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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.

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Noir Rocker Tom Warnick’s Side Effects Could Be His Best Album

Isn’t it validating when an artist you’ve followed for ten years or longer puts out a new album – and it turns out to be the best thing they’ve ever done? You could make that case for Tom Warnick‘s latest release, Side Effects, streaming at Spotify. Warnick is a brilliant tunesmith, an evocative crooner, a devously witty keyboardist and has a deep back catalog of sardonic, often noir-tinged songs that goes back to the late 90s. In New York noir cirlees, he’s iconic. And there was a time that it wasn’t certain that he’d make it as far as as 2015. But a couple of well-documented brushes with the grim reaper didn’t stop him from pretty much picking up where he left off as one of this city’s most reliably entertaining performers.

The big news about this album is that Warnick’s band the World’s Fair – whom he equates here to “a box of bent baseball cards” – have a new secret weapon. Alto saxophonist Jason Reese has been more or less a fulltime member for the last few years, but this is the album where he finally gets to go front and center and he makes the absolute most of it: he can be balmy and carefree, or murderously smoky. When the band gets noir here – and they do that a lot – it’s Reese who’s usually the main culprit. They open with a revamped older tune, the wry, pun-infused title track, reinvented as a swinging soul number with Reese adding a break that brings to mind the Sonny Rollins solo on the Stones’ Waiting on a Friend.

Just when you think Doing My Time is a blithely stomping rockabilly-flavored romp, Warnick hits a swirly series of minor chords on the organ, underscoring the song’s existential unease. City of Women, one of Warnick’s signature songs and a big crowd-pleaser, pairs lead guitarist Ross Bonadonna’s snarling, surfy leads with Reese’s blue-flame riffage: it’s more retro noir than the horror-surf version the band used to roll out as an encore a couple of years back.

Long Way from Home is a surreal, Jim Jarmusch-esque travelogue set to loping C&W: “I will push open the emergency door, do you think it will make a sound?” Warnick asks snidely, “Excuse us while we disappear far from this burial ground.”

I’m a Stranger Here first took shape as a pulsing new wave tune, but it’s a swinging, bitterly reminiscent noir number here, Reese’s shadowy lines over Warnick’s eerily tiptoeing piano, with contrasting guitar jangle and wail from Bonadonna and John Sharples. As good as the rest of the album is, this one’s the high point, musically speaking at least. .

Lost in Place is another gem, an elegantly savage Elvis Costello-esque look back at navigating the tortuous corridors of high school, bassist Scott Anthony choosing his spots and hitting a few choice high notes. The band goes back to the noir for Old Man Blues, its moody reggae-tinged groove bringing to mind the Specials’ Ghost Town. In its first incarnation, Cop Car was a pretty straight-up blues; here, Warnick’s blackly amusing tale of a highway pot bust gets the full Peter Gunne treatment with a honking blue-smoke sax chart and eerily watery guitar that gives way to a jagged 70’s arenarock solo from Bonadonna.

The album ends on an unexpectedly upbeat note with the baroque pop ballad Fly Away and its surreal push-pull between teenage anomie and blissed-out ambience, and then the Tex-Mex bounce of Falling in Love Again. Look for this one somewhere on the best albums of 2015 page here in December assuming we get that far.

Tom Warnick Brings His Ominous Noir Sounds and Wry Black Humor to Otto’s

One of the reasons why Tom Warnick shows are always worth checking out is that he’s constantly reinventing his songs. His most recent New York show, at Freddy’s last month, recast about half the setlist. Meaning that the singer-keyboardist can take the exact same material and completely flip the script. For example, Side Effects – as in, “I’m experiencing all your side effects, won’t you give ’em all to me” – used to be a boisterous newgrass song, as you might expect with a tune about a guy who won’t take no for an answer. But this time out, the band completely redid it, as a swing tune. Alto saxophonist Jason Reese, who’s been a charter member of this group for a long time, is getting more and more time in the spotlight and making the most of it. You probably wouldn’t expect a sax player to take the music in as noir a direction as Warnick has returned to lately, but it’s happened. Reese slunk and slowly smoked and built ominous ambience through I’m a Stranger Here, which used to be an upbeat, cynical new wave-flavored tune but is now a minor-key circus rock number. And he teamed with Warnick for some disturbing chromatics through Cop Car, a cruelly funny tale of a highway pot bust that used to be a pretty straight-up blues but has been taken deep into Tom Waits territory without seeming cliched and imitative.

