CD Review: David Broza & The Andalusian Orchestra Ashkelon's 'Andalusian Love Song'

David Broza & The Andalusian Orchestra Ashkelon
Andalusian Love Song
Magenta/Eight Note

Hailing from Israel, David Broza rocks the world with a delightful, Andalusian album that bridges the music of Spain, the Middle East, and North Africa into one indelible result. The seventeen tracks are sung in English, Spanish, and Hebrew with instrumental influences arranged in classical, folk, pop, and roots medleys. The vocals are strong and timeless. The edgy percussion, soaring strings, and multi-layered instrumental arrangements make Andalusian Love Song a very pleasant listening experience. The diverse influences and instrumentation provide a more balanced result that is not boring or redundant. The sweeping, "Dangerous Autumn," contains beautiful instrumental parts, alongside heady vocals in Hebrew. It is impossible to pick one of the best tracks, as all of them are unique and worthy of number one. Fans of North African, Middle Eastern, and European orchestral music will find the album to be a perfect ten! ~ Matthew Forss

CD Review: Novalima's 'Planetario'

Novalima
Planetario
Wonderwheel Recordings

Afro-Peruvian musical connections have been Novalima's mainstay. Planetario is no exception, as the group continues to perform and preserve Afro-Peruvian and Afro-Colombian stylings, while maintaining a unique identity. The cumbia beat of "Beto Kele" represents a very earthy and infectious track with great percussion and vocals. The entrancing and addictive "Memekume" is more contemporary, but full of trippy elements and sporadic percussion. Novalima brings in artists as far away as the UK, Colombia, and Spain for a globetrotting, musical result that is anything but boring. If edgy, modern, and world-infused musical concoctions are what you seek, then Novalima's Planetario is a must-have. ~ Matthew Forss

CD Review: Filastine's 'Aphasia'

Filastine
Aphasia
Post World Industries

Filastine is founded by Grey Filastine. The group features Grey's electronic, multimedia, and inventive sounds, instruments, and beats. The four-track release contains the vocals of indie, Javanese rapper, Nova, who contributes some vocals on "Requiem 432" and "Murka." The electronic adornments are light, atmospheric, and futuristic. The low bass sounds, danceable taps, dub-centric concoctions, and scattered vocals make for an interesting, innovative, and ideal recording for fans with a hankering for the electronic. The music is otherworldly at times, but it is nothing that is too crazy. With titles such as "Sixty Cycle Drum," "Murka," "Drone Silences," "and "Requiem 432," the music takes on a contemporary and dance-infused characterization. The adventurous Filastine brings Aphasia to new heights and audiences with gritty, percussive nods, swishy sounds, and futuristic embellishments that are unforgettable. Try it today! ~ Matthew Forss

CD Review: Cinco Santos' 'Duplicidad'

Cinco Santos
Duplicidad
Motivo Music Group

Formed by Lorenzo Montero of Canadian and Spanish decent, Cinco Santos embodies the spirit of Latin fusion incorporating various singers, guitarists, and musicians from Mexico, Colombia, and Argentina. The moving "Azucar y Amor" is a gypsy, flamenco, and fusion tune with jazzy, Latin elements that are ripe with roots, folk, and breezy rhythms. "Nunca Mas" is an edgy, Latin fusion track with a choppy beat and great guitar accompaniment. "Te Quiero Aqui" opens with an industrial element that quickly delves into a Latin jazz and flamenco tune. "Duplicidad" begins with a jingly guitar and bass opening that includes an edgy vocal line that infuses a lighter guitar accompaniment throughout. There is a mix of grunge, Latin jazz, and Latin pop with rock, roots, and folk throughout. Without a clearly-defined path, Cinco Santos feel better forging their own path of music with mixed Latin influences for a truly engaging and charming mix of music. Fans of Latin fusion, jazz, Latin rock, flamenco, gypsy, and South American pop will love Duplicidad. ~ Matthew Forss

CD Review: Calaita's 'Flamenco Son'

