CD Review: Francesca Blanchard's 'Deux Visions'

Francesca Blanchard
Deux Visions
Vis-A-Vis Records

Deux Visions is translated as "two visions." In this case, the double references pertain to a French upbringing and current residence in Vermont. The songs are pop, folk, and rock oriented with both English and French lyrics. The melodies are pure heaven, as anyone with a familiarity with Carla Bruni, Francois Hardy, and Souad Massi. The tender vocal sound is intimate, poignant, and emotive. The light, contemplative ballad, "The Sea," is a fitting ending to a wonderful album, but the pop-rock brilliance of "Empty House,"  "Save A Different Way," and "Rame" showcase Francesca's innate ability to convey musical emotion with great melodies and rhythms in the same vein as the above-mentioned artists. Nevertheless, Francesca makes her mark in a very good way. Anyone with an interest in French pop and rock will love Deux Visions...and probably everything she releases in the future. ~ Matthew Forss

CD Review: Vishten's 'Terre Rouge'

Vishten
Terre Rouge
Les Editions Du Corfus

The folksy trio, Vishten, hails from Prince Edward Island, Canada, and thrill audiences everywhere with their unique blend of Francophone folk, fiddle tunes, ballads, and roots music. Some of the more instrumental tunes are quite suitable for dancing and foot-stomping, while the vocal tunes incorporate a little pop and roots for a truly French-Canadian or European-infused musical ride. Besides vocals, whistles, mandolins, piano, bodhran, jaw harp, guitar, accordion, and bass synth instruments fill in the repertoire. The rousing melodies are ideal for relaxing, dancing, and meditating upon the wondrous skills of Vishten. Fans of Heidi Talbot, Karine Polwart, Varttina, and fellow-countrywomen--Natalie MacMaster and April Verch--will find happiness in the tunes on Terre Rouge. ~ Matthew Forss

CD Review: Taraf de Haidouks' 'Of Lovers, Gamblers and Parachute Skirts'

Taraf de Haidouks
Of Lovers, Gamblers and Parachute Skirts
Crammed Discs

The iconic, Gypsy music band from Romania, Taraf de Haidouks, releases yet another glorious album of European and Turkish-infused tunes with a bit of Romanian pizzazz and Balkan candor. The fourteen, dizzying tunes feature the best in Gypsy strings, wind instruments, percussion, and other indelible musical attributes that are top-notch. There are instrumental portions, but this is not an instrumental album. The vocals are very straight-forward, earthy, and neo-classical. The jaunty rhythms are what you would expect from a group of this caliber. Every song is like a mini-party that is full of high energy and nostalgic embellishments. The track titles are translated in English and Romanian on the album. The liner notes contain English and French translations of song meanings. Overall, fans of Gypsy music should already know about Taraf de Haidouks, but if not, this would be an excellent introduction to the band. ~ Matthew Forss

CD Review: Axel Krygier's 'Hombre De Piedra'

Axel Krygier
Hombre De Piedra
Crammed 

The contemporary recording, Hombre De Piedra, showcases an experimental vein of Axel Krygier's cross-cultural side. As a singer and composer, Axel brings together spaghetti Western, folk, Balkan, French cafe, blues, electronica, funk, and jazz influences for a truly exciting collection of songs that are never boring. The musical origins stem from Axel's Argentinian background, but this is not your typical tourist trap music. Instead, Axel combines edgy French, Russian, and Latin-American song styles for an enthralling release. A diverse instrumental repertoire helps the songs reach new heights and incredible appeal. Whether it is down-tempo or world music, Axel manages to create wonderful songs that are highly catchy and always memorable. If you are into new music with an ear-friendly beat; then try Axel's new release. ~ Matthew Forss

CD Review: Le Vent Du Nord's 'Tetu'

