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Tag: satoko fujii

The 50 Best Albums of 2018

This is a playlist – click on the links below to hear every album in its entirety.

The best album of 2018 was also one of the shortest. Songwriter Rose Thomas Bannister’s lushly orchestrated latest release, Ambition, is not the first time she’s written on Shakespearean themes, but it is by far her darkest and most relevant album. Originally commissioned for a dance adaptation of Macbeth, the song cycle deals with the most fundamental questions of evil and how to deal with it. Many of the characters in Bannister’s distantly sinister narratives make the worst possible choices at the most crucial moments.

Bannister, who made a name for herself with spare, poignant Great Plains gothic songs, has never written more psychedelically or diversely, or sung with as much nuance and power. From the creepy flurries of the title track, through the grim understatement of Lady M, themes of betrayal and revenge permeate these songs’ constantly shifting, intricate arrangements, Bob Bannister’s elegant lead guitar lines weaving along the central seam. Listen ad-free at Bandcamp.

Beyond the next ten albums or so – the creme de la creme of 2018 – these albums are listed in rough chronological order of when they were received here (which often doesn’t coincide with actual release dates over the past few months). Sp there’s no hierarchical ranking, considering how many completely different styles are represented on the list. If an album is one of the year’s fifty best, it has to be pretty amazing.

Ward White – Diminish
Catcny, erudite, purist three-minute janglerock tunesmithing matched to a withering, cynical, relentlessly grim lyrical sensibility. No songwriter alive writes more allusively macabre stories than this guy,  Endless puns, double entendres, and gallows humor are everywhere. White’s most surreal, psychedelic album to date, Bob, got the nod here as best album of 2013; everything he’s done since is on that level, this one included. The list of artists with as formidable a body of work as White has are very few: Bowie, Elvis Costello and Steve Wynn are points of comparison. Listen ad-free at Bandcamp.

Elysian Fields – Pink Air
Lush jangle and clang, propulsive new wave and haunting dystopic scenarios in what might be the best ever album in haunting singer Jennifer Charles and polymath guitarist Oren Bloedow’s majestic, artsy band’s twenty-plus year carer. Listen ad-free at Bandcamp.

Kotorino – Sea Monster
Carnivalesque latin noir, circus rock, suspenseful cinematic narratives and creepy steampunk tales on this brilliant New York crew’s tersest, most crystallized album yet. Listen ad-free at Bandcamp.

Michael Hersch – Violin Concerto; End Stages suite: International Contemporary Ensemble with violinist Patricia Kopatchinskaja, and the Orpheus Chamber Orchestra
The most harrowing recording of the year combines two macabre, microtonal pieces, the latter exploring the tortured, fitful final moments of terminally ill patients. Listen ad-free at Bandcamp.

Ensemble Fanaa – their debut albun
Multi-reedman Daro Behroozi’s otherworldly Middle Eastern/North African jazz trio play slinky, hypnotic, rivetingly microtonal originals. Bassist John Murchison doubles on the gimbri bass lute; percussionist Dan Kurfirst plays both a full kit and a boomy daf frame drum. Listen ad-free at Bandcamp.

Klazz-Ma-Tazz – Meshugenah
High-voltage violinist Ben Sutin’s wild, klezmer-jazz-rock jamband whirl through ferocious, epic remakes of Yiddish vaudeville and theatre classics from over the decades. One of the most adrenalizing albums released this year. Listen ad-free at Bandcamp.

No-No Boy – 1942
A catchy, jangly, harmony-driven Elliott Smith-tinged concept album tracing the injustices suffered by Japanese-Americans during and after their incarceration in US concentration camps during World War II. One of the year’s most savagely relevant albums. Listen ad-free at Bandcamp.

The Brooklyn Raga Massive – Ragas Live Retrospective
The most epic album ever featured on this page contains over six hours of classical Indian ragas, recorded live in the studio. A cast of some of this era’s best younger Indian music instrumentalists team up with jazz, Americana and rock musicians for some outside-the-box reinventions, from large ensembles to spare duos and trios. Some of this is pretty crazy; a couple of the tracks are bullshit, but the traditional stuff is consistently sublime. Listen ad-free at Bandcamp.

Todd Marcus – On These Streets: A Baltimore Story
The world’s only bass clarinetist currently leading a large jazz ensemble wrote this withering suite in the wake of the murder of Freddie Gray, a mix of lavish, intense, sometimes Middle Eastern-tinged epics and quieter, more somber material. Commentary from community members and activists is interspersed between songs for added, troubling context. One of the most politically important albums of recent years. Listen ad-free at Bandcamp.

Mehmet Polat – Ageless Garden
Sometimes haunting, sometimes kinetic, this collection of originals by one of the world’s great oudists and composers of Turkish music draws on Kurdish, Andalucian and flamenco sounds as well. Listen ad-free at Bandcamp.

Greek Judas – their debut album
One of the craziest albums on this list is this mix of heavy psychedelic remakes of classic Greek rembetiko anthems, originally dating from the 20s through the mid-50s. Rembetiko was the music of the gangster underworld, Turkish and Cypriot immigrants, and freedom fighters battling dictatorships; its slashing Middle Eastern chromatics take on extra menace when played with heavy metal savagery, Listen ad-free at Bandcamp.

Drunken Foreigner Band – White Guy Disease
Another crazy update on a slightly more modern sound. The lead instrument in this epic instrumental psychedelic band is an electrified phin lute, which gives their stately Laotian folk themes a surreal, twisted new dimension. If Country Joe & the Fish had been Laotian, they might have sounded something like this. Listen ad-free at Bandcamp.

Gordon Grdina’s Marrow – Ejdeha
The album title is Farsi for “dragon;” the fiery jazz oudist and guitarist and his haunting, careening band switch between darkly slinky original levantine themes and smoldering guitar jazz that veers into dark metal in places. Listen at Spotify

Bombay Rickey – Electric Bhairavi
With her unreal four-octave vocal range, accordionist/sitarist/keyboardist Kamala Sankaram  fronts this catchy, slinky, darkly psychedelic unit, who mash up cumbia, surf and Bollywood with devious flair. Listen ad-free at Bandcamp.

Ben Holmes and Patrick Farrell – The Conqueror Worm Suite
A subtle but luridly vivid, klezmer and Balkan-tinged piece inspired by the macabre  Edgar Allen Poe short story, from the innovative trumpet/accordion duo. Listen at youtube.

Uncivilized Plays Peaks
Guitarist Tom Csatari and his careening ten-piece pastoral jazz outfit had the good sense to record their 2017 Barbes performances of these sprawling, darkly haphazard reinventions of iconic Angelo Badalamenti Twin Peaks themes, plus some choice originals. Listen ad-free at Bandcamp.

Alec K. Redfearn and the Eyesores – The Opposite
Hypnotically circling, kinetic, phantasmagorical original Balkan psychedelic rock, bandleader Redfearn running his accordion through a series of effects pedals for some wildly swirling, enveloping sounds. Listen ad-free at Bandcamp.

Eva Salina & Peter Stan – Sudbina
The renowned Balkan chanteuse and her pyrotechnic accordionist remake songs made famous by one of the greatest Romany singers of the 20th century, Vida Pavlovic, who was sort of the Edith Piaf of Romany music. Abandonment and heartbreak have seldom sounded so visceral. Listen at Spotify

The Lemon Bucket Orkestra – If I Had the Strength
Dark, edgy, wildly punk-inspired original klezmer anthems and dance numbers that draw on a hundred-plus years of Ukrainian, Russian and Lithuanian traditions. Listen ad-free at Bandcamp.

Gordon Grdina – Inroads
The great Middle Eastern jazz oudist and guitarist’s second album on this list features keys and alto sax rather than a string jazz lineup; it’s a little more sardonically funny and Sun Ra-like. Listen ad-free at Bandcamp..

