New York Music Daily

No New Abnormal

Tag: psychedelic music

Incendiary Ethiopian Jams on the Upper West Side This Weekend

Anbessa Orchestra‘s latest single Gobez (Brave) – streaming at Bandcamp – is a condensed, slashing version of a big anthem they slayed with for over a year before the lockdown. Then the Israeli-American Ethiopian jazz jamband had to record it remotely over the web since the band members had been scattered across the world. Here, guitarist/bandleader Nadav Peled introduces the big, defiant, ominous Ethiopian modal hook, picked up by the brass and eventually a slithery solo by baritone saxophonist Eden Bareket.

This wild, incendiary outfit are back in action with a free outdoor show on Aug 1 at 7 PM at Pier One on the Hudson; take the 1/2/3 to 72nd St., walk west and take the stairs down to the river at 68th St. out behind the Trump complex. There’s plenty of room for dancing on the pier.

Their most recent album, Live at New City Brewery 11/22/19 hit their Bandcamp page about a year ago and underscores why more bands should make live albums. For a soundboard recording that the band probably never planned on releasing until the lockdown, this is pretty amazing. They are in their element through a relentlessly slinky thirteen-song set in western Massachusetts, a mix of originals and classics. Bassist Ran Livneh and drummer Eran Fink run hypnotically undulating, circular riffs as the band shift from an ominous mode to sunnier terrain on the wings of alto sax player Bill Todd’s jubilantly melismatic alto sax solo on the night’s opening number.

As they like to do, they segue straight into a searing, practically eight-minute version of their signature song Lions, organist Micha Gilad holding down turbulent river of sound behind the biting chromatics of the horns, trumpeter Billy Aukstik out in front. Peled’s supersonic hammer-ons raise the energy to redline through a tantalizingly brief solo: this band can go on twice as long and the intensity never wavers.

Assefa Abate’s Yematibela Wef ((A Bird You Can’t Eat) has a subtext as salacious as the title implies and a bouncy triplet groove. The Gize Suite, a diptych, based on Gizie Biyasayegnem by Misrak Mammo, starts out as a shivery, chromatic, trumpet-fueled clapalong shadowed by Peled’s guitar and rises to blazing, symphonic proportions. Peled brings it down to a spare, ominously jangling solo guitar interlude, then the conflagration starts again.

From there the group hit a balmy oldschool 60s soul bounce with Zemena and Abebe Mellese’s Kelkay Yelelbebet, then an original, Tch’elema (Darkness), a turbulently pulsing salute to resilience in troubled times.

Todd’s spare flute contrasts with the brooding undercurrent of Werik’i (Gold), another original. Mahmoud Ahmed’s Belomi Benna gets a cinematic, relentless drive that goes straight-up ska and then reggae, then the band go back to biting minor modes with their own stomp, Gurage

Once again, they follow a segue, from their Ethiopian reggae tune, Le’b, into Aregahegn Worash’s wickedly catchy Zelel Zelel. “Do you want more?” Peled asks the crowd. “One more set,” a guy in the crowd bellows back. Yo which the guitarist responds with a menacing, spiraling, reverb-drenched solo into, then the band launch into the angst-fueled Yeleleu Hager Lidj (Man Without a Country). They close with the bounding, strutting, Dera, with solos all around. This is as good an idea as any of what the Upper West is going to get this weekend.

A Brilliant, Spot-On 60s-Style Psychedelic Debut From Langan Frost & Wane

Langan Frost & Wane are a fantastic psychedelic folk-pop band. Their debut album – which isn’t online yet – straddles the line between period-perfect homage to their influences from the 60s, and parody of psychedelic excess. Brian Langan, RJ Gilligan (a.k.a. Frost) and Nam Wayne‘s songcraft and musicianship is very precise and very British, distantly sinister Elizabethan folk surrealism spiced with a hit of good blotter. The blend of acoustic and electric textures is elegant; most of these songs are over in well under four minutes, sometimes much less. Yet this isn’t sunshine pop: there’s a persistent disquieted edge here. Acid is scary stuff, after all.

The opening track, Perhaps the Sorcerer sets the stage: it’s Jethro Tull meets the Peanut Butter Conspiracy out behind the Moody Blues’ tour van in a shady Laurel Canyon back alley around 1970. With its gorgeously uneasy close-harmonied vocals, mellotron and faux-Balkan guitars, it’s done in less than 2:30.

The Dandelion has somberly arpeggiated folk guitar behind all sorts of goofy mid-60s effects including a jawharp, akin to an acoustic Dukes of Stratosphear. Falcon Ridge is a medieval Scottish-tinged waltz – the singer assures his girl that he will be there with “wagons of wine in tow.”