Le Vent Du Nord
Tetu
Borealis Records

Quebecois-origins aside, Le Vent Du Nord is a magnificient folk music group with hearty strings, thought-provoking vocals, intense melodies, raw hurdy-gurdy sounds, and other elements that are likable and timeless. There are instrumental and vocal medleys throughout. The instrumental and bouncy, "Cardeuse-Riopel," is an excellent example of piano, fiddle, accordion, and other instruments coming together in a harmonic fashion. The folksy roots and earthy feel to the album stems from the talented cast of musicians, including Nicolas Boulerice, Olivier Demers, Rejean Brunet, and Simon Beaudry. Fifteen tracks round out the album. Some of the songs are under two-minutes, but a majority of the songs are two to five-minutes long. There is a classical quality to the music, but there is a strong Quebecois element highlighting the best of French-Canadian folk music. Start off on the right foot with Le Vent Du Nord. ~ Matthew Forss

CD Review: Hot Club Of The Americas' 'Federico Britos Presents...'

Hot Club Of The Americas
Federico Britos Presents Hot Club Of The Americas
3 Knocks Entertainment

As a tribute to the music of The Hot Club of France and led by violin-wielding Federico Britos, the Hot Club Of The Americas, brings us a world-class recording with North American jazz sounds, Latin elements, South American folk, and Cuban percussion for a spectacular result. A native of Uruguay, Federico knows how to liven up any composition with earthy strings, bouncy rhythms, and jazzy interludes that are full of vivacity. A dozen songs feature a host of guest musicians, including Hendrik Meurkens, Gonzalo Rubalcaba, Cecile McLorin Salvant, Giovanni Hidalgo, and Antonio Adolfo, in addition to the regular line-up of Federico, Jorge Garcia (guitar), Felix Gomex (piano), Renyel Rivero (bass), Edwin Bonilla (percussion), and Carlomagno Araya (drums). In short, there are plenty of Gypsy and Latin-influenced jazz with a good deal of folk and classical thrown in rather appropriately. The  mostly instrumental album reinvents the jazzy 1960's era with engaging, moving, and lounge-ready songs that sway along in a lazy manner like a sultry, mid-summer afternoon on a quiet, Havana beach. Anyone with a fascination in world jazz and Latin/Gypsy concoctions will love Hot Club Of The Americas. ~ Matthew Forss

CD Review: Kiran Ahluwalia's 'Sanata: Stillness'

Kiran Ahluwalia
Sanata: Stillness
Magenta

Indo-Canadian, Kiran Ahluwalia, ventures into uncharted territory with the swirling, bluesy, guitar riffs characteristic of North Africa's Saharan Desert region. However, South Asian delicacies are still apparent throughout the album, but the instrumental guitar, harmonium, and drums arouse a North African spirit laced with curry-scented morsels called songs. The breezy and bluesy style of "Hayat" resembles a North African anthem spearheaded with vocals of a South Asian origin, but "Sanata" contains similar influences . "Jaane Na" is more aligned with Indian jazz and pop with drifting melodies and floating vocals. "Lament" is a South Asian jazz tune with elements of rock, fusion, experimentation, and contemporary leanings in a mostly instrumental display. All of the music is created from acoustic/electric guitars, bass, tabla, organ, harmonium, drums, and vibraphone. Overall, Kiran challenges music origins and presents them in a very endearing package. Liner notes are in English, Hindi/Punjabi, and French.

CD Review: Complicated Animals' 'In This Game'

Complicated Animals
In This Game
Socialite Fiasco Music

Monica da Silva and Chad Alger are the duo, Complicated Animals, with a unique musical genre that is aptly-titled, Indie Nova. It is taken from classic, Brazilian pop and bossa nova sounds with a blend of folk full of poignant and celebratory tunings perfect for a relaxing evening on a beach of your choice. There are even French folk leanings without the French vocals or lyrics. Though, running around seventeen-minutes in length, the album is not going to last very long. Luckily, each song is unique and catchy in their own ways, which make listening very enjoyable. "O Que Passou" and "Sempre Aqui" are the only songs in Portuguese, while the other four tracks are in English. The music foundation includes bass, guitar, drums, keyboards, and other instruments that form a folksy sound that is more folk than Brazilian. "Roadmap" and "O Que Passou" are two very catchy tunes that will be stuck in your head for the better part of a day, or even longer if you put it on repeat (which you will). A great little album. ~ Matthew Forss

