Revisiting a Dark Moment in New York History with Laurie Anderson and the Kronos Quartet

“Sandy was a huge swirl that looked like a galaxy whose name I didn’t know,” Laurie Anderson muses in one of the broodingly atmospheric early numbers on her album Landfall, an epic collaboration with the Kronos Quartet and cellist Jeffrey Ziegler. As Halloweenish music goes, the record – streaming at Spotify – strikes awfully close to home for any New Yorker.

The October 2012 hurricane was a defining moment for Anderson. She lived just off the Hudson River, and lost innumerable, priceless scores, archival material and instruments when her basement was flooded. The irrepressible violinist/composer/agitator has never shied away from dark topics, beginning with O Superman, the cynical Iran hostage crisis-themed single that put her on the map. This is arguably her most personal and most music-centric album: she’s more terse instrumentalist than narrator here.

Most of the thirty tracks here are on the short side, three minutes or less. What’s most intriguing about the album is that each member of the quartet – violinists David Harrington and John Sherba, cellist Sunny Yang and violist Hank Dutt, along with guest cellist Jeffrey Ziegler – get to contribute to the compositions, beginning with an ominous, searching, often Indian-tinged opening theme. As the storm looms on the horizon, there’s heavy, portentous ambience, loopy horror-film trip-hop and leaping agitation.

An allusive danse macabre above murky atmospherics signals Anderson and husband Lou Reed’s move to temporary digs in a hotel after they lose electric power. Evidence of cataclysms more commonplace in warmer climates seem shocking here: boats blown from their docks onto the West Side Highway, street signs twisted in the wind.

Anderson devotes as much if not more time to the aftermath. The music is sometimes austere and melancholy, punctuated by frenetic activity as well as coldly surreal variations on the initial trip-hop theme: Anderson’s long relationship with digital technology has always been conflicted.

To her immense credit, she doesn’t lose her signature sense of humor: her observations on people telling their friends about their dreams is priceless. The epic centerpiece, Nothing Left But Their Names, is considerably more disturbing, reflecting on how 99% of all species that ever existed on earth are now extinct. But the most chilling moment of all is when she finally takes us down to the basement.

More Kronos Quartet at Lincoln Center

If you could see the Kronos Quartet two nights in a row – for free – wouldn’t you? That’s part of the premise of this year’s Lincoln Center Out of Doors festival. It was no surprise that the seats filled up early last night for an exhilarating string-driven cross-continental journey that began in Syria and ended in Greece, with flights to Palestine and India in between.

The group opened with a deliciously intense, hauntingly pulsing number by Syrian star Omar Souleyman titled I’ll Prevent the Hunters from Hunting You, a particularly apt choice considering the ongoing revolutionary struggles there. Violinist John Sherba’s nonchalantly sizzling swoops and dives soared against the beat of violist Hank Dutt, who was playing goblet drum, amped up in the mix for a ba-BOOM swing that put to shame any drum machine ever devised. They followed with a gorgeously ambered, austere old Yachiel Karniol cantorial tone poem of sorts, Sim Shalom (Let There Be Peace), a feature for the group’s new cellist Sunny Yang to air out the whispery, occasionally wailling ghosts in her instrument.

An electrocoustic take on Palestinian group Ramallah Underground‘s gritty, metaphorically charged Tashweesh (Distortion) was next, the ensemble adhering tightly to a backing track for a hypnotic, menacingly Lynchian ambience. Avant garde Vietnamese-American zither player Van-Anh Vo then joined the ensemble on the traditional, spiky dan tranh and vocals (and later played keening, sinister glissandos on a loudly amplified dan bao) for a lush pastorale possibly titled Green Delta. Violinist David Harrington led them through Vo’s Christmas Storm to a wild chamber-metal crescendo out; Dutt switched to a screechy wood flute for a third Vo work, before returning to his usual axe as the piece morphed into a lithe dance. After a long, rapt Ljova arrangement of the anxiously dreamy alap section of a Ram Narayan raga, Harrington switching to the resonant sarangi, the ensemble brought up Magda Giannikou, frontwoman of the disarmingly charming French lounge-pop group Banda Magda, to play a new, custom-made lanterna with its deep, rippling, pinging tones. The world premiere of her new work Strope in Antistrophe mingled biting yet playful cadenzas and tricky back-and-forth polyrhythms within a warmly tuneful, enveloping atmosphere.

Aptly named Irish chamber-folk quartet the Gloaming opened the evening with a series of resonantly nocturnal arrangements of ancient songs as well as a couple of new ones that sounded like them, violinist Martin Hayes’ otherworldly, deceptively simple washes of melody rising over Dennis Cahill’s casually meticulous guitar, along with piano and vocals. What’s the likelihood of seeing something this esoteric, and this much fun? In the next couple of weeks, pretty much every day.

