CD Review: Kamerunga's 'Terra Australis'

Kamerunga
Terra Australis
Arc Music

The innovative band from Down Under, Kamerunga, invigorates the human soul with a mish-mash of enjoyable tunes originating from a variety of sources and inspirations, including the Balkans, Scandinavia, Ireland, the Mediterranean, Caribbean, and seemingly everywhere in-between. The jig-friendly tunes excite the Celtic vein at times, while other times, the music is ripe with contemporary folk and rock compositions in a lively, global-esque product. The multi-national influences imbibe the music with a type of authentic candor that is refreshing and unique, but most of all, infectious. While Yothu Yindi may be one of the most popular groups to come out of Australia, Kamerunga produces a more engaging and varied listening result that is mostly non-rock oriented. At any rate, the mix of jazzy, folk, roots, and globally-inspired tunes will set anyone's feet ablaze with musical fire. ~ Matthew Forss

CD Review: The Druids' 'Freedom'

The Druids
Freedom
Self-Release

The Irish group, The Druids, are an energetic, Celtic folk group inspired by Irish ballads and history. The folksy leanings are ripe with characteristic melodies and rhythms inherent in Irish folk music. The male vocals are very engaging. Some of the best songs on the album are, "The Sky Over Ireland," "Why Can't I Be A Rebel," "Hey Paddy," "Martin O' Halloran," "The Rathbride Column," and "God Save Ireland." There are solo vocals, but oftentimes, the other band members chime in for a more dramatic result. The lyrical content revolves around issues of freedom in every day life that pertain not only to Ireland, but other countries, too. The liner notes offer extensive information on each song. Fans of bluegrass, old time, folk, storytelling songs, patriotic ballads, and historic songs will love The Druids' latest release. Freedom begins and ends with The Druids! ~ Matthew Forss

CD Review: Susan McKeown's 'Belong'

Susan McKeown
Belong
Self-Release

Irish-born and North American-based, Susan McKeown presents us with indelible folk song constructions wrapped effortlessly around a poignant lyrical palette of roots and blues-inspired material for a truly remarkable release. Susan's vocals are accompanied by a few guest singers, including Declan O'Rourke and James Maddock. The instrumental accompaniment is what you would expect a laid-back folk sound to contain, including the mellotron, Hammond organ, bass, drums, guitars, Wurlitzer, percussion, strings, banjo, and others. Susan's approach to songwriting and performing is very enchanting and memorable. The musical licks, riffs, and chords stick with you long after the song ceases. It is rare every song is good on an album, but this one is an exception. Susan's voice is a combination of bluesy, Anne Weiss, the UK's Katie Melua, and alt-pop's, Leona Naess. Fans of clear vocals and various instruments in a folk, roots, and alternative pop setting will love Belong. In fact, it 'belongs' is every musical collection! ~ 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: Iarla O Lionaird's 'Foxlight'

Iarla O Lionaird

Foxlight
RealWorld

Ethereal world music is Iarla’s middle name—in fact, it is his entire name. Working with the Afro Celt Sound System, Iarla set the stage for success with a solo career. Hailing from Ireland, Iarla sings contemporary Gaelic songs that incorporate a plethora of pleasant percussion, sweeping electronic washes, and twinkling string arrangements. Leo Abrahams plays a large role in programming, special effects, electric guitar and piano. “Daybreak” is a meditative song with vocals akin to Girish. Interestingly, the addition of Sara Marielle Gaup from Norway is a talented and necessary part of “Daybreak,” since she adds some joik, which is Sami vocal music that is similar to Central Asian throat-singing. The relative low-key vocals and instrumentation provide a new age element throughout. However, world music renderings are evident with soulful vocals, soothing instrumentation, and plaintive percussion. The dozen tracks are an insightful romp through the musical repertoire of a candid and creative performer. ~ Matthew Forss  

CD Review: Norman's 'Eygi Sani'