CD Review: Violette's 'Falling Strong'

Violette
Falling Strong
Self-Release

A native, French chanteuse, Violette brings together warm song of incredible complexity and life with swirling piano melodies and somewhat bluesy, pop song creations on her latest release, Falling Strong. Now based in Brooklyn, Violette does not stray too far from her French song origins. There are classical, jazz, pop, rock, and folk elements throughout. Each song is catchy and beautifully-executed with vocals as sweet as sugar and melodies as fluid as a babbling brook. With vocals akin to Michelle Branch and Norah Jones, Violette knows how to evoke images of love, happiness, and hope with lyrical stories. Fans of piano, pop, rock, ballads, and a few French-lyric songs will love Violette's latest offering. The album is so good it should be 'falling' up the charts! ~ Matthew Forss

CD Review: Eleonor's 'Erros'

Eleonor
Erros
Music & Words

Belgium's Eleonor mixes folk, roots, jazz, neo-classical, fado, and pop and weaves it into beautiful delicacies lead by her emotive vocals. The ten-track album features a variety of instruments, including the double-bass, bass, guitar, piano, drums, oud, accordion, and cello. The soulful, "Salve," is a ballad with strong ties to French jazz and neo-classical influences. The piano adds a nostalgic ambiance to most of the songs. However, Eleonor's voice moves the songs into greater dimensions with such ease and fluidity. As a whole, there are plenty  of calming grooves here. Anyone into great music with great vocals will like it. Everything comes together in just the right proportions for it to be a highly-recommended work of musical art. ~ Matthew Forss

CD Review: Maya Kamaty's 'Santie Papang'

Maya Kamaty
Santie Papang
Sakifo Records/Atmospheriques

Reunion is an island primarily known for the music of international sensation Danyel Waro, but another Reunion-native, Maya Kamaty, who is a very beautiful and talented songstress that sings in French and Reunion Creole, makes the island known on the female side of music. The new album, Santie Papang, is a hearty mix of world music songs that incorporate a bit of French pop blends, Madagascar pop rhythms, and Brazilian melodies. The diverse cultural attributes are only fitting for a diverse island nation located off the east coast of Madagascar in the Indian Ocean. The breezy sounds are ripe with light rhythms that are catchy and airy. "Comme Un Refrain" is one of the best songs on the album--noted for its splendid arrangements of ukulele inclusions, sensual vocals, and sparkling percussion that connotes a light French style with a hint of Brazilian charm. "Move Rev" is a bluesy, French tune with emotive vocals in a storytelling delivery. "Veli" is a sweet, neo-classical song with plaintive guitar and evocative vocalizations. "Dernie Viraz" is a punchy, guitar tune that is a bit of French rock in a lighter setting, but the vocals are akin to Patricia Kaas. Overall, Maya Kamaty is one of the best new artists to grace this blog. Fans of great, female world music with French, Brazil, African, and pop qualities will love it. In fact, everyone will love this one. ~ Matthew Forss 

CD Review: Lo'Jo's 2-CD '310 Lunes'

Lo'Jo
310 Lunes [2-CD]
World Village

The French group, Lo'Jo, brings us a new double-disc release of instrumental world jazz, Balkan delights, and impressionistic displays of musical ingenuity on 310 Lunes. Though, the second disc, The International Courabou, was originally released in 1989. At any rate, the music is adventurous, suspenseful, cinematic, and easy-going. There is a bit of North America, Europe, and the Middle East in the release. The music is arranged by Renaud-Gabriel Pion with guests including Magic Malik, Roswell Rudd, Erik Truffaz, and Hasan Yarimdunia. There are even neo-classical influences that mimic soundtracks and scores of America's early films from the 1940's and 50's. The second disc is more world fusion oriented with percussion and a contemporary rock beat. Still, there are neo-classical elements, but the vocals add another dimension to the music. As a set, the albums are dynamic and multi-dimensional with enough pizzazz to satisfy all world jazz aficionados. ~ Matthew Forss

CD Review: Gjertrud Lunde's 'Hjemklang'

