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A Poignant, Lyrically Potent, Darkly Lush Art-Rock Masterpiece from Joanna Wallfisch

What if you could re-record seven of your songs with a fantastic string quartet? Wouldn’t you spend every waking moment feverishly writing new charts? That might well be what multi-instrumentalist art-rock songwriter Joanna Wallfisch did for her brilliant new album, Gardens in My Mind, streaming at Bandcamp. In addition to those seven cuts off her previous album, The Origin of Adjustable Things, she’s included an equal number of new songs, totaling a very generous fourteen tracks filled with vivid and often haunting imagery, double entendres, clever wordplay and a poignantly melancholy sensibility. She’ll be airing them out at the album release show on July 31 at 7 PM at National Sawdust; advance tix are $25

As on the previous record, Wallfisch plays piano and ukulele, joined by Dan Tepfer on piano (and melodica, very memorably, on one track) along with the Sacconi Quartet: violist Robin Ashwell, cellist Pierre Doumenge, and violinists Ben Hancox and Hannah Dawson. Wallfisch opens the album with the distantly creepy, twinkling art-rock lament Moons of Jupiter, awash in gusts and ripples that border on the macabre. “Even through the fall of Troy the stars were shining, but you had to walk away,” Wallfisch intones. It wouldn’t be out of place in the Universal Thump catalog. Likewise, Wallfisch goes deep into the underlying angst in the album’s first cover, Joni Mitchell’s All I Want, reinvented as a brooding ballad for strings and voice.

The album’s title track manages to be both jauntily vaudevillian and cruelly hilarious, evoking Honor Finnegan in a darkly theatrical moment: the UK-born Wallfisch’s depiction of the New York City subway is priceless. Apprehensively creaky string harmonics open Satellite, a return to morosely starlit art-rock with a tinge of wee-hours saloon blues. The lillting melody of the requiem Distant Shores almost but not quite masks Wallfisch’s gently shattering, pain-wrenched narrative, “The tears much clearer than the blur of mine.”

As she does with many of the songs here, Wallfisch’s piano takes brief, gentle yet almost heart-stopping detours toward outright menace in another elegaic ballad, Anonymous Journeys. After the mostly-instrumental Patience, a cavatina for strings, she keeps the waltzing rainy-day atmosphere going throughout Satin Grey and its understated portrait of the consequence of a missed connection, recalling an Edith Piaf number.

This Is How You Make Me Feel, with its echo phrases and shifting rhythms, blends disquieting indie classical and jazz, a portrait of a relationship with highs to match the lows. The second of the cover tunes, Tim Buckley’s Song to a Siren gets Wallfisch’s most tender vocal here. Wallfisch has a thing for paradoxes, and Rational Thought gives her a platform for a whole slew of clever ones: “Statistics never took into account who to count on,” she reminds. The carousel theme Brighton Beach is full of musical surprises and far more sheer horror than the previously recorded version. The album winds up with a brief reprise of All I Want. Counting Wallfisch’s originals alone, this is one of the half-dozen best releases of 2016.

Fun fact: Wallfisch is third cousin to Paul Wallfisch, the iconic noir pianist and Botanica bandleader.

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Concetta Abbate Records a Lush, Glimmering Album of Chamber Rock Nocturnes at Spectrum

On one hand, the cred you used to get for being in the crowd at a live album recording has lost a little lustre over the years. After all, these days, if you’re up to the job, you can make your own live album most any night and put it up at youtube or archive.org. Still, it was awfully cool to be at Spectrum Saturday night, where elegant violinist/guitarist Concetta Abbate recorded a live album with a string quartet. The experience wasn’t as intense as being at Arlene’s the night that Mary Lee’s Corvette recorded their Blood on the Tracks album (although nobody other than the band knew that would happen), or as dark as when Rasputina recorded A Radical Recital a few years later at B.B. King’s…or exasperating, like when Aimee Mann did alternate take after alternate take for her live DVD at St. Ann’s Warehouse.