Likewise, the band took Lost in Place, which used to be total new wave, straight out of 1981, and gave it more of a swaying janglerock feel. And all this reinvention works because this crew – Warnick on piano and organ, Reese on sax, John Sharples and Ross Bonadonna on guitars, Scott Anthony on bass and the guy who plays drums under the pseudonym of Jacques Strappe in hilarious faux-French rockers Les Sans Culottes – can turn on a dime and play pretty much anything. Deep Jamaican roots reggae? That’s what the slow, grimly funny Old Man Blues is now. The grimmest number of the night was actually set to its most lighthearted tune, an oldschool country-folk sway – but maybe that was meant to reinforce a sense of irony. Warnick got a lot of flash going with his righthand organ lines as Bonadonna mined a satirical, over-the-top arenarock floridness on the reggae tune, Sharples switching between lingering chords and ominous chromatics. They finally relented to the crowd, who’d been pleading for 40 People, Warnick’s early-zeros classic about the increasing difficulty of even a good band (or for that matter a really bad one) getting booked into a decent New York gig at a decent hour on a decent day. And they slowed down City of Women – which used to be a lickety-split horror surf number – and in the process maxed out its goosebump-inducing triumph. They’re at Otto’s this Saturday, April 18 at 8, as good a time and place as any to find out what  Warnick will be up to next. You can count on it being different than what he did at Freddy’s.

A Rare Live Gig in August Spawns Two Auspicious October Shows

Was drummer/impresario John Sharples‘ excellent, rare gig as a bandleader back in August responsible for two of this weekend’s most enticing shows? Maybe yes, maybe no. In the case of the show tomorrow night, Oct 24 at Freddy’s, definitely yes, since he’s booked it. It’s an eclectic lineup starting at 9 with a similarly rare performance by the jangly, edgy band that songwriter Paula Carino made a name for herself with back in the late 90s, Regular Einstein. After that there’ll be short sets by Psychic Lines and guitarist Tim Simmonds’ Ex Extract project followed at 11 by Calm King, which is members of Beefheart cover band Admiral Porkbrain playing “improvisational postpunk chamber pop.”

And an artist Sharples drew on for her nuanced but powerful, torchy voice at that August show, Americana songwriter Robin Aigner, plays the album release show for her long-awaited new album of historically-infused oldtimey songs and chamber pop at Barbes this Saturday, Oct 26 at 8 on a great bill (this one not booked by Sharples) that starts with oldtime blues guitar monster Mamie Minch at 6 and continues at 10 with harmony-driven noir cumbia and bolero band Las Rubias Del Norte at 10.

What was the August show like? Drummers have deep address books since the good ones play with a ton of people, and Sharples is no exception. This particular night started with crystalline-voiced songwriter Rebecca Turner opening solo with a wryly epic, brooding contemplation of family tensions. Then she brought up her band – including John Pinamonti on lead guitar and studio mastering legend Scott Anthony on bass – for terse, quietly bristling versions of older material like The Way She Is now and newer songs including the metaphorical Cassandra and The Cat That Can Be Alone. She and the band closed with Brooklyn Is So Big, which ten years ago was a triumphant shout-out to the borough’s musical riches and now seems more like an obituary.

Sharples played both six and twelve-string guitar out in front of a band that included Ross Bonadonna on guitar and Tom Pope on drums, mixing up material from the cult classic 2004 I Can Explain Everything album along with unexpected treats like the tongue-in-cheek, metrically Carino favorite Robots Helping Robots and a blistering take of Brooklyn, by Celtic punk band Box of Crayons.

But the best song of the night was a straight-up janglerock version of Pink Floyd’s Wish You Were Here, the lushness and overtones of the twelve-string providing some of the original’s angst-fueled grandeur. Or it might have been the ominously swaying version of Tom Warnick’s noir blues anthem The Impostor. Or for that matter, Dylan’s Positively 4th Street reinvented as tightly wound janglerock. Or the lusciously jangling Matt Keating cover, Mind’s Eye, with Aigner adding her plaintive harmonies. It was one of those kind of shows.

The night wound up with a catchy solo set by guitarist/frontman Tim Reedy, of indie rockers Electric Engine. Nobody evokes the mid-90s anthemic REM sound like that band, and it was cool to hear Reedy’s witty lyrics and frequent baseball references without the ring of the amps behind him.

Henry Wagons Brings His Melbourne Menace to Joe’s Pub

Noir songwriter/bandleader Henry Wagons plays Joe’s Pub this Saturday night, March 2 at 9:30 PM. With his brooding baritone, Wagons’ fellow Australian Nick Cave is an obvious influence, but where Cave goes off into art-rock and Irish balladry, Wagons goes into vicious noir rock, like a more vengeful Mark Steiner. Wagons’ latest album Expecting Company? also has a similarly surreal, sardonic, irreverent gallows humor. As you might expect of a guy with a rakish persona, he likes to surround himself with women, in this case Patience Hodgson of the Grates and Sophia Brous representing for his musical hotbed of Melbourne along with Haligonian songstress Jenn Grant and the Dead Weather’s Alison Mosshart serving as sparring partner on several of these songs.

The opening track, Unwelcome Company sets the stage, a savage tango that explodes in a burst of drums and minor key guitar. Mosshart comes in for the uneasy mantra, “Everywhere I go they follow me;” as the song ends, there’s a nasty guitar solo half-buried in the mix that looks all the way back to Aussie garage-punk legends Radio Birdman.

The second cut, I’m In Love with Mary Magdalene begins as a ghostly faux madrigal over funeral organ and blends creepy vocal harmonies with macabre guitar twang while Wagons and Mosshart lament their unrequited lust. Give Me a Chance to Mend reminds of the country side of Jerry Teel, mixing warm pedal steel with wry honkytonk piano, while the rustically twisted family tale I Still Can’t Find Her evokes Tom Warnick & World’s Fair at their most surreal.

Wagons goes for an only slightly restrained Cramps-y menace on the ghoulabilly stomp A Hangman’s Work Is Never Done. He follows that with Give Me a Kiss, a country waltz so bizarre it’s irresistible, with its pinging Omnichord synth and coy, chirpy backing vocals. The album winds up with Marylou Two, Wagons reaching for a Willie Nelson ballad vibe and surprisingly hitting the target pretty head-on. But even in the quietest moments here, there’s a lingering unease: Wagons sounds like someone who’s always got a blunt instrument up his sleeve. The sedate confines of Joe’s Pub may be in for a rude shock when this guy hits the stage.

The 100 Best Songs of 2012

Was this the best year ever for music, or what? There could have been 500 songs on this list and they’d all be amazing. In order to give credit where credit is due, it became necessary to pare this down to just one track per artist.

Bookmark this page and visit often. Virtually every link here will take you to a stream or download of each song. Where this year’s 50 Best Albums page was all about rock, this page offers a chance to explore some of the best acts outside of the rock world. While these days, an “official release” tends to be the day someone uploads the song to youtube, there are a handful of tracks here which are so new that they haven’t made it to the web yet.

Outside of the top ten here, this list is in completely random order: trying to rank a jangly rock song against a lushly orchestrated Middle Eastern anthem, a bittersweet honkytonk song or a Serbian brass jam is absurd. So don’t think any less of the tracks at the bottom of the list: they’re all good. Rachelle Garniez, who happened to land on #99, is every bit as fun as Julia Haltigan at #9, or Lorraine Leckie at #19.

For the first time ever, this year’s top spots on the lists of best New York concerts, best albums and best songs were swept by a single group, Ulrich Ziegler. The noir guitar instrumental duo of Stephen Ulrich and Itamar Ziegler took top honors for their debut album, their album release show at Barbes in August and for their song Ita Lia, a morbidly reverb-toned, icily chromatic Nino Rota-inspired theme which you can play here. For those who’ve followed Ulrich’s career, that should come as no surprise, considering that his previous band Big Lazy pretty much ruled the top ten, year after year, at this blog’s predecessors on the web and in print.

2. Walter Ego – Sunday’s Assassin. This is an LJ Murphy song that Walter Ego used to play bass on when the two were bandmates back in the 90s. Murphy long since dropped this from his set list, and that’s too bad, because this casually lurid serial killer’s tale is one of the best things he ever wrote. Thanks to Walter Ego for resurrecting it. Watch the video

3. Mike Rimbaud – Idiot Wind. On one hand, to not put what could be the greatest rock lyric ever written in the top spot here is absurd, especially considering how Rimbaud reinvented it as straight-up, snarling rock. It’s also very hard to find: if you have Spotify, it’s here, otherwise here’s a sound snippet.

4. Chris Erikson – Ear to the Ground
Best jangly rock song of the year comes from this popular lead guitarist, who finally put out a debut album, Lost Track of the  Time, which includes this richly allusive, wickedly catchy track. He teases you with the hook and then makes you wait til the very end for the payoff. Watch the video

5. Saint Maybe – Everything That Rises
An epic masterpiece of volcanically guitar-fueled, psychedelic southwestern gothic rock from Patti Smith’s guitarist and Bob Dylan’s drummer. From their debut album Things As The Are. Play the song

6. Hannah vs. the Many – Jordan Baker. Prettiest sad noir 60s pop song of the year: girl finally finds guy she actually likes…and then the apocalypse swirls in. From the amazing new album All Our Heroes Drank Here. Play the song

7. The Sometime Boys – Good People of Brooklyn. Soaring lush acoustic chamber pop from this artsy Americana band. Frontwoman Sarah Mucho sings uneasily about her “city of trees,”  from the new album Ice & Blood. Play the song

8. Jon DeRosa – Birds of Brooklyn. Metaphorically loaded noir 60s chamber pop at its most cinematic, old guy eyeing a girl he could never have as the strings swoon behind him. From his new Wolf in Preacher’s Clothes album. Play the song

9. Julia Haltigan – Over the Fields. Looks to be too new to make it to the web yet – over careening southwestern gothic backbeat rock, the New York chanteuse amps up the suspenseful brassiness. She slayed with this at Make Music NY this summer.Stream some similar tracks

10. Changing Modes – Firewall. Nebulously narrative macabre chromatic Botanicaesque art-rock tune from this three-keyboard band’s brilliant latest album In Flight. Play the song

11. Alec K. Redfearn and the Eyesores – Fire Shuffle. This is the most swirlingly psychedelic of the many macabre gypsy-tinged tracks on the Rhode Island band’s chilling latest album Sister Death. Play the song

12. Chicha Libre – Papageno Electrico. Like Alec Redfearn above, the Brooklyn Peruvian surf rock band’s latest album Canibalismo is loaded with trippy, creepy tracks and this is the creepiest, like a Japanese video game theme done as psychedelic cumbia. Watch the video 

