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Tag: nick waterhouse

More Dark Retro Soul From Nick Waterhouse

Nick Waterhouse has been one of the prime movers in the retro soul movement for over a decade. His latest album Promenade Blue – streaming at Bandcamp – is a welcome addition to that consistently strong, purist body of work, focusing more on the noir side of that sound than usual here. You know the drill: reverb on everything, harmony singers who punch in on the chorus, trebly guitars and melodic bass playing through vintage amps, and nonstop catchy hooks.

With the opening track, Place Names, Waterhouse reinvents pre-Motown soul with stark strings in lieu of the kind of wafting orchestral sonics that Phil Spector would have used. And Waterhouse is more of a crooner than most artists from that era. At about four minutes, the song gives him a chance to chill and reflect on better times…as those of us who remember the glory days before March 16, 2020 have probably been doing in the time since.

The Spanish Look doesn’t have anything remotely Spanish about it, although it does have a lot of fevered Elvis in it, hey heh, mmm hmmm. Waterhouse goes back to a roughhewn, vampy early 60s milieu with Vincentine, complete with tantalizingly brief, blazing Chicago blues guitar breaks.

He paints a doomed, down-and-out Tom Waits tableau in the next track, Medicine, over a Lynchian guitar twang. Very Blue is the album’s best song, a gorgeous early 60s Orbison noir song complete with desperately hammering piano, bittersweet major/minor changes….and flurrying early ELO strings. “I remember trying hard just to wake you up,” Waterhouse intones – and the rest is history.

Elvis goes to see the gypsy in Silver Bracelet, set to a tinkly Vegas noir backdrop. Promene Bleu, a quasi title track, makes for a tasty instrumental mashup of Django Reinhardt and oldschool soul with a smoky tenor sax break. The noir tropes reach parody pitch in Fugitive Lover – gruff baritone sax, fire-and-brimstone gospel imagery repurposed as crime jazz, hook-and-ladder guitar riffage, the works.

Waterhouse goes back to primitive mode for Minor Time – as in “was your major, but you made the change” – and then picks up the pace with the quasi-surf Santa Ana 1986. Turns out Waterhouse is a California Man, just like Roy Wood. The album’s final cut is To Tell, the great missing b-side to ELO’s Showdown. If you like the standard noir tropes, if you miss Twin Peaks, this is your jam. Less devoted fans may find this on the monochromatic side. But maybe that’s the way Waterhouse wants it – and if so, that’s cool.

An Artfully Orchestrated, Intensely Noir New Album and a Joe’s Pub Show from Esteemed Chamber Pop Band the Old Ceremony

Back in the early zeros, when songwriter Django Haskins was a familiar presence playing around the Lower East Side of New York, it’s not likely that he drew a lot of Leonard Cohen comparisons. But artists grow, and as the years went on Haskins’ work took on a welcome gravitas, culminating when he formed chamber pop band the Old Ceremony in 2004. For those who might not get the reference, the band name is a shout-out to Cohen’s cult classic album New Skin for the Old Ceremony. The group are currently on tour for their excellent new album, Sprinter – streaming at youtube – with a show at Joe’s Pub tonight, July 25 at 7:30 PM. Cover is $15, and remember, the venue doesn’t charge a drink minimum anymore.

The album opens with the title track, a scampering folk noir number, like a more lushly orchestrated Curtis Eller song, Mark Simonsen’s eerily looping vibraphone contrasting with Gabriele Pelli’s gusty violin. Haskins’ elegantly emphatic twelve-string acoustic guitar joins with Simonsen’s organ and a nebulously dense arrangement on the stomping Live It Down, bringing to mind Pinataland.

An enigmatically catchy waltz, Ghosts of Ferriday opens with swirly Pink Floyd organ and builds to an ominously clanging noir-psych interlude fueled by Haskins’ creepy tremolo guitar: it’s sort of the missing link between Jimmy Webb and Nick Waterhouse. ”Something for the headphones, something for the chatterbox, drown out the howling of the human rain,” Haskins relates with crushing, deadpan sarcasm in the pulsing 60s bossa-noir anthem Magic Hour, evoking another cult favorite New York band, the Snow.

The sinister Mission Bells goes back to a latin noir slink, Haskin’s sardonic wah guitar paired against Simonsen’s smoky organ, with subtle, Lynchian dub tinges and an unexpectedly feral guitar solo out.  Over Greenland opens with an airy minimalism, channeling the narrator’s dread during a red-eye flight from who knows what – and then the scene shifts to a sarcastic, faux-Springsteen tableau. Fall Guy starts out with a brooding boleroesque groove and picks up with an anthemic stomp – the chute jumper at the center of the story sounds like notorious hijacker D.B. Cooper.

The moody, fingerpicked folk-rock blue-collar anomie anthem Hard Times wouldn’t be out of place on a recent Matt Keating album. Dan Hall’s rumbling drums and Shane Hartman’s dancing bass propel Efige, a snarling southwestern gothic narrative with murderously Balkan-tinged guitar. The final cut is Go Dark, packed with tricky metrics, snarky faux cinematics and metaphorically-charged suspense in the same vein as Ward White‘s most recent material. There’s just as much going on in the other songs as well, subtext and symbolism and allusions: if there’s any album this year that requires repeated listening, this is it. Notwithstanding contributions from southern indie royalty – Mike Mills of REM and the Baseball Project, and Chris Stamey from the DB’s – it’s Haskins’ tour de force. He’s never written more strongly or for matter played guitar with as much spacious, suspenseful intensity as he dives into here. It’s always good to see an artist at the top of their game fifteen years or so after they started, isn’t it?

The 100 Best Songs of 2014

If you count youtube clips, how many songs were “released” in 2014? Five million? Ten million? Considering the vast amount of material that’s out there, you can’t consider this page to be gospel any more than you can any other blog’s best-of-2014 list.

But it is a seriously good playlist. At first it seemed like a good idea to simply pull all of these songs into a Spotify playlist and call it a night, but that didn’t work since a lot – perhaps the majority – of the artists here aren’t on Spotify. But you can follow the links on this page and hear every song except for one mystery track which is one of the best of them all. Bookmark this page and enjoy!

As was the case last year with Matthew Grimm’s West Allis, one song stood apart from the pack this year as far as sheer visceral impact is concerned and that’s The Great Escape by artsy New York Americana band the Sometime Boys. Kurt Leege’s guitar provides an elegant, elegaic intro for frontwoman/guitarist Sarah Mucho’s carefully modulated, wounded, brittle vocals, which rise to a full gospel wail as the song hits a peak. It’s a bitter reflection on the lure of victory and the harsh reality of defeat, from the perspective of someone gazing into the night from a window in lower Manhattan. If you’ve ever faded away into yourself, scowling out at the glimmer in the distance and wishing you were there and not slaving away at some stupid dayjob – or contemplating suicide – this could be your theme song. It’s from the band’s album Riverbed, streaming here.

