Song Reviews: Galliano Sommavilla's "Elektro Country" and "Breathe"

Galliano Sommavilla
"Elektro Country" and "Breathe"

"Elektro County" is a rollicking instrumental treat with ambient and spacey electronic sounds backed by keyboard accompaniment and atmospheric guitar work. The swishy percussion is accompanied by spacey tones and intergalactic noises that propel the track into a third dimension, or another galaxy. The guitar-like tune is upbeat and melodic with a slight country presence that is not particularly intrusive. The end of the song is a culmination of the musical elements from rock, new age, instrumental, and filmic worlds. The nearly four-minute song is aptly-titled, "Elektro Country," because it symbolizes a country edge with a modern twist of lush, electronic overtones. The music brings together a good mix of sounds that connote contemporary new age creations and electronic wizardry that does not lose its intensity or appeal. Overall, Galliano continues to amaze us with inventive songs new ways to discover some of the best instrumental music in the world. "Elektro Country" does not disappoint and Gary Ritchie's electric guitar work is perfect.

"Breathe" is a five-minute musical journey that is very magical and melancholic with subtle doses of acoustic and electric guitar work. The atmospheric washes and light vocal additions accentuate the song's delightful qualities. The cascade of sounds are steeped in lullabye-like arrangements that are meditative and dreamy. There is a host of new age-isms that come to mind, but everything is creative and memorable. The vocal additions are almost non-descript, but their sounds are very indicative of an early Enya recording. Compared with "Elektro Country," "Breathe" is a longer, more majestic tapestry of aural colors that only reinforces Galliano's amazing ability to create meaningful and vibrant songs with little in the way of instrumentation. From the opening, neo-classical arrangement to the electronic medley of sound, Galliano does not shy away from experimentation. Fans of world music, instrumental, jazz, new age, ambient, and related forms of music should be quite satisfied with Galliano's latest offerings. ~ Matthew Forss  

CD Review: Baird Hersey & Prana with Nexus's 'Chiaroscuro'

Baird Hersey & Prana with Nexus
Chiaroscuro
Bent Records

With an album title implying contrasting dark and light imagery, one can quickly determine that this is going to be a wonderful musical journey. From the onset, the deep, meditative tone of the harmonic singers and spacious, resonating tones of vistaphone, xylophone, vibraphone, drums, gongs, glockenspiel, marimba, and a few others, make the album shine beyond belief. Whether one calls it new age, meditation, world music, or some other moniker, Chiaroscuro is highly-textured and mystically magical throughout. It is seemingly inconceivable to compare to anything else, because it is that good. The final three tunes are reserved for mostly vocal medleys without much instrumentation. The beautiful sounds of the instrumental and vocal tracks remind one of a solemn film score. Perhaps, even the film, American Beauty (1999), comes to mind. Still, the album stands alone and above the rest with fanciful, deeply-enriched, and meditative tones that intrigues, as much as it inspires. Great for fans of film scores, meditation music, yoga, throat-singing, and new age concoctions. Excellent! ~ Matthew Forss

CD Review: Simrit's 'Songs Of Resilience'

Simrit
Songs Of Resilience
Self-Release

Born in Greece and raised in South Carolina, Simrit Kaur invokes the sounds of South Asia and Africa on her latest release, Songs Of Resilience. The eight-song album incorporates a mixture of new age, lounge, and world music-inspired tunes that include harmonium, kora, conga, log drums, bass, slide guitar, piano, acoustic guitar, and mellotron. The rather spacious arrangements are very cinematic, thought-provoking, and infectious. The electronic elements are reduced, but the results are very magical. The kora arrangements are reminiscent of Rokia Traore's songs on Tchamantche (Nonesuch, 2009). The vocals are fluid, emotive, and breath-taking throughout. The yoga-inspired traditions of the world are accentuated here. There is even a Native American element that fits nicely with the rest of the album. Simrit incorporates a mix of English and Sanskrit vocals with new age instrumentation indicative of Katie Melua's contemporary songs and similarities to Zero 7 and Dala Girls are certainly represented here. Get ready for a guilt-free romp through a yoga-filled journey of music with Simrit. This is simply one of the best recordings of the year. ~ Matthew Forss

CD Review: Galliano Sommavilla's 'Vol. 30 Ambient and Mellow'

Galliano Sommavilla
Vol. 30 Ambient and Mellow
Self-Release

Galliano Sommavilla, hailing from Australia, has released his latest compilation of songs borne out of a-song-a-day-project. Having released several albums of songs created each day over one year as part of his 365 project, Galliano continues to amaze listeners with his instrumental splendor on keyboards, guitars, percussion, and piano sounds. The latest album, Vol. 30..., contains fourteen tracks that are found in no particular order and titled "song/day". The whole feel of the album encompasses a more down-tempo theme that is serene and exploratory with a blissful side.