Gjertrud Lunde
Hjemklang
Ozella Music

The German-based group spearheaded by Gjertrud Lunde brings a Norwegian presence to the mix, as all of the songs are sung in Norwegian, as well as French, English, and Portuguese. The album, which means "home sounds," is an excellent reflection of Gjertrud's heritage. The four-piece band incorporates a little guitar, electronics, piano, rhodes, percussion, drums, tabla, and trumpet. The plaintive piano melody of "Going Home" is a reflection of peace and solitude with yearning at the forefront. The jazzy and equally-contemplative, "Marche vers l'Aube" showcases trumpet and electronics in a new light without any vocalizations during the first two minutes of the song. At any rate, the jazzy piano, light percussion, worldly vocals, and experimental rhythms make Hjemklang stand out from other albums. Anyone interested in Scandinavian jazz, European pop, and great music in general, will love Gjertrud Lunde's first, full-length effort running over one hour in length. ~ Matthew Forss

CD Review: Meikhaneh's 'La maison de l'ivresse'

Meikhaneh
La maison de l'ivresse
Self-Release

France's Meikhaneh produces intriguing music inspired by Central Asia, the Mediterranean, and the Middle East. The group incorporates a little Central Asian throat-singing on "Jaran tsagaan aduu." Maria Laurent's sweet vocals and her stately morin khuur (horse-head fiddle) combines to form a unique blend of vocal and instrumental music. Maria is joined by Johanni Curtet on guitar, dombra, various chants, as well as Milad Pasta on tombak, daf, and udu drum. The music is more French inspired with wistful melodies and breezy vocals on "Mellekdal" and a more somber tone on "La fille qui tourne dans une piece blanche." "O leite e o pao" contains more of a flamenco or Portuguese flair. The final track, "Talyn theme," is an improvisational masterpiece with glorious instrumentation and enigmatic vocals that are sweet, sincere, and traditional. Meikhaneh is a group based in France, but their repertoire originates from other world regions. At any rate, Meikhaneh knows how to make an album that is entertaining, memorable, and highly-recommended. ~ Matthew Forss

CD Review: Juliane Jones' 'The Space Between The Telephone Lines'

Juliane Jones
The Space Between The Telephone Lines
Self-Release

New York-based singer, musician, and ethnomusicologist, Juliane Jones, brings us a unique set of songs that combine the poignancy and intimacy of French pop music with the folk and alternative melodies of Cantonese pop--ripe with Chinese and English vocals throughout. Juliane's pop-centered songs reflect a little Regina Spektor-meets-Faye Wong-and-Gigi Leung arrangement. The quirky, little songs are incredibly catchy from the opener, "Free This Mind," to the ballad-esque, "When You Sleep." It is rare every track on an album is great, but Juliane Jones succeeds without a hitch. "Wooden Horse" echoes with youthful brilliance, as the guitars reverberate and the roots-inspired keyboard combines with sparse drums and smooth bass wrapped around stellar Chinese vocals. "Hey Shadow" is a peppy little ditty that features a ukulele instrument that gives the song is happy feel. It is impossible to feel down when listening to this stuff. By the end of the album, you'll be craving some Chinese food and find yourself praising Juliane in Chinese with phrases such as: Hao ji le! (Excellent) and Wo hen xi huan Juliane! (I like Juliane very much!). Overall, Juliane is a fantastic singer and a fine addition to any world pop collection. ~ Matthew Forss

CD Review: Pierre de Gaillande's 'Bad Reputation Vol 2'

Pierre de Gaillande
Bad Reputation Vol. 2
Vermillion Records

The quirky, comedic, and spoken wordplay of Frenchman, Pierre de Gaillande, is channeled through the original artist, George Brassens. The folkish melodies are quaint and occasionally punctuated with brass horns, guitars, and drums. The carousel-esque ride of a musical journey begins from the beginning of the first track and all the way to the end of the album. The poetic vocals are somewhat sung, but poetry seems to be Pierre's strong-point. The punchy accordion and light guitar accompaniment showcase a variety of poignant stories in a humorous manner. The eleven songs are soulful and unique. Bad Reputation Vol. 2 should receive a good reputation after each listen. ~ Matthew Forss

