80s noiserock band Live Skull – who, back in the day, were better than Sonic Youth – and Bisi himself.

Gato Loco at Joe’s Pub, 1/29/16
The mighty psycho mambo band ambushed the audience with a battalion of baritone sax snipers throughout the space to bolster their explosive, darkly majestic reinventions of themes from the Verdi Reqiuem

Greg Squared’s Circle at Barbes, 3/6/16
The pyrotechnic multi-reedman and co-leader of Raya Brass Band – who’ve made frequent appearances on this page over the last few years – brought a bunch of A-list Brooklyn Balkan talent to work out about two hours’ worth of epically explosive new original pieces

Big Lazy and Mercury Radio Theater at Barbes, 4/1/16
The cinematic noir legends continue their monthly Friday night residency at Brooklyn’s best music venue; pound for pound, this twinbill, with the ferocious Philadelphia circus punk band, was probably the best of the bunch. Big Lazy’s best gig without a supporting act was probably this past May at the Lively, a great little Meatpacking District basement bar that lasted only a few weeks.

Kinan Azmeh and Erdem Helvacioglu at Spectrum, 4/9/16
Syrian clarinetist and Turkish guitarist join forces for a smoky, sinisterly ambient depiction of the horrors of war. Keep your eyes out for a forthcoming album of this material.

The Bright Smoke at Mercury Lounge, 4/14/16
Mia Wilson’s harrowingly intense art-rock band took their dynamic, explosively crescendoing live show to the next level at this one: it wouldn’t be overhype to say that they’re the closest thing to Joy Division that New York’s ever produced.

Greek Judas and Choban Elektrik at Barbes, 4/28/16
Greek Judas play careening psychedelic metal versions of classic hash-smoking and gangster music from Greece and Cyprus in the 20s and 30s. Choban Elektrik do the same with themes from across the Balkans, with organ and violin out front instead of screaming guitars. A real wild night, sort of like seeing the Doors and Iron Maiden on the same bill somewhere in the Aegean.

Ambrosia Parsley, Chris Maxwell and Holly Miranda at Hell Phone, 5/5/16
Short sets from the goth-tinged songbird and then the Arkansas gothic songwriter, followed by a raptly intense set from the cult favorite noir Americana singer, who showed off her chops on bothTelecaster and piano.

The Satoko Fujii Orchestra New York at I-Beam, 5/17/16
The room was so packed it was impossible to get inside, after the start of the great jazz pianist/composer/conductor’s shattering, angst-drenched suite reflecting horror and terror in the wake of the Fukushima nuclear meltdown on March 11, 2001. Watch out for the forthcoming album.

Eden Lane at Caffe Vivaldi, 5/29/16
Velvet-voiced jazz chanteuse Stephanie Layton channeled a century’s worth of existential angst and longing in front of her tightly swinging band, with a set packed with obscure treats from across the ages, including a vivid detour into the Erik Frandsen songbook.

Goddess, Ember Schrag and David Grubbs at a private party in Brooklyn, 6/3/16
Unsettlingly theatrical psychedelia, opaquely venomous Shakespeare-influenced Great Plains gothic songs and vast, deep-space guitarscapes to wind up one of the funnest nights of the year.

Lorraine Leckie at Pangea, 6/8/16
Backed by a tight, stripped-down version of her incendiary band the Demons, the eclectic songstress treated an intimate audience to everything from noir cabaret  to surrealistic art-rock. Her full-throttle Bowery Ballroom gig in November might have been even better.

 Attack and Tipsy Oxcart at Barbes, 7/5/16
Violinist Marandi Hostetter’s slinky, classic Levantine bellydance group made a great opener for the boombastic Balkan/Middle Eastern dance jamband.

Mariachi Flor De Toloache and Patti Smith at Lincoln Center Out of Doors, 7/20/16
The all-female Mexican-American folk ensemble mesmerized the crowd with a plaintive set that ranged from mariachi, to rancheras, to some sly psychedelic rock. Then the queen of dark downtown New York art-rock and her band scorched through a characteristically fearless, defiantly populist, epic set of classic anthems and poignant newer material.

Robin Aigner and Kotorino at Barbes, 7/21/16
Brooklyn’s most deviously lyrical, torchy historical songwriter/chanteuse and her excellent, swinging Americana band followed by the darkly intense, phantasmagorical circus rock/art-rock/mambo crew

The Sway Machinery and Hydra at Joe’s Pub, 8/4/16
The debut of the ongoing collaboration between the psychedelic cantorial rock jamband and singer/composer Sarah Small’s lustrous, haunting Middle Eastern/Balkan trio with Yula Beeri and Rima Fand was every bit as entrancing as it promised to be.

Sandcatchers at Barbes, 8/9/16
Surfy, uneasy, richly psychedelic Middle Eastern jamband with a lapsteel along with guitar. Wow!

