Haunting Instrumental Brilliance from Lou Reed’s Lead Guitarist

Aram Bajakian plays lead guitar in Lou Reed’s band (here’s a clip of him playing Waves of Fear – it’s hard to imagine a better showcase for his chops). Bajakian’s own project Kef has just put out a fascinatingly eclectic, completely original, often hauntingly beautiful album of guitar/violin/bass instrumentals, many of which imaginatively reinvent traditional Armenian melodies. There’s a raw, spontaneous feel here – for the most part, Bajakian doesn’t go for extensive multi-tracking. The album makes a good segue with cutting-edge Balkan and Middle Eastern-flavored bands like Ansambl Mastika or A Hawk and a Hacksaw. Here Bajakian joins forces with Tom Swafford on violin and Shanir Blumenkranz on bass.

They open with a warmly fingerpicked acoustic vignette and then launch into some pyrotechnics: over a circular bass motif, Bajakian’s Neil Young-ish psychedelic sunspots give way to gritty no wave funk and some understatedly searing tremolo-picking. It’s the high point of the album, volume-wise. Laz Bar is a gypsy dance on the waves of the Mediterranean until the guitar gets funkier and bites down hard with a Ribot-ish blues solo as the violin swirls in and envelopes everything. The felicitously titled Sumlinian (Hubert Sumlin being one of the godfathers of funk) again works a circular melody, first carried by pizzicato violin before being turned over to the bass, guitar and then violin slashing their way through a Chicago southside of the mind.

Wroclaw, a Balkan-flavored rock tune comes together stately and wary out of a tricky intro, and eventually they swing it with a nice, matter-of-factly crescendoing violin solo, Bajakian following with some sweet Balkan blues – it’s the best song on the album. An upbeat Greek-flavored dance gets followed by a more pensive one, Swafford wailing over a brooding minor-key progression, Bajakian adding some teeth-gnashing yet terse Jeff Beck-style fills. From there they segue to some variations on the theme that eventually go absolutely haywire, back into a chorus that they hammer again and again, 80s no wave style. The album closes with a pensive, flamenco-tinted acoustic taqsim, a bass-and-guitar duet that sounds like a jam that worked out well enough to throw on the album, a wonderfully minimalist, mournful dirge and an equally captivating psychedelic piece that contrasts watery and spiky textures for a creepy vibe similar to the darkest stuff on Country Joe & the Fish’s first album. It’s out today on Tzadik.

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Pitom Shreds With Ominous Majesty

Guitarist Yoshie Fruchter’s band Pitom’s new instrumental album Blasphemy and Other Serious Crimes, just out on Tzadik, blends Israeli stoner metal with surf music, gothic rock and ancient Hasidic ngunim. Ostensibly a reflection on Yom Kippur, if there’s anything to atone for here, it should be for not making the album longer – and it is a long one to begin with. Here bassist Shanir Blumenkranz (also of Pharaoh’s Daughter) serves as their Lemmy, propelling much of this with a roaring chordal attack, alongside Jeremy Brown on violin and Kevin Zubek on drums. Fruchter has an individual and impressively tasteful style for a genre where florid is the norm: he roars, squalls and skronks but also cuts his chords up into juicy pieces that he offers up like a lion tamer determined to get the best out of the beast. The melodies bristle and wail, charged with eerie chromatics and Middle Eastern tonalities along with the metal riffage and slowly careening psychedelic licks.

The first song is a flamenco-tinged stomp with guitar that ranges from theremin-ish to Dick Dale-ish, set to a pounding Nine Inch Nails beat. After that, they deliver a sludgy bulldozer waltz driven by distorted bass chords and an apprehensive violin solo, Fruchter screaming in wildly to ambush Brown’s stately lines. The third track is a Maidenesque, chromatic gallop with scrapy violin/guitar textures and a watery, dambuster Leslie speaker guitar solo. With slyly growling twin guitars over a gritty bass groove, the fourth track builds to a genuinely anguished crescendo, Blumenkranz wailing with a dirty, distorted tone over Fruchter’s clanging, echoey, menacing chordal fragments.

Motorhead goes to a Jewish wedding and dances in 14/4 through a pungent cloud of guitar/violin smoke on the fifth cut; the sixth is a creepy, low-key spiderwalk. The seventh starts out with a gorgeously plaintive klezmer melody that grows menacing, then hits a grand guignol interlude straight out of early Queen, then back to the menace again. Track eight amps the rustic, wounded beauty higher, with a slow Peter Gunn-style interlude and variations. On the next cut, a frantic Balkan chase scene collapses and gets all Sonic Youth before reassembling and scurrying off again – and then they hit a noisy bridge with an early 70s style bluesmetal solo peeking out from behind the gnashing and thrashing. They close with another klezmer melody, this one done as 80s psychedelic rock a la the the Raybeats or Slickee Boys, and the majestic concluding cut featuring alternatingly intense guitar and violin solos over the murk beneath. Fans of intelligent, artsy metal bands from Junius to Iron Maiden will love this stuff. Pitom play the cd release show for this one at Rock Shop in Gowanus on Monday May 2 at 9 or so with the excellent, eclectic Gutbucket opening at 8. The bands are also bringing food for everybody.