When The Klezmatics emerged 15 years ago, they redefined what was already a burgeoning klezmer revival.  Unlike so many other groups, which mostly adhered to a traditional approach, The Klezmatics infused the genre with a modern, slightly experimental sound and a progressive spirit.  The title of their first album, Shvaygn=Toyt, or Silence equals death, was a clear giveaway.

During the ensuing years, the band has remained stubbornly adventurous, mixing touching, sometimes haunting ballads with rollicking instrumentals that seemed to spring form the pages of Kabala.  With attitude and rhythm, they flaunted a determination to create a new body of work by tapping liturgical melodies, reworking the innovations of such stalwart klezmer influences as Dave Tarras and, sometimes, borrowing the poignant stanzas of deceased Yiddish poets.

On its latest release, Rise Up! (Shteyt Oyf), their first in five years, the group continues its trailblazing path.  Despite the latest personnel change – violinist Alicia Svigals has been replaced by Lisa Gutkin – The Klezmatics have assembled another impressive collection.  The playing is tight.  The song selection is eloquent.  And the moving vocals by Lorin Sklamberg, who also plays accordion, continue to be a strong point, something that distinguishes this group from so many others.

The most rousing example of their musical muscle can be heard on “I Ain’t Afraid,” a song about the dangers  of religious extremism that was penned a few years ago by folkie Holly Near but has been largely overlooked by the public.  On the cover, though, The Klezmatics turn what was already a very pointed tune into an anthem for our times.  As the song says, they ain’t afraid of your Yahweh, your Jesus, or your Allah.  They’re afraid of what you’ll do in the mane of your God.

Some other memorable moments include “Di Gayster” or “Ghosts” (a creepy instrumental that could have been subtitled, “Dancing with Cybbuks”), a playful romp by trumpeter Frank London called “Kats Un Moyz” (Cats and Mouse), and “Loshn-Koydesh” (Holy Tongues), about a rather unconventional Hebrew lesson with a rosh, or headmaster of the school.  Another winner is “Teppel,” a catchy song that’s propelled by a ‘faux Hasidic boys choir.’

With pluck, talent, and humor, The Klezmatics have created an enjoyable addition to their growing body of work, reaffirming their place as the reigning royalty of Klezmer.

But this isn’t the only worthwhile klezmer disc to be released recently.  Several other artists who lack the name recognition of the Klezmatics but possess equal amounts of talent and imagination are toiling in what can only be considered a musical underground.  And their latest efforts are just as enjoyable and worth hearing.