Calaita
Flamenco Son
Riverboat Records/World Music Network

Formed by Chico Pere, Glenn Sharp, and Leo Paredes in Spain, Calaita performs contemporary flamenco music, which draws upon years of traditional flamenco infusions laid-down by previous performers. The original music contains plenty of Latin jazz, rumba, world fusion, and easy-listening folk music elements. Chico Pere and Diana Castro are vocalists, while Chico plays the guitar, as well. Glenn is a guitarist, Leo Paredes is a cajon player, and Matt Nickson is a flutist and sax player. The gentle, sweeping guitar melodies are best when combined with vocals, but the instruments stand strong on their own. There are ten great tracks sung in Spanish. Fans of Latin, Spanish, Caribbean, Cuban, Mexican, and South American folk music traditions will love Flamenco Son. ~ Matthew Forss

CD Review: Fernando's Kitchen's 'Musica Fina'

Fernando's Kitchen
Musica Fina
Self-Release

London's Fernando's Kitchen brings us a medley of world fusion sounds that traverse the Spanish shores to West Africa, Latin America, and beyond. The music is inspired by world rhythms and the group's worldwide origins with members coming from Argentina, South Africa, Italy, Greece, and Spain. The music is flamenco based with organic guitars, effervescent percussion, sweet melodies, instrumental arrangements, and Afro-Latin-tinged compositions. The music bubbles with a jazzy spirit full of lush horns and swaying melodies and rhythms. The easy-going tunes, infectious grooves, world fusion sounds, sensual vocals, and moving rhythms celebrate the group's iconic repertoire and message. Fans of flamenco and world fusion with a side of jazz will love the eight-tracks on Musica Fina. ~ Matthew Forss

CD Review: Nakany Kante's 'Saramaya'

Nakany Kante
Saramaya
Slow Walk Music

Hailing from the border of Guinea and Mali, in a town called Siguiri, Nakany Kante brings together a mix of Wassoulou, soukous, m'balax, reggae, and afro-pop. The result is a twelve-track release with upbeat percussion, lush vocals, and rippling guitars. Nakany is joined by other musicians on dundun, congas, kora, djeli n'goni, bass, electric guitar, balafon, and other instruments. The rich textural layers are poignant and unforgettable. Nakany's voice meanders along with a youthful exuberance and a melodic overtone. I wish I could pick a favorite track from this album, but all the tracks are favorites. Anyone with an interest or obsession with West African popular music will find Nakany Kante's latest work very enthralling. Highly recommended. ~ Matthew Forss

CD Review: Alma Afrobeat Ensemble's 'Life No Get Dublicate'

Alma Afrobeat Ensemble
Life No Get Dublicate
Slow Walk Music

Following the previous release, Toubab Soul (Amphora Records, 2010), Alma Afrobeat Ensemble continue in their multicultural and cross-genre creative work of music that combines heady rhythms with contemporary vocals and mixed percussion, urban, and guitar styles. Nothing is simplified here, as the music is complex and deeply-rooted in the musics of Africa, Europe, and Latin America. The six-track release contains pulsating sounds of jazz, funk, Latin, and world fusion. The rippling guitars and fuzzy percussion awaken the spirit amidst the smooth bass lines and punchy brass. Based in Barcelona, Spain, the group members hail from other parts of the world, including Norway, Senegal, USA, Uruguay, Argentina, and Ghana. For a true world music listening experience, put Life No Get Dublicate on and hit repeat over and over again. ~ Matthew Forss

CD Review: Anna Hoffman & Romancero Sefardi's 'Juego de Siempre'

Anna Hoffman & Romancero Sefardi
Juego de Siempre
Sketis Music

Sung in Ladino, the language of Sephardic Jews, Anna Hoffman & Romancero Sefardi bring us a dozen sensual and emotive tracks with vibrant voice, percussion, and other assorted instrumentation. Anna is the vocalist, but she is joined by a plethora of instrumentalists skilled on guitars, kalimba, table, oud, saz, buzuki, sax, trumpet, tabla, santur, daff, riqq, udu, violin, rabab, and others. The musical repertoire is slow, sauntering, and utterly provocative for the senses. The melody and rhythm is chiefly Sephardic with Mediterranean and Middle Eastern elements abounding. The emotive vocal delivery, jazzy horns, and meandering percussion and strings makes it an ideal album for fans of Sephardic, Jewish, Spanish, and Middle Eastern music. Anna's voice is timeless. The time is now to hear it. ~ Matthew Forss

CD Review: Rebeca Vallejo's 'Azucar, Canela'

