New York Music Daily

Global Music With a New York Edge

Tag: walter ego

Where Did All the Live Coverage Go, or, A La Recherche De Concerts Perdus

New York Music Daily was originally conceived as a live music blog. In the very first month or so here, there was more concert coverage than there’s been in all of 2014 up to now.

What’s up with that? Has New York Music Daily morphed into just another generic “look who’s on tour” blog? Not necessarily.

OK – a cold winter, followed by a temporary lack of general mobility, made it awfully easy to focus on whittling down an enormous stack of albums instead of stumbling through pools of salty sludge night after night. And the abrupt closure of Zirzamin last summer – where this blog ran a music salon for the better part of a year – put an end to one of the few remaining genuine scenes in a town further and further balkanized by the proliferation (some would say overproliferation) of outer-borough neighorhood bars with live music. Zirzamin made a blogger’s job obscenely easy – it was one-stop shopping, sometimes three or four good acts on a given night. Since then, keeping track of the best acts who passed through there has become a lot more time-consuming. In the spirit of keeping a scene alive, this is a long-overdue look at some usual suspects who haven’t let the loss of that venue phase them.

Full disclosure: Lorraine Leckie was a partner in booking the Zirzamin salon. And why not: she has impeccable taste and likes residencies (beats having to pay for rehearsal space, right?). She’s been doing a monthly Friday or Saturday night show going way back to her days in the Banjo Jim’s scene. When Banjo Jim’s closed, she moved to Otto’s, but that place isn’t really set up to handle to loud bands with vocals (and her band the Demons can be LOUD). So Zirzamin, with its pristine sonics, was a logical move. Lately she’s had a monthly Friday night gig at Sidewalk – her next one is June 20 at 11. Sometimes she plays a rock set with the Demons, sometimes she does her quietly menacing chamber pop stuff. Her January show there (yeah, this is going back a ways) was a showcase for her Lou Reed-influenced glamrock and lots of Hendrix-inspired pyrotechnics from lead guitarist Hugh Pool, capped off with a long, volcanic take of one of her signature Canadian gothic anthems, Ontario. The show before that was a solo set where Leckie alternated between Stratocaster and piano, featuring a lot of sardonic, brooding chamber pop songs, many of them from Leckie’s collaboration with Anthony Haden-Guest, Rudely Interrupted.

Baritone crooner/powerpop tunesmith/sharp lyricist Walter Ego is another Zirzamin regular who’s more or less migrated to Sidewalk. Like Leckie, he’s been doing about a show a month there lately – the next one is on June 19 at 9 – as well as playing bass in Mac McCarty‘s gothic Americana band. Walter Ego was most recently witnessed doing double duty, playing both a solo set – including a rare cover, an impassioned version of Peter Gabriel’s Biko, dedicated to the late Nelson Mandela – followed by a careening show with McCarty’s band at the Path Cafe back when there was still snow on the ground. As much fun as that bill was – McCarty’s lickety-split take of Henry, Oh Henry, an absolutely creepy cemetery-folk tune, being just one of many highlights – that venue proved itself completely unsuitable, sonically and spacewise, for full-band rock shows. Walter Ego’s previous solo show at Sidewalk was a lot more sonically accomodating (if you can imagine that), emphasis on similarly creepy material like the subway suicide narrative 12-9, the gorgeous noir cabaret waltz Half Past Late and the even more darkly gorgeous, metaphorically-charged chamber pop song I Am the Glass.

J O’Brien is the latest A-list songwriter to turn up at Sidewalk, coming off a monthly Zirzamin residency. His solo set on twelve-string guitar there last month followed a pretty wild, high-voltage show by wryly howling punkgrass/oldtimey band the Grand. Most of their songs are about drinking. They’ve got fiddle and cajon and resonator guitar and standup bass and a girl on harmony vocals who also plays the saw. They sound like a stripped-down, more punk New Brooklyn take on the Old Crow Medicine Show and they drew a big crowd who loved them. O’Brien fed off that energy, mixing animated acoustic versions of surreal, hyperliterate mod-punk flavored songs from his days with cult favorites the Dog Show, as well as some newer material with a biting political edge. Like Ray Davies, somebody he often resembles, O’Brien remains populist to the core.

Resonator guitarist/bluesmama Mamie Minch most likely never played Zirzamin, probably since she’s such a staple of the Barbes scene. She’s also opened her own guitar repair shop, Brooklyn Lutherie, in the old American Can Company building in Gowanus where Issue Project Room was for several years. They’re New York’s only woman-owned guitar and stringed instrument repair shop – how cool is that? Being an experienced luthier, Minch has a deep address book, and has staged a couple of excellent acoustic shows in the space since she opened. The first featured New Orleans Balkan/Romany band the G String Orchestra doing a hauntingly exhilarating trio show with violin, accordion and bass. No doubt there will be more.


New York Music Daily’s Sunday Salon: Blowing Our Own Horn

Sooner or later, every music blog seems to get into the business of booking bands. For this blog, that means coming full circle, having come out of booking into blogging and then back again. It makes sense: if you do your homework, you’re connected to a vast musical network. Some blogs do it for the money, booking acts everybody else does. The indie rock blogs do it for status. New York Music Daily does it to be part of history. That’s ultimately what this blog is about, anyway: an attempt to chronicle some of the most important musical things happening right now. Unlike the Bushwick blogs’ loft shows, the weekly 5 PM Sunday Salon at Zirzamin isn’t a clique. Quality artists are always welcome to participate, and anyone is welcome to watch the show. Today’s review is a shout-out to the core of brilliant New York artists who’ve kept the Salon going since its debut right after last year’s hurricane, with a look back at the last few weeks of shows by those acts and some others who’ve been featured on this page in recent months as well.