"Song/Day 110" begins with a sauntering piano-like melody with piercing atmospheric washes, and jazzy percussion that incorporates a sexy brass sound. The rolling bass and fluid, yet uppity tune, conjures up images of a smoky jazz lounge or a down-tempo gem that will not get out of one's head after listening to it the first time. Mesmerizing electric guitar sounds are rather solid near the end of the song. The twinkling piano keys and fluid bass-line with a sporadic blurts of trumpet make "110" a necessary listen.

"Song/Day 317" opens with a blurby, electronic-tinged intro with sweeping atmospheric sounds, punchy sounds, and horn-driven noises amidst a lush bass-line and percolating guitar strums. The song moves along with new age elements and a jazzy beat that is very calming, but equally enigmatic and engaging. The horn-like sounds and dizzying cascade of swishy whirs makes the song come alive.

"Song/Day 151" contains a breezy flute, light percussion, and jazzy atmospheric opener with a cheery foundation and soundtrack-esque qualities that seem to float effortlessly on sound waves. The song is more structured than other songs on the album, but it still retains a unique blend of improvisational quirks that make it one of the best songs on the album. Over two-minutes into the song, the jazzy chorus shines on in utter beauty without faltering.

"Song/Day 55" opens with a light, sauntering jazzy side with atmospheric washes and a glowing, smooth keyboard style. The smattering of percussion, driving beat, and atmospheric elements arouse an inventive element that is not to dissimilar than a good Zero 7 instrumental. A few trumpet sounds give the track a sultry side. The horn-driven, electric guitar sounds awaken the track with a little psychedelic panache. Overall, the song is another jazzy masterpiece in-line with Galliano's best works.

"Song/Day 40" begins with a soft, yet majestic arrangement of atmospheric washes, stark piano keys, and neo-classical elements that are thought-provoking and timeless. There is a percussive element about one-minute into the song. The poignant piano sounds and wash of cymbals melds nicely with the mellow foundation. The hand-percussion sounds give the song a more organic feel overall. The sweeping piano sounds and atmospheric washes cement the tune into another solid recording from Galliano.

All in all, Galliano Sommavilla satisfies new age tastes, down-tempo lovers, and instrumental connoisseurs with a knack for neo-classical, alternative jazz, and electronic music. Honestly, Galliano excels with another excellent compilation of songs to come out of the 2013 to 2014 project. Collect all the recordings by one of the most talented musicians in the down-tempo and electronic genres. Review by Matthew Forss

CD Review: Opycham's 'new-age.om'

Opycham
new-age.om
Sketis Music

Opycham's latest release, new.age.om, was recorded in Tuva, which is spearheaded by drummer and percussionist, Rasputin (of Yat-Kha-fame). The meditative and monastic eight-track release celebrates various religions including Russian faiths, Buddhism, and Shamanism. The album contains a backdrop of various rain sounds, fire, birds, insects, and water-flows for a very earthy element. The pensive instrumentation is rather light and alternative and comprises the cello, djumbush (like a Turkish tanbur), guitar, and hand-percussion. The music is vocal, but very entrancing overall. The subtle inflections of earthy elements and hypnotic vocals make Opycham's latest release well-worth a listen. Fans of shamanic, alternative, new age, Russian folk, and European music will love it. It's a great way to unwind! ~ Matthew Forss  

CD Review: Jeff Oster's 'next'