Rebeca Vallejo
Azucar, Canela
WMB Productions

Spanish songstress, Rebeca Vallejo, brings us a mix of flamenco, romantic medleys, jazzy piano, and Brazilian musical flavors on her latest release, Azucar, Canela, which means, 'sugar, cinnamon.' The flavorful title sets the musical tone for a spicy and sweet collection of lounge jazz tunes and effervescent instrumental arrangements. The suavity of Rebeca's voice is heartfelt, joyous, and emotive. There are ten tracks with two bonus tracks. The piano, percussion, accordion, and vocals are the mainstay of the album. The flowing piano melodies are timeless and definitely a favorite on the album. The punchy sounds and beautiful vocals are top-notch and very likable. Taste it today! ~ Matthew Forss

CD Review: Calaita's 'Flamenco Son'

Calaita
Flamenco Son
Self-Release

The UK's Calaita is a flamenco group comprised of Chico Pere, Glenn Sharp, Diana Castro, Leo Paredes, and Matt Nickson. The group combines various flamenco-tinged guitars, vocals, percussion, flute and sax to create magical, whirling, and danceable melodies and rhythms that inspire and astound all who listen to it. There are various flamenco styles showcased, including alegria, tangos, seguiriya, solea, guajira, buleria, and colombiana. The music is Spanish, South American, and breezy like the Cape Verdes. There are ten compositions that are fairly vibrant, punchy, and classical. The vocals are heartfelt throughout. Anyone familiar with world fusion and flamenco will find enjoyment in the tracks of Flamenco Son. Overall, Calaita succeeds with a vibrant, high-quality release of musical ingeniousness. ~ Matthew Forss

CD Review: Xera's 'Llume'

Xera
Llume
Self-Release

Xera, a Spanish music group, brings us a slew of earthly and seemingly unearthly songs that incorporate a plethora of instruments and sounds.  The styles are somewhat electronic, spacey, contemporary, and archaic.  The atmospheric sounds reflect a new age presence, but the heavy industrial tones and folk melodies suggest a more balanced act of modern and classic music that fits somewhere in-between world beat and world fusion. “Alo” opens with a long, extended vocal medley of virtually unchanging vocal tones.  The female voice is solo early on until mid-song, where keyboard washes and some jingly percussion take over.  The single female voice is basically unaccompanied, but the voice is joined by back-up vocals in a similar vein near the end of the song.  This song is more of a display of folk music than anything contemporary.  However, the electronic washes and percussion display some aspect of modernity. “Vientos” begins with a blurby, electronic whirring sound and a shape-shifting breezy noise with the rustic wavering of a hurdy-gurdy type instrument.  An acoustic guitar begins where the intro noises leave off, but the electronic washes do not disappear.  A free-floating female vocalist adds some tonal color to the song with keyboard accompaniment.  Suddenly, the music dives into a European whirlwind of folk idioms with lively acoustic guitar, string work, and plucked and keyed noises that get the heart and feet moving.  The female vocal returns with atmospheric washes and quivers of strings that end in an amazing kaleidoscopic finale of folk and electronica. Interestingly, the music is rather folk-centric overall. “Yo Quixera” begins with a choral performance and a solo spoken male voice in the foreground. There is an electronic wash and blurby sound that represents a bit of Spanish or Latin techno/down-tempo concoctions that are spacey, spicey, and evocative.  The string-like tones provide a sense of classicism in an age of modernity.  There are electronic bagpipe sounds that effervesce in-between the electronic washes and bubbly choral voices.  There is a lot going on, but Xera seems to keep everything united and engaging. “Camin” opens with a bit of electronic and industrial-like percussion that is a somewhat tribal beat, but in a more avant-garde manner.  The instrumental opening contains a sense of folk elements that incorporate ruddy guitars and rumbling atmospheric washes.  The post-apocalyptic mishmash of sounds comes to life mid-song, as the Nordic fiddling matches the driving percussion.  The background choral sounds are archaic and futuristic with random shouts, didgeridoo-like noises, and Scandinavian-type roots music with a good dose of folk/rock to go around. “Mio Fonte” opens with an angelic electronic wash of choral voices and soft, sparkling bell-like tones that weave in and out of the heavens.  The washes accompany some folksy vocals that contain background choral tones and crystalline, yet fluid, melodies and intonations.  The new age and folk-centered track incorporates a buzzy, bell-like sound that creates a magical atmosphere.  Some of the vocals are intentionally drowned out mid-song to allow the instrumental elements room to breathe, before the sparkling tones and spacey washes give way to a more heady, industrial and mechanical output.  The quivering fiddle accompanies the heavier tones with ease. Xera’s new release, Llume, is a dark, swirling mix of upbeat, contemplative, and heady tunes that fill a void in the world of fusion and new age-based music.  The mix of instruments and almost indistinguishable voicings makes some of the tracks stand out with unquenchable appeal.  The sounds, tones, melodies, rhythms, and instrumental segments are all appropriate and memorable. Fans of new age, electronica, folk, Scandinavian, Spanish, and fusion music will love Xera’s new forward-thinking release. ~ Matthew Forss 