As with this year’s Best Albums of 2014 and Best NYC Concerts of 2014 pages, there’s no ranking here other than the #1 song of the year. For the sake of fairness, songs are listed in rough chronological order by the date they first got some attention at this blog, irrespective of release date. Which means that the last songs on the list aren’t the ass end of the list: they just made their first appearance here in December. To be clear: Karla Moheno’s mysterious Time Well Spent, which leads the rest of the pack here, is a lot different than Jennifer Niceley’s uneasily balmy Land I Love, the last song here. But they’re both worth a spin. Here we go!

Karla Moheno – Time Well Spent
A slinky, cruel noir blues dirge about deceit and revenge. Moheno’s genius is that her narratives are allusive; you have to brave the shadows to figure out what’s going on and who’s being killed. If the Sometime Boys hadn’t put out an album this year, this song, from her album Gone to Town, would occupy the top spot. Listen here.

Jessie Kilguss – Red Moon
The folk noir bandleader’s brooding, Spanish Civil War-inspired tableau could also be a present-day account of freedom fighters on the run from just about any gestapo – the NSA, Mossad or ISIS. It’s all the more powerful for Kilguss’ portrayal of the political as personal. From the album Devastate Me. Spotify link

Ward White – Bikini
This swaying, snarling art-rock narrative isn’t about beachwear: it’s a cruelly sardonic narrative set on a now-uninhabitable South Pacific atoll right after an atom bomb was set off there, gently ominous guitar multitracks subtly going awry over keyboardist Joe McGinty’s pillowy mellotron. From the album Ward White Is the Matador. Listen here

Marianne Dissard – Am Lezten
A portrait of total emotional depletion so vividly detailed it’s scary. And you don’t need to speak French to understand it – although that makes it all the more poignant. From her gorgeously orchestrated art-rock album The Cat. Not Me. Listen here

The Wytches – Gravedweller
Don’t let this song’s apparent references to zombies – which could simply be metaphorical – scare you away. Drenched in toxic reverb, this is a morbid, Middle Eastern-tinged horror surf number, and it’s genuinely evil. From the album Annabel Dream Reader. Listen here, free download

Willie Watson – Rock Salt & Nails
One of the year’s biggest buzz songs. Everybody covered this morose old murder ballad from the 1800s, nobody more starkly or hauntingly than the former Old Crow Medicine Show guitarist. It’s a version worthy of Hank Williams, no joke. From the album Folk Singer Vol. 1. Listen here

Ember Schrag – William for the Witches
At her Trans-Pecos show in October, the gothic Americana bandleader dedicated her careening Macbeth-inspired anthem to “all the Republicans back home,” ramping up the menace several notches with her litany of spells as guitarist Bob Bannister veered from monster surf, to ominous jangle, to a little skronk,  captured here on this video.

LJ Murphy – Fearful Town
At the Parkside back in May, noir rocker Murphy’s show was a going-away party of sorts for pianist Patrick McLellan, who took out his angst on the piano keys, gently and elegantly exchanging creepy, lingering noir tonalities with guitarist Tommy Hoscheid as Murphy drew a morosely surreal portrait of a DiBloomberg era East Village of tourist traps and the grotesqueries who congregate there. This youtube clip is the studio version.

Benmont Tench – You Should Be So Lucky
Tom Petty’s organist released his debut album this year and this is the title track, as viciously brilliant a kiss-off anthem as anyone’s ever written, set to tersely murderous, bluesy Laurel Canyon psychedelia. Watch the video 

Big Lazy – Human Sacrifice
The cult favorite NYC noir soundtrack trio makes horror surf out of a flamenco theme, with its savage clusters and sudden dips and swells, and allusions to a famous Duke Ellington tune (via the Ventures). From the album Don’t Cross Myrtle, rated #1 for 2014. Listen here

Gord Downie & the Sadies – Budget Shoes
An ominously reverb-drenched southwestern gothic tale fueled by Mike Belitsky’s artfully tumbling, Keith Moon drums. Singer and longtime Tragically Hip frontman Downie traces the steps of a couple of desperados “walking through the valley of ghosts,” one with his eyes on the other’s superior footgear. From their album Gord Downie, the Sadies & the Conquering Sun. Listen here

Ernest Troost – Old Screen Door
A wailing, electrifying murder ballad. Troost succeeds with this one since the only images he lets you see are incidental to what was obviously a grisly crime, “lightning bugs floating through a haze of gasoline” and so forth. A teens update to the Walkabouts’ vengeful anthem Firetrap, from the album O Love. Listen here

Changing Modes – Ride
The band keeps the menacing chromatics going over a brisk new wave pulse, frontwoman/keyboardist Wendy Griffiths’ venomous lyric driven to a crescendo by a snarling Yuzuru Sadashige guitar solo. From the New York art-rockers’ album The Paradox of Traveling Light. Listen here

HUMANWINE – Our Devolution Is Televised
Tthe closest thing to the Dead Kennedys that we have these days: macabre chromatic Romany punk rock set in an Orwellian nightmare that very closely resembles today’s world. The recurrent mantra is “Can’t you feel the lockdown?” From the ep Mass Exodus. Listen here, free download

The Brooklyn What – Too Much Worry
Almost nine minutes of white-knuckle intensity, relentless angst and psychedelic guitar fury. A serpentine homage to early Joy Division, there’s an interlude where it evokes a tighter take on that band doing the Velvets’ Sister Ray, then a long, volcanic guitar duel worthy of the Dream Syndicate. From the year’s best short album, Minor Problems. Listen here

Briana Layon & the Boys – Cut My Man
The dark metal/powerpop rockers open the song with an icy, watery guitar lead over a sketchy, muted riff, frontwoman Layon joining in the ominous ambience and then rising toward murderous rage, airing out her wounded low range and in the process channeling the Sometime Boys‘ Sarah Mucho. They take it out as a waltzing danse macabre. From their album Touch & Go. Listen here

Cheetah Chrome – Stare into the Night
It’s the closest thing to the Dead Boys (right around the time of their mid-80s comeback) on that band’s iconic lead guitarist’s new album, Solo, most of its searing tracks recorded almost twenty years ago and seeing the light just now. It’s about time. Spotify link

