Top Ten Songs of the Week 8/3/09
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. Every link here except for #1 will take you to each individual song.
1. The Ulrich/Ziegler Duo – Since Cincinnati
This is the alchemical guitar instrumental project of Steve Ulrich of Big Lazy plus Itamar Ziegler from Pink Noise. Unreleased – you’ll have to see this southwestern gothic masterpiece live.
2. Don Chambers & Goat – Open up the Gates
Dark garage rock with a banjo. They’re at Spikehill on 9/6.
3. Quixote – Hubris
Lo-fi noir cabaret with ornate flourishes from these edgy rockers. They’re at Trash on 8/11 at 8.
4. Mrs. Danvers – Wicked One
Slinky lesbian dance-rock with a trumpet, lots of fun. They’re at Trash on 8/11 at 10.
5. Bacchus King – Sub Prime
Math rock with a social awareness. They’re at Trash on 8/8 at 8.
6. The Warm Hats – Underground
Catchy swaying smartly defiant rock. At Trash on 8/7 at 8 withPalmyra Delran, the amazing Brooklyn What and the equally amazing Escarioka.
7. The Grendel Babies – Penelope
Eerie gothic art-rock with piano and violin. They’re at Fontana’s at 9 on 8/4.
8. The Fox Hunt – Suits Me Fine
Minor key original bluegrass – good stuff. At Caffe Vivaldi, 8 PM on 8/25, also at Arlene’s on 8/26 at 10 and at the National Underground on 8/27 at 9.
9. Glasspipe – Hands
Garage punk. They’re at Trash on 8/4.
10. Verismo – The Lorax
Dr. Seuss thrash metal. Priceless.
August 4, 2009 Posted by delarue | lists, Lists - Best of 2008 etc., Music, music, concert | art-rock, Bacchus King, best 100 songs of 2009, big lazy, bluegrass, bluegrass music, brooklyn what, dance music, dance rock, Don Chambers & Goat, escarioka, film score, film soundtrack, Fox Hunt band, garage music, garage punk, garage rock, Glasspipe band, goth music, gothic music, Grendel Babies, Hands song, Hubris song, indie rock, instrumental rock, itamar ziegler, Lorax song, math rock, Mrs. Danvers, Music, nashville gothic, noir cabaret, Open up the Gates, Palmyra Delran, Penelope song, Pink Noise, punk music, punk rock, Quixote band, rock music, Since Cincinnati, soundtrack music, southwestern gothic, spaghetti western music, steve ulrich, Sub Prime song, Suits Me Fine song, top ten songs, Ulrich/Ziegler Duo, Underground song, Verismo, Warm Hats, Wicked One song | Leave a comment
Concert Review: Paul Wallfisch, the Ulrich/Ziegler Duo and McGinty and White at the Delancey, NYC 4/23/09
Small Beast is rapidly becoming a New York institution. The kind of thing you’ll look back on and tell your kids assuming you live long enough to have them and they live long enough to understand you when you talk about how in the spring of 2009 you spent Thursday evenings upstairs at this one Lower East Side bar, in a space that by all rights shouldn’t even have music at all because it barely has a stage. But it does. And the shows just get better and better. It started midwinter when Botanica frontman Paul Wallfisch’s desire to work up new material and collaborate with what seems an ever-expanding cast of quality players from some of music’s darker enclaves. It’s not limited to rock, either: there’ve been shows by jazz, classical and gypsy acts here too.
Thursday’s was maybe the best to date. Or maybe not, there’ve been transcendent moments practically every week. Wallfisch opened as he always does, solo on piano, Chopinesque (in that his style blends the Romantics and the gypsies) and upbeat this time with almost a sprint through the Little Annie noir cabaret gem Because You’re Gone, a brand new tango and a ballad in French. His collaborator onstage this time was cellist Rubin Kodheli from the brilliant chamber rock group Edison Woods and the artsy, ambient Blues in Space. Despite a total lack of rehearsal, the two matter-of-factly made their way through a wrenchingly beautiful version of the subtly and brutally sarcastic Three Women and the stately, equally haunting Eleganza and Wines, Wallfisch as usual getting the crowd going in a clapalong in 7/8 time – the premise seems to be that if the Arabs and the Bulgarians can do it, we should be able to follow along too. Then they brought Kerry Kennedy up onstage and did Because You’re Gone again, halfspeed, her bruised velvet vocals giving the lament special poignancy.
