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Steve Wynn Reinvents Classics and Rarities with a Dusky, Haunting Acoustic Ambience

Hot on the heels of the Dream Syndicate‘s radically psychedelic, echoingly haunting new album The Universe Inside, bandleader Steve Wynn has totally flipped the script with his spare yet no less hauntingly intimate new release, Solo Acoustic Vol. 1. Beyond the Dream Syndicate’s guitar duels and increasingly vast panoramas, Wynn has toured solo acoustic on and off since his teenage days in the 80s. Yet, outside of side one of the legendary/obscure Straight to the Swapmeet ep, there’s never been a solo acoustic Wynn album until now.

You could call this his Lightnin’ Hopkins record. The legendary Texas bluesman would stop into a studio or radio station in between gigs along the highway, put down some tracks and sell the master for gas money. Wynn, a big Bill Callahan fan, went into the artist formerly known as Smog’s favorite Austin studio late last year and got a grand total of 26 songs from his vast back catalog in the can in a single marathon eight-hour session. This initial volume is up at Bandcamp, and there’s another on the way.

There are plenty of “so THAT’s what this song is all about” moments here: the devil is always in the details in Wynn’s noir-tinged tableaux, and sometimes that can get subsumed in the roar of the guitars. Wynn is also as interesting to listen to on acoustic as he is on electric. In fact, some of the spare, dusky versions here are arguably better than the originals.

That could easily be said for the catchy, vamping take of Manhattan Fault Line, which opens the album. It’s one of the few straightforwardly autobiographical numbers in Wynn’s book: a lifetime Los Angeleno, he was 34 when he left town for New York with his tail between his legs…and never looked back.

The version of Merrittville isn’t the only quiet one out there: the slow, watery menace of the Dream Syndicate’s performance on the Live at Raji’s record is an icy gem. Even the name of this town has a crushing sarcasm: what a horrible place for an irrepressible bon vivant to be on the run from rednecks and bible bangers!

Anthem is a real revelation, its desperate narrator still awake and staring at the screen as all the channels on tv are signing off. There’s also more than a hint of desperation in the version of Love Me Anyway here.

Similarly, the doomed narrative of Like Mary stands out even more than in the original, Wynn’s acoustic guitar running through a vintage amp with just a tinge of tremolo, heightening the Lynchian ambience. HIs terse, incisive picking ramps up the mystery in Morningside Heights, while this solo version of Carry a Torch has a welcome, unexpected if somewhat muted musical savagery to match the lyrics.

Freak Star, one of Wynn’s most careeningly evocative songs from the past ten years or so, is one of the album’s best tunes; “Something told me commonsense was not a game you play,” he reflects. The real rarity here is the cynical, Highway 61 Dylan-ish Is There Something I Should Know. The obvious choicefor this record is a deliciously twisted take of My Old Haunts, Wynn switching out the original’s blithely sarcastic oldtimey swing atmosphere for a much more pointed, low-key character study.

Layer By Layer is the most overtly Lou Reed-influenced number here: it”s not clear to what degree this is about religion, or surveillance, or both. There’s also an inventively strummed, brief solo take of Crawling Misanthropic Blues and a terse version of Shades of Blue, although without that bittersweet Dream Syndicate quote on the intro that literally takes your breath away  – if you know Wynn’s turbulent history, anyway. Is it fair to pick an album of old songs as one of the best of the year? They sure don’t sound old here.

Richly Jangly, Intricate, Smart Retro Rock Songcraft From Diane and the Gentle Men

What if the Dream Syndicate was fronted by a woman? That’s pretty damn high praise for singer Diane Gentile‘s new album White Sea, with her band the Gentle Men, streaming at Bandcamp – but a lot of the record sounds exactly like that. If imaginatively crafted, darkly bristling rock anthems with layers of guitars and keys and a distinctively downtown, oldschool New York ambience are your thing, this is your jam.

Drummer Colin Brooks opens the first track, Motorcycle, with a rolling surf riff. If the tight, dreampop-tinged downstroke pulse reminds you of recent Steve Wynn material, that makes sense since Wynn produced the song! All kinds of tasty touches here; a little creepy organ here, a surreal clang there from Wynn’s longtime Dream Syndicate sparring partner, Jason Victor, who plays lead guitar throughout the album

Track two, Perfect People is a new wave song as an older version of the DS – say, the Out of the Grey lineup – might have done it, Victor’s multitracks spiraling in both channels. It’s Gentile’s dis to shallow people in general. “Take off your makeup, wake up!” is the mantra.

The poignant, death-fixated Wicked Hours has a gorgeous web of acoustic guitars and keening, moody Victor slide work. The band rise from an elegant, spare waltz to a mighty sweep in the album’s similarly brooding title track.

Little Things could be an especially gritty early Blondie number. Gentile reaches for a towering angst in the backbear-driven, Orbisonian breakup anthem Just Pretend, then goes back to new wave with Boyfriend.

