New York Music Daily

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Tag: new wave rock

Nuclear Family Fantasy Bring Their Scorching, Cynical, Catchy Songs to Williamsburg

Nuclear Family Fantasy play heavy, punk-inspired rock with catchy, anthemic hooks and a great sense of humor. Frontwoman Mossy Ross is a one-woman wrecking crew: she plays both bass and drums and is also a first-rate singer, with an understatedly pissed-off, chilly delivery. William Wilcox handles lead and rhythm guitars with equal parts punk snarl and metal slash. They’ve got a couple of Williamsburg gigs coming up, on Jan 19 at 9:45 PM at the Gutter in Williamsburg for $5 and then on the 25th at 10 at Diviera Drive, 131 Berry St (N 6/7th Sts).

Their debut album is streaming at Bandcamp. The opening track is Everybody Loves You When They’re Drunk: #bestsongtitleever, right? Ross cynically fills in every detail in a dead-end life, desperate to get out: “This is the place great minds go to meet…getting thrown to the wolves without being thrown a bone…” Wilcox’s solo out matches Ross’ withering commentary.

The duo go in a stoner boogie direction in Done, which sounds like a heavier Spanking Charlene. It’s easy to see where this one comes from: the album is inspired by a dysfunctional relationship where the guy went AWOL and remains on the missing persons list more than a year later.

Coulda, Shoulda, Woulda is faster, with an acidic early Siouxsie new wave feel. Anger Hangs On Her has an icy, implied ba-bump groove, Ross painting a picture of the kind of barfly girl we all know medicating herself to passout point. Ross hits some neat syncopation in the more low-key Left Me Lonely Again; the album winds up with Ross’ heaviest and most rhythmically tricky number, So Many Maybes Ago. An awful lot of people are going to relate to these gloomy, doomed, but indomitably catchy songs.

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Goth Music Rises From the Grave in Williamsburg Friday Night

Long after it seemed that emo had finally driven a stake through what was left of goth music, turns out that it’s very much alive – in Williamsburg, of all places. There’s a twinbill at Muchmore’s on Dec 15 at 11 that could be a real throwback to the sounds of the Meatpacking District dungeons in the 80s, awash in digital reverb and tight new wave beats,. It’s not clear whether Safe Hex or Picture One are playing first, but their sounds are very similar. Likewise, each band has an album up as a free download at Bandcamp.

Sidereal, by Safe Hex, opens with Watched Us Fade, which sets the scene: stiff 2/4 drum machine beat, brisk new wave bass and echoey downstroke guitar that pinwheels into a splatter of dreampop. The vocals are the only giveaway that this wasn’t made in the mid-80s in the shadow of the Cure.

The second cut, With What Sacrifice shifts from steadily pulsing early New Order into a more enveloping, hypnotic dreampop ambience. Rachael, with its soaring, watery bass, icy pulsar guitars and ominous chromatic riffage, is the one dead ringer for the Cure circa 1984 here.

Forgotten Bodies, which closes the album, is both its fastest, most atmospheric and anthemic cut, building to a catchy crescendo before the skittish staccato guitar returns.

Picture One’s all-instrumental album sounds less like a band and more like a bedroom project with guitars, lo-fi keys and drum machine. The opening track, Bunkbed Tapes follows a familiar, tense pattern as multi-instrumentalist Thomas Pinkney’s layers of Roland Juno-style faux organ and piano enter the picture and then recede. It segues into the aptly titled miniature Gray Signals, followed by Light Beyond This, Light Before, snappy bass strutting and winding through spare, reverb-drenched rainy-day guitar.

The cover of the Cleaners From Venus’ Only a Shadow is more than a shadow of the Cure’s Pictures of You sped up a bit, with a neat bit of a surf edge (or did was it the Cure who ripped off the original?). Things slow down with the dirgey, cinematic theme Red Rainbow and then pick up with A Dream Like Death Like, one of many tracks here screaming out for a full band to play it behind some black-clad guy who can really croon about things like desperate winter moons and lonely werewolves – ok, maybe not that, but you get the picture.

Robot Heart is another Cure soundalike. anchored by a fast, vamping, percussive bassline. The fleeting closing track, Montrose motors along over an anthemic four-chord riff driven by the bass, swooshy atmospherics looming in the background. There are plenty of gloomy neoromantic one-man-band types all over youtube, but it’s impossible to think of any writing goth songs without words in a vein as catchy as this.

Electric Youth’s Movie Deal Falls Through, But They Get a Great Album Out of It

Today’s Halloween album is the utterly Lynchian soundtrack to a movie that never came out. At least Electric Youth – the duo of  keyboardist Austin Garrick and singer Bronwyn Griffin – got a great album out of it, if no residuals. The total of 23 brief interludes that comprise the score to Breathing – the working title of the film, maybe? – are streaming at Soundcloud. Angelo Badalamenti’s iconic Twin Peaks soundtracks are the obvious prototype: very simple, catchy riffs and artful, slowly developed variations awash in reverb, distant menace everywhere. The production is a lot more lo-fi, with warpy vintage Roland Juno patches substituting for the lush string synth in the Lynch film scores.

The score opens as a contentedly vamping piano nocturne with airy Julee Cruise-type vocals that goes dark suddenly, and an audio horror filim is underway. Where Did You Go nicks not only the vocal style but also a key lyric from the Lynch/Badalamenti playbook, although the music is a lot different: ominously looming faux organ and then dancingly techy new wave. Loopy variations introduce the title theme and then grow more ominous.

It’s Them is the closest approximation of a classic David Lynch theme here, in this case the iconic Twin Peaks title music. From there, cloudy synth echoes it, slowly; a red herring of a lullaby emerges; then Griffin returns with a spare, 80s-tinged goth-pop ballad punctuated by odd poltergeist effects.

A coldly menacing, Brad Fiedel-esque robo-walk, twinkly loops, a forlorn piano reprise of the opening theme and more slowly shifting Twin Peaks ambience lead to a surreal miniature that sounds like it was recorded on the same piano Sonic Youth used for the Daydream Nation album.

A slow, elegant fragment of a pavane, lingering stormcloud atmospherics, a hint of goth-pop, a hypnotic allusion to a Lou Reed classic, and a funhouse mirror return to the opening theme follow in turn. If the track titles reflect the plot, there’s at least one particularly tragic character, and the cast eventually end up somewhere between Britain and France in the Chunnel, where the dark truth finally comes out. Sure sounds like a great movie!

Dark, Brooding, Catchy Powerpop and New Wave From Lauren Hoffman & the Secret Storm

Today’s Halloween album, streaming at Bandcamp, is The Family Ghost, by Lauren Hoffman & the Secret Storm. As with yesterday’s album, it’s anything but cartoonish: the unease is pretty relentless, and when there’s menace, it’s typically implied. The music is on the dark side, blending artsy parlor pop, powerpop, and new wave – and it’s catchy as hell. Hoffman’s clear, uncluttered voice is a powerful vehicle for these mostly sad songs.

The opening track sways along on a trip-hop groove, Hoffman’s elegantly restrained vocals evoking Changing Modes’ Wendy Griffiths over Tony Lechmanski’s lingering, Lynchian guitar clang. And then the song hits a blazing crescendo. It’s about being hunted, and escaping that: it’s not clear who the girl and her little brother are running from. In a city where the subways and buses are on track to become part of a surveillance-based system by 2023, songs like this really resonate.

Feel It All Over is a catchy minor-key new wave powerpop hit bolstered by Ethan Lipscomb’s piano and Cathy Monnes’ one-woman string section, Hoffman’s protagonist determined to live at full throttle until the curtain falls. A Britfolk-tinged waltz amped up with burning guitars, Let the Waves Crash on Me is a love song to a would-be escapee: I’ve got your back, I’ll hold your guns while you make a break for it, Hoffman insists.

Sick With Love is every bit as plainspoken and morose as the title indicates, Hoffman pondering  who’ll miss the random strangers in the street when they’re dead. Over an anthemic four-chord powerpop hook, In the Sun broodingly contemplates the hope for something genuinely transcendent. “I’m not that strong, but I’m strong enough to suffer if that’s the price I have to pay,” she laments.

She goes back to mid 80s style Go-Go’s powerpop with I Just Broke up With a Guy Who Looks Kinda Like You, whose title doesn’t come close to hinting at where the muted, somber vocals and narrative are going. The snarling, Middle Eastern-tinged title track is both the album’s musical high point…and its lyrically weakest track. OK, seduce the dude, whatev. And skip the next track – even some tasty, fluttery cello can’t redeem that one.

