CD Review: Tipsy Oxcart's 'Upside Down'

Tipsy Oxcart
Upside Down
Self-Release

Balkan music from Brooklyn? Yes, indeed. The instrumental ensemble creates dance-friendly tunes with lively percussion, trumpets, baritone/alto/tenor sax, trombone, accordion, violin, electric bass, and drums. Though, some of the songs are more contemplative and serene, a majority of the tracks are upbeat, edgy, and full of high-energy. "Homecoming" contains a Balkan-beat that is reminiscent of South American cumbia, but in a Balkan form. The frenzied "Tutti Frutti" is a rousing track with blaring horns, bubbly bass, and punchy drum beats throughout. There are eleven tracks in all. With track titles as diverse as "Fax Mission," "Honey Dripper," "Tipska," "Bone Dance," and others, Upside Down will astonish you with their uncanny rhythms and contemporary sounds in pure, Balkan music form. ~ Matthew Forss

CD Review: Newpoli's 'Nun Te Vuta'

Newpoli
Nun Te Vuta
Rotary Records

Italy's Newpoli group brings us a swirling mix of tunes that are definitely vibrant and showy with lush melodies and rhythms, along with fanciful vocal displays. The instrumental repertoire is rich with mandola, guitars, accordion, bass, strings, oud, drums, and wind instruments. The minstrel-like melodies and playfulness to the songs represents a historical presence in a contemporary world. The vocals lead the tunes at times, but the instruments are the stand-out here. Anyone interested in folk music, world music, Italian roots, ensemble, neo-classical music, and Renaissance-type music will find happiness throughout the tunes of Nun Te Vuta. ~ Matthew Forss

CD Review: Ailie Robertson's 'Little Lights'

Ailie Robertson
Little Lights
Lorimer Records

Scottish harpist, Ailie Robertson, is joined by Natalie Haas on cello and Tim Edey on guitar and accordion for a truly folk-riddled album of instrumental magnificence. The bouncy melodies are spritely and imaginative with great sounds all around. There are eleven tracks in all with many songs arranged in jig or waltz-like orientations. For instance, some of the songs have two titles side by side, which relate to the different tones and progressions characteristic of instrumental folk music from Scandinavia and Northern Europe. It is nice the album is not too short (46:46) either. Fans of instrumental harps and koras, along with roots, folk, and fusion interests, will love Ailie Robertson's new release. It's a little album with a big impact. ~ Matthew Forss

CD Review: Vasily Evhimovich's 'Hurdy Gurdy, Accordion, and Vasily Evhimovich'

Vasily Evhimovich
Hurdy Gurdy, Accordion, and Vasily Evhimovich
Sketis Music

Vasily Evhimovich is a talented vocalist, accordion player, and hurdy-gurdy specialist on his latest recording, Hurdy Gurdy, Accordion, and Vasily Evhimovich. Vasily brings in a few other vocalists for acapella singing. Most of the time, Vasily plays the accordion or hurdy-gurdy along with the vocal segments. Based on the Volga River, Vasily recorded the album in his studio workshop. The folk songs originate from the Oka River region, as well as Belgorod, Northern Russia, Siberia, and Tatarstan. The drone of the accordion or hurdy-gurdy provide contemplative and entrancing moments between purely vocal parts. Over seventy-minutes of music and nineteen songs round out the album. The song titles are translated in Russian and English on the album back. Fans of Russian vocal music, folk music, and traditional instruments will find it most satisfying. ~ Matthew Forss

CD Review: Leticia Rodriguez Garza's 'Saguita Al Bate'

Leticia Rodriguez Garza
Saguita Al Bate
Self-Release

Growing up in Texas, one is never too far away from the energetic, pulsating, and danceable sounds of Latin America. Saguita Al Bate is a rollicking, four-track album of cumbia, salsa, Latin, jazz, Caribbean, and Afro-Latin elements with some tunes coming from a previous release, La Americana. The lively percussion, driving horns, punchy bass, and rootsy accordion on a few tracks makes the music come alive with a classic vein running throughout the album. The music of Latin America is timeless when jazzy piano, heavy percussion, and soulful vocals are involved. This is especially true on Saguita Al Bate. The music is seemingly out of the 1950's, but it is equally at home in today's era. Anyone with an interest in classic Latin American music will love Leticia Rodriguez Garza. ~ Matthew Forss