Norman
Eygi Sani (My Own Thing)
Self-Release



Norman van Geerke, aptly-known as Norman, is from the northern coast of South America in a small country called the Republic of Suriname.  Suriname’s Dutch ancestry is evidenced in Norman’s music with all eleven tracks in Sranan, which is a Creole language created from English, Dutch, Portuguese, and West African sources.  The new album, Eygi Sani (My Own Thing), attempts to mark a solo journey into the heart of Suriname’s contemporary music, which is surprisingly up-tempo, jazz-driven, and soulful.  Norman’s time in The Netherlands and current residence in Ireland further solidifies the multi-dimensional and cross-cultural musical attributes of the music. "Na Wi Dey” opens with a party-like atmosphere, punchy percussion, urban brass, and a rumba-like rhythm with Norman’s commanding vocals leading the band.  This is one of the most energetic tunes on the album with lively South American jazz instrumentation leading the party. The piano, drums, bass, guitar, sax, and trumpet lead the instrumental arrangements with a solid performance of Surinamese jazz. “San Mi Kan Du” opens with a few pensive piano notes and Norman’s ballad-esque intro with some light guitar accompaniment.  The bass and symphonic background noise suggests an almost classical rendition.  The classical background is punctuated by Norman’s heartfelt vocals and up-beat percussion and background vocals.  The catchy chorus and symphonic musical arrangements are somewhat representative of European ballads, but in a purely South American style.  The acoustic guitar is a bit jazzy in parts, but the vocals reflect a slight pop presence. “Opo Yu Ay” begins with light percussion and synth sounds with a rollicking melody and fanciful guitar accompaniment.  Norman’s vocals and some of the music are similar to William Dunker with some comparisons to Wallonian music from France or Belgium.  The up-beat drums, guitars, and pop arrangements contain a bit of edgy rock rhythms without venturing too far into the rock world. “No Las Ten” opens with chimes and an urbanized, electronic vocal set with some swishy percussion and a contemporary pattering of percussive sounds that are interspersed between piano notes and sultry sputtering of trumpet.  The seemingly danceable tune contains an inherent ballad edge with a side of savory night-club lounge ambiance.  The modern tune is sultry, jazzy, edgy, and South American. “Masra” starts with flowing ocean waves, symphonic synth washes, pensive piano notes, and a free-flowing sax.  The opening vocals are spoken in a very poetic manner.  The percussion begins after the spoken introduction, but it is relatively rudimentary and almost avant-garde in its approach.  Norman is joined by back-up singers throughout and the entire song features a joyful jazz vein that is extremely pleasant, but not as fluid as many of the other songs on the album. The angelic background vocal from the opening is also present at the end of the song, as the majestic spoken word by Eddy Bruma finishes the song in style. Norman van Geerke’s new album, Eygi Sani, is a mix of contemporary Surinamese music with European and North American jazz, soul, and lounge leanings.  The eleven tracks are long and varied, but always enthralling.  The upbeat music is very emotive and catchy.  There are no shortfalls or pitfalls on this one.  It seems every track evokes imaginative melodies that yearn to be repeated with each listen.  At its heart, Eygi Sani is the center of contemporary Surinamese music via The Netherlands, Ireland, and everywhere in-between.  Fans of Suriname jazz, Dutch music, Wallonian music, world jazz, and world fusion will love Eygi Sani’s multi-faceted musical layers of ear candy goodness. 

 

Review by Matthew Forss

Rating: 5 Stars (out of 5)

CD Review: Niwel Tsumbu's 'S'All Vibrations'

Niwel Tsumbu
S'All Vibrations
Self-Release

Congolese-native and Ireland-based, Niwel Tsumbu, creates music with an Afrocentric base that is peppered with rumba, flamenco, and jazz, and seasoned with a dash of soukous. Singing mainly in Lingala, English, and French, Niwel transforms Congolese classics and original compositions on guitar and percussion. The music is generally very energetic and steeped in African musical traditions. Niwel is very accessible to listeners of contemporary African music. Moreover, the rumba elements will excite the Latin and flamenco listeners. As with many soukous songs, the length typically runs 5 or more minutes--and this is exactly the case with Niwel. There are lighter moments that are more reflective, such as "Freezing Cold." Perhaps the fastest song on the album might be "Heartbeat," which is a funky, groove-ladened romp into the Central African abyss. The music is diverse enough to be enjoyed by any African music fan. Niwel is top-notch all the way! ~ Matthew Forss 

CD Review: Beoga's 'How To Tune A Fish'

Beoga

How To Tune A Fish

Compass

Beoga, which is Gaelic for 'lively,' entrances listeners with some energetic folk fiddling and Celtic jigs on button accordion, mandolin, guitar, bouzouki, bass, bodhran, piano, and percussion. The country swagger of 'Home Cookin' nudges at the heart-strings of America's Southland. A slew of classic songs and melodies conjure up images of vaudeville, Irish pubs, and large concert halls filled with fans dancing to the sounds of Beoga. As a follow-up to Mischief (Compass, 2008), How To Tune A Fish is more about a new wave of traditional music with a nod to modernism without the fancy dance beats, electric guitars, and atmospheric effects. Niamh's vocals are a little more rustic than the former-Celtic Woman repertoire. However, Niamh lights up the tracks with her uplifting voice. If something smells a little fishy, it is probably Beoga's How To Tune A Fish playing nearby! ~ Matthew Forss

Kila - EFMF 2011

Kila - EFMF 2011, a photo by raise my voice on Flickr.

Kila is a band that has been making waves in Ireland for years with its mix of traditional Irish music with world fusion. Featured on the Saturday afternoon main stage at the Edmonton Folk Music Festival, I did not know what to expect as the band was completely new to me, and to others with whom I spoke.

From the hypnotizing beat of the bodhran to the melodies of the pipes, Kila performed a very unique set. There was a lot of energy in the music. All of these guys are accomplished musicians in their own rights, as well as several of the being published authors and poets.