With its blend of enigmatic guitar, swooping cello and incisive keys, the album’s most ornate, witchiest number is The Dragon: “You’re a tease and a flirt,” Hoffman tells the monster. The album closes with the sad waltz Til it Lasts: “I won’t be so brave next time,” Hoffman tells herself, “You die for their love, or die of it.” Nothing more Halloweenish than that.

Ella Atlas’ Debut Album Builds Hauntingly Cinematic Twin Peaks Ambience

Stephen Masucci is best known for his film music and for his lead guitar in one of the most haunting, Lynchian New York bands ever, the Lost Patrol. Since that group ground to a halt a couple of years ago, he’s been busy with a new, similarly dark, cinematic project, Ella Atlas, with compellingly enigmatic, eclectic singer/multi-instrumentalist Tarrah Maria. The duo’s deliciously reverb-drenched new album The Road to Now is streaming at Bandcamp.

It opens with the catchy, distantly shimmering When the Gods Are Fading, swirly late 70s ELO through a surreal new wave prism peppered with references to wars and death. Masucci’s icy clang fuels the slowly swaying Red Kingdom, Tarrah Maria’s vocals lush with a similarly chilly allure.

Likewise, Hotel You begins with blue velvet tremolo guitar chords but quickly hits a brisk new wave take on a roadhouse rock groove, Tarrah Maria’s voice taking on a hint of a country twang in a luridly aphoristic tale of conflagration and escape. The slower. even more plush Waking Up has a spacerock sweep, the frontwoman’s voice bringing to mind Karla Rose at her most subtly torchy and dynamic.

Meteor shower atmospherics build to a propulsive chorus in Horses on the Run. Breaking Ice comes across as a noir surf-influenced take on the kind of angst-fueled retro new wave the New Collisions mined so memorably around the turn of the past decade.

Something to Be Desired is part hearbroken Nashville gothic pop, part Cocteau Twins, Tarrah Maria turning in her most ominously pillowy vocals here. The duo make an enveloping anthem out of an On Broadway vamp in Blindful & Bliss, then build strutting, turbulent, red-neon ambience in Can’t Go Back.

“I know that this will end, but I’m addicted to the view,” Tarrah Maria intones in Leave Me in Blue, the most darkly lingering, epically sweeping track here. The album winds up with Skin & Bones, rising out and then back to spare, rainy-day melancholy. As with the Lost Patrol, a persistent unease and distant sense of dread pervades these nocturnes: they’re songs for our time. Arguably the best debut album of 2017 so far.

Artsy Afrobeat-Inflected Tunesmithing and a City Winery Show from Jenn Wasner

Jenn Wasner is an anomaly in the indie rock world: a fluent, imaginative guitarist who uses just about every sound available to her and writes smart, pensive, lyrical songs. She’s bringing her band Wye Oak to a rare Manhattan gig tomorrow night, Oct 6 at City Winery. If you can get to Manhattan, you can also get home afterward since the show is early – 8 PM – and you won’t have to worry about the train leaving you at some random outpost in the remote fringes of Bushwick. And you can get in for twenty bucks at the door.

Wasner also has an intriguing side project, Flock of Dimes, whose debut album is streaming at Bandcamp. The songs blend icy, crisply produced ABC-style 80s art-pop with a stainless-topped, airconditioned 90s lounge feel over Afrobeat-inflected rhythms. Wasner likes dancing vocal melodies and tricky tempos which percolate throughout pretty much every song here.

Wasner’s lingering guitar resonates over a soukous-ish triplet beat on the opening track, Birthplace; “My love is not an object,” she asserts, then dancing, synthesized strings kick in. The Joke is a powerpop gem as the Talking Heads might have played it, with blippy synth and surrealistically echoing faux-Leslie speaker guitars: the steel solo that the song fades out on is anunexpected treat and over too soon.

Everything Is Happening Today pairs atmospheric verse against kinetic, metrically tricky chorus.  Likewise, Semaphore shifts from uneasy resonance to subtly crescendoing dancefloor-beat angst on the chorus, “Too far gone for a sempahore.”