This was a warmly enveloping, raptly glimmering night of nocturnes, many of them miniatures: Abbate doesn’t waste notes. What’s even better is that the lucky four dozen or so people who got to witness her quiet magic will get a digital copy of the album, and then presumably it’ll be up at her webpage. Her opening instrumental had subtle rhythmic shifts and a delicate pizzicato/legato dichotomy; afterward, a handful of numbers had light electroacoustic touches, like the second one, its allusions to oldschool soul awash in uneasily lush string textures, like a more polished version of early ELO. Abbate sang while playing, in an expressively airy, carefully modulated soprano.

Disquieting electronic washes gave way to a twinkle balanced by a spare, balletesque string arrangement on the night’s next song, beneath Abbate’s melismatic, Renaissance-tinged vocals. Ambered string washes anchored a trickily syncopated piano riff, no easy task to pull off live. The upbeat, catchy, pulsing number after that sounded like a mashup of the Universal Thump and Linda Draper’s acerbic parlor pop.

From there the ensemble took an ornate waltz arrangement up to a vividly wounded series of crescendos; then Abbate brought the lights down with a playfully psychedelic vignette in 5/4 time. Spare, spacious minimalism gave way to a brooding viola solo over tersely fingerpicked acoustic guitar, then a lively, balletesque tune, then a lushly melancholy art-rock anthem in the same vein as Sarah Kirkland Snider’s recent work. After that, the pretty waltz that sounded like the Left Banke made a striking contrast. It’ll be even more fun to enjoy the nuances of the album and ponder Abbate’s terse lyrical imagery. Abbate’s next New York solo show is on June 12 at 8 PM at Chinatown Soup, 16B Orchard St. just north of Canal.

Mimi Oz Brings Her Kitchen-Sink Songwriting Prowess to the East Village Saturday Night

Mimi Oz can write anything. She’s got a powerful, passionate, slightly coy voice informed by soul, 60s pop, Americana and punk. Likewise, her songwriting runs the gamut, and she’s a strong tunesmith. Her latest album Men Who Never Loved Me – a sardonically melancholy, thematic collection – is streaming at Bandcamp. She’s playing Saturday night, April 16 at 11 PM at Sidewalk with her band.

You might think that a song with the title Tickle My Berry would be something that, say, Iggy Azalea might do. This one turns out to be a summery psych-funk number that hits a burning powerpop drive on the chorus. Bad Love is a wryly hilarious faux girl-group pop number about being stuck with a losers like this one dude who’s “bad at kissing, he doesn’t use his tongue.” It’s sort of the missing link between the Universal Thump and the Ronettes.

The wounded waltz Dreaming Again blends stark country fiddle into a soaring new wave-tinged ballad. Future Trouble is spot-on 60s C&W, right down to the chicken-scratch honkytonk guitar and call-and-response, gospel-style backing vocals; then Oz takes it in more of a powerpop direction. She keeps the honkytonk flavor going, mashing it up with 60s pop in the romping, piano-driven, twisted Ugly Baby.

Neptune Hotel is a swaying soul-jazz number with muted trumpet and low-key, simmering vocals that grows more uneasily surreal as it builds. Alphabet City Gypsy, with its swirly organ and oldschool R&B bounce, puts a funny East Village spin on a theme familiar to fans of Elvis and the blues.

Be My Bobby is another bouncy piano number: like a lot of songs here, it’s a disquieting mix of sultry seduction, longing ache and crushingly cynical, punk-infused humor. The album’s best song is the rainy-day saloon jazz ballad Woman Perfect, balmy sax mingling with the piano and the stately, swinging rhythm section. The final cut is the bossa nova Somebody’s Nobody, sung in English and Portuguese. As eclectic, imaginatively purist songwiting goes, it doesn’t get much better than this in 2016.

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.