I have a strong feeling that it is in their live performances where Kila really shines. They are very visual and the music lends itself very well to a festival atmosphere. ~Paula E. Kirman

CD Review: Ireland's Lazik

Lazik

Far Fetched

Self-Release

The Ireland-based group, Lazik, is a production of traditional music tunes from Ireland, Scandinavia, Balkan, and Gypsy areas of Europe. The album opens with a lively Bulgarian tune, "Gankino Horo." Vocalist Tatiana Sabinska lends her voice to another Bulgarian tune, "Katerino Mome." A number of other instrumental tunes from Sweden, Norway, Romania, Greece, and France round out the album. "Waves of Rush" is a striking fiddle tune from Romania. The Yiddish-tinged "Di Zaposhkelekh" is a vocal and instrumental love-song inspired by a door handle. The giddy "Opa Cupa" is a Hungarian or Balkan tune with vocals. The mostly instrumental nature of the songs provides a fun and inventive opportunity to dance with a partner or go solo. The group's primary repertoire comes from the Irish guitar skills of Barry O'Donovan; the French flute maestro and vocalist, Christelle Moisan; Stella Rodrigues' Dutch violin playing, and Dylan Gully as the founder of Lazik and Txutxukan. Far Fetched is an album with all of the instrumental and vocal fixings one can relish. ~ Matthew Forss

CD Review: Orla Fallon's 'My Land'

Orla Fallon

My Land

Elevation Group

With the approach of St. Patrick's Day, all things tend to point to the luck of the Irish and everything green. However, Ireland's Orla Fallon should be a part of your Irish celebration this year, as she releases a new album, My Land, in close conjunction with a 50-city tour and PBS program in most markets. Orla still plays the harp and sings on the new album, but she is joined by a larger gospel group on "Down To The River To Pray" and special guests on two live tracks with The Dubliners on "Spanish Lady" and "I'll Tell Me Ma" with Damien Dempsey. Two songs with slightly different renditions, "Distant Shore" and "My Land," are also included on her 2009 release, Distant Shore. Still, Orla's voice is as sweet and pleasant as ever on "Mo Ghile Mear," "Ni Na La," and "Both Sides Now." A mix of English and Irish lyrics provide a sense normalcy amidst a sea of diasporic displacement from the Irish land. Followers of Celtic Woman will clamor to pick up My Land. Green is the new gold! ~ Matthew Forss

CD Review: Delhi 2 Dublin 'Planet Electric'

Delhi 2 Dublin

Planet Electric

Self-Release

The third release from the Canadian Delhi 2 Dublin, Planet Electric, continues to explore and expand the sounds of Western Europe with the sounds of South Asia for a globetrotting journey unlike any other. The Indian and Irish beats of "The Answer" is anthem of pure splendor. The modern reggae-type electronic club beats and fast vocals of "Raise It Up" make it a dance club hit. The scattered house beats of "Tommy" and "Cabin Fever" are sure to awaken the dance energy in every living soul. The most enjoyable track is appropriately titled "The Happy Track". A splendid Celtic/Indian-inspired tune with bright vocals matching the beat with ease make it shine like the sun rising in Calcutta or in Limerick. The quieter "Bodega Ridge Part 1 & 2" is an instrumental and dub-centered set of tracks that are more pensive than foreboding. All in all, it is amazing to hear the Celtic and Indian sounds on one album from a group nowhere near both regions. ~ Matthew Forss

CD Review: Heidi Talbot's 'The Last Star'

Heidi Talbot

The Last Star

Compass Records

The Irish singer/guitarist, Heidi Talbot, continues to create inspiration, sweet, and tender folk songs with all the charm and charisma Ireland has to offer. The folksy instrumentation of accordion, ukulele, piano, percussion, guitar, bass, whistles, uileann pipes, harmonium, and fiddle provides an engaging listening experience. As a songwriter, Heidi composes and arranges songs with her husband, John McClusker. However, "Start It All Over Again" and "The Shepherd Lad" were attributed to Scotland's Karine Polwart. Additionally, the late-Sandy Denny is covered on "At The End of The Day". Heidi's English vocals possess the sound and sincerity of America's folk singer/guitarist, Shawn Colvin. If anything, The Last Star represents a strong release that does not outshine prior releases, but that does not make it bad. In fact, Heidi's latest release is slightly more folk than rock or pop. Liner notes include English lyrics. ~ Matthew Forss

CD Review: Orla Fallon's 'Distant Shore'

Orla Fallon

Distant Shore

Green Hill

Orla Fallon, of Celtic Woman fame, succeeds with her second solo album, Distant Shore. The Irish maiden soothes the soul with a pristine voice backed by some contemporary choral arrangements and mostly modern instrumentation. The opening track's piano and percussion arrangements remind one of Celine Dion's song, "A Brand New Day", or Nina Gordon's "Tonight and The Rest of My