The Michael Leonhart Orchestra – The Painted Lady Suite
The flight of a swarm of butterflies over the top of the world, all the way to Egypt, has never sounded more epic or cinematic. Saxophonist Donny McCaslin stars in this lavish, intense big band cycle of songs without words.  Listen ad-free at Bandcamp

Twin Guns – Imaginary World
The latest album by these reverb addicts is slightly less Cramps-influenced, a bit quieter and more macabre than their previous mashups of horror surf and biker rock. Listen ad-free at Bandcamp

The Electric Mess – The Beast Is You
These twin-guitar Brooklyn rockers channel the incendiary chromatic psychedelic punk attack of Australian legends Radio Birdman, with some of the most exhilarating fretwork of any album on this list. Listen ad-free at Bandcamp

Sarah Bernstein’s Unearthish – Crazy Lights Shining
The microtonal violinist – one of the world’s great string jazz players and composers – teams up with percussionist Satoshi Takeishi for an otherworldly, acerbic mix of jazz poetry tableaux and eerily wafting miniatures. Listen ad-free at Bandcamp

Xylouris White – Mother
The brooding Cretan lyra player and Dirty Three drummer team up for a bracing, sometimes slashing thicket of Middle Eastern-tinged themes. Listen at Spotify,

Sigurd Hole – Encounters
The Norwegian bassist leads a frequently Middle Eastern-tinged string trio through a brooding series of nocturnes, dirges and more atmospheric pieces. Listen ad-free at Bandcamp

SUSS – Ghost Box
Starry, eerily lingering, Twin Peaks-style guitar nocturnes, big-sky tableaux and the occasional detour into southwestern gothic themes. Listen ad-free at Bandcamp

Mary Halvorson – Code Girl
Amirtha Kidambi handles lead vocals on the perennially incisive guitarist’s deepest, most lavish plunge into artsy, shapeshifting, improvisationally-inclined, sometimes darkly humorous rock. Listen ad-free at Bandcamp

Alicia Svigals and Uli Geissendoerfer – The Beregovski Suite
The iconic klezmer violinist and film composer teams up with the German pianist to rescue these alternately moody and romping, decades-old klezmer themes collected on the eve of the  Holocaust by the great Russian musicologist. Listen at Spotify,

Qais Essar  The Ghost You Love
Incisive, often hauntingly poignant Afghani folk-tinged new instrumentals by this rising star composer and virtuoso of the rubab lute. Listen ad-free at his music page,

Maya Youssef – Syrian Dreams
A dynamic mix of relatively short pieces from one of the world’s most focused, purposeful players on the kanun – the magically rippling Middle Eastern zither. Listen at Spotify,

Satoko Fujii – Invisible Hand
The brilliant pianist celebrated her sixtieth birthday last year by releasing an album a month, including several riveting live sets. This solo performance is dark and dead serious, if hardly as horror-stricken as her Fukushima Suite, picked for best album of the year here in 2018. She improvises as purposefully and tunefully as anyone who ever lived. Listen at Spotify,

Thumbscrew – Ours
The second Mary Halvorson project on this list is the reliably edgy guitarist’s grittiest release this year, often drifting into the shadows for reverberating film noir ambience. Listen ad-free at Bandcamp

Sean Moran – Sun Tiger
The guitarist’s trio with cellist Hank Roberts (who also appears on this list as part of another guitarist, Gordon Grdina’s band) and drummer Vinnie Sperrazza smolders and burns, with frequent detours into pastoral jazz.  Listen ad-free at Bandcamp

Sean Noonan – The Aqua Diva
The weirdest album on this list. Alex Marcelo puts a slightly out-of-tune piano to better use than you would think possible, maxing out the overtones in this bizarre mix of mythologically-inspired stream-of-consciousness poetry, darkly magical jazz, gospel and theatre music. Listen ad-free at Bandcamp

The Women’s Raga Massive Compilation
The only reason that this is further down the list from the other compilation by the irrepressible Brooklyn Indian music collective is that it’s shorter – by about five hours. This mix of hypnotic, epic traditional performances along with rock and soul-tinged remakes of classic carnatic themes features seventeen of the women artists and female-fronted bands among the Raga Massive’s vast membership. Listen ad-free at Bandcamp

Bill Frisell – Music IS
This era’s preeminent jazz guitarist breaks out his trusty loop pedal for a characteristically tuneful, concise mix of pastoral themes, atmospherics, oldtimey melodies and noir-tinged cinematics. Listen at Spotify,

Elisa Flynn – The World Has Ever Been on Fire
The first-ever solo album by this historically-inspired, hauntingly soaring singer and multi-instrumentalist, with songs ranging from hypnotic, Radiohead-ish art-rock to jangly, toweringly angst-fueled anthems. Listen ad-free at Bandcamp

Lorraine Leckie – Live at Mercury Lounge
Further evidence that psychedelic bands should all be making live albums. The guys in this band seem so psyched to be playing these pulsing, Slavic-tinged themes that they’re jumping out of their shoes. There’s a sad backstory: this was the final show played by the late, great drummer Paul Triff. Listen ad-free at Bandcamp

Banda Magda – Tigre
A characteristically cinematic, mightily shapeshifting mix of Mediterranean psychedelia, coy French chanson, cumbia and lavish instrumentals by accordionist/multi-instrumentalist Magda Giannikou’s subtle, richly textured band. The theme is resilience in troubled times, inspired by the Greek struggle against European community bankster terrorism. Listen at Spotify,

Johnny Gandelsman – Bach: The Complete Sonatas and Partitas
It took the great Brooklyn Rider and Knights violinist eight years to finish recording this astonishingly dynamic album. The physicality, lithely dancing quality and Gandelsman’s signature, silken legato help explain why it soared to the top of the classical music charts. Listen ad-free at Bandcamp

The BC 35 compilation
In January of 2016, legendary producer and dark rock icon Martin Bisi held a marathon weekend session to celebrate the 35th anniversary of the revered Gowanus recording room, BC Studios, which he’d started while still in his teens. Many of the edgy rock acts he’s worked with since the 80s are featured on this vast collection of gothic, industrial, metalish and folk noir acts. Most notable is the first recording by 80s noiserock legends Live Skull. Listen ad-free at Bandcamp

The Coolerators – Diggin’ Bones
Australian soprano saxophonist Phillip Johnston leads this moody, carnivalesque, utterly individualistic  Monk-inspired organ jazz trio. Organist Alister Spence contributes deliciously smoky, Greg Lewis-tinged playing. Listen ad-free at Bandcamp

Mary Halvorson and Robbie Lee – Seed Triangular
The third and final Mary Halvorson project here is an acoustic-electric duo record with the brilliant, unpredictable guitarist playing vintage 18th century models in addition to her trusty electric, alongside multi-instrumentalist Lee. Pastoral jazz never sounded so unsettling and enigmatic. Listen ad-free at Bandcamp

Cliff Westfall – Baby You Win
If Elvis Costello had made an album of original country songs, it would have sounded something like this. The country crooner and songwriter writes period-perfect, aphoristic honkytonk and Nashville gothic tunes, spiced with lead guitarist Scott Metzger’s ferocious solos. Listen ad-free at Bandcamp

Jessie Kilguss – The Fastness
The title is a North Atlantic term for secret hideaway. The lustrous, soaring folk noir singer leads a concise, purposeful band through this brooding mix of rainy-day tableaux, new wave-tinged tunes and an offhandedly savage murder ballad. Listen at Spotify,

Amy Rigby – The Old Guys
Elvis Costello-class wordplay; broodingly silken Skeeter Davis-class vocals and a deeper drift into psychedelia than ever before from one of the most brilliant, hilarious, relevant tunesmiths of the past 25 years. Listen ad-free at Bandcamp

Edward Rogers – TV Generation
One of the world’s great voices in retro Britrock turns a withering eye on surveillance state fascism in this mix of artsy rock, spare acoustic ballads and Bowie-esque glam. Listen at Spotify,

Jen Shyu – Song of Silver Geese
A lavish, surreal, atmospherically haunting suite by the pan-Asian jazz multi-instrumentalist-singer. The nonlinear narrative follows the trail of the spirits of several friends, very young and somewhat older, whom Shyu recently lost. Listen ad-free at Bandcamp

Sleep  – The Sciences
Heavy psych album of the year. Who knew that these icons of doom metal would be completely undiminished – and surprisingly upbeat, and more psychedelic than ever – 25 years after they picked up where Black Sabbath left off. Listen at Spotify,

The Arcane Insignia – A Flawed Design
An all-acoustic string band playing vintage 70s style art-rock. Imagine ELO’s first album beefed up by an entire symphony orchestra, playing classic Peter Gabriel-era Genesis. After awhile it’s hard to figure out where one song ends and another begins, but it’s a hell of a song. Listen ad-free at Bandcamp

The Mystery of the Bulgarian Voices – BooCheeMish
Dead Can Dance’s Lisa Gerrard and others from the rock world guest on the renowned Bulgarian women’s choir in this surprisingly upbeat mix of otherworldly, chromatically charged folk themes and originals in the same vein. Listen ad-free at Bandcamp

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Jazz Piano Icon Satoko Fujii Launches Her Ambitious 2018 Album-a-Month Project

What Wadada Leo Smith is to the trumpet, Satoko Fujii is to the piano: one of the most riveting improvisers to ever play the instrument. Like Smith, her themes can be epic and ambitious to the nth degree, yet her playing is meticulous and nuanced. Where a lot of musicians think in short phrases, Fujii thinks in paragraphs. Her most recent big band album, the harrowingly relevant Fukushima suite, topped the Best Albums of 2017 list here. Her latest project is to release an album a month this year to celebrate her sixtieth birthday. In person, beyond the sheer depth of her music, her indomitable joie de vivre, sense of wonder and daunting chops transcend preconceptions about age. The first release in the series is simply titled Satoko Fujii Solo.