The Salon typically finishes with a 7 PM set.  Sunday Salon #27 was a cancellation, so the acts took turns working out new material and showcasing a few audience favorites. Acoustic blues singer/guitarist Lola Johnson was a highlight of this show, joined by her excellent washboard player, whose custom-built instrument had bells and all sorts of other percussion built into it. Working her way from the Mississippi Delta to Chicago, Johnson impressed the most with a gospel-fueled version of Fred McDowell’s You Gotta Move that was a lot closer to the original than the famous Stones cover. Songwriter Tamara Hey – who’s playing the 7 PM set on August 11 – also wowed her fellow songwriters with her wry, bittersweet, vividly detailed, quintessentially New York tales of playing gigs in Lower East Side dives and metaphorically-charged explorations of the dilemma between gluttony and self-discipline, with soaring, maple sugar vocals and intricate guitar fingerpicking. And Kelley Swindall treated the crowd to yet another creepy new murder ballad, this one a purist, oldtime country blues.

At that show, Lorraine Leckie did what she often does, opting to sit on a table with her acoustic guitar and belt to the audience without any amplification. A founding member of the salon, she’s never stopped growing as a songwriter. Her show here the first week of May spotlighted her elegant, brooding chamber pop songwriting, including many of her collaborations with journalist/gadfly/social critic Anthony Haden-Guest from her album with him, Rudely Interrupted. Her following two shows here, at Salons #30 and #34, featured her scorching rock band the Demons. Whether she’s playing ornate art-rock, Britfolk-influenced open-tuned pastoral themes, snarling retro glamrock or the Steve Wynn-esque Canadian gothic she made a name for herself with in the late zeros, there’s no one more interesting, or more at the top of their game as a songwriter than she is right now. Her band has been solidified by the addition of a regular bassist; her vocals, stronger than ever, have been bolstered by the amazing Banjo Lisa and her spine-tingling high harmonies. Her not-so-secret weapon is guitarist Hugh Pool, whose maniacal yet nuanced, Hendrix-inspired lead playing gives the songs a volcanic intensity.

Walter Ego is another songwriter who’s never sounded better. A mainstay of the Salon since it began, he likes to challenge himself, whether that’s playing solo on drums (an instrument he’s just picked up), or taking a stab at playing totally unamplified at Sidewalk after Salon #30. And it turned out to be a format that works for him. Without a mic, he had to pick up his cool, crisp vocals a little; his sardonic humor and tuneful songs, played both on acoustic guitar and piano, spoke for themselves. A couple of his best, recent numbers reminded of vintage Ray Davies. The most haunting one was 12/9 (subway code for “passenger under the train”); the funniest one was Mitterand’s Last Meal, a cruelly detailed account of the late French President’s final supper whose final course was an endangered species which in France is illegal for human consumption. Double entendres, puns and clever jokes met with catchy, sometimes Beatlesque changes throughout a mix of upbeat and more pensive tunes.

Chanteuse Carol Lipnik has also been a mainstay of the Salon. Since the late 90s, her four-octave voice has been stunning audiences across this city, yet she’s also grown in the past year: there is simply no diverse or captivating singer in New York right now. Her work spans the worlds of noir cabaret, the avant garde, British folk and art-rock. Her headlining set at Salon #32 featured her Ghosts in the Ocean project with pianist Matt Kanelos, mixing haunting, raptly atmospheric songs with more aggressive material including a machinegunning cover of Nick Drake’s Black Dog Blues. A couple of weeks before that, she treated the crowd at Barbes to over an hour and a half of her Coney Island phantasmagoria, backed by her band Spookarama with jazz pianist Dred Scott (Kanelos was also summoned from the crowd for a couple of unexpected and very welcome contributions). She’s been busy this year, with several shows at Joe’s Pub and le Poisson Rouge; she’s also appearing with her frequent collaborator, crooner John Kelly, at Joe’s Pub this Sunday, July 14 at 7:30 PM.

And the guy who’s arguably been the Salon’s most reliable anchor, John Hodel – the Bukowski of the New York acoustic music scene – plays a full set at 7 PM this Sunday the 14th.

Catching Up on Concerts…Again

The point of this blog’s Sunday Salon at Zirzamin is to create a scene. There are other good scenes in New York: all the good things happening at Barbes; oldtime Americana at the Jalopy; latin jazz at the Jazz Gallery, Jan Bell’s country and blues thing at 68 Jay St. Bar, Alexandra Joan‘s thematic classical series at WMP Concert Hall. But there’s no central rock scene in New York, unless you count the loser indie rock thing, whatever that is, in bush-WECK, as the gentrifier children there say in their funny accents. Because this blog’s focus is global, it’s been awhile since there’s been any report here on all the under-the-radar happenings at Zirzamin and elsewhere around town. So here we go!

Eclectic Canadian songwriter/chanteuse Lily Frost and her brilliant multi-instrumentalist husband Jose Contreras (not the guy who inadvertently springboarded the phrase “evil empire“) began their  most recent show at Zirzamin by cranking up Contreras’ phone, setting the mood with a delicious mix of vintage Hawaiian guitar tunes. Much as Frost had her sultry voodoo lounge voice in full effect, she was a whirlwind onstage, alternating between vocals, guitar, keys, percussion and theremin. She and Contreras gave a southwestern gothic menace to hazy Mazzy Star jangle, did Billie Holiday as gypsy jazz and Pink Floyd’s San Tropez as the cruel proto-Margaritaville satire that Roger Waters didn’t have the range to pull off. But Frost’s originals were the most memorable: lush Gainsbourg/Birkin style psychedelic pop, the deceptively biting if sugary bounce of Do What You Love and an especially menacing, noir cabaret-infused take of Grenade, the darkest song on her latest album. At the end of the set they channeled the Dream Syndicate and encored with an unexpectedly carefree Buddy Holly cover. Frost has been making frequent return trips here: let’s hope she makes it down again soon.

