Since the late 90s, Gutbucket have distinguished themselves as purveyors of moody, sardonic, cinematic instrumentals that combine jazz improvisation with noirish rock themes. You could call them a more jazz-inclined version of Barbez, and you wouldn’t be far off. If you miss the days when Tonic was still open and edgy sounds were an everyday thing on the Lower East Side, you’ll be psyched to know that Gutbucket are doing a stand at the Stone from Nov 18 through 23 with two sets nightly at 8 and 10 PM; cover is $10. As you would expect from pretty much everybody who plays there, the band are doing several interesting collaborations and are making a live album in the process. The most enticing set of all might be the early show on opening night when the music will have some added lushness via the strings of the Jack Quartet.
Frontman/guitarist Ty Citerman also has a wickedly fun, tuneful, genre-defying sort-of-solo Tzadik album, Bop Kabbalah, out with his Gutbucket bandmates Ken Thomson on bass clarinet, Adam D. Gold on drums plus Balkan trumpeter Ben Holmes. Although the themes draw on traditional Jewish music, jazz tropes and rock riffage take centerstage. The first track, The Cossack Who Smelt of Vodka (possible ommitted subtitle: what cossack doesn’t smell of vodka?) follows a tensely cinematic, noirish trajectory to a long outro where Citerman’s tensely insistent guitar pairs against Thomson’s calmness.
Conversation with Ghosts works a catchy minor-key theme punctuated by droll leaps and bounds up to a long Holmes solo, then the band reprises it but much more loudly and darkly. Snout moves from squirrelly free jazz into a brief Romany dance, then the band refract it into its moody individual pieces, transforming what under other circumstances would be a party anthem into a fullscale dirge.
The Synagogue Detective bookends a tongue-in-cheek cartoon narrative with alternately biting and goodnaturedly prowling solos from Citerman, Holmes and Thomson. Likewise, they liven the skronky march After All That Has Happened with squalling Steven Bernstein-esque flourishes. In lieu of hip-hop flavor, Talmudic Breakbeat has an unexpected lushness, neatly intertwining voices, some drolly shuffling rudiments from Gold and the album’s most snarling guitar solo.
The album’s most deliciously epic track, Exchanging Pleasantries with a Wall moves up from echoey spaciousness, through a disorienting, funereal groove that brings to mind low-key Sonic Youth as much as it does Bernstein’s arrangements of old Hasidic nigunim. The closing cut puts a clenched-teeth, crescendoing noir dub spin on a broodingly austere old prayer chant. Now where can you hear this treat online? Um…try Citerman’s soundcloud page and youtube channel for starters; otherwise, the Stone is where it’s at, next week.
Ben Holmes has a distinctive, soulfully purposeful voice on the trumpet. He plays with Ty Citerman’s Bop Kabbalah, Russian Romany party band Romashka and the funky Brooklyn Qawwali Party, among others, and on the jazz side with his quartet featuring trombonist Curtis Hasselbring, bassist Matt Pavolka and drummer Vinnie Sperrazza. Holmes also has a pensive, often haunting new duo album, Gold Dust, with brilliant accordionist Patrick Farrell. The two are playing the release show on June 7 at 8 PM at Barbes.
Much as Farrell has supersonic speed and is one of New York’s great musical wits, and Holmes tends to play tersely, with plenty of gravitas, the album doesn’t have the kind of dichotomy you might expect. Most if not all of the music here is on the somber side, and the duo lock into that mood. They open the album with a purposefully stripped-down, lithely dancing arrangement of a stately Shostakovich piece. From there they take their time building the catchy, klezmer-tinged Black Handkerchief Dance from a dirge, Farrell using every inch of register at his disposal, from keening highs to murky lows, up to a more triumphantly bouncy pulse.
The next number is a suite. Holmes and Farrell exchange warily spiraling leads and contrapuntal riffs as it opens, then Farrell anchors a grey-sky theme with an airily otherworldly, Messiaen-esque ambience, then the duo pick up the pace and make a rustically off-center Balkan dance out of it. The Shostakovich tune that follows it is all about distantly ominous foreshadowing punctuated by uneasy cadenzas.
