Eclectic Live Music Selections in New York City March 23, 2012

Your choice will be tough if you're in New York City on March 23, 2012:

March 22 & 23, 2012 in New York City
ATTWENGER (Austrian-Rockabilly) @ NYU
KALI MUTSA (Chilean Roma-Dancefloor) @ SOB's
SONIA M'BAREK (Tunisian Classical) @ CUNY
FILASTINE (West Coast Electro-Bass) @ Highline Ballroom

March 22, 2012 @ DROM NYC
85 Avenue A
Tix: $15, $10 advance, Doors Open: 9 pm, Show: 9:30 pm
Ph: 212.777.1157

March 23, 2012 @ Deutsches Haus at NYU
42 Washington Mews
Ph: 212.998.8660

The Austrian duo Attwenger turn Upper Austrian folk music and wry local wisdom into madcap backbeats and funky, flaring accordion. It’s The Cramps parachuting into a mountain village street fest for a punk spree, or The Pogues punning in Alpine slang to dancefloor-friendly samples. It’s folk trip-hop, psychedelic and feral polka.

Kali Mutsa
March 23, 21012 @ SOB's
204 Varick St.
Show: 10:00 pm
Ph: 212.243.4940

Like Venus rising from the waves, the cat-eyed whirlwind of a woman rose from the magical earth and rarified air of myth-filled Chilean valley nearly a century ago. Daughter of Roma wanderers, protégée of the last remnants of the Incan aristocracy, holder of a secret dream, she gyrated across silver screens and dusty stages, chanting freedom and seduction with a polychrome wink...

Sonia M'Barek
March 23, 2012
CUNY Graduate Center, Proshanky Auditorium
365 5th Avenue (between 34th and 35th streets)
Tix: $55/$45/$35/$25, Doors Open: 6:00 pm, Show: 7:00 pm
Ph: 646.732.3261

Tunisian vocalist Sonia M’Barek can sing a centuries-old song from Andalusia, and just as nimbly reframe the words of radical 20th-century poets. She hears the ties of mode and rhythm linking Tunisia’s prized classical traditions, Egyptian cabaret music, and Ottoman court pieces, evoking the diverse musical variations around the Mediterranean with a sultry, supple voice.
March 23, 2012 @ the Highline Ballroom
431 W 16th St.
Tix: $15, Doors Open: 10:30 pm,
with Ott. Ph: 212.997.4555

In a commandeered shopping cart strung with contact mics, in an old-growth Indonesian forest a mile’s walk from the nearest dirt road, it begins. Dreams of two-way radio static direct from future floating cities fade in and out, trading licks with ecstatic idiophones, the buzz of gut strings. The world is coming apart at the seams, ripped by injustice, craven stupidity, global weirding. Performing up to a hundred concerts per year, Filastine uses percussion to control loops and synchronized video from a heap of electronics wired to an amplified shopping cart. This spring, he will deliver Loot, his third full-length work.