She mashes up catchy, vamping post-Velvets rock with a swirling, Lynchian anthemc sensibility in Joe: it’s a good guess that was the real name of the guy who didn’t work out. The album’s most chillingly relevant song is Memories, pushed along by bassist Matt Basile’s trebly growl with the rest of the band raging behind him. “And there’s not enough to pay the rent, the cost of living makes no sense, the dream I dream keeps me awake at night,” Gentile wails.

She closes the record counteirntuitively with a spare piano elegy, Second Hand Heart. On one hand, it’s always fun to discover music this smartly crafted. On the other, this kind of music is very imperiled at the moment. Gentile’s usual gig was booking one of the few remaining New York rock venues, Bowery Electric. Even with that kind of resume, survival is giong to be a struggle for everyone in the nightlife industry. A moratorium on evictions til just the middle of June isn’t realistic: we need rent amnesty in New York for the entirety of the coronavirus crisis.

The Dream Syndicate’s Most Epic, Psychedelic Masterpiece: A New Double Vinyl Record

The Dream Syndicate distinguish themselves from the legions of jambands out there with the sheer intensity and focus of the guitar duels between bandleader Steve Wynn and lead player Jason Victor – and their songs’ carefully crafted narratives. One of the band’s signature moves is to take Wynn’s tightly wound three-and-a-half-minute riff-rock gems and thrash the hell out of them.

Their new double viinyl album, The Universe Inside – streaming at Bandcamp – takes a turn in a radically different direction. It’s a suite, by far the band’s most psychedelic record: history may judge this as the fullest realization of the vision Wynn introduced on the band’s influential debut, The Days of Wine and Roses. There are element of jazz, art-rock and latin music here, but ultimately this is its own animal.

Bassist Mark Walton more or less loops a catchy, dry, trebly riff as Wynn and Victor triangulate in a spare exchange with guest Stephen McCarthy’s lingering guitar-sitar to open the album’s twenty-minute first track, The Regulator. Shards of reverb and sputters of sparks from the amps punctuate those succinct phrases amid the swirl and pulse: Chris Cacavas’ echoey electric piano becomes the icing on this space cake. With drummer Dennis Duck and percussionist Johnny Hott’s supple shuffle groove, Carlos Santana’s late 60s jams come to mind, but also Isaac Hayes’ sprawling psychedelic soul vamps – and Meddle-era Pink Floyd, and Angelo Badalamenti’s David Lynch film themes.

There’s a spoken-word vocal that concerns soothing the soul and blown fuses, both things this band know something about. Marcus Tenney’s one-man horn section wafts through the mix – some sax, some trumpet, sometimes both, frequently evoking Sonny Rollins’ work on the Stones’ Waiting on a Friend. It ends as you would expect it

The groove expands, the spacerock becoming more drifty in the second track, The Longing. This tragedy occurred “Like it happened moments ago, distant across the chasm…the harder you try to fix it, eliminate, deep-six it, all that remains is the longing,” Wynn sings, pushing against the top of his register.

The three six-string guys – that’s McCarthy on six-string bass here – trade off warmly major-key Ticket to Ride phrases as Apropos Of Nothing gets underway. It’s a classic, cynical, allusively grim Wynn narrative

What were you expecting
What did you become
Apropos of nothing
Chain reaction before the fall

And just when the band have lulled you into an alterred state, they hit a crunchy, roaring What Goes On drive.

The sardonic jousting that introduces the instrumental Dusting Off the Rust – a line from The Regulator – is one of the album’s funniest moments. This one’s a gritty slinker, a trippy dichotomy of punchy riffs and swirling cascades in the same vein as the spidery Topanga Canyon Freaks, from Wynn’s iconic 2001 Here Come the Miracles album.

The record’s final cut, The Slowest Rendition rises from a web of aching bent-note cries, to a pummeling drive and then a brooding, summery haze. Elegantly animated interplay aside, it’s one of Wynn’s most haunting, death-fixated songs. “Chaos flickers in the night” on “this silent, darkening, empty beach,” his disembodied narrator bracing for what comes next as the sax winds down. It’s an apt ending from the guy who wrote John Coltrane Stereo Blues. If there’s still a reason, or a means, for music blogs to exist at the end of 2020 – let’s hope there are – you will see this high on the annual best album of the year list here

The 50 Best Albums of 2019

This is a playlist, plus one last record at the very end that can’t be heard anywhere online but might be the best of all of them. You can listen to everything else here, almost all of it ad-free: it couldn’t hurt to bookmark this page.

Lots of triage was involved. A very ambitious listener with a dayjob that allows for multitasking can hear maybe eight or nine hundred new albums a year, all the way through. An insanely dedicated blogger can hear bits and pieces of maybe five thousand more. That’s about the limit of what one human can do. You may see a few stragglers here which were technically 2018 releases but got overlooked that year. If your favorite album from 2019 isn’t here, that doesn’t mean it isn’t any good…and it might just turn up here next year.

Other than the very top of the list, there’s no hierarchical ranking. Being chosen as the #50 band out of 50 is like getting picked last for kickball, and that’s kind of mean. Besides, if an album is one of the fifty best out of the literally hundreds of thousands released every year, it has to be damn good. Here we go!