The featured artists at Sunday Salon 17 were Black Sea Hotel and they were as breathtakingly haunting and otherworldly as always. The trio of Sarah Small, Corinna Snyder and Willa Roberts have made a name for themselves in Balkan music circles for their original arrangements of large-scale Bulgarian choral works: that these Americans were invited to perform at the Bulgarian consulate pretty much speaks for itself. Small’s register-smashing range, Roberts’ wild ornamentation and Snyder’s powerful, soul-mutating wail matched against each other with eerie close harmonies, minutely gleaming microtones, rapidfire lyrical gymnastics balanced by lushly sustained passages. When Roberts announced that one of their songs had been featured in a horror film, that came as no surprise. They took care to explain the songs’ topics, from the idea of shoes as ghetto bling among the peasantry, to strange, shapeshifing, lethal dragon-men, to the town of Zborinka which apparently drew all the guys in centuries past since it was rumored you could always get a girl there. The more things change, etc. The trio closed with a new song which included a verse translated to English, and a brand-new arrangement with slinky polyrhythms and interwoven harmonies so tight they could have been a string section. Their debut album from a couple of years back is amazing, and they’re working on a follow-up. Canadian gothic songstress Lorraine Leckie – who’s been the most consistent star of the Sunday Salon since it debuted right after the hurricane last year – kept the lushly haunting intensity going with a stripped-down trio performance highlighted by several numbers from her most recent chamber pop album, Rudely Interrupted, a collaboration with social critic/journalist/personality Anthony Haden-Guest. And she and her band the Demons are back at Zirzamin on May 5 at 7.

The following Saturday at the National Underground, powerhouse ragtime pianist Jack Spann opened with a sizzling solo set of originals ranging from the haunting Roly-Poly Man – a chilling story of murder and karmic payback – to an unexpectedly pensive, catchy ballad written by his wife. Spann then joined lyrical rocker Walter Ego, amping up one of his bluesier numbers. Walter (to call him “Ego” just doesn’t sound right) was similarly on his game, running through a set that ranged from a morbid art-rock piano number told from the point of view of a subway motorman who’s just hit someone on the tracks, to the gorgeously, cruelly metaphorical I Am the Glass, to a couple of catchy guitar tunes that evoked influences as diverse as the Kinks, Elvis Costello and of course the Fab Four (this guy knows the Beatles like few others). The best of these – it’s hard to choose – could have been a sardonically catchy, jangly number about minimizing one’s life, to the point where the womb and points even lower on the evolutionary scale begin to look appealing. Walter Ego is at Zirzzmin after the Salon on Apr 28 at 7.

Raquel Bell headlined Sunday Salon 18 with her Mesiko bandmate, guitarist David Marshall  joining her for a characteristically uneasy, electric Neil Young-flavored tune. Bell has a history of brilliant collaborations: she co-led Norden Bombsight, an art-rock band who will be legendary someday when they’re rediscovered; lately she’s been singing and playing keys with violist Jessica Pavone in Normal Love, as well as fronting Mesiko with their dusky Americana menace. Bell has grown into an adept guitarist, playing solo on electric, shifting from distant jangly ominousness to an unexpectedly cheery, funky pop song titled Harry Partch. Then she switched to her vintage analog synth, sounding like a young Patti Smith backed by Tangerine Dream. The occasional moments where the synth went out of tune only added to the creepily carnivalesque atmospherics. Her voice lept and dove as the loops pulsed; she ended her set with a brooding, Marble Index-ish tone poem of sorts. She and Mesiko are at Zirzamin every Sunday for the remainder of April at around 10:30 PM.

Sunday Salons 9, 10 and 11: Going Full Throttle Now

Some of you might see the weekly calendar for New York Music Daily’s Sunday Salon  at Zirzamin here week after week and wonder what’s up with it. Obviously, some of you have been in the house, either performing or watching, so this is a shout-out to you for being there and supporting, as well as to the musicians who make it so much fun. Case in point: cellist Serena Jost, whose own music is elegant and nuanced to the nth degree, wailing and thrashing her way through a long improvised solo on an even longer Rick Snyder country blues ballad. Rachelle Garniez graced the stage with her wickedly subtle, edgy, occasionally gospel-flavored retro rock and soul; Martin Bisi brought his pedalboard and haunted the room with casually menacing, slowly unwinding Lynchian art-rock songs. Jon Ladeau brought his original, soulful oldtime Americana; Carol Lipnik wowed everybody with her four-octave vocal range and mysterious, mystical, phanstasmagorical material. LJ Murphy ,with his thousand-yard stare and withering, politically-fueled lyrics, and  Walter Ego, with his nimble basslines and tough stance on gun control have also made frequent appearances.

The featured sets after the salon give some of New York’s best invited performers an opportunity to take some chances and do some unexpected things in Zirzamin’s intimate space. For Lorraine Leckie and Her Demons, that meant pulling back a little on the Canadian gothic ferocity, putting her excellent drummer on cajon, letting guitar genius Hugh Pool work his quieter side (it’s true – such a thing exists) and exploring the secret corners of some of her louder, more glam or punk-inspired songs.