The Annie Ford Band – Buick 1966
A cinematic, noir mini-epic that shifts from a creepy bolero to a waltz to scampering bluegrass and then back, fueled by Tim Sargent’s knee-buckling, Marc Ribot-like reverb guitar lines. From Ford’s debut album. Listen here

Golem – Vodka Is Poison
Over a rampaging circus punk stomp, bandleaders Annette Ezekiel Kogan and Aaron Diskin trade verses about why it either “Makes you round, makes you soft, makes it hard to get aloft,” or “Makes you happy, makes you free, makes you wish that you were me!” From the album Tanz. Spotify link 

The Fleshtones – Hipster Heaven
A hellish, Chuck Berry-flavored chronicle of the band’s old New York neighborhoods being swallowed by hordes of narcissistic gentrifiers fresh out of college but acting like kindergarteners. From their album Wheel of Talent. Watch the video

Guess & Check – Some DJs
An aptly downcast janglepop tale that will resonate with anybody who’s walked into a party all psyched and then realizes in a split second that it’s really going to suck. In other words, that it’s full of trendoids who are all a-twitter since some DJ just plugged his phone into the PA system! From their album Entanglement. Listen here

Orphan Jane – Lost Mind
A menacingly theatrical circus rock tune that builds from a sarcastically whiny, vaudevillian verse to an explosive choir of voices on the chorus. From their album A Poke in the Eye. Listen here

Mitra Sumara – mystery song
Mitra Sumara are one of New York’s most fascinating bands. Singer Yvette Perez’s group plays obscure psychedelic rock and funk covers from Iran in the 1960s and 70s. This particular number was the highlight of this year’s annual Alwan-a-Thon, a celebration of sounds from across the Middle East held at downtown music mecca Alwan for the Arts. But nobody seems to know what the song is called. It sounds like Procol Harum but more upbeat, with some seriously evil funeral organ. If anybody knows the title, please pass it on! It was the third song on the setlist that night.

The Reigning Monarchs – Thuggery
Sort of a Peter Gunne Theme for the teens, an intense, explosive monster surf instrumental with a slashing, off-the-rails guitar solo midway through. From the album Black Sweater Massacre. Listen here

Curtis Eller – The Heart That Forgave Richard Nixon
A riverbed grave, a Cadillac stalled out on the tracks and Henry Kissinger shaking it all night long serve as the backdrop for this snarling parable of post-9/11 multinational fascism. From the historically-inspired Americana cult favorite banjo player’s album How to Make It in Hollywood. Listen here

The Jitterbug Vipers – Stuff It
A co-write with Elizabeth McQueen from Asleep at the Wheel, this sassy oldtimey swing tune by the Texas stoner swing band has the sardonic wit of a classic, dismissive Mae West insult song. From the album Phoebe’s Dream. Listen here

Della Mae – Heaven’s Gate
A bitter, ghostly newgrass tale that begins with the fiddle mimicking the ominous low resonance of a steel guitar, then eventually goes doublespeed. Is this about a suicide, a murder, or both? Either way, it’s a great story. From the album This World Oft Can Be. Watch the video (WARNING – you have to mute the audio ad before the whole album streams)

Bad Buka – Through the Night
A big, blazing, full-on orchestrated minor-key Romany art-rock epic, the title track from this searing, theatrical Slavic art-punk band’s new album. Listen here

The Devil Makes Three – Hand Back Down
The wild punkgrass crew take an unexpected detour into surrealist stoner swamp rock with a cynical antiwar edge, from their album I’m a Stranger Here. This video is a live take.

Marissa Nadler – Firecrackers
A menacingly opiated, reverb-drenched, mostly acoustic Nashville gothic ballad, painting a booze-fueled Fourth of July scenario that does not end well. From the folk noir icon’s album July. Listen here

Aram Bajakian – Rent Party
This instrumental by the former Lou Reed lead guitar genius kicks off with a bouncy funk riff into a minor-key tune that’s part newschool Romany rock, surf music and Otis Rush blues – then the band hits a long, surreal, muddy interlude reminiscent of 80s noiserock legends Live Skull as Shahzad Ismaily’s bass growls to the surface. From the album There Were Flowers Also in Hell. Listen here

The Delta Saints – Crazy
The centerpiece of the Americana jamband’s Drink It Slow ep is a nine-minute epic that works a slow, slinky noir blues groove with all kinds of up-and-down dynamics, a precise, angst-fueled guitar solo and every keyboard texture in this band’s arsenal. Listen here

Rosanne Cash – World of Strange Design
An harrowing Appalachian gothic tale that could be about a returning soldier’s family falling apart, or maybe just metaphorical, about a guy who “Set off the minefield like you were rounding first.” From the album The River & the Thread. Watch the video

Laura Cantrell – Washday Blues
This era’s most poignant, compelling voice in classic country music at her aphoristic best, cleaning up a lifetime’s worth of disappointed metaphors against a backdrop of steel guitar and mandolin. From the new album No Way There from Here. Spotify link

The New Mendicants – High on the Skyline
An enigmatically alienated folk-rock anthem that’s equal parts Strawbs Britfolk and lushly clangy, twanging Byrds from this psychedelic pop supergroup. “I’ll show you how deadly close faraway can be,” Teenage Fanclub frontman Norman Blake intones in his stately delivery. From their album Into the Lime. This live acoustic take isn’t the album version but it’s still really good.

Ihtimanska – Hicaz Hümayun Saz Semaisi
The most gripping and most distinctively Middle Eastern of all the tracks on the Montreal Turkish traditional music duo’s debut album. Listen here

Siach HaSadeh – Kuni Roni/Maggid’s Niggun
A darkly dancing North African-tinged diptych: the oud’s ironically triumphant run down into the abyss midway through might be the high point of the improvisational klezmer band’s album Song of the Grasses. Listen here

Son of Skooshny – Untold History.
This intense, richly arranged, artsy janglerock anthem traces an uneasy early atomic age childhood with an offhanded savagery: with Steve Refling’s keening slide guitar, it’s the hardest-rocking and most overtly angry song on the new album Mid Century Modern. Listen here

New Electric Ride – Marquis de Sade
This trippy vintage 60s psych tune casts the old philosopher as a stoner, from a funky Cream intro, through a little early Santana and then a galloping proto-metal interlude fueled by Craig Oxberry’s artful drums before some very funny vocals kick in. From the album Balloon Age. Listen here

Tammy Faye Starlite – Sister Morphine
A showstopper by the irrepressible chanteuse who’s carved herself out a niche for sardonic but spot-on reinventions of songs by brilliant and difficult people: Nico, Iggy, and others. She slayed with this one live at her Marianne Faithfull tribute/parody at Lincoln Center back in March. Watch the video