Big Lazy – Dear Trouble
The subtlest, most desolate and ultimately most dynamic album from a group synonymous with cinematic noir menace. Guitarist Steve Ulrich’s sense of irony has never been more refined, and the rhythm section of bassist Andrew Hall and drummer Yuval Lion has never been slinkier. Ulrich is the only musician in history who has been on three albums rated #1 for the year here. Listen at youtube

Changing Modes – What September Brings
Best album of the year with lyrics, the New York art-rockers’ finest, most cinematic, and most political release, a savagely lyrical, spot-on reflection on Trump-era narcissism and repression, laced with shapeshifting instrumentals and frontwomen Wendy Griffiths and Grace Pulliam’s disquietingly lush harmonies. Listen at youtube

The Bright Smoke – Gross National Happiness
The title reflects frontwoman/guitarist Mia Wilson’s signature, withering sarcasm. It’s the band’s most savagely political record, a grimly allusive measure of Trump-era inequality, despair and resistance against all that, with a haunting Joy Division undercurrent. Listen at Bandcamp

Karen Dahlstrom – No Man’s Land
The best short album of the year, with metaphorically-loaded, sharply picturesque narratives referencing apocalypse, smalltown anomie, late-night despondency and a ferocious, defiant anthem for the Metoo era from the powerful Bobtown alto singer and Americana songstress. Listen at her music page 

Hearing Things – Here’s Hearing Things
The best debut albun of 2019, by Brooklyn’s funnest dance band, mashes up horror surt, Booker T & the MG’s, twisted go-go music, Afrobeat, Ethiopiques and the Doors, with organ, sax and surf drums. Listen at Bandcamp

The Dream Syndicate – These Times
Steve Wynn‘s iconic, feral, influential psychedelic guitar-duel band’s quietest, most allusively political and arguably most brilliantly lyrical album. Not bad for a group who put out their first record back in the 80s. Listen at youtube

Michael Winograd – Kosher Style
Unsurpassed for his sizzling clarinet chops, Winograd is also a very colorful composer. With sabretoothed chromatics and slashing minor keys, these new klezmer tunes run the gamut from blisteringly fun to mournful to sardonic, and the band is killer. Listen at Bandcamp

Raphael Severe with the Trio Messiaen – Messiaen: Quartet for the End of Time
Here’s another world-class clarinetist and ensemble playing an especially dynamic, inescapably vivid take on one of the most iconic, haunting pieces of classical music ever written (much of it composed in a Nazi prison camp). Riveting as it is, it raises questions as to how fair it is for this blog to rank it alongside the rest of the artists here. Listen at Spotify

Layale Chaker – Inner Rhyme
The brilliant violinist writes vivid, intense, often hauntingly beautiful compositions built around the rhythmic sophistication of classical Arabic poetry, equal parts Lebanese, Egyptian and western classical music, with occasional detours toward jazz or film score atmospherics. Listen at her music page

Los Wembler’s de Iquitos – Vision Del Ayahuasca
With almost all of their original members, this iconic psychedelic cumbia jamband from the heart of the Peruvian Amazon are as wildly trippy and original as they were fifty years ago. Along with Hearing Things‘ debut, this is the best party record of the year. Listen at Bandcamp

Miguel Zenon and the Spektral Quartet – Yo Soy la Tradicion
The formidable alto saxophonist teams up with one of the world’s edgiest string quartets for a mix of acerbic works with an unselfconsciously Bartokian intensity Listen at their music page

Rev. Screaming Fingers – Music for Driving and Film, vol iII (The Desert Years)
Dusky, loping southwestern gothic tableaux, twangy noir Americana, a little horror surf and ominous big-sky themes from these great guitar instrumentalists. Listen at their music page

Girls on Grass – Dirty Power
Like a female-fronted Dream Syndicate, guitar goddess Barbara Endes’ band rips through paisley underground psychedelia, spaghetti westen themes, snarling new wave and garage rock, with a defiant, politically fearless lyricism Listen at Bandcamp

Russ Tolman – Goodbye El Dorado
Jangly, vividly lyrical western noir rock: disappeances, shattered Hollywood dreams, dead-end kids who don’t have a prayer, and roadtrip anomie from the leader of 80s legends True West. Listen at youtube

Julia Haltigan – Trouble
Turns out that the torchy mistress of Manhattan noir is just as fluent with new wave and vintage CB’s-style powerpop, throughout these tales of nocturnal prowling in the East Village before it was yuppified and whitewashed. Listen at Bandcamp

The Felice Bros. – Undress
This could have been the great lyrical, populist record that Springsgteen made in between Born to Run and Darkness: surreal political broadsides, down-and-out characters and death lingering over everything. Listen at Bandcamp

Jay Vilnai – Thorns All Over
Poet Rachel Abramowitz supplies the lyrics for this haunting, mysterious collection of new murder ballads, over the guitarist/bandleader’s cold starscapes, Lynchian dirges and a relentless, lingering guitar menace. Listen at Bandcamp

Karine Poghosyan – Rachmaninoff & Stravinsky
Nobody plays the Russian Romantics with as much insighful flair as this irrepressible virtuoso. As with Raphael Severe above, it is fair to rate this ravishingly intuitive, picturesque performance of achingly beautiful Rachmaninoff Etude-Tableaux and punishingly difficult Stravinsky piano transcriptions against the current-day artists here? Listen at Spotify