For Mark Sinnis, longtime leader of artsy, dark Americana rockers Ninth House, justifiably acclaimed for his solo “cemetery and western” Nashville gothic stylings, that meant a rare Manhattan performance with James Brown (one of the living James Browns) playing gorgoeusly retro rockabilly and country lines on his big Gretsch guitar, mingling with the virtuoso banjo intensity of Stephen Gara. With his big baritone voice, Sinnis often evokes Johnny Cash, with this project now more than ever. And this past Sunday, Tracy Island a.k.a. Liza Roure and Ian Roure from the Larch (and the late, great WonderWheels) romped through a hypnotically jangly, psychedelically edgy mix of old favorites and darker new material. Ian brought out his new pedalboard, chock full of old effects for fiery 80s-influenced solos and fills while Liza channeled her classical training into a rapturous take of Leonard Cohen’s Stories of the Street as well as cynical versions of originals like Where’s My Robot Maid, Land of Opportunity and a warmly evocative new song inviting everybody down to Freddy’s Bar in South Brooklyn for the Mermaid Parade afterparty.

Every Sunday at 5 PM, New York Music Daily presents the Sunday Salon at Zirzamin, where some of New York’s edgiest songwriters and musicians trade songs and cross-pollinate in the old Zinc Bar space at Houston and LaGuardia. There’s never a cover charge; the club has cheap beer, good Tex-Mex food, and the public is welcome to attend. Participation is by invitation only. The featured set at 7 PM this Sunday, Jan 27 is by charismatic, ferociously intense acoustic punk-blues songwriter Molly Ruth.

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.

The 30 Best New York Concerts of 2012

Of all the end-of-the-year lists here, this is the most fun to put together. It’s the most individual – everybody’s got a different one.  Last year’s list had 26 shows; this year’s was impossible to whittle down to less than 30. What was frustrating was looking back and realizing how many other great shows there were. Erica Smith, Rebecca Turner, Love Camp 7 and Pinataland all on the same bill at the Parkside? The club didn’t list it on their calendar. Neil Young in Central Park? Completely spaced out on that one. Pierre de Gaillande’s Georges Brassens translation project, Les Chauds Lapins and Raya Brass Band at that place in Tribeca in January? That night conflicted with Winter Jazzfest. The Brooklyn What at Littlefield, Rachelle Garniez at Barbes, Ward White and Abby Travis at Rock Shop, Spanglish Fly at SOB’s…all of those conflicted with having a life. But it was still a great year, arguably better than 2011.

Of all the multiple-act bills, the longest marathon, and arguably most exhilarating show of the year was Maqamfest on January 6 at Alwan for the Arts downtown with slinky Egyptian film music revivalists Zikrayat, haunting vintage Greek rembetiko oud band Maeandros, torchy Syrian chanteuse Gaida, rustic Iraqi classicists Safaafir, deviously intense Palestinian buzuq funk band Shusmo and then a crazy Middle Eastern jam with the brilliant Alwan All-Stars. Maqamfest 2013 promises to be just as good.

Rather than trying to rank the rest of these shows, they’re listed chronologically:

Walter Ego at Otto’s, 1/28/12 – the witty, brilliantly lyrical multi- instrumentalist/songwriter, minus his usual theatrical shtick, instead running through one clever, pun-infused, catchy song after another.

Eva Salina at the Ukrainian National Home, 3/31/12 – this was the debut performance of brilliant Balkan chanteuse Eva Salina Primack’s new band with Frank London on trumpet and Patrick Farrell on accordion. She swayed, lost in the music and sang her heart out in a bunch of different languages over the haunting pulse behind her.

Closing night at Lakeside Lounge, 4/30/12 with co-owner Eric Ambel’s Roscoe Trio, Lenny Kaye from Patti Smith’s band, Mary Lee Kortes, Boo Reiners from Demolition String Band, Charlene McPherson from Spanking Charlene and many others giving the legendary East Village rock venue a mighty sendoff.

Little Annie, Paul Wallfisch and David J at the Delancey, 5/7/12 – the smoky, sureallistically hilarious noir cabaret chanteuse, Botanica’s brilliant keyboardist playing three sets, and the legendary Bauhaus bassist/songwriter/playwright at the top of their brooding noir game.

Ben Von Wildenhaus at Zebulon, 5/14/12 – at one of his final shows before leaving town, the noir guitarist played solo through a loop pedal and turned the club into a set from Twin Peaks.

LJ Murphy & the Accomplices at Otto’s,  6/16/12 – backed by the ferocious piano of Patrick McLellan, Tommy Hochscheid’s classic Stax/Volt guitar attack and a swinging rhythm section, the NYC noir rock legend careened through a politically-charged set of songs from his reportedly phenomenal forthcoming 2013 album.

Black Sea Hotel in Ditmas Park, Brooklyn, 6/17/12 – the trio of Willa Roberts, Corinna Snyder and Sarah Small sang their own otherworldly, hypnotic a-cappella arrangements of surreal Bulgarian folk songs from across the centuries, their voices hauntingly echoing in the cavernous space of an old synagogue.

Veveritse Brass Band at Barbes, 6/28/12 – over the absolutely psychedelic, bubbly pulse of the trubas, this ten-piece Balkan jam band burned and roared and turned the club’s back room into a cauldron of menacing chromatics and minor keys.

Kotorino at Joe’s Pub, 6/29/12 – transcending a series of snafus with the sound system, the lush, artsy chamber-steampunk band evoked other countries and other centuries throughout a set that was as jaunty and fun as it was haunting.