CD Review: Kompania's 'Round Trip'

Kompania
Round Trip
CHARA

The Greek group, Kompania, releases an excellent new release aptly-titled Round Trip. The album touches on music beyond the traditional rebetiko fanfare with vibrant oud, baglama, zills, davul, darbouka, slide guitar, bouzouki, accordion, and guitar. There is still a good amount of Greek music here, but the instrumental repertoire opens up the tunes to influences across Europe, the Mediterranean, and parts of the Middle East. The Greek vocals are emotive, mournful, and happy throughout. In fact, the vocals are so powerful at times they tend to take on a life of their own. The vocal arrangements are diverse and appropriately match the instrumental sections. Vocals are attributed to Katerina Tsiridou, Sotiris Papatragiannis, and Dimitris Kranidas. The metallic bouzouki sounds are bright and cheery. The percussion is sparse, but precise. The entire package is enlightening and full of life with varied vocals and sounds that create a whirling atmosphere of sonic delight. Nothing is wrong here. Round Trip begins and ends with Kompania. ~ Matthew Forss

CD Review: Julie Fowlis' 'Gach sgeul'

Julie Fowlis
Gach sgeul
Machair Records

Scotland's talented Gaelic singer, Julie Fowlis, delivers us a folksy, Gaelic-soaked album of traditional tunes and original songs across eleven tracks. Julie begins the album with a solemn ballad, "A Ghaoil, Leig Dhachaigh Gum Mhathair Mi," which is led by Julie's vocals and string accompaniment. Throughout the album, various instruments take over, including the bouzouki, fiddle, guitar, harmonium, piano accordion, double bass, assorted percussion, cello, flute, uileann pipes, bodhran, whistle, viola, and highland pipes. The jaunty "Danns' A Luidheagan Odhar" is a lively and uppity tune with Julie's stellar vocals taking the charge. The songs are more melodic on this recording than previous releases, which probably makes it more accessible to Gaelic, folk, European, and vocal music fans. Whatever it is, Julie knows how to create beautiful music. Gach sgeul, which means "every story," accurately depicts different stories in song form. Whether it is traditional or contemporary, Julie mesmerizes all who listen. Check it out today! ~ Matthew Forss

CD Review: Solfrid Molland's 'Musikken er mit fedreland'

Solfrid Molland
Musikken er mit fedreland
KKV

Norway's Solfrid Molland is a talented vocalist, accordionist, and pianist with an ear for European, Scandinavian, and gypsy rhythms and melodies. Solfrid's new album attempts to highlight the Roma music genre of gypsy with regards to Norway's influence. Solfrid is joined by Gheorgie Vasile, Valentin Vasile, Ion Cantaragiu Rasturnel, Gjermund Silset, Lars Tormod Jenset, and a choir. The heart-felt violin pulls at the heart-strings, but it is very fitting. The gypsy rhythms are rich and moving. The instruments come together in a whirling fashion to create a mesmerizing, instrumental interplay between vocals and heritage. The neo-classical, world fusion, balkan jazz, and gypsy melodies makes the album shine with memorable sounds. Anyone interested in gypsy music and Norwegian music will love Solfrid's Musikken er mit fedreland. ~ Matthew Forss  

CD Review: Ani Cordero's 'Recordar: Latin American Songs of Love & Protest'