Dina Maccabee – The Sharpening Machine
Epically eclectic, trippy art-rock, chamber pop, pastoral themes and occasional coy new wave from this shapeshifting violinist and songwriter. Listen at Soundcloud

The Sirius Quartet – New World
This adventurous, microtonally-inclined string quartet’s collection of original compositions is a fierce concept album in defiance of the current fascist climate in the US. Listen at Spotify

Yale Strom’s Broken Consort – Shimmering Lights
The un-cheesiest Hanukah instrumental record ever made, the violinist-bandleader’s new arrangements blazing with ferocious solos and bracing Middle Eastern modes. Listen at rockpaperscissors

Eleni Mandell – Wake Up Again
The iconic dark Americana and torch singer’s most hauntingly political album is a series of narratives set behind bars, inspired by her experiences teaching songwriting in the prison-industrial complex. Listen at Bandcamp

Charming Disaster – Spells & Rituals
The constantly shapeshifting murder ballad and dark rock superduo dive further into latin noir, 60s Britrock and even garagey psychedelic sounds, all with their colorfully dark lyricism. Listen at Bandcamp

Noctorum – The Afterlife
Lush, characteristically lyrical, jangly art-rock from iconic twelve-string guitarist Marty Willson-Piper – late of Australian psychedelic legends the Church – with a similarly allstar backing band. Listen at Bandcamp

Laura Carbone – Empty Sea
Bleak, Lynchian panoramas, highway-of-death narratives and some guitarishly snarling gutter blues from one of this era’s great noir singers. Listen at Bandcamp

Unnatural Ways – The Paranoia Party
A grimly surreal, volcanically noisy, rhytmically disorienting concept about contact with aliens from guitarist Ava Mendoza’s searing doom/art-rock power trio. Listen at Bandcamp 

The Maureen Choi Quartet – Theia
Epically twisting, high-voltage, flamenco and Romany-inspired string band music from the violinist and her equally eclectic ensemble Listen at Bandcamp

Budos Band – V
The imaginative Afrobeat and Ethiopiques instrumentalists’ most doom metal-inspired album yet. Listen at Bandcamp

JD Allen – Barracoon
A big comeback of sorts for this era’s most potent tenor saxophonist, scorching his way through a Zora Neale Hurston-inspired mix of ominously modal, tersely evocative protest jazz tunes with a new trio. Listen at youtube

Nancy Braithwaite – To Paradise For Onions: Songs and Chamber Works of Edith Hemenway
The classical clarinetist and her dynamic, nuanced chamber ensemble explore stunningly imagistic, darkly clever, tersely crafted pieces by a now Rhode Island-based, nonagenarian composer whose work has never been released on album before. A major rediscovery. Listen at Spotify

Fabian Almazan – This Land Abounds with Life
A glittering, epically cascading eco-disaster themed concept album from one of this era’s most tunefully virtuosic jazz pianists and his dynamic rhythm section Listen at Bandcamp

Doomstress – Sleep Among the Dead
Pervasive gloom, minor keys, purposeful guitar and unusual elegance from frontwoman Alexis Hollada on the Texas doom metal band’s debut album. Listen at Bandcamp

Bobtown – Chasing the Sun
Bewitching three-part harmonies from Katherine Etzel, Karen Dahlstrom and Jen McDearman and folk noir songwriting that’s just a hair less relentlessly dark than the material that put them on the map. Listen at Bandcamp

Petros Klampanis – Irrationalities
Slinky, brooding, Middle Eastern and Greek-inflected ballads and more kinetic, pulsing material from the eclecic bassist and his excellent trio. Listen at Spotify 

The Well – Death & Consolation
Grim, Sabbathy dirges, paint-peeling Stooges sonics and ornately macabre heavy psychedelia from this Texas band. Listen at Bandcamp

Jason Yeager – New Songs of Resistance
A short parade of first-class pan-latin singers deliver the pianist’s protest jazz reinventions of classic nueva cancion from across the Americas in the 70s, alongside some chillingly lyrical, politically-fueled instrumentals. Listen at Bandcamp

Amy Allison – Pop Tunes & the Setting Sun
A characteristically bittersweet, brilliantly crystallized, lyrical collection of rarities and outtakes by the inimitable Americana singer. Listen at youtube

Soundwalk Collective with Patti Smith – Mummer Love
Rousingly hypnotic North African grooves and immersive atmospherics behind acerbic, often savage poetry by Patti Smith and one of her big influences, Arthur Rimbaud. Listen at Bandcamp

Andplay – Playlist
The meticulously focused, tightly intertwining, colorful violin/viola duo negotiate the dynamic twists and turns of pieces by David Bird, Ashkan Behzadi and Clara Iannotta on their debut ep. Listen at Bandcamp

The Shootouts – Quick Draw
Spot-on, classic 1965-style honkytonk, hard country, Bakersfield twang and a little rockabilly from this slyly aphoristic Akron, Ohio band. Listen at Soundcloud 