Full disclosure: many of these albums seem to already be in the can. This first one was recorded live in concert in the fall of last year in Yawatahama, Japan. From the first magnificent, moody neoromantic chords of her eight-minute opening number, Inori, the way she distills them down to a simple, catchy three-chord riff and variations is a clinic in tunesmithing. Fujii is also a very site-specific pianist: she feels the room, figures out how long the reverb lasts,  then makes it an integral part of the music. She does that here with stabbing chords that build to a series of leaps and bounds. then a starlit outro. Chopin probably worked up a lot of his material this way.

This is a very otherworldly record, bristling with uneasy, insistently modal tangents. Don’t be fooled by the high drone that opens the second number, Geradeaus. That’s not a defect – that’s Fujii bowing and rustling around inside the piano. She finds a low pedal note, expands around it in an emphatic Keith Jarrett way, goes back inside and adjusts the timbre ever so slightly, then lightens a bit and dances around with uneasy chromatics. The few carefree flourishes turn out to be a red herring as this mood piece turns more savage and enigmatic.

As the twelve-minute Ninepin gets underway, Fujii juxtaposes muted gamelanesque taps on the strings…and what sounds like an electric sander on them. Slowly and methodically, she develops what could be a misterioso Indian wee-hours raga…but cuts off the pedal on each phrase suddenly – wherever this is going, we’re not there yet.  Some of it could be Satie, or Lennie Tristano, severity balanced against tongue-in-cheek humor.

The even longer Spring Storm is all about foreshadowing: stygian low torrents rise and then subside, give way to hints of a clearing, but that big black cloud is going to hang awhile! It’s Debussy’s garden in the hailstorm, but feeling the force of the elements row by row instead of the cloudburst simply shredding everything in its path.

In Gen Himmel, Fujii lets her Mompou-esque belltones linger, flits around under the lid, and cuts off phrases sharply, Intimations of gospel enter the picture, only to be elbowed out by funereal motives and restless close harmonies. The wryly titled Up Down Left Right begins as a funny study in how gremlins can pop up all over the keyboard, then morphs into twisted, bellicose quasi-boogie-woogie  Fujii closes the show by reinventing  Jimmy Giuffre’s Moonlight as a distantly menacing, saturnine elegy. “The stars settle slowly, in loneliness they lie,” Phil Ochs sang. Boy, do they ever.

Where does this rank in the immense Fujii catalog (over eighty albums)? Probably in the top ten, alongside her magical, mordant duo album with fellow pianist Myra Melford, for example.

Now where can you find this magical album…other than a Soundcloud page? Stay tuned!

The 100 Best Songs of 2017

This is a playlist. Click on each song title to stream it, click on the artist name for their webpage.

It was tempting to pick one of the segments of the Satoko Fujii Orchestra New York’s new release, Fukushima, as the best song of the year. But the single most relevant and mesmerizing album of 2017 is best heard as a contiguous suite. Taking one of its five movements out of context would spoil the experience. And it’s nowhere to be found online at the moment, anyway.

In lieu of that, the single best song of 2017, Kitten, by Dennis Davison, is still in the embryonic stage. It wasn’t released by a record label, or even recorded in a studio. It reached this blog as a voice memo, just vocals and guitar in a practice space. The frontman of cult favorite psychedelic band the Jigsaw Seen has written a lot of great songs over the years, but this one is the most harrowing. On the surface, it’s about a homeless guy who finds a kitten. He’s in trouble: he lives by the exit sign. And this is not a sweet love-conquers-all narrative. It’s a wish song – and a portrait of terminal depression as vivid and chilling as anything Phil Ochs or Ian Curtis ever wrote. And it’s as catchy as it is depressed.

Rather than trying to rank the other 99 songs here, they’re listed in rough chronological order of when they were either received or witnessed onstage. Rather than regurgitating the Best Albums of 2017 list, this one has a lot of songs that either haven’t been officially released, or were just so amazing to see live over the past year that it wouldn’t be fair to exclude them. Same rules as last year: one song per band or artist. Otherwise, half this list would be Ward White and Amir ElSaffar, and that would be counterproductive. You can go down the rabbit hole with any of the hundred artists on this list all by yourself without any further help from this blog.

Ward WhiteCoffee Maker
A pair of accomplices grow more desperate by the hour in this catchy yet characteristically enigmatic, Charming Disaster-esque post-murder narrative. The way White caps off his guitar solo is as cruel as it is priceless. From the even more inscrutable As Consolation, best rock album of 2017.

Jack GraceGet Out of Brooklyn
The baritone Americana crooner’s somber, heartbreaking requiem for a pre-real estate bubble New York. “The place held its own ground, the rivers separated where you bothered to go – really used to try to get out of Brooklyn, now everybody’s trying to get in.” From the album Everything I Say Is a Lie.

The Dream Syndicate  – Like Mary
The most harrowing track on Steve Wynn’s recently regrouped, legendary 80s band’s new album How Did I Find Myself Here is a catchy, tensely muted, grim portrait of a woman who may be a child killer…or just an Oxycontin casualty.

Amir ElSaffar’s Rivers of Sound – Ya Ibni, Ya Ibni (My Son, My Son)
A vast, oceanic Iraqi-flavored lament from the paradigm-shifting trumpeter/multi-instrumentalist’s Middle Eastern orchestral jazz group’s latest album Not Two. 

The Sadies – The Good Years
A brisk shuffle beat beneath hypnotically lingering guitars in this chilling Nashville gothic elegy for a disastrous marriage: “She couldn’t wait to clean out the place he occupied.” From the album Northern Passages.

Alice Lee – Your Blues
A savagely lyrical, spot-on soul anthem for the era of Ferguson and Eric Garner from the ex-New York singer/multi-instrumentalist’s brilliant new album The Wheel.

Charming Disaster – What Remains
The New York noir supergroup– led by Jeff Morris of lavish, dark, latin-flavored rockers Kotorino and Ellia Bisker of parlor pop existentialists Sweet Soubrette – slink their way through this chillingly allusive post-murder narrative inspired by Flannery O’Connor’s The River. From the album Cautionary Tales.

Los WemblersSonido Amazonico
A brand-new version of the eerie, slinky national anthem of psychedelic cumbia, which the Peruvian band wrote and first recorded almost fifty years ago. This one’s a lot longer and more psychedelic than any other version in existence, Chicha Libre’s included. From their unlikely and amazing comeback album Ikaro Del Amor.

 Sofia TalvikLullaby
Catchy, anthemic and resolutely optimistic on the surface: “Still you wish you were dead.” When the Nordic Americana songwriter played this at the American Folk Art Museum this past spring, you could have heard a pin drop. From the album Big Sky Country.

Castle Black – Broken Bright Star
Guitarist Leigh Celent’s evil, spare icepick intro kicks off this slowly marauding anthem that eventually explodes in a fireball of reverb. From the album Trapped Under All You Know.

Morricone YouthClunes Town
Del Shannon mashed up with Ennio Morricone – makes sense, right? – with distantly ghostly multitracked Karla Rose vocals. From the band’s Mad Max soundtrack

LusterlitCeremony
Frontwoman/drummer Susan Hwang gives this long, creepy, ineluctably crescendoing, chromatically-charged Cormac McCarthy-inspired anthem her most luridly Lynchian vocal ever. From the album List of Equipment.