Isle of Klezbos – Noiresque
Shoko Nagai dazzles with her glimmering, darkly neoromantic and blues-tinged piano on this bracing latin- and Middle Eastern-tinted theme, shifting seamlessly between waltz time and a swing jazz groove. From the album Live from Brooklyn. Listen here

Jenifer Jackson – All Around
This flinty anthemic backbeat rock tune builds a mood of quiet apprehension via a wintry seaside tableau – it wouldn’t be out of place in the Steve Wynn catalog. From the stunningly eclectic Austin songwriter’s album Texas Sunrise. Listen here 

The Baseball Project – 13
Arguably the best song on the new album, 3rd – frontman Steve Wynn takes unsparing aim at at the A-Roid scandal over a corrosively sarcastic spaghetti western backdrop. Watch the video

John Zorn’s Abraxas – Metapsychomagia
Guitarists Aram Bajakian and Eyal Maoz and bassist Shanir Ezra Blumenkranz juxtapose puckish wit with flickering menace, building from an uneasy bolero groove to a staggered Middle Eastern monster surf stomp, both guitarists ranging from lingering and twangy to frenetic and crazed, epic art-rock infused with swirling noise. Title track from the new album. Watch the video

Martin Bisi – Invite to Heaven Hell
One of the most deliciously tuneful things the dark art-rocker has ever done, building a stygian spacerock ambience, like the Chuch or the Byrds at their most psychedelic, with hints of peak-era Sonic Youth peeking through the pulsing guitars, with disembodied vocals, soaring trumpet and a dead-girl chorus in the background. From the album Ex Nihilo. Listen here

Ichka – Glaziers Hora
This Alicia Svigals tune is a showcase for soaring solos from everyone in this fiery klezmer band, over a misterioso staccato rhythm. From their album Podorozh. Listen here

Jaro Milko & the Cubalkanics – Herido
A mix of Del Shannon noir with a creepy bolero: it’s arguably the strongest track on the psychedelic cumbia band’s creepily slinky new album Cigarros Explosivos. Listen here 

Holly Golightly & the Brokeoffs – For All that Ails You
With its mournful train-whistle guitar and stalking, noir blues sway, it’s uncommonly dark for even this creepy gutter blues/noir Americana band. From the album It’s Her Fault. Watch the video

The Mystic Braves – There’s a Pain
A briskly scampering noir blues recast as period-perfect 60s Laurel Canyon psychedelia, from the album Desert Island. Listen here

Barbez – Mizmor Leasaf
Italian poet Alfonso Gatto’s bitter wartime elegy, Anniversary, recast as an eerily reverberating, dirgelike noir soundtrack piece from the album Bella Ciao, which explores haunting Italian Jewish themes. Watch the video

Spottiswoode – Butterfly
With its anxiously fluttery, tremoloing intro, swooping clarinet and elegant electric harpsichord, it’s a characteristically moody, richly orchestrated chamber pop anthem. From the album English Dream. Listen here

Action Beat & G.W. Sok – Sentence Machine
A noisier take on what Joy Division did with Atrocity Exhibition, seemingly a Kafkaesque account of a tortuous execution machine, set to a choir of sawing, stabbing, frantically pinwheeling guitars. From the ex-Ex frontman and British noiserock band’s collaborative album A Remarkable Machine. Spotify link

Karikatura – Eyes Wide
A bracing latin reggae tune and the title track to the band’s new album, frontman Ryan Acquaotta chronicling what happens when the real estate mob decides to take over a sketchy part of town: “With the luxury developments they’re packing in, propaganda that the neighborhood is back again, watch whoever is moving in after, blowing their cover.” And then the displacement of the people who call it home begins. Listen here

The Skull Practitioners – Another Sicko
An out-of-focus vocal from guest Tom Derwent, long drones, allusions to funk, twisted bent-note mental asylum screams from Steve Wynn lead player and frontman Jason Victor going on for what seems minutes and an ending that the band finally allows to completely disintegrate. From the New York noiserockers’ ep ST1 – also available on cassette. Listen here

Zvuloon Dub System – Alemitu
An ominously organ-fueled minor-key instrumental that blends otherworldly Ethiopiques into a moody Israeli roots reggae groove. From their album Anbesa Dub. Listen here

The Last Internationale – We Will Reign
The fearless, politically-fueled Bronx rockers slayed with this snarling, defiant, Patti Smith-style anthem at the Mercury back in June, the title track from their new album. Watch the video

Hannah Thiem – Phavet
If you listen very closely, you’ll realize that the cinematic, intense violinist/composer’s slinky electroacoustic mood piece is a one-chord jam, as it shifts from an echoing, dancing, hypnotically bracing theme to a thicket of overdubs where Thiem becomes a one-woman string sextet.. From the ep Brym. Listen here

Amanda Thorpe – Willow in the Wind
With its haunting, subdued anguish, the intense Britfolk/art-rock chanteuse’s noir tropicalia version of Tin Pan Alley wordsmith Yip Harburg’s song surpasses any other take on it, fueled by drummer Robert di Pietro’s ominous tom-toms and misterioso cymbal work. From the album Bewitching Me. Spotify link 

Nick Waterhouse – Sleeping Pills
With echoey Rod Argent electric piano and baritone saxophonist Paula Henderson’s smoky lines, this was the most lurid song of the night at the LA psychedelic soul music maven’s show in Greenpoint back in June. From the album Holly. Watch the video

Puss N Boots – GTO
The darkest and arguably best song on the album No Fools, No Fun, a detour toward Eilen Jewell-tinged ghoulabilly by the the Americana super-trio of Norah Jones, guitarist/singer Sasha Dobson and bassist Catherine Popper. Watch the video

People – Supersensible Hydrofracked Dystopia
Fiery jazz guitarist Mary Halvorson, irrepressible drummer Kevin Shea (of NYC’s funnest jazz group, Mostly Other People Do the Killing) and bassist Kyle Forester (from Crystal Stilts) toss off this barely minute-long but cruelly spot-on punk jazz miniature from the album 3xaWoman. Watch the video

Coppins – Great Day for Living
A sarcastic dystopic pre-apocalyptic narrative set to a reggae-tinged groove from the eclectic, funky, rootsy Toronto band known for their bagpipe funk. From the album The Prince That Nobody Knows. Listen here 

Marah – The Old Riverman’s Regret
A sad, vividly resigned oldtimey folk waltz, looking back nostalgically on 19th century commercial river rafting. From the album Mountain Minstrelsy of Pennsylvania, a mightily successful detour into Americana by the highway rock band. Listen here