Ani Cordero
Recordar: Latin American Songs of Love & Protest
La Nana Music

Puerto Rican-born and Brooklyn-based, Ani Cordero sings songs from an era of love and protest with Recordar: Latin American Songs of Love & Protest. The songs are mostly tunes originally conceived in the 1960's, but one song dates from 1930, one from 1942, and still a few others originate from the 1970's. The countries of origin for the songs come from Chile, Argentina, Colombia, Cuba, Brazil, Puerto Rico, Mexico, and Venezuela. Ani lends her vocals, guitar skills, and percussion repertoire to the album, alongside other instruments, such as bass, guitar, accordion, trumpet, flugelhorn, ngoni, trumpet, keyboards, cello, piano, and assorted percussion. The songs are uppity, classic, and catchy. Anyone with an interest in nostalgic songs from Latin America will love Ani's new album. ~ 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: Uri Sharlin And The DogCat Ensemble's 'Back To The Woods'

Uri Sharlin And The DogCat Ensemble
Back To The Woods
Folk Dune Records

Israel-native and New York-based instrumentalist, composer, and producer, Uri Sharlin, brings us an instrumental feast of nine cinematic, edgy, and jazzy tunes from around the world. With an accordion in hand, Uri presents an amalgamation of cultural influences from Latin, Middle Eastern, European, and Arabic. All the songs are instrumental and rather theatrical in production with pensive beats, jazzy solos, and rocking rhythms with plenty of percussion and pizazz. Uri is also a talent on the Wurlitzer and piano. Uri is joined by his DogCat Ensemble on bassoon, bass clarinet, guitars, bass, percussion, flute, alto flute, pandeiro, and zabumba. There are cumbia elements, plaintive moments, and avant-garde jazz, which are very approachable and sinuous. Anyone with a passion for musical instruments and world beats will love Back To The Woods. ~ Matthew Forss

CD Review: Salaam's 'Train To Basra...And Other Stories'

Salaam
Train To Basra...And Other Stories
Self-Release

With ties to American blues and Iraqi folk music, you know this is going to be a good one. Salaam is spearheaded by musician, lyricist, violinist, viola player, oud player, joza player, Dena El Saffar. She is backed by a splendid array of musicians, including Tim Moore on dumbek, tupan, and riqq; Amir El Saffar on trumpet; Lety El Naggar on ney and sax; Stephen Harms on bass; Sam Finley on guitars; Svetla Vladeva on accordion; and a few others. The result is a richly-textured work that includes Central Asian, Middle Eastern, and North African roots. There are even liner notes describing the song background. Vocals are not present on this album, but the instrumental arrangements intermingle and literally speak volumes. Twelve moving tracks round out the album. Fans of Iraqi music, instrumental Arabic music, Middle Eastern music, and percussion music will find it deeply satisfying. ~ 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: 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

CD Review: Gypsophilia's 'Horska'

Gypsophilia
Horska
Forward Music Group/Factor

The Halifax, NS-based Gypsophilia brings us an energetic mix of instrumental jazz tunes with a good does of gypsy pizazz and fusion styles bordering on swing, alternative, new age, and roots. The septet plays piano, accordion, guitar, trumpet, double bass, and violin. The septet sounds like a session group with jazzy leanings and an instrumental prowess rarely achieved by other groups of this stature. Horksa is a short album of only six songs. However, the music is still remarkable and memorable. "Bir Hakeim" is a swing-inflected, jazz song that is classic and fresh. "Oh My Oma" is a more relaxed tune with somber violin tones, drifting guitar strums, and very light percussion. The jaunty, "Corentin Cariou," is a quick little ditty with carousel-type musicality and a youthful vigor with violin, piano, percussion, and trumpet. The quick-changing tempos are delightful. Overall, Gypsophilia's new work is a highly-recommended recording of creative gypsy music that encapsulates the world of jazz in a world music setting. ~ Matthew Forss

CD Review: Spiro's 'Kaleidophonica'

