The Sway Machinery: The House of Friendly Ghosts, Volume 1 (JDub Records, 3/8/11)

The Sway Machinery: "Gawad Teriamou"

Led by guitarist and lead singer Jeremiah Lockwood, Brooklyn-based band The Sway Machinery includes Yeah Yeah Yeahs drummer Brian Chase, brass players Stuart Bogie and Jordan Mclean (Antibalas Afrobeat Orchestra), and baritone-sax player Colin Stetson (Tom Waits, Arcade Fire). Though something of a name-dropper’s perfect dream, The Sway Machinery actually resembles very little of its individual parts.

Instead, under the vision of Lockwood, the collective explores Jewish cantorial music within the broader sphere of world music, injecting the ancient tradition with Afro-rhythms and blues-tinged soul.  The distinct sound stems from two figures in Lockwood’s life: his grandfather, renowned cantor Jacob Konigsberg, who instilled in his lifeblood the ancient heritage of synagogue music; and Piedmont blues virtuoso Carolina Slim, who mentored Lockwood early in his career, as he played the streets and subways of New York City.  It’s a far-out mix that is sacredly funky, executed brilliantly by a collective with a dense amalgamation of contemporary sensibilities.

And to slice it up even more, The Sway Machinery has enlisted one of Mali’s most respected singers, Khaira Arby, for its second record, The House of Friendly Ghosts, Volume 1.  An invitation to be the first Jewish band to perform at the Festival in the Desert in Mali turned into a month-long stay where the band recorded and wrote with some of Mali’s great luminaries, including Super 11 and Vieux Farka Touré, son of the legendary Ali Farka Touré.  Inspired by Mali’s strong musical tradition rooted in local soil, The Sway Machinery recorded the album in the capital of Bamako, accenting its local sounds with Arby’s willful voice at the center.

In many ways, the record plays like a travel journal; tracks like “Women Singing in Timbuktu,” “Camels,” and “Turaeg Child Singing” are exactly what the titles suggest.  As a whole, the record offers many sincere moments like these, whether sound snippets from the streets or the work done in the studio. The project translates as an earnest effort to make sense of a culture through the language of music.

Though Arby is a perfect fit for the Afrobeat horns and the slew of new African instruments introduced to The Sway Machinery’s sound, she provides an interesting point of contrast to the band’s Jewish foundations and American funk and jazz flourishes.  But she respectively owns some of the record’s most standout tracks, making songs like opener “Sourgou” sound like they were played by a band less on a sojourn, more on a permanent stay.  The foot-stomping,  Afro-funk offering “Gawad Teriamou” flaunts Arby’s fiery but effortless vocal deliveries, given life by a Gypsy-desert guitar lick, infectious bass riff, and a stabbing brass section.

Lockwood provides the other half of the record’s vocals.  “Skin to Skin” is the first hint of what Lockwood has to offer, and listeners will immediately sense the intuitive connection between the musical traditions.  There are, however, stark differences. It’s a singing style that hinges on Hebrew syntax and traditional Jewish melodies, a hybrid form that isn’t fully understood until album closer “Shalom Aleichem,” where Lockwood sings completely in Hebrew.

In the end, the music is the link between the two worlds.  The Sway Machinery’s  combination of brass and rhythm is a force to be reckoned with — a true testament to some of New York’s most accomplished musicians.  Over Lockwood’s cantorial-infused vocals, and intertwined in Arby’s African cries, is a triumphant fusion that keeps a balanced variety, from the raw funk in “Youba” to the rock drumming and call-and-response blues dynamics in “All The People.”

The House of Friendly Ghosts, Volume 1 is also less overt than The Sway Machinery’s 2008 debut, Hidden Melodies Revealed, in reconfiguring the Jewish hymn. The result is a grand thesis of cross-cultural music that looks forward more than it looks back.  Bringing its Brooklyn sound to the crown of West Africa, the collective successfully shrinks cultural distance and blends the modern with the Jewish folkloric.

Though this is a few weeks old, Ratatat's newest release just arrived in our office, and it definitely deserves some belated love.

