Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

CD Review: Mark Sinnis – Into an Unhidden Future

The debut solo album from ominous Ninth House singer/bassist Mark Sinnis is a remarkably stark, terse collection of mostly acoustic songs including a small handful he’s played with the band. Sinnis proves he’s one of this era’s great Americana song stylists: he can croon with anyone. Vocally, this is an unabashedly romantic album, even given the bitter intensity of many of the songs. Most of them are simply Sinnis’ acoustic guitar and vocals, sometimes sparsely embellished with simple, eerily reverberating electric guitar lines from Brunch of the Living Dead’s Sara Landeau as well as gospel-tinged piano by Ninth House keyboardist Matt Dundas, violin from Susan Mitchell and lapsteel by Lenny Molotov. This is a kinder, gentler Mark Sinnis, a worthy substitute for anyone who misses Nick Cave since he went off to do his hard rock thing with Grinderman.

Sinnis’ dark, rich baritone is a potent instrument, whether roaring over the tumult of Ninth House or delivering with considerably more subtlety as he does here. Johnny Cash is the obvious influence, but there are also tinges of Roy Orbison on the understatedly bitter That’s Why I Won’t Love You, and even Elvis Presley circa His Hand in Mine on the austere ballad The Choice I Found in Fate. Sinnis’ lyrics are crystalline and polished: he doesn’t waste words; his melodies are deceptively simple and run through your head when you least expect them. Some highlights from the nineteen (!) songs on the cd: the haunting Five Days, a bitter look at how the hours are wasted on dayjob drudgery; the Carl Perkins-inflected It Takes Me Home, a long, slow, death-obsessed ride; the rousing Passing Time, a warning to anyone not aware that they should seize the day while it lasts; the Nashville gothic The Room Filled Beyond Your Door, featuring some impressively countrystyle guitar from Ninth House lead player Anti Dave; and a stripped-down version of the anguished Ninth House classic, Put a Stake Right Through It featuring some truly scary playing by Molotov. The production is beautifully uncluttered, obviously influenced by Cash’s Rick Rubin albums. This cd works on so many levels: as singer-songwriter album, as sultry country crooner album (get this for your girlfriend, or someone you would like to be your girlfriend), as well as a fascinating look at an unexpected side of one of today’s finest songwriters. CDs are available in better records stores, online and at shows. Mark Sinnis plays the cd release show for this album at the Slipper Room on March 16 at 10 PM.

February 25, 2008 Posted by | country music, Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: Erin Regan and Mark Sinnis at Spike Hill, Brooklyn NY 8/24/08

Playing solo acoustic, Erin Regan turned in a riveting set of stark, bleak, clear-eyed, tersely imagistic tales of life on the fringes. Suicide, divorce, poverty, alienation and despair figure heavily in her songs, delivered with a calm assurance over fluidly fingerpicked guitar. But she’s less Tom Waits than Barbara Ehrenreich, vividly evoking the desolate stripmall hell that lies beyond the yuppies in the exurbs, that the media pretends doesn’t exist. Her characters drive around aimlessly, contemplate petty crime, casually disrespect each other and seem mostly to have given up completely. But just when it seemed that this was her defining style, she flipped the script with a jaunty ragtime song that wouldn’t be out of place in the Moonlighters catalog, sung with a remarkably jazzy panache. Keep your eye on her: if word of her spreads among the kids she chronicles, she will be very popular. She’s playing Sidewalk on Sept 4 at 11.

 

Mark Sinnis’ long-running band Ninth House has been through several incarnations and is currently going through yet another: an educated guess has them mixing the artsy, Psychedelic Furs-ish, 80s vein they were mining about eight years ago with the guitar-stoked Nashville gothic material they’ve been playing lately. Playing solo, he’s invented his own genre: gothic country lounge. Casually fingerpicking his acoustic guitar and backed by Brunch of the Living Dead’s Sara Landeau playing eerie, reverberating, minimalist Twin Peaks lead guitar, Sinnis held the audience captive with a mix of new material and often drastically reworked versions of Ninth House songs. For a guy, he’s a terrific song stylist (why are women so much better singers than the men these days? Blame it on Nirvana?), especially when he doesn’t have to roar over a loud band. If he liked jazz, he’d be good at it. Among the highlights of the set: the opener, a haunting, Tom Waits-inflected minor-key blues perhaps titled There’s No Heaven, another darkly existential ballad on the same theme that appeared later on and a slowly unwinding version of the Ninth House country-goth ballad Your Past May Come Back to Haunt Me. If Nick Cave is too pricy for you, Sinnis makes a good substitute.

August 25, 2007 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment