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Tag: litvakus

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.

Litvakus Bring Their Rare, Deliriously Fun, Decades-Old Dance Tunes to the Upper West

On one hand, Litvakus’ latest album is kick-ass party music with lyrics – mostly in Yiddish – like “May you always have whiskey to fill your glasses.” On the other hand, it’s nothing short of amazing how frontman/clarinetist Dmitri Zisl Slepovitch’s band has rescued obscure songs hidden away, in some cases for more than a century, in dusty vaults that enterprising music students were very strongly discouraged from prowling around in. But Slepovitch doesn’t give up easily. Back in his native Belarus, his first band, Minsker Kapelye played their first-ever show across the street from KGB headquarters. And they got away with it. Litvakus’ new album Raysn may come across with a distinct, regional sound, but they have the fearless heart and soul of the Clash.

They’re playing Tuesday night, Feb 10 at 7:30 PM as part of one of New York’s most reliably exciting concert series in the basement of Stephen Wise Free Synagogue, 30 W 68th St (Broadway/Columbus) where drummer Aaron Alexander puts on more-or-less weekly shows featuring the creme de la creme of Jewish music from around the globe: in the klezmer world, a gig here means you’ve arrived. Concertgoers have more than one option: if you just want a quick shot of adrenaline before you head home, you can see the show for $15. For musicians, there’s a pre-concert music class at 5:30, followed by a long jam session afterward, and all of that’s $35. And maybe there’s a nosh, or a drink, who knows – it’s a lively, multi-generational, quintessentially New York scene.

The album – streaming at Bandcamp – takes its name from the old Yiddish term for what is now Belarus, for centuries a multicultural melting pot that resulted in some unique cross-pollination. Slepovitch has collected songs with both Jewish and Belorussian origins as well as a couple of boisterous originals, one of which he wrote in an inspired moment on the Q train.

The album opens with its most otherworldly track, a droning yet kinetic instrumental featuring Slepovitch on the svirel, the Belorussian counterpart to the English shawm. From there the group – Craig Judelman on violin, Taylor Bergren-Crisman on bass, Josh Camp on accordion and Sam Weisenberg on standup drum – weave their way into a swaying, minor-key, chromatically charged dance. The segue between the next two songs, Judelman handing off elegantly to Slepovitch, is so seamless that it’s impossible to tell where one ends and the next begins unless you listen closely. They keep the bouncing, bustling drive going with a fond look back at a little country town where people really like to party.

Bergren-Crisman bows his bass furiously as the next medley, a couple of pulsing traditional Belorussian dances, gets underway and then subtly segues into the Middle Eastern-tinged freygish scale, equivalent to the Arabic hijaz mode. Then Slepovitch brings it down with an ancient, plaintive, lovelorn waltz, his clarinet stark against the dark washes of bass and accordion and Judelman’s poignant doublestops. From there the band picks it up again, Slepovitch’s clarinet bobbing and weaving with an unselfconscious joy through an original that fits perfectly with the traditional romp – based on a rare 1934 Soviet recording – that follows. The clarinetist dryly describes the slow, gorgeous original waltz after that as being in the tradition of music designed for listening at weddings…or on the subway.

There’s also a wry, hair-raising tale employing lyrics from a 1922 epic poem by Moyshe Kulbak, reinvented as a lively reel; a trio of circle dances rescued from the archives; a rivetingly Middle Eastern flavored mini-suite; a rare Belorussian version of an ancient Hasidic a-cappella nigun; a dirge, a drinking song and a rousing. surrealistic tribute to a pretty Jewish girl who also happens to be the best-loved bartender in town. The more things change, right? If you like minor keys, infectious dance grooves and eerie passing tones, you’ll love this album. The cd also comes with extensive liner notes which provide all kinds of interesting historical background, very useful for western listeners and music bloggers too!

Litvakus Rescue Some of the Funnest Songs Ever Written

Onstage at the Center for Jewish Culture last week, Litvakus came across as a sort of acoustic Gogol Bordello, playing an exhilarating and frequently haunting mix of feral dances and haunting dirges. Frontman Dmitri Zisl Slepovitch bobbed and weaved and bounced as he played, firing off frenetic volleys or mournfully sustained notes on a series of clarinets, svirel – the Belorussian equivalent of a shawm – and dudka. As ambassador for the lost Jewish sounds of his native Belarus and also Polesia – the mysterious, rustic area bordering Belarus, Ukraine, Poland and what is now Lithuania – he held the crowd rapt. His mission to rescue decades-old and sometimes centuries-old songs led him to buck the authorities as he earned his doctorate in musicology in his hometown of Minsk, where he founded the city’s first klezmer revival band, Minsker Kapelye. With a gleam in his eye, he related that the band’s first gig, at a street fair, had been across the street from the local KGB headquarters. That group managed to get through the set without being hassled: New York is not the only city where that’s likely to happen to musicians on the street.