13. Beninghove’s Hangmen – Surf & Turk. New York’s premier noir cinematic surf jazz monsters hit last year’s list with their debut album. This is a new creepy surf track; you can catch them at Zirzamin on Mondays at 9 where they play it frequently. Play the song; stream the first album

14. Daniel Kahn & the Painted Bird – Sunday After the War. Coldly wise, crushingly cynical klezmer-rock. “They’re always recruiting, after the war.” Kahn slayed with this at Lincoln Center Out of Doors this past summer. Watch a video

15. Emily Jane White – Clipped Wings. The murderess leaves a suicide note at the lake house and this is it: a great story and a chilling song. From her latest album Ode to Sentience. Watch the video

16. When the Broken Bow- Giving Up the Ship. Apocalyptic ukulele waltz with bloodcurdling screams at the end from this smart, raw, female-fronted Portland, Oregon art-rock crew. Play the song

17. Lianne Smith- The Thief. Now co-leader of the Golden Palominos, Smith has been playing this gorgeous but chilling oldschool country smash for years and finally released it on her debut Two Sides of a River. Sing along: “I found out, yeah, I found out too late. ” Play the song

18. Jan Bell – The Miner’s Bride. One of the great voices in Americana music, Bell makes the connection between Appalachian music and the British folk songs it sprung from. This is a Karen Dahlstrom song about a mail-order bride going off to what looks like disappointment and early death in the old west, from Bell’s new album Dream of the  Miner’s Child. Play the song

19. Lorraine Leckie – The Everywhere Man. This party crasher has come to kill everything in his path: a wicked serial killer tale from Leckie’s elegant new chamber pop collaboration with social critic/writer Anthony Haden-Guest, Rudely Interrupted. Play the song 

20. The Japonize Elephants – Melodie Fantastique. Lush sweeping majestic circus rock doesn’t get any more entertaining than this. Title track from the band’s sensational new album. Play the song  

21. Mac McCarty – My Name Is Jack. Another song about a killer, and one that hasn’t made it to the web yet, from one of the darkest voices in Americana. For awhile he had a monthly residency at Bar 82, where he would always play this, and he’s got other videos you can watch.

22. Dimestore Dance Band – Wren Wren. Might as well go with two relatively brand-new ones, this being an urbane, wry gypsy-inflected number from guitar virtuoso Jack Martin and his bassist accomplice Jude Webre. The band is back together and playing this from time to time, and you can hear more of their stuff here.

23. Jodi Shaw – The Witch. In the old days, dotty old women used to get burned. The Brooklyn pianist/songwriter works that metaphor for all it’s worth in this chilling art-rock ballad. From her latest album In Waterland. Play the song 

24. Choban Elektrik – Valle E Shquiperise Se Mesme. A classic Balkan folk song done as trippy psychedelic rock with funereal organ and searing violin, from the band’s sensational 2012 debut album. Play the song

25. Eilen Jewell – Warning Signs. Her 2012 album is called Queen of the Minor Key, which pretty much says it all: this is a killer backbeat noir Americana rock tune with cool baritone sax and reverb guitar. Watch the video

26. Kayhan Kalhor & Ali Bahrami Fard – Where Are You. Anguished alienation has never been more hauntingly restrained than it is on this epic instrumental from I Will Not Stand Alone, the transcendent new collaboration between the Iranian spiked fiddle and santoor virtuosos. Watch the video  

27. Damian Quinones y Su Conjunto – Barrio. This lead guitar-fueled epic from their brilliant 2012 album Gumball Ma-Jumbo is a throwback to the classic latin soul sound of the late 60s and early 70s, right down to the inspired, analog-sounding production.  Play the song

28. Matt Keating – Punchline. Bouncy, metaphorically charged vintage soul-infused cynicism from Keating’s characteristically literate, intense latest album Wrong Way Home. Play the song

29. Clairy Browne & the Bangin Rackettes – Vicious Circle. Dramatic, intense, theatrical oldschool soul anthem that may or may not be a bitter Amy Winehouse homage. From their album Baby Caught the Bus; they killed with this in their New York debut this fall at Webster Hall. Play the song

30. J O’Brien- Cottonmouth. Classic New York songwriting: a torrent of images of the kind of twisted people, and twisted psyches, you meet on the train home after work, from the former leader of fiery mod-punk rockers the Dog Show. Play the song  

31. Out of Order – Gimme Noise. Hammering hardcore riffage from this volcanic all-female noiserock/punk/postpunk trio’s deliciously assaultive new album Hey Pussycat! Play the song

32. Beware the Danger of a Ghost Scorpion – Denton County Casket Co Typically intense, macabre, breakneck horror surf from this unstoppable Boston band’s Five After Midnight broadcast recording. Play the song

33. Tri-State Conspiracy – The Clone. The high point of their Nuisance album from 2008, the noir ska/swing band’s savage version of this was the high point of this year’s Atlantic Antic festival, a cruel broadside directed at all the posers and gentrifiers. Watch the video

34. Les Sans Culottes – DSK. Another highlight of the Atlantic Antic, this viciously funny garage-psychedelic sendup of Dominique Strauss-Kahn hasn’t made it to the web yet, but you can check out a lot of other amusing stuff from the faux French rockers here.

