Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Brooklyn Art-Rockers Release a Maxi, Maxi New Single

The single is titled Flow. With a fast hypnotic 2/4 pulse, Brooklyn rockers My Pet Dragon’s new single sets a nocturnally exuberant lyric to a memorably uneasy chromatic melody, acoustic guitar over an insistent beat with judiciously swooping synthesized orchestration. For a band who don’t often evoke the 80s, it’s got a very mid 80s goth feel, although frontman Todd Michaelsen’s voice soars over the atmospherics with a casual joy that you’d never hear from, say, Clan of Xymox. This is the upbeat, pop side of MPD – live in concert, they give it a swirling majesty and gravitas to match the anthemic, often epic ferocity of their other material. An instrumental-only version of the song is also included, which works almost as well as the full-length track with vocals – you could even do karaoke to it (it would make a good workout – Michaelsen hits some high notes).

Since this is a maxi-single (a really ubermax one, actually an ep if you want to be precise about it), the B-side is an unrecognizable cover of Release, by an unmentionable 90s grunge band. For the sake of argument, this might as well be an original: it’s been reinvented as a slow, atmospheric 6/8 ballad that sounds kind of like a B-side by the Church, with new English-language lyrics – or at least in understandable English. And for those who like disco remixes, this one has not one but four, in various shades of electronicness (Karsh Kale is responsible for the first). All of this is available at MPD’s site. They’re playing the small room at the Rockwood on 11/20 at 11, as good a choice of a Saturday night show as you can find in town right now.

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November 9, 2010 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: Las Rubias Del Norte, Cordero, Hazmat Modine, Karsh Kale and Slavic Soul Party at 92YTribeca, NYC 1/9/09

In a nice diversion from the blizzardy conditions outside, this was a whole summer festival compressed into an evening featuring relatively brief sets from some of the creme de la creme of the New York scene, put together for the booking agents’ convention by upstart Brooklyn label Barbes Records and adventurous San Francisco booking agency Trouble Worldwide.

 

With the angelic, effortlessly graceful harmonies of frontwomen Allyssa Lamb and Emily Hurst, las Rubias del Norte’s all-too-brief set was uncommonly dark and haunting, playing most of their material in minor keys. The band has been characterized here before as the latin Moonlighters, which is true both in the sense that both groups share an effervescent, romantic sensibility defined by their harmonies and a love of diverse styles from earlier eras. Las Rubias used what time they had onstage to explore several of them: bouncy cumbias from Colombia, romantic Mexican baladas and an eerie number that made frequent use of the Asian scale, propelled by Hurst’s agile work on bells. They closed the set with a fast, scurrying Mexican traditional number in 6/8 time.

 

Cordero frontwoman Ani Cordero has an impressively diverse resume, ranging from surf music to the dark atmospherics of Bee & Flower, the ranchera rock of Pistolera and this, her main project, a warmly melodic, catchy rock en Espanol quartet. She’s also become a terrifically compelling singer: the strength and sultry insistence of her low register was particularly striking in contrast with her characteristically warm, airy high notes. Playing her Strat without any effects and just a hint of natural distortion, she led the group through an eight-song set of terse, smartly crafted, upbeat, major-key janglerock with an incisive, thoughtful lyricism. On a couple of tunes she put down her guitar and played tom-tom while the group’s organist provided a minimalist dance groove, which actually got some bodies in the crowd twirling.

 

With so many bands scheduled to fill a relatively brief block of time, it was perhaps inevitable that one of the bands would get shafted and that band turned out to be Hazmat Modine. Which was too bad: in three songs and less than 25 minutes, they actually managed to energize the crowd. Frontman Wade Schuman – one of the most charismatic bandleaders around – began the show with a harmonica solo, then stopped cold. “You came here to hear music, didn’t you,” he reminded the chatty, restless audience, and suddenly got everyone’s attention. Schuman then resumed his solo, using an effects pedal for an organ tone, perhaps as a nod to the great blues harpist Carey Bell who typically played through a Leslie speaker from a Hammond organ. Then the band – this time including Pete Smith and Michael Gomez on guitars along with Fearless Dreamer’s Pam Fleming on trumpet plus sax, tuba and drums – launched into the fat reggae groove of So Glad, Fleming taking the intensity to redline in a matter of seconds with one of her trademark instant crescendos.

 

Their second song was a hypnotic one-chord oldtimey-style blues that they’d recorded with Tuvan throat singers Huun Huur Tu, a showcase for interplay between the wind instruments and then the guitars, Gomez and Smith interlocking like the gears in some infernal machine, gnashing and grinding everything in their path. The band closed with a surprisingly fast take of the title track to their most recent cd Bahamut, a surreal, calypso-flavored epic featuring a lot of agile baton-passing as the band members each took a brief solo turn. World music personality Karsh Kale’s set was also brief, and happily so: his qawwali-rock hybrid started snoozy, then became oppressive with pointlessly garish heavy metal guitar.

 

Slavic Soul Party’s upcoming Carnegie Hall gig has been sold out for quite awhile, and the nine-piece brass band left no doubt as to why, opening their wild, intense set with a march through the audience, pounding the drums and blasting out a fiery Balkan melody. Their first song onstage was a blistering instrumental romp through a two-chord, chromatically-fueled jam, accordion and then trumpet each taking deftly jazzy solos. The next number started suspensefully, building on a single chord to a march, and then a dance beat, the best solo of the entire evening delivered with unleashed, murderous fury by sax player Greg Squared (who also fronts the terrific pan-Balkan group Ansambl Mastika). They then brought up guest singer Eva Salina Primack, who added dramatic, contralto lead vocals along with plenty of ominous, wailing vocalese. They wrapped up the evening with the title track to their cd Teknochek Collision, an amusing spoof of computerized dance music that bore more than a little resemblance to similarly devious instrumentalists Brooklyn instrumentalists Moisturizer, tuba and horns working in lockstep staccato to mimic the cliched, broken-cd effect so widely used in electronica. Since time was up, the band played their encore the way they’d come in, marching off the stage and back through the crowd with plenty of stops along the way to make sure the party wasn’t over until they were really through. They’ve been playing Barbes every Tuesday at around 9 since god knows when; now’s the time to catch them while they’re still there.

January 11, 2009 Posted by | Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , | Leave a comment