There’s an embarrassment of riches up at Bliss Blood‘s Bandcamp page. With the irrepressibly jaunty, harmony-driven, Hawaiian-tinged Moonlighters, she pioneered the swing jazz revival here in New York in the early zeros. She got her start before that as a teenager in the 80s and early 90s fronting noise-punk cult heroes the Pain Teens. But she’s also a connoiseur of noir. She first explored those sounds thematically with her trio Nightcall, which she stripped down to a duo with guitar sorcerer Al Street. The two have a gorgeously shadowy new album, Unspun, up at Bandcamp and plenty of gigs coming up. Their next one is a trio set with reedman Ian Hendricikson-Smith on March 29 at 8 PM at Epistrophy Cafe, 200 Mott St. (Kenmare/Spring).
Blood has been one of the most intriguing and enigmatic singers in this city for a long time. A master of nuance and innunedo, she can be playful, or swoony, or downright sultry one second, and sinister the next. She’s just as strong and eclectic as a songwriter: she has a thing for foreshadowing, and subtle metaphors, and clever double entendres: Street has a fluency and edge on acoustic guitar that most players only dream of achieving on electric: forget about nailing the kind of sizzling, flamenco and Romany-influenced riffs with the kind of nuance he employs without help from amps or pedals.
The new album’s first track is Alpha, a flamenco-tinged cautionary tale about a guy whose “fingers are always on the snare” – as she explains, you don’t want to be on the banks when this particular levee gives way. Entropy has a distantly injured pulse that’s as dreamy and Lynchian as it is ominously steady: “Now the laws of all transgression have all been broken but a few/So don’t pretend we didn’t bend the universe in two,” Blood broods. Then they pick up the pace with the droll, innuendo-fueled hokum blues shuffle Give Me Lots Of Sugar, a dead ringer for a Bessie Smith classic. And though you might think following that with a song called It’s So Hard would be pretty self-explanatory, it’s not: Blood’s insistent ukulele anchors a pensively torchy, bossa-flavored anthem.
Lucia, a lively flamenco swing instrumental, gives Street a launching pad for all kinds of nimble spirals. No One Gets It All, the album’s most haunting track, has a surreally captivating lyric to match its bittersweetly gorgeous melody. It seems to be a defiantly triumphant if deeply wounded existentialist anthem:
Satiated, sinking in your sweet domain
Waking to a distant and whispered call
Stirring to the echoes of a fractured song
Reflection’s fading, no one gets it all
It’s Comfortably Numb without the stadium bombast.
The two take a richly nuanced detour toward the Middle East with Nuyaim, then hit a steady noir swing strut with Pitfall and its wry chronicle of romantic missteps. Please Do (I Like It So Much) mines a vintage C&W sway, while Rustbelt works a catalog of sly junkyard innuendos over a cheery swing tune. Then they float their way through Snowmelt, a reverb-drenched, hypnotically Lynchian mood piece.
Tying My Tail In Knots sets more of those devious innuendos to a chirpy drive with an unexpected 90s quirk-pop tinge. Street does a mighty impersonation of a balalaika on the angst-fueled but ultimately triumphant title track. The album winds up with Vixen, a femme fatale theme infused with unexpectedly Stonesy blues guitar. Multiple levels of meaning reverberate throughout these songs: it would take a novel to count them all. It goes without saying that this is one of 2015’s best releases (some context: noisy postpunks Eula, lyrical new wave revivalists Lazy Lions, avant art-song siren Carol Lipnik, noir duo Charming Disaster, and Paula Carino’s double entrendre-fueled Regular Einstein all figure into that equation).
Bliss Blood and Al Street work fast. They’ve got a new single, Clash by Night up at Bandcamp, a brisk, strummy, resolute individualist’s anthem. “Solitude, not loneliness,” is the central theme, a cause for any rebel.