The Kronos Quartet, Emily Wells and My Brightest Diamond Sparkle and Flicker at Lincoln Center

The Kronos Quartet are celebrating their fortieth anniversary this year, so it makes sense that the beginning of this year’s Lincoln Center Out of Doors festival – one of the best ever – would be centered around that landmark occasion. The world’s most adventurous string quartet have an auspicious new cellist, Sunny Yang (replacing Jeffrey Ziegler) and their usual slate of premieres and new commissions. Even by their paradigm-shifting standards, their world premiere of Ukraine-born Mariana Sadovska’s Chernobyl: The Harvest – with the composer on vocals and harmonium – this past evening at the Damrosch Park bandshell was nothing short of shattering,  It’s a suite of old Ukrainian folk songs reinvented to commemorate the horror of the 1986 nuclear disaster, which by conservative standards killed at least a million people around the globe and caused the breakup of the Soviet Union, the world’s second-greatest power at the time.

Singing in Ukrainian, Sadovska began it a-cappella with her signature nuance, a thousands shades of angst, sometimes barely breathing, sometimes at a fullscale wail, occasionally employing foreboding microtones to max out the menace. Violist Hank Dutt got the plum assignment of leading the ensemble to join her, Yang’s foreboding drone underpinning a series of up-and-down, Julia Wolfe-esque motives. Quavering, anxious Iranian-tinged flutters from the cello along with violinists David Harrington and John Sherba, astringently atmospheric harmonics and a big, uneasy crescendo, the harmonium going full steam, built to a savagely sarcastic faux circus motif and then a diabolical dance. That was the harvest, a brutal portrayal whose ultimate toll is still unknown. Through a plaintive theme and variations, Sadovska’s voice rose methodically from stunned horror to indignance and wrath: again, the triptych’s final theme, Heaven, appeared to be sarcastic to the extreme, Sadovska determined not to let the calamity slip from memory. Nuclear time forgives much more slowly than time as we experience it: 26 years after the catastrophe, wild mushrooms in Germany – thousands of miles from the disaster scene – remain inedible, contaminated with deadly nuclear toxins.

In a counterintuitive stroke of booking, luminous singer Shara Worden’s kinetic art-rock octet, My Brightest Diamond headlined. They’re like the Eurythmics except with good vocals and good songs – hmmm, that doesn’t leave much, does it? Or like ELO during their momentary lapse into disco, but better. Sh-sh-sh-sh-Shara can get away with referencing herself in a song because she does it with tongue planted firmly in cheek, and because she’s as funny as she can be haunting. She loves props and costumes – a big cardboard moustache and a fez among them, this time out – and draws on a wide-ranging musical drama background. But she saves the drama for when she really needs to take a song over the edge, belting at gale force in contrast to a fat, droll synth bass pulse late in the show. Her lively arrangements rippled through the ensemble of Hideaki Aomori on alto sax, Lisa Raschiatore on clarinet and bass clarinet, CJ Cameriere on trumpet, Michael Davis on trombone and Alex Sopp on flutes, like the early/middle-period Moody Blues as orchestrated by Carl Nielsen. Sopp’s triumphant cadenzas capped off several big crescendos, as did Aomori on the second number, a circus rock song with dixieland flourishes. Worden brought the energy down to pensive for a bit, crooning with a low, ripe, Serena Jost-like intensity and playing Rhodes piano on a hypnotic trip-hop number. Worden switched to minimal but assured electric guitar on a slow, pensive tune and then a warm, gently arpeggiated love song, then to mbira on a similarly hypnotic but bouncier Afro-funk song. “A girl from the country had a dream, and the best place she could think of was here,” Worden beamed to the packed arena as she wound up the night. “We’re living the dream.”

Emily Wells was lost in limbo between the two. The smoky patterns on the kaleidoscopic light show projected behind her on the back of the stage offered more than a hint of the milieu she’s best suited to. It was a cruel if probably unintentional stroke of fate that stuck Wells, a competent singer, between two brilliant ones. Her music is quirky, playful and trippy to the extreme. Wells can be very entertaining to watch, when she’s building songs out of loops, adding layers of vocals, keys and violin, switching between instruments and her mixing board with split-second verve. But as her set – the longest one of the night – went on, it became painfully obvious that she wasn’t doing much more than karaoke. She sang her dubwise, trippy hip-hop/trip-hop/soul mashups in what became a monotonously hazy soul-influenced drawl without any sense of dynamics. Where Sadovska sang of nuclear apocalypse and Worden tersely explored existential themes, the best Wells could do was a Missy Elliott-ish trip-hop paean to Los Angeles. And when she addressed the crowd, Wells seemed lost, veering between a southern drawl and something like an Irish brogue. But the audience LOVED her, and gave her the most applause of anyone on the bill.

Lincoln Center Out of Doors is phenomenal this year: the Kronos Quartet will be there tomorrow and then Sunday night. The full calendar is here.