Jeff Oster
next
Retso Records

Jeff' Oster is a very accomplished and revered trumpet and flugelhorn player. On next, which is purposefully-lower-cased, Jeff presents us with twelve unique gifts--gifts of music where each track is new and delightfully-inviting. The instrumental album contains a few spoken word lines, but that is it. The music is very relaxing, jazz-centered, and new age brilliant. In some cases, the percussive beat incorporates horns, guitars, piano, and other instruments. The title track, "Next," is a great introduction to the album with a rousing beat, swishy percussion, a jazzy vein, and sultry horn punctuated with crystal, clear keyboard tones. "Night Train To Sofia" begins with a sultry beat, atmospheric washes, horn accompaniment, and background voices that fill the instrumental track with Bulgarian-inspired choral vocals. "Half A Cookie" opens with atmospheric sounds, jazzy horns, light percussion, and a steady, new age beat with bright piano infusions and spacious soundscapes. "Heroes" is a triumphant horn tune with upbeat percussion in true Oster-fashion. All in all, Jeff brings in a talented group of musicians, producers, and talents, including Nile Rodgers, Bernard Purdie, Chuck Rainey, Tony Levin, Michael Manring, Will Ackerman, Todd Boston, Shambhu, Carl Weingarten, Philip Aaberg, Catherine Marie Charlton, Ricky Kej, Bob Ludwig, Tom Eaton, and everyone at the great Imaginary Road Studios in Vermont, USA. Fans of new age, jazz, instrumental, lounge, and atmospheric music will love it. 5 Stars (out of 5). ~ Matthew Forss

CD Review: Michele McLaughlin's 'Undercurrent'

Michele McLaughlin
Undercurrent
Self-Release

Undercurrent is the fifteenth album from prolific, Utah-based composer and solo pianist, Michele McLaughlin. There are a total of thirteen introspective works that are relatively graceful, emotive, and full of flowing piano melodies that seem to take on a life of their own. All of the instrumental compositions are between two and four-and-a-half-minutes long. There are several notable tracks that contain cinematic appeal, including "On My Own," "Stepping Stones," and "The Space Between." The songs are somewhat neo-classical with historical nods to the greats of the classical era--but only in spirit. There is a strong contemporary vein to the works that resemble the music of Danny Wright and another Michele--Michele de Wilton, These are original songs that represent two years of creative work. Fans of solo piano music will find a place in their heart and ears for Michele McLaughlin's Undercurrent. 5 Stars (out of 5) ~ Matthew Forss

CD Review: Avasa & Matthew Love's 'The Road'

Avasa & Matthew Love
The Road
White Swan Records

Husband and wife-duo, Avasa & Matthew Love, present us with a gracious album of inner peace led by catchy pop hooks and spacious thematic constructions. There is a contemporary vein running throughout the album, but there also is a historical foundation with yoga-inspired melodies and vocalizations that transcend time, space, and genre categorization. Avasa & Matthew lead vocals, guitar, and harmonium, while others perform on tabla, esraj, flute, violin, mandolin, bass, and percussion. There are supporting vocals by a number of artists, including Jason Mraz. As with many other White Swan Recordings, The Road follows in a similar path to Deva Premal, Miten, Krishna Das, and Liquid Bloom. The symphonic choruses and sweet vocal lines are repeated in parts to add another layer of bliss and satisfaction come over any listener within earshot. The glorious vocals and catchy hooks will grab hold of any listener and never let go. Essentially, The Road is very, very good. ~ Matthew Forss

CD Review: Stevin McNamara's 'Shakti Guitar'

Stevin McNamara
Shakti Guitar
White Swan Records

Stevin McNamara's latest foray into meditational bliss on Shakti Guitar adds a beautiful serenity to soul-soaked compositions ripe with engaging melodies and soothing rhythms. Stevin's contemplative guitar stylings are accompanied by drums, gongs, bells, bass, Bansuri flute, sarod, tabla, acoustic bass, tamboura, frame drum, and other percussive instruments. The sweeping sounds are very fulfilling and addictive. There are even a few vocals (thanks to Sheela Bringi), but the majority of songs are instrumental. Stevin's nylon guitar strums and plucks project listeners into a trance-induced coma of a higher consciousness. The light sounds are more akin to new age constructions or even film soundtracks. The spacious sounds and heavenly ambiance attract listeners with entrancing elements and shape-shifting progressions that never disappoint. If you want to do yoga, sleep, relax, chill, or think at a higher level, then Stevin McNamara will get your shakti's aligned with this one! ~ Matthew Forss

CD Review: Fractal Control's 'Disconnection Equals Freedom'