Aaron Blount of Knife in the Water with Jack Martin from Dimestore Dance Band at Zirzamin, 7/9/12  – although the two hadn’t rehearsed, Martin evoked the ghost of Django Reinhardt against the reverb cloud swirling from Blount’s guitar amp, through a mix of moody, gloomy southwestern gothic songs.

Magges at Athens Square Park in Astoria, 7/10/12 – the Greek psychedelic rockers played a long show of spiky, often haunting songs spiced with Susan Mitchell’s soaring electric violin and Kyriakos Metaxas’ sizzling electric bouzouki – it seemed that the whole neighborhood stuck around for most of it. Too bad there wasn’t any ouzo.

Neko Case out back of the World Financial Center, 7/12/12 – the stage monitors weren’t working, which messed up opening act Charles Bradley’s set, but Case, Kelly Hogan and the rest of the band didn’t let it phase them, switching up their set list and playing a raw, intense set of noir Americana.

Niyaz at Drom, 7/22/12 – a  long, mesmerizing cd release show by the artsy Canadian-Persian dance/trance ensemble, frontwoman Azam Ali slowly and elegantly raising the energy from suspenseful to ecstatic as it went on.

Dimestore Dance Band at Zirzamin, 7/23/12 – since reviving this group, guitarist Jack Martin has become even more powerful, more offhandedly savage and intense than he was when he was leading them back in the mid-zeros when this witty yet plaintive gypsy/ragtime/jazz band was one of the finest acts in the Tonic scene. This show was a welcome return.

The Secret Trio, Ilhan Ersahin and Selda Bagcan at Lincoln Center Out of Doors, 7/28/12 – the annual “Turkish Woodstock” began with short sets of haunting classical instrumentals, psychedelic jazz and then the American debut of the legendary psychedelic rock firebrand and freedom fighter whose pro-democracy activism landed her in jail at one point.

Bettye LaVette at Madison Square Park, 8/8/12 – the charismatic underground soul legend took songs from acts as diverse as George Jones, Paul McCartney and Sinead O’Connor and made them wrenchingly her own, a portrait of endless struggle followed finally by transcendence.

Bombay Rickey at Barbes, 8/11/12 – jaunty, jangly, surfy , psychedelic Bollywood rock fun, with guitar, accordion and frontwoman Kamala Sankaram’s amazing operatic vocals.

Daniel Kahn & the  Painted Bird at Lincoln Center Out of Doors, 8/12/12 – grim, politically spot-on, lyrically brilliant klezmer-rock songwriting from the Berlin-based bandleader backed by an inspired New York pickup group.

Ulrich Ziegler at Barbes, 8/17/12 – of all the single-band shows, this was the year’s most intense, over an hour of eerie. reverb-driven noir cinematic instrumentals from genius guitarist Stephen Ulrich and his inspired colleague Itamar Ziegler, celebrating the release of the album rated best of 2012 here.

The Byzan-Tones at Zebulon, 8/22/12 – the recently resurrected Greek psychedelic surf rockers traded in the electric oud for Steve Antonakos’ lead guitar, and the result sent the haunting, Middle Eastern-fueled energy through the roof.

J O’Brien and Beninghove’s Hangmen at Zirzamin, 9/10/12 – a fascinatingly lyrical, characteristically witty set, solo on twelve-string guitar, by the former Dog Show frontman followed by New York’s best noir soundtrack jazz band at their most intense and psychedelic.

The Strawbs at B.B. King’s, 9/11/12 – it’s amazing how almost 45 years after the psychedelic/Britfolk/art-rock band began, they still sound strong, their lyrical anthems still resonant even in a stripped-down acoustic trio setting.

Sam Llanas at Zirzamin, 9/11/12 – rushing downtown to catch a solo show by the former BoDeans frontman paid off with a riveting, haunting set of brooding, austerely nocturnal songs, especially when J O’Brien joined him on bass.

Sex Mob at the World Financial Center, 9/27/12 – the downtown jazz legends got the atrium echoing with a hypnotic, absolutely menacing set of classic Nino Rota film themes – and they didn’t even play the Godfather.

Julia Haltigan at 11th St. Bar, 10/2/12 – the eclectic southwestern gothic/Americana/soul siren and songwriter at the top of her torchy, sultry, intense game, backed by a brilliant, jazzy band.

M Shanghai String Band‘s cd release show at the Jalopy, 10/5/12 – an hour of cameos from too many New York Americana luminaries to name, followed by two long sets from the massive oldschool string band, moving energetically from bluegrass, to Appalachian, to sea chanteys, gypsy sounds and Britfolk, sometimes fiery and intense, sometimes hilarious.

Theo Bleckmann backed by ACME, crooning Phil Kline song cycles at BAM, 10/25/12 – this was the premiere of Kline’s lushly enveloping chamber-rock arrangements of his acerbically hilarious Rumsfeld Songs, his eclectic Vietnam-themed Zippo Songs and his brand-new, luridly haunting new Sinatra-inspired cycle, Out Cold.

The Arturo O’Farrill Afro-Latin Jazz Orchestra at Symphony Space, 11/2/12 – in the wake of the hurricane, O’Farrill decided to put on a couple of free concerts to lift peoples’ spirits. This was the first and better of the two nights, the brilliant latin big band pianist joined by special guests including Anat Cohen, Sex Mob’s Steven Bernstein, Rafi Malkiel and Larry Harlow, playing long, broodingly intense, towering themes, many of them based on classic Jewish melodies.

Katie Elevitch at Zirzamin, 12/16/12  – goes to show that you can’t really count the year’s best concerts until the year’s almost over. Backed by her fantastic four-piece band, the haunting, intense rock siren improvised lyrics, roared, whispered and seduced the crowd in the plush space with her voice and her achingly soul-inspired songwriting.