The Ragas Live Retrospective
Members of the paradigm-shifting Brooklyn Raga Massive, who put all kinds of radical new spins on classic Indian raga themes, captured live in the studio over more than sixteen hours worth of music. Most of it is sublime; nobody at this blog has listened to the entire record yet. You can start at Bandcamp

Sarah Pagé – Dose Curves
Hypotically shimmery electroacoustic psychedelia and an Indian raga performed on the concert harp. Unselfconsciously magical,  cutting-edge stuff. Listen at Bandcamp 

Zosha Di Castri – Tachitipo
Vocal ensemble Ekmeles, the Jack Quartet, pianist Julia Den Boer, percussion ensemble Yarn/Wire  and a chamber orchestra join the thoughtfully eclectic pianist/composer in a diverse mix of acerbic, socially relevant compositions and art-songs. Listen at Bandcamp

Funkrust Brass Band – Bones & Burning
Sizzling Balkan chromatics, undulating New Orleans grooves and a pretty relentless sense of doom on the theatrical, sprawling brass band’s latest ep. Listen at Bandcamp 

Castle Black – Dead in a Dream
The ferocious female-fronted power trio look back to the most darkly ambitious of the first wave punk bands with their surreal, often haunting latest ep. Listen at Bandcamp 

The Manimals – Multiverse
Crunchy, catchy powerpop and a darkly pervasive Bowie influence on the new album from New York’s’ most entertainingly theatrical band. Listen at Bandcamp 

The Ann Arbor Blues Festival 1969 compilation
Digitized and somewhat sonically tweaked field recordings of icons like Howlin’ Wolf and cult figures like Magic Sam, shredding and wailing in their element onstage, captured by a college kid with a cheap tape recorder. Listen at Bandcamp

Beat Circus – These Wicked Things
One of the first and best of the carnivalesque rock bands of the 90s, back and revitalized with a lavish, darkly picturesque southwestern gothic concept album. Listen at Bandcamp 

The Sometime Boys – The Perfect Home
A characteristically enigmatic mix of distantly Americana-influenced, slinky originals and imaginatively reinvented covers from New York’s most charismatic, kinetically psychedelic band. Listen at Bandcamp

Locobeach – Psychedelic Disco Cumbia
Truth in advertising: trippy chicha, serpentine highway themes and some woozy dub from this tropical supergroup led by members of Los Crema Paraiso and Chicha Libre. Listen at Bandcamp 

Ran Blake & Jeanne Lee – The Newest Sound You Never Heard
Recorded live and in the studio for Belgian radio in 1966 and 1967, these radical reinventions and a handful of originals by the iconic noir pianist and the shatteringly subtle jazz singer rival the brilliance of their iconic 1961 debut. Not streaming anywhere but available on vinyl.

The Legendary Dream Syndicate’s Latest Album Is Their Most Political and Lyrical One Yet

“You can always come back, but you can’t come back all the way,” Dylan said. But the Dream Syndicate proved him wrong. It’s mind-blowing how a band who put out their first album in 1981, broke up in 1989, regrouped early in this soon-defunct decade and influenced pretty much every noiserock and psychedelic band since are arguably better than ever. Their latest album These Times – streaming at youtube and available on autographed limited edition vinyl – is their quiet one so far.

As quiet as the world’s most brilliantly feral jamband gets, anyway. The janglerock ticks more tightly, and frontman/guitarist Steve Wynn goes deeper into his recent explorations of dreampop and psychedelic soul, taking advantage of drummer Dennis Duck’s slinky capabilities (anybody who thinks he’s just a four-on-the-floor rock guy hasn’t seen the band play John Coltrane Stereo Blues live). It’s also one of Wynn’s lyrically strongest albums, and his most allusively political one.

The first track on the record is The Way In, Wynn’s vampy downstroke guitar over a nebulous dreampop backdrop:

What a tangled web
What a piece of the puzzle
Hot licks and rhetoric
A syntactical muzzle
And we can’t begin
Until we find a way in

Put Some Miles On is the most motorik song the band’s ever done , a wryly defiant commentary on the wear and tear of the road, literally and metaphorically Wynn goes deeper into that theme with the haunting Black Light, its spare, resonantly jangly guitar and eerily blippy keys over a midtempo swing groove:

Crawled out from beneath the rock
Crustacean rough and steely strong
A weathered eye with a ticking heart
I know where and why but not how long

Awash in watery 80s guitar, Bullet Holes is a catchy backbeat hit over a classic Wynn two-chord verse, contemplating the ravages of time and knowing where the bodies are buried:

Barely surviving
Shell shocked, struck by lightning
And alone
Death defying
Acceptance without trying
Walking on gilded air
Down the boulevard without a care
Something reminds me
Nothing left to bind me
I see the bullet holes
The history that no one knows
Just the way the story goes…

Still Here Now is just plain gorgeous, a bitterly resolute midtempo anthem that picks up with incisive piano and distantly unhinged sheets of Jason Victor guitar, building to his first tantalizingly savage solo here:

I sing the song in vain
And I know there are those
Who might feel the same
Stunted by light
I just guess I wasn’t thinking right

The slyly allusive revolutionary anthem Speedway comes across as less lyrically dense Highway 61 Dylan:

Banging on the shuttered doorway
The owner is fast asleep
Gonna work it out this time
Maybe just for keeps

Recovery Mode is a brisk, new wave-tinged tune: the momentary guitar duel between Wynn and Victor is spot-on and like nothing they’ve ever done before. It’s a tense, metaphorically-loaded late Trump-era scenario:

You came to the right place
You got a kind face
What if your saving grace
Was lost in the chase

Duck opens The Whole World’s Watching with a sly lowrider clave groove, bassist Mark Walton turning up his treble for a little funk flash as the guitar swirl grows denser and more abrasive, distorto organ flitting through the mix. “Differentiate the sides,” Wynn instructs: “Same wrong, different time.”

The growlingly propulsive Space Age could be a snide come-on to a groupie, or an even snider commentary on politics as spectacle. The band wind up the record with Treading Water Underneath the Stars, a crushingly cynical eoo-disaster parable over lingering Meddle-era Pink Floyd atmospherics. It goes without saying that this is one of the best albums of the year.

Why did this blog wait so long to pitch in and spread the word? Waiting for the band to come back to town! Good news: there’s a 2020 tour in the works, keep your eye on Wynn’s tour page.

The Latest Evil, Psychedelic Chapter in the Skull Practitioners’ Brilliantly Noisy Career

Power trio the Skull Practitioners have been one of New York’s most assaultively excellent bands for several years, and have played a lot of seemingly impromptu show in between bandleader and lead guitarist Jason Victor’s gigs with Steve Wynn and the Dream Syndicate. It’s not an overstatement to say that at the top of their unhinged game, the Skull Practitioners are just as dark and intense. Their latest ep, Death Buy is streaming at Spotify.

They open the album with the instrumental title track, a slowly swaying, ominous groove with layers of reverb and evil sheets of sustain that Victor finally turns into chords – for awhile, anyway, until the trails of sparks and fumes return. Kenneth Levine’s gritty bass emerges from the toxic puddles, drummer Alex Baker flurrying like Dennis Thompson would do to pull the MC5 out of the murk.

Grey No More is one of the band’s most straight-ahead punk songs: you can hear echoes of the Cramps, the Damned and the Stooges over late 70s/early 80s SoCal drive. The epic instrumental jam Miami is a real departure for the band, the rhythm section more or less looping a quasi-funk fuzztone bass groove, Victor adding spacious, spacy sheets overhead, finally shrieking his way to the top of the fretboard. It gets a lot tripper from there.

The album’s last track is The Beacon, a growling gutter blues tune that sounds a lot like the early Gun Club with a better singer. Look for this on the Best Albums of 2019 page here at the ehd of the year

A Dark, Jangly Americana Masterpiece From Russ Tolman

Back in the 80s Russ Tolman led the psychedelic Americana band True West, who were best known for their feral twin-Telecaster duels. He put out three albums with them, if you count the first ep and the posthumous outtakes-and-demos collection. The second one, Drifters is one of the fifty best rock records ever made, a jangling, clanging, surrealistically haunting masterpiece. But all the guitar savagery wouldn’t have counted for much if Tolman wasn’t such a slashing tunesmith and evocative lyricist. Since then he’s made a name for himself as a connoisseur of western noir, a sort of slightly less prolific Steve Wynn (his bandmate in the legendary/obscure Suspects, Wynn’s pre-Dream Syndicate college group).

Tolman’s latest album, Goodbye El Dorado – streaming at Spotify – is a mellower, more carefully crafted take on the True West sound, a masterful intertwine of acoustic and electric guitars along with mandolin, electric piano and a swinging rhythm section. He’s never written more vividly or with more allusive grimness. It’s a historically-infused song cycle about how people are drawn to California, only to see their dreams dashed. As a native Californian, Tolman has the inside track.

With its border-rock accordion, the album’s first song, Los Angeles, is typical in the sense that Tolman never lets on to what happens to the woman at the center of the story. He doesn’t usually hit anything head-on: he takes you down to the crossroads and lets you wait for the devil, alone.

The album’s best cut is Kid, a searingly spot-on account of a girl from a broken home whose teachers think that she “might be talented at art,” but her refrain is “Please don’t make me go home.” The janglerock backdrop, with Kirk Swan’s incisive terse guitar fills and Robert Lloyd’s mandolin, is a little more gentle and sparkly than True West typically was, but it’s obviously the same writer here.

The 6/8 ballad North Hollywood Dream traces the story of an Idaho kid who lands in LA, only to watch his hopes drift slowly away. In 405, over an inteweave of guitars and Rhodes piano – that’s the bandleader with Swan and Lloyd – Tolman paints a wryly knowing picture of LA freeway hell. The album’s title track is a shuffling Bakersfield country tune with mariachi horns: “Goodbye El Dorado, you’ve been a good companion, I’ve been a dutiful son,” the narrator muses as he heads out for good.