The Ulrich/Ziegler duo were next, supplying the requisite transcendence, boiling over with chilly reverb instrumental soundscapes evoking images of Tribeca alleyways in grim, rain-drenched late autumn predawn, black and silver but not in a Blue Oyster Cult way, not unless you count the two guitars. With Big Lazy on the shelf at the moment and what seems an endless series of film and tv projects going on, frontman/guitarist Steve Ulrich has been lately been playing duo shows with Pink Noise guitarist Itamar Ziegler. This team is a winner, part Mingus, part Ventures and part Morricone but with a savage, often macabre wit that transcends any of those styles and at times, unsurprisingly, sounds almost exactly like Big Lazy. Ziegler was a human metronome, holding the songs together while Ulrich played sharpshooter, alternating between ominously minimal tremolo licks, ominous washes of sound, reverberating chordlets and dirty skronk. They opened with a vintage Big Lazy song, following with a plaintive waltz and a surprisingly bluesy, minor-key one loping along on a garage rock beat. A new one, Since Cincinnati proved to be Ulrich’s most haunting lapsteel song, sort of a more noir, cinematic twist on the old Big Lazy hit Junction City. They wound up the set with a swinging, chicha-esque version of Caravan lit up with a long, blacklit solo from Ulrich in place of where the Ventures would have put the drums.
McGinty and White were a good segue because while many of their songs have a subtle menace, there was no resemblance between them and Ulrich and Ziegler other than that they could be competing offices of obstetricians. This was ostensibly the first live show together for the former Psychedelic Furs keyboardist and the “tippling gadabout [NOT]” who’s been putting out excellent, darkly lyrical janglerock albums since before the turn of the century. Occasionally putting down his acoustic guitar, White proved equally adept as a crooner while the backing band did a picture-perfect evocation of late 60s psychedelically-inclined chamber pop. Watching them was like being in the audience at Ed Sullivan, 1968 – and putting violinist Claudia Chopek out in front of the stage, on the floor, where her warmly compelling lead lines could resonate was a smart move. The title of their new cd McGinty and White Sing the McGinty and White Songbook is characteristically tongue-in-cheek. McGinty is no slouch at sardonic humor, offering a vivid reminder with the deadpan Get a Guy and the haunting, atmospheric ballad that closed the show. They’d opened the show with the sarcastic Everything Is Fine, punctuated by a surprisingly over-the-top metal solo from their lead player, later delivering the self-effacing Big Baby, McGinty’s effortless rivulets threatening to erode the piano keys. The savage Knees, written by White finally unleashed the demons: “You can keep my heart, bitch, just give me back my knees.” There’ll be a review of the album here closer to the date of the cd release show in May.
Super duper orange alert: unless people start dropping like flies in the streets, Lucid Culture has no intention to stop reviewing concerts, frequenting public places or riding the train. This “flu outbreak” has all the earmarks of hysteria (remember Y2K?). Mexico City has awful sanitation and services, it’s overcrowded, polluted and the most impoverished Mexicans suffer from malnutrition. In other words, it’s a prime spot for an outbreak of something. You could say the same about New York except that as bad as things can get it’s not that bad here. Yet. Keep your eyes open this fall and see if the bug mutates into the black plague.
April 27, 2009 Posted by delarue | Live Events, Music, music, concert, New York City, Public Health, review, Reviews, small beast | botanica band, claudia chopek, delancey bar, gypsy rock, indie rock, instrumental rock, itamar ziegler, joe mcginty, kerry kennedy, little annie bandez, mcginty and white, Music, new york bands, noir music, review, rock music, small beast, soundtrack music, steve ulrich, Ulrich/Ziegler Duo, ward white | Leave a comment
About
Welcome to Lucid Culture, a New York-based music blog active since 2007. You can scroll down for a brief history and explanation of what we do here. To help you get around this site, here are some links which will take you quickly to our most popular features:
If you’re wondering where all the rock music coverage here went, it’s moved to our sister blog New York Music Daily.
Click here for our front page, where you’ll find the ten most recent writeups.
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A big hit in 2008-2009, the 666 Best Songs of All Time page
This link will take you directly to the most recently updated NYC Live Music Calendar, which has also migrated to New York Music Daily.
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ABOUT LUCID CULTURE
April, 2007 – Lucid Culture debuts as the online version of a somewhat notorious New York music and politics e-zine. After a brief flirtation with blogging about global politics, we begin covering the dark fringes of the New York rock scene that the indie rock blogosphere and the corporate media find too frightening, too smart or too unfashionable. “Great music that’s not trendy” becomes our mantra.
2008-2009 – jazz, classical and world music become an integral part of coverage here. Our 666 Best Songs of All Time list becomes a hit, as do our year-end lists for best songs, best albums and best New York area concerts.
2010 – Lucid Culture steps up coverage of jazz and classical while rock lingers behind.
2011 – one of Lucid Culture’s founding members creates New York Music Daily, a blog dedicated primarily to rock music coverage from a transgressive, oldschool New York point of view, with Lucid Culture continuing to cover music that’s typically more lucid and cultured.
2012-13 – Lucid Culture eases into its current role as New York Music Daily’s jazz and classical annex.
2014-21 – still going strong…thanks for stopping by!
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