Babe and the Devil, a murder mystery tale, is a delta blues as the Stones would have done it on Beggars Banquet, complete with djembe instead of Charlie Watts’ drums. The band channel the Pretty Things at their trippy mid-60s peak in King Laughter, guitar sitar oscillating and clanging behind the song’s troubled narrative: where do good times go when they’re over?

Delicate hammer-on folk guitar mingles with glockenspiel in Everyday Phoenix. Frozen Shell comes across as a tripped-out take on gloomy Celtic balladry. On the surface, Learn the Names of the Plants sounds like Peter Paul & Mary, but there’s guile here: “Know the nightshade from the blueberry and live to see tomorrow!”

Gentle penumbral oscillations from the guitars enhance the unease in the stark, minor-key Libra Moon. Is Alchemist of Hazy Row about a sad drug dealer or a bereaved father? Maybe neither – the soaring violin solo is a tantalizingly plaintive touch, and the ending is way too good to give away. It might be the best song on the album.

The trio go back to SF Sorrow-era Pretty Things for The Weaver and the Traveler, with hobbits on the keys to liven the somber mood. Then they shift from a pounding, echoey dulcimer theme to Moody Blues sweep and Syd Barrett playfulness in Orange Magic

Set to an aptly feathery web of acoustic guitars, Everywing is a brooding medieval existentialist love story. She Walks Alone could be a sequel, and is the only remotely Beatlesque track here. The album closes with the pensive, enigmatic, violin-fueled Diomyria. Admittedly, 2021 has been the slowest year for rock records since rock records first existed. But even in a busy year, this would be one of the best.

Hypnotically Intense, Resonant Psychedelic Instrumental Themes From the Mute Duo

If Big Lazy‘s creepy big-sky tableaux, the southwestern gothic vistas of the Friends of Dean Martinez or peak-era, late 80s Sonic Youth are your thing, you’ll love the Mute Duo. With just pedal steel and drums, their slowly unfolding, tectonically shifting soundscapes are as suspenseful as they are psychedelic. Their album Lapse in Passage is streaming at Bandcamp.

There’s enough reverb on Sam Wagster’s pedal steel here to drive a truck through, maxing out the icily overdriven resonance. A lingering menace slowly builds over airy drones as Derived From Retinas, the first track, coalesces out of spare, reverb-drenched phrases, Skyler Rowe’s drums and the spacious upward swoops from the steel hinting that the clouds will break. They don’t, and the rhythm never completely comes together, even as the duo make a grim modal anthem out of it.

A metallic mist of overtones rises as the one-chord tableau Past Musculature Plains gathers momentum: it could be the great lost atmospheric track from Sonic Youth’s Daydream Nation.

Canopy Bells, a minimalist mini-suite, gets a summery, hazy introduction, wind chimes gently rattling in the breeze before the drums begin prowling. The frenetic, roaring crescendo comes as a jolt;

The brief ambient interlude A Timbre Profile leads into the album’s most epic track, Overland Line, which could be the skeleton frame of an early PiL instrumental played with a slide. This time it’s the drums which hold this together as Wagster leaves plenty of distance between his phrases. Echoey loops mingle through a long crescendo;  Rowe’s decisive cymbal whacks kick off the coda.

Dallas in the Dog Days has sheets of steel floating over a similarly reverb-iced, moodily pastoral, slightly out-of-tune piano track. With its simple variations on a drone finally gathering into a flock of busy wings, Redwinged Blackbirds comes across as a minimalist take on early 70s instrumental Pink Floyd. The album winds up with Last Greys, the drums pulling its anthemic, loopy phrases further outside. This is a great lights-out, late night listen.

Fiver Puts Out a Smartly Lyrical New Psychedelic Americana Record

Songwriter/guitarist Simone Schmidt a.k.a. Fiver writes catchy, thoughtful, expansive, distantly Americana-tinged rock songs that draw on peak-era, early zeros-era Neko Case and Cat Power along with the Grateful Dead. Schmidt likes a biting turn of phrase and sings her allusive, historically informed narratives in a breathy, modulated mezzo-soprano. Her latest album with Scottish trio the Atlantic School of Spontaneous Composition is streaming at Bandcamp

Yeah But Uhh Hey, a steady, vamping, syncopated backbeat number sets the stage, a cynical gig-economy era workingperson’s lament. What goes round seems to come around here; it all falls apart gracefully at the end.

Leaning Hard (On My Peripheral Vision) is a clanging country tune, Jeremy Costello’s bass snapping and Nick Dourado’s lapsteel wafting behind the twang while drummer Bianca Palmer provides a low-key swing.. “Hope you don’t take it as sign,” Schmidt muses, referring to the song title. She winds it up with a Jerry Garcia-tinged wah guitar solo.

