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: Argentina's Gabriel Palatchi Releases 'Trivolution'

Gabriel Palatchi
Trivolution
Self-Release

Argentinian pianist and synth player, Gabriel Palatchi, is joined by Kerry Galloway on electric bass and Jose Maria Gonzalez on drums and percussion. Trivolution is a work of three band members that are not alone, as a few additional performers are added to the mix. The down-tempo, psych-driven grooves are jazz-infused and South American-tinged. The synths create a fluid, smooth jazz feel at times. On "Sefarad Roots," the music takes a Klezmer turn with a Gypsy-esque beat and melody. In fact, 'sefarad' suggests a Ladino presence with Old Spain. The funky sounds of "What Da Funk" contain a few vocals by David Gall. "Vive" is the only other track with vocals. Some of the songs are ripe with Latin brass and heavy percussion, while not straying too far from their South American jazz roots. The punchy and varied beats are a must-hear for fans of world jazz, South American music, and psych-funk concoctions. Trivolution is an excellent album. Join in the fun! ~ Matthew Forss

CD Review: Sonny Spectrum's Self-Titled EP

Sonny Spectrum
Sonny Spectrum EP
Artisans Label

Sonny Spectrum's new self-titled, four-track EP, is a collection of pop and dance-inspired songs that incorporate down-tempo, funk, rock, and electronica. The EP starts out with "Get Freaky," which begins with a classic dance beat inspired by Michael Jackson and Maroon 5. The swishy beats, electronica-driven sound, and dance vocals are anything but dull. The song precedes "Trust," which opens with an atmospheric wash that leads right into a steady, dance beat and blurby, electronica-filled delicacy. "Be The One" is a dance tune with a soulful elegance and electronica brilliance. The tune encapsulates a little down-tempo characterizations, but the main defining genre appears to be dance. The final tune, "Free Life," contains a sparse rhythm and instrumentation early on with a few vocals. The dance elements still retain a primary importance with a little more funk than the others. At any rate, Sonny's dance explosions will electrify your feet and ears with nothing but good vibes all night long. ~ Matthew Forss   

CD Review: BluRum13's 'Inverted'

BluRum13
Inverted
Self-Release

BluRum13 was born in New York and based in Maryland, but his verbose beauty represents many different genres and world fusion styles. However, the primary genre revolves around rap/hip hop, and jazz. The lounge music is rather urban, too. The poetic verbal flow of "Venga" is relatively trance-heavy with jazzy interludes of punchy brass, languid electronics, and an atmospheric beat that echoes and reverberates with underground liveliness. "Cereal" is another exciting track, but the verbal wordplay is a bit more energetic and the instrumentation is much faster. "TLO" contains a lot of electronic swishy sounds, rap vocals, and progressive rock beats. "Distortion" is a rather languid down-tempo masterpiece with glittery sounds, fluid soul elements, and swishy noises with urban vocals. "Quixotic" is punchy and rhythmic with Eminem-like tendencies with much more intelligence and creative juices shining through. The diverse, urban creations of BluRum13 are something to ponder, since each listen reveals something new and fresh. ~ Matthew Forss   

CD Review: Adham Shaikh's 'Resonance'

Adham Shaikh
Resonance
Black Swan Records

The atmospheric, down-tempo, and new age incarnations and creations of Adham Shaikh are dreamy, provocative, and futuristic. The light melodies are definitively atmospheric with shimmering 'resonance' and fluid, ambient nuances. There are various mixes on the album, but all of the songs are different and unique. The songs are peaceful, hopeful, and cinematic with long, drifting, aural soundscapes. There are some piano melodies that are pensive, yet not too intrusive. These are selected works from feature films, including Firecelight, EarthPilgrim, Yoga For Cancer Survivors, Secrets, Word Love, and The Sinixt: Bringing Home The Bones. Anyone seeking a cinematic vein of down-tempo or atmospheric music will love Adham Shaikh's instrumental pleasures. Thirteen tracks round out the album. This is perfect for the down-tempo, atmospheric, cinematic, new age, ambient, and improvisational music fan. ~ Matthew Forss

CD Review: SLV's 'Dig Deeper'

SLV
Dig Deeper
Luchadora

SLV, otherwise known as, Sandra Lilia Velasquez (of Pistolera-fame), releases her first solo debut EP. Dig Deeper contains three songs in English and one in Spanish. The uppity, Pistolera band music is shed here, as many of the tunes are more laid-back and refined. Meshell Ndegeocello adds bass accompaniment, while Joe Moore plays guitar, Sean Dixon & Mark Giuliana play drums, Sebastian Guerrero plays percussion, and Jason Lindner performs on keyboards and piano. The groovy tunes are top-notch and very fluid. This is down-tempo, Latin music at its finest. Though, there are more jazz influences than Latin. Nevertheless, SLV succeeds with this short, but great release. ~ Matthew Forss