Originating from the electro-rock duo's LP3 sessions, LP4 has been criticized as a "dressing up" of an old model, splashing new instruments over a tried-and-true sound. The reality, however, is that LP4 is an entirely different beast.

Ratatat's members, Evan Mast and Mike Stroud, have used their recordings to combine assorted electronics with guitar and bass. Each release has gotten denser and more diverse, but LP4 stands apart as the most dynamic — and possibly the best written.

In addition to the IDM elements and synthesized funkiness, LP4 features a string quartet alongside horns, piano, slide guitar, and harpsichord. High-pitched guitar harmonies occasionally steal the show, but the moody effect of the strings can't be overstated.

In all, the album is Ratatat's finest, a beautiful and multifaceted work that reflects a duo hitting its stride.

Ratatat: "Bilar"
Ratatat: \"Bilar\"

Mastodon: Jonah Hex / Revenge Gets Ugly EP (Reprise)

Released digitally, here we have four brand-new Mastodon instrumentals (plus two alternate versions) for the Jonah Hex soundtrack. The score itself is divided between Mastodon's frenetic, down-tuned metal and the western atmosphere of composer Marco Beltrami.

Beltrami is a renowned and Grammy-nominated composer, but his works go much deeper than the repetitive, sweeping orchestral scores that normally are nominated. His material for the 2007 version of 3:10 to Yuma, for example, combined twangy leads, clever melodies, percussive drama, and sinister sounds in a sort of neoclassical ode to Italian westerns.

Combined with Mastodon's driving, punishing style, the Jonah Hex soundtrack delivers a fantastic mix of power and mood. It seems perfectly suited for the aesthetics of the movie — even if that movie is getting terrible reviews.

Eternia & MoSS: At Last (Fat Beats)

At just 26 years of age, Ottawa native Eternia already has three albums worth of bona-fide rap jams under her belt.

Far from the novelty acts or chorus crooners that are most females in modern hip hop, Eternia can flat-out bring it, dropping a harder delivery than most of her male counterparts who play the tough-guy card. At Last, her fourth full-length, was built by MoSS, an ascending producer whose head-nodding style works with Eternia's rawness.

A handful of other powerful female MCs make cameos, including Rah Digga, Jean Grae, Rage, and Tiye Phoenix. None can steal the spotlight from Eternia, however, and At Last is sure to garner more acclaim for the Juno-nominated rapper.

Eternia & MoSS: "It's Funny" f. Joell Ortiz
Eternia & MoSS: \"It\'s Funny\"

Steel Train: s/t + Terrible Thrills Vol. 1 (Terrible Thrills)

For those not into lovelorn lyrics and breathy vocals, Steel Train may strike listeners as more of the same melodramatic pop music.

Giving it a chance, however, might just make the New Jersey quintet a "guilty pleasure" indie-pop infatuation — if listeners feel guilty at all.

Having parted ways with co-founder Scott Irby-Ranniar and having departed from Drive-Thru Records, Steel Train is as spot-on as ever, delivering a disc full of mile-high melodies. Front man and principal songwriter Jack Antonoff may divide listeners with his sickly sweet vocals, but the band's easy yet infectious melodies are supported by a potent backdrop.

Swelling strings, scaling guitars, and rubbery bass lines tussle with punctuating piano, bubbly synthesizers, and other aural accessories to make this self-titled album a pop gem. And if you'd like to hear the entire album redone by pop darlings, check out Terrible Thrills Vol. 1 — an accompaniment that features each song with a different female lead, including Scarlett Johansson, Tegan & Sara, Angel Deradoorian, Amanda Palmer, and Holly Miranda.