An Auspicious Mashup of Art-Rock and Big Band Jazz and a Lincoln Center Show by the NYChillharmonic

Rare as it is for a woman to lead a large jazz ensemble, it’s rarer still for a big band to be led by the singer. Sara McDonald, composer and leader of the NYChillharmonic, blurs the line between art-rock, chamber pop and big band jazz. She sings in a tersely modulated alto and writes lustrous, slowly shapeshifting, moodily lyric-driven songs. The group’s debut album, credited to McDonald herself, is streaming at Bandcamp. They’re playing the Lincoln Center Atrium this Thursday, December 17 at 7:30 PM. The echoey space ought to be hospitable to this group’s methodically rising, often epic swells, slow tempos and cinematic sweep. As always, getting there early is a good idea if you want a seat, or for that matter, if you want to get in at all since management never lets the place fill to capacity.

Based around looping Darcy James Argue-esque phrases, the album’s opening track, Dead the Trees is a gently lush, lavishly orchestrated, global warming-era apocalyptic waltz. “No one was thinking, no one intervened…smitten with greed,” McDonald intones understatedly, letting the message speak for itself. Guitarist Martin Wessalowski’s lingering, brooding phrases mingle with the increasingly majestic tectonics of the orchestra as the second track, Plans – also a waltz – rises toward peak elevation. Grounded by Lukas Voith’s elegant piano, another gracefully grandiose waltz, Isobel, has a soaring catchiness and enigmatic mix of tense drama and wistfulness that brings to mind Greta Gertler’s similarly lush art-rock band the Universal Thump. It isn’t til the final cut, the evocatively balmy, clave-fueled Sand Castles, that McDonald airs out her torchy side, vocally or otherwise, and it’s worth waiting for, in fact all the way through an amped-up but ultimately misguided cover of a pointless Grizzly Bear bossa ripoff. It’ll be fun to find out what else McDonald has come up with in the roughly year-and-a-half since this album came out.

A Richly Tuneful, Enigmatic New Album From Art-Rock Band the Universal Thump

Singer/keyboardist Greta Gertler Gold was about eight months pregnant when she played her most recent show, at Barbes about six weeks ago, with her art-rock band the Universal Thump. If that’s not punk rock, you figure out what is.

The Universal Thump’s music is actually not punk at all – it’s lush, and ornate, and meticulously crafted…and an awful lot of fun. Their 2012 debut album was an epic double-cd set awash in lavish orchestration, theatrics, dynamic shifts and symphonic majesty. one of the most rewardingly herculean efforts by any band in recent years. Their new, second album, Walking the Cat – recorded at Abbey Road Studios in London, and streaming at Bandcamp – is less hefty but no less fun. The opening track, Sunset Park – a tribute to their Brooklyn home turf – pairs drummer/percussionist Adam D Gold’s pointillistic celeste with his wife’s cautiously scampering piano and soaring, stratospheric vocals, buoyed by a tiptoeing string arrangement played by violist Anne Lanzilotti and cellist Brian Snow.

The second track, Cockatoos, is Gretler Gold at her most brooding and plaintive, a briskly strolling tone poem of sorts: “I never fell so hard, I never fell so far,” she relates. Then the band picks up the pace with the ep’s poppiest song, Watch the Sunrise, Barney McAll doing a fair impersonation of a snarling, distorted electric guitar with his synth midway through.

J. Walter Hawkes’ multitracked trombone builds grey-sky ambience as the piano rises to an uneasy peak in Treehouse. Jonathan Maron’s lithe bassline pairs with the piano as the album’s psychedelic, mightily crescendoing title track picks up steam, Elysian Fields guitarist Oren Bloedow channeling George Harrison while Gertler Gold’s organ bubbles and ripples…and then the band builds in a second to a droll, lickety-split sprint. As with the best psychedelic music, nothing here is exactly what it seems: there’s a moody edge underneath all the playful exuberance. As short albums go, there’s hardly been anything released in 2015 that’s this consistently good.

The Barbes show also deserves a mention. Rather than bringing his swirly Hohner Electrovox from his days in the late, great Chicha Libre, guest Josh Camp played piano while Gertler Gold shifted between textures on her Nord Electro. Who knew he was such a good C&W slip-key player? Another of the band’s charter members, guiter maven Pete Galub led the group through a breathlessly droll cover of XTC’s Making Plans for Nigel.