CD Review: DeLeon's 'Tremor Fantasma'

DeLeon
Tremor Fantasma
Golemite

The Sephardic wanderings of Mexico's DeLeon are inspired and influenced by Jewish musical traditions and folk music from Western Europe, Central Asia, and the Mediterranean. The contemporary music is not overtly-traditional in scope, but it contains a slight nod in that direction. Fortunately, the modern leanings of percussion, bass, guitars, and up-tempo instrumentation provide a Spanish feel and slightly experimental mode overall. For instance, the instrumental rock tune, "Lamma Bada," contains punchy electric guitar displays of beauty with Middle Eastern-type shakers and meditative drumming. The retro Brazilian-tinged tune, "Para Que Quero," is a jingly tune with an electric guitar solo and reverberating vibes. The sweet song contains smooth grooves, haunting vocals, and a Latin rock feel unsurpassed by other groups. The country-tinged, "Barminan," represents an Appalachian tune with banjo-picking and fast percussion. Who would think Sephardic nomads ventured up and down the Appalachian? This represents DeLeon's global appeal and varied genre stylings. DeLeon is a very good Sephardic music that is hip, fun, and ready to take the world by musical storm. ~ Matthew Forss 

CD Review: Kwame Afrovibes' 'Let's Go'

Kwame Afrovibes
Let's Go
Self-Release

Afrobeat from Spain via Ghana? Yes. Kwame Adzraku is the lead singer and instrumentalist with the band Kwame Afrovibes. On Let's Go, Kwame plays drums, maracas, sticks, piano, guitars, shekeres, hammond B3, keyboard, rhodes, tambourine, and other instruments. As a vocalist, Kwame can be compared with Fela Kuti, but the tracks are sung in English, Ewe, Spanish, Accran, and Ashanti. The African languages are represented throughout. Guest musicians play djembe, synth, sax, steel drum, kalimba, and cabaza for another layer of percussion and texture. The funky, psychedelic ramblings are upbeat, danceable, and groovy. There is a high-level of musicianship that is not seen in many other recordings today. Anyone with an interest in West African jazz, makossa, soukous, pop, and rock will love the intricate renderings of Kwame Afrovibes. ~ Matthew Forss

CD Review: Ojos De Brujo Reworked

Various Artists
Ojos De Brujo Reworked
Urban World

Spearheaded by Al Lindrum, the music of Ojos De Brujo is reinvented, reworked, and rewired with the talents of a multitude of contributors, including Farrapo, George Vala, Empresarios, Makala, Suonho, Los Chicos Altos, Tony Seal, Duboffensive, and many others. Fans of Ojos De Brujo will be impressed with the jazzy, dub-ready, and dance-inflected compositions that have inspired musicians and listeners all over the world to create such beauty. The funky drum and bass, cumbia sounds, and dancehall song structures make the album shine with effervescent qualities. The vocals are Latin-esque and well-executed overall. The thirteen tracks span a wide cross-section of material, but in the end, Ojos De Brujo is the real winner here. The remixes are inventive and ear-catching. This is for the upbeat fan out there. ~ Matthew Forss

CD Review: Gadjo's 'Gadjistan Zizany'

Gadjo
Gadjistan Zizany
Self-Release

The Barcelona-based group, Gadjo, is a dynamic musical experience incorporating a number of instruments, styles, and origins extending across the Mediterranean, Spain, and Eastern Europe. The Balkan influence is highly-present, as well as a bit of polka, ska, cumbia, Latin, dance, and swing music. The party-like atmosphere created by a cacophony of instruments and vocals is rather structured, but it creates the impression it is more improvisational than it really is. The quirky horns, rousing percussion, lively vocals, and groovy tunes traverse the world's traditions in one place. The playful styles and sounds do not get boring and they are contemporary, but not electronic, in their approach. The witty "Two Left Feet" is a Balkan brass great with fun vocals and Khmer-esque, jazzy grooves that are more likely to come from Dengue Fever or Ersatzmusika, than a Balkan or Spanish group. Still, the fifteen songs are diverse, energetic, and playful throughout. Grab Gadjo's latest release for an hour of good times. ~ Matthew Forss

