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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.

Charming Disaster Take Their Wickedly Literate Narratives and Murder Ballads on the Road

Charming Disaster are a New York mini-supergroup, a collaboration between Jeff Morris, frontman of majestically slinky circus rock/latin/art-rock band Kotorino, and Ellis Bisker, who leads existenialist chamber pop/soul band Sweet Soubrette. Their debut album, which came out earlier this year and is up at bandcamp, is a mix of murder ballads and crime narratives. Since then, they’ve expanded their worldview to include songs about just about any kind of troubled relationship. They like duets, and swing, and Romany sounds, and mythology. They’re currently hitting the road (tourdates are here), and when they get back they’re hosting a night of murder ballads at Branded Saloon in Ft. Greene on October 19 at 8 PM.

Their show at the end of last month at Pete’s Candy Store – which also went out over the interwebs via Concert Window – was deliciously creepy, but there was also a lot of new material, a series of character studies and retelings of old myths from around the world which were just as erudite and bewitchingly lyrical as their earlier stuff. Bisker played electric ukulele and kept time on a hi-hat while Morris played guitar and a stompbox of sorts. The uke and guitar mingled so seamlessly that it was as if they were a single ringing, rippling entiity. Morris took the deadpan rake role in contrast to Bisker’s torchiliy menacing allure.

They opened with Ghost Story, a catchy backbeat-driven tale of love or something like it, beyond the grave. The darkly jaunty, Weimar-inflected Showgirl, Morris explained, was inspired by his great-aunt, a real showgirl back in the Roaring 20s who dated a mobster…and also went out with a cop. The most gorgeously jangly number of the night was Ragnarok, a sardonic Laurel Canyon psychedelic folk anthem exploring grisly Nordic apocalyptic imagery; it brought to mind Pierre de Gaillande‘s late, lamented art-rock band the Snow.

The duo joined voices for a grim, Appalachian-tinged waltz about starvation in the wilderness, then made uneasily pouncing garage-psych rock out of the Egyptian Osiris myth. They cast Persephone not as an ingenue longing to be rescued but someone who’d embraced her fate as a permanent citizen of Hades, bringing to mind another great, now disbanded New York group, the Disclaimers.

A ukulele swing version of Led Zep’s Immigrant Song was just plain hilarious; after that, the duo went back to bittersweetly jangly with Artichoke, Bisker contributing a droll kazoo solo over Morris’ frenetic guitar clang. They wound up the set with a funny circus rock duet in the same vein as what Shane MacGowan and Kirsty MacColl did with A Fairytale of New York. Audiences up and down the Eastern Seaboard are up for a real treat this month.

Sweet Soubrette and Kotorino Haunt Joe’s Pub

Did Ellia Bisker, leader of elegant existentialist chamber pop band Sweet Soubrette, make a quantum leap…or did she have those lush, poignant, unselfconsciously brilliant songs in her all along? Her emergence among New York’s songwriting elite dovetailed suspiciously with her joining forces with the more established and similarly brilliant Jeff Morris – leader of latin/circus rock/art-rock luminaries Kotorino – in the murder ballad project Charming Disaster. Whatever the case, the Sweet Soubrette/Kotorino twinbill at Joe’s Pub a week ago had to be one of this year’s best New York concerts, hands down.

Sweet Soubrette have been through several incarnations: the current version, with its terse, richly arranged horn charts and frequent echoes of classic soul music, is by far the best. Heather Cole’s violin dipped and soared over Bob Smith’s nimble bass and Darrell Smith’s jazz-inflected, low-key drums as the horns – John Waters on trumpet, Cecil Scheib on trombone and Erin Rogers on alto sax – provided lustrous, vintage Memphis-inspired, resonant harmonies. Bisker played ukulele, singing in a confident but angst-drenched alto that really kicked into gear in the lows: she’s made a quantum leap as a singer as well.

A coy gold-digger’s tale was an early highlight. On album, the band does Burning City – inspired by the account of the bombing of Berlin in Kurt Vonnegut’s Slaughterhouse Five – as moodily dancing art-rock, but here it had a more purposeful drive and heavier gravitas. The newest songs were the best: the sardonically pensive waltz Wake Up When pondered how little we retain from what should be life lessons, while Talk To Me explored the futility of breaking out of one’s aloneness and actually communicating. The catchiest number of the entire night, Ghost Ship, bopped along on a new wave Motown bassline, Bisker’s deadpan, staccato vocals building on a sort of catch/release dynamic: it would be a standout track in the Serena Jost catalog. The set wound up with the understatedly venomous oldschool soul-inflected Big Celebrity and its thinly veiled references to gentrifier status-grubbing, then the broodingly balmy, doomed wee-hours scenario Night Owls, and finally some comic relief in the form of a song-length shout-out to Anais Nin. “Let’s find out what’s stronger, my pen or your sword,” Bisker demanded.