Sam Weisenberg played marching-band style, his bass drum strapped around his shoulders, a cymbal on top. Bassist Taylor Bergren-Crisman bowed his lines much of the time, adding a dark undercurrent to the lushness of much of the music in tandem with violinist Craig Judelman and once-and-future Chicha Libre accordiionist Josh Camp. The songs bristled with stark minor keys, eerie chromatics and the occasional odd meters (5/4 seemed to be a favorite of this band). They opened with a bracing reel with a Celtic tinge to it and closed on an unexpectedly pensive note. A handful of the songs in their roughly hourlong set juxtaposed brightly dancing verses with more moody, intense choruses. Slepovitch sang a couple of numbers drawing on the lyrics of celebrated Belorussian poet Hersh Reles. There were plenty of solos from everybody, including a handful of slowly unwinding improvisations to begin a small handful of songs and plenty of clapalongs from the audience, a mix of emigres and an energized younger crowd.

And much as the songs had a distinctly Jewish character, Slepovitch was quick to acknowledge how much cross-pollination there’s been over the decades in ethnic music from his part of the world – and how Jews were so often the catalyst. And he introduced a little controversy via a jaunty, pulsing Belorussian folk song, Khayka-Zhydouka, whose title translates in Russian as a slur against Jewish women. In an interesting Q&A after the show with the CTMD‘s Pete Rushefsky, Slepovitch revealed that in Belorussian, the word simply means “Jewish girl,” (or in the context of the song, “hot Jewish girl”). And he reminded that throughout the Soviet Union, Belorussian was repressed just as cruelly as Yiddish and other ethnic languages. People were literally killed for speaking them. No wonder so many of the evening’s songs were left on wax cylinders in archives, waiting for guys like Slepovitch to discover them. Litvakus are at Barbes tomorrow night, Nov 4 at around 7 if you’d like to hear the acoustic Gogol Bordello in a small club; the larger, horn-driven but similarly fun Slavic Soul Party play afterward at 9.

Litvakus Turns a Sedate Museum Space Into a Party

Litvakus plays deliriously fun minor-key party music. To cultures east of the Danube, minor keys don’t necessarily imply sadness: instead, they’re just as likely to equate to excitement (which, admitttedly, could cut either way: Look out, Moishe, cossacks coming over the bridge!). Did the rain and the gloom keep the five-piece band’s fans away from their Friday evening concert at the American Folk Art Museum? Nope. The place was packed, and the crowd clapped and sang along. With clarinet, violin, accordion, bass and standup drum, the group romped and ripped through a spine-tingling mix of old Jewish folk songs from Belarus and the Ukraine as well as a bunch of edgy originals in the same vein. Frontman/clarinetist Dmitri Slepovitch explained that he’d written the night’s first song, a swirling, rapidfire waltz, on the Q train.  He reached for an explanation and couldn’t find one: “That’s what musicians do,” he grinned, sheepish but succinct.

Drummer Sam Weisenberg kept a muted thud that was perfect for the room underneath bassist Taylor Bergren-Crisman’s catchy, melodic, rock-flavored lines, which he played with a bow for extra resonance. Slepovitch’s slow, panoramic clarinet solo made an elegant handoff to Craig Judelman’s violin over accordionist Josh Camp’s rich chordal washes on the second song  of the night; it was cool to see him playing a real accordion after having seen him countless times with an electrified one in Chicha Libre. Slepovitch was a ball of energy, bouncing and swaying and inspiring spontaneous clapalongs with his slashing, pointillistic, melismatic runs. And without using a mic, he sang several numbers in a strong baritone that resonated throughout the boomy space: a bittersweet Yiddish theatre tune from the late 30s looking back on the author’s Belarus hometown;  a rousing violin-driven anthem; a jaunty, accordion-fueled dance whose gist was “party at the rabbi’s place,” and a bleakly amusing one about a girl coming up with one excuse after another for why she won’t go out with a guy.

A couple of instrumentals were horas: slow, dirgey intros followed by explosive dances, dynamics rising and falling as the band sped up and then backed off, only to pick up the pace again and rip through the final choruses. A couple of others had a more Bulgarian feel, galloping through simple, hypnotic, bucolic barn-dance vamps. But as much as the songs had a centuries-old feel, they also had jazzy interplay and a sense of surprise, with trick endings, suspenseful interludes and abrupt changes that deviated from the standard verse/chorus format. Although the crowd responded boisterously, it was weird to see people sitting still and watching them, rather than dancing (although the kids were). Litvakus are at the Jalopy on Dec 18 at 10:30 as part of Feral Foster’s Roots & Ruckus night.