New York Music Daily

No New Abnormal

Tag: mascott band

The Best New York Concerts of 2015

On one hand, pulling this page together is always a lot of fun – and there could be a late addition or two, since the year’s not over yet. Of all the year-end lists here, including the Best Songs of 2015 and Best Albums of 2015, this is the most individualistic – everybody’s got their own – and reflective of the various scenes in this blog’s endangered but still vital hometown.

On the other hand, whittling this page down to a manageable number always hurts a little. With apologies to everyone who didn’t make the cut, for reasons of space or otherwise – seriously, nobody’s got the time to sift through the hundred or so concerts that realistically deserve to be on this page – this list feels bare-bones, even with a grand total of 28 shows.

In terms of epic sweep, intensity and gravitas, the year’s best concert was by Iran’s Dastan Ensemble in September at Roulette. This performance marked the New York debut of intense young singer Mahdieh Mohammadkhani, who aired out her powerful voice in a series of original suites on themes of gender equality by members of the ensemble, along with some dusky, austere traditional songs.

Since trying to rank the rest of these shows would be impossible, they’re listed as they happened:

Karla Rose and Mark Sinnis & 825 at the Treehouse at 2A, 2/15/15
The frontwoman of noir rockers Karla Rose & the Thorns in a chillingly intimate duo performance with her Tickled Pinks bandmate Stephanie Layton, followed by the Nashville gothic crooner and his massive oldschool honkytonk band.

Molly Ruth and Lorraine Leckie at the Mercury, 3/12/15
A savage, careening set by the angst-fueled punk-blues siren and her new band, followed by the Canadian gothic songstress and her volcanic group with newly elected Blues Hall of Fame guitarist Hugh Pool.

Lazy Lions and Regular Einstein at Rock Shop, 3/20/15
A feast of lyrical double entendres, edgy new wave and punk-inspired tunesmithing. Jim Allen’s band were playing their first gig since 2008 and picked up like they never stopped; Paula Carino’s recently resurrected original band from the 90s were just as unstoppable.

The Shootout Band and a nameless if good pickup band led by John Sharples at the Mercury, 3/22/15
Cover bands get very little space here for reasons that should be obvious, but the Shootout Band devote themselves to doing a scary-good replication of Richard & Linda Thompson’s Shoot Out the Lights, Erica Smith shattering in her role as Linda Thompson and Bubble’s Dave Foster doing a spot-on-Richard. Afterward, multi-instrumentalist John Sharples led a similarly talented bunch song by song through Graham Parker’s cult favorite Squeezing Out Sparks album

Ensemble Hilka, Black Sea Hotel and the Ukrainian Village Voices at the Ukrainian Museum, 4/25/15
In their first performance in over three years (see Lazy Lions above), the Ukrainian choral group ran through a rustic, otherworldly performance of ancient songs from the area around the Chernobyl nuclear disaster site. Innovative Bulgarian/Balkan trio Black Sea Hotel and then the esteemed East Village community singers were no less otherworldly.

Mamie Minch and Laura Cantrell at Union Hall, 5/5/15
Resonator guitar badass and pan-Americana songstress Minch, and then Cantrell – the reigning queen of retro country sounds – each took their elegant rusticity to new places. Cantrell’s final stand of a monthlong residency here, a mighty electric show, was also awfully good.

Emel Mathlouthi and Niyaz at the World Financial Center, 5/8/15
Menacingly triumphant, politically-fueled Arabic art-rock from Mathlouthi and then mystically hypnotic, propulsive Iranian dancefloor grooves from Niyaz.

Rachelle Garniez and Carol Lipnik at Joe’s Pub, 5/14/15
Noir cabaret, stark Americana, soul/gospel and deviously funny between song repartee from multi-instrumentalist Garniez, followed by the magically surreal art-rock of Lipnik and her spine-tingling four-octave voice in a duo show with pianist Matt Kanelos.