Lorraine LeckieAmerica Weeping
Leonard Cohen died the day before the fateful 2016 Presidential election. This careening psychedelic riff-rocker is the eclectic bandleader’s anguished response. Free download!

Son of SkooshnyUntold History
With Steve Refling’s keening slide guitar, this is one of the band’s harder-rocking numbers, Mark Breyer’s chillingly autobiographical account of growing up amid all sorts of familial and social Cold War-era dysfunction. From the album Matchless Gifts.

Aimee MannLies of Summer
Slow and lush, heavy like a thunderstorm, this mutedly depressed orchestral rock tale doesn’t reveal whether the narrator is addressing a prisoner or a dead person until the very end. From the album Mental Illness.

Brian Carpenter & the ConfessionsCity on Fire
The Ghost Train Orchestra trumpeter/bandleader plays keys and guitar and lends his baritone voice to this brilliantly Lynchian band, duetting with chanteuse Jen Kenneally in this slinky, bolero-tinged smash. They managed to steal the spotlight from Big Lazy on a Friday night in the East Village last month, no joke. 

Changing ModesDust
Awash in orchestral keys and troubled close harmonies from the band’s two frontwomen, this slowly crescendoing apocalypse anthem makes an apt coda to the New York art-rock band’s brilliant album Goodbye Theodora.

James Williamson and Deniz TekNo Sense of Crime
The best and most death-obsessed track from the Stooges’ immortal Kill City album, reinvented as lush, poignant, similarly opiated acoustic parlor rock. Giant Drag’s Annie Hardy adds plaintive high harmonies, with violin from Petra Haden. From the killer, wryly titled ep Acoustic K.O.

Miramar  – Sin Ti
A psychedelically Lynchian, allusively Middle Eastern-tinged bolero, the highlight of the Virginia group’s show at Drom back in January.

Joshua GarciaThat’s the Way You Drop a Bomb
Oldschool first-wave-style folk revival narrative as one of the crew of the Enola Gay might have heard it. Chililng beyond belief, and a staple of the New York songwriter’s live show.

Greek JudasKontrabandistas
A drug-smuggling anthem from the 1930s Greek underworld reinvented as searing, menacing, twin guitar-fueled metal. From the band’s brand-new debut album. 

The New Pornographers – High Ticket Attractions
Motorik Pulp-style new wave satire of yuppie status-grubbing. Llittle do they know how much corporations are taking advantage of them. From the album Whiteout Conditions.

Kerem Guney – Sicak Bir Sevda
Is it fair to put a haunting Turkish psychedelic rock anthem from the late 70s – like the Doors with an electric saz – on a list of 2017 songs? It hasn’t been released outside Turkey until the Uzelli Psychedelic Anadolu compilation came out earlier this year. 

MeszecsinkaHajnalban (At Dawn) – fifteen minutes of evil shamanic post-Velvets Balkan crash and wail from this phantasmagorical female-fronted Balkan group. Another band who killed it back in January at Drom.

Jaye BartellSwim Colleen
With his deadpan baritone and reverb-drenched, spare guitar hooks, nobody’s better at allusive macabre narratives than this guy. From his album In a Time of Trouble, a Wild Exaltation.

Carol LipnikMy Piano
Stately, graceful art-rock eco-disaster parable: after all, pianos are made from trees. Her vocal crescendo will give you goosebumps. She and pianist Matt Kanelos held the crowd rapt with this at Pangea back in January.

The Jigsaw SeenMy Name Is Tom
A rare successful mashup of dark Indian raga theme and American psychedelic rock, and one of the LA band’s most iconic songs. They ripped the roof off with this at Bowery Electric back in March.. From their latest album For the Discriminating Completist.

Ran Blake & Dominique Eade It’s Alright, Ma (I’m Only Bleeding)
The iconic noir pianist and the brilliant jazz singer outdo Dylan’s original. Eade’s rapidfire articulation underscores the venom and bitterness in this exasperated capitalist treadmill tirade as Blake anchors it with his signature blend of eerie glimmer and murk. From their album Town & Country.

Rev. Billy & the Stop Shopping Choir End of the World
The fearless environmental activist and his mighty, roughly sixty-member choir opened their towering Prospect Park Bandshell set this past summer with this ominous original gospel tune: “Only so many beautiful days on earth!”

The Robert Sabin Dectet – Ghost
A portrait of a house whose occupant has just died, a somber belltone pavane punctuated with artfully suspenseful use of space and moody horns. From the bassist’s album Humanity Part II with his lushly cinematic large ensemble

Gacaltooyo Band – Ninkaan Ogayn (He Who Does Not Know)
Never before released outside of Somalia, this late 70s jam is a slow, haunting mashup of noir soul, Bollywood balladry, Ethiopiques and what sounds like J-pop – Somalian pentatonic scales come across as positively Asian in places here. From the compilation Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa

The Mehmet Polat TrioEverything Is in You
Joined by kora and ney flute, the brilliant Turkish oudist shifts between otherworldly Middle Eastern modes, Asia and Africa in this pensive epic. From the album Ask Your Heart

Black Lesbian FishermenRagged Ritual
This trippy, practically fifteen-minute drone-rock dirge has subtle Indian raga allusions, moody Middle Eastern ambience and a slow build to a darkly majestically macabre, resonant swirl of organ and guitar. From the album Ectopic Apiary.

Hearing ThingsStalefish
A mashup of growling go-go funk, horror surf, Middle Eastern music and the Doors, it’s a staple of Brooklyn’s funnest band’s live show.

NO ICELeave Her Alone
Musically, it’s a bitter, fiery soul-rock anthem. Lyrically, it’s one of the year’s classiest numbers: cool guys don’t harass women. From the Brooklyn band’s amazingly multistylistic, fun debut full-length album Come On Feel the NO ICE.

Orkesta MendozaContra La Marea
The  briskly strutting noir centerpiece of the slinky psychedelic mambo/cumbia band’s latest album ¡Vamos A Guarachar!, brooding baritone sax and clarinet alongside bandleader Sergio Mendoza’s reverberating guitar multitracks.

The Trio JoubranLaytaka
The gorgeously fluttering, understatedly elegaic intro to the oud-playing brothers’ album and DVD A’Lombre Des Mots (In the Shadow of Words), their tribute to their longtime collaborator, iconic Palestinian poet and activist Mahmoud Darwish. They mesmerized the crowd with this at their Lincoln Center show this past June.

Doug Wieselman’s Trio S  Dreambox
A cello drone and flickers from the drums underpin the bandleader’s moody Balkan melismas. building to a ferocious, Macedonian-flavored dance – the high point of their new album Somewhere Glimmer.

Money Chicha – Tamborcita
The most epic number on the debut album by the Austin psychedelic cumbia monsters (a spinoff of the slightly less psychedelic Grupo Fantasma), simmering and swooshing with ominous chromatics, reverb guitar and dub tinges.

Ella AtlasLeave Me in Blue
The most darkly lingering, epically sweeping track on 2017’s best debut album, The Road to Now, the Lynchian first release by enigmatic singer Tarrah Maria and Lost Patrol guitarist Steven Masucci.

King Gizzard & the Lizard WizardOpen Water
A hash-smuggling Red Sea speedboat theme of sorts, it’s got an energetic, hypnotically shuffling, qawwali-ish groove, icepick staccato guitar and all sorts of eerie chromatic hooks. From the album Flying Microtonal Banana.

Timatim FitfitLiving in the City
A stabbing parlor pop tune, John Cale mashed up with the Handsome Family from the menacing, carnivalesque solo album The Sugar Man, a creepy side project by Orphan Jane accordionist Tim Cluff.

Omar SouleymanMawal
An uncharacteristically slow, hauntingly violin-driven refugee’s lament from the gruff Syrian-born crooner’s album To Syria With Love.

Clint Mansell – Wheatfield With Crows
With its shivery violins, lustrous long tones and darkly ambient washes, this is where the film composer’s score to the Van Gogh movie Loving Vincent breaks into a scream.

 What Cheer? Brigade Black Cannon
Sort of a swaying Balkan brass Hawaii 5-0; the stampeding doublespeed bridge and the breathless charge on the way out are the high points of the East Coast’s largest brass band’s album You Can’t See Inside of Me.