Fractal Control
Disconnection Equals Freedom
Self-Release

Links: YouTube, SoundCloud

Fractal Control is Mike Louttit's new release of instrumental rock/metal, surf psych, and avant-garde stylings that are somewhat futuristic, but never dull. The Ohio-native wrestles with technological advances leaving real humanity in a social quandary. Regardless of the message, the mostly instrumental release contains seven thought-provoking tunes. The piano-driven, "Already Ourselves," is an instrumental ode to humanity that contains brief atmospheric washes and an artificial intelligence voice that describes an introspective analysis of life. "Awakened And Aware" opens with a mind-numbing, instrumental guitar, bass and drum composition with metal aspects abounding. The instrumental tune contains glittering guitar work, punchy melodies, and a driving rhythm that is full of aggression. "Retrace" contains a drowned-out guitar or bass solo that is very improvisational or avant-garde. It does not contain any other instrumentation. It sheds the metal characteristics of other songs and it is relatively short at only one-and-a-half-minutes.  "Hidden Truth" begins with a psych, surf rock instrumental that goes into a finger-frenzied, guitar experience that is rich with sparkling guitar notes in true rock fashion. There are robotic, spoken words near the end of the song. Overall, Fractal Control does a great job awakening the human spirit with Disconnection Equals Freedom. The music is great for fans of instrumental rock, experimental, new age, improvisational, and contemporary ambient sounds. 5 Stars (out of 5). ~ Matthew Forss

CD Review: Manika Kaur's 'I Bow To You Waheguru'

Manika Kaur
I Bow To You Waheguru
United Sound

The supercharged beats of kirtan dance music are reduced here to cinematic and serene morsels of cosmic and spiritual beauty that are best categorized as new age and world music fusion. Manika Kaur's Australian and United Arab Emirates roots bring a spirited mix to the music that is inherently Sikhism with strings, light percussion, and sweeping arrangements. Manika's sweet and light vocals are a perfect addition to the music foundation. This is the first album I've observed with a cinematic appeal to kirtan music. The result is an album of seven awe-inspiring tunes that bring to light Indian, neo-classical, South Asian, and European musical arrangements in a calm and engaging package. Fans of vocal music, kirtan, Indian music, and new age tunes will love Manika Kaur's latest offering. It's guilt-free and blissful.  ~ Matthew Forss

CD Review: Atlas Maior's Double Release 'Palindrome'

Atlas Maior
Palindrome [2-CD]
Self-Release

Texas-based, world music fusion group, Atlas Maior, releases a double-album, Palindrome, which an improvisatinoal journey on the wilder side of fusion. The band is comprised of Charlie Lockwood on oud, Joshua Thomson on alto sax and flute, and Ted Camat on percussion. The result is very complex, yet laid-back release, with loads of aural textures that weave in and out of consciousness. The entrancing release arouses North African, Middle Eastern, European, and North American musical elements on the jazz, avant-garde, and new age sides of the spectrum. There are fourteen tracks in all with names as diverse as the song elements, such as "ouduo," "Booted and Looted," "Half-pipe Blowhole," and "oodaqq." The instrumental release is perfect for fans of adventurous world music. ~ Matthew Forss

CD Review: Nadaka & Gopika's 'Surya'

Nadaka & Gopika
Surya
Raga Mantra

Nadaka & Gopika's newest release, Surya, contains beautiful, contemplative, and aural-friendly vedic mantras with the light and energy of the sun the primary focus here. The instrumental tunes contain some of Gopika's Indian vocals, but Nadaka's raga guitar, guitar synth, and added vocals add an avant-garde and experimental element to the mix. The duo are joined by tabla, violin, percussion, and sampling on most of the tracks. There is a transcendental quality to the sound that creates a sense of deeper calm and new age spiritualism. The South Asian and Sanskirt-soaked album is meditative enough to be wanted by yoga fanatics and world fusion fans everywhere. There are eight total tracks that range from four to nine minutes in length. There are some electronic subtleties that remind us of the modern era; but nothing is too overdone or overt here. Experience inner and outer light with Surya. ~ Matthew Forss

CD Review: Nitya Thomas' 'Awakenings'

Nitya Thomas
Awakenings
Watchfire Music

Awakenings is a three-track release that is ripe with joyous, Christian melodies. The first track, "O Dreamer," is a traditional Irish melody by lyricist, Rosa M. Turner. The song begins with a few keyboard chords followed by Nitya's sparkling vocals and guitar sounds. "My Grateful Spirit Sings" is a song by Sally DeFord with a popular sound that brings together gospel, classical, and new age. "Psalm 23" is the only song written by Nitya. There are classical piano sounds and classical strings that set the mood for the Bible-based composition. Anyone with an interest in contemporary vocal performances with a Christian foundation will love Nitya's soulful and heavenly release. The vocals are strong and clear throughout. Fans of Christian music, new age, piano pop, and female vocal music should check it out! ~ Matthew Forss