She returned to the stage as Morris’ femme fatale foil in Korotino, who killed it, as usual. On any given night, they might be the best live band in town: that they could earn a roaring ovation by closing with a suicide song speaks for itself. While Morris has gone deeper and deeper into his pan-latin side in recent months, this show focused more on the band’s phantasmagorical, surrealist rock catalog. The dizzyingly syncopated, doomed minor-key cha-cha Never Had a Chance was a red herring of sorts, fueled by the devious rimshot drive of drummer Jerome Morris (Jeff’s brother) in tandem with Mike Brown’s sinewy bass and the horn section of Gato Loco‘s Stefan Zeniuk (who switched from bass sax, to bass clarinet and then tenor sax) and lively trumpeter Jesse Selengut. Violinist Estelle Bajou’s menacingly slitherly lines mirrored Cole’s approach in Sweet Soubrette – or was it the other way around?

Morris is another guy who’s never sung better, coming across as sort of an exasperated Joel Grey at the peak of his powers, armed with a hollowbody Gibson, the awestruck, epically shapeshifting steampunk adventure Oh My God giving him plenty of chances to air out his pipes. From there the band made their way through moodily strutting Weimar cabaret rock, building to a dixieland-flavored peak with the horns.The frantically swinging circus rock of Going Out Tonight contrasted with the angst-fueled, eerily misty vocal harmonies of the angst-fueled waltz Planes Land.

The rest of the set worked the dynamics up and down without a respite: it was a pretty wild ride. They opened the droll, artsy new wave-flavored Sea Monster with a chugging ska bass-and-drum intro and built from there to the deliriously balletesque, swirling latin noir What Is This Thing. An especially menacing, nocturnal take of North Star State, Morris explained nonchalantly, explored the simple, everyday chore of breaking your girlfriend out of the nuthouse. They closed with a suspensefully dynamic take of that suicide anthem, Dangle Tango. Kotorino are at Rock Shop on Oct 3 at 8, opening for the even more theatrical Funkrust Brass Band; cover is $10. And Charming Disaster play Pete’s on Sept 30 at 10.

A Dynamic New Album and a Bushwick Show from Cellist/Singer Patricia Santos

Patricia Santos calls herself a “vocellist.” As you would expect from a distinctive, terse cello player and strong, eclectic singer, she has her fingers in several projects. Most notably, she’s half of the cello-vocal duo the Whiskey Girls and a member of brilliant noir art-rock/circus-rock/latin band Kotorino as well. Santos also has an intriguingly intimate, tunefully diverse new album, Never Like You Think, streaming at Bandcamp and an album release show coming up at 9 PM on May 27 at Max Cellar (downstairs from Amancay’s Diner), 2 Knickerbocker Ave. at Johnson Ave.in Bushwick. It’s close to the Morgan Ave. stop on the L.

The albun’s first track is The One I Should Love, a starkly swaying minor-key blues with just vocals and two instruments, sawing cello contrasting with Andrew Swift’s bitingly resonant guitar. Then the two instruments essentially switch roles. In Your Arms sets Santos’ wryly sultry vocals against a strutting tune that builds to a subtly crescendoing waltz, winding out with a long, hypnotically vamping, pitchblende outro. For You is even more spare, Santos’ warm, balmy vocals paired against a minimalist four-note riff that throws off shards of overtones, especially when she hits a passionate chorus.

Santos keeps the stark ambience going through a raptly dynamic, then unexpectedly explosive take of the classic Mexican folk song La Llorona. Old Hill, another waltz, has a wistful front-porch folk feel grounded by the celllo’s ambered tones. The album winds up with an absolutely knockout, creepy, noisy cover of Kotorono’s Little Boat. The original has a deadpan ominousness: here, Santos teams with Kotorino bandleader/guitarist Jeff Morris, building to a skronk-infested, murderous peak. It’s a cool blend of grit, elegance and raw intensity that aptly capsulizes a captivatingly individualistic debut release.