Zhok, a brooding Balkan waltz, makes the most of a stripped-down arrangement, first with the instruments trading off and then intertwining up to a big crescendo. A New Mammon is similarly moody, a grey-sky Balkan pastorale, something akin to the Claudia Quintet without the drums taking a stab at Eastern European folk. From there they pick up the pace with a jaunty Erik Satie ragtime waltz and then go back into pensively subdued territory with Peace, whose calm ambience can’t hide a lingering unease, building suspensefully from spacious solos from both instruments to a rather guarded optimism.
From there they pick up the pace again with Honga, its tricky, Macedonian-flavored shuffle beat, animated tradeoffs between instruments and intricately ornamented trumpet leads. The final track, Romance, blends oldschool jazz balladry with a more modernist feel, Farrell leading the way. A lot of people are going to like this album, fans of jazz and classical as well as Balkan and Middle Eastern music.
Kinetically shapeshifting, stunningly eclectic Slavic string ensemble Ljova & the Kontraband played two shows Sunday evening at the National Opera Center, one for the kids and one for the adults. What was most striking was that even as bandleader/viola virtuoso Lev “Ljova” Zhurbin kept a mostly kindergarten-and-under audience attentive and often wildly involved – the perimeter of the room quickly becoming a proto-moshpit – he and the band never dumbed down the material. Nor did they condescend to the children: no babytalk, no “LLLEEETTT’SSS TTTAAALLLKKK IIINNN SLOOO- MOOO.” He challenged the kids, and bantered with them, and they rose to the occasion. As it turned out, one of the girls quickly identified his instrument as not being a violin. Another kid wanted to know why Zhurbin had switched to viola at age twelve after seven years playing the violin. “I like a lower sound,” he explained. “All the high notes on the violin made me want to freeze!”
You think an American kid can’t dance in 7/8 time? You didn’t see the five-and-unders having a ball with it at this show. “You can count to seven, right?” Zhurbin grinned, and it sure looked as if they did. What was funny, and maybe predictable, was how the girls (a slightly older demographic here) hung toward the front and watched, and took it all in, and responded eagerly to Zhurbin’s dry wit while the boys thundered around the room, amped from the steady boom of Mathias Kunzli’s frame drum, Jordan Morton’s nimble, trickily syncopated, richly dynamic bass, Patrick Farrell’s torrential, often seemingly supersonic accordion volleys and Zhurbin’s own dancing, constantly metamorphosizing viola lines. What was almost as cool was how the parents let the kids run free: no helicoptering, no mom in hot pursuit with bottle of hand sanitizer or baby wipes. Then again, it makes sense to assume that fans of this band would make cool parents. And they were down with the wrly edgy cinematics of Bagel on the Malecon and the uneasy yet tongue-in-cheek bouncy-house rhythms of Love Potion, Expired and the rest of a largely upbeat set while the herd ran amok
The second set was for the parents, the kids moving to an adjacent room for a set by a similarly lively group, vintage French pop revivalists Banda Magda. And it was a opportunity, as Zhurbin explained, to get more subtle and even more eclectic, showcasing a handful of tracks from the band’s excellent new, second album, No Refund on Flowers, as well as a few older crowd-pleasers and lots of pretty intense new material. This group has commissioned a lot of new material via Kickstarter (food for thought for other bands), and they played a few of those, notably a surprisingly stately, carefully considered wedding waltz for an older Vermont couple who never had a chance for a first one since the husband had to rush off to World War II.
They also romped through the deviously shifting metrics of Sam I Am – a dedication to an Upper West Side character from Zhurbin’s Columbus Avenue neighborhood – as well as a haunting Transylvanian theme, a dizzyingly polyrhythmic dance, and a broodingly stunning version of the old folk song Black Is the Color, Zhurbin’s wife Inna Barmash bringing the lights down with her plaintive vocals while Farrell switched to piano and met her intensity head-on, note for note. They closed with the similarly poignant, imploringly crescendoing Mnemosyne, the title track from the band’s previous album, Barmash leading the rising waves of angst. It was a far cry from the delirious dance party they’d just given the kids and testament to the ability of this group to switch gears in a split second and make it seem completely natural. Then again, if film music is your stock in trade, as it is with this band, that’s second nature.
Mexican singer Magos Herrera reaffirmed her presence as one of the most eclectically compelling singers in any idiom in an intimate duo performance with guitarist Javier Limon for media and a select group of friends at a Chelsea gallery Thursday night. Her previous album Mexico Azul celebrated the African roots of much of Mexican music and culture. Dawn, her new collaboration with Limon, she said, made the connection between Mexico and Spain seem “perfectly natural,” a rather brave assertion for someone whose career has advocated so strongly for the people of her native land. But it’s a quietly stunning move for her: throughout an all-too-brief, set, she and Limon enjoyed a casual chemistry but also an intense focus and commitment to finding the most subtle shades in the music.
