Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Top Ten Songs of the Week 6/15/09

We do this every Tuesday. You’ll see this week’s #1 song on our Best 100 songs of 2009 list at the end of December, along with maybe some of the rest of these too. This is strictly for fun – it’s Lucid Culture’s tribute to Kasey Kasem and a way to spread the word about some of the great music out there that’s too edgy for the corporate media and their imitators in the blogosphere. Just about every link here will take you to each individual song.

 

1. Steve Kilbey – Forever Last for Nothing

Gorgeously terse call to arms and cautionary tale from the Church’s frontman’s excellent latest album. They’re at Irving Plaza on 7/8.

 

2. The  French Exit – To Term

New song, characteristically intense. “Will I be ok…I just want to be left alone,” snarls frontwoman Mia Wilson in this fiery noir dirge. They’re at Local 269 at 269 E Houston on 6/17 at 9.

 

3. Silver Dollar – Showdown

Killer, bouncy, hypnotic oldschool ska.

 

4. Kerry Kennedy – As You Are

Big soul ballad in 6/8 with David Lynch unease by the up-and-coming New York noir chanteuse. Unreleased – see her now before she’s famous.

 

5. Ninth House – Fifteen Miles to Hell’s Gate

Characteristically furious lament about the death of New York by gentrification by the long-running Nashville gothic rockers. Frontman Mark Sinnis is at Sidewalk at 9 on 7/12.

 

6. La Res – Masters of War

Ominous cover of the Dylan classic by this fiery, artsy soul/metal trio with a powerful frontman.

 

7. Num & Nu Afrika – New Orleans

Resonant, politically conscious roots reggae. They’re playing Make Music NY on 6/21 at 3 at DRastadub Studio, 58 West 127th St., Harlem.

 

8. Bato the Yugo – My Mountainous Mind

Pensive Balkan jazz for solo piano. Usually a guitarist, he’s at Nublu on 6/21 at 11.

 

9. Cumbiagra – Dejame en Paz

They’ve taken over Monday nights at Barbes, replacing Chicha Libre, but the danceable vibe is undiminished.

 

10. Rock Plaza Central – Panama

Van Halen cover. Jack Grace (of our own sick/funny VH cover band Van Hayride) would approve.

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June 16, 2009 Posted by | lists, Lists - Best of 2008 etc., Music, music, concert | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 2 Comments

Concert Review: The French Exit and More Live in NYC 5/13/09

A good night for music started early at the Jazz Standard, currently playing host to an adventurous bunch of Catalan jazz artists. The club has been getting plenty of props here because they’ve earned it – with an ambience that rivals any swanky joint in town and a purist sensibility that respects all the classic jazz styles while reaching out to newer artists, they’re everything that both the Vanguard and the Stone should aspire to be. Thursday night’s early show for the media and the blogosphere kicked off with a long solo piano cameo by Chano Dominguez, whose claim to fame is transposing flamenco guitar to the piano. With an understated, percussive intensity, he played cleverly and directly with more than a hint of his early rock roots. Augusti Fernandez followed, also solo at the piano, delivering an absolutely transcendent, modally infused nocturne, a relentlessly uneasy piece that stayed just this side of total anguish. His show was last night, but if piano jazz is your thing, get to know him. The regularly scheduled act was unfortunately even more anticlimactic than expected, a Knitting Factory style unit with sax, drums and a bunch of electronics. As usual, if some machine’s doing it for you, your music invariably sounds like you get it from the bottom of a long black tube. The Spaniards remain at the Jazz Standard through the weekend: adventurous listeners should check out the calendar (see our current live picks)

From there it was down to Local 269, the latest and predictably upscaled version of the old Meow Mix space. As good as Fernandez had been two hours earlier, the French Exit were the highlight of the night, their dark, murkily beautiful reverb guitar-and-keyboard sound absolutely impossible to turn away from. Henri Harps’ richly metallic washes of chords rang out over Mia Wilson’s understatedly ornate, anguished piano arpeggios, drummer Bryan Sargent’s subtle accents quietly and effectively maintaining the intensity. Their songs burned like a pine pitch torch, slow and smoky but inexorably blazing, Wilson’s soul-simmered, wounded vocals impressively clear in the mix. There’s a hypnotic feel to pretty much everything they do: after awhile, the songs become pretty much impossible to dissect because they draw you in so deeply. Wilson’s lyrics were characteristically savage: “No, this won’t hurt,” she sang with an almost gleeful sarcasm in a new one, Bones and Matches, pounding and ferociously insistent over a repetitive piano hook. “Let me in, let me in,” she implored on the following number. They closed with a towering, majestic, organ-fueled version of Bad Sign, which might be their signature song, building to an explosion of distorted organ and reverb guitar as the chorus kicked in. Are the French Exit the best live band in town? They’re unquestionably one of them. If the darkness calls to you, so will their songs.

May 15, 2009 Posted by | Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , | Leave a comment