Steel Train: "Turnpike Ghost"
Steel Train: \"Turnpike Ghost\"

Honorable Mentions

Africa Hitech: Hitecherous vinyl EP (Warp)

Amad-Jamal: Barely Hanging On: The Chronicle of a Brotha Like Rodney King (Urban Umpires)

Ceschi: The One-Man Band Broke Up (Fake Four)

Charming Hostess: The Bowls Project (Tzadik)

Vieux Farka Touré: Live (Six Degrees)

Knut: Wonder (Hydra Head)

The Main Street Gospel: Love Will Have Her Revenge (Tee Pee)

Mass Shivers: Contoured Heat (Licking River)

Pan Sonic: Gravitoni (Blast First Petite)

John Zorn: The Goddess: Music for the Ancient of Days (Tzadik)

Perhaps the poster group for its genre, Sunn has spent the past 10 years experimenting in epic, doomy sound and noise.

Now, with Monoliths & Dimensions, the core duo of Stephen O'Malley and Greg Anderson teams with guests galore to create, in the words of the group, "the most musical piece we've done."  Guest musicians Eyvind Kang (John Zorn, Bill Frisell), Jessika Kenney (Eyvind Kang, Asva), Oren Ambarchi (Burial Chamber Trio), Dylan Carlson (Earth), Julian Priester (Sun Ra, John Coltrane) and others help make that so, while retaining the creeping, end-of-the-world vibe that persists thoughout Sunn's work.

Khanate: Clean Hands Go Foul (Hydra Head)

As the belated swan song for the super-group collaboration between Stephen O'Malley (Sunn O)))), James Plotkin (Phantomsmasher), Alan Dubin (OLD), and Tim Wyskida (Blind Idiot God), Clean Hands Go Foul is a fitting endgame for Khanate's aural presentation of desolation and despair.  Evil ambience crests and falls, working with ominous chords and soul-shredding screams; naturally, fans of O'Malley's other work will love this.

Khanate: "Wings from Spine" (excerpt)
Khanate: \"Wings from Spine\" (excerpt)

Grizzly Bear: Veckatimest (Warp)

Unconventional indie darlings Grizzly Bear have pushed three years since their last full-length release, and the passage of time hasn't diminished the band's creative stroke.

On Veckatimest, Grizzly Bear's trademark vocal harmonies and layered orchestrations are still present, but the album features a slightly heavier touch of electronics and chamber elements.  By and large, however, this is the same Grizzly Bear, and preexisting fans won't feel alienated by this disc.

Sir Richard Bishop: The Freak of Araby (Drag City)

In his solo creations and many collaborative endeavors, ex-Sun City Girls guitarist Richard Bishop weaves through Arabic, Indian, flamenco, African, and Gypsy influences in both composed and improvised settings.

With his new album, he employs a clean, reverberated electric guitar in place of his usual acoustic sound, and he adds a bit of percussive assistance. For spring and summer tour dates, Bishop will perform with a full ensemble, which should make his ethnic creations even more compelling.

Master Musicians of Bukkake: Totem One (Conspiracy)

Milky and Don McGreevy of Earth, producer extraordinaire Randall Dunn (Secret Chiefs 3, Sunn O)))), Bill Horist of Ghidra, and other noted Northwest musicians comprise this collective that designs psychedelic, ethnically inspired folk freak-outs.

With Totem One, the group begins a musical trilogy while expanding and maturing its expansive sound.  The album's guests include Alan Bishop of Sun City Girls and Timb Harris of Estradasphere and Secret Chiefs 3.

Vieux Farka Touré: Fondo (Six Degrees)

The son of musical Malian icon Ali Farka Touré, guitarist/singer Vieux Farka Touré has garnered international distinction since the release of his self-titled debut album, issued the year after his famous father’s death.

That disc, which was remixed later in the same year, featured kora virtuoso Toumani Diabate on a pair of tracks and combined Mande and Sonrai folk styles with pop and a touch of reggae.  Diabate is back to help with Fondo, which finds Vieux taking more of a distinctive direction while improving his songwriting chops.

If you’re in New York or Chicago, you have some mighty fine festival options this weekend. Check out our recommendations for ATP New York and Chicago’s Hideout Block Party, including My Bloody Valentine, Tortoise (shown above), Plastic People of the Universe, Tim Fite, and many others.