Amy Rigby at Hifi Bar, 5/28/15
The final show of her monthlong residency was a trio set with her husband Wreckless Eric and bassist daughter Hazel, a richly lyrical, puristically tuneful, characteristically hilarious career retrospective

Erica Smith, Mary Spencer Knapp, Pete Cenedella, Monica Passin and the Tickled Pinks at the Treehouse at 2A, 5/31/15
Guitarist and purist tunesmith Passin, a.k.a L’il Mo, put this bill together as one of her frequent “Field of Stars” songwriters-in-the-round nights here. Smith was part of a lot of good shows this year because she’s so in demand; this was a rare chance to hear her dark Americana in a solo acoustic setting, joined by eclectic accordionist Knapp (of Toot Sweet), irrepressible American Ambulance frontman Cenedella, and a surprise appearance by coyly edgy swing harmony trio the Tickled Pinks (Karla Rose, Stephanie Layton and Kate Sland).

Jim Allen, Kendall Meade and Ward White at Hifi Bar, 6/15/15
Songsmith Allen doesn’t get around as much as a lot of the other acts here, but he really makes his gigs count: this was a glimpse of his aphoristic, lyrical Americana side. Meade, frontwoman of the late, great, catchy Mascott, held the crowd rapt with her voice and her hooks, then White went for deep literary menace with a little glamrock edge.

Glass House Ensemble and Muzsikas at NYU’s Skirball Center, 6/17/15
Trumpeter Frank London’s collaboration with an all-star Hungarian group, recreating rare pre-Holocaust Jewish sounds, followed by the more stripped-down, rustic but high-voltage Hungarian folk trio.

The Claudettes and Big Lazy at Barbes, 7/11/15
Fiery, sometimes hilariously theatrical barrelhouse piano soul followed by New York’s most menacing, state-of-the-art noir soundtrack band. Big Lazy have an ongoing monthly Barbes residency; their two sets this past May were particularly scary.

The Bright Smoke at the Mercury, 7/25/15
This was the show where intense frontwoman Mia Wilson’s blues-inspired psychedelic art-rock band made the quantum leap and earned comparisons to Joy Division.

Robin Aigner & Parlour Game at Barbes, 8/8/15
The torchy, wickedly lyrical oldtimey/Americana songstress at the top of her captivating game with a trio including poignant, powerful violinist/pianist Rima Fand.

Ember Schrag, Alec K Redfearn & the Eyesores and Escape by Ostrich at Trans-Pecos, 8/23/15
The fearsomely talented Schrag did double duty at this show, first playing her own murderously lyrical, Shakespeare-influenced art-rock with her own band, then switching from guitar to organ in Redfearn’s equally murderous Balkan psychedelic group. Jangly no wave jamband Escape by Ostrich took the evening into the wee hours.

Sweet Soubrette and Kotorino at Joe’s Pub, 9/2/15
This time it was menacing chanteuse Ellia Bisker who did double duty, first fronting her richly horn-driven noir soul band, then adding her voice to the noir latin art-rock of Kotorino.

The Shannon Baker/Erica Seguine Jazz Orchestra at Shrine, 9/7/15
Lots of good jazz shows this past year, none more unpredictably fascinating and lushly gorgeous than the epic performance by this unique, shapeshifting large ensemble uptown.

Kelley Swindall at LIC Bar, 9/16/15
The noir Americana songwriter and murder ballad purveyor usually leads a band; this solo gig was a rare chance to get up close and personal with her creepily philosophical southern gothic narratives

Charming Disaster at Pete’s Candy Store, 9/30/15
Speaking of twisted narratives, this multi-instrumentalist murder ballad/noir song project by Bisker and Morris (look up three notches) never sounded more menacing – and epically inspired – than they did here.

Jenifer Jackson at a house concert on the Upper West Side, 10/1/15
A long-awaited return home by the now Austin-based Americana/jazz/psychedelic songwriter, in a rare trio show with amazingly virtuosic multi-instrumentalist Kullen Fuchs and violinist Claudia Chopek

Liz Tormes and Linda Draper at the American Folk Art Museum, 10/23/15
A rare solo acoustic dark Americana twinbill by two of the most potently, poignantly lyrical songsmiths in that shadowy demimonde.

LJ Murphy & the Accomplices and MacMcCarty & the Kidd Twist Band at Sidewalk, 11/6/15
Murphy has defined New York noir for a long time – and now he’s gone electric, with searing results. McCarty has more of a Celtic folk-rock edge and equally haunting, politically-fueled story-songs.

Karla Rose & the Thorns at the Mercury, 11/17/15
Enigmatic reverb guitar-fueled Twin Peaks torch songs, stampeding southwestern gothic bolero rock, ominously echoey psychedelia, venomous saloon blues and stiletto between-song repartee from another artist who made multiple appearances on this list because everybody wants her to sing with them.

The Sometime Boys at Freddy’s, 11/20/15
One of New York’s most individualistic, catchy, groove-driven bands ran through a sizzling set of haunting, gospel-inflected ballads, jaunty newgrass, acoustic funk and blue-flame guitar psychedelia

Amanda Thorpe, Mary Lee Kortes, Lianne Smith and Debby Schwartz at the Treehouse at 2A, 11/22/15
Impresario Tom Clark remarked that there might never have been so much talent onstage here as there was this particular evening, with noir Britfolk songwriter Thorpe, the soaring and savagely lyrical Kortes, the ever-darker and mesmerizing Smith and the powerful, dreampop/Americana-influenced Schwartz. For that matter, there have been few nights on any stage anywhere in this city with this much lyrical and vocal power, ever.

Like last year, the numbers here suggest many interesting things. Eighteen of these shows were in Manhattan, eight were in Brooklyn and two in Queens, which is open to multiple interpretations. More instructive is the fact that half of the twenty-eight were free shows where the audience passed around a tip bucket rather than paying a cover at the door. Most interestingly, women artists dominated this list, even more so than they did last year: an astonishing 39 of the 53 acts here were either women playing solo or fronting a group. That’s a trend. You’re going to see more of that here on the Best Albums of 2015 and Best Songs of 2015 pages at the end of this month.

A Smart, Wickedly Tuneful Project from Anders Parker and Kendall Meade

Anders Parker and Kendall Meade had such a good time making Wild Chorus, their album together, they named it after the Knoxville studio where they recorded it. Parker and Meade have a long history working together, going back to the 90s when he fronted Varnaline and shared the stage with Son Volt’s Jay Farrar in Gob Iron while she led the vastly underrated Juicy and then went on to the absolutely brilliant Mascott. All the while, she was being sought out as a collaborator since she has a reputation for elevating every project she touches: this one joins the ranks of Sparklehorse, Helium and the Spinanes, among others. The whole thing is streaming at their Bandcamp page.

What’s interesting about this is that it’s a true collaboration: while the duo trade off on vocals when they aren’t duetting, the album isn’t a case of having “his songs” and “her songs” – the tracks are a showcase for both songwriters’ strengths, Meade bringing a welcome craftsmanship to Parker’s more roughhewn style, Parker adding a haphazard edge to Meade’s polish and sheen. The opening track, We’re on Fire, Babe sets the stage, lingering distorted guitar pairing off against echoey Rhodes piano, swooshy organ and a rhythm section, Meade’s reassuring, reflecting-pool vocals blending with Parker’s twang and polishing down the rusty edges. The nonchalant backbeat acoustic gem City of Greats blends a bit of a vintage C&W feel wth a low-key 80s vibe that evokes Laura Cantrell’s recent work: “What you got isn’t what you would choose, you’re the master of all that you lose,” the duo harmonize with an elegaic matter-of-factness.

Just when it seems that Let’s Get Lost is one of Parker’s gruff tunes, Meade comes in with a knowing coyness and confectionery harmonies. Across the Years layers sweeping slide guitar and gospel-tinged piano and then hits a gently galloping riff before an unpredictable series of interludes that sound like a female-fronted middle-period Wilco. They follow Sleepwalking, a bittersweetly jangly, hypnotically nocturnal ballad with the luscious Dreamers on the Ground, its layers of distorted guitars ringing and clanging artfully against each other in the left and right channels, Parker’s refusal to give in to an eay resolution finding a perfect foil in Meade’s anthemic hooks.