35. David J – Not Long for This World. The ominous title track to the goth songwriting legend’s latest album, the once and future Bauhaus bassist/playwright turned in a riveting version of this backed by Botanica’s Paul Wallfisch at the Delancey this past spring. Watch a video

36. The NY Gypsy All-Stars – Sen Sev Beni. Their latest album Romantech is full of scorching gypsy vamps driven by clarinet powerhouse Ismail Lumanovski: this audience favorite  is the best of them. Play the song

37. Auktyon – Mimo. These Russian art-rockers have been around forever, and they put out a typically surreal, jazz and gypsy-influenced new album, Top, this year. This is the best track, a haunting, towering minor-key anthem. Play the song

38. Harmonia – Songs from Vojvodina. This prosaic title doesn’t give any idea of the ferocity and exhilaration of this lickety-split suite of gypsy music from the Cleveland band’s equally adrenalizing 2012 album Hidden Legacy. Sound snippet 

39. Nathan Halpern – The Mirror. A creepy Philip Glass-ine theme from the soundtrack to the documentary Marina Abramovic: The Artist Is Present, written by the esteemed Brooklyn noir rocker and composer. Sound samples from the score

40. Sam Llanas – Shyne. Low-key, brooding nocturnal noir 60s pop with an Americana edge from the longtime BoDeans frontman’s recent solo album 4 AM. Sound snippet

41. Super Hi-Fi – We Will Begin Again. The darkest and most mysterious track from the twin trombone deep-dub band’s debut album Dub to the Bone (get it?) Play the song 

42. LJ Murphy – Waiting by the Lamppost. The legendary New York noir rocker has a reputedly phenomenal new album due out next year and this might or might not be on it; it’s an uusually low-key, broodingly surreal soul song. Watch the video 

43. Mighty High – High on the Cross. Of all the drugs Brooklyn’s best-loved stoner rock parodists chronicle in their songs, none is more powerful – or funnier – than religion. Play the song

44. Band of Outsiders – Gods of Happenstance. Television and the Grateful Dead may both be history but these 80s New York garage-pychedelic-punk legends are still going strong; this is the standout track from their 2012 ep Sound Beach Quartet and it evokes the best of both of those bands. Play the song  

45. Spanglish Fly – The Po-Po. Oldschool 60s style latin soul about a familiar New York crisis: getting busted for an open container by cops who haven’t yet met their quota of summonses for harmless offenses. Play the song 

46. Love Camp 7 – Beatles VI. An especially loud, growling vintage 60s psychedelic style track with one of frontman Dann Baker’s characteristically sardonic lyrics, the 60s as a gloomy backdrop to the Fab Four. From their brilliant Beatles-themed album Love Camp VII. Play the song

47. Musiciens Sans Frontieres – Legalize. This song from cinematic guitarist/composer Thomas Simon’s artsy rock-pop project won an award for best video at a hemp film festival  and you can watch that video here.

48. Marcellus Hall – Afterglow. This might not be the right title, and it doesn’t seem to be anywhere on the web, which is too bad: it’s one of the former White Hassle frontman and Americana-punk songwriter’s funniest, and most withering – and catchiest – critiques. Band info 

49. The Ryan Truesdell Big Band – Punjab. Not what you might expect to see here on a daily basis – a recently rediscovered, epic Gil Evans big band noir classic, with lustrous Indian and Middle Eastern shades. From the new album Centennial: Newly Discovered Works of Gil Evans. Play the song

50 The Universal Thump – Opening Night. What an absolutely gorgeous song: late-period ELO with better strings, bigger theatrics and much better vocals from bandleader/singer Greta Gertler. She meets a girl in her dream who offers her a deal: if you bring me from the dream world to reality, you’ll never cry again. Think about that. Play the song  

51. Slavic Soul Party – Draganin Cocek. The high point of the ten-piece Balkan brass band’s scorching, eclectic new New York Underground Tapes – which don’t seem to have made it to the web yet. Stream some similar tracks

52. Magges – Ena Vrathi Pou’Vrehe. It may be all Greek to you, but even if you don’t speak the language, the ringing twin bouzouki riffs and haunting gothic undercurrent of their psychedelic classics will pull you under. From their new album 12 Tragouthia. Play the song

53. Wadada Leo Smith – Emmett Till. An epic narrative from the trumpeter’s Ten Freedom Summers concept album about the Civil Rights movement, this cinematic tale eventually hits a horrific crescendo, equal parts jazz and indie classical. Play the song

54. Bettye LaVette – Choices I’ve Made. The soul survivor took this old George Jone song and made a theme for anybody who’s ever lived to regret something or another. She sang an especially shattering version at Madison Square Park this past summer. Watch the video

55. Marcel Khalife – Palestinian Mawwal. The great Lebanese oud player and composer put out a titanic double album, Fall of the Moon this year and this is one of its high points, a lush Middle Eastern anthem with full orchestra and choir. Play the song