Even More Live Chronicles

This is an attempt to get caught up on some of the more intriguing live shows of (relatively) recent days, beginning with the klezmerfest at Central Park Summerstage exactly two weeks ago. Why so late on this? Great albums have been coming in over the transom left and right. Besides, none of the groups chronicled here have broken up (let’s hope not, anyway), so you’ll have plenty of opportunities to see them if you’re in town and they’re your type of thing.

The klezmerfest, co-sponsored by the Workmen’s Circle, featured a mix of familiar and not-so-familiar faces playing Jewish music from across the diaspora and the decades that was alternately playful, haunting and powerfully insightful. The high point of the evening was Daniel Kahn, leader of klezmer group the Painted Bird, which in this particular instance was something of a pickup band. But they rose to the occasion. Kahn’s songs are intense, historically aware and rich with irony, and his brooding, sardonic delivery and stage presence enhance those songs’ power. He sang several numbers first in Yiddish and then in English, opening solo on pizzicato violin and harmonica with the first song he ever translated, an early 60s Broadside-style folk tune about “how we reap what greed is sowing,” taking considerable pride that the late musicologist Adrienne Cooper had given it her seal of approval. He switched to piano and was then joined by the band for a raging, gorgeously caustic tune about a “king of the thieves,” dismissing “all you people sick from being fed,” memorializing somebody “sick from the streets, sick from the prison walls,” but “on his gravestone etched in gold he should have his story told.” It was the high point of the night. Electric guitarist Avi Fox-Rosen then came up and added a scorching solo to a klezmer-punk song that Kahn wryly explained was about “the lumpenproletariat at odds with the petit bourgeoisie.” They closed on a bitter, elegaic note with Sunday After the War, a haunting, utterly defeated waltz, Kahn adding especially intense emphasis to the line “they always recruit after the war.” That song may have been written in the wake of the Iraq war, but its message was timeless. Kahn and band play outdoors on the back plaza at Lincoln Center on August 12 at 1 PM.

The Klezmatics preceded Kahn onstage. The original klezmer punks have a somewhat different lineup these days (and a monstrously good double live album from the Town Hall released last year), but their music is just as timeless. Trumpeter Frank London led them through a blazing, swaying minor-key opener, then accordionist Lorin Sklamberg – whose voice has mellowed like a good slivovitz over the years – took over the mic on a London arrangement of Woody Guthrie’s Mermaid Avenue, the Coney Island street where “the lox meets the pickle and the sour meets the sweet,” where you might see the occasional shark, but no mermaids. They wrapped up their unexpectedly short set with a sad, bitingly satirical number about how the Russian Tsar prefers his tea, then a lickety-split “antifascist love song” (he’s in Brooklyn, missing his sweetheart back in the old country) and then a rousing singalong with the message that we’re all brothers and sisters in this mess.

Strangely, at least as far as the first part of the show was concerned, the longest set came from the comedic Yiddish Princess, where many of the folks who’d backed Kahn switched instruments or styles and played satirical hair-metal versions of klezmer and old Jewish pop hits. Their frontwoman can’t really sing, but that’s part of the joke. Fox-Rosen paired off with fellow axemeister Yoshie Fruchter for an endless series of tongue-in-cheek twin solos and metal duels over the canned swoosh of the string synthesizer. Their incessant barrage drove a lot of the alte kockers out of the arena, but the kids loved them.

A theatre troupe opened the evening with a series of songs illustrating the deep cross-pollination between American black and Jewish music early in the past century. As educational as their presentation was – for example, you knew that Cab Calloway ripped off a klezmer hit for Minnie the Moocher, right? – the stagy presentation and generically legit, Broadwayesque vocals dragged down the eclectic mix of songs. And the headliner, a so-called rapper, seemed to be gung-ho on being sort of a Jewish-specific version of Beck. That we don’t need: the Scientologists can keep that guy.

A shout-out to Walter Ego, the sharp, cleverly lyrical rocker who played a solo show at Otto’s the following Saturday night, switching from guitar to piano and then back again in an often savagely witty mix of catchy, sometimes Beatlesque tunes. He surprised with a couple of new ones, one a Dead Kennedys-style punk number, another an uneasy minor-key blues, along with the chillingly metaphorical dirge I Am the Glass, the John Lennon-esque piano anthem Big Life and the LOL-funny Adventures of Ethical Man, a comic book hero hell-bent on doing the right thing…sort of.

And then this past Saturday, Kelli King and Lorraine Leckie treated the crowd at the National Underground to tantalizingly brief sets. King sang her bitingly catchy Americana rock and country/blues songs beautifully, in a nuanced voice that was equal parts jazz sophistication and country sugar, backed by an excellent lefty bassist and a guitarist whose uneasy psychedelic guitar chops made a great match with the songs even if he sometimes didn’t know where to stop. And Leckie – whom you’ll be hearing more about here shortly – took her time with a handful of coldly sarcastic Canadian gothic rock tunes that she played solo on guitar. Her collaboration with Anthony Haden-Guest is already starting to pay dividends in terms of songs, and she brought the characters twistedly to life – the alienated old couple in the cruelly titled Bliss, the starstruck ingenue Little Miss X, and the bewildered one-percenter of Rudely Interrupted, all of those brand-new tunes. At one point, when Leckie hit the end of a chorus, she simply refused to let go of the last note and sang it out to the point where she didn’t seem she’d ever let it go. It was an unexpectedly dramatic moment in an otherwise quietly intense set.