The danciest and techiest track is Ida Glow. which could be Missing Persons or Garbage without the sexpot pose. Wasner goes back toward Remain in Light-era Talking Heads with Flight, an allusive, lushly textured account of betrayal.

With its watery layers of chorus-box guitar and similarly disembodied vocals, Apparition could be late-period Siouxsie without the microtones…and then it goes in the direction of the Fixx or Tears for Fears. Spiraling, Spanish-tinged guitars punctuate the gorgeous Given/Electric Life, which could be Linda Draper with slicker production: “I’m not in the ways of counting days, distract myself,” Wasner insists.

“We seem to be awake, but we are dreaming,” shse intones enigmatically at the end of Minor Justice, a return to icy, blippy Afrobeat-pop. “I couldn’t free you, I couldn’t free myself,” she laments in You, the Vatican – #bestsongtitleever, huh? The album ends with,…To Have No Answer, which sounds like Bjork at her trippiest and most atmospheric. Throughout the album, Wasner plays all the guitars and keys as well: she obviously put a lot of time and effort into this. It’s like an artichoke, one layer after another to unfold. If the album had come out thirty years ago, every graying Gen-Xer would still have the cd somewhere – and that’s a compliment.

A Wickedly Catchy Weekend Show by the Mysterious Melissa & the Mannequins

Melissa & the Mannequins are New York’s most exciting new band. There’s very little about them on the web. The only one of their songs that’s made it online so far is Slip Away, the gorgeously bittersweet, propulsively jangly number they closed their deliciously catchy set with at Long Island City Bar over the Labor Day weekend. They’ve been around for about  a year, tops. Quietly and steadily, they’ve put what’s obviously been an enormous amount of work into this band, equal to their formidable chops. Up-and-coming rock acts seldom have as much command of their instruments, let alone as many styles as this group winds their way through.

In roughly an hour onstage, frontwoman/guitarist Melissa Gordon sang with a cool, collected delivery over a tight rhythm section. Lyrically, most of the songs dealt with brooding breakup scenarios, often in contrast to the tunes’ bright,upbeat quality, Stylistically, they really ran the gamut. Several numbers worked a psychedelic soul vein, bringing to mind Chicano Batman with a woman out front and a more subdued, atmospheric keyboardist: throughout the set, the Mannequin on keys kept a tight focus and added all kinds of subtle textures and washes of sound.

Midway through the set, the band switched it up with an unexpectedly funky song, like Turkuaz in a rare low-key, trippy moment. There were also a couple of detours in the direction of Jacco Gardner-ish retro 60s sunshine pop and a distant Beatles influence. The most riveting song of the set might be called I Wasn’t Listening, an uncharacteristically haunting, epic, wounded noir soul ballad in 6/8 tiime, lead guitarist Steve Flakus capping it off with a long, biting, purist blues solo.

Gordon is also an excellent guitarist (which you wouldn’t know from her Soundcloud page, something she obviously put up as she was learning the fretboard). She and Flakus took a grand total of three perfectly synchronized twin solos: it wasn’t Iron Maiden, but it was just as tight. Gordon also engaged the crowd with her deadpan sense of humor: she seems to come out of a theatre background. LIC Bar also seems to be the group’s home base these days as they build a following, an aptly cool joint for this band. They’re also at Bowery Electric at 9 on Oct 1; cover is $10.

The Colorful Dalton Deschain & the Traveling Show Make a Lower East Side Stop

Dalton Deschain & the Traveling Show are one of the most individualistic and artistically ambitious bands in New York. They’re very high-concept: their catchy, anthemic songs mirror and elaborate on characters and events in an ongoing retro-futurist serial novel that could go in plenty of directions, from graphic series to feature film. Over the past couple of years, Deschain (not his real name) and the band have been beating a path with their catchy, anthemic songs between Bed-Stuy and the Lower East Side when they’re not on tour. They’ve got a new ep, Catherine, streaming at Bandcamp and an accompanying novelette. They’re playing at Sidewalk on August 18 at 10:40 PM (tnat’s 10:40, not 10:30, folks), opening for perennially popular folk noir denizen Lorrane Leckie, who’s playing a rare, intimate solo show.