Bombay Rickey at Barbes, 8/12/16
Powerhouse singer/accordionist Kamala Sankaram brought her four-octave vocal range and also a sitar to a characteristically serpentine set of psychedelic cumbias, Bollywood, southwestern gothic themes and an electric take of a classic Indian raga.

Dan Penta at Sidewalk, 8/14/16
“Now that’s songwriting,” marveled one listener gathered in the back room of the East Village shithole where the harrowing, surrealistically intense frontman of great, obscure New York bands like Jagged Leaves, the Larval Organs and Hearth played a relatively rare solo set of relentlessly doomed anthems and dirges.

The Chiara String Quartet play Bartok from memory at National Sawdust, 8/30/16
The group’s new double-disc set of the complete Bartok quartets has a bristling, conversational quality, echoed by this performance of the sullen Quartet No. 1 and the chilling Quartets Nos. 3 and 5

Ben Holmes and Patrick Farrell at Barbes, 9/3/16
The hauntingly tuneful trumpeter and his longtime Yiddish Art Trio bandmate, pyrotechnic accordionist Farrell, played their creepy, carnivalesque new Conqueror Worm Suite, based on the Edgar Allen Poe poem.

Ensemble Fanaa at Rye Bar, 9/7/16
Otherworldly, microtonal tenor saxophonist Daro Behroozi’s eerily trippy gnawa-jazz trio with bassist/gimbri player John Murchison and drummer Dan Kirfirst slayed at their debut at Barbes back in July. They were even better in this cozy downstairs South Williamsburg boite.

Anbessa Orchestra at Barbes, 9/9/16
The fiery guitar-and-horn-driven Ethiopian psychedelic funk band put on a pretty ferocious show here back in May. This one was even hotter, sweatier and wilder, with some auspicious new material.

Hearing Things at Barbes, 9/11/16
Another band who slayed at a Barbes show that earned a rave review here, but whose next gig at the Park Slope hotspot was even hotter. Saxophonist Matt Bauder, organist JP Schlegelmilch and drummer Vinnie Sperrazza spun and stomped and slunk their way through a darkly psychedelic mix of surf and go-go originals.

The Allah-Las at Baby’s All Right, 9/17/16
About an hour and a half of lushly catchy three-minute retro psychedelic jangle, clang and twang, fueled by the overtone mist from Pedrum Siadatian’s twelve-string. That the best song of the night was a surf instrumental speaks to the quality of this band’s tunes.

The Attacca String Quartet and Jeff Lynne’s ELO at Radio City, 9/18/16
A bucket-list show. The Attaccas impressed with their ability to hold a sold-out crowd who didn’t seem likely to have any interest in composers like John Adams, but the ensemble kept their attention with a blazing, smartly curated mini-set. Visionary art-rocker Lynne’s band included only one remaining member from the iconic mid-70s lineup, and they played mostly radio hits instead of deep album cuts. But the new, young-ish ensemble was stoked to share the stage with one of the world’s alltime great tunesmiths, and he sang as strongly as he did forty years ago. Not bad for a guy who notoriously hated touring and playing live.

Darcy James Argue’s Secret Society at National Sawdust, 10/2/16
Along with the Satoko Fujii Orchestra New York’s Fukushima suite, this was the most intense show of the year, the composer/conductor stern and enigmatic out in front of his mighty big band as they blustered and lurked through his crushingly relevant new conspiracy theory-inspired suite

Satomi Fukami, Masayo Ishigure and others at Merkin Concert Hall, 10/5/16
A feast of spiky, interwoven Japanese koto sounds. featuring the music of legendary 20th century koto virtuoso and composer Michio Miyagi

LJ Murphy in the East Village, 10/8/16
The charismatic noir blues bandleader was at the top of his game, skewering security state paranoia, smarmy East Village gentrifiers and little Hitlers of all kinds while his explosive three-guitar band the Accomplices careened and roared behind him.

Steve Ulrich and Mamie Minch at Barbes, 10/14/16
The debut live collaboration between this era’s definitive noir film composer and the darkly compelling resonator guitarist/blueswoman, a live score to Windsor McCay’s pioneering early animated film The Flying House, turned out to be even more haunting than expected. Then they played some blues, and some Johnny Cash

Sahba Motallebi at Symphony Space, 10/21/16
This concert never could have been staged in the pyrotechnic tar lute virtuoso’s Teheran hometown, because she’s a woman. Her slashing volleys of tremolo-picking and whirlwind riffage were pure adrenaline. That this was a duo performance with another woman musician, percussionist Naghmeh Farahmand made this a special slap upside the head of Islamofascists everywhere.

The Spectrum Symphony with organists Janos Palur and Balint Karosi at St. Peter’s Church, 11/4/16
Possibly this century’s only New York performance of concertos for organ and orchestra featured a richly textural take of the Poulenc concerto plus the world premiere of Korosi’s menacingly cinematic Second Concerto for Organ, Percussion and Strings plus works by Mendelssohn and Bach. Pound for pound, the most mighty, titanic, epic show probably staged anywhere in this city this year.