To wrap up the last couple of weeks, concertwise, not everything was this good. It would have been nice if those ageless reggae guys from the 70s had focused on their good songs instead of their poppy stuff at their outdoor concert downtown the day after the klezmer show; then again, once a cover band, always a cover band. And the day after that, it would have been ideal if the organizers could have moved the outdoor concert by that Ellington alum and his band indoors: those old vets still have their chops, but the heat stifled them. Then again, a group half their age would have been affected just as adversely.

Some Good Shows You Might Have Missed

Back in the day, before the web really took off, one of the best ways to find out about concerts in this city was the New York Waste. It still exists, sort of a cross between the Onion and the old NY Press. Copies of the paper were hard to find then, and they still are, because people grab it the moment it hits the street (i.e. the corner of the bar at Duff’s or St. Vitus, for example). It’s funny, and irreverent, and although ten years ago it could just as easily have been called Bands Who Play the Continental, it still covers music that few blogs and none of the corporate media will go near, especially what’s left of the indigenous punk and metal scenes here. Over the years, it’s generally been less of a guide to what’s upcoming than it is a sometimes tantalizing look at what’s already happened. So in the spirit of the New York Waste, here’s a look at some recent live shows worth revisiting.

A little over a week ago, Lorraine Leckie & Her Demons played an invite-only show at one of the local dives. She switched between guitar and piano, and the band – Hugh Pool on lead guitar, J. Wallace on bass and Paul Triff on drums – was at the top of their game. Even though this was basically a live rehearsal in front of a bunch of friends and media, they careened through a scorching mix of electric Neil Young-style anthems, a little punchy glamrock and the creepy noir songs that Leckie has made her specialty. Pool’s murderous rampages and judicious atmospherics serve Leckie’s songs perfectly: he’s the rare lead guitarist who plays a lot of notes yet manages to make them interesting. Unhinged cascades of crazed tapping, anguished, screaming bent notes and machine-gun volleys to bring a song over the top all figured into the equation. A couple of the night’s best songs were new collaborations between Leckie and legendary 70s nightlife figure Anthony Haden-Guest from a forthcoming album that they’ll be wrapping up next month: the first, a balefully quiet number told from the point of view of a serial killer, the last a bittersweetly glimmering piano ballad about addiction and disollution sarcastically titled Happy City.

The next day the Sic Fucs played the Howl Festival in Tompkins Square Park. The legendary, comedic 70s CBGB punks still have it. Tish and Snooky looked fantastic and still have those great voices – there’s a reason why Debbie Harry teamed up with them in the Stilletos – and they had all their props, including a couple of big cleavers to swing on the chorus of Chop Up Your Mother. Methodically and professionally – that’s no joke – they made their way through Spanish Bar Mitzvah – which was gypsy punk before gypsy punk existed – along with Rock or Die, Your Teenage Abortion and a bunch of other snotty, sarcastic barely two-minute songs. Russell, their frontman, told politically incorrect ethnic jokes, jumped off the stage and ran through the crowd and then found he couldn’t leap high enough to get back up there. So he went around the back. A torrential cloudburst had just ended when they first hit the stage; by the time the show was over, the clouds were gone.

Band of Outsiders, another group that called CB’s home in a previous life, were amazingly good at Local 269 a few nights later. It was fun watching Jesse Bates – one of the world’s least likely but most entertaining frontmen – lead former Lakeside supergroup, opening act Los Dudes, through a bunch of characteristically tongue-in-cheek garage rock tunes. Then Band of Outsiders reminded how they’re even better now than they were at the peak of their popularity almost thirty years ago. The twin guitars of Jim McCarthy and Marc Jeffrey jangled and clanged and intertwined with a psychedelic chemistry akin to Richard Lloyd and Tom Verlaine in Television, a band they get compared to a lot and deservedly so. Mixing up older songs with new ones from their excellent new Sound Beach Quartet mini-album, they evoked other great guitar bands from years past: the artsy catchiness of the Church; the menacing improvisational stomp of True West; the hypnotic but hooky jangle of the Feelies, and then closed with a rampaging, uncharacteristically loose cover of Shakin’ All Over. But the best songs of the night were the new ones. McCarthy sang the bittersweet, Grateful Dead-tinged Gods of Happenstance as Jeffrey hit his envelope pedal for some terse Jerry Garcia textures; Jeffrey took over vocals on the backbeat-driven, unexpectedly crescendoing One Life Is Not Enough.

The following night, dark folk songwriter Mac McCarty and his band packed the back room at a bar a little further north that occasionally doubles as music venue, and played their asses off, possibly fueled by the frustration of not having any amplification other than a couple of vocal mics. As it turned out, the swishy theatreboy behind the sound board was so concerned with getting the sound right for his own vocal mic – why he needed one in the first place is a mystery – that he forgot to unmute the other channels on the board. So none of the instruments, other than Walter Ego’s bass, was amped. But the group wouldn’t be denied, racing through a mix of lickety-split, punk-tinged acoustic songs, including a particularly angry one about strikebreaking Pinkertons torching a New Year’s Eve party in Michigan mining country sometime in the 1800’s with predictably gruesome results. The slow requiems and laments were just as intense, even though the crowd in the back were having a hard time hearing everything; former Banjo Jim’s honcho Lisa Zwier-Croce sang her heart out on a couple of them, giving them an absolutely chilling edge.