Deschain weaves a hell of a yarn. Set in 1945, the plotline traces a postwar America reeling from a biological attack and an Axis victory. Deschain builds suspense to the breaking point, doesn’t telegraph the action and keeps you on the page. As with all steampunk scenarios, verisimilitude sometimes takes a backseat to action, and when that gets all wiz-bang, a suspension of disbelief can be required. Loaded down and encumbered as she was, the heroine somehow gets away from the bad guys with guns? Really??? That’s where the story unravels away from Philip K. Dick toward Quentin Tarantino.

The songs on the ep are artsy and eclectic, and the band is first-rate, with Deschain handling all the guitars, David Warpaint on bass and Phil Harris on drums. Deschain sings through a tidal, uneasy vintage chorus-box effect as Tin Laurels gets underway, an enigmatic ingenue-in-the-big-city anthem. Interstitial (Approximate Man) alludes icily and mechanically to one of many stories nested within the narrative, in this case a mysterious, gnomic avant-garde poet who may hold the key to something not yet revealed. Approximate Girl concludes the ep: “if you think I’m beautiful then you never watched a star die,” the narrator asserts early on. Deschain’s long, tremolo-icepicked guitar solo at the end is irresistibly delicious. There’s a watery 80s feel to much of this music and this is a prime example: Peter Gabriel from late in the decade comes to mind, as well as late-period Bowie. It’ll be fun to see where the next episode picks up.

Nina Diaz Brings Her Relentless Angst and Catchy 80s-Influenced Tunesmithing to Wlliamsburg

Nina Diaz is best known as the frontwoman and guitarist of Girl in a Coma. Without knowing her background, you might swear that many of the songs on  her debut solo album The Beat Is Dead – streaming at Spotify – were relics from the 80s. Synthesizers pulse and swirl; the guitars and basslines are as dry as they are precise and catchy. Otherwise, the record sounds like a sleeker take on her main band, a series of angry anthems that would make a great soundtrack for a sequel to or remake of Fatal Attraction. You know – rain-slick streets, Soho lofts that you take the freight elevator up to since the real estate bubble hasn’t started to blow yet, and everybody’s wearing black eyeliner. 

Some of the songs here also recall Nicole Atkins, right down to the the brooding minor keys, slightly throaty vocals and noir tinges. Diaz’s next New York gig is at Rough Trade on August 17 at 9 for ten bucks in advance.

The album opens with Trick Candle, propelled by a dancing octave bass riff and spiraling synth, like Missing Persons without the metal buffoonery. With its darkly irresistible chorus, the album’s title track, more or less, is Queen Beats King.”All he seems to care about is fame… in the silence you create your own violence to turn and kill,” Diaz accuses.

Rebirth begins as syncopated cabaret-punk and then follows a trip-hop slink that eventually straightens out: “I will not love you until you are my enemy,” Diaz says perversely. With its doomed, angst-fueled major/minor changes, January 9th is a dead ringer for Atkins: “I don’t wanna be the bad one, I don;t wanna be the sad one that you find,” Diaz insists, althogh her voice can’t disguise that she knows what’s coming.

Fall in Love keeps that same wounded atmosphere going, awash in starry omnichord synth over a trip-hop groove: “Sometimes I speak too quickly, end up inside another shell…how would you know yourself, if you were never to fall in love…”

With Young Man, Diaz goes back to icy, stainless-countertopped new wave that explodes into Billy Idol bombast. She opens It with a tricky intro that artfully morphs into strutting, defiant ba-BUMP new wave noir cabaret. Then she hits a vengeful, sequencer-fueled motorik punk drive with Screaming Without a Sound. 

Its wryly blippy synth contrasting with big stadium rock guitars, Down continues the 80s vibe, this time going up into the attic for a Siouxsie-esque menace:: “I know all your secrets, I will push you to the ground, and you say, oh, why’d you kick me while I’m down?”, Diaz recounts.

She hits a creepy peak with Dig, its guitar chromatics fueling a lurid tale of abandonment and lust, and follows that with Star, a titanic, blue-flame 6/8 anthem, a counterpart to Atkins’ signature song The Tower.