Herrera sang in her signature, minutely jeweled contralto until finally going way up, further than you would expect someone with such command of her low register would be able to. Limon played sparingly and judiciously, letting his phrases breathe, matching the singer’s penchant for not wasting notes, which made his occasional flamencoesque flurry all the more intense. They opened the set with a syncopated tango of sorts, Herrera’s delivery managing to be both misty and disarmingly direct at once. Then they reinvented Skylark as a richly suspenseful, spaciously contemplative mood piece with hints of both flamenco and Andalucian music.
Throughout the rest of the set, Limon would sometimes shadow the vocals, following Herrera’s crescendoing, upward ascents with his own. On occasion, he’d light up a slowly swaying theme with a sputtering crescendo much in the way that Herrera would add gracefully scatting accents to bring a chorus to a gentle peak, singing in both Spanish and English. This approach maintained the flamenco influence without the cliches that so many acts who didn’t grow up with the music employ for over-the-top affect. They ended with a number that began with a rainy-day theme that wouldn’t have been out of place in the Sade catalog and then took it out almost as a march, with a series of hypnotically shifting vamps.
And speaking of Sade, there’s been a void where that singer once reigned as the queen of artsy, sophisticated romantic chanteuses. Which would give Herrera room to take over that role, if she wanted. Obviously, she might find that limiting: she’s a more subtle and diverse singer than Sade, and her interests run far beyond romantic balladry. But she’s got the torchy delivery, plaintiveness and sense of longing. What if Herrera – or someone like her – decided to take the Mexican bolero and reinvent it as American torch song? Wouldn’t it be cool if the default boudoir music of the west was a style refined and brought to its pinnacle by Mexicans? Forget about Obama’s lip service about immigration reform: there are an awful lot of places in this country where Mexican-Americans are under fire. What a pleasant and subtle way to fight back against all that repulsiveness – and to jumpstart the reconquista. Just a thought…
As fans of the music know, Canada is a hotbed for gypsy jazz. It’s the French connection. Eclectic Halifax septet Gypsophilia are one of the most exciting groups playing that style to come out of the Great White North, and they’re coming to New York for two June shows. June 6 they’ll be at Rock Shop in Gowanus at 9 PM with charismatically assaultive, noir bluespunks the Reid Paley Trio opening, then they’re playing at Drom the following night, June 7 on a fantastic triplebill with the Lemon Bucket Orkestra and Italian band Taluna for a ridiculously cheap $10.
Gypsophilia have a new ep, Horska, just out and will no doubt be airing out the songs on it in concert. Its title track is an absolute smash, a creepy noir theme that goes through all sorts of permutations over Adam Fine’s pulsing bassline, Sageev Oore’s menacingly distant piano interspersed between biting solos from violinist Gina Burgess, trumpeter Matt Meyer and an especially ominous, microtonal one from guitarist Alec Frith. They reprise the song at the end of the album in an echoey, effects-laden dub version that’s just as dark.
In between there’s the jauntily swinging, hi-de-ho romp Bir Hakeim, which is less Egyptian than Parisian, maybe inspired by the Paris Metro stop which commemorates the World War II battle. They follow that with the intricate Oh My Orna, crescendoing from a baroque-tinged waltz to a wistful theme carried by the violin and echoey electric piano. Corentin Cariou has a bit of Romanian feel, speeding up and slowing down again, followed by the edgy Stickm, another catchy minor-key tune that hits a peak with Meyer’s muted trumpet solo. There are seemingly thousands of bands paying homage to the Django Reinhardt legacy – many of them do it well, but few are as distinctive and interesting as Gypsophilia.
[Over the past couple of weeks, this blog has supplied its sister blog New York Music Daily with lots of content. Today it’s payback time]
Budapest Bar made their North American debut last night at CUNY’s sonically superb Elebash Hall just north of the Empire State Building. The Hungarian band works a cosmopolitan gypsy vibe, as opposed to a rural one, meaning that they play a more concert hall-oriented mix of styles which include both jazz and classical music. They outdid Nick Cave at noir, did the “most famous Hungarian song ever,” Gloomy Sunday, as an elegant funereal instrumental, and covered Haydn and Lizst, including the latter’s Hungarian Rhapsody No. 2 complete with rapidfire cimbalom solo by Mihaly Farkas. A bit later on, the cimbalom virtuoso ended his solo with a blindfold on and didn’t miss a beat: it was the biggest crowd-pleasing moment of many.
Frontman Robert Farkas began with a boisterous number that he spiced with some droll flourishes, pulling a string over the bridge of his violin for some creepy horror movie door-closing tonalities, switched to guitar a couple of times midway through the show and ended with a high-spirited series of birdsong voicings on the final encore. Keyboardist Karoly Okros wore a path into the stage, alternating between piano and accordion – if he’s not the only guy who’s equally adept at Liszt and noir Americana, then Hungary has something on the US. Bassist Richard Farkas (this seemed to be a family event, no surprise in gypsy circles) held the careening monstrosity to the rails, whether with a terse minimalist pulse on the gypsy numbers or nimbly walking the scales on the jazz tunes. The speed, virtuosity and soul these guys and women channeled makes most American gypsy bands pale by comparison.
The band brought two singers. Juci Nemeth sang the higher, more ethereal numbers; Tania Saedi, with her sultry alto voice, handled the jazzier material with a sassy aplomb worthy of Ella Fitzgerald. But it was Nemeth who took the most spectacular flights of the night on a rapidfire, diabolical shuffle right before the encores. Gypsy bands in Budapest bars from the turn of the 19th century through the Nazi invasion played a vast spectrum of music from the dead-serious classical pantheon to the wildest jazz: this concert, with its tangos, swing tunes, explosive cadenzas and expert showmanship brought that world alive again in all its pyrotechnic glory.
Israeli-British saxophonist/tunesmith/polymath Gilad Atzmon and his combo the Orient House Ensemble have an intriguing new album out, Songs of the Metropolis, a tribute to great cities around the world. Most of it is streaming at Atzmon’s album page. The band here is the same as on Atzmon’s excellent previous album: the bandleader on alto and soprano saxophones and accordion, along with Frank Harrison on piano, Yaron Stavi on bass and Eddie Hick on drums. As one would expect from an intellect as formidable as Atzmon, it’s no “look ma, I’m playing a tango now” type of genre-hopping; rather, it’s a series of impressions.
Paris, interestingly enough, gets a a staggered latin beat with quivery, bracingly microtonal soprano sax – and then Atzmon switches to accordion and lets the tune relax. Tel Aviv seems to have a split personality, a bounding, energetic groove and also an uneasy undercurrent that shifts from a Zorn/Sexmob cantorial theme to an unexpectedly neat, polyrhythmic reggae b-section. Don’t laugh: reggae is big in Tel Aviv!
Buenos Aires is heartbreakingly beautiful – this long ballad seems to be a requiem, moving slowly from a quiet, moody solo piano intro joined by bowed bass and Atzmon’s slowly diving alto lines. A tentatively steady sway underpins an absolutely morose piano solo followed by Atzmon’s understated, pleading anguish: it’s one of the most devastating songs released this year. A respite from the angst comes with Vienna, which rather predictably goes for old-world ambience, referencing Chopin and skirting the perimeter of schlock. Manhattan, at least through Atzmon’s eyes, is a funky place (and it is), albeit a pensive one, and he doesn’t neglect the latin flavor here. Scarborough gets a lingering, somewhat nostalgic soprano/piano intro, and then it’s obvious that this set not in Maine but in merry olde England, a launching pad for a long, sizzling, modally-fueled, Coltrane-esque Atzmon soprano solo and then a lively workout for the rest of the band.
Moscow gets accordion over heavy drum accents, a Rachmaninoff allusion, and an absolutely gorgeous alto-driven tune with fluttery countermelodies that evokes Ellington at his Suite-era, third-stream peak. Once again, Atzmon backs away from the sturm und drang with the balmy but bracing Somewhere in Italy…and then brings it back with a rippling, refusenik, rhythmic vengeance. He ends with Berlin, a twisted little waltz that alternates between faux beerhall sarcasm and creepy noir cabaret. It’s out now from World Village Music.