Yuba City – as in, “I’m going down to Yuba City, if I’m going down at all” – is another escape anthem with a bizarre mix of tinkling saloon piano, soaring pedal steel and string synth, with a tantalizingly gorgeous guitar solo in the middle. Moody brass, Kevin Jarvis’ ominous drumbeats and ex-Dream Syndicateer Dave Provost’s supple bass groove permeate the bolero ambience of California Winter, a wrenchingly heartbroken narrative: “In the merry month of November I turned my thoughts to the dead,” Tolman intones. The funereal outro, with its exchange of riffs between the horns, reverb guitar and organ is as good as anything True West ever recorded.

Do You Like the Way is a ruthlessly hilarious yet sympathetic portrait of a guy who doesn’t know when to stop: “You’re a free spirit, or at least you like to drink them.” Tolman raises the sarcasm factor several notches with the country ballad Almost Heaven, a twistedly cynical California wildfire scenario. He stays on the country tip for the album’s most epic number, Take It Easy Take It Slow, spiced with sparse twelve-string guitar and pedal steel.

“Knew it was the border from the giant ‘Need weed’ sign/And the liquor stores in the rearview mirror on the California side,” Tolman explains in the caustically funny coastal roadtrip tale Pacific Rain. Honkytonk piano mingles with a famous Stones guitar riff and  swooshy organ in Satellite Bar, a celestial place with dollar beer night once a month, free popcorn…and a dogwater bowl by the door. Tolman brings the record full circle with the grimly jangly Time Flies, a folksy, aphoristic take on the perils of getting older but not wiser. Good to see a revered cult figure – not the Jim Jones kind – still at the top of his game.

Savagery and Transcendence From 80s Icons the Dream Syndicate in Hoboken

There was a point during the Dream Syndicate’s set at the Hoboken Arts and Music Festival last night when bandleader Steve Wynn took a split-second pause to adjust a pedal during a menacing, lingering Telecaster solo. Without missing a beat, lead guitarist Jason Victor stepped in with some steady, light-fingered jangle and clang. What could have been a do-over for a lot of jambands turned into one of the evening’s most sublimely unanticipated moments.

Later, during an epic take of How Did I Find Myself Here – the title track of the band’s new album  Wynn pushed Victor about as far as a bandmate could without crossing the line into sadism. Victor didn’t flinch, building a razorwire thicket of sound with his tremolo-picking over the relentless, spring-loaded pulse of bassist Mark Walton and drummer Dennis Duck. It was the most intense of many similar interludes throughout the show: he and Wynn probably dueled out more machete chords during that song than you’d get in an entire Dick Dale concert. After the show, more than one person in the crowd called it transcendent.

That a band as iconic as the Dream Syndicate would sound even better now than back in the summer of 1986 at Maxwell’s, where they careened through a roughly 90-minute set weighted heavily with material from their Out of the Grey album, defies logic. One explanation is the presence of Victor, Wynn’s longtime sparring partner from his Miracle 3 band. Another is that this rhythm section are a lot slinkier now than they were thirty years ago. When Duck took a tongue-in-cheek quasi conga line break during a swingingly reinvented take of Armed With an Empty Gun, the effect dovetailed perfectly with Wynn’s sardonic lyric. Likewise, Walton’s looping groove in How Did I Find Myself Here – which is the band’s Can’t You Hear Me Knocking – was the icing on Wynn’s vast black-velvet tableau.

They opened with Halloween, the macabre, pulsing closing track on the band’s 1981 debut album. Wynn took the first solo, shifting effortlessly between icepick harmonics and ominous washes of reverb. For the most part, they kept the solos and dueling tantalizingly brief, from a pounding, Stoogoid take of Out of My Head to the hypnotically circling encore, Glide.

The early favorite Definitely Clean was slightly less frenetically paced than usual but no less adrenalizing. Walton teased the crowd with the famous bass intro to That’s What  You Always Say, which when they got to it was more of a steady, satisfying upward climb than the time bomb of the album version.

Master of suspense that he is, Wynn found a new way to ramp up the intrigue in the frantically pounding would-be suicide jumper narrative The Days of Wine and Roses: he stopped it cold, midway through. And then surveyed the crowd, motionless with the rest of the band. A few laughs died away – how much more pregnant was this pause going to get? Triplets could have popped out in the time it took before Wynn leapt back in with a flash, the band finally taking it out in a blast of chord-chopping.

Another highlight was a stunningly restrained take of Filter Me Through You, from the new album, underscoring its bittersweetly elegaic imagery. Even in this band’s most exhilarating moments, the darkness never disappears: this song is one of Wynn’s most soulful. I won’t be here forever, he’s telling us: this is the beauty I’ve found here, and it’s yours if you want it.

Hot on the heels of this volcanic show, Wynn is characteristically flipping the script. His next gig is a solo acoustic house concert in Jersey City this Saturday, May 19, email for info.

As far as the rest of the festival was concerned, it was sad to miss the early afternoon set by incendiary Middle Eastern-inspired horror surf band Beninghove’s Hangmen. But it was fun to catch Richard Lloyd in “on” mode, making his way through a catchy mix of recent numbers and Television classics. Hometown guitar hero James Mastro – who seems to make it onto every single good bill here at the festival – held down the dirty rhythm while Lloyd spun out the hooks.