In 2015, women artists ruled this list; this year, acts were split evenly along gender lines. Tellingly, even more so than last year, about sixty percent of these shows were either free or a pass-the-bucket situation. Clearly the action in this city, in terms of live music at least, is on the ground floor.

Hauntingly Poignant Folk Noir and Phantasmagorical Rock From Thee Shambels

Thee Shambels have been one of New York’s best bands long enough to make it hard to believe that their new album, Lonely à la Mode – streaming at Bandcamp – is their first full-length release. Just in time for Halloween too! Frontman/guitarist Neville Elder’s wickedly literate, bleakly cynical existentialist narratives have never been more acerbically poignant, and the band behind him are onfire through a mix of noir cabaret, Nashville gothic, folk noir, retro soul and a Celtic-tinged ballad or two. Pound for pound, the album is somewhat less raucous than the band’s previous output. The production is lusciously lush, Claudia Chopek a one-woman string section floating behind Melissa Elledge’s accordion, Scott Kitchen’s bass, JJ Murphy’s drums and Sarah Mischner’s soaring harmony vocals. Matthew Dennis plays guitar, Alex Mallett plays banjo and CP Roth is on keyboards.

The opening track, Will There Be Women at My Funeral? has its beleaguered narrator costing out his own funeral over a swinging, Waitsish backdrop fueled by Elledge’s elegant accordion:

Will there be women at my funeral?
Will you press your sisters to attend?
How much do you think they’ll want for their time?
How much do you think I should spend…
Smudge your lips on my dead white face, add the cost to the bill…

And it just gets better from there.

Bad Timing is a slow, reverbtoned Lynchian soul epic set in a vividly detailed, seedy circus milieu where an acrobat’s “empty trapeze swings out in the dark,” as he falls to his death, Elder questioning:

Are the things we want
The things we need?
Are the things we need
The things we want?

With its subtle Brooklyn references, it could be a standout Joe Maynard song.

Caroline is more upbeat, a mashup of Blonde on Blonde Dylan and Walk Away Renee-style baroque pop. The album’s title track is a broodingly romping, masterfully orchestrated minor-key blend of noir cabaret and moody folk rock which wouldn’t be out of place on a Kotorino album. “Let’s throw stuff in the quarry,” Elder intones gleefully in the eerily shuffling Sister, “Maybe we can catch a stray cat.”

Elder punctuates the title of When Will We Be Lovers? with ominously tolling reverb guitar as the song gets underway, then the song build to toweringly majestic, angst-fueled heights. “I’m holding on for dear life,” Elder admits, building a vividly downcast East River tableau. in his characteristically flinty delivery. The slightly more optimistic, backbeat-driven nocturne Radio Down Low (Nashville) could have been a radio hit for the Wallflowers twenty years ago, complete with twinkling piano and mandolin solos.

Elder goes back to slow, moody, classic 60s soul for the breakup ballad Letting Go. Mallett’s banjo drives the sweeping, 6/8 ballad The Girl At the Bottom of the World, a love song that makes an apt companion piece to Roy Orbison’s In Dreams. Happy Birthday Baby (Going Down) takes an unexpected turn into wryly amusing lickety-split vintage R&B; the final cut is the surrealistic instrumental La Valse des Solitaires. Count this among the dozen or so best releases of 2016 and watch this space for an album release show.

Is It Safe to Say That Murder Ballad Mondays Are Killer?

It took four months worth of Murder Ballad Mondays before somebody played Rock Salt and Nails. It’s one of the real classics of folk noir. And it’s well known. Populist folksinger Nevada Smith gets credited for it, but it’s unlike anything else in his catalog and has a vernacular that looks back as far as the 1850s. And it’s as disconsolate as it is vengeful: the violence is implied, and even then, not til the last verse. Bobtown guitarist and songwriter Karen Dahlstrom channeled that sadness with distance and understatement, saving her powerful wail for a creepy a-cappella performance of her own grim Old West outlaw ballad Streets of Pocatello , from her brilliant Idaho-themed album Gem State. Then she picked up her guitar and did a new one that was a lot quieter but just as eerie.

That’s Murder Ballad Mondays in a nutshell: elite performers having fun with deadly tales from across the centuries and from their own repertoire as well. So far, the two most popular covers at this well-attended monthly extravaganza seem to be Delia’s Gone and Henry Lee, referencing both Johnny Cash and Gillian Welch. But the originals are what people come for: organizers Jeff Morris and Ellia Bisker, better known as torchily menacing parlor pop duo Charming Disaster, pack a lot into two hours. The next one is Monday, January 18 at 8 PM at Branded Saloon in Ft. Greene (closest stop is Bergen St. on the 2/3) featuring ominous baritone crooner Sean Kershaw and other similarly minded acts.

Charming Disaster have treated crowds here to short sets at previous Murder Ballad Mondays installments; last time around, they did just a single number, the allusively torchy Ghost Story (although they played a full set at Pete’s Candy Store this past Saturday night, packed the place and delivered an actually very funny show that included both a devastatingly tongue-in-cheek Led Zep cover and a new one about breaking strings onstage).

