Tag Archives: Daniel Kahn

Daniel Kahn & The Painted Bird: The Butcher’s Share (Album Review by Michael Croland)

Guest Post by Michael Croland, author of Oy Oy Oy Gevalt! Jews and Punk

Daniel Kahn & The Painted Bird herald their new album as “klezmer-punk anthems for the revolution or the apocalypse,” with songs that “speak to the political moment as much as they address eternal struggles of class and liberation.” Kahn has often played with the past and the present, letting radicals and revolutionaries from yesteryear have a say through a contemporary lens. In the era of Trump, the alt-right, and Brexit, his approach isn’t a stretch. It’s timely.

Following a short intro song, The Butcher’s Share kicks off with its boisterous title track. The lyrics discuss an ignorance-is-bliss approach to “the power people wield” and human rights, stressing the importance of “our needs” over “evil deeds.” In the last few lines, once the point has been become clear, Kahn snarls and shouts to vehemently deliver his message: People pay someone else to do the dirty work and look the other way.

The group made a video for the catchy “Freedom Is a Verb,” which posits that freedom is “something you must constantly” work for in order to have it. Upon introducing the song at a show in New York on the last night of Passover, Kahn talked about how the theme of freedom was timely. But the song doesn’t narrowly define freedom as liberation from a ruler’s enslavement. As in other songs on the album, the socialist Kahn has biting social commentary about the masses who have gotten the short end of the stick, which is all too timely year-round nowadays. Kahn sings: 

But lower pay and higher rent’s another kind of violence / The violence of silence and of greed / The violence of feeling your irrelevance revealing / Every way in which you never will be freed“.

“99%—Nayn-Un-Nayntsik” pits the 99% vs. the 1%. It’s an anthem in Yiddish and English for the era of Occupy Wall Street, Bernie Sanders, and beyond. Kahn sings, “Ninety-nine is a community, one percent is a f–k-you-nity.”

“Arbeter Froyen” is a prettier folk song about hard-working women. The electric guitar solo is a rockin’ interlude, but it’s not intense or reminiscent of punk.

Of course, this so-called “klezmer-punk” isn’t punk rock. Kahn’s longer label, “Radical Yiddish Punkfolk Cabaret,” is more fitting. Kahn has never been restricted by a singular vision in his art or his message. The Butcher’s Share features four songs that were written for a 2016 staging of Isaac Bashevis Singer’s Enemies, A Love Story and two Abraham-themed “bonus tracks.” There’s a song with lyrics by the late Adrienne Cooper and music by Frank London (The Klezmatics and Hasidic New Wave). The album includes guest vocalists Michael Alpert (Brave Old World), Sarah Gordon (Yiddish Princess), Sasha Lurje (Goyfriend), Lorin Sklamberg (The Klezmatics), and Psoy Korolenko (The Brothers Nazaroff). Those contributors give a feel for a wide range of what contemporary klezmer has to offer. The same could be said for the album. As timely as the social commentary songs are, there’s more to The Butcher’s Share.

Michael Croland is the author of Oy Oy Oy Gevalt! Jews and Punk, which was published last year by Praeger (an imprint of ABC-CLIO). Check out the book to learn more about Daniel Kahn & The Painted Bird and other Jewish punk artists!

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Daniel Kahn & The Painted Bird drops”Freedom Is A Verb” video

German-based klezmer punk act Daniel Kahn & The Painted Bird recently released the video for their new single “Freedom Is A Verb“, directed by Patrícia Bateira. Powered by a menacing speakeasy vibe and the titular frontman’s snarling vocals, the track delivers biting criticism of America’s current political situation and reminds listeners that freedom is “something never finished, never done“. The video adds to this commentary with shots of politically-motivated graffiti and artwork (including some aimed at a certain American president…)

“Freedom Is A Verb” comes from the group’s upcoming album The Butcher’s Share, which comes out November 17 on Oriente Musik.

3rd Annual “Yiddish Soul” Concert To Feature Klezmatics, Zusha, and more

Yiddish Soul“, an annual concert organized by the National Yiddish Theatre Folksbiene and the Museum of Jewish Heritage, is gearing up for its third year, which will include several non-mainstream Jewish artists.

The lineup will include The Klezmatics, Zusha, The Maccabeats, Daniel Kahn, and cantors Yaakov “Yanky” Lemmer and Chaim Dovid Berson. Iconic radio personality Nachum Segal will be hosting.

The event will be held at the Central Park SummerStage on Wednesday, June 14, at 7PM. You can find more details here.

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Every Time I’ve Seen Daniel Kahn Live (Michael Croland)

Guest Post by Michael Croland, author of Oy Oy Oy Gevalt! Jews and Punk

On Monday night, I saw Daniel Kahn & The Painted Bird, which calls its music “Radical Yiddish Punkfolk Cabaret,” at Joe’s Pub in Manhattan. It was my eighth time seeing Berlin-based Kahn perform, including with Daniel Kahn & The Painted Bird, with other musical outlets, and as an actor. Below is a recap of all eight shows.