Carsie Blanton – Don’t Come Too Soon
Sly, innuendo-fueled oldtime hokum blues from the torchy New Orleans chanteuse. Listen here, free download

Millsted – Televangelist
Over an uneasy, hammering pulse, the New York punk/metal band work murderously direct East Bay Ray-style horror-surf riffage that spirals out in acidic sheets of reverb, hits a misterioso interlude and then rises again. From the album Harlem. Listen here

The Butcher Knives – Could Be the End
The New York Romany/latin rockers’ slinky shuffle kicks off by nicking the intro from Elvis Costello’s Watching the Detectives and morphs into steady brisk spaghetti western rock, with a cool, offcenter Ethan Cohen banjo solo out. From their album Misery. Listen here 

The Bakersfield Breakers – Longing
A sad, spiky mix of honkytonk, incisive blues and Britfolk licks and moody ranchera rock via guitarist Keith Yaun’s virtuoso multitracks. From the album In the Studio with the Bakersfield Breakers. Listen here

The Jones Family Singers – Bones in the Valley
A funky update on an ancient, eerie spiritual livened with a combination of graveyard imagery and a message that’s ultimately hopeful, a launching pad for some impassioned call-and response. From the Houston gospel-soul band’s album The Spirit Speaks. Listen here

The Old Crow Medicine Show – Dearly Departed Friend
As much as the bluegrass road warriors are best known for explosive party music, this is a somber graveside requiem for an Iraq War casualty, with a creepy, spot-on redneck surrealism. From their album Remedy. Listen here

Andrew Bird – So Much Wine Merry Christmas
The funniest of the Handsome Family covers on Bird’s tribute to the iconic Americana surrealist duo, Things Are Really Great Here, Sort Of. One brilliantly twisted, literate Americana songwriter deserves another. Listen here

The Grisly Hand – Western Avenue
A ringer here, the title track from the Kansas City band’s 2012 debut, sounding like the Jayhawks circa Sound of Lies backing Neko Case. Yeah, that good. Their new album Country Singles is pretty damn good too. Listen here

Edward Rogers – What Happened to the News
Fueled by Byrdsy twelve-string guitar, it’s a snide swipe at how the media-industrial complex distracts us from what’s really going on. Fron the Britrock maven’s Kevin Ayers-inspired new album Kaye. Watch the video

Bombay Rickey – Pilgrim
Frontwoman Kamala Sankaram’s wickedly precise, loopy accordion winds through a misterioso, lingering, surfy stroll with ominous bass and alto sax solos, the latter building to a spine-tingling coda. From the psychedelic Bollywood-inspired band’s album Cinefonia, the year’s best debut release. Listen here

Sharon Jones – Retreat
The brooding, practically exhausted version that this era’s definitive soul-funk singer delivered out back of the World Financial Center back in June was considerably more ominous and menacing than the version on the record. From the album Give The People What They Want. Listen here

The Immigrant Union – Anyway
The epic title track from the lush Australian psych-pop janglerockers’ latest album has plaintive harmonies and a slow psych-pop sway much in the same vein as the Allah-Las. Listen here

Debby Schwartz – Hills of Violent Green
A lushly luscious folk noir anthem and a showcase for some literally breathtaking, swooping upper-register vocals by the former Aquanettas frontwoman (and current Ember Schrag bassist). Fron the Satan You Brought Me Down ep. Listen here 

Wormburner – Drinks At the Plaza Hotel
Fiery Stiff Little Fingers style punk-pop, a couple of smalltime scam artists trading faux-sophisticated banter and having a great time seeing how much they can get over on the snobs. From the album Pleasant Living in Planned Communities. Listen here

Banda Magda – Trata
A gorgeously swaying Middle Eastern-tinged Greek party tune with rippling hammered dulcimer, cheery brass and animated guy/girl vocals that builds to a towerine, majestic peak. Frmo the pan-global New York art-rock/jazz/Middle Eastern band’s album Yerakina. Listen here

Alsarah & the Nubatones – Bilad Aldahb
A bristling, broodingly expansive oud solo by the late, great Haig Magnoukian leads into a dusky lament lowlit by Rami El Asser’s stately frame drum work. From the New York Nubian funk revivalists/reinventors’ album Silt. Listen here

Mary Lee Kortes – Big Things
An irrepressibly jaunty hi-de-ho swing tune: the intense, soaring Americana tunesmith/singer slayed with this at the Rockwood a couple of months ago. From the album Songs from the Beulah Rowley Songbook ep – and possibly appearing on her forthcoming, long-awaited Songs of Beulah Rowley album, a thematic collection centered around a tragic, talented 1930s/40s cult favorite songwriter. Listen here

Mark Rogers & Mary Byrne – Green Gold Violet
A starkly vivid, hypnotic, wounded late-afternoon folk noir tableau, Rogers’ luminous dobro paired against Byrne’s tensely fingerpicked stroll. From the album I Line My Days Along Your Weight. Listen here

Matt Ulery – The Farm
The lively flair of this harmony-driven, climactic chamber pop number understates its corrosive portrayal of rural hell. From the eclectic, cinematic bassist/composer’s album In the Ivory. Listen here

The Larch – Mr. Winters
The jangliest track on the ferociously lyrical New York psychedelic new wave rockers’ new album In Transit is a metaphorical, nonchalantly ominous sort of a mashup of Squeeze and powerpop legends Skooshny. Listen here

Lachan Bryan & the Wildes – The CEO Must Die
A brutally insightful look at the psychology of going postal from the Australian Americana songwriter/bandleader’s purist, impeccably crafted album Black Coffee. Listen here

The OBNIIIs – No Time for the Blues
The closest thing to Radio Birdman that we have right now, lead guitarist Tom Triplett ripping through volleys of chromatic. Surprisingly, the studio version on the Third Time to Harm album is even more volcanic t han the live version on their Live in San Francisco album. Listen here

Jay Brown – Fox News (Jesus Save Me).
Snidely hilarious faux gospel from the Americana songwriter. Anybody who watches that channel should be tied to a chair and forced to listen to this on loop. LMFAO. From the album Beginner Mind. Listen here

Lorraine Leckie – The Everywhere Man
This song about a party-hopping serial killer originally appeared on the album Rudely Interrupted, her elegant chamber pop collaboration with social critic Anthony Haden Guest. But the simmering, noir version on her latest album Rebel Devil Rebel takes the energy up several notches. Listen here 

Mesiko – Mockingbird
A distantly disquieting, pastorally-tinged art-rock anthem with early 70s Pink Floyd resonance: “Put away the mockingbird inside your lungs, keep your cellular calls to a minimum,” drummer Ray Rizzo sings as the band rises to a squall. From the album Solar Door. Listen here