A duo version of phantasmagorical circus rock/noir cabaret band Orphan Jane – accordionist Tim Cluff and his trumpeter – also joined the festivities last time out, firing off a furtive number simply titled Murder as well as The Mansion Song, a menacingly vaudevillian narrative whose message seems to be that it pays to be cautious when seeking revenge against the one-tenth-of-one-percent: they can afford a bigger army than you.

Other artists included art-rock luminary and multi-instrumentalist Serena Jost, who held the crowd rapt with a typically allusive new tale about murder on the gallery floor, and an icily doomed cover from the current Nordic art-pop catalog. And singer Karen Poliski worked a similar intensity as she went to the well for a chilling Handsome Family cover.

Sweet Soubrette Release One of 2015’s Best Concerts As a Live Album

It’s a hot indian summer night outside Joe’s Pub, the shadows from the dark tower a block away just beginning to suck the light from the streets to the east of Astor Place. Inside, the man in the long black coat stretches out his legs underneath a table about twenty feet from the stage. With the back of his hand, he wipes his brow: he’s overdressed for this time of year. Across the table a couple beam and whoop it up. Somebody in the band – the drummer, as it turns out -is a friend, and they’re there to make sure he gets props.

Sweet Soubrette take the stage to what will be the most rousing applause of the night (Kotorino will play a ferocious, lustrously latin-tinged set of artsy, noir rock afterward). The man in the long black coat pulls his recorder from his pocket, presses a button and glances at it quizzically. As the lights dim, he pulls out his phone, illuminating the gadget’s digital display. Exhaling, dismayed, he clicks off both devices, pockets them in his coat and leans back to watch the show.

Frontwoman/ukulele player Ellia Bisker opens the set with a bouncy number, All That Glitters, her voice more weary than brassy as she channels the cynicism of a gold-digger working her latest mark. With NYU – where a thousand undergrad women have signed up as employees of an online prostitution ring in order to pay their tuition – a few blocks away, the song resonates in a new context. Next is Sweet Time, a soul ballad recast as oldtimey Americana on the wings of Heather Cole’s violin. “The song kind of undermines the message…just so you know,” Bisker tells the crowd coyly.

The man in the long black coat is restless, but Bisker is on a roll with her banter. “We have songs about a lot of normal things…like most bands,” she explains, deadpan and serious. “But we also have songs about books – a lot of books.” She explains that this one was inspired by Kurt Vonnegut’s Slaughterhouse Five, then launches into a propulsive take of the moody Burning City, the horn section – John Waters on trumpet, Cecil Scheib on trombone and Erin Rogers on alto sax- bobbing and weaving.

“So you have all these experiences…but you retain nothing, and you learn nothing, and nothing helps you,” the bandleader tells the audience, and then begins the achingly waltzing, saturnine Wake Up When, a chronicle of missed chances and lost hopes. By now the man in the long black coat is on the edge of his seat, watching as the lush wash of strings and horns rises.

“You come to a moment in your life, a crossroads…decisions, and you know what whatever you choose, you’re going to regret it,” Bisker continues – at this point, a pattern is clear, this concert has a theme and a trajectory:

The ghost ship of the life you didn’t choose
Is the one you know will never carry you
There are moments you get a glimpse
From the corner of your eye
And all you can do is watch it sail on by

Bisker misses a downstroke on her uke at one point; crushing poignancy, all the more so for not being part of the plan.

The show takes a turn into less harrowing territory with a sardonically pouting new soul ballad, (You Don’t) Talk to Me, awash in oldschool Memphis-style horns. Then drummer Darrell Smith hits a trip-hop beat as the group make their way through Big Celebrity and its sarcastic John Waters-esque allusions.

“We’re coming to the end, not just the end of our time here, but the end of our time at all, really. I’m just a truth sayer,” Bisker relates before Night Owls, another waltz. “Blow out the candle, we see in the dark,” she intones with a quiet defiance over the wash of orchestration. The concert ends with the Anais Nin-inspired anthem What’s My Desire: “She made the unspeakable speakable, and we admire her for that,” Bisker tells everyone.

Months later, the man in the long black coat reaches to his Macbook and types in Sweet Soubrette’s webpage. What might they be up to? As it turns out, Bisker is busy this month. Sweet Soubrette are at Rock Shop on January 14 at 10 PM for a $10 cover, with hauntingly anthemic folk noir/janglerock bandleader Jessie Kilguss opening the night at 8. Kotorino, to which Bisker lends her torchy harmonies, are at Barbes the previous night, the 13th, at 8. And her murderously entertaining parlor-pop murder ballad duo Charming Disaster, with Kotorino’s Jeff Morris are at Pete’s on the 9th, also at 8.

Clicking on the Sweet Soubrette music page, the man in the long black coat does a doubletake. That concert at Joe’s Pub was recorded and has been released as a live album, a name-your-price download at bandcamp! So much for not having enough memory in the recorder back in September! And the band also have a new single, Take It Easy, an ironically uneasy parlor-pop number.