In an email the day before his show last night at Symphony Spaace, composer/violist Ljova Zhurbin described his ensemble the Kontraband as being “wry, fierce and ready.” Which is a considerable understatement, given that their set included several eclectic, evocative film pieces; a lullaby; western Ukrainian klezmer songs; a couple of jazzy gypsy numbers; a brand-new rock anthem; and a ukulele-style arrangement of a Mahler symphonic theme for solo viola. Zhurbin happens to be one of the world’s foremost violists; there isn’t a symphony orchestra or string quartet that wouldn’t be happy to have him. But he’d rather write film scores and lead this dazzlingly cosmopolitan string band, this time out featuring accordion virtuoso Patrick Farrell, bassist Mike Savino and drummer/percussionist John Hadfield energetically and expertly filling in for the band’s Mathias Kunzli.
They opened with Blaine Game, a hypercaffeinated, trickily rhythmic, shapeshifting romp written in a Blaine, Washington coffeeshop in between jazz workshops that Zhurbin had been invited to teach there. They followed with Plume, a pensively swaying, lushly crescendoing atmospheric piece written for a documentary film about a World Cup competition for homeless European soccer players a few years ago. Then they launched into Love Potion, Expired, a boisteriously leaping, amusingly picturesque gypsy dance written, Zhurbin explained, when he was “moonlighting” in the gypsy band Romashka and had designs on the band’s frontwoman. Unlike the song’s storyline, this one ended well: the two ended up marrying, and with that, he brought his wife Inna Barmash to the stage for a series of intense, often harrowing klezmer numbers. Barmash is gifted with a diamond-cutter soprano; how subtly yet powerfully she weilds it is viscerally breathtaking to witness. They began with a sad waltz done as a duo between the couple, a vengeful dirge titled Koyl (Yiddish for “bullet” – you can guess the rest) and a couple of bitingly expressionistic, minor-key settings of poetry from across the ages. The most gripping of those was an early medieval German poem (retranslated wonderfully from Russian by Barmash) which commented caustically on a decline of civility and civilization that, as Zhurbin alluded, potently echoes our own era.
Not everything they played was that intense. Zhurbin brought out a couple of songs inspired by his two sons. Benjy, the oldest, got a playful, deviously joyous, bouncing number – if this portrait is accurate, the apple didn’t fall far from the tree. His brother Yossi got a steady, more serioso song in the form of a lullaby, but with an amusing ending.
After the absolutely ridiculous Mahler theme and a darkly majestic, brand-new art-rock anthem, they wrapped up the set with the title track to the Kontraband’s absolutely brilliant 2008 album, Mnemosyne. It’s an increasingly angst-driven exploration of self-imposed exile: Barmash delivered goosebumps with her spun-silver wail as she took it all the way to the top of the final crescendo over Farrell’s rapidfire rivulets, Savino’s steady, incisive pulse and Zhurbin’s richly plaintive melodicism.. Zhurbin’s next New York show is with bassist Petros Klampanis’ excellent gypsy-flavored jazz group at Drom on Oct 11 at 7:30; the Kontraband will be at the Brooklyn Museum on January 5 at 5 PM.
Hungarian combo Tarkany Muvek put a deviously entertaining, traditionalist spin on what we in the cimbalom-deprived United States tend to lump together under the nebulous rubric of gypsy jazz. The group’s latest album Introducing Tarkany Muvek is out as a digital download from World Music Network and it’s tremendously enjoyable, as original as it is intelligent. Frontwoman Juliana Paar’s high soprano ranges from misty, to stark and haunted, to wounded and brittle, over the richly resonant cimbalom (Hungarian hammered dulcimer) of the group’s main composer, Bálint Tárkány Kovács along with multi-reedman Gergo Kovats (also of Koala Fusion and Oláh Dezso Septet), violist Endre Papp and bassist András Bognár. They have a sense of humor (the first song on the album is titled Bite It) and shift seamlessly between folk and jazz idioms. A bouncy Hungarian torch song becomes a jaunty jump blues; Kovats’ tenor sax ranges from Louis Jordan ebullience to Philip Glass hypnoticism, and Papp’s elegant orchestration gives the music a welcome heft and lushness.
That first track sure has some bite: a protege of the legendary Kalman Balogh, Kovacs prowls from apprehensive to triumphant and back, sometimes in a split second, then the song goes halfspeed with a misty tenor sax interlude before picking up again. They follow that with a pensive, starkly hypnotic ballad and then the ironically-charged Hush Peacock, which segues into a bouncy Hungarian torch song that morphs unexpectedly into a lickety-split jump blues. There’s a trancily rhythmic number built on a Steve Reich-esque circular riff, a rubato folk-rock ballad with flute aptly titled Autumn Sketch; a tongue-in-cheek bounce entitled So Much I Love, and a cleverly low-key, loungey take on the gypsy standard Csirrip that Paar sinks her fangs into just enough to keep the irony in the red.