CD Review: 9Bach's 'Tincian'

9Bach
Tincian
Real World

Founded by singer Lisa Jen and guitarist Martin Hoyland, 9Bach takes the world by storm with inventive, contemporary Welsh music. The group's name is a play on words using the numeral "9" as "nain" and "bach" together to connote a cozy, warm frame of reference. Whether it is cozy, inviting, or infectious, 9Bach knows how to create meaningful sounds and melodies with equally-compelling vocals. The modern effort brings together folk, alternative, pop, and electronic elements to form a cohesive type of music that is memorable and refreshing. The diverse influences are what makes the music interesting and catchy. There is almost an ambient or new age feel to some of the songs. The Welsh vocals are unique and beautiful in the same manner. Some of the melodies are reminiscent of one of Hooverphonic's modern works. There are ten songs in all. There are no disappointments here. ~ Matthew Forss

CD Review: John Adorney's 'The Wonder Well'

John Adorney feat. Daya
The Wonder Well
EverSound

The California-based acoustic and new age musician, John Adorney, brings together European soundscapes the are aurally-satisfying and very groovy. The electronic presence combines Enya with Ronan Hardiman. Mostly instrumental, The Wonder Well contains verses of delicate, engaging, and unforgettable beats, piano melodies, and sparkling atmospherics. Whether it is new age, electronic, instrumental, acoustic, neo-classical, or alternative pop, John Adorney knows how to create magical pieces of music delight. Daya's vocals on a few tracks only accentuate the instrumental capabilities of the music. The angelic washes, meditative rhythms, and awe-inspiring tunes are very well executed throughout. It seems every song is catchy and graceful with a moving delivery and a fanciful interplay between instruments that never gets old. Fans of Enya, Ronan Hardiman, and Vangelis will like its new age appeal and old world charm. ~ Matthew Forss

CD Review: Gino Foti's 'Global Resonances'

Gino Foti
Global Resonances
Net Dot Music

The new work of Gino Foti's musical creations shines through in new age, experimental, and bass-infused melodies and rhythms on Global Resonances. Gino's strictly instrumental songs are poignant, contemplative, ambulatory, and engaging. The diverse bass guitar stylings are partly due to MIDI, but there are also loops and samples that fill in the melodies. There are fourteen different tracks in all that span over one hour. Some of the bass sounds are rather light and represent an East Asian flair. However, Gino's music is steeped in avant-garde and experimental styles with a world fusion element rarely seen in contemporary releases in new age genres. There are not only East Asian sounds and influences here, but African elements exist to some extent. The jazzy leanings are truly impressive on "Umoja." Global Resonances is aptly-titled, because it represents a worldly connection that brings together various cultural components that seem to mesh very well. Whatever inspires Gino, we can be sure he will make it his own and evoke a sense of magnificence and entrancement in all who listen. Play it today! ~ Matthew Forss

CD Review: Switzerland's Aurah Releases 'Summon The Sky'

Aurah
Summon The Sky
Very Music Inc.

Aurah is a Swiss-born and American-based duo with an ambient, electronica, and down-tempo groove. Aurah is comprised of musicians Marc Dold and Judith Martin. The opening tune, "Three Little Birds," is a Bob Marley cover, but it is a perfect new age tune with soaring vocals and contemporary arrangements. "Take My Breath Away" is a blissful tune with a smooth bass-line, electronic arrangements, and wispy vocals in a Hooverphonic-esque manner. "Summon The Sky" is an atmospheric gem with soaring vocals, blurby electronics, and a heavenly, yet subtle beat with a dreamy foundation. "Shine On" is a rootsy, electro-acoustic anthem with a few guitars, heady percussion, and back-up vocals in a somewhat rock instrumental manner that is not too loud. "Khorwa" contains a little electronic vocals, booming percussion sounds, and atmospheric blips that thoroughly explores the nature of world fusion and contemporary downtempo early on, but a strong rock vein pushes through. The final track, "Pleasant Placidness," is a rustic guitar song with a meandering melody without the aid of additional instrumentation for the most part and no vocals. Aurah is a mix of downtempo, dance, dream, meditation, and new age. Anyone seeking creative downtempo and ambient music will love Aurah's latest offering. ~ Matthew Forss

CD Review: Ireland's Meav Brings Us 'The Calling'