The Legendary Shack Shakers  – White Devil
“White is the color of hipsters,” frontman JD Wilkes snarls as this noir blues stomps along, flickering with out-of-tune piano and Rod Hamdallah’s screaming distorted guitar. From the album After You’ve Gone.

BobtownMagilla Lee
New York’s best folk noir band blend their charming voices for this blithely bouncy narrative about “true meditation through medication” with dire consequences. They slayed with this at this year’s Brooklyn Americana Festival.

Nicole Atkins  I Love Living Here
A slow-simmering, crushingly sarcastic, angst-driven piano-and-horns anthem set in 2017 Brooklyn gentrifier hell. From the noir soul singer’s latest album Goodnight Rhonda Lee.

Anbessa OrchestraNagatti Si Jedha
The Israeli-American Ethio-jazz band jam the hell out of this uneasily catchy, slinky, reverb guitar-driven anthem, a mashup of vintage soul and ancient African riffs, when they play it live. From their most recent ep.

Red Baraat – Gaadi of Truth
Fiery, chromatic horn-driven live bhangra with a little hip-hop flavor: like an Indian Slavic Soul Party. From the album Bhangra Pirates.

The Sirius QuartetSpidey Falls!
This high-voltage microtonal string epic is part Big Lazy crime jazz, part Bernard Herrmann, part Piazzolla and part turbocharged tarantella.

Rahim AlHajChant
The Iraqi-born oudist and his trio entertained the crowd at Lincoln Center this past spring with an intimate version of this uneasily bouncy, subtly sardonic theme inspired by his mom trying to keep her kids out of trouble. This video link above is the full orchestrated version

Dos Santos Anti-Beat Orquesta – Red
Slinky, luridly organ-driven psychedelic cumbia mixed up withChicano Batman-style psychedelic soul. From the album Fonografic.

Nina Diaz – Star
Towering, angst-fueled noir punk cabaret, like a mashup of Vera Beren and Nicole Atkins. From the Girl in a Coma’s excellent debut album The Beat Is Dead.

Kalyani SinghEllis
An allusively grisly Ellis Island scenario set to a soaring Indian carnatic melody recast as gothic Americana – told from the point of view of a ghost. Or is she? You could have heard a pin drop when Singh sang this at the American Folk Art Museum last year. 

The NYChillharmonicBlumen
A lush, hypnotic, uneasily circling Radiohead-inflected epic from singer Sara McDonald’s mighty 22-piece New York band, who mash up big band jazz and symphonic rock. They raised the roof with this at Joe’s Pub last spring.

Dalava – The Bloody Wall
A murder victim haunts the crime scene over almost imperceptibly crescendoing art-rock in guitarist Aram Bajakian and singer Julia Ulehla’s reinvention of this old Moravian folk tune from their latest album The Book of Transfigurations.

Electric YouthIt’s Them
The Canadian duo’s enveloping, slowly crescendoing take on a classic Lynch film theme – in this case, for a movie that never came out. From the album Breathing.

Mulatu AstatkeYekatit
The godfather of Ethio-jazz, backed by an impressively tight pickup band including keyboardist Jason Lindner and trumpeter Adam O’Farrill, kept the uneasy, brassy groove going for almost fifteen minutes with this classic in Central Park back in August.

Los Crema Paraiso – Shine On You Crazy Diablo
The cinematic Venezuelan psychedelic trio have been playing their deadpan version of the Pink Floyd epic all the way through in concert. for more than a year now. They didn’t extend it all the way through at Barbes back in July, but it was still amazing how they can recreate it while adding wry dub tinges. This is a similar, relatively brief eight-minute studio version.

Melissa & the MannequinsCan’t Let Go
The latest deliciously catchy, jangly single from New York’s best new band of 2017; bittersweetly coy vocals, ringing guitars and a little vintage soul too. 

BrigaBela Sum
Mesmerizing singer Eva Salina and Balkan accordionist Sergiu Popa join the Quebecoise violinist on this broodingly gorgeous ballad from the album Femme.

Funkrust Brass Band – Dark City
The title track, and most distinctively chromatic, Balkan-flavored anthem from the debut album by New York’s largest and most explosive brass band.

 Sofia Rei – Arriba Quemando El Sol
The stark Violeta Parra peasant’s lament reinvented as relentless, marching art-rock fueled by Marc Ribot’s unhinged guitar. From the album El Gavilan.

Kelly GreenCulture Shock
A bustling, epic noir jazz theme that eventually descends into dissociative Sketches of Spain allusions, flutters loosely and then jumps back into the rat race again. Centerpiece of the album  Life Rearranged.

David Smooke & the Peabody Wind Ensemble – Nutshell Studies of Unexplained Death
The epic, sixteen-minute title track to the toy pianist’s new album is a real cinematic showstopper. Horrified tritone cadenzas, thunderous swells, unexpectedly dusky microtonal banjo, and then toy piano plinking and clicking mutedly under extreme duress.

Mike Neer’s Steelonious – Off Minor
Smoking steel guitar, organ and a rhythm section take Thelonious Monk’s classic to the next Lynchian level. From the band’s debut album.

Vigen HovsepyanGulo
The most haunting track on the powerful Armenian singer and multi-instrumentalist’s new album Echoes: Revived Armenian Folk Music is this slowly swaying 6/8 piano ballad.

La Mar EnfortunaAman Minush
Elysian Fields guitarist Oren Bloedow and singer Jennifer Charles’ Sephardic art-rock side project made entrancing psychedelic rock out this darkly bouncy old tune at their November show at the Jewish Museum

Noura Mint SeymaliSoub Hanak
A microtonal duskcore anthem, the most straight-up rock number from the fearless jamband leader’s album Arbina.

Hilary DownesSecrets of Birds
The art-rock songwriter’s band take their deepest plunge into noir on the album’s title track: “Save me from these thoughts, divebomb every part,”…yet, “I am not afraid of the  darkness in my way.”

Trina Basu & Arun RamamurthySindhu Bhairavi
Haunting, edgy, hypnoticallly dueling Indian violins – since this live recording from their amazing Noguchi Museum show in September is an audio-only clip, it’s tantalizingly hard to figure out who’s playing what.

The Hooten Hollers – Scrapper’s Lament
An amusing, amped-up oldschool country ballad about the joys of scrounging for scrap metal – a perfect job in these new depression times. From the band’s 2017 album.

Borbely Mihaly Polygon2/1
A bouncy, uneasy, staccato Hungarian bass clarinet/cimbalom/drums theme, one of the highlights of the trio’s amazing show at Drom back in January.

Tomas Fujiwara’s Triple DoubleLove & Protest
Mournful, spacious blues trumpet over a twin-drum stampede spiced with burns and scrapes from guitarists Mary Halvorson and Brandon Seabrook: Wadada Leo Smith clarity and Amir ElSaffar majesty. From the group’s debut album.

River CultShadow Out of Time
Epic Daydream Nation-era Sonic Youth slides into galloping post-Sabbath in this careening live track from the heavy psych band’s latest ep Live at WFMU.

Bridget KibbeyToccata in D
This is the famous J.S. Bach organ piece that’s been used in a million horror movies…played solo, matter-of-factly and celestially, on the harp. It’s as funny as it is subversive, but ultimately it’s still arguably the creepiest piece of music ever written. A downtown crowd at the Times Arrow Festival earlier this year didn’t know what to make of it. 

Dawn ObergNothing Rhymes With Orange
The most bleakly hilarious song of the year is this sharp, literary middle finger raised at “Putin’s little bitch” in the Oval Office. Title track from the parlor pop pianist’s latest ep.

Kacy & Clayton – A Certain Kind of Memory
A dead ringer for Jenifer Jackson in wounded dark country mode circa 2007, down to the slow, lingering, Richard Thompson-esque arrangement. From the album The Siren’s Song.

Super Yamba BandControl Per Capita (C.P.C.)
One of the Brooklyn psychedelic Afrobeat band’s most lavish, funky jams. They got a packed house at Barbes boiling over with this last summer. 

 Chicano BatmanThe Taker Story
A anti-imperialist broadside, part Isaac Hayes hot butter, part Gil Scott-Heron, with a hazy latin tint from the psychedelic latin soul stars’ latest album Freedom Is Free.

Marcellus HallStill in Range
The ex-White Hassle frontman treated a Williamsburg crowd to an unexpectedly slashing take of this deviously allusive, pouncingly catchy, sardonic social media-era critique last spring. From the album Afterglow.