56. Alfredo Rodriguez – Fog. Noir soundtrack music doesn’t get any more haunting or evocative than the Cuban-American jazz pianist’s epic from his latest album Sounds of Space. Play the song 

57. Hot Club of Detroit – Midnight in Detroit. Proof that noir can be done just as well by a gypsy jazz bandk, in a minute 45 seconds. From their latest album Junction. Play the song 

58. EST – Three Falling Free. A rare outtake from the now-defunct, artsy, eclectic trio, this epic, Floydian monstrosity builds to a crushing crescendo with the piano and bass going full blast: you want adrenaline? Watch the video 

59. Israel Vibration – Ball of Fire. This apocalyptic roots reggae tune goes back almost as far as Culture’s Two Sevens Clash, and it’s even better. And the band kicked ass with it at Central Park Summerstage this past August. Watch the video 

60. Klezwoods – Charambe. One of many standout tracks from their new album The 30th Meridian – From Cairo to St. Petersburg With Love, this is a wicked blend of 60s style psychedelic rock and klezmer, like something the Electric Prunes would have done. Play the song

61. Glass Anchors – Winter Home. Sadness and longing set to wickedly evocative, catchy janglerock from the female-fronted, Americana-tinged Brooklyn band’s debut album.  Play the song

62. Bobtown – Battle Creek. High-voltage noir soul anthem from the point of view of a country girl steadily losing it in northern Midwest rust belt hell, sung electrifyingly by Karen Dahlstrom. From the noir Americana band’s killer new album Trouble I Wrought. Play the song  

63. Chicago Stone Lightning Band – Tears & Sorrow. Creepy, brooding  early 70s style acid blues from the Chicago band’s considerably more energetic debut album. Play the song  

64. Single Red Cent – Dilettante. A hilarious postpunk-flavored putdown of spoiled trendoids, “stealing a page from the better bands, nothing in common with the working man.” Play the song 

65. Wahid  – Looking for Paradise. New Middle Eastern instrumental sounds: hard to imagine that just an oud and drums can create a sound that’s this majestic and intense. From the duo’s new album Road Poem. Sound snippet

66. The Larch – Monkey  Happy Hour. Wry, spot-on double entendres abound in this psychedelic new wave look at the last people you’d ever want to hang with after work. From their excellent new album Days to the West. Play the song  

67. Sex Mob – Juliet of the Spirits. Even though the noir-ish jazz quartet’s version of the classic Nino Rota film theme is nowhere to be found on the web, it wouldn’t be fair to leave it off the list: the riveting version they played at the World Financial Center this past fall might have been their first time, and it was amazing.  Band info

68. M Shanghai String Band – Sea Monster
This offhandedly eerie, symbolically-fueled, gypsy-tinged cut might be the best one on the massive Brooklyn Americana band’s new album Two Thousand Pennies. Play the song 

69. Clare & the Reasons- Colder. An icy art-rock mini-epic from the Brooklyn band, with a chilling mantra on the way out: “When will it get better?” Watch the video 

70. Animation – Transparent Heart. The epic, cinematic instrumental title track from saxophonist Bob Belden’s concept album about how New York (and the country) went to hell, as the Bush regime used 9/11 as a pretext for dismantling 200 years of democracy, and New York became a haven for chain stores and suburban yuppie cluelessness. Play the song

71. Yankee Bamg Bang – Silver Bullet. The backlash against gentrifier music is in full effect from these Bollywood-influenced Brooklyn rockers, poking fun at “love songs we couldn’t swallow from musician/actor/models.” Play the song/free download

72. My Education – For All My Friends. Syd Barrett meets Nektar in this roaring ten-minute art-rock theme,  rising to a titanic wall of frantic tremolo-picking. From their latest album A Drink For All My Friends. Play the song

73. Amniotic Fluid – Be Careful Children. Creepy cinematics with virtuoso clarinet, accordion and percussion in under two minutes. From their fiery debut album. Sound snippet

74. Theo Bleckmann & ACME – To the Night. Like Sex Mob at #67 above, the list wouldn’t be complete without a mention of the rich, otherworldly debut that this crooner and indie chamber ensemble gave to Phil Kline’s new song cycle, Oud Cold, this past November. This is its high point, a feast of lustrous close harmonies. Not on the web yet, but you can check out the composer’s other intriguing song sequences.

75. Tom Shaner – She Will Shine. One of the highlights of the southwestern gothic rocker’s new album Ghosts Songs, Waltzes & Rock & Roll is a hilarious song called She’s an Unstoppable Hipster. This is sort of that song in reverse: gentrifier girl goes to the country because she’s sick of the city…or she just can’t hack it? This one’s not on the web but the first song is, in a very funny video

76. Tift Merritt – Small Talk Relations. The Americana chanteuse’s latest album Traveling Alone is the best guitar album of the year, with Marc Ribot’s noir playing off Eric Heywood’s steel and slide work. Ironically, this quiet, elegant countrypolitan number is the album’s best cut. Play the song/free download

77. Ramzi Aburedwan – Rahil. An absolutely sizzling, smashingly catchy theme for buzuq, accordion and percussion by the Palestinian virtuoso/composer, from his latest album Reflections of Palestine. Watch the video

78. Arturo O’Farrril & the Afro-Latin Jazz Orchestra – River Blue. One of the best concerts in New York this year was the first of two nights by this amazing, titanic band right after the hurricane: thsi darkly majestic  Rafi Malkiel Middle Eastern jazz epic is arguably the high point. Watch the video 

79. Ran Blake & Sara Serpa – Dr. Mabuse. With piano and wordless vocals, the noir jazz legend and his protegee evoke a troubled world of the spirits. From their live album Aurora, which is on Spotify if you have it; otherwise, good luck looking around.

