Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

CD Review: 17 Pygmies – 13 Blackbirds

17 Pygmies is the name of the band. Former Savage Republic-an Jackson Del Rey and Louise Bialik’s long-running West Coast outfit started out as a skewed new wave/pop band but has gravitated toward art-rock since. This new cd has been a long time coming, and it’s been worth the wait. It’s a beautifully rustic, mostly acoustic record with vocals by Bialik, austere fingerpicked guitar, autumnal melodies and light percussion in places. Think of it as the thinking person’s alternative to Hem. It picks up steam as it goes along.

The understatedly memorable opening theme, Heavenly Intro is reprised at the end of the initial tracks as Heavenly Creatures. In between, we get the pretty title cut and the absolutely gorgeous Tree of Life (if this is about pot, it must be seriously hydroponic). After that, the stately waltz Get Out!, the haunting 6/8 ballad Water Carry Me with its pastoral blend of guitar, piano and violin and then truth in advertising with A Brief Interlude – more 6/8 time with beautiful fingerpicked classical guitar, sounding like a good baroque classical piece. The next song, 125 History has ghostly vocals set to stark strings; Lila Paosa, which follows, is another quiet pretty song with ringing overtones from the guitars and organ adding just a tinge of disquieting dissonance. Strings come in toward the end and build to a crescendo. Ubi Sunt (Latin for “where are then”) and Heavenly Creatures feature both piano, voice and strings. There are three bonus tracks on the first cd – quite possibly left over from a previous project – which make a good triptych in 6/8: an instrumental with piano and strings, an original song, and a cover of the McCartney chestnut from the White Album followed by a piano instrumental to close it.

This is a double cd: the second one is called 13 Lotus which (seems to be) 13 remixes of the song from 13 Blackbirds. It’s pretty much all hypnotic, sleepy, downtempo, mostly instrumental trip-hop variations except for a rather disturbing version with sirens phasing from speaker to speaker which will quickly have listeners rushing to the window and then wondering where all the emergency vehicles are. It’s all well worth owning and comes in a charmingly illustrated, Edward Gorey-esque double cardboard sleeve.

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November 12, 2007 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , | 1 Comment

CD Review: Tyranny of Dave – Vacations

Truth in advertising: the cd cover depicts David Wechsler, co-founder/accordionist of Brooklyn “historical orchestrette” Pinataland seated at a backhoe in a graveyard. This is a good headphone album, all longing and restlessness and inventively melodic songwriting, perfect for a rainy night if you’ve chosen to spend it at home in lieu of stomping through the puddles in search of revelry. A lot of this album sounds like Hem, but with a male singer and plenty of gravitas. Fans of Matt Keating’s recent, Americana-inflected material will love this. The album begins dark and wistful with Travelin, a minimal yet catchy, midtempo fingerpicked bluegrass tune, guitar by Wechsler (who plays most of the instruments here, impressively). The next track, Churchill starts with a storm of shortwave radio squeals and whines into dark washes of strings and piano, its blithely swinging beat in sharp contrast with the narrator’s angst:

I’ve been having dreams of half- heard broadcasts
And fragments of your voice come to my ears

Call me when you finally get to Dunkirk
Tell me not to worry…
I’ll call you when I hit the beach at Normandy
And tell you not to worry

Roman Road follows, a doo-wop melody on piano with pretty strings and a full band behind Wechsler. There’s a big crescendo on the chorus and nice harmonies from Royal Pine frontwoman Robin Aigner, who lights up every song she touches: “I’ll meet you someday on the Roman Road.” The next track Just Because blends quietly reverberating electric guitar with organ and a deliciously fluid organ solo: it’s a gorgeously evocative nocturne. After that, What You Want to Hear, flavored with Bob Hoffnar’s sweetly soaring pedal steel, is sardonic with a quiet anger like something like Melomane would do:

So let’s invade a country, I hear that Portugal is nice this time of year…
And if we take the city we’ll have a cappucino there

Other standout tracks on the album include West Texas Cold Front, with more Hoffnar pedal steel, a gorgeous 6/8 country ballad that winds up on a predictably eerie note: “That West Texas cold front just blew me away.” Golden Age is a boisterous gypsy rock number that wouldn’t be out of place on a Firewater album, opening with Penny Penniston’s foghorn trumpet:

This is the golden age of obscurity where no one remembers your name…
This is the golden age of infirmity where everyone around you is lame

Hallelujah is a fast old timey country song solo on guitar til finally Wechsler picks up the accordion toward to the end, Aigner doing a ghostly angelic choir for a bit. The album ends on a surprisingly optimistic, ebullient note with We’ve Finally Come Home. The porch swing may be broken and the plaster cracked, but “the front porch is clean, the backyard is mowed” and there seems to be something hopeful glimmering at the end of this long tunnel. Excellent album, the best thing Wechsler’s done to date. Four bagels with whatever you manage to sneak through customs: linguica, a drizzle of Provencal oil, kippers maybe?

July 18, 2007 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment