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Tag: sideshow tragedy

The 50 Best Albums of 2015

Seven or eight years ago, everyone was predicting the demise of the album. That hasn’t happened, and as long as we have recording technology, it won’t. A few other predictions from the past decade, however, have come true. Albums these days tend to be shorter, and artists are releasing fewer of them. And as a result, they’re consistently better, since acts are no longer contractually obliged to record labels to churn out product regardless of whether or not they’ve got first-class material ready to go. A couple of artists on this list are on boutique labels, but everybody else is independent.

On this page you’ll find a link to stream each album in its entirety. Whenever possible, those links are to ad-free sites like Bandcamp or Soundcloud so you can multitask in comfort without having to ride the fader to mute the ads. Considering the vast number of albums released in any calendar year, you shouldn’t regard this list as gospel. It is, however, an informed survey based on careful triage followed by a sampling of several thousand releases, and then a locked-in, analytical listen to the best 500 or so, from this past January up to the present date. A LOT of time went into this. For purposes of keeping the list under control, none of the many thousands of excellent jazz, classical and avant garde releases are represented here. Realistically, there’s a limit on how much territory a single blog can cover.

The one collection that packed the most mighty wallop – a pretty quiet one, actually – and wins the title of best album of 2015 is Who’s Counting, by Rachelle Garniez. With gallows humor, terse piano, accordion and spare acoustic guitar, it’s the New York songwriter’s shortest, most intimate and darkest album, a masterpiece of existentialist rock, grim explorations of mortality and global carnage juxtaposed with jaunty, sultry, cabaret-flavored set pieces. This is the second time a release by Garniez has topped this list: her 2007 album Melusine Years ranked #1 that year at this blog’s predecessor. Stream it at Spotify

As far as the rest of this rich crop is concerned, there’s no ranking here, since there are so many styles to choose from. Seriously: what’s better? Carol Lipnik‘s otherworldly art-rock, Twin Guns’ savage garage-punk and horror surf, or Hungrytown‘s magnificently pensive folk noir? Apples and oranges, right? These albums are all so good that they can stand alongside anything here.

Les Sans Culottes- Les Dieux Ont Soif/The Gods Are Thirsty
The New York-based faux-French rockers deliver their most satirical, bitingly hilarious, spot-on critique yet…in French, of course, with a harder, more guitar-fueled edge than the retro 60s psychedelic pop they’re known for. Stream it at Soundcloud

Regular Einstein – Chimp Haven
Velvet-voiced, wickedly lyrical janglerock songwriter Paula Carino is another artist who topped the Best Albums of the Year list at this blog’s predecessor. In her case, that release was 2010’s Open on Sunday. This is her first new one – since the 90s, in fact -with her original New York band, packed with delicious double entendres, bittersweet narratives and tricky time signatures. Stream it at Bandcamp

The Bright Smoke – Terrible Towns
Haunting singer/guitarist Mia Wilson’s full-length debut with this atmospheric, blues-infused art-rock project ranks with Joy Division for angst-fueled, white-knuckle intensity. Stream it at Bandcamp

The Sideshow Tragedy Capital
Guitarist/frontman Nathan Singleton brings a ferocious, bitterly apocalyptic lyrical sensibility to his fiery gutter-blues band. Stream it at Bandcamp

Charming Disaster – Love, Crime & Other Trouble
Jeff Morris of the phantasmagorical Kotorino and Ellia Bisker of dark chamber pop band Sweet Soubrette join forces on their debut full-length release, a lyrically and historically rich mix of murder ballads and tales of relationships gone spectacularly wrong. Stream it at Bandcamp

Carol Lipnik – Almost Back to Normal
The best album by the best singer on this list, a launching pad for her spectacular four-octave vocal range, backed by luminous, hypnotic piano from Matt Kanelos and strings by Jacob Lawson. Allusive apocalyptic themes of natural and manmade disaster and post-9/11 terror linger in the distance. Stream it at Mermaidalley.com

Ember Schrag – The Folkadelphia Sessions
Hypnotically Beatlesque art-rock, smoldering Macbeth-inspired narratives and a killer Great Plains gothic anthem by the style’s most lyrical and distinctive practitioner. Stream and download it free from the Folkadelphia page

Twin Guns – The Last Picture Show
A mighty leap for the ferocious power trio, including but not limited to their Cramps-style stomp. This one’s a lot more psychedelic and noir surf-oriented. Stream it at Bandcamp

Lorraine Leckie & Pavel Cingl – The Raven Smiled
Spare and surreal yet majestically enveloping art-rock and Slavic folk noir sounds from the Canadian gothic songstress and Czech violin wizard. Stream it at Bandcamp

Rachel Mason – The Lives of Hamilton Fish
One of the darkest albums on this list, this lush, evocative mix of historically-inspired janglerock and folk noir traces the seeemingly unconnected lives of two early 20th century figures who shared the same name: a serial killer and the scion of a famous New York political legacy. Stream it at Bandcamp

King Raam – A Day & a Year
A majestic, brooding Iranian art-rock record by the pseudonymous expat baritone crooner and bandleader. Lyrics in Persian. Stream it at Soundcloud

Fernando Viciconte – Leave the Radio On
The noir rock bandleader originally hails from Argentina; this haunted, doomed concept album, with significant contributions from REM’s Peter Buck and others, could be the great lost Steve Wynn release. Stream it at Bandcamp

Litvakus– Raysn: The Music of Jewish Belarus
A rousing, exhilarating mix of rare Jewish dance numbers,lively originals and morose folk tunes from the badlands of Polesia, in the corner where Belarus, Poland, Latvia and the Ukraine meet. One of the best party albums on this list. Stream it at Bandcamp

Raya Brass Band – Raya
Another awesome party album, the third release by the New York Balkan group is their most original, stylistically and emotionally diverse one yet, incorporating Ethiopian and latin sounds into their rapidire chromatics. Stream it at Bandcamp

Tipsy Oxcart – Upside Down
A fat rock rhythm section anchors these deliriously edgy minor-key Balkan, Turkish and Jewish themes and originals. Stream it at Bandcamp

Marianne Dissard – Cologne Vier Takes
The southwestern gothic/art-rock chanteuse and bandleader at the top of her uneasy game, in a mix of richly atmospheric yet intimate versions from her darkly lyrical catalog. Lyrics in French. Stream it at Bandcamp

Tom Warnick & the World’s Fair – Side Effects
The well-loved noir rock cult figure turns in a characteristically diverse mix of ghoulabilly, noir swing, soul and blues, all with his signature black humor and a luridly smoky band behind him. Stream it at Spotify

Matt Keating – This Perfect Crime
Getting away with murder is the loosely interconnecting theme on this typically diverse blend of janglerock, Stonesy stomp, Americana and soul-infused sounds, all with Keating’s richly sardonic, literate lyricism. Stream it at Mattkeating.com

Tracy Island – War No More
The long-awaited full-length debut from captivating singer/multi-instrumentalist Liza Garelik Roure – former leader of deviously psychedelic popsters Liza & the WonderWheels – is her catchiest and most pensively colorful yet, fueled by husband Ian Roure’s sizzling lead guitar. Stream it at Lizasongs.com

Bliss Blood & Al Street – Unspun
The iconic noir torch song heroine builds lowlit, lurid, delectably lyrical ambience in an intimate duo recording with her longtime flamenco-inspired six-string guy. Stream it at Bandcamp

Orphan Jane – A Poke in the Eye
Deviously witty, creepy noir cabaret and circus rock from this irrepressibly theatrical, Brecht/Weill-inspired New York crew. Stream it at Bandcamp

The Universal Thump – Walking the Cat
Famously recorded at Abbey Road Studios, frontwoman/keyboardist Greta Gertler has never written with greater wit or purist pop chops than she does here with her lush chamber pop/art-rock project. Stream it at Bandcamp

Sarah Kirkland Snider – Unremembered
The most lavishly orchestrated album on this list features vocals from Padma Newsome and Shara Worden throughout a mix of brooding, sweeping art-rock reflections on harrowing childhood experiences and similar trauma. Stream it at Bandcamp

Goddess – Paradise
The latest release by the phantasmagorical New York art-rock band captures them in creepily enveloping psychedelic mode. Stream it at Bandcamp

Bobtown – A History of Ghosts
Eerie, sepulcural Appalachian folk tunes, creepy newgrass, retro soul, murder ballads, black humor galore and exquisite four-part harmonies from the band that might be the best folk noir act around. Stream it at Bobtownmusic.com

Mike RimbaudPut That Dream in Your Pipe and Smoke It
Yet another provocative, surrealistically lyrical, tight powerpop and retro new wave record from one of the most fearlessly funny, spot-on chroniclers of post-9/11 global society anywhere. Stream it at Spotify

Hungrytown – Further West
The most elegantly arranged and arguably best album by poignant Americana songstress Rebecca Hall and multi-instrumentalist Ken Anderson’s plaintive folk noir band Stream it at Spotify