Much as Gertler Gold has always had an impressive top end to her high soprano, she’s never sung better than she did at this show, not just sailing along but genuinely searing at the very top of her register. Like so many bands these days, the Universal Thump have considerably more material than they’ve been able to record: this show gave them a chance to air out a couple of oldschool soul-informed numbers as well as a handful of tongue-in-cheek, sardonic Passover songs written for a theme night at Joe’s Pub, one a sultry minor-key tune and the other more upbeat. Among the best songs of the night was an amped-up, especially restless take of Cockatoos; the band closed with a triumphant version of Walking the Cat. Gertler Gold promises not to let motherhood keep her from the stage; watch this space for upcoming shows from one of this era’s great art-rock bands.

Intensely Fun Summer Concerts by Nicole Atkins and the Universal Thump

Nicole Atkins and her “band of Daves,’ as she put it – on lead guitar, electric piano and organ, bass and drums – played a soaringly eclectic, richly tuneful set to kick off this year’s outdoor concert series at Madison Square Park. What was most striking about the concert was the welcome absence of the cheesy keyboard textures that gunk up some otherwise excellent songs on Atkins’ latest album, Slow Phaser. Aside from a diversion into that on a swaying, funky tune early in the set, her keyboardist stuck to fluid organ fills and elegantly glimmering electric piano.

They opened with the new album’s first song, Who Killed the Moonlight, putting more emphasis on lingering, uneasy atmospherics than the disco bounce of the studio version. The bassist gave it a slinky groove as the lead player added terse, red-neon, noirish fills and bends. Atkins’ wounded outsider presence on the sardonic Cool People provided an edge that transcended all the purloined Beatles and Lou Reed licks. Atkins reaffirmed why she has such a devoted fan base, showing off a spectacular vocal range that she varied from low and apprehensive to some spine-tingling flights to the upper registers, adding subtle blues and soul tinges and then some grit at the end as her voice began to go ragged after all that exertion.

She and the band maintained the intensity with the organ-fueled ba-bump noir cabaret tune Gasoline Bride and its creepy slowdown at the end, then the slow, angst-fueled Vera Beren-esque 6/8 ballad The Way It Is, part darkly Orbisonesque Americana, part gothic art-rock. Atkins took that to a peak with the wickedly catchy Maybe Tonight, an anguished blue-eyed Motown hit as towering as anything Gary Usher wrote for Gary Puckett back in the 60s.

Girl You Look Amazing, another tune that’s pretty straight-up disco on the new album, took on extra bite with a more straight-ahead beat underneath Atkins’ sarcastic dig at a would-be pickup artist. Interestingly, they gave We Wait Too Long a swooshy, misterioso groove, in contrast to the album’s more direct, regret-laden version.

After the hypnotically loping, darkly bluesy Vultures, with its creepily twinkling electric piano, they tiptoed and swayed through the longing and bitterness of Red Ropes, the most luridly noir song on the new album.

Atkins’ cynical sense of humor came front and center on It’s Only Chemistry, a sardonic battle-of-the-sexes narrative, and then an aching take of The Worst Hangover, whose narrator is so miserable (and possibly still so drunk) that she ends up calling an ambulance. It was too bad that the lead player missed his chance to take The Tower – the crushing, potentially explosive anthem that’s sort of Atkins’ signature song – to a logically pyrotechnic peak, instead drifting unexpectedly into nebulously metal territory. After everything that had come before, it would have been the perfect way to end the show. It took a siren echoing across the park from further north to add just the right touch of horror as the song wound out. The Madison Square Park series of free concerts continues on July 16 at 7 PM with French jazz pianist Jacky Terrasson and his group.