They follow that with an instrumental that sends the sax soaring over a tense, mysterioso background that the cimbalom eventually joins to add an extra layer of suspense that Kovats eventually ends up shattering – it’s one of the album’s most enjoyable moments. After that, they take an absolutely charming stab at a tiptoeing retro Roaring 20s vibe that wouldn’t be out of place in the Lake Street Dive fakebook, then wind up the album with a number that begins on a minimalist, Satie-esque note, Kovats’ smoky sax adding a warm wee-hours edge before the whole band picks it up and sends it up flying. Lucky Hungarian fans can catch their next gig on September 7 at 9 PM at the Mustache Festival.
Tin Hat’s new album The Rain Is a Handsome Animal isn’t what you might expect: it goes in much more of a jazz direction than their earlier material, most famously their haunting contributions to the Everything Is Illuminated soundtrack. This one’s similar to the Hot Club of Detroit’s work with Cyrille Aimee but with a wider sonic palette – if that’s possible. Some of the tracks – a mix of instrumentals and vocal numbers sung by violinist Carla Kihlstedt – are airy and bouncy. Some of them have considerably more weight and gravitas. Minor key melodies dance and leap to a mix of beats, some of them tropical, with upper-register ambience from Kihlstedt, animatedly swirling interplay between accordionist Rob Reich and clarinetist Ben Goldberg providing a shimmery backdrop for guitarist Mark Orton’s spiky melody lines and gypsy-tinged pulse. It’s lively but bittersweet, measured but energetic.
A word about the lyrics: these are all settings of e.e. cummings poems (resisting the temptation to capitalize that name here is not easy). Those aren’t as whimsical as you might expect, but they’re still pretty obvious – although the genuineness and occasional unselfconscious urgency of Kihlstedt’s vocals gives them an unexpected dignity. One can only wonder what she could do with more substantial lyrical material. A couple of tracks wouldn’t be out of place in the more carefree section of the Rachelle Garniez songbook. The first, If Up’s the Word, works its way down from intertwining, reedy harmonies to a suspenseful interlude that underscores the lyrics’ urgent carpe-diem message. The second, Yes Is a Pleasant Country takes what’s essentially a blithely bluesy torch song and almost imperceptibly moves it into more pensive terrain on the wings of Kihlstedt’s increasingly biting lines.
The album’s opening track begins as a samba of sorts and builds from there, Kihlstedt’s vocals mining a coy breathiness. The instrumental title track blends gleefully brisk, swooping violin, gypsy guitar picking and a neat solo from Goldberg that rises from low and soulful to a joyous spin capped by Kihlstedt’s stratospherics. Sweet Spring, a love song, begins suspensefully and hushed before moving into uneasily dreamy territory fueled by contrasting piano-versus-violin textures.
Open His Head and the aptly citrusy Grapefruit both develop tango melodies out of acidic atmospherics, as does Unchanging, shifting from a fugue of sorts, to a rich mix of upper-register tonalities over the twin pulse of the bass clarinet and guitar bassline. A western gothic song that reminds of John Cale, Buffalo Bill shifts from a vivid brass to a drony atmospheric outro. The tour de force here is The Enormous Room, an epic that moves from quietly mysterious atonalities to pulsing wariness driven by the bass clarinet, a rather slashing Kihlstedt solo and then a warmer, anthemic guitar melody.
The most overtly jazzy track here is the brief So Shy Shy Shy; the most easygoing is the cheery, bucolic 2 Little Who’s. Human Rind has an uncharacteristically dark lyric matched by a bracing, intense interlude that circles out with a troubled insistence, while Anyone Lived in a Pretty How Town reaches for a big rock anthem feel, with mixed results.
There are three more tracks here – the folks over at New Amsterdam don’t shortchange you! Diminutive works a sad rainy day tableau with fluttery violin front and center; the album wraps up with Little I, a hypnotic yet incisive tone poem, and Now (More Near Ourselves Than We), a torchy ballad that quickly goes in a more uneasy direction. Seventeen songs, many shades of grey, many shades of understated brilliance. Whoever would have thought that an e.e. cummings album would turn out like this?