The Sway Machinery – Purity & Danger
One of the great guitar albums on this list, this richly textured, intricately arraanged, soaring collection of anthems sees the band venturing further from desert rock toward cantorially-inspired psychedelia. Stream it at Spotify

The TarantinosNYC – Surfin’ the Silver Screen
Catchy, fun, vividly cinematic surf rock, spy themes and psychedelic soul from one of NYC’s most original instrumental units. Stream it at Spotify

Dalava – their debut album
Guitar polymath Aram Bajakian and his haunting singer wife Julia Ulehla combine to reinvent stark traditional Moravian themes with an electric edge. Stream it at Bandcamp  

Patricia Santos – Never Like You Think
The auspicious, intense, eclectic soul-infused debut by the charismatic cello rocker and Kotorino member. Stream it at Bandcamp

Eleni Mandell – Dark Lights Up
Los Angeles noir soul, bittersweet torch song and Americana by an icon of dark retro songcraft. Stream it at Spotify

The Whiskey Charmers – their debut album
Twin Peaks C&W, Appalachian gothic, dark blues and jangly rock from this shadowy, female-fronted Detroit dark Americana band. Stream it at Thewhiskeycharmers.com

Figli di Madre Ignota – Bellydancer
High-energy, Gogol Bordello-esque circus rock and Romany punk songs with hilarious, satirical lyrics in Italian and English. Stream their “spaghetti Balkan” sounds at Soundcloud

The Frank Flight Band – The Usual Curse
The British counterpart to Blue Oyster Cult reach back into the vaults for this haunted mix of Doorsy art-rock, shapeshifting psychedelia and unexpectedly macabre gothic sounds. Stream it at cdbaby

Dawn Oberg – Bring
The irrepressible parlor pop pianist/chanteuse at the top of her sardonic, lyrically rich game in this mix of personality portraits and psychopathological analysis. Stream it at Dawnoberg.com

Jennifer Hall – her debut ep
An intriguing, auspicious mashup of noir soul and art-rock from the powerfully nuanced Chicago song stylist and her excellent, eclectic band. Stream it at Spotify

The Grasping Straws – their debut album
Edgy songwriter/guitarist Mallory Feuer’s snarling, hard-hitting, scruffy, defiantly lyrical first full-length effort goes in a more straightforward, less jazz-inspired direction than the band’s initial ep. Stream it at Bandcamp

Ben Von Wildenhaus– II
Southwestern gothic, slinky bellydancer noir themes and Twin Peaks atmospherics from the loopmusic guitar master and esteemed noir soundscaper. Stream it at Soundcloud

Naked Roots Conducive – Sacred521
Cellist Valerie Kuehne and violinist Natalia Steinbach’s tormentedly cinematic, surrealistically intense art-rock dives menacingly and blackly amusingly into themes of alienation and ahwer despair. Stream it at Bandcamp

Lions – their debut ep
A slinky, trippy mix of Ethiopian grooves, Israeli stoner rock jams and cinematic themes. Stream it at Bandcamp

George Usher & Lisa Burns – The Last Day of Winter
Intense, autumnal purist powerpop, blue-eyed soul and psych-pop tunesmithing from two highly regarded, veteran songcrafters. Stream it at Spotify

Banda de los Muertos – their debut album
Epic, ornate, richly arranged, reinvented Mexican brass band ranchera themes and sweepingly majestic, blazing originals from trombonist Jacob Garchik’s imaginative big brass ensemble. Stream it at Spotify 

Spanglish Fly – New York Boogaloo
A hard-hitting, wickedly arranged, cleverly crafted update on classic 60s salsa soul from this irrepressible, danceable, psychedelic New York outfit. Stream it at Bandcamp

Curtis Eller & the New Town Drunks – Baudelaire in a Box: Songs of Anguish
Intriguing new translations of classic, surrealistically creepy Baudelaire poems set to starkly bluesy, phantasmagorical tunes by the charismatic circus rock bandleader and the Eastern Seaboard noir group. Stream it at Bandcamp

Elisa Flynn – My Henry Lee
The darkly eclectic songwriter and hauntingly luminous chanteuse’s most spare, terse album blends starkly funny individualist anthems with more pensive material and a classic murder ballad. Stream it at Bandcamp

Fireships – their debut album
Imaginatively arranged Americana rock and chamber pop with a fearlessly aware, Dylanesque, populist lyricism. Stream it at Bandcamp