Her layers of guitar textures mingle with Dourado’s rippling piano for even more of a Deadly vibe in June Like a Bug, winding out with a long, nocturnal jam. Jr. Wreck, a spare, gospel-infused breakup ballad, has a tantalizingly brief, late-Beatlesque guitar solo from Schmidt at the center.

The album’s funniest song is Sick Gladiola, a torrentially lyrical Tex-Mex-flavored waltz about starstruck fortune-seekers following the downward spiral of traffic and alienation in a gentrification-era El Lay hell. “Don’t bang your head on that bar, it’s too low,” Schmidt warns.

Death Is Only a Dream comes across as a blend of 70s Kath Bloom hippie chamber folk and more recent Carla Bley minimalism, drifting into an enigmatically catchy, early 80s Dead style outro.

Schmidt details a soul-depleting marriage from the trophy wife’s point of view over a steady disco groove in Paid in Pride. She closes the record with For Your Sake This, her echoey vocalese over Dourado’s starry piano slowly coalescing around her acoustic guitar. This has been a slow year for rock music, both in the studio and onstage, and this is one of the best of the class of 2021 so far.

A Stunning Ravi Shankar Rarity Rescued From Obscurity

There’s enough Ravi Shankar online to listen to for a year without a break. Needless to say, pretty much every time he sat down with his sitar, the J.S. Bach of Indian music was spine-tingling to witness. Today’s album is a rarity. Ravi Shankar Live in Hollywood 1971 – streaming at Bandcamp – was recorded at a house concert and only released posthumously. It’s Shankar at his most succinct. In concert, he could and would often go on for hours, but three of the four ragas here are especially brief for him. Poignancy, humor, relentless suspense, spectacular peaks, it’s all here, in slightly smaller but no less psychedelic packages than usual.

He opens with a relatively rare morning raga, Raga Vibhas, slowly and meticulously building a low midrange melody, the sun gradually looming over the horizon as he brightens the textures. Yet immediately, he introduces a persistent chromatic unease. It’s extraordinary how he senses the need to pick up the pace at almost exactly the midway mark, not knowing how this will end! The late introduction of the tabla gives Shankar the chance to drive toward a big crescendo with his clustering phrases. Wryly twinkling riffs draw a chuckle or two, then Shankar focuses in with an incisive attack.

Raga Parameshwari is the centerpiece, the sitarist at the top of his game through another morning raga that goes on for well over fifty minutes. The long, steady, lingering opening alap, Shankar finally descending to rich, suspensefully warpy low tones, also features spare, allusive tabla. The sitar builds intensity with recurrent variations on an allusively chromatic, tantalizingly unresolved rising phrase, then the music warms, rising and falling, sometimes gradually, sometimes suddenly. A momentary, hypnotic, minimalist lull is breathtaking (for everybody, it seems) and signals a first round of rapidfire volleys, supersonic sizzle intermingled within the persistent metallic gleam.

Shankar dedicates the brightly lilting, relatively brief Raga Dunh to the people of Bangladesh, imperiled at the time by a Pakistani invasion. The single, bracingly rising opening riff, plaintive, resonant tones and classic, stairstepping moment in the alap that opens Raga Sindhi Bhairavi only hint at the torrential power Shankar  will generate. Considering its origins, this raga has more Middle Eastern ambience than most of the others in the cycle. And yet, Shankar is just as rambunctiously funny in places as he is slashingly incisive elsewhere. Of all the ragas here, this is the most straightforward and unrelenting, his volleys of tremolo-picking and wild bends rising throughout a long, stunning coda.

Passepartout Duo Put Out an Invitingly Hypnotic New Album Made on Handcrafted Textile Instruments

Custom-built instruments are typically designed with more attention to exterior detail than their mass-produced counterparts. Once in awhile there’s an exception: too bad the Vox Teardrop, or the Kay guitars of the 1950s, didn’t have electronics to match the beauty of what’s on the outside. Keyboardist Nicoletta Favari and percussionist Christopher Salvito, who perform as Passepartout Duo, design and build their own instruments, and have created a fascinating pair of synthesizers which they call Oto.

They’re made from e-textiles and wool from Brogna sheep native to their home turf in Italy’s Lessinia region. The duo hand-felted the wool themselves. The point of the project was to create fully functional instruments that doubled as works of fabric art.

The two musicians put the new instruments through their paces on their new cassette Daylighting – streaming at Bandcamp – which also comes with hand-designed, soy-inked inserts. The duo call what they play here “slow music,” inspired by a trip to the Meili Snow Mountains in China and recorded in diverse locations throughout the world.