The Klezmatics – The Yoke
A crushingly bitter Catalan dirge told from a slave’s point of view, the highlight of NYC’s original klezmer punks’ latest album Apikorsom/Heretics. They held a Central Park crowd rapt with this last summer. 

Agnes ObelTrojan Horses
Creepy horror-movie piano and dark low strings anchor the evil, whispery harmonies of this moody Nordic art-rock waltz from the album Citizen of Glass.

 Pokey LaFargeSilent Movies
An offhandedly stinging, sarcastically swinging oldschool soul anthem for an era of selfie overkill. He and his band motored through this at Bowery Ballroom back in July. From the album Manic Revelations.

Algiers – Cleveland
A fierce yet enigmatic anti-police violence anthem, part noir gospel, part postrock, part postapocalyptic film theme from the band’s second album The Underside of Power.

Paris ComboBonne Nouvelle
Big bustling noir swing tune with a bitter undercurrent from a darker, more lyrically hilarious French counterpart to the Squirrel Nut Zippers. From the album Tako Tsubo.

Bridget KearneyLiving in a Cave
Orbison noir through the prism of 2017 new wave revival. From the Lake Street Dive bassist’s excellent, catchy debut album Won’t Let You Down.

Gold DimeDisinterested
The side project by Talk Normal’s Andrya Ambro punctuates this surreal drone-rock epic with all kinds of delicious, darkly explosive riffage. From the band’s debut album Nerves.

The Dirty Bourbon River ShowPoor Boy, Rich Girl
A sly steamboat-soul slap upside the head of an easy target – but some targets deserve to be hit upside the head. From the album The Flying Musical Circus.

 Meaghan BurkeGowanus
A swirling, theatrical orchestrated rock lament from the charismatic cello rock songwriter’s new album Creature Comforts.

The Ed Palermo Big BandOpen Up Said the World At the Door
A wry big band jazz cover of the haphazardly careening Jeff Lynne cult favorite from the Move’s 1970 Looking On album that perfectly crystalizes the angst-fueled bustle the original was shooting for. From the album The Great Un-American Songbook Volumes 1 & 2.

Touched By GhoulMurder Circus
The title track from the darkly enigmatic, female-fronted Chicago punk/postrock band’s debut album works artfully cynical variations on a familiar carnival theme. 

 Marta SanchezScillar
The jazz pianist and her band artfully shift roles in this broodingly modal, looping, haunting elegy of sorts. From her new quintet album Danza Imposible.

Seun Kuti & Egypt 80African Dreams
“Conscious capitalism doesn’t exist,” the torchbearer of the original Nigerian Afrobeat legacy remarked at his Central Park show this past summer before launching into this pouncing, undulating cautionary tale for those who might want to play that game.  

Ensemble Mik Nawooj Gin & Juice
A deadpan, operatic orchestral cover of the Snoop Dogg driving-while-wasted classic. For real. They killed with this in Harlem back in March.

NehedarThe Grudge
Broodingly punchy 60s psych pop with coy 80s new wave tinges and a deliciously vengeful lyric. “Wanna step on me so you can rise to a better pedigree?…Put the claws back in your kitty paws.”

 Ani Cordero – Culebra
Growling surf bass contrasts with spare Spanish guitar and ominously reverberating electric riffage in this kinetic number from the fearless protest song specialist. From the album Querido Mundo.

Maximo ParkWork and Then Wait
A defiant 99-percenter singalong anthem, sort of a cross between mid-90s Blur and an artsy dance act like the Cat Empire. From the album Risk to Exist.

The PorchistasMr. Chump
Which raises a middle finger to the American Boris Yeltsin. This orange-wigged creep is a “draft-dodging scum” who “beats on little girls and cheats on Monopoly.” Then the girlie chorus chimes in: “Eats shit!” From the album Axis & Allies.

GalanosFeel Good
Echoey and surreal, this macabre, whispery, reverb-drenched noir theme slowly coalesces out of a Lynchian spoken word interlude laced with evil guitar flickers. From the album Deceiver Receiver.

The 50 Best Albums of 2017

Scroll down for links to stream each of the albums here…except for the very newest one, which happens to be #1.

The best and most relevant album of 2017 was Fukushima, by the Satoko Fujii Orchestra New York. This haunting, epic five-part suite is not a narrative of the grim events of March 11, 2011, but rather the Tokyo-born pianist/bandleader’s reflection on personal terror and horror in the wake of the worst nuclear disaster in world history.

Fujii’s stock in trade is not political music. Her vast catalog – over eighty albums as a leader or co-leader since the 90s – encompasses everything from epic improvisational soundscapes, to dark, acerbic piano compositions, rainy-day Japanese-flavored jazz-folk and collaborations with a global cast of artists. This may be her greatest achievement to date, as lush and sweeping as it is anthemically tuneful. And as a response to greed-fueled attempts to cover up the deadly environmental damage caused by the meltdowns, it’s as savage as Shostakovich’s greatest symphonies or Charles Mingus’ political broadsides.

It’s not streaming anywhere at present (end of December 2017), but it’s just out and available from Fujii’s Libra Records. Watch this space for a link! 

Vast research and triage went into the rest of this list. If you count multitasking as listening, an extremely ambitious listener can digest maybe three new albums a day. That’s about 1200 albums a year. An extremely ambitious music blogger can sample several thousand and then attempt to make sense of the very best. As in previous years, these albums are listed in rough chronological order considering when they were received here, rather than in any kind of hierarchical ranking. Which would be absurd, anyway – if an album’s one of the year’s fifty best, it’s got to be pretty damn good.

Ran Blake & Dominique Eade – Town & Country
Protest jazz, icy Messiaenic miniatures and luminous nocturnes from the noir piano icon and his brilliant longtime singer collaborator. Listen at Spotify 

Ward White – As Consolation
The best rock record of 2017 is a surreal, twistedly psychedelic, ferociously literary masterpiece, from the guy who also put out the album ranked #1 here in 2013. Listen at Bandcamp 

The Dream Syndicate – How Did I Find Myself Here
Iconic noir songwriter Steve Wynn regrouped his legendary, influential 80s band, who picked up like they never left off with a mix of psychedelia, dreampop and volcanic jams. Listen at youtube

Amir ElSaffar’s Rivers of Sound – Not Two
The paradigm-shifting trumpeter/santoorist/singer’s latest large-ensemble recording, blending elements of Middle Eastern, Indian music and jazz is an album for our time: turbulent, restless and packed with poignant solos from a global lineup. Listen at New Amsterdam Records 

Son of Skooshny – Matchless Gifts
Wickedly lyrical songwriter Mark Breyer, longtime leader of powerpop cult favorites Skooshny, carries on with this richly jangly magnum opus, which collects his best songs of the last ten years or so. Listen at Bandcamp 

Phil Ochs  – Live in Montreal 10/22/66
What’s the iconic 1960s political firebrand doing on a list devoted to new music? This is new – a never-before-released set of many of his most shattering songs. It’s probably the definitive solo acoustic Ochs album. Listen at Spotify 

Charming Disaster – Cautionary Tales
The New York noir supergroup – led by Jeff Morris of lavish, dark, latin-flavored rockers Kotorino and Ellia Bisker of parlor pop existentialists Sweet Soubrette – expand their palette from murder ballads to apocalyptic anthems, spy themes and a novelty song that had to be written. Listen at Bandcamp 

Alice Lee – The Wheel
The long-awaited new album by one of the most brilliantly lyrical, sardonically insightful, captivating soul singers and songwriters to emerge from this city in this century. Listen at Bandcamp 

Changing Modes – Goodbye Theodora
Postapocalyptic art-rock, noir surf and snarling dreampop are just the tip of the iceberg on the keyboard-driven, female-fronted cult favorite New York band’s seventh album. Listen at Spotify

The Mehmet Polat Trio – Ask Your Heart
Serpentine, uneasily picturesque, dynamic Middle Eastern, African and Balkan themes from the virtuoso oud player and his eclectic group. Listen at Spotify 

NO ICE – Come On Feel the NO ICE
The Brooklyn What’s Jamie Frey continues as part of this careeningly diverse group, arguably the best band to come out of Brooklyn in the past five years. Fearless soul-rock, unhinged post new wave and loud, enigmatic anthems with a killer, spot-on sense of humor. Listen at Bandcamp