CD Review: Guinea's Fode Baro Releases a "Mandingo Afro Zouk" 'La Verite'

Fode Baro
La Verite
Lusafrica

The Afro-pop stylings of Fode Baro stems from a combination of Afro-pop tunes and energetic zouk infuences. The rippling guitars are akin to Congolese constructions, but the compositions seem to exude the entire continent of Africa in song, voice, and instrument. La Verite is an eleven track release with catchy, stirring, and energetic tunes with a contemporary vein. This is not a dance or rap album. Instead, Fode explores various sounds and rhythms that create moving melodies from France, as well as his homeland of Guinea. There are lively synths, drums, electronic voicings, and brass sounds that create nothing but a happy response. The real highlights come from "Fago" and "Pourquoi Me Quitter." However, all of the songs are rousing and memorable. Fans of Afro-pop, Guinean contemporary music, and zouk-tinged music will love Fode Baro's latest release. ~ Matthew Forss

CD Review: Txutxukan's 'Surf The River Lee'

Txutxukan
Surf The River Lee
Wild Boar Music

Hailing from France, Txutxukan (pron: tchoo-tchoo-ken) is a Balkan/Gypsy group named after the Basque phrase for "puttering about" or "doing odd jobs". However, Txutxukan shows no signs of puttering out or about on their latest release, Surf The River Lee. The group is comprised of Dylan Gully on clarinet, sax, kaval, and recorder; Bruno Hollemaert on guitar, bouzouki, accordion, and banjo; Eric Belot on upright bass and electric bass; Joachim Mouflin on percussion, drum kit, and bouzouki; and Joseph Detailleur on accordion. Special guest musician, Stella Rodrigues, plays the gamelan on "El Din." There are a few vocals for added effects. However, the majority of the album is largely instrumental. The instruments come together to form a Klezmer, Gypsy, and Balkan result that is edgy, dance-laden, and always moving. There is a bit of jazz, classical, and avant-garde influences, but nothing is too overt. The sauntering melodies, uppity percussion, and catchy rhythms are breezy, addictive, and richly-textured. Discover Txutxukan today! ~ Matthew Forss 

CD Review: Tal National's 'Kaani'

Tal National
Kaani
FatCat

Niger's Tal National is led by Almeida (aka Issoufou Moumine), a leading guitarist from Niamey by night and court judge by day. The music draws upon West African rhythms, soukous, Afrobeat, blues, and rock. The rippling guitars, energetic percussion, and floating vocals represent the great Saharan song traditions in a contemporary setting without straying too far from their Zarma, Hausa, and French linguistic roots. The music is more danceable and structured than other nomadic tunes from the region. The music is also more rooted in rock and blues than full-on traditional arrangements. Nevertheless, the eight long tracks are particularly enthralling and full of dance-floor power. The throaty vocals, fast percussion, and meandering guitar grooves are what makes Kaani shine the most. Still, there isn't anything off-putting anyway. Explore Niger's desert grooves with one of the most influential and hard-working purveyors of the region--Tal National! ~ Matthew Forss

CD Review: Banda Magda's 'Amour, t'es la?'

Banda Magda
Amour, t'es la?
Self-Release

Banda Magda is a quirky, bossa-nova-tinged album of delicate little pop songs with a breezy, folksy, and brass-inflected repertoire that is never boring. Magda Giannikou leads the vocal section with almost a French café sensibility that spans the European continent without fault. The musicians involved in the project come from a variety of world regions with Argentina, Greece, Japan, and USA origins. The colorful songs contain strings, brass, percussion, guitars, marimba, piano, and other assorted instruments that give the music a playful and textural feel. This is dreamy chic French pop music with a little classical, jazz, South American, and North American melodies and rhythms. Each song is unique and well-worth repeated listens. Fans of French pop, European pop, creative contemporary music, and world fusion will find comfort in the vocals and instruments showcased on Amour, t'es la?. ~ Matthew Forss