For what it’s worth, the seven tracks don’t have any distinctively Chinese characteristics, although there are passages which could definitely be called snowy. This music is psychedelic and often gamelanesque. Waves of bubbles and cheery, echoey bleeps percolate through the mix in the album’s first track, Plainness. There’s a delightfully keening, bagpipe-like patch in the second number, Indentations, intertwined amid dancing bell timbres and hand-held percussion.

There are playful percussion and squiggly accents over a warmly inviting calm in the third track, Matter. The album’s title cut is its most minimalist and hypnotic piece. Spare, mobile-like chimes mingle within woozily stacked electronic counterpoint in track five, Hue.

Speciation – a really, REALLY scary concept for 2021, huh? – is the most bell-like tableau here. The duo bring the cassette full circle with the final track, Quiescence. It’s often blissfully enjoyable chillout music.

Irresistibly Fun Retro Cinematic Themes From Sven Wunder

Sven Wunder, like the soul/funk icon whose name he’s appropriated, is pretty much a one-man band. His specialty is balmy, cinematic instrumental themes with a psychedelic, late 60s/early 70s European feel. One good comparison is Manfred Hubler’s Vampyros Lesbos soundtrack in a particularly calm or pastoral moment. Among current bands, Tredici Bacci are another. This second Wunder’s playful, entertaining new album Natura Morta is streaming at Bandcamp.

Tinkly piano and fluttering flute breeze into the album’s opening track, En Plein Air before the strings go sweeping over a lithe, bouncy beat spiced with chiming keys. Is that an electric harpsichord? Is that real brass or the artificial kind?

More of those brassy patches alternate with brittle, trebly vintage clavinova, echoey Rhodes and sinuous hollowbody bass in Impasto. Prussian Blue begins with a cheery piano cascade and rustling flute but quickly becomes a strutting motorik surf rock theme. Surf popcorn? Popcorn surf?

The album’s title track is hardly the dirge the title implies: it comes across as a sort of orchestrated 70s soul take on Bob Marley’s Waiting in Vain. Wunder subtly edges the beat in Panorama into a 6/8 sway with 12-string acoustic guitar, wafting strings and winds, and vintage keyboard textures.

He goes back to vampy, lushly orchestrated early 70s soul with Alla Prima, those layers of 12-string guitar sparkling overhead. The sparkle continues in Umber, which has a somewhat more uneasy, pensive edge. Barocco, Ma Non Troppo is a funny little number: it’s a canon of sorts, but with shuffling syncopation and a funky Rhodes interlude

Wry low-register clavinova contrasts with the sweep of the strings in Memento Mori: the message seems to be, let’s party while we can. Pentimento is the album’s most hypnotic track, sheets of strings and winds shifting through the mix over growly, clustering bass. Wunder reprises the title track at the end with slip-key piano that’s just a hair out of tune. Somewhere there’s an arthouse movie director or two who need this guy.

A Poignant, Broodingly Gorgeous Greek Psychedelic Album From Kristi Stassinopoulou and Stathis Kalyviotis

You could make the argument that Greece has had a psychedelic music scene since the 1920s, when waves of refugees and exiles from Smyrna and Turkey brought their Middle Eastern-flavored hash-smoking songs with them. So it’s no surprise that psychedelic rock became a big thing there forty years later. Singer Kristi Stassinopoulou and Stathis Kalyviotis’ 2016 album NYN – streaming at Spotify – looks back to that era, with tastefully bulked-up 21st century production values.

The opening track, Ethertai Haimonas (Winter Is Coming) has a muted, wistful As Tears Go By vibe, set to a 90s trip-hop beat with layers of keys. The second track, Ouden Oida (I Know Nothing) is a gorgeously bristling, minor-key blend of brooding 60s Laurel Canyon psychedelic folk and chiming bouzouki janglerock.

The hypnotically droning, chromatically biting, syncopated Strati Strati (Step by Step) vividly echoes the dusky rembetiko sound from a hundred years ago, complete with a moody sax solo. Stassinopoulou’s poignantly misty mezzo-soprano takes centerstage in Gia Mia Stigmi (For a Moment), an unselfconsciously beautiful, swaying ballad with layers of clanging, ringing guitar and bouzouki.

They interrupt the pervasive melancholy for Mystic Rap, a whispery trip-hop number and then pick up the pace with Par Me Agea (Take Me, Wind), a starkly dancing, distantly Egyptian-tinged piano tune awash in trippy samples. The album’s most straight-up rock tune is the steady, darkly insistent Ah Athanate (Oh, You Century), bagpipes and backward-masked snippets fluttering in the background.