Meav
The Calling
Atlas Realisations/Warner

Meav's golden voice is angelic and crystal clear throughout her new release, The Calling. The heavenly vocals are steeped in new age concoctions wrapped in glistening particles of luscious ear candy. "The Calling" features angelic vocals and a scintillating acoustic guitar line backed with Enya-esque, symphonic reverie. "Light Flight" is a bit punchy with a rollicking acoustic guitar line and angelic, backup vocals. The song is very moving and jig-like with a contemporary edge. The lighter, "The Songline To Home," is a more serene tune with classical and new age characterizations that are very pleasant overall. Overall, Meav's voice is what stands out here. However, the affect could not be achieved without the presence of the instrumental backing. The fluid flutes, cascading vocals, and classical arrangements in a contemporary setting are very memorable and uplifting. If Heaven had a voice, Meav would be the vocalist. ~ Matthew Forss

CD Review: Solveig and Stevie's 'Zombie Lover'

Solveig and Stevie
Zombie Lover
Crystal Lake Records

Washington-based, Solveig & Stevie are Solveig Whittle and Stevie Adamek.  Solveig is the lead vocalist and lyricist, while Stevie is a musician with producer credits.  Zombie Lover is an album with seven songs that contain mostly Solveig’s vocals throughout.  The music represents pop and rock concoctions that contain a good degree of electronic, folk, dance, and alternative elements. There are guitars, drums, electronic programming, bass, and flutes that fill in the melodies. "Zombie Lover” opens with a grungy bass intro and heady rhythm section with a dark groove and female vocals that are rather light, yet authoritative.  The rolling guitars, percussion, and poetic vocals create an Evanescence-meets-Cranberries brew with a soulful folk vein.  The rock grooves are reminiscent of Jace Everett, too.  At any rate, the music is very moving, mysterious, and memorable. “Creation” opens with a light guitar tone and electronic blurbs and echoing, female vocals that are soft, soulful, and pop-focused.  The background swishes and atmospheric adornments lend an almost New Age feel to the music.  Solveig’s female vocals are sweet and clear, which are surprisingly reminiscent of Native American singer/songwriter, Annie Humphrey-Jimenez.  The miscellaneous background sounds of water, animals, and rocks probably connote the creation of the world.  The environmental noises coalesce perfectly with the New Age flutes, electronic embellishments, and Solveig’s angelic voice.  The keyboard adds a few soft touches to the music with a slight dance or pop theme straight out of the 1980’s.  However, the song is still rather futuristic and modern. “Keep Your Eyes On Your Heart” begins with a few guitar strums and tambourine-like sounds. A blend of mixed vocals produced in a folksy setting resembles a power-pop anthem.  The combination of vocals and guitars creates a full sound with lots of texture and catchy hooks.  The guitars and vocals are accompanied by punchy bass and an electronic shower of futuristic, industrial sounds that are choppy, heady, and punchy.  The combination of folk vocals and heady electronic embellishments are not very typical in today’s music, but it seems to work for Solveig & Stevie.  The songs ends with a mix of industrial sounds that are metallic and electronic. “I Just Can’t Breathe” opens with lilting guitar and electronic swishes, echoes, and a rap medley. The rap music breaks up the folk or electronic monotony, but all genres mentioned above are represented here.  Solveig & Stevie shows that pop, folk, alternative, electronic, dance, rap, and hip hop are not too difficult to work with.  There are symphonic vocals and arrangements that are catchy and unforgettable.  The swishy rap instrumental combines a little dance, chiptune, pop, electronica, and urban grooves with crystal clear vocals for a magical outcome that is not annoying, deleterious, or unnecessary. “Fire” begins with a few brisk, guitar strums that incorporate a little tambourine-like sounds and grungy, metallic, and industrial adornments.  The vocals are rather pop-based, but the music seems to evoke a little 1980’s vibe with modern electronica.  The playful vocals and edgy arrangements are rather fresh and unique without resorting to banal doldrums.  Once again, Solveig & Stevie create an unusual, but exciting song with lively flutes, piano, keyboards, bass, guitars, drums, and infectious grooves. Zombie Lover represents a diverse array of songs with different genre-defying tunes that incorporate a number of instruments, arrangements, and sounds for an interesting listen.  All of the songs are worthy of airplay, despite a somewhat incongruent mix of genres and sounds. Solveig & Stevie find a way to make it all work without sacrificing melody, rhythm, and quality. This is a top recording for fans of Americana folk/rock or bands such as Evanescence, Cranberries, Nina Gordon, and Jace Everett. ~ Matthew Forss