The 50 Best Albums of 2015

Seven or eight years ago, everyone was predicting the demise of the album. That hasn’t happened, and as long as we have recording technology, it won’t. A few other predictions from the past decade, however, have come true. Albums these days tend to be shorter, and artists are releasing fewer of them. And as a result, they’re consistently better, since acts are no longer contractually obliged to record labels to churn out product regardless of whether or not they’ve got first-class material ready to go. A couple of artists on this list are on boutique labels, but everybody else is independent.

On this page you’ll find a link to stream each album in its entirety. Whenever possible, those links are to ad-free sites like Bandcamp or Soundcloud so you can multitask in comfort without having to ride the fader to mute the ads. Considering the vast number of albums released in any calendar year, you shouldn’t regard this list as gospel. It is, however, an informed survey based on careful triage followed by a sampling of several thousand releases, and then a locked-in, analytical listen to the best 500 or so, from this past January up to the present date. A LOT of time went into this. For purposes of keeping the list under control, none of the many thousands of excellent jazz, classical and avant garde releases are represented here. Realistically, there’s a limit on how much territory a single blog can cover.

The one collection that packed the most mighty wallop – a pretty quiet one, actually – and wins the title of best album of 2015 is Who’s Counting, by Rachelle Garniez. With gallows humor, terse piano, accordion and spare acoustic guitar, it’s the New York songwriter’s shortest, most intimate and darkest album, a masterpiece of existentialist rock, grim explorations of mortality and global carnage juxtaposed with jaunty, sultry, cabaret-flavored set pieces. This is the second time a release by Garniez has topped this list: her 2007 album Melusine Years ranked #1 that year at this blog’s predecessor. Stream it at Spotify

As far as the rest of this rich crop is concerned, there’s no ranking here, since there are so many styles to choose from. Seriously: what’s better? Carol Lipnik‘s otherworldly art-rock, Twin Guns’ savage garage-punk and horror surf, or Hungrytown‘s magnificently pensive folk noir? Apples and oranges, right? These albums are all so good that they can stand alongside anything here.

Les Sans Culottes- Les Dieux Ont Soif/The Gods Are Thirsty
The New York-based faux-French rockers deliver their most satirical, bitingly hilarious, spot-on critique yet…in French, of course, with a harder, more guitar-fueled edge than the retro 60s psychedelic pop they’re known for. Stream it at Soundcloud

Regular Einstein – Chimp Haven
Velvet-voiced, wickedly lyrical janglerock songwriter Paula Carino is another artist who topped the Best Albums of the Year list at this blog’s predecessor. In her case, that release was 2010’s Open on Sunday. This is her first new one – since the 90s, in fact -with her original New York band, packed with delicious double entendres, bittersweet narratives and tricky time signatures. Stream it at Bandcamp

The Bright Smoke – Terrible Towns
Haunting singer/guitarist Mia Wilson’s full-length debut with this atmospheric, blues-infused art-rock project ranks with Joy Division for angst-fueled, white-knuckle intensity. Stream it at Bandcamp

The Sideshow Tragedy Capital
Guitarist/frontman Nathan Singleton brings a ferocious, bitterly apocalyptic lyrical sensibility to his fiery gutter-blues band. Stream it at Bandcamp

Charming Disaster – Love, Crime & Other Trouble
Jeff Morris of the phantasmagorical Kotorino and Ellia Bisker of dark chamber pop band Sweet Soubrette join forces on their debut full-length release, a lyrically and historically rich mix of murder ballads and tales of relationships gone spectacularly wrong. Stream it at Bandcamp

Carol Lipnik – Almost Back to Normal
The best album by the best singer on this list, a launching pad for her spectacular four-octave vocal range, backed by luminous, hypnotic piano from Matt Kanelos and strings by Jacob Lawson. Allusive apocalyptic themes of natural and manmade disaster and post-9/11 terror linger in the distance. Stream it at Mermaidalley.com

Ember Schrag – The Folkadelphia Sessions
Hypnotically Beatlesque art-rock, smoldering Macbeth-inspired narratives and a killer Great Plains gothic anthem by the style’s most lyrical and distinctive practitioner. Stream and download it free from the Folkadelphia page

Twin Guns – The Last Picture Show
A mighty leap for the ferocious power trio, including but not limited to their Cramps-style stomp. This one’s a lot more psychedelic and noir surf-oriented. Stream it at Bandcamp

Lorraine Leckie & Pavel Cingl – The Raven Smiled
Spare and surreal yet majestically enveloping art-rock and Slavic folk noir sounds from the Canadian gothic songstress and Czech violin wizard. Stream it at Bandcamp

Rachel Mason – The Lives of Hamilton Fish
One of the darkest albums on this list, this lush, evocative mix of historically-inspired janglerock and folk noir traces the seeemingly unconnected lives of two early 20th century figures who shared the same name: a serial killer and the scion of a famous New York political legacy. Stream it at Bandcamp