The Amphibious Man – Witch Hips
Enigmatically lo-fi, twistedly Lynchian, surf-tinged reverb rock. Like nothing else on this list and yet in a way like an awful lot on this list, in terms of general darkness. Stream it at Bandcamp

The Honeycutters – Me Oh My
Oldschool female-fronted honkytonk with a newschool, sharply literate, defiantly populist lyrical edge. Stream it at Spotify

The Old Ceremony – Sprinter
Folk noir and serpentine, intricately arranged, Lynchian art-rock and chamber pop from Django Haskins’ darkly eclectic band. Stream it at youtube – but BE CAREFUL – a loud audio starts immediately when you click the link, mute the sound before you do

For more yummy clickbait, other 2015 lists here include the forthcoming playlist at the Best Songs of 2015 page and the Best New York Concerts of 2015 page.

The Sideshow Tragedy Bring Their Visionary Apocalyptic Blues to the Rockwood

The last time this blog caught up with the Sideshow Tragedy, it was a couple of years ago late on a Friday night in the red neon backroom at Zirzamin, and the Austin noir blues band was killing it. Really killing it. Guitarist Nathan Singleton was airing out his bottomless bag of jagged minor-key licks, drummer Jeremy Harrell had a murderous stomp going and there were some special guests, if memory serves right – it had been a crazy night up to that point. Fast forward to 2015: Zirzamin is sadly gone, but the Austin band has a new album, Capital, streaming at Continental Record Services‘ site, and a similar small-room, Friday night show, in this case at the Rockwood on May 22 at 11 PM. This usually sedate space is in for a serious jolt of adrenaline, tempered slightly by the fact that the new album is somewhat more spare and haunting than the band’s previous, often unhinged gutter blues attack. It’s a concept album, a sinister, brilliantly metaphorical portrait of a nation gone off the rails in an orgy of greed and mass desperation. Fans of Humanwine will love this.

“Summer’s here, and the tramps are on the move, ten to a trailerbed from Chicago to LA…you can taste the decay,” Singleton broods in Number One, a corrosively relevant, cynical portrait of haves versus have-nots over a riff-rock groove that other bands would have turned into metal, but these guys do as a shuffle. Likewise, Blacked Out Windows, with some harmonically offcenter multitracks, could be Sonic Youth, but instead Singleton runs the riff over and over for an ominously hypnotic vibe: “Smoke and mirrors closing in…his carnival calm is easy to believe,” Singleton warns. “The palms of the priest are easy to grease.”

Singleton more or less talks the apocalyptic lyrics to Keys to the Kingdom as Harrell beats a frantic, funereal pulse on his tom-toms. The Winning Side, a similarly frantic, scampering anthem, sounds like Dylan’s It’s All Right Ma, I’m Only Bleeding at doublespeed: “It’s not the thought that counts,” Singleton muses grimly. The title track works a dusky midtempo slide guitar groove, a caustically aphoristic parable of the 21 st century going back into the dark ages in a hurry. “You listen to the police scanner as your write your report, better fill your quota while you got time…you can’t see the horizon ’cause it don’t matter right now, so rob the beggars blind,” Singleton taunts. It’s arguably the best and most relevant song anybody’s released this year.

Two Guns pairs Harrell’s shuffling, misty cymbals against Singleton’s uneasily precise slide guitar and menacing stream of metaphors: “The rockets’ eternal red glare, the shooting off of lights and flares, it’s getting dark out there.” So when Singleton finally reaches the point where he works a song around a major-key hook – with the only slightly less troubled Animal Song, which wouldn’t be out of place in the Marcellus Hall catalog – there’s a sense of relief, however temporary.

Let the Love Go Down returns to a death-obsessed theme with a series of fire-and-brimstone metaphors over a relentlessly rolling and tumbling drive.The album ends with Plow Song, a spiky resonator guitar-fueled trip through a postapocalyptic landscape where you’re bound to end up with “a gun for all seasons and a bit in your mouth.” Powerful words from a Texas band. Best album of the year? One of the top handful, no question.

Stonesy Stoner Songs and a Bowery Electric Show from 7horse

7horse are a surreal stoner bar band – imagine a more trad version of the Black Keys after a couple bong hits of good hash. This band’s music is less stoned than it is high. They’re at Bowery Electric on July 9 at 7:30ish for $12.

Their new album Songs for a Voodoo Wedding is streaming at the band’s site. The opening track, Carousel Bar works an open-tuned Stonesy riff for all it’s worth – the bass doesn’t even come in until after the first chorus. “Had a ringside seat, was all you could eat, but you never got out of the car,” lead singer Phil Leavitt reminds, “I could sit right here for a hundred years rolling in the Carousel Bar.” That pretty much explains what this band is all about.

Meth Lab Zoso Sticker is another open-tuned, Stonesy, more or less one-chord jam, this one a slide-driven blues with an even stranger lyric. Flying High (With No ID) reaches for a Sticky Fingers-era take on oldschool soul, an uneasily amusing scenario about a guy who seems to be tripping in the airport and then on the flight. Imagine being on acid and having to deal with Homeland Security – it would be impossible not to have a laughing fit.

Headhunter Blues centers around a funny lyrical riff from baseball slang, and a romping post Chuck Berry tune that could be the Bottle Rockets (or the Stones, for that matter) with no bass. Long Way has a restless, minor-key, vintage Stooges menace, both musically and lyrically. Please Come On Home has a darkly shuffling hillbilly boogie vibe that recalls bands like the Gun Club and the Sideshow Tragedy. The funniest and also the most punk song here is I Know the Meaning of Rock N Roll: it’s totally mid-70s Detroit.

On the 4th of July brings back a Stonesy pulse: it seems to be a sly, surreal swipe at patriotism. So Old Fashioned blends LES punk blues with catchy Dolls glam, a shout-out to an “ancient recipe” that never fails to hit the spot. Some MF seems to be a spoof of hip-hop; the album’s longest track, Before the Flood strings together a bunch of old blues aphorisms over a skeletal Smokestack Lightning-style vamp. The final cut is the oldtimey A Friend in Weed, which is kind of obvious, but also unquestionably true. Most of these songs don’t reference anything after about 1973: aside from the strange absence of bass in places, this album could have been made then and would have earned the band plenty of road gigs or a maybe even a spot opening for somebody like Bob Seger or REO Speedwagon back when both of those acts were actually pretty decent.

Eerie Jagged Noir Blues from Austin’s Sideshow Tragedy

Sometimes it boils down to cred. The presence of Dimestore Dance Band’s noir gypsy guitar mastermind Jack Martin on Austin band the Sideshow Tragedy‘s album Persona instantly makes it worth a listen – it’s up at their Bandcamp page. For anybody who likes the idea of the Black Keys but finds them impossibly tame, the Sideshow Tragedy will not disappoint: they are the real deal. They’re upstairs at Bowery Electric, guessing at around 10 PM on May 15 and then at Zirzamin at 10 on May 17. If dark twisted surreal country blues is your thing, this will hook you up for the duration. Frontman/guitarist Nathan Singleton took the entire blues dictionary, distilled it, lined it up down the bar and then did shots of it until he had the whole thing in his system. And then recorded this album, for the most part just with drummer Jeremy Harrell. It’s like the Gun Club, but more raw, or like Dylan at his most haphazard and interesting – and funny. Singleton’s wry sense of humor is a welcome change from all dese wotbo blueschillun who done take da blues so serious, uh huh – there’s none of that blackface BS here.

Another cool thing about this record is that aside from Martin’s jagged guitar on the haunting, Otis Rush-influenced fifth track, The Bet, the rest of the album is all Singleton. He’s a one-man blues army, sometimes wailing with a slide, sometimes fingerpicking, sometimes slashing and roaring as he builds a doomed, menacing ambience. The album’s opening track, AM in Chicago sets the tone, an evil, reverb-drenched roadhouse vamp over tumbling drums: “A structure fire in the tower of song, a prisoner’s wish before he’s gone.” That the Leonard Cohen reference isn’t absurdly out of place speaks for itself.

“If you won’t believe me, I’ll keep telling you lies,” Singleton smirks over tasty layers of steady, shuffling slide guitar on Gasoline, then adds a sly, funky edge that reminds of Jon Spencer on the pulsing Something to Do. If there’s anything here you could call a hit single, it’s the wickedly catchy Satellite, bringing in a rare, upbeat major-key vibe.

Vasseline is a swirling, Steve Wynn style desert rock stomp. The title track, a snide portrait of a status-grubbing groupie type, opens with bit of feedback, early 70s stoner metal throuth the prism of punk, and then goes scampering. The exasperated I’m Gonna Be Your Man has distant echoes of the early Yardbirds and cool reverb on the vocals and the drums. The album winds up with the menacingly swaying Long Way Down, a hypnotic Howlin’ Wolf style groove, resonator guitar carrying the brooding tune over a wash of eerie distortion.