80. Tom Warnick & World’s Fair- The Impostor. Kafkaesque rock doesn’t get any more intense than this: watch the keyboardist/bandleader finding it impossible to refrain from jumping back into the vocals after he’s handed them over to guitarist John Sharples on this noir classic. Here’s the video

81. Terrible Feelings – Blank Heads. This female-fronted punk band sounds like a dead ringer for the Avengers circa 1979, with rich Steve Jones style production. No streaming audio, but a free download from the band

82. Karthala 72 – Diable du Feu. Horror surf guitar grafted to a classic Afrobeat vamp with evil, buzzy bass by this period-perfect Brooklyn crew. Title track from their excellent new album. Play the song.

83. Spottiswoode -Enfant Terrible. This one came out a few years back, but the veteran art-rocker killed with this savage anti-trendoid broadside at a haphazardly assembled but absolutely brilliant show in the West Village right after the hurricane. Watch the video

84. Jaffa Road – Through the Mist of Your Eyes. A luscious Middle Eastern psychedelic rock tune from the eclectic female-fronted Canadian band. Play the song/free download 

85. The Funk Ark – El Rancho Motel. In case you think that Ethiopian cumbia is a crazy idea, check out this wickedly fun, creepily surfy track from the Washington, DC Afrobeat band’s excellent new album High Noon. Watch the video

86. Deleon – A La Nana. A creepy, stately minor key flamenco-flavored waltz with banjo as the lead instrument from this excellent Sephardic rock band. Play the song

87. Raya Brass Band – Melochrino. The hard-charging Balkan brass jamband is just as good at brooding, slowly unwinding, chromatically charged tunes like this one. From their phenomenal debut album Dancing on Roses, Dancing on Cinders. Play the song  

88. Andrew Collberg – Back on the Shore. A frequent Giant Sand collaborator, he writes period-perfect mid-80s style paisley underground psychedelic rock. This is a lush, hauning noir southwestern gothic anthem. Watch the video  

89. Tim Foljahn – New Light. From his brooding, pessimistic, absolutely haunting apocalypse concept album Songs for an Age of Extinction, this one artfully doubles the vocals: one track blithe and clueless, the other less so. Play the song

90. The Sweetback Sisters – Texas Bluebonnets
The harmonies and the melody of this oldschool western swing/Tex-Mex tune are so charming and chipper you know there has to be a sad undercurrent…and there sure is. “Those Texas bluebonnets just blew me away.” From their excellent album Lookin’ for a Fight. Watch the video

91. The Brixton Riot – Keep It Like a Secret. Snarling two-guitar rock from this New Jersey band, all too aware of how the Bush-era police state still lingers and makes you watch your back. From their scorching new album Palace Amusements. Play the song

92. Botanica – Manuscripts Don’t Burn. How the hell did the most epic, intense, grand guignol track from this era’s greatest art-rock band end up way down here? Roll of the dice. Sorry, guys. From their arguably most haunted, brooding album What Do You Believe. Play the song

93. Black Fortress of Opium – Afyonkaharisar Battle Cry. The female-fronted Boston band artfully crescendo from stately Middle Eastern sonics to a ferocious cauldron of dreampop guitar. From their new album Stratospherical. Play the song

94. Leigh Marble – Holden. The last of the anti-trendoid anthems here might be the funniest, which is ironic (in the true sense of the word) in that the Portland, Oregon songwriter’s latest album Where the Knives Meet Between the Rows is otherwise extremely dark. The title here is a Salinger reference. Play the song  

95. Marissa Nadler -The Wrecking Ball Company. Metaphorical, inscrutably deadpan, deathly noir atmospherics from this era’s unrivalled mistress of that style. From her latest and possibly best album The Sister. Play the song

96. Mucca Pazza – Last Days. An artsy, Russian-tinged accordion waltz from this titanically powerful gypsy punk brass band’s latest album Safety Last. Play the song

97. Niyaz – Shosin. A characteristically hypnotic, pulsing track from the Persian-Canadian dance/trance band’s latest album Sumud (Arabic for “resilience”). Watch the video

98.  Tribecastan – Jovanka. The darkest song on the eclectic-beyond-belief New York kitchen-sink worldbeat band’s latest album New Deli is sort of a balalaika bolero except that the web of stringed instruments is everything but a balalaika. Watch the video 

99. Rachelle Garniez – Land of the Living
The unexpectedly triumphant closing track on the inscrutable accordionist/chanteuse’s latest album Sad Dead Alive Happy, it starts with a devious dream sequence of sorts and ends with a warmly wry, indelibly New York stoop conversation. Play the song

100. Catspaw – Curl Up & Die. Let’s wrap up this list with a careening ghoulabilly track from this brooding 2/3 female New York retro rock trio. It’s a staple of their live show but hasn’t made it to the web yet – although you can hear their classic, even more haunting Southbound Line here.