King Raam – A Day & a Year
A majestic, brooding Iranian art-rock record by the pseudonymous expat baritone crooner and bandleader. Lyrics in Persian. Stream it at Soundcloud

Fernando Viciconte – Leave the Radio On
The noir rock bandleader originally hails from Argentina; this haunted, doomed concept album, with significant contributions from REM’s Peter Buck and others, could be the great lost Steve Wynn release. Stream it at Bandcamp

Litvakus– Raysn: The Music of Jewish Belarus
A rousing, exhilarating mix of rare Jewish dance numbers,lively originals and morose folk tunes from the badlands of Polesia, in the corner where Belarus, Poland, Latvia and the Ukraine meet. One of the best party albums on this list. Stream it at Bandcamp

Raya Brass Band – Raya
Another awesome party album, the third release by the New York Balkan group is their most original, stylistically and emotionally diverse one yet, incorporating Ethiopian and latin sounds into their rapidire chromatics. Stream it at Bandcamp

Tipsy Oxcart – Upside Down
A fat rock rhythm section anchors these deliriously edgy minor-key Balkan, Turkish and Jewish themes and originals. Stream it at Bandcamp

Marianne Dissard – Cologne Vier Takes
The southwestern gothic/art-rock chanteuse and bandleader at the top of her uneasy game, in a mix of richly atmospheric yet intimate versions from her darkly lyrical catalog. Lyrics in French. Stream it at Bandcamp

Tom Warnick & the World’s Fair – Side Effects
The well-loved noir rock cult figure turns in a characteristically diverse mix of ghoulabilly, noir swing, soul and blues, all with his signature black humor and a luridly smoky band behind him. Stream it at Spotify

Matt Keating – This Perfect Crime
Getting away with murder is the loosely interconnecting theme on this typically diverse blend of janglerock, Stonesy stomp, Americana and soul-infused sounds, all with Keating’s richly sardonic, literate lyricism. Stream it at Mattkeating.com

Tracy Island – War No More
The long-awaited full-length debut from captivating singer/multi-instrumentalist Liza Garelik Roure – former leader of deviously psychedelic popsters Liza & the WonderWheels – is her catchiest and most pensively colorful yet, fueled by husband Ian Roure’s sizzling lead guitar. Stream it at Lizasongs.com

Bliss Blood & Al Street – Unspun
The iconic noir torch song heroine builds lowlit, lurid, delectably lyrical ambience in an intimate duo recording with her longtime flamenco-inspired six-string guy. Stream it at Bandcamp

Orphan Jane – A Poke in the Eye
Deviously witty, creepy noir cabaret and circus rock from this irrepressibly theatrical, Brecht/Weill-inspired New York crew. Stream it at Bandcamp

The Universal Thump – Walking the Cat
Famously recorded at Abbey Road Studios, frontwoman/keyboardist Greta Gertler has never written with greater wit or purist pop chops than she does here with her lush chamber pop/art-rock project. Stream it at Bandcamp

Sarah Kirkland Snider – Unremembered
The most lavishly orchestrated album on this list features vocals from Padma Newsome and Shara Worden throughout a mix of brooding, sweeping art-rock reflections on harrowing childhood experiences and similar trauma. Stream it at Bandcamp

Goddess – Paradise
The latest release by the phantasmagorical New York art-rock band captures them in creepily enveloping psychedelic mode. Stream it at Bandcamp

Bobtown – A History of Ghosts
Eerie, sepulcural Appalachian folk tunes, creepy newgrass, retro soul, murder ballads, black humor galore and exquisite four-part harmonies from the band that might be the best folk noir act around. Stream it at Bobtownmusic.com

Mike RimbaudPut That Dream in Your Pipe and Smoke It
Yet another provocative, surrealistically lyrical, tight powerpop and retro new wave record from one of the most fearlessly funny, spot-on chroniclers of post-9/11 global society anywhere. Stream it at Spotify

Hungrytown – Further West
The most elegantly arranged and arguably best album by poignant Americana songstress Rebecca Hall and multi-instrumentalist Ken Anderson’s plaintive folk noir band Stream it at Spotify

The Sway Machinery – Purity & Danger
One of the great guitar albums on this list, this richly textured, intricately arraanged, soaring collection of anthems sees the band venturing further from desert rock toward cantorially-inspired psychedelia. Stream it at Spotify

The TarantinosNYC – Surfin’ the Silver Screen
Catchy, fun, vividly cinematic surf rock, spy themes and psychedelic soul from one of NYC’s most original instrumental units. Stream it at Spotify

Dalava – their debut album
Guitar polymath Aram Bajakian and his haunting singer wife Julia Ulehla combine to reinvent stark traditional Moravian themes with an electric edge. Stream it at Bandcamp  

Patricia Santos – Never Like You Think
The auspicious, intense, eclectic soul-infused debut by the charismatic cello rocker and Kotorino member. Stream it at Bandcamp