Aimee Mann – Mental Illness
Morose, muted, characteristically slashing acoustic waltzes and orchestral pop from the perennially relevant psychopathologist. Listen at Spotify 

The New Pornographers – Whiteout Conditions
Sardonic, bitingly insightful new wave for an age of greed and narcissism from this era’s preeminent powerpop supergroup. Listen at Spotify 

Orkesta Mendoza – ¡Vamos A Guarachar!
The world’s darkest and slinkiest southwestern gothic psychedelic cumbia noir mambo band. Listen at Bandcamp 

Los Wemblers – Ikaro Del Amor
That a four-song ep could make this list testifies to how genuinely incredible, and improbable it is. Legendary in their native Peru, where they started almost fifty years ago, this psychedelic cumbia family band jam as eerily and otherworldly as they did when they first emerged from the jungle. Listen at Spotify 

The Uzelli Psychedelic Anadolu compilation
Spanning from 1975 to 1984, this collection of kinetic Turkish psychedelic rock and funk seems even more current in this era of surreal cross-cultural mashups, comprising songs by artists including Erkin Koray, Asik Emrah, Ali Ayhan, Deniz Ustu Kopurur and others. Listen at Spotify 

The Sadies – Northern Passages
The moodily jangly Canadian gothic cult favorites’ hardest-rocking and most psychedelic album. Listen at Bandcamp 

Morricone Youth – Mad Max
The iconic New York noir cinephiles’ first release of the year – one of a planned fifty recordings of scores for films they’ve played live to over the years – is far darker and more southwestern gothic-oriented than the road warrior film’s plot. With a Karla Rose vocal cameo, too. Listen at Spotify 

James Williamson and Deniz Tek – Acoustic K.O.
Two iconic guitarists who largely defined the uncompromising Detroit proto-punk sound of the 1970s flip the script with an acoustic ep of lushly orchestrated Stooges classics. Listen at Spotify 

Andina: Huayno, Carnaval and Cumbia – The Sound of the Peruvian Andes 1968-1978
Seventeen trebly, reverby, even rarer tracks than the psychedelic cumbia unearthed by Barbes Records on the iconic Roots of Chicha compilations. Los Walker’s are the best-known group here; Los Compadres del Ande, Los Jelwees and Huiro y su Conjunto, among others, are also included. This isn’t just chicha, either: there are horn bands and cha-cha groups here too. Listen at Bandcamp

Melange – Viento Bravo
The Spanish Nektar jangle and swirl and spiral through one brooding, psychedelic art-rock mini-epic after another. Listen at Bandcamp 

The Legendary Shack Shakers – After You’ve Gone
Unstoppable after twenty years on the road, the iconic ghoulabilly/noir Americana band dive deeper into their twisted, swampy roots. Guitarist Rod Hamdallah makes a furiously triumphant return. Listen at Spotify 

Mames Babegenush – Mames Babegenush With Strings
Dynamic, lush, soaring, swooping brass-and-reed-fueled original klezmer dance numbers and anthems from this powerhouse Copenhagen unit. Listen at Spotify

Briga – Femme
The Montreal-based violinist’s eclectic, incisive mix of Romany, Balkan and klezmer sounds, with a little psychedelic and hip-hop flavor. Listen at Bandcamp

Saffron – Will You
Magical singer Katayoun Goudarzi and sitarist Shujaat Khan team up with Rolling Stones saxophonist Tim Ries, pianist Kevin Hays and others for this hypnotic, otherworldly reinvention of centuries-old Indian carnatic themes. Listen at Rockpaperscissors 

Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa
Newly digitized, rare, otherworldly 1970s and 80s Somali psychedelic rock, funk and Afrobeat from cassettes and master tapes buried to hide them from bombing raids. Amazing stuff. Listen at Bandcamp 

Arthur Lee & Love – Coming Through to You: The Live Recordings 1970-2004
Four sprawling discs comprising most of this psychedelic rock legend’s best songs, which he rocks the hell out of in concert. Most of this stuff is previously unreleased, and further proof that Lee’s career was far from over by the time he was done with Forever Changes. Listen at Spotify 

Steelism – Ism
Friends of Dean Martinez meets Morricone Youth in this surreal, catchy mix of keening steel guitar-driven instrumentals. Powerhouse soulstress Ruby Amanfu guests on a track. Listen at Spotify 

Neotolia – Neotolian Song
Pianist Utar Artun’s acerbic, moodily cinematic, sometimes jazz-inspired Turkish ensemble with the great Jussi Reijonen on guitar and oud. Listen at Soundcloud 

Dalava – The Book of Transfigurations
Slashingly eclectic ex-Lou Reed guitarist Aram Bajakian and his singer wife Julia Ulehla join forces and reinvent haunting, often harrowing Moravian folk songs with a psychedelic edge.Listen at Bandcamp 

Vigen Hovsepyan – Echoes: Revived Armenian Folk Music
The evocative singer/guitarist’s brooding, eclectic ballads and anthems from decades past, featuring the great oudist Ara Dinkjian. Listen at Spotify 

Money Chicha – Echo in Mexico
This is psychedelic south-of-the-border funk band Grupo Fantasma proving how deeply they can go into heavy psychedelic cumbias. Listen at Soundcloud

Castle Black – Trapped Under All You Know
Layers of reverb guitars flickering and roaring through the shadows, Leigh Celent’s power trio put out the best short rock album of 2017. Listen at youtube 

The Sweetback Sisters – King of Killing Time
Hard country, early 50s style from the eclectic, purist, badass duo of Emily Miller and Zara Bode with a great band behind them. Listen at Bandcamp 

Clint Mansell – Loving Vincent soundtrack
A classic 21st century horror film score. It’s not a horror film per se, but you can see the madness coming a mile away. Listen at Spotify 

Ella Atlas – The Road to Now
Enigmatic, allusively torchy singer Tarrah Maria’s band put out one of the most Lynchian releases of the year, joining forces with Lost Patrol guitar mastermind Stephen Masucci. Listen at Bandcamp 

Kelly Moran – Bloodroot
Enigmatically glistening, baroque-tinged multi-keyboard instrumentals inspired by many species of woodland greenery. Listen at Bandcamp 

King Gizzard and the Lizard Wizard – Flying Microtonal Banana
On which the well-loved Aussie psychedelic band took their initial leap into eerie, Middle Eastern-tinged microtonal music. Listen at Bandcamp 

Nina Diaz  – The Beat Is Dead
The Girl in a Coma bandleader gets ornate and cinematic with this dark, 80s new wave-style collection. Listen at Spotify 

Funkrust Brass Band – Dark City
High-voltage, rat-a-tat original Balkan brass anthems from this huge Brooklyn ensemble fronted by Charming Disaster’s Ellia Bisker. Listen at Bandcamp 

The Warlocks – Songs from the Pale Eclipse
Jangly, punchy, catchy 60s Laurel Canyon-style psychedelic rock – in lieu of a new album by the Allah-Las, this one will do fine. Listen at Bandcamp 

Galanos – Deceiver Receiver
With a gutter blues influence, some Thee Oh Sees dark garage-psych and some Black Angels ambience, this group are sort of the X of creepy 21st century rock. Listen at Bandcamp

Chicano Batman – Freedom Is Free
Organist Bardo Martinez and his shapeshifting band swing kaleidoscopically between latin soul, Zombies-style psych-pop, hard funk and Isaac Hayes-style epics. Listen at Bandcamp

Bridget Kearney  Won’t Let You Down
One of the year’s catchiest albums features Lake Street Dive’s killer bassist playing most of the instruments, through a mix of powerpop and new wave-flavored sounds. Listen at Bandcamp  

Algiers – The Underside of Power
Politically-fueled punk soul meets postrock meets postapocalyptic film score in gritty singer Franklin James Fisher’s ominously smoky narratives. Listen at Spotify 

Eric Ambel – Roscoe Live Vol. 1
One of the most distinctively brilliant, entertaining rock guitarists of the last couple of decades at the top of his game at an upstate outdoor festival with a killer band. Listen at Bandcamp 

Red Baraat – Bhangra Pirates
Wave after wave of undulating, crescendoing, cinematic, insanely danceable original brass-fueled live bhangra jams. Listen at Spotify 

Olcay Bayir – Neva/Harmony
Quietly intense new versions of ancient Turkish ballads and Balkan songs from the nuanced Turkish singer’s debut album. Listen at Spotify 

Gogol Bordello – Seekers & Finders
Amazing how fresh and energetic the original Eastern Bloc punks sound after all these years. Tight, catchy, never boring. Listen at Spotify

Ihtimanska – Yuz Yuze
A low-key but bouncy duo album of biting, minor-key Turkish and Bulgarian tunes from the duo of reedwoman Ariane Morin and accordionist Yoni Kaston. Listen at Bandcamp 

Daniel Ruiz – Purple Bird and Other Strange Songs
A haunting mix of of Doors and Nick Cave-influenced dark psychedelic rock and pop  from this Spanish songwriter. Listen at Bandcamp

Gato Libre Bring Their Rapturously Pensive Accordion Jazz to Gowanus

Gato Libre began life as a quartet making pensive, often plaintively tuneful jazz out of Japanese folk themes. As the Spanish name implies, a Romany influence appears frequently throughout their work. The nucleus of the group is the most formidable husband-wife team in jazz since Max Roach and Abbey Lincoln.