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Photo: Adam Berry

 

While some Daniel Kahn & The Painted Bird songs have discernible punk rock elements musically, that isn’t really the point. I’ve seen Kahn rock out as part of a seven-piece band, and I’m seen him solo or with little accompaniment. In Oy Oy Oy Gevalt! Jews and Punk, Kahn explained why he thought “punk”—or “punkfolk—was a fitting label:

There’s the rejection of . . . commercial market populism: the idea of trying to make something that’s appealing to everybody. There’s the cultishness of it. There’s the idea that we are building a functional life raft for endangered ideas. . . . There’s a do-it-yourself [approach] . . . we’re not part of a larger market structure. There’s a kind of exuberant irreverence and aggressiveness to it. There’s the sardonic acid humor. There’s the theatricality of it, with trying to avoid sentimentality and nostalgia. I’d say that, to a large degree, it has to do with our willingness to engage with some dark s*** — like, really dark s***. But in a way that it’s playful and serious but doesn’t have the adolescent kitsch of the way that, say, metal deals with the same issues.

September 2009 (Barbès, Brooklyn): I saw Daniel Kahn & The Painted Bird for the first time at this fun, lively show in an intimate venue. As part of a seven-piece band that also included trombonist Dan Blacksberg (Electric Simcha), Kahn was joined by two electric guitarists, Vanya Zhuk (Nayekhovichi) and Avi Fox-Rosen (Yiddish Princess). The songs rocked harder with an extra oomph, especially “Yosl Ber/A Patriot.”

January 2012 (Symphony Space, Manhattan): Daniel Kahn & The Painted Bird played as part of an “Artists Celebrate Dr. Martin Luther King, Jr.” show organized by the Manhattan JCC on MLK Day. Kahn played an unreleased song called “Among Us,” which addressed the nature of leaders and heroes and how it’s the people who have to create change. My friend Eli was so moved by the lyrics that he emailed Kahn afterward to get the song.

March 2013 (Gramercy Theatre, Manhattan): I went with my friend Dan, and this was a great show by Daniel Kahn & The Painted Bird. In introducing “In Kamf,” Kahn said, “This is a punk rock tune from the 1880s. Play it f***ing loud!” As he explained in Oy Oy Oy Gevalt! Jews and Punk, he took a Yiddish song about the struggles of sticking up for the poor and gave it a punk “treatment.” He matched the “strong” and “defiant” message with a guitar riff reminiscent of The Clash’s “London Calling.”

May 2015 (Sidewalk, Manhattan): Daniel Kahn & The Painted Bird played on May Day, which was quite appropriate for an artist with songs about labor issues like “March of the Jobless Corps.” In an intimate venue with a piano onstage, the cabaret side of “Radical Yiddish Punkfolk Cabaret” was evident.

June 2015 (The Paper Box, Brooklyn): At Borscht Ball, the kickoff event for KulturFest, Kahn marched toward the stage while boldly shouting, “Nazaroff is coming!” I was cracking up because I realized that most people had no clue what he was talking about. He and other members of the band The Brothers Nazaroff performed songs from their forthcoming debut, The Happy Prince.

November 2015 (Castillo Theater, Manhattan): What better way is there to spend a birthday than seeing Death of a Salesman in Yiddish? Kahn played the role of Biff.

December 2015 (DROM, Manhattan): At the Yiddish New York Klezmer Blowout, Kahn made a guest appearance with Frank London’s Klezmer Brass Allstars. As I noted in the first blog post for OyOyOyGevalt.com, “I’ve attended some notable Jewish concerts in the last decade, but with so many YNY festivalgoers present, this was the first time where I really felt transported to another world. It was like a parallel universe where klezmer and Yiddish culture were appreciated—and rocked out to—by engaged fans in such a resounding way.”

April 2017 (Joe’s Pub, Manhattan): Daniel Kahn & The Painted Bird consisted of Kahn on vocals, accordion, piano, and acoustic guitar and violinist Jake Shulman-Ment, with occasional guests. The first song with vocals featured just Kahn and Shulman-Ment, but it was evident that Kahn’s brand of klezmer has an edge to it, thanks in part to the fast tempo, his snarling in Yiddish, and saying the f-word as part of his English translation. One of Kahn’s greatest strengths is playing old Yiddish songs that offer social commentary about contemporary circumstances. He explained that when he released “Embrace the Fascists” (based on a 1931 German song) for his 2009 album, he thought it was clever to have an old song that spoke to contemporary times. Now he wished it wasn’t so clever and fitting. “[The songwriters] wrote this in 1931, about Richard Spencer,” Kahn quipped. He introduced “Sunday After the War” by noting that he wrote it during the Iraq War, for its relevance about one war, and it turned out to be pertinent to multiple things. “I hope some day I can stop playing the damn thing,” he said. Kahn has written, “I wish we did not have to sing about crippling poverty and sweatshops and imperialist war anymore. But we do. Those old songs remind us that the problems we face today are nothing new. We can learn much from those who struggled with them before us.”

Michael Croland is the author of Oy Oy Oy Gevalt! Jews and Punk, which was published in April 2016 by Praeger (an imprint of ABC-CLIO). Check out the book to learn more about Daniel Kahn & The Painted Bird and other Jewish punk artists!