Stark, starlit guitar builds a moody noir ranchera backdrop behind Diaz’s melancholy vocals in For You, a sad waltz. The album winds up with Mortician Musician, a bitter soul anthem recast as Orbison noir: “I’m not a fool for writing melodies, I’m just a fool for trying to make you see what I see,, ask me what kind of coffin I’d like, it’s the one you picked out for me,” Diaz rails..Dudes, get your skinny tie on; girls, feather your hair and take the subway to Bedford Avenue on the 17th because there was no Uber back when it sounds like this unselfconsciously brilliant album was made.

The New Pornographers Go New Wave at Terminal 5 on the 26th

How many of you went to see the New Pornographers at Prospect Park in the summer of 2015? It was what you would expect: a lot of fun. They played the hits, keys swooshed and guitars crunched and clanged….and there was plenty of room to roam around. Fifteen years ago, it would have been impossible to get in to see them unless you were willing to wait in an impossibly long line at the gates.

That’s not to imply that this century’s premier powerpop supergroup are any less popular now than they ever were, considering that Terminal 5, where they’re playing this April 26 at 9 PM, is the largest Manhattan venue they’ve ever been booked into. It’s likely that a lot of the people who’ve been priced out of Brooklyn and who would have packed that show in the park may come out for this one, for the borderline-obscene advance ticket price of $38. Factored into that, no doubt, is the fact that this is an all-ages show where legal adults will be subsidizing their (officially at least) nondrinking concertmates. Imagine shaggy, tattooed dad and son in matching Beavis and Butthead (or Bevis Frond) shirts.

The group’s new album, Whiteout Conditions is streaming at Spotify. It’s a new wave record, and it’s a good one. There’s a suspiciously satirical edge to the swooshy synths, and crisply danceable beats, and the unease cached rather haphazardly in the lyrics. These songs are amazingly catchy: hooks fly fast and furious, and you can sing along to pretty much everything. What Squeeze was thirty years ago, the New Pornographers are to now. Real estate bubble-era malaise has never been so much fun.

Kathryn Calder sings the careful cadences of the vampy, Head on the Door-era Cure style opening track, Play Money, over a brisk backbeat. There’s a vocoder and pulsing layers of synths:

Just when I’d thought we’d beat the system
That we were gentlemen of leisure
He left to talk about his treasure
And how he’d gotten it for a song…

Carl Newman moves to the mic for the title cut, awash in echoing sequencer beats. It sounds like Big Country without the bombast – ok, that’s a stretch, but just imagine. Mid-80s Wire is also a reference point. It’s an escape anthem, more relevant than ever since January 20.

High Ticket Attraction – how about that title for irony, huh? – looks back to the early 80s, when Bowie glam from ten years earlier was such a big influence. Yuppie entitlement and conspicuous consumption factor into Newman’s torrents of lyrics – the Jigsaw Seen come to mind.

Calder’s sober enunciation in This Is the World of the Theatre, one of the poppiest tracks here, perfectly captures the self-referential preciousness of a generation of gentrifier fauxhemians. The glossy, vamping Darling Shade has a more opaque 80s glossiness: it’s about what happens “When you add your voice to bad choices…when you break through, it’s nothing.”

Second Sleep wafts in with a late-Beatles psychedelic intro, and then the new wave beat kicks in: “This time of the morning you’d swear it was night,” Newman, Calder and Neko Case insist in between short rhyming couplets. “Be awake for awhile” becomes “Been awake for awhile,” after awhile.

Fuzz bass underpins droll, synthesized phony windchimes in Colosseums: “A scalper’s price built into the designs…say it like a soothsayer, it’ll keep for days.” The most overlty political track is the atmospherically swooshy We’ve Been Here Before: “We couldn’t find a way out when were here the first time,” Newman admits. “Might as well leave him behind, might as well leave him behind.”

Juke has a slinky Bollywood psychedelic groove, spun through the eye of a Beatles needle. Case takes over lead vocals on Clock Wise, which maintains the psychedelic ambience. The final cut is the allusively apocalyptic Avalanche Alley, blippy electronic organ flitting through a haze of guitars over a tight 2/4 beat: “News from the last world, news from the future…we could use a ride,” the singers harmonize. As with everything this band has ever done, this album doesn’t just invite repeated listens: it demands them. How rewarding it is to see one of the last successful holdovers from the college-radio-and-cds era still going strong.