ATP New York
September 19-21
Location: Kutshers Country Resort, Catskills, NY

Summary: Seven months before its tenth anniversary, English music festival All Tomorrow's Parties hits New York with a lineup co-curated by My Blooding Valentine. Friday, the first day of the festival, features Don't Look Back performances by Thurston Moore, Tortoise, Meat Puppets, Built to Spill, and Bardo Pond.

ALARM's picks:

Tortoise (Friday): Performing fan-favorite album Millions Now Living Will Never Die in its entirety, Tortoise treats attendees to material from the only disc to feature former guitarist Dave Pajo (Slint). The 1996 release rivals Standards and It's All Around You for the honor of the group's best album, and it includes "Djed," a twisting 21-minute epic.

Om (Saturday): Comprised of former Sleep bassist Al Cisneros and new drummer Emil Amos, the San Francisco duo's heavy, experimental rhythms are inspired by droning sounds and Tibetan chanting, giving their music a spiritual, if hazy, vibe.

Shellac (Saturday): Known as much for its thick, distinct guitar and bass tones as its hard-hitting rock songs, Shellac has garnered critical acclaim without a PR team. Excellent Italian Greyhound, the trio's first album in seven years and a gem, is its most experimental in song structure.

Fuck Buttons (Saturday): Can dissonance be beautiful? Experimental and melodic noise duo Fuck Buttons gives its all to that purpose, seemingly inspired as much by My Bloody Valentine (playing later in the festival) as Skinny Puppy.

My Bloody Valentine (Sunday): A friend of ALARM recently described the band's live show as so loud that you can feel the rumbling of the bass, but also that you can "feel the guitar too!" 'Nuff said.

Mogwai (Sunday): Due out next week, The Hawk is Howling returns Mogwai to the instrumental prowess and stylistic diversity of albums past. Check out our lengthy feature on the Scots in ALARM 33 (available in October).

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Hideout Block Party
September 20-21
Location: The Hideout, Chicago, IL

Summary: Tucked away in an industrial corridor, the Hideout lives up to its name while hosting rock, blues, jazz, country, hip hop, and experimental shows. The venue's 12th annual Block Party brings an assortment of talent to Chicago.

ALARM's picks:

Plastic People of the Universe (Saturday): Outspoken against communism and the Kremlin's "normalization" process, avant-psych rock group The Plastic People of the Universe celebrates the 40^th anniversary of its inception this year. The band hails from Prague, where it experienced Soviet rule in the late 1960s and where it began assembling blends of minor-key classical music, experimental rock, and film-score sounds.

Monotonix (Saturday): You may leave the set by this Tel Aviv rock ‘n' roll three-piece drenched in beer and smelling of other people and the garbage that was (accidentally) flung in your hair, but we guarantee you won't leave disappointed.

*Read our feature on Monotonix from ALARM 32.

Vieux Farka Touré (Saturday): Before performing at Chicago's World Music Festival, Malian virtuoso guitarist/drummer Vieux Farka Touré brings his unique fusion to the Hideout in the middle of a US tour. Touré's self-titled debut album, released in 2007, includes the work of Malian kora sensation Toumani Diabaté.

Tim Fite (Sunday): If you've only heard one song by this Brooklynite, you might not know whether he's a hard-edged rapper or a light-hearted chamber-folk singer/songwriter. Both descriptions are apt, as Fite's talents know few limits.

*Read our exclusive web feature on Tim Fite.

Dark Meat (Sunday): As we always say, what better way to round out the festival season than with a 17-piece psych-rock band from Georgia? Dark Meat (short for Dark Meat/Vomit Lasers Family Band/Galaxy) is hell bent on breaking the boundaries between band and audience, putting on a show that feels akin to a sweaty basement party, no matter how big the stage.

Mucca Pazza (Sunday): And if Dark Meat's 17 members aren't enough for you, check out Mucca Pazza, a Gypsy-rock marching band whose size can swell upwards of 30 contributors. Don't miss them if you enjoy booty-shaking beats mixed with witty cheers (from the group's cheerleaders, of course) about the mathematical properties of the number one.