Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Piñataland Release Their Best Album This August 26

Over the years, Brooklyn “historical orchestrette” Piñataland has staked out an elegantly manicured piece of turf as purveyors of an inimitable brand of historically aware, hyper-literate chamber pop. Their new album Hymns for the Dreadful Night – streaming in its entirety online – is their hardest-rocking effort to date, their least opaque and by far their best. Their previous one Songs for a Forgotten Future, Vol. 2 contemplated a Manhattan without humans, and the still-smoldering ghost town of Centralia, Pennsylvania, among other places. This one skips in a heartbeat from the American Revolution (a recurrent milieu) to various eras of New York, across the country and back again. The driving rhythm section of Ross Bonadonna on bass and Bill Gerstel on drums give the louder songs here a mighty majesty – there are plenty of warmly inviting string-driven pop bands out there, nobody who attacks those songs with as much verve as Piñataland. Violinist Deni Bonet is a one-woman orchestra, showing off sizzling Balkan, country and classical chops, frequently contrasting with Dave Wechsler’s pensive, rain-drenched piano and organ.

The title track, which opens the album, is exactly as advertised, a gospel prelude of sorts. From there they leap into Island of Godless Men, a bouncy fiddle-driven Irish rock tune a la Black 47 with a clever trick ending and then a delirious reel to finish it off. An American Man is like Mumford & Sons on steroids, a rousing homage to Thomas Paine delivered via a team of archeologists (or graverobbers?) gone out into the darkness to find his grave.

A violin-fueled anger drives The Death of Silas Deane, which commemorates the Continental Congress’ first ambassador to France, later brought down (and possibly murdered) in the wake of an embezzlement scandal of which he was quite possibly innocent (and was officially exonerated, forty years after his death). “Let my reputation crawl through the mud of this unforgiving land,” the onetime Revolutionary hero rails at the end. The real classic here is a country song, Oppie Struck a Match, which recasts the detonation of the first atom bomb as the creepy tale of a rainmaker in a small town fifty years previously. Gerald Menke’s dobro ripples blithely as singer Doug Stone recalls the dreadful moment where Robert Oppenheimer, the “master from the other side” gave the order: “Will he open a cage to a heavenly age or set the skies onfire?”

The rest of the album is more allusive. Robin Aigner, who lights up many of these songs with her harmonies, knocks one out of the park with her lead vocal on the lush countrypolitan shuffle Border Guard, and plays her cameos to the hilt against Menke’s big-sky pedal steel whine on Hiawatha, a surreal, theatrical cross-country radio dial epic. The most chilling song on the album, musically at least, is The Oldest Band in Town, a bitter, Balkan-flavored requiem set in a Lower Bowery of the mind. The album closes with the towering, bittersweet, death-fixated anthem Cemetery Mink. Pinataland play the album release for this one this Friday the 26th at Barbes at 11; another first-class tunesmith, Greta Gertler kicks things off at 10.

Advertisements

August 24, 2011 Posted by | country music, Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Album of the Day 8/25/10

Every day, we count down the 1000 best albums of all time all the way to #1. Wednesday’s album is #888:

Black 47 – Iraq

Our pick for best album of 2008, this rivals anything the Clash ever did. Black 47 frontman Larry Kirwan is also a novelist and playwright, with a terrific ear for dialogue. The album succeeds as well as it does as an antiwar statement because it simply recounts the daily stress of combat as seen through the eyes of the American soldiers there. Some are profiteers, but a lot of them ended up over there because the promise of a payday was better than anything they could get here. Now they can’t wait to leave, they’re scared as hell, and not a little disillusioned. Kirwan doesn’t preach: he lets their anxiety and dread speak for itself. Over catchy, anthemic, Celtic- or blues-tinged rock, Kirwan offers an eyewitness view of the war that the corporate media types “embedded” with the soldiers were never allowed to depict: the guy from Brooklyn who finds himself shocked by the natural beauty of the Iraqi desert; the embittered, cynical GI who can’t wait to get home to watch his beloved San Diego Padres; a heartwrenching account of Cindy Sheehan’s transformation from war supporter to iconic antiwar activist following the death of her son; and finally, the savage Battle of Fallujah, whose narrator leaves no doubt that “If there’s a draft you know damn well yourself this war would be over by dawn…your tax dollars can go to building it all back over again.” What Frankenchrist by the Dead Kennedys was to 1985, what Wallace ’48 by the Hangdogs was to 2002, Iraq by Black 47 was to 2008: an important historical work that also happened to have some good tunes.

August 25, 2010 Posted by | irish music, lists, Music, music, concert, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 4 Comments

CD Review: Black 47 – Bankers and Gangsters

Another year, yet another excellent album from Black 47. It’s hard to fathom how they can keep it so fresh after twenty years, but they do it. Their previous album Iraq, a vividly thematic soldiers-eye view of the never-ending war, took the #1 spot on our best-of-2008 albums list. This one finds the Irish-American rockers exploring more diverse terrain, a characteristically eclectic mix of Clash-style anthems, a small handful of electrified Celtic dances, a reminiscence of better days in the New York rock scene, snarling sociopolitical commentary and more lighthearted, comedic fare. Black 47 make it very easy for you to like them and get to know them: the lyrics to the all the songs on the album are here and the “song bios,” each one explaining what they’re about, should you want the complete story, are here. Musically speaking, they go for a big, blazing, somewhat punk-inflected sound, equal parts Boomtown Rats and Pogues with frequent tinges of ska, reggae and of course traditional Irish tunes, bandleader/guitarist Larry Kirwan (who has an excellent new novel out, Rockin’ the Bronx) charismatically railing and wailing out front.

The title track, a big sardonic Clash-style anthem speaks for the generations disenfranchised by the new Great Depression; likewise, the vivid opening cut, Long Hot Summer Coming On ominously foreshadows a city where all hell’s about to break loose. Wedding Reel, a duet, is a somewhat less brutal take on what the Pogues did with A Fairytale of New York. There’s also a fiery tribute to Rosemary Nelson, the murdered Irish human rights crusader; a cynical number about an Irish music groupie; and a couple of absolutely surreal ones, the first about a Lower East Side romance circa a hundred years ago that isn’t actually as unlikely as it might seem (and on which the band proves perfectly capable of playing a good freilach), the other a long anthem based on the true story where former Jimi Hendrix bassist Noel Redding absconded with tapes of Hendrix’ last live recordings, using them as collateral for a mortgage in Ireland. All of this is catchy, a lot it is funny and you can sometimes dance to it, in other words, typical Black 47.

Black 47 typically play Connolly’s on Saturday nights at 10 when they’re not on the road; they’re also doing their annual St. Paddy’s Day show early on the 17th at B.B. King’s at 7, which despite the Times Squaresville location should be a good way to spend the evening away from the amateurs.

March 13, 2010 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment