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: 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: Yasmine Hamdan's 'Ya Nass'

Yasmine Hamdan
Ya Nass
Kwaidan Records/Crammed Discs

Lebanese-singer, Yasmine Hamdan, is currently based in Paris, France, but her work extends beyond Europe and the Middle East with her latest release, Ya Nass. The contemporary music contained throughout the album is slightly organic, electronic, and dreamy. This is not dance music or Arabic percussion music, but it does contain some elements of both. Though, Yasmine sticks to a highly modern result with atmospheric electronics and a sweet vocal set-up. The edgy youthfulness of "Shouei," "Samar," and "Deny," represent some laid-back rhythms and melodies that are rather cosmopolitan and adventurous. "Enta Fen, Again" blends some trip-hop, dance motifs with the Arabic vocals. Yasmine tones it down a bit on "Nediya," which provides a more steady almost indifferent beat throughout. At any rate, Ya Nass is an album steeped in Middle Eastern and Arabic sensibilities with contemporary and mature edge that satisfies the soul and moves the body. Buy it today. ~ Matthew Forss

CD Review: Mokoomba's 'Rising Tide'

Mokoomba
Rising Tide
Zig Zag World

Born in Zimbabwe and based in Belgium, Mokoomba mix Afro-fusion sounds of jazz, pop, and folk with drums, beatbox, percussion, keyboards, strings, wind instruments, and kora for a scintillating musical journey. The upbeat music is littered with rousing percussion and Latin-esque tunings reflecting a little Portuguese presence. Afro-Caribbean and Afro-Latin influences are present, but Afro-pop is probably the most fitting description. "Masangango" reflects a Malian or Senegalese composition with ambulating percussion, backup vocals, and shimmering kora sounds. The funky "Mangongo" is a dance-friendly tune that is very refreshing. There are twelve tracks in all and none of them are the same. Fans of Afro-fusion, Afro-pop, and African music in general will love Rising Tide. ~ Matthew Forss

CD Review: Zita Swoon Group's 'Wait For Me'

Zita Swoon Group
Wait For Me
Crammed

The Belgium-based world-beat group, Zita Swoon, is a cosmopolitan band representing a host of musical styles that cross the wide, Saharan expanse of North Africa and the Western European region of France, Belgium, and England. The engaging rhythms are showcased on a number of instruments, including drums, balafon, guitar, horns, various folk instruments. The wide-ranging vocals and incredible repertoire of Awa Deme, Mamadou Diabate Kibie, and the Paul Simon/Bob Dylan singing-leadership of Stef Kamil Carlens, produces a solid recording of memorable songs. The balafon and horns represent a West African and Ethiopian sound on the same album. The world music created by Zita Swoon Group is a form of fusion, but it almost works too good to be called fusion. Instead, the music is just great--no matter what you call it. ~ Matthew Forss

CD Review: Antwerp Gipsy-Ska Orkestra's 'I Lumia Mo Kher'

Antwerp Gipsy-Ska Orkestra
I Lumia Mo Kher
Excelsior Recordings

The Antwerp, Belgium-based, Antwerp Gipsy-Ska Orkestra is a purveyor of Balkan-ska-punk music with a lively vibe of crazy horns, wild beats, and party atmospheres that will last long after the tracks end. The group incorporates Belgian, Serbian, Chilean, and Balkan roots with innovative and jaunty tunes. The first track, "Basalaja," features Marko Markovic, while "A La Truko" features MC Sebo and the "Roma Project" features the Kocani Orkestar. The eleven tracks traverse a plethora of styles and languages with rap, reggae, pop, big band, gypsy, klezmer, Balkan, Mediterranean, and ska-punk music topping the primary influences. The album title, which means 'The World Is My House' in Serbian Romani, is a perfect caricature of the group's musical style and arrangements. Gypsy music fans have another fine recording to acquire, thanks to the Antwerp Gipsy-Ska Orkestra. ~ Matthew Forss

CD Review: Didier Francois's 'Nyckelharpa Solo'

Didier Francois
Nyckelharpa Solo
Home Records

The Belgian, Didier Francois, is a noted nyckelharpa player and teacher. The nyckelharpa is a keyed harp or fiddle with keys attached to tangents that serve as frets to change the pitch of the strings. Traditionally, the nyckelharpa is a native of Sweden, but it is found in many other Scandinavian and European countries...and other parts of the world. As its name suggests, the nyckelharpa is the only instrument on this recording. Additionally, there are not any vocals. Instead, Didier plays various compositions with nyckelharpa. There are sixteen instrumental tracks, which include some original tunes, and others composed by Jamil Masud, Johann Sebastian Bach, Erik Sath, Antonio Carlos Jobim, Susanne Paul, Charlie Mariano, Jose Toral, Eugene Ysaye, and Carl Michael Von Esser. The instrumental tracks are perfect for classical, folk, or violin fans. This is a top release for nyckelharpa fans, too. ~ Matthew Forss

