New York Music Daily

No New Abnormal

Tag: tara hanish

A Rare Cello Rock Twinbill in Williamsburg on the 13th

What’s the likelihood of seeing not one but two cello rock acts on the same bill? Even more unlikely than seeing one! For those who love the lows, cellist/singer Shelby Lynn Sangdahl opens for electrifying two-cello, two-vocal duo the Whiskey Girls at 8 PM on March 13 at Matchless in Williamsburg. Cover is $10.

On one hand, it’s hard to believe that the Whiskey Girls haven’t played a Brooklyn show since this past November in Fort Greene, where they battled a mostly-disabled PA and still turned in an electrifying performance. On the other hand, as you would expect with a couple of New York’s elite cellists, they’re constantly in demand in wide variety of styles. Patricia Santos is the duo’s lead singer, with a riveting contralto voice. She’s also an irrepressible extrovert and can be hilarious. Tara Hanish is the more inscrutable one – she’s basically the lead cellist and sings most of the higher harmonies. Their music runs the gamut from chamber pop, to ornate art-rock, to cello metal, earthy gospel and soul-infused sounds.

Their tantalizingly brief debut ep, titled First Drop, is streaming at Bandcamp. The first cut, The One I Should Love, is a blues that brings to mind Nina Simone as much as it does Led Zep; Santos sings through a delay patch to give this kiss-off anthem extra bite. For You builds a hazy psych-folk swirl, giving Santos a chance to air out her practically four-octave range: for someone whose voice can get down with her cello, she likes to nail those high notes. The final cut is Lion’s Hair, a stark, defiantly triumphant art-rock anthem with some spine-tingling, slithery lines from Hanish, similarly chilling harmonies and an understatedly revolutionary message. These three numbers are a good representation of the rest of the duo’s material. When the time comes when they flesh out this ep into a full album, it’s going to be killer.

Miwa Gemini Plays Her Smart, Surreal, Uneasily Enigmatic, Jangly Rock at a Rare Afternoon Show

Miwa Gemini is sort of the missing link between Shonen Knife and Calexico. She’s got the endearingly surreal lo-fi Japanese janglerock thing down cold, but she also has a southwestern gothic side. She likes waltzes, but these days it seems that she likes boleros even better. Her quirky sense of humor, along with the birittle vibrato that trails off as her voice reaches the end of a phrase, bring to mind Melora Creager of Rasputina. Gemini’s clangly, reverb-tinged minor-key guitar fits in among the many bands haunting the northern fringes of desert rock, like And the Wiremen. For those of you who might be stir-crazy after spending the evening in while the annual Santacon puke-a-thon made so many of us prisoners in our own homes, Gemini is playing the small room at the Rockwood at 4 (four) PM today, December 13. It’s a pass-the-tip-jar situation.

At her most recent show, at Branded Saloon last month, Gemini and her trumpeter had the misfortune to follow a sizzling set by another duo, cellist-vocalists the Whiskey Girls. Charismatic belter Patricia Santos aired out her powerful and spectacular vocal range throughout a mix of sultry blues, an in-your-face kiss-off song or two and a murderous oldschool soul narrative, all the while playing slinky basslines, ominous deep-well washes of sound and challenging harmonics that required a lot of extended technique. Tara Hanish carried the lead lines with her elegantly serpentine, sometimes baroque-tinged phrasing while adding similarly spot-on high harmonies on the vocal side.

After all that, you might think that Gemini would have been anticlimactic, but she wasn’t. As a guitarist, she didn’t waste notes, using lots of simple, catchy descending lines and uneasy chromatics. As a singer, she projected strongly despite being under the weather after taking a red-eye flight back from a West Coast tour. Some of the duskiest, darkest material seemed to be new, while much of the rest of the set drew on Gemini’s most recent album, Fantastic Lies of Grizzly Rose. It’s a trippy narrative loosely centered around an imperturbably adventurous imaginary muse and possible alter ego – or wishful alter ego. Gemini and her bandmate jangled and soared through the briskly uneasy border-rock shuffe Goodnight Trail, then later on (or before – the memory is fuzzy on this), made a hypnotic Steve Wynn-style low-key groove out of the psychedelic soul ballad The Other Half of Me. Gemini has done a lot of different styles, from oldtimey to swing to garage rock and psychedelia over the years, but she’s never sounded more eclectically tuneful than she has lately.