Nimbly fingerpicked acoustic guitar and swooping electric slide work contrast in the pensive Allarokania (Change in the Weather). Stassinopoulou sings the haunting rembetiko-tinged Sabah Tuo Erota, a love song, with an understated, melismatic, microtonal angst. While it’s understandable that the band would want to do something to beef up the hypnotic one-chord jam Kyma To Kyma (Wave After Wave), loopy trip-hop is definitely not the answer.

Thela Na Mouna Nero (I Wish I Was Water) is the album’s sparest number, just gongs, chimes, vocals and clattering percussion. The title track is a mashup of loops, a minor-key bouzouki riff and swoopy P-Funk keyboards. They break out the distorted electric guitar to close the record with the trickily dancing Ola Pane Ki Erhondai (Everything Comes and Goes). What a delicious rediscovery.

Dag Tenere’s New Album Explores Subtly Diverse, Hypnotic Saharan Sounds

Duskcore band Dag Tenere – “Desert Children” in Tamasheq – are a Saharan supergroup of sorts. Their take on Tuareg psychedelic rock is both cutting-edge, with a lot of two-guitar interplay, but also very much rooted in otherworldly, centuries-old traditional sounds. Their new album Iswat – “Jam,” more or less – is streaming at Bandcamp. Having a woman – percussionist Zaina Aboubacar – on lead vocals on some of these tunes is actually an ancient tradition, although one that’s been conspicuously absent over the last several decades as the style has developed and grown more electric, and it’s a welcome touch.

The opening instrumental is just former Etran Finatawa guitarist Goumar Abdoul Jamil’s haphazardly flaring melody and Aboubacar’s loping tendé drum, The album closes with the title track, an equally brief, celebratory traditional number sung by Aboubacar over a simple tendé beat. In between, other members of the group take turns out in front.

Guitarist Ibrahim Ahmed Guita moves to the mic for Tihoussay Tenere, a steady, pensively undulating contemplation of leaving the comfort of the desert for the city, set to a spare, spiky, hypnotic web of guitars. Jamil takes over a far more spare acoustic lead and shares vocals with Aboubacar in Tabsit, a tender love song.

They also deliver a subtly dynamic, intricately textured cover of Tinariwen‘s Koud Edhaz Emin and follow that with Anna, Guita sending a fond shout-out to his mom as bassist Zouher Aroudaini bubbles over the edge. If the shamanic, psychedelic twang and clang of desert rock from Mali, Niger and thereabouts is your thing, you can get very lost in this.

Swedish Metal Band Alastor Deliver a Morbid, Psychedelic Response to the Insanity of 2020 and This Year

Swedish metal band Alastor‘s riff-metal surrounds you in walls of distortion and fuzz, but with refreshingly oldschool production values and swirly organ which amps up the psychedelic factor. The band like slow, sludgy songs with tarpit acid blues solos and more interesting structures beyond simple verses and choruses. Only a couple of tracks on their new album Onwards and Downwards – streaming at Bandcamp – clock in at less than seven minutes. It’s interesting to hear a band that’s always been associated with doom metal switching out the usual macabre chromatics and horror riffs for a more circling, mesmerizing, immersive attack.

There’s cold clunk from Jim Nordström’s drums behind frontman Robin Arnryd’s spring-wound, growling bass as the opening track, The Killer in My Skull follows a slow sway, up to the distorted, circling chords and distant organ in the hypnotic, riff-driven midsection.

The second track is Dead Things in Jars, a toxically foggy update on Master of Reality riff-sludge with slowly shifting rhythmic changes, guitarist Hampus Sandell’s screaming wah lines winding down quickly to a slow space-blues interlude.

Death Cult is an unexpectedly fast, pounding, slurry number that’s a lot closer to Brian Jonestown Massacre spacerock. Sandell gets the fuzz and the distortion going with his hammer-on riffs as the bass and drums take a much slower prowl in Nightmare Trip.

They follow the brief rainy-day acoustic guitar interlude Pipsvängen with the album’s epic title track, slowly shifting from one anthemic, burning theme to another, making you wait for the big payoff. They close the album with Lost and Never Found, a grim metal take on a ba-bump stripper theme.

As a whole, the album is a response to the insanity of the past fourteen months. You may wonder why a Swedish group would be complaining about the lockdown, considering that Sweden basically didn’t (and their COVID death rate was much lower than regions that did). Well, Sweden is cashless: there’s no need for lockdowns when all citizens’ purchases and whereabouts can be surveilled. Public health, after all, is just a pretext for instituting a locked-down 24/7 surveillance state.