Because bad reviews don’t really serve any useful purpose (and can be totally unfair to the musicians involved), there’s no sense in going into any kind of depth about the shows by the well-loved veteran funkmeister just back from hanging out in the pool at his girlfriend’s place in Connecticut, who couldn’t pull himself out of vacation mode and found himself at a rare loss for words; the fortysomething chanteuse from the Great Plains and her twentysomething band who didn’t have a clue how to play the oldschool country songs she sings so fetchingly; the purist Americana guitarslinger and his talented pals who really, really need to rehearse before they play out again; the equally talented up-and-coming indie classical outfit who found themselves in unfamiliar circumstances outdoors, where they waged a sonic battle with a sputtering gas generator and lost, badly; and the legendary oldschool funk bandleader whose inspired performance was undone by an uncharacteristically wretched sound mix at a popular summer venue. Watch this space for the conclusion of this two-part series,with an iconic and still vital punk-era personality, a dub reggae band, a jam-oriented klezmer outfit and a famous rapper fronting a symphony orchestra.

Walter Ego Plays the Show of His Life

Dylan said that you can always come back, but you can’t come back all the way. Saturday night at Otto’s guitarist/keyboardist (and frequent bassist) Walter Ego played what could have been the best show of his career, something you might not expect from a guy who was out of music the entire decade of the zeros (then again, if you had to miss a decade, that was the one, at least until 1/20/09). But Dylan didn’t say you couldn’t come back all the way and then some. What was most impressive is that the guy was playing on short notice, pinchhitting for the ailing but now apparently ok LJ Murphy. Murphy left big shoes to fill. Ego (or Walter – he likes to be on first-name terms with everybody) delivered in the clutch, more of a Rusty Staub blast than a Lenny Harris bloop (deliberate gratuitous Mets reference: Walter knows who they are).

Maybe not so ironically, the night’s most powerful moment was a cover of a Murphy song, Sunday’s Assassin (which by all accounts Murphy has played live once in the past ten years). Walter played this one on piano, giving it extra low-register grandeur, in the process helping to humanize the guy who kills not only Sundays but people, all the while vaccillating between the desire for tabloid notoriety and the reality of being so depressed that he can’t get out of bed. “Only fools keep trying to forget the price on my head,” he boasts one minute, the next dreading the moment when the cops scrape under his nails for blood and hair.

Walter usually has props and skits and jokes galore, but this time, maybe because it was short notice, it was all about the songs. The bouncy Adventures of Ethical Man chronicled a superhero who wears shirts emblazoned with a big letter “E,” which Cynical Man would claim as a tax writeoff, while Practical Man would use them to wash his car. The funniest of all the songs was The No Trouble Blues, about a guy who’s so up it looks like down to him: whiskey never tempts him, and when he gets to the crossroads, the Devil runs off with his tail between his legs. Then there was the cynical, cruelly metaphorical A Million Monkeys, and the sarcastic Don’t Take Advice from Me.

There were also a lot of pensive moments: a Ray Davies-esque number told from the point of view of a mouse whose girlfriend dies in a trap: “Pain is excruciating when you watch someone you love cry,” Walter crooned ominously. A lush, Lennonesque piano ballad apprehensively affirmed how anyone can have a big life instead of a little one (or not – the ambiguity was chilling). Likewise, the ridiculously catchy Satellite coldly and subtly chronicled the kind of person who enjoys balancing (and manipulating) everything he touches. And the best of the originals might have been I Am the Glass, this decade’s equivalent of the Room’s classic Jackpot Jack, a brooding, stately piano anthem full of shards and shattered symbols. Walter Ego will probably be back at Otto’s sometime next month, watch this space.

Mac McCarty Plays Dark Americana at Bar 82

If you weren’t at Mac McCarty’s show Wednesday night at Bar 82, you missed a good one (and considering how many people were there, you probably did). But that’s what music blogs are for, to spread the word about artists who deserve to be better-known. McCarty was a familiar face in the Banjo Jim’s scene: lately he’s been collaborating with a rotating cast of musicians who suddenly found themselves without a home when that well-loved venue shut its doors last summer. Americana is his thing, and he’s very eclectic: if you have to categorize what he does, dark folk wouldn’t be off the mark. Although his brisk opening and closing tunes – the latter a bristling cover of Maggie’s Farm – could either go totally bluegrass, or sound like the Minutemen if McCarty and his lead guitarist Cody Neeb had been playing electric instead of acoustic.

McCarty’s unselfconsciously flinty, weathered voice is a powerful vehicle for his pensive, sometimes haunting songs. The knockout moment of the night was a bitter, gorgeously brooding narrative told from the point of view of a thug who can’t bring himself to kill again: “Down at Miss Martha’s house, my name is Jack, I’m down there most every night with my heart painted black.” Lisa Zwier-Croce, the Banjo Jim’s honcho who built and nurtured the Americana scene that flourished there for so long, came up to sing poignant harmonies on a brisk coal miner’s lament; a little later on, McCarty delivered a plaintive gospel-tinged requiem lit up by Neeb’s fluid, understated bends and hammer-on licks. Donna Susan raised the energy in the room with a knowing grin when she joined McCarty for one of her wry I-don’t-want-to-go-to-work numbers, with a typically droll lyric where she talks to her dreams, “And they talk back, they really don’t like when I act like that.” After a lickety-split bluegrass tune, Walter Ego came up added his dry-ice baritone to the darkly rapidfire Dublin House Blues and then the sardonic I Promise I Love You, an oldtime country-folk song with more slinky lead work by Neeb. McCarty had broken his B string early on, but that didn’t stop him: somehow he finished the show without breaking another, pretty impressive considering how energetically he was attacking the songs. A lot of acoustic songwriters are absolutely forgettable performers, but by mixing up slow numbers with fast ones, and the constant parade of people on and off the stage, McCarty made this an entertaining night. And you missed it.