And it was good to be able to catch about half an hour of a show that promised to be even better beforehand several blocks north at Bryant Park, where keyboardist/songwriter Greta Gertler’s lush art-rock band the Universal Thump aired out some of the soaring, often epic songs from their massive triple-cd debut album along with some tantalizing new tunes. Gertler’s elegantly intricate electric piano mingled with the otherworldly vocal harmonies of Las Rubias Del Norte‘s Emily Hurst and Allyssa Lamb over the terse pulse of drummer Adam D. Gold and bassist Byron Isaacs. Guitarist Oren Bloedow – the noir mastermind behind art-rockers Elysian Fields, and a longtime Jenifer Jackson collaborator – kept a low-key, blue-flame intensity going, finally rising to a savagely insistent attack as the show hit a peak right about at the midway point. And then it was time to head south.

Another Brilliant, Disconcerting Album from Lee Feldman

Now that the world has made its way out of post-Saturnalia mode, this is as good a time as any to catch up on some of the albums that should have been covered here last year but weren’t. Case in point: Lee Feldman’s absolutely brilliant, chilling Album No. 4: Trying To Put The Things Together That Never Been Together Before. Feldman is a terrifically eclectic pianist, equally at home with Bach or jazz as with the elegant art-rock songs he’s been writing since the 90s. His animated musical Starboy is a classic, a charmingly witty piece of vintage 80s style performance art. His late-2011 collaboration with cellist Noah Hoffeld, Sacred Time, was a richly tuneful detour into traditional Jewish instrumental themes that the duo transformed into what could be termed indie classical music (or something that John Zorn would put out on Tzadik). This is a return to original songcraft, and it stands with the best Feldman has ever done, which is saying a lot. The whole thing is streaming at his Bandcamp page along with several of his other albums, going all the way back to 1996’s Living It All Wrong.

This one’s a continuation of the themes Feldman explored on his 2007 album I’ve Forgotten Everything, an understatedly haunting portrait of alienation and disorientation brought on perhaps by age, perhaps by other factors, possibly in combination. Here as well as there, Feldman writes in the voice of a naif, echoed in his clear, bright, deceptively simple vocals and melodic hooks. Where I’ve Forgotten Everything mined an austere art-rock vibe, this one’s a much more ornate, stylistically diverse chamber-pop effort with terse horn charts and a string section.

The album peaks immediately with a surreal, Middle Eastern tinged art-rock waltz spiced with Carol Lipnik’s creepy, swooping vocals. Whoooah, this ride is going way too fast, gotta stop the machine and get off! The abruptness with which the narrator puts an end to some pretty spectacular fireworks is telling, and sets the stage for the rest of the story. It is not a happy one, and in a Faulknerian sense, this tale told by an idiot capsulizes our own present danger.

The second track is a red herring and a throwaway. Feldman picks up where he left off with That’s The Way the World Used to Work, an allusive ontogeny-recapitulates-philogeny theme set to lush, woodwind-enhanced chamber pop. River, a latin-tinged bounce, downplays the lyrics’ loaded symbolism. The hippie eco-pop of Trees Are People Too could be a children’s song, a vibe that flips 180 degrees on The Magician, a wistful ballad: Pete Galub’s distantly majestic lead guitar lowlights the mantra “I’m an outsider.”

I Remember The Night captures a family meeting at a particularly serious moment, in the Twilight Zone. An elegant piano waltz, Do You Want to Dance mingles gospel piano with a lyric that descends from carefree to absolutely miserable in seconds flat. The most psychedelic of all the tracks is the ninth one (the title is absurdly long, for a reason), a blend of trip-hop, Terry Riley and Beat Crazy-era Joe Jackson that seems to chronicle fragments from what’s essentially been a wasted life.