CD Review: Adam Gilbert's 'A Generation Of Forgotten Kings'

Adam Gilbert
A Generation Of Forgotten Kings
Self-Release

The piano-driven pop/rock concoctions in Adam Gilbert’s new release, A Generation Of Forgotten Kings, is an uplifting and emotive work of musical art.  The New Jersey-native lends his talents as a singer, songwriter, music director, and producer.  Adam presents thirteen songs that border on ballads with a classic rock vein, while including pop standards, gospel-tinged, R&B/down-tempo grooves that are not electronic, but firmly-rooted in bass, guitar, piano, and percussion.
“A Generation Of Forgotten Kings” opens with unaccompanied and non-descript vocals in an anthem-type format.  The mostly spoken vocals kick-in and a piano, percussion, and acoustic rock beat follows.  The lengthy and rhythmic Coldplay-esque drumming techniques and punchy piano overtures signify a large-scale, anthemic song with background, non-descript vocals throughout the louder parts.  There is a good variation with guitar accompaniment, piano, drums, vocals, and bass, which evokes what would happen if Queen and Coldplay formed a modern-day group together.
“How Do We Respond” opens with Adam’s clear vocals and an ever-increasing piano melody that is punchy and persistent.  A few guitar notes permeate the piano notes, before a percussive drum-kit adds another layer of complexity.  The shimmering guitar notes, thudding drums, and open air vocals provides an anthemic presence overall.  Of course, Coldplay signatures are not too far away with spacious, echoing vocals and lengthy guitar/piano arrangements.  The end of the song is more chaotic with crashing cymbals, energetic piano and guitars, and moving vocals.
“On A Hill” begins with a jaunty solo piano, but a jazzy, sauntering drum-kit enters with Adam’s classy vocals.  A guitar is added to the mix near the end of the song with a conglomeration of piano, vocals, percussion, and strings that signify a cinematic presence.  There is enough diversity to keep listeners appeased.
“Everywhere I Go” opens with a pensive, but classic pop standard piano melody and Adam’s smoky vocals.  The heartfelt vocals are joined by layered, back-up vocals and a sauntering, percussive beat.  The down-tempo groove merges into an R&B classic with smooth bass, clattering cymbals, and throaty vocals with bluesy guitar stylings later on.  This song is a small departure from other songs on the album, due to its raw, organic, and R&B sensibilities.
“Better” begins with a steady, punchy piano melody and soaring vocals.  The bass starts up and accompanies the fluttering piano notes.  A militaristic drum-beat appears for a few seconds, which morphs into a full-blown piano/rock ballad chorus.  Cinematic strings appear, as in some of the other songs.  The difference lies in the catchiness of the chorus that includes lush percussion, twinkling piano notes, and guitar work that blends in to various degrees.
Adam Gilbert’s new album, A Generation Of Forgotten Kings, contains a baker’s dozen of songs that finds recipes for success with lush piano melodies, ballad-esque arrangements, and spacious rock arrangements that soar into areas of pure beauty.  Adam’s vocals are more clear than both Queen and Coldplay, but not as rock-centric.  The vocals seem to match the complex percussion and lavish arrangements with ease.  The pop/rock sensibilities are matched by a good piano base, but nothing that overshadows the rest of the music.  For instance, the piano does not provide a sense of classical arrangements, but rather a jazzy inflection that is pure singer/songwriter material.  The use of guitars, piano, drums, bass, and violin are fairly rudimentary, but their tonal ranges are anything but limited.  Though, some of the songs are long-winded and repetitive in parts.  Adam’s songwriting is top-notch and all of the songs reflect a sense of introspection and hope.  Anyone with an interest in the music of Queen, Coldplay, and similar groups will find Adam’s new release worthwhile. ~ Matthew Forss    

CD Review: DJ Drez' 'Jahta Beat: The Lotus Memoirs'

DJ Drez
Jahta Beat: The Lotus Memoirs
Black Swan Records

California-based yogic extraordinaire and down-tempo beat-maestro, DJ Drez, dazzles listeners with a splendid release of contemporary beats, South Asian drones, and electronic sensibility with tranquil percussion and magnificent mantras. The fifteen tracks traverse worlds of Indian beauty, sonic explorations of yogic styles, and vocals that are Krishna-centric and blissful. Various singers and/or instrumentalists are featured, including Marti Nikko, Kirtaniyas, Domonic Dean Breaux, Arjun Baba, Joey Lugassy, and Deepak Ramapriyan. The typical kirtan dance instrumentation is here, but a good dose of dub beats and contemporary dance rhythms are also present. There is also a hint of jazz thrown in on ""Wind Talker." The tabla percussion, sitar drone, and various instruments are mostly electrified, but there is still an inherent beauty in the raw, wholesome delivery of the songs. Anyone interested in Black or White Swan Records will probably already know about DJ Drez, but now it is time for others in the world to discover his talents. ~ Matthew Forss