Eleni Mandell – Dark Lights Up
Los Angeles noir soul, bittersweet torch song and Americana by an icon of dark retro songcraft. Stream it at Spotify

The Whiskey Charmers – their debut album
Twin Peaks C&W, Appalachian gothic, dark blues and jangly rock from this shadowy, female-fronted Detroit dark Americana band. Stream it at Thewhiskeycharmers.com

Figli di Madre Ignota – Bellydancer
High-energy, Gogol Bordello-esque circus rock and Romany punk songs with hilarious, satirical lyrics in Italian and English. Stream their “spaghetti Balkan” sounds at Soundcloud

The Frank Flight Band – The Usual Curse
The British counterpart to Blue Oyster Cult reach back into the vaults for this haunted mix of Doorsy art-rock, shapeshifting psychedelia and unexpectedly macabre gothic sounds. Stream it at cdbaby

Dawn Oberg – Bring
The irrepressible parlor pop pianist/chanteuse at the top of her sardonic, lyrically rich game in this mix of personality portraits and psychopathological analysis. Stream it at Dawnoberg.com

Jennifer Hall – her debut ep
An intriguing, auspicious mashup of noir soul and art-rock from the powerfully nuanced Chicago song stylist and her excellent, eclectic band. Stream it at Spotify

The Grasping Straws – their debut album
Edgy songwriter/guitarist Mallory Feuer’s snarling, hard-hitting, scruffy, defiantly lyrical first full-length effort goes in a more straightforward, less jazz-inspired direction than the band’s initial ep. Stream it at Bandcamp

Ben Von Wildenhaus– II
Southwestern gothic, slinky bellydancer noir themes and Twin Peaks atmospherics from the loopmusic guitar master and esteemed noir soundscaper. Stream it at Soundcloud

Naked Roots Conducive – Sacred521
Cellist Valerie Kuehne and violinist Natalia Steinbach’s tormentedly cinematic, surrealistically intense art-rock dives menacingly and blackly amusingly into themes of alienation and ahwer despair. Stream it at Bandcamp

Lions – their debut ep
A slinky, trippy mix of Ethiopian grooves, Israeli stoner rock jams and cinematic themes. Stream it at Bandcamp

George Usher & Lisa Burns – The Last Day of Winter
Intense, autumnal purist powerpop, blue-eyed soul and psych-pop tunesmithing from two highly regarded, veteran songcrafters. Stream it at Spotify

Banda de los Muertos – their debut album
Epic, ornate, richly arranged, reinvented Mexican brass band ranchera themes and sweepingly majestic, blazing originals from trombonist Jacob Garchik’s imaginative big brass ensemble. Stream it at Spotify 

Spanglish Fly – New York Boogaloo
A hard-hitting, wickedly arranged, cleverly crafted update on classic 60s salsa soul from this irrepressible, danceable, psychedelic New York outfit. Stream it at Bandcamp

Curtis Eller & the New Town Drunks – Baudelaire in a Box: Songs of Anguish
Intriguing new translations of classic, surrealistically creepy Baudelaire poems set to starkly bluesy, phantasmagorical tunes by the charismatic circus rock bandleader and the Eastern Seaboard noir group. Stream it at Bandcamp

Elisa Flynn – My Henry Lee
The darkly eclectic songwriter and hauntingly luminous chanteuse’s most spare, terse album blends starkly funny individualist anthems with more pensive material and a classic murder ballad. Stream it at Bandcamp

Fireships – their debut album
Imaginatively arranged Americana rock and chamber pop with a fearlessly aware, Dylanesque, populist lyricism. Stream it at Bandcamp

The Amphibious Man – Witch Hips
Enigmatically lo-fi, twistedly Lynchian, surf-tinged reverb rock. Like nothing else on this list and yet in a way like an awful lot on this list, in terms of general darkness. Stream it at Bandcamp

The Honeycutters – Me Oh My
Oldschool female-fronted honkytonk with a newschool, sharply literate, defiantly populist lyrical edge. Stream it at Spotify

The Old Ceremony – Sprinter
Folk noir and serpentine, intricately arranged, Lynchian art-rock and chamber pop from Django Haskins’ darkly eclectic band. Stream it at youtube – but BE CAREFUL – a loud audio starts immediately when you click the link, mute the sound before you do

For more yummy clickbait, other 2015 lists here include the forthcoming playlist at the Best Songs of 2015 page and the Best New York Concerts of 2015 page.

A Killer Murder Ballad Monday Coming Up in Brooklyn

What’s the likelihood of seeing two bands as brilliantly creepy as Bobtown and Charming Disaster on the same bill? And one of New York’s great lead guitarists, and one of the most distinctive banjo players on the planet, and a rising star in the cello-rock demimonde? It happened at the second installment of the new, monthly Murder Ballad Mondays series at Branded Saloon. It’s a salon held in a saloon – rather than an open mic, it’s a place for eclectic artists to prowl around in the darkest corners of the human psyche, pay homage to psychopathic urges in song from across the centuries, and work up new material in that hallowed tradition.