On the lullaby that follows, the narrator explains to the infant that “when you are ready to run, it’s me you’ll be running from.” The album’s creepiest track is Empty Room, the drums (guessing that’s the Universal Thump’s Adam D Gold behind the kit) shifting around its echoey, arrythmic ambience, a portrait of isolation and defeat.  In typical Feldman fashion, that reaches a peak with the blithe madness of Hamfest: over a casually comfortable Rhodes piano groove, the narrator (lapsing in and out of outer-borough accent) announces how “I play the trumpet just like Emperor Hirohito/I try to play the books I read but I never play repeato.” The Party’s Over has the same kind of disconcerting, disassociative blitheness: “The ship is sinking and the fish are friendly, and I’ve been thinking that I don’t like fish,” the protagonist reflects. The album ends with Thanks and its characteristically simple yet crushing sadness. In just a few words and a few major chords, Feldman delivers a wallop. The star-studded band behind Feldman, besides Lipnik, Galub and Gold, includes Hoffeld on cello, Nadia Sirota on viola, Doug Wieselman on reeds, keyboardists Greta Gertler, Dan Bryk and Glenn Patscha, trombonist Clark Gayton, bassist Byron Isaacs and singer Amy Allison among others.

Pete Galub’s Candy Tears: A Feast of Guitar Sonics

Pete Galub has been highly sought after in the New York underground rock scene for years: he’s played lead guitar and bass with acts as diverse as art-rockers the Universal Thump (with whom he’s on Australian tour at this moment), country cult idol Amy Allison and alt-Americana pioneers the Silos. Galub is also the rare sideman whose songwriting is as strong as his musicianship. His new album Candy Tears – streaming at his Bandcamp page – is his quantum leap, a lusciously textured, bitingly melodic mix of art-rock and powerpop. His vocals have never been stronger, his lyrics are clever and sardonic and his guitar playing is a rare blend of ferocity and economy of notes. Galub smartly chose to record this with New York’s master of the upper midrange, Martin Bisi, who captured every ringing overtone, gritty roar and lingering sustained chord on this album just as he did with Sonic Youth’s Daydream Nation all those years ago.

Galub is a purist: the tunes and the hooks come first, then he fills out the picture. Bassist Tom Gavin holds down the low end with such perfect competence that you don’t notice he’s there; Chris Moore (who also adds acoustic guitar and organ) is one of the more musical drummers around, adding uneasy, rustling colors that enhance the often epic majesty of many of the songs. Some of the powerpop stuff reminds of the Figgs; Big Star is also an obvious influence, and there are echoes of Australian art-rock legends the Church here and there.

The opening track, Reacquaintance has a raw, guitar-fueled anger that reminds of Eric Ambel’s early 90s songs: “I drank an ocean until I saw bottom, remember the good times until I’ve forgotten,” Galub rages as his big, sustained late Beatles chords ring out.  Crying Time is the monster hit here, working quickly from an ominous Wire-esque chord change to a bitter, wickedly catchy 60s flavored psychedelic pop theme.

The steady janglerock tune All I Am could be the Figgs in their early days when they had two guitars and jammed out their endings. An art-rock masterpiece, 300 Days in July slowly builds a hallucinatory, regret-drenched summer ambience. “So many drugs in the water supply…walking on water, those were the days when we just let it all slide,” Galub laments as the guitar ripples in tandem with his Universal Thump bandmate Adam D Gold’s vibraphone.

Feels All Over is sort of the Who meets the Church circa 1982, growing tensely from just guitar and vocals to an insistent, tense, ringing pulse. A boisterous, theatrical blast of 60s-influenced psychedelia, My Regeneration echoes Love Camp 7, but louder: “It’s alive!” is the echoey mantra half-buried in the reveb-toned sonic mayhem.

Galub teases with the chorus on Waiting, hinting at a release from the tension, finally reaching a searing, swirling dreampop hailstorm that’s part My Bloody Valentine, part vintage Sonic Youth.  I Plead the Fifth Dimension  opens with a glacial, opiated deep-space Velvets vibe and builds with layers and layers of guitars into a ferociously sarcastic commentary on idie-era detachment.  The album closes with Boat, guitar and vocals establishing a bitter atmosphere that grows dreamy before a wailing bluesy lead disrupts the reverie and eventually slashes and burns its way through everything in its path. It’s awfully early in the year, but we have a contender for best rock album of the year here.

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.