CD Review: Che Sudaka's '10'

Che Sudaka
10
Cavernicola Records

The assembly of Argentinian and Colombian musicians based in Barcelona, Spain, continue to brighten up the world music and punk-folk genres with their characteristic party sound and South American-inspired rhythms. The punk-rap style of "C'est plus beau" contains blaring horns, harmonies, and a party-dance rhythm that is extremely infectious. "Inmigrant Soul" is a great tune with luscious harmonies, a bit of electronica, and accordion amidst a catchy melody in a similar way to the South Pacific's Te Vaka. It is one of the best songs on the album, but "Desearia," "Ya nunca me veras caer," "Stress," "Crisis de amor," and "Hombre libre" are close behind. There are a number of styles and influences included here with ska, reggae, jazz, folk, dance, rumba, Latin, and light punk-rap winning out. This is one of the best contemporary recordings to come out of Spain in recent memory. It is titled 10, because it is a 10. Liner notes are included for the song lyrics. ~ Matthew Forss

CD Review: Las Hermanas Caronni's 'Baguala de la siesta'

Las Hermanas Caronni
Baguala de la siesta
Snail Records

The music of Las Hermanas Caronni is actually produced by twins--Laura and Gianna Caronni. The twins are from Argentina. The duo performs tango, folk, and classical music with only a cello and a clarinet. Keep in mind, the duo also sings. The emotive vocals possesss very theatrical--almost operatic--undertones. The worldly nature of the songs is reflected from ancestral origins from Switzerland, Russia, Italy, and Spain. The music is devoid of any additional instrumentation. The entire project is relatively low-fi, but the sounds are beautiful, emotional, and enthralling. Though, fans seeking a more traditional Argentinian release should look elsewhere. Fans with a leaning toward the classical approaches will enjoy Baguala de la siesta the best. ~ Matthew Forss

CD Review: Lampa Ladino's 'En Este Mundo'

Lampa Ladino
En Este Mundo (In This World)
Sketis Music

Russian-based, Lampa Ladino, was started by Grigory Sandomirsky after listening to several records from Sephardic Jews and Ladino musicians several years ago. Ladino is a Sephardic language of Jews from the Iberian Peninsula. The melodies are typically sweeping, classical, jazzy, and also rock-focused (only on one track). For instance, a bit of rock guitar is found on "La Komida La Manyana." However, Judeo-Spanish rhythms win out with a host of songs incorporating Latin or Spanish elements with sorrowful vocals and plaintive piano. Though, a variety of percussion, horns, and string instruments are included throughout. There are classical and jazz elements that are rather spritely--and heavily influenced by Yiddish, Klezmer, and Gypsy song structures. The addition of the guitar, piano, and percussion provides a laidback lounge feel perfect for relaxing after a hard day's work. Fans of avant-garde, jazz, fusion, Sephardic, and Ladino music will be happy to own Lampa Ladino's latest release. ~ Matthew Forss 

CD Review: Daniel Cros From Barcelona

Daniel Cros

Las vueltas que da la vida

Rosazul

From the shores of Spain to Cuba, Daniel Cros' Catalan-language songs cover a variety of styles, including ballad, bolero, cha cha cha, ranchera, son, salsa, tango, and more. Hailing from Spain, Daniel infuses a Latin American-jazz sensibility with signature percussion, piano, horns, strings, and vocals. Daniel is quite the master of musical ingenuity being a singer, guitarist, and pianist. The piano surfaces more or less on many of the tracks, which provides a classic sound to the quiter rhythms and slower melodies. One thing that is certain is the passion and neverending desire for performing and creating lively musical masterpieces that stir the soul and twist the hips. Though primarily a recording for Latin music fans, Las vueltas que da la vida also evokes a Spain-ish musical component. However, the album is not very long in running-time (approx. 42 minutes), but it won't hurt to play the album over and over. A danceable collection of songs! ~ Matthew Forss