Spiro
Kaleidophonica
Real World

Spiro is a British band that incorporates folk instruments, but the group is anything but folk. There is a strong kaleidoscopic element of whirling violins, acoustic guitar, mandolin, accordion, and cello, which showcase a strong, instrumental medley throughout. The contemporary folk music is unique and fresh without ho-hum melodies and banal tendencies. The instrumental delights do not include vocals, which lets the instruments sing out with tonal pleasures. There is an element of dance, classical, and new age influences that cannot be ignored. The writhing, driving rhythms and melodies may seem a bit redundant, but that is part of the charm. The songs whirl and swirl the listener into a super folk world of imaginative bliss. Spiro is not to be missed. ~ Matthew Forss

CD Review: Urna's 'Portrait: The Magical Voice From Mongolia'

Urna
Portrait: The Magical Voice of Mongolia
Network

Urna is an Inner Asian songstress from the great, vast expanse of Mongolia. With ties to China and Western Europe, Urna employs a range of instrumentation that represents Inner Asian genres. The violin, zither, sheng, cello, zarb, udo, viola, accordion, morin huur, sax, guitar, and assorted percussion make up the instrumental repertoire on many of the songs. The spacious acoustics and free-flowing vocals are not particularly throat-singing examples. This is classic, Mongolian vocal and instrumental music that is calm, reserved, and contemplative. It is not rigid, boring, or plain. The music is similar in tone to contemporary examples coming out of Nepal and Tibet. Yungchen Lhamo is a similar comparison. At any rate, the thirteen tracks and one hour of music are a joy for fans of Inner Asian folk music. Liner notes are in German, English, and French. ~ Matthew Forss

CD Review: Very Be Careful's 'Remember Me From The Party?'

Very Be Careful
Remember Me From The Party?
Downtown Pijao

LA-based Afro-Colombian vallenato maestros, Very Be Careful, bring us another fine recording of upbeat, dance music on accordion, percussion, and other heart-pulsing instrumentation. The danceable music is characteristic of South American, Latin American, and North American tejano. The accordion-driven music is uptempo and refreshing, especially on "El Mosquito." Nevertheless, there are twelve rippling tunes of sonic beauty. The party atmosphere is full of vallenato music. Nothing is amiss here. The instrumentation and Spanish vocals are top notch throughout. Very Be Careful is essentially a party-version of Colombian polka music. Remember Very Be Careful is a group that knows how to perform. All in all, it's that good. ~ Matthew Forss

CD Review: The Young'uns' 'When Our Grandfathers Said No'

The Young'uns
When Our Grandfathers Said No
Navigator Records

The UK's The Young'uns are a folk trio that create emotive tracks of strings, guitars, accordion, and piano. The twelve tracks are great folk tunes with catchy melodies and fun lyrics. The vocals are representative of Celtic, Scandinavian, and Scottish/English folk melodies. This is contemporary folk, but there are no rock elements present. There are solemn moments and upbeat vocal displays of English charm. There are some vocal winners here, including "The Chemical Worker's Song," "Harbour Voice," and "Roll Down." Anyone with an interest in English folk music will love The Young'uns. Fans of vocal music from the same region will be pleased, too. ~ Matthew Forss

CD Review: Tritulen's Self-Titled Release From Scandinavia

Tritulen
Tritulen
Etnisk Musikklubb

 The Norwegian trio of Ebba Jacobsson, Jonas Akerlund, and Anette Thorsheim bring us contemporary folk music from Norway and Sweden on their latest self-titled release. The music is composed and performed on guitar, accordion, and fiddle. The group performs love songs, spiritual pieces, and dance tunes. The mix of vocals and instrumentals makes the songs really come alive with Scandinavian charm and amazement. The fourteen tracks are rich with folk traditions and sweet melodies that are crystal clear and pure. The floating vocals and pensive instrumentation makes Tritulen shimmer with icy-smooth executions. The lack of electric embellishments does not necessarily make the music lackluster. In fact, the cozy nature of the intimate melodies and notes are perfect enough for packing large stadiums or a house filled with family members sitting around a roaring fireplace in the dead of winter. Fans of Scandinavian folk music will find Tritulen a perfect companion in times of musical yearning. ~ Matthew Forss