Folk-punk lets loose
Published in Berkshire Eagle, 12/1/10
By Jeremy D. Goodwin
Pittsfield—The penultimate tune on Bella's Bartok's debut album, released yesterday, is called "The Party Song." One wonders how this particular number earned the title; it seems to fit for almost anything in the band's repertoire.
The sprawling, eleven-member ensemble sounds surprisingly precise on its very good recorded debut, At the Kingmaker's Ball. But in concert, this Berkshire-born Gypsy-punk juggernaut is delightfully imprecise. Its sound, described by the band as ranging from "bohemian folk-punk” to “circus-themed electric art rock," is informed by Eastern European folk music, suffused with the energy of punk rock, and tinted with a Dixieland inflection. The music is often delivered at full volume, and even the waltzes come at breakneck speed. It is getaway music for horse-drawn, peddler caravan. Call it borschtcore.
This was all on glorious, tattered display this weekend at the band's breathless two-set stomper in Pittsfield's New Stage performance space. The gig marked the imminent release of the album (copies were not yet available); though the band is only two years old, it already feels like it's becoming the house band of Berkshire County.
Bella’s Bartok exudes an informal, seat-of-the-pants vibe that might distract the listener from the impressive musicianship at the heart of the enterprise. Inevitable sound challenges notwithstanding, it’s no mean feat to throw 11 (mostly young) musicians on a tiny stage and end up with something other than exuberant cacophony.
Pittsfield—The penultimate tune on Bella's Bartok's debut album, released yesterday, is called "The Party Song." One wonders how this particular number earned the title; it seems to fit for almost anything in the band's repertoire.
The sprawling, eleven-member ensemble sounds surprisingly precise on its very good recorded debut, At the Kingmaker's Ball. But in concert, this Berkshire-born Gypsy-punk juggernaut is delightfully imprecise. Its sound, described by the band as ranging from "bohemian folk-punk” to “circus-themed electric art rock," is informed by Eastern European folk music, suffused with the energy of punk rock, and tinted with a Dixieland inflection. The music is often delivered at full volume, and even the waltzes come at breakneck speed. It is getaway music for horse-drawn, peddler caravan. Call it borschtcore.
This was all on glorious, tattered display this weekend at the band's breathless two-set stomper in Pittsfield's New Stage performance space. The gig marked the imminent release of the album (copies were not yet available); though the band is only two years old, it already feels like it's becoming the house band of Berkshire County.
Bella’s Bartok exudes an informal, seat-of-the-pants vibe that might distract the listener from the impressive musicianship at the heart of the enterprise. Inevitable sound challenges notwithstanding, it’s no mean feat to throw 11 (mostly young) musicians on a tiny stage and end up with something other than exuberant cacophony.
 |
Title track, At the Kingmaker's Ball
|
Yet the un-miced horn/wind section of Amory Drennan (trumpet), Sean Klaiber (trombone) and a hyperkinetic Chris Kerrigan (clarinet) provided delicious, muscular themes; drummer Mark Schilling ably juggled circular, circus inflections with punk-waltz and the occasional rock beat; and affable bassist Steve Torres provided the Gorilla Glue to hold it all together (though he’s unfortunately switched from the acoustic upright on which he particularly excels to an electric). If anything, lead vocalists Asher Putnam (sporting a Django Reinhardt moustache) and Vashti Poor seemed a bit less boisterous than expected; the impact of the band comes from the improbably successful blending of its many voices (both instrumental and vocal) rather than any singular charisma.
There was a bit of sameness reflected in the song selection, though definite peaks were found on blistering first-set-closer “Warsaw is Khelm” (by the contemporary klezmer band Golem) and the title track from At the Kingmaker’s Ball, a clear standout that benefits from an unexpectedly infectious pop melody and a typically winning horn-led theme. By the time the horn players meandered into the audience for the last few choruses of the song, the sweaty audience and sweatier musicians all seemed part of the same effort. Some songs did benefit from the dynamics achieved by leaving some more musical space open; one fast waltz even—somehow—recalled the proto-metal coda of The Beatles’ “I Want You (She’s So Heavy).”
There was a time when it seemed one could scarcely walk around Great Barrington on a summer evening without seeing Bella's Bartok, in one formation or another, attracting an impromptu crowd as it honed its chops for passersby and friends. Whether it was the summer solstice fair and concert thrown by the Berkshire Co-op, or, simply, certain house parties in Housatonic, it felt like Bella's Bartok was everywhere. (Anywhere but a "proper" show, that is.)
As it releases its first album and starts to garner more press attention, this caravan is gaining momentum. Even the small stage—and, on this night, open dance floor—of New Stage suited the ensemble very well. Bella’s Bartok will close out its productive year with a New Year's Eve gig at Northampton's Pearl Street Nightclub. It’s safe to expect a noisy party.
There was a bit of sameness reflected in the song selection, though definite peaks were found on blistering first-set-closer “Warsaw is Khelm” (by the contemporary klezmer band Golem) and the title track from At the Kingmaker’s Ball, a clear standout that benefits from an unexpectedly infectious pop melody and a typically winning horn-led theme. By the time the horn players meandered into the audience for the last few choruses of the song, the sweaty audience and sweatier musicians all seemed part of the same effort. Some songs did benefit from the dynamics achieved by leaving some more musical space open; one fast waltz even—somehow—recalled the proto-metal coda of The Beatles’ “I Want You (She’s So Heavy).”
There was a time when it seemed one could scarcely walk around Great Barrington on a summer evening without seeing Bella's Bartok, in one formation or another, attracting an impromptu crowd as it honed its chops for passersby and friends. Whether it was the summer solstice fair and concert thrown by the Berkshire Co-op, or, simply, certain house parties in Housatonic, it felt like Bella's Bartok was everywhere. (Anywhere but a "proper" show, that is.)
As it releases its first album and starts to garner more press attention, this caravan is gaining momentum. Even the small stage—and, on this night, open dance floor—of New Stage suited the ensemble very well. Bella’s Bartok will close out its productive year with a New Year's Eve gig at Northampton's Pearl Street Nightclub. It’s safe to expect a noisy party.