Kelley Swindall – The Murder Song
A talking blues destined to become a Halloween classic. The dark Americana songstress credits her acting coach for helping her get in touch with her dark side on this one – yikes! From her album Pronounced [KEL-lee SWIN-dul] or something like that. Listen here

O’Death – Isavelle
The most ornate, and arguably most menacing track on the individualistic, creepy circus rock/Americana/noir cabaret band’s new album Out Of Hands We Go, a murder ballad fueled by Bob Pycior’s icepick violin. Listen here

Dina Regine – Broken
A brooding yet brisk latin-tinged groove with Steve Cropper-esque guitar: “You beat the wall for your past oppressor – sometimes spirits treat you real kind but most of the time they mess with your mind,” Regine sings with a gentle unease. From the New York soul-rock cult figure’s long-awaited album Right On, Alright. Listen here

Wounded Buffalo Theory – You Have Left Me
A gorgeously angst-fueled art-rock anthem that builds to a thicket of chiming guitars; axeman Kurt Leege takes a rare turn on lead vocals and knocks it out of the park. From the New York art-rockers’ album A Painting of Plans. Listen here, free download

Sam Llanas – To Where You Go From
The elegant, regret-laden final cut from the soulful BoDeans frontman’s new solo album The Whole Night Thru, a vivid, broodingly nocturnal highway theme. Watch the video (be careful – you may have to mute an ad at the beginning since this is a full album stream)

Jessi Robertson – You’re Gonna Burn
Deep inside this volcanic noir soul anthem, it’s a bitter, menacing blues, resonant, sustained lead guitar lines fueling its big upward trajectory as the New York noir Americana singer airs out her powerful voice. From the album I Came From the War. Listen here

Opal Onyx – Arrows Wing
The atmospheric New York art-rockers’ anthem begins as folk noir before rippling keys and atmospheric washes of cello take it even further into the shadows. From the album Delta Sands. Listen here 

Metropolitan Klezmer – Baltic Blue
The shapeshifting klezmer/latin/psychedelic cumbia group cleverly move between grooves as alto saxophonist Debra Kreisberg’s slow, haunting theme heats up, mashing up the blues and Hava Nagila with soulful solos from throughout the band. From the live album Mazel Means Good Luck. Listen here

The Yiddish Art Trio – Guilt
Clarinet powerhouse Michael Winograd wrote this evocative, enveloping theme that pairs his wary, airy lines with dark, full-throttle washes from Patrick Farrell’s accordion, evoking the majesty of a classical organ prelude. From the group’s debut album. Listen here

Mark Sinnis – Your Past May Come Back to Haunt Me
Originally released by the dark country crooner’s original band, art-rockers Ninth House, this reinvents this haunting, crescendoing anthem as low-key but no less intense Americana. From the album album It’s Been a Long Cold Hard Lonely Winter. Here’s a live version

Robin Aigner – Greener
This pensive oldtimey number’s Gatsby-era setting is the exact opposite of what it seems to be, Rima Fand’s violin and Ray Sapirstein’s trumpet flying over a tensely flurrying, flamenco-tinged beat. From the brilliantly lyrical, deviously funny New York tunesmith/chanteuse’s album Con Tender. Listen here, free download

Jennifer Niceley – Land I Love
Swooshes and gentle booms from the drums and gorgeously lingering pedal steel color the song’s Lynchian Julee Cruise atmospherics, the Tennessee songstress brooding over her pastoral imagery and how that beauty “is never coming back.” From the album Birdlight. Listen here

If you missed the explanation on the Best Albums page, all the classical and most of the jazz is more likely to be found at this blog’s older sister blog Lucid Culture.

The Best New York Concerts of 2014

Of all the year-end lists here, including the best albums and best songs of 2014 lists, this one is the most individual, and the most fun to put together. But as amazing a year for live music as it was, there were twice as many enticing shows that this blog never had the chance to cover as there are on this list. It’s called having a life – or trying to, in between concerts, anyway.

So consider this an informed survey rather than anything definitive, and ultimately, a reason for guarded optimism. Much as gentrification destroys the arts like Walmart destroys local economies, neither one has killed us. Yet.

What was the single best show of the year? Four multi-band bills stand out from the rest. Back in October at Trans-Pecos, charismatic Great Plains gothic bandleader Ember Schrag played a wickedly lyrical mix of mostly new material, some of it with a string section, the rest fueled by the snarling, spectacular lead guitar of Bob Bannister. Also playing that night: rapturously hypnotic, melancholic cellist/songwriter Meaner Pencil, dark art-rock duo Christy & Emily, plus a starkly entrancing set by two jazz icons, guitarist Mary Halvorson and violist Jessica Pavone.

A month earlier, renaissance woman Sarah Small put together a similarly magical night at Joe’s Pub featuring her Middle Eastern-inspired trio Hydra with Rima Fand and Yula Beeri as well as her otherworldly Balkan choral trio Black Sea Hotel with Willa Roberts and Shelley Thomas. There were also brief sets from the reliably entertaining all-female accordion group the Main Squeeze Orchestra and a trio version of one of NYC’s original Romany bands, Luminescent Orchestrii.

In mid-November, the Bowery Electric triplebill of hauntingly catchy Nashville gothic tunesmith/singer Jessie Kilguss, similarly lyrical and vocally gifted art-rock songwriter Ward White – both playing an album release show – and well-loved literate Americana rocker Matt Keating was pretty transcendent. And let’s not forget the Alwan-a-Thon back in January, the annual celebration of cutting-edge sounds from across the Arabic-speaking world held at financial district music mecca Alwan for the Arts. This one featured two floors of amazing acts including intense Lebanese-born pianist Tarek Yamani and his trio, luminous Balkan chanteuse Eva Salina, amazingly psychedelic 1960s Iranian art-dance-rock revivalists Mitra Sumara, sizzling Romany party monsters Sazet Band, and the all-star Alwan Ensemble, who played bristling jams on classic themes from Egypt, Syria and Iraq.

Rather than trying to rank the rest of these shows, they’re listed in chronological order:

Avi Fox-Rosen and Raya Brass Band at Rock Shop, 1/9/14 – Fox-Rosen had just released an album every single month in 2013, so this was a triumphant sort of greatest hits live gig for the sharply lyrical, catchy art-rock tunesmith followed by a wild vortex of Balkan jamming, the group down on the floor in front of the stage surrounded by dancers.

LJ Murphy & the Accomplices at Parkside Lounge, 2/1/14 – the charismatic, nattily dressed noir rocker led his explosive, blues-fueled band through a careening set of intensely lyrical, distinctively New York narratives.