Charming Disaster – guitarist Jeff Morris from the estimable, phantasmagorical  latin noir/art-rock band Kotorino and Ellia Bisker from the similarly-inclined Sweet Soubrette and Funkrust Brass Band – run the show here, and treated the crowd to an all-too-brief, barely half-hour set of menacingly harmony-driven songs that veered from chamber pop to noir cabaret to circus rock. It was the one point in a deviously fun night of music where the songs deviated from the topic of killing to simply chronicling the intricacies of all sorts of troubled relationships, some mythical, some set in the here and now. Morris played with just a touch of distortion on his old hollowbody Gibson as Bisker wound through graceful lead lines on her electric ukulele.

Bobtown – one of the best loved and most menacing bands in folk noir – opened the show, percussionist/keyboardist Katherine Etzel, singer Jen McDearman, guitarist Karen Dahlstrom, bassist Fred Stesney and lead guitarist/banjo player Alan Lee Backer treating the crowd to some unexpected but typically ominous new material, the sparkling harmonies of the women in the band flying overhead. Backer then took a detour into his own vintage-style Americana and C&W, followed by folk singers Sarah Durning and then Karen Poliski parsing the classics with some murderous numbers from the repertoire of Gillian Welch and others.

The  most original of all the covers was a mind-warping take of Helter Skelter, played solo on banjo by Andrew Vladeck of jangly, Americana-inflected anthem band Fireships. Badass, eclectic cello-rock firestarter Patricia Santos (also of Kotorino) went deep into rustic blues/gospel mode with a new one of her own as well as another Gillian Welch tune. Comic relief was provided by Erica Smith‘s bass player taking a rare turn on piano. He’d written a song on the way to the show – a politically-inspired ghoulabilly tune – but couldn’t read the lyrics he’d scribbled moments before on the D train. Backer’s penlight came to the rescue.

This coming Monday’s installment, starting at 8 PM, features an even more auspicious lineup: powerful, soul-infused dark acoustic songwriter Jessi Robertson; brilliant Americana/janglerock tunesmith and harmonium player Jessie Kilguss; the similarly intense, historically-fixated Robin Aigner; songwriter Arthur Schupbach’s John Prine-inspired Donald & Lydia duo project; parlor pop songwriter Juliet Strong and more.

And Charming Disaster have a gig on Saturday night, November 14 at 8 at the Slipper Room; cover is $15.

 

A Dark, Surreal, Original, Carnivalesque Romp by Fable Cry

Nashville band Fable Cry play what they call “scamp rock.” It’s an interesting, original, frequently creepy sound. Lickety-split, theatrical noir cabaret gives way to roughhewn Irish punk rock, or darker Appalachian-tinged sounds. Sometimes all of that in a single song. Among current bands, the Dear Hunter – who’ve got a new album of their own – seem to be an obvious influence, but Fable Cry are their own animal. Since their debut a couple of years ago, the group have expanded from brother-sister multi-instrumentalists Zach and Kirstie Ferrin to include cellist Joshua Dent, violinist/singer Jo Cleary, bassist Scott Fernandez and drummer Rachel Gerlach.

Their album We’ll Show You Where the Monsters Are – streaming at Soundcloud – kicks off with Onion Grin. The frontman’s stage-whispery, Brecht/Weill-inspired persona comes through immediately, although the grossness implied in the title isn’t part of Zach Ferrin’s shtick. Dead Or Alive (For Now) would be a period-perfect 80s goth anthem if it wasn’t anchored by growly, rattling bowed bass and cello: “You won’t think I find eyes at the top of the hill,” the narrator leers. Cleary eventually caps it off with a savagely shivery violin solo.

The Good Doctor alternates between a sea chantey-ish waltz and a vastly less cartoonish, quieter theme: it’s sort of a mashup of Kotorino and Not Waving But Drowning. The pirate-anthem vibe continues, with a Pogues-ish punk rock edge, in From Myth To Moon: “What’s beyond is better than what’s behind,” Zach insists. Once again, it’s Cleary’s witchy, swirling violin pushing the track to peak velocity.

You Ain’t My Baby No More is a bouncy, cheery punkgrass number. Fancy Dancing has a creepy, balletesque sway, Gorey-esque call-and-response between band members and a refrain that might be either “hide your fear,” or ‘hide your beer.” Both make sense in context.

The Zoo of No Return is just plain kooky, a surreal blend of Weimar cabaret, Romany punk and hip-hop. Set Me Loose brings a return to waltz time, jumpily stabbing strings and an escape theme (about time, from the looks of things). The Train Song shuffles and shambles along, taking a familiar railroad theme completely over the top and off the rails. The album winds up with the mostly-instrumental Slow Down, part bluegrass, part garage rock. There seems to be a central concept here: a journey across land and sea is involved. Where it leads is open to interpretation, but it’s a fun ride all the same. Fable Cry sound like they’re a great live band. Watch this space for future NYC appearances.