CD Review: La Chiva Gantiva's 'Pelao'

La Chiva Gantiva
Pelao
Crammed

Latin-American percussion and song styles are the focus of the Belgium-based La Chiva Gantiva. Pelao, which means, "kid," is an album with upbeat, energetic rhythms from the heart of Colombia, but performed with members from other parts of the world. The global mixture of influences and ethnic representation encapsulates the musical energy on each track. A selection of tracks contain blaring horns, electric bass, drums, sax, vocals, and heavy percussion. The upbeat tunes are reminiscent of balkan brass, Afro-beat anthems, and Afro-Latin funk gems. The multi-ethnic songs are bound to get the body moving wherever it may be located on planet Earth. Anyone with an interest in Colombian funk, Afro-Latin jazz, balkan brass, and instrumental medleys that will get your feet moving, Pelao is right for you. ~ Matthew Forss

CD Review: Hoquets' 'Belgotronics'

Hoquets
Belgotronics
Crammed

Hoquets is named after both the technique in Western medieval music of sharing a melody line between several voices or instruments and the French word for "hiccups." The band (pronounced: Okay) is born in Belgium with some American influences, too. For instance, home-made instruments and hip-hop/punk elements are evident on a few tracks, notably "Beni B," "Couque de Dinant," and "Otanato." The modern instrumentation incorporates a plethora of tinny, metallic, thumping, and squeaky sounds to go around. The music is somewhat catchy, but the instrumentation is quirky, compelling, and organic. As its name implies, there is a strong Belgium element throughout, but Flemish and French styles and languages are also represented. Overall, the sound is reminiscent of a drier funk, rock, and folk/hip-hop music that is what would happen if the Beastie Boys joined forces with Beck, Squonk Opera, and Blue Man Group. Whatever you call it, Belgotronics is an album that celebrates Belgium living and it is unique beyond belief. ~ Matthew Forss

CD Review: Shantalla's 'Turas'

Shantalla
Turas
Appel Records

Belgium is a land of Irish and Scottish music, right? Well, Shantalla is a Belgium-based band composed of mostly Irish band members, and some Scottish representation by vocalist, bodhran, and shakers player, Helen Flaherty. Helen is accompanied by Joe Hennon on guitars; Michael Horgan on uilleann pipes, flute, low and high whistles; Gerry Murray on accordion and low and high whistles; Kieran Fahy on fiddle and viola; and Simon Donnelly on guitars and bouzouki. All tunes are arranged by Shantalla and feature traditional melodies and rhythms. However, most of the songs are instrumental and possess a characteristic Celtic and Scottish tone throughout. The mandolin brightens things up on "The Boy and the Princess." In fact, even Mongolian throat-singing appears on "Johnny Doherty's." Overall, Shantalla amazes the listener with jingly, folk tunes and classic vocals. Perfect for fans of Celtic, Scottish, and folk music. Also, Belgian fans will love it. ~ Matthew Forss

CD Review: Baloji's 'Kinshasha Succursale'

Baloji
Kinshasha Succursale
Crammed

Baloji is a hip hop and rap talent hailing from the Democratic Republic of Congo and Belgium. However, Baloji's rap influences are not as strong as the soukous, afro-pop, and funky dance rhythms that permeate the album from top to bottom. Additionally, Baloji employs collaborations with guest musicians, including Konono No. 1, Monik Tenday, Larousse Marciano, Moise Ilunga, Bebson De La Rue, Zaiko Langa-Langa, and others. The contemporary album contains a hint of rock, Latin, European, and electronica with equal amounts of hip hop, rap, and funky wordplay with drumkit, guitars, and percussion from Africa. Baloji sings in Swahili. The opening cha-cha track, "Le Jour D'Apres," represents a solid, influential genre of music throughout Central Africa. The diverse melodies, rhythms, and genres represented make Kinshasha Succursale a definitive recording for the Congolese music collector and afro-pop aficionado alike. ~ Matthew Forss

CD Review: Ghalia Benali's 'Romeo & Leila'

Ghalia Benali

Romeo & Leila

Music & Words

A Belgian/Tunisian singer, Ghalia Benali, tells the story of two different people, Romeo & Leila, throughout the nine tracks. The story of Romeo & Leila is as powerful as the stories of Romeo & Juliet or Layla & Majnun. However, Ghalia sings in literary Arabic to capture the magical feeling of the language and movement of the story. The music is very akin to Azerbaijani folk, Turkish folk, or North Africa traditional music. Ghalia's vocals are very moving and equally in stride with the oud, cello, double bass, and assorted percussion. Overall, the music is rather traditional in scope. The instrumental segments are a perfect accompaniment between Ghalia's vocal sections. Though, it is a joy to hear both her voice and the instruments in tandem, too. Fans of North African music, folk and classical music of Central Asia, and female vocal music will find happiness and love with Romeo & Leila. Liner notes are in English and French. ~ Matthew Forss