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 

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

The Long-Awaited New Dream Syndicate Album: Best Rock Record of 2017?

Steve Wynn is probably the greatest rock songwriter of all time. In terms of sheer output, tunefulness and consistently brilliant lyrical vision, he left Dylan and the Stones in the dust in a previous century. Since then, literally hundreds of songs later, he hasn’t let up. His latest and arguably most ambitious project has been to release a new album with his legendary, recently reunited 80s band the Dream Syndicate. Long story short: their dark, epic, surprisingly diverse new record How Did I Find Myself Here – streaming at youtube – could be the best album of 2017. Find out when this year’s best-of page goes live here in December!

[If you know the backstory, skip down a couple of paragraphs to find out what new album sounds like] Back in the 80s, when half the world was bopping to synths, a bunch of guys – most of them in northern California – created a savage new sound equally informed by psychedelia, punk and Americana. The critics of the day, doofuses that they were, dubbed it “paisley underground.” In reality, it didn’t have anything to do with paisley, the musicians were hardly what you’d call hippies, and they weren’t exactly underground either. In the 80s, as Reagan-era deregulation created a tsunami of media mergers and a resulting tidal wave of radio blandification, the college airwaves became what Spotify is now: the place kids go to find out about new bands.

The Dream Syndicate ruled college radio, and were frequent tourmates with the era’s biggest college radio act, REM. Even without the new album or recent reunion tours, the Dream Syndicate’s place in history would be secure. It’s safe to say that without Wynn’s signature blend of dueling guitars, pyrotechnic jams, gallows humor and tersely literate, brooding lyricism, there probably wouldn’t be any such thing as Yo La Tengo, and Sonic Youth would have been just another CBGB hardcore matinee band.

That’s a mighty heavy legacy to carry into the studio, but Wynn and the group pick up like they never left off.  If the Dream Syndicate hadn’t broken up in 1989, would they have embraced dreampop, and spacerock, and the far reaches of psychedelia that they do here? We’ll never know. What is certain is that the band are just as feral, yet focused as they were thirty years ago. The lineup changed in the 80s, and it has again: taking the place of the band’s last lead guitarist, the purist, bluesy Paul B. Cutler, is Wynn’s incendiary Miracle 3 bandmate and sparring partner Jason Victor. Behind the guitars, bassist Mark Walton and drummer Dennis Duck provide the sturdy support that music of this magnitude requires. If there’s anything to distinguish a Dream Syndicate album from a solo Wynn effort, it’s that this rhythm section’s backbeat drive empowers these epics to reach their destination. 

The first track, Filter Me Through You refines the dreampop influence that Wynn first touched on in his 2010 Northern Aggression album, but with the angst and guitar push-pull of the Miracle 3. It’s Wynn’s signature post-Velvets riffage through a glass, darkly, with an elegaic edge, “So that you can’t miss me when I’m gone,” as he puts it.

With its vast, swirling reverb-guitar atmospherics, Glide moves further into spacerock: an unrepentant hedonist’s anthem, it could be the great lost track on a Church record from the late 80s, Wynn and Victor subtly swapping good-cop and bad-cop roles. Out of My Head blends the skull-splitting twin-guitar assault of the band’s iconic 1981 debut The Days of Wine and Roses into an acidically whirling vortex over a steady, tense pulse: it’s hard to tell whose guitar is whose.

Wynn loves the occasional wry reference to his back catalog: Walton’s bass lick that opens 80 West is a prime example. This is one of those fantastically allusive film noir narratives that Wynn writes so well: even as his voice rises to a scream on the chorus, it’s not clear exactly what kind of horrible thing the driver in this desperate high-speed scenario did when he finally snapped. “The only thing that scares me more than getting caught is to stop and think about the live I’ve got,” Wynn’s frantic protagonist explains.

Like Mary is a classic Wynn character study: lyrically, it’s the album’s most harrowing track, a catchy, tensely muted, grim portrait of a woman who may be a child killer…or just an Oxycontin casualty. “In her dreams there were people watching as they lowered her into the ground,” Wynn intones, ‘In her dreams she was beautiful, lying on the floor.”

Wynn and Victor slash at each other through gritty tube amp distortion, searing upper-register wails and distorted roar as The Circle motors along: it’s the closest thing to The Days of Wine and Roses here. The biggest surprise is the title track, eleven echoey, enveloping minutes of psychedelic noir funk that rises to a searing, distortion-and-feedback-infused sway. With its latin soul allusions and eerily starlit Rhodes piano, it’s sort of the band’s Can’t You Hear Me Knocking. Original Dream Syndicate bassist Kendra Smith makes a welcome vocal cameo in the hypnotic and unexpectedly upbeat closing cut, a droning, pulsing, Indian-inflected psych-rock tone poem of sorts. 

The Dream Syndicate are currently on tour in Europe – where they are huge again – and return to New York for a stop at Bowery Ballroom on December 2. The equally legendary Richard Lloyd of Television opens the night at 9; general admission is $25, and be aware that this might sell out.