Reliving October

Who in New York would want to relive October, 2012? Actually, if you can make the big, stormy elephant in the room disappear, it wasn’t such a bad month – and there were plenty of good shows happening, right up until a couple of days before the hurricane. This month’s account is part of an ongoing feature on concerts that for various reasons escaped front-page coverage here. Although most of the artists involved have already gotten plenty of space here before, it wouldn’t make sense to neglect what they’re doing because in one way or another, it’s important.

Early in the month on a deliciously cool Saturday, Tom Warnick & the World’s Fair played their usual careening mix of haunted, noir rock and contrastingly sunny oldschool soul songs at a gig at Freddy’s in Brooklyn’s south slope. Warnick is a keyboardist; he stands deadpan, sometimes with just the hint of a smirk and intones surreal, historically-inspired lyrics while the band motors behind him. This particular version had the blazing guitars of both Ross Bonadonna and John Sharples plus tenor sax and a rhythm section. Other than the utterly blissful soul sway of My Troubles All Fall Apart, the songs had a persistent unease. Catchy as the pulsing new wave of I’m a Stranger Here and the slower but equally catchy Lost in Place were, they both spoke to youthful alienation. Likewise, The Great Calamity didn’t shy away from potential disaster – Warnick has walked away from several in his life – and delivered a persistent defiance.

Other songs were considerably darker and ran the gamut from reggae, to bluegrass, to an a-cappella cover of an old chain gang song from the 30s. Cop Car, a stomping blues tune about a stoner being tailed by the po-po, had the guitars gleefully sirening in unison on the bridge – yikes! A Little Space worked a leering Tom Waits vibe, while Keep Me Movin’ rose and fell with a moody, Doorsy-y ambience. This time out, the big hit was The Impostor, with its chromatically-fueled menace and macabre crescendo on the chorus. As strange a segue as these guys made with the opening act, Beefheart cover band Admiral Porkbrain, they kept the surreal energy going.

Onetime Dog Show frontman J. O’Brien has hardly been idle since the breakup of the band late in the zeros. His Vibedeck page has tons of name-your-price goodies, including both new songs and newly stripped down, mostly acoustic versions of Dog Show classics. He also has a monthly gig at Zirzamin, Manhattan’s newest and most exclusive venue for A-list songwriters. His October show featured a lot of his more pensive, darker material, including a welcome return of the offhandedly savage, bitter kiss-off ballad All About Wrong, as well as fueling  pre-election unease with the politically-charged Black Eye and Hold Me Down. His November show was more upbeat and drew more heavily on his more recent songs, notably Cottonmouth, a hilariously snide litany of characters on the train between Manhattan and south Brooklyn. He’ll be back at Zirzamin, solo on twelve-string guitar, on Dec 10 at 7.

Spanking Charlene, leaders of the scene at the late, lamented Lakeside Lounge, made a rare trip uptown to the Ding Dong Lounge for frontwoman Charlene McPherson’s birthday. The band’s new rhythm section – Patti Rothberg’s bass player and Drina Seay’s drummer – gave them extra punch and kick, and semi-permanent lead guitarist Eric Ambel got plenty of opportunities to sear and burn with a noisy, bluesy menace. Their long set mixed in a few covers along with many of the roaring Americana-punk songs on their latest album Where Are the Freaks – notably the stomping, sludgy title track, inspired by a drunken walk through increasingly yuppified Stuyvestant Town. McPherson wailed with her usual high voltage against the squall of a huge tenor saxophonist who looked like he’d just come in from Giants practice, as the band made their way through the sarcastic crash and roar of You Suck, Secrets, Tie Me Up and Stupid Me. As the show wound up, they made the connection between Black Sabbath and the Sonics and then a version of Heat Wave that owed more to the Martha Reeves original than the Jam. Spanking Charlene’s next show is on the road, on Dec 8 at the Record Collector in Bordentown, NJ.

A day before that, Niall Connolly played the weekly acoustic series at the American Folk Art Museum a few blocks north of Lincoln Center. He’s a band guy at heart and writes like it, buildling to anthemic choruses and leaving plenty of space for guitar breaks and other interesting stuff. In an all-too-brief set, he alternated between gloomily sardonic, spare, fingerpicked reflections on relationship dysfunction, and more upbeat, politically-fueled acoustic rock. Connolly is Irish by birth and not a fan of the post-9/11 American police state, and has plenty to say about it that’s both amusing and insightful. Connolly plays a LOT of shows; he’s at Caffe Vivaldi tomorrow night at midnight and then on Tuesday (officially, early Wednesday) at one in the morning at the Red Lion on Bleecker Street, where the tourists might have actually cleared out by then.