Siach Hasadeh and Ichka in the basement at Stephen Wise Free Synagogue on the Upper West Side, 3/4/14 – every Tuesday, more or less, drummer Aaron Alexander – a prime mover in Jewish jazz circles – books a series of reliably excellent bands here. This twinbill kicked off with a rapturously haunting set by Montreal’s Siach Hasadeh followed by another Montreal outfit, the high-energy Ichka and then a jam with members of both bands joined by audience members.

Tammy Faye Starlite singing Marianne Faithfull’s Broken English at the Lincoln Center Atrium, 3/13/14 – a counterintuitive, sardonically hilarious reinterpretation of a haphazardly iconic new wave era album.

Jenifer Jackson at the Rockwood, 3/26/14 – the eclectic Austin songwriter brought her new band from her adopted hometown, reinventing older material and newer stuff as well with Kullen Fuchs’ rippling vibraphone as the lead instrument.

Gord Downie & the Sadies at Bowery Ballroom, 5/2/14 – a furious, often haunting sprint through the Canadian gothic Americana band’s most recent collaboration with the Tragically Hip frontman, ending with an explosively psychedelic Iggy Pop cover.

Hannah Thiem at Mercury Lounge, 5/29/14 – the haunting violinist/composer teamed up with an A-list string section to air out soaringly ethereal, cinematic new Nordic and Middle Eastern-tinged electroacoustic material from her latest album.

Nick Waterhouse at the Brooklyn Night Bazaar in Greenpoint, 6/13/14 – the LA noir soul bandleader and a killer pickup band featuring Burnt Sugar’s Paula Henderson on baritone sax brought moody Lynchian sounds to this grotesquely trendoid-infested space.

Kayhan Kalhor and Jivan Gasparyan at the World Financial Center, 6/14/14 – the legendary Iranian-Kurdish spike fiddle virtuoso and composer joined the similarly legendary Armenian duduk reedman for a rapturous, otherworldly duo set of improvisations on classic themes from each others’ traditions.

No Grave Like the Sea at Ramirez Park in Bushwick, 6/21/14 – after a day running around aimlessly trying to find bands playing daytime shows during the annual Make Music NY buskerfest, the volcanically sweeping, epic set by bassist Tony Maimone’s cinematic postrock band made it all worthwhile.

Karen Dahlstrom at the American Folk Art Museum, 6/27/14 – while she may be best known as one of the four first-rate songwriters in Bobtown, arguably the best gothic Americana harmony band around, Dahlstrom is also just as captivating as a solo performer. She took advantage of the museum’s sonics and sang a-cappella and ran through a tantalizingly brief set of haunting, historically rich original songs from her Idaho-themed album Gem State.

Serena Jost at the Rockwood, 6/29/14 – a lush, sweeping, richly enveloping, tuneful show by the art-rock cellist/multi-instrumentalist singer and her band. The all-too-brief, eclectic set by southwestern gothic bandleader Sergio Mendoza y la Orkesta about an hour beforehand at South Street Seaport – with psychedelic cumbias, rumba rock and the most twisted Fleetwood Mac cover ever – got the evening off to a great start.

Changing Modes at Bowery Electric, 7/19/14 – keyboardist/bassist Wendy Griffiths’ slinky, shapeshifting art-rock band has never sounded more anthemic or intense. And earlier that afternoon, scorching sets by the noisily atmospheric VBA, pummeling postrock/metal band Biblical and dark garage punks Obits at Union Pool kicked off what might have been the year’s single best day of music.

Jacco Gardner at South Street Seaport, 8/15/14 – he sort of plays the same song over and over, a dreamy, gorgeously chiming, psychedelic sunshine pop number straight out of London, 1967. But it’s a great song, and it was worth sticking around for what were essentially variations on a theme.

Bliss Blood & Al Street at Brooklyn Rod & Gun Club, 8/27/14 – the lurid but plaintive and haunting torch song icon teamed up with the brilliant, flamenco-inspired guitarist for a riveting, Lynchian set of mostly new material from their phenomenally good forthcoming album.

Gemma Ray at Rough Trade, 9/13/14 – the British noir songwriter played a similarly Lynchian set in a stark duo show, just guitar and drums, a showcase for her smart, individualistic, creepy playing and macabre songwriting.

The Dances of the World Chamber Ensemble at St. Marks Church, 9/14/14 – the improvisationally-inclined, cinematic instrumentalists ran through a magical blend of African, Middle Eastern, tango and jazz pieces by frontwoman/pianist/flutist Diana Wayburn.

Chicha Libre at Barbes, 9/15/14 – sadly, NYC’s funnest band have since gone on “indefinite hiatus,” whatever that means. At least they were on the top of their game when they played a wild, darkly psychedelic mix of trippy, surfy Peruvian psychedelic cumbia sounds in one of their last shows of the year.

Wounded Buffalo Theory playing Genesis’ The Lamb Lies Down on Broadway at Rock Shop, 9/19/14 – the art-rockers joined with a revolving cast including members of the Sometime Boys, Afroskull, 29 Hour Music People, and the Trouble Dolls for an impressively spot-on, epic recreation of the cult favorite 1974 art-rock album, WNYC’s John Hockenberry reading Peter Gabriel’s drolly surreal album liner notes in between songs.

Souren Baronian’s Taksim at Barbes, 9/23/14 – this isn’t the show reviewed at this blog back in June. That show featured the octogenarian multi-reedman and his hypnotic but kinetic band playing an unselfconsciously deep, soulful blend of Armenian music and incisive American jazz. His next gig there was even better!

Sherita at Barbes, 9/30/14 – the Brooklyn Balkan supergroup of sorts – reedman Greg Squared of Raya Brass Band, violinist Rima Fand of Luminescent Orchestrii, percussionis/singer Renée Renata Bergan and oudist Adam Good – played an alternately sizzling and sepulchral mix of originals and classic themes from Turkey, Greece and here as well.

Mary Lee Kortes at the Rockwood, 10/7/14 – the brilliant Americana songwriter and chanteuse and her band, feauturing John Mellencamp guitarist Andy York, aired out dazzlingly eclectic, intensely lyrical songs from her forthcoming album, The Songs of Beulah Rowley, a mix of saloon jazz, torch song and plaintive Americana.

The Skull Practitioners at Pine Box Rock Shop in Bushwick, 10/31/14 – it was the ultimate Halloween show, Steve Wynn lead guitar monster Jason Victor’s otherworldly, pummeling noiserock trio building a menacing but wickedly catchy vortex. That their half-hour set was as good as some of the four-hour bills on this list testifies to how volcanically good it was.