Gettin’ Ready nicks the intro from Joy Division’s Love Will Tear Us Apart but quickly goes in the opposite direction of that song with an optimistic anticipation fueled by nonchalant, distorted guitar. Oh Love hits a bullseye with its quietly torchy Lynchian country-soul vibe, while Play It vamps on a psychedelically-tinged organ loop that reminds of Mike Rimbaud. The album ends with The Sun Will Shine Again Someday, a swaying anthem for the current depression that recalls Son Volt: “Times are hard for dreaming eyes, I’d like to sit and watch it all go by,” Parker muses, “I’d like to see them blown away.” That wish notwithstanding, this is not a particularly edgy album, but it’s not shallow, and much of it is ridiculously catchy. Who is the audience for this? Pretty much anybody with a taste for low-key tunefulness. Let’s hope this isn’t the last collaboration between these two. A big shout out to the folks at Nine Mile Records for the good taste to get behind it.

Jennifer O’Connor Is Back with Her Best Album

Is Jennifer O’Connor’s new album I Want What You Want her big comeback? Not really. She’s always been good. She burst into prominence in the late zeros, a purist rock tunesmith with understatedly strong guitar chops and a down-to-earth vocal style that won her all kinds of acclaim from the cognoscenti. By 2009, she’d parted ways with her record label (how many times have we heard that, huh?). Broke and burnt out from constant touring, she contemplated giving up music altogether when she wasn’t impresario-ing the occasional songwriter salon at Rock Shop in Brooklyn, or building her own label, Kiam Records. And occasionally, she’d write a song. This album is the result, offering guarded hope against a dreadful alternative which is usually left unspoken, to powerful effect. The raw, gently resolute intensity of O’Connor’s voice is the perfect vehicle for the portraits of emotional depletion here – a lot of these songs are absolutely devastating. Consider this album a more rock-oriented, teens counterpart to Joni Mitchell’s Blue.

What hope there is here takes awhile to emerge. “So many other ways – we can change,” O’Connor offers, on the simple guitar-and-voice vignette that opens the album, before plunging into the abyss with the hypnotic post-Velvets stomp of Already Gone. It’s a haunting portrait of how a scene that once seemed so promising will vanish before your eyes, leaving nothing to replace it, and as usual O’Connor doesn’t waste a note (bassist Michael Brodlieb’s hook on the way out of the chorus is absolutely, simply spot-on). Clinical depression moves in to take centerstage on the catchy but elegiac 7/12/09:

Every minute you’re alone
In every place you’ve ever known
With every song you set the tone
For loneliness

She moves back toward a middle-period Jesus & Mary Chain ambience, and brings up the energy level, with You Come Around, an exasperated kiss-off  to someone who basically shows up exactly when expected, because, as O’Connor puts it, that’s what they do. It’s their nature – and people like are usually psychic vampires, and she wants nothing more to do with this one. She follows it with the understatedly aching, wistful country song Hidden Hill, a cruelly vivid wintertime tableau with “Nashville guitar” from Tim Foljahn.

The trajectory goes up from there, from the stately Swan Song (For Bella), with Kirsten McCord on cello; the brisk, new wave beat of Running Start; the catchy, mantra-like folk-rocker How I Will Get By; and the lushly gorgeous Good Intentions, Mascott’s Kendall Meade’s precise keys mingling with Versus’ Richard Balayut’s soaring, anthemic guitar leads. Change Your Life is a dirge, a funeral procession for a previous existence – but also an opening theme for a new one. O’Connor finally flexes her guitar muscles on the roaring, noisy No One Knows Anything, then switches to electric piano for the final two tracks, a bouncy reprise of the opening track (with crystalline backing vocals from Amy Bezunartea), and finally Your Guitar, a quietly triumphant account of a rocker who’s decided to walk away from it all, sick of the “unbearable trends, the means and the ends, neither of which you can defend.” The whole album is streaming at soundcloud; the limited edition cd version of the album also includes high-quality downloads of all the songs from bandcamp.