The astonishingly consistent and prolific pianist Satoko Fujii plays accordion with her husband Natsuki Tamura, the shogun of extended-technique trumpet. Originally a four-piece, they tragically lost their bass player in the months after 3/11 and are now a trio with trombonist Yasuko Kaneko. Their new album, Neko (not a homage to a redheaded Canuck songwriter) is streaming at youtube, and they’re bringing their increasingly austere, gorgeously pensive sounds to I-Beam on Nov 17 at 8:30 PM. Cover is $15.

If you’re expecting Tamura to do his proto-Peter Evans thing here, for the most part you’ll have to look elsewhere: the Japanese maestro has never played with greater elegance. Tempos here are on the glacial side.

The album opens with moody variations over a low accordion drone, Tamura’s warmly welcoming melody giving way to the trombone’s more uneasy tones. The second track shifts from stately call-and-response to a grittily triangulated conversation, Fujii’s calm, musette-like lines the voice of reason.

Tamura finally turns the ghosts and the microtonal mist loose in the third number, Fujii again starkly alluding to classic French chanson, Kaneko adding muted squall while Tamura channels the spirits of the hearth. Then the horns switch roles.

Distanced from Fujii’s slow, loopy variatoins, Tamura’s deadpan approach on the fourth track is pricelessly funny – no spoilers here. The trio take turns on the fifth tune, Yuzu, Tamura opening with what sounds like a Civil War bugle call and an amusing classical quote before Fujii builds to an unexpectedly wary crescendo. Kaneko takes a turn to bring in some blues, then the trio join forces for a brief, careful processional.

Finally, their lattice of voices grows more lush and lively in the final number, Tora. coming full circle with a simple fifth interval from the trombone that could be a a call to arms, or at least a call to awareness: this is very guardedly optimistic music for troubled times. How many more months til impeachment day?

Because this album is largely improvised, you will definitely get the tunefulness but probably not these tunes in Gowanus on Wednesday night. 

Trouble Kaze Celebrate Deviously Fun Improvisation Tomorrow Night in Gowanus

Japanese-French quintet Trouble Kaze’s new album June is the antithesis of what you’d probably expect from a two-drummer ensemble (i.e. the careening new Brandon Seabrook record). It’s also probably not what most people would think a band with two pianos would sound like. It’s a medieval Shinto temple gone down the rabbit hole, a Calder mobile on steroids, and a very deviously playful excuse for some of the world’s great improvisers to have fun making their instruments sound like something other than what they are. That, or simply coaxing (or scraping, banging, pounding or blowing) sounds out of them that under usual circumstance they either aren’t supposed to produce, or aren’t exactly known to make.

It’s downright impossible to figure out who’s playing what throughout this five-part, completely improvised suite recorded just over a year ago, which explains the album title. Sounds roughly comparable to temple bells mingle with the occasional portentously muted piano chord way down under the lid, produced by either Satoko Fujii or Sophie Agnel. A disgruntled snort from a trumpet (Natsuki Tamura? Christian Pruvost?) interrupts squirrelly textures from somebody (probably Tamura, the shogun of extended technique trumpet) but also maybe either drummer Peter Orins or Didier Lasserre.

A motorik rhythm develops as the group coalesces a little – is that a woodblock? A trumpet valve? White noise and waterfalling percussion build a frantic, horrified web (that has GOT to be Tamura screaming through his horn…or is it Pruvost blowing into his through a plastic tube?). Who’s spinning the vacuum cleaner tubing through the air? Maybe nobody, but that’s what it sounds like in a few places.

What does it sound like otherwise? Looping train-track rhythms, dopplers, whistling sepulchral figures, frantically bustling trumpets, a church belltower gone berserk. a very stealthy helicopter, a kitten stuck in the back of David Gilmour’s amp, and Federico Mompou cleaning out his attic are all part of the sonic picture. The train goes through the tunnel…all of a sudden it’s out of the tunnel! Next stop is 4th Ave., which is where you get off the F or the R to go to I-Beam, where the band are playing the album release show tomorrow night, June 23 at 8:30 PM. Cover is $15.

The album – bits and pieces of which are up at Soundcloud and youtube –  is not for everybody, and Fujii’s signature lyricism is largely (and surprisingly) absent from this defiant celebration of joyful noise. For her symphonic take on improvisation, you need to hear her rapturously intricate, conversational Duet album with bassist Joe Fonda.

Satoko Fujii Debuts Her Harrowingly Relevant Fukushima Suite in Brooklyn Last Night

Last night in Gowanus, I-Beam was packed to the point where it was impossible to get in the door for the debut performance of Satoko Fujii’s harrowing Fukushima suite. The iconic Japanese-born pianist/conductor explained beforehand that she wrote it not as a historical narrative but as an evocation of her own reactions to the March 11, 2011 nuclear catastrophe – and that it had taken her five years to process. After the show, she added that it was also an indictment of greed. Were all the recurring, chattering saxes and trombones of her Orchestra New York an evocation of conspiratorial Tepco boardroom conversations? Possibly. Fujii and her large ensemble – one of the most distinctive and memorable New York big band jazz units of the past couple decades – are recording this haggardly wrenching, angry, aggressively haunting four-part work today. Considering how much improvisation is Fujii’s stock in trade, even in a big band setting, it will be fascinating to compare the album with last night’s white-knuckle intensity.

The group opened not with a bang but with a whisper. A mist of white noise through reeds and valves becamed labored, suddenly anguished, then back again. up to a long, shrieking, terrified crescendo. As discernable melodies emerged, a handful of themes – a faux fanfare of sorts, a wistful Japanese folk tune and a couple of rather sardonic marches – recurred with variations, in between solo passages and a handful of artful pairings of instruments a la Darcy James Argue. Individual spots from saxes, trumpets and trombones were often tormented, sometimes frantic, juxtaposed with intermittent flashes of warmth and calm – and a couple of macabre Japanese heavy metal interludes fueled by Stomu Takeishi’s looming bass and Nels Cline’s savagely graceful, kinetically looped guitar riffage. In a couple of early moments, Ches Smith’s tersely slinking groove gave way to light electroacoustic percussive touches that seemed as sarcastic as they were comic relief.

The plaintive clarinet melody at the end seemed to offer closure, and a degree of hope. Asked afterward if this was meant to portray relief at seeing that the initial phase of the crisis, with its nightmarish plumes of smoke, was over, Fujii’s eyes widened. “Over?” she asked incredulously. “It’s NOT over!” Like the rest of the Japanese intelligentsia, she’s kept a close watch on what reliable information has leaked out about Fukushima – and she’s since relocated to Berlin. The official line about Fukushima is that the disaster is over and the lethal by-products have been more or less contained. The reality is that the containment vessel in reactor three – the most toxic, plutonium-fueled one – continues to leak cooling water and what’s left of the reactor core into the Pacific. The same may be true of the others, but either way, there’s been no definitive answer forthcoming, something that might be expected when a nuclear disaster is privatized.

Meanwhile, across the ocean, San Diego County in California is now getting its drinking water supply from desalinated Pacific seawater – which, in turns, goes back into the continental US water table. Suddenly Americans and Japanese alike face an identical, deadly nuclear contamination crisis. Can anybody other than the courageous Satoko Fujii say “global extinction event?”