Karla Moheno at the Rockwood, 11/18/14 – the inscrutable noir songwriter and guitarist led a killer, Lynchian band through a mix of low-key, murderous, mysteriously lyrical narratives and more upbeat but no less shadowy material.

Mamie Minch at Barbes, 12/20/14 – this is why it always pays to wait til the very end of the year to finish this list. The charismatic resonator guitarist/singer and oldtime blues maven teamed up with Kill Henry Suger drummer Dean Sharenow for a killer set of blues from over the decades along with similarly edgy, sardonically aphoristic original material

If you’re wondering why there isn’t any jazz or classical music to speak of on this list, that’s because this blog has an older sister blog, Lucid Culture, which covers that kind of stuff in more detail.

A couple of things may jump out at you here. Nineteen of these shows were in Manhattan, eleven were in Brooklyn and one in Queens, which is open to multiple interpretations. More instructive is the fact that nineteen of the thirty-one 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. 26 out of of the 42 acts here were either women playing solo or fronting a group. That’s a trend. You’re going to see more of that here in the next couple of days.

The Allah-Las Brighten Their Surreal, Catchy Psychedelic Pop – Just a Little

The Allah-Las reaffirm the reality that if you tour good music coast to coast, larger and larger crowds will come out to see it. Watching them grow from small club band to solid large-venue attraction has been one of the more satisfying success stories among rock bands over the last couple of years. Their new second album, Worship the Sun, was produced by retro music maven Nick Waterhouse and is streaming at bandcamp.

The opening track, De Vida Voz continues the catchy, eerie, retro 60s psych-folk-rock vibe that filtered through their brilliant 2012 debut album: “Voices carry through the canyon,” is drummer Matthew Correia’s mantra over the band’s signature, jangly blend of twelve- and six-string guitars. The second track, Had It All bulks up a simple-but-catchy garage rock tune with twelve-string clang and a period-perfect solo that’s little more than just a single, reverberating note – you can pull that off with vintage guitars and amps and tons of reverb. The darkly anthemic Artifact is a real gem, frontman/guitarist Miles Michaud intoning his doomed imagery over a reverbtoned melody that sounds like a cult classic from the 60s that Carl Newman might have decided to appropriate.

With its keening, twangy guitar leads and insistent piano, the instrumental Ferus Gallery pays homage to the well-known LA art spot: it wouldn’t have been out of place as, say, the Sunset Strip theme in the Blues Project’s soundtrack to The Trip, the Jack Nicholson cult classic. Recurring builds the same kind of gentle but apprehensive Peanut Butter Conspiracy-style psych-pop atmosphere that distinguishes much of the band’s prior output.

Nothing to Hide takes a deceptively simple latin-tinged vamp and makes psych-pop out of it, with a tremoloing, aptly out-of-focus guitar solo out by lead player Pedrum Siadatian. The two guitars intertwine tersely on the similar Buffalo Nickel, then they trade punchy riffage on the distantly Kinks-flavored Follow You Down over Spencer Dunham’s judiciously dancing bass and Correia’s tight, nimble drumming. Likewise, 501-415 sets vertiginous Siadatian repeaterbox echoes to a brightly jangly vamp straight out of the early Kinks.

The instrumental Yemeni Jade adds elegantly jazzy touches to its delicately chiming twelve-string pulse, segueing into the balmy Classics IV-tinged title track. Better Than Mine reaches for an unexpected but successful detour into Rickenbacker-fueled, early Beatlesque pop sounds – with steel guitar, for extra surrealism. The dusky, wary surf/spaghetti western instrumental No Werewolf – the first of the two bonus tracks – is one of the strongest ones here. The other is Every Girl, a dead ringer for Van Morrison-era Them. Overall, as the title more than implies, this album is a sunnier if still surrealistically cloudy and interesting update on a classic 60s sound. It’ll be interesting to see what this band comes up with next.

A Dark Night of Soul at the Brooklyn Night Bazaar

Friday night at the Brookyn Night Bazaar, singer/guitarist Nick Waterhouse didn’t start a song in a major key until his long, menacingly pulsing set was almost over. And at that point, with a laid-back, warmly sunny retro soul groove, he lost the crowd. Apparently they liked his dark, minor-key stuff better, which makes sense considering how much there was of it and well he did it. It was almost funny watching guest Paula Henderson – ordinarily one of the world’s most colorful baritone saxophonists – hanging out way down in the smoky lows, inscrutable behind her red shades, decked out in a matching red dress, channeling luridness even when she wasn’t playing it. Waterhouse brought the regular drummer from his LA band, who has every snazzy retro soul thump and flourish in his fingers and used all of them judiciously, while the guest bassist and keyboardist evoked a shady, 1966-era Detroit soul lounge.

Waterhouse is also a hell of a guitarist, but he’s more about building a mood than he is about flash, firing off a handful of barely chorus-length solos, letting his menacing, reverb-drenched flourishes linger. His vocals have a drawl that draws more on 60s psychedelia than it does the retro soul that springboards his songs. Even when a verse would vamp along on a single chord until the chorus kicked in, there was always something interesting going on: an echoey Rod Argent-style electric piano solo; the organ and sax punching in together; oohs and aahs from the woman singing harmonies. The noir ambience never lifted until late in the show.

The first number sounded like a dark retro psych band like the Allah-Las doing oldschool soul. The second one was like Clairy Browne‘s band covering the 13th Floor Elevators. Another took the riff from Tom Petty’s Breakdown and made purist retro soul out of it. Waterhouse went into ghoulabilly and then a Lynchian bolero later on, followed by the night’s most lurid number, Sleeping Pills, which is probably about suicide but might not be. He also tossed in a couple of covers including an expansively furtive version of the Young-Holt Trio’s Ain’t There Something That Money Can’t Buy, one of several tracks from his new album, Holly. After well over an hour onstage, he and the band encored with a long jam on the Seeds’ Pushin’ Too Hard. That’s a funny song, and that’s how it started out, the drummer hitting on the “one” until he realized after about four minutes that it was just plain overkill. By then the song was going in a darker direction, Waterhouse and the organist pushing it through Stranglers territory on through to the Doors

On one hand, that Waterhouse got the people in the house to respond as energetically as they did was impressive, considering that this was Williamsburg, and that the show was part of a pathetic L Magazine-sponsored imitation of the CMJ indie clusterfuck. On the other, it’s probably safe to say that the crowd who came out for Waterhouse and the clique that goes to see bands like The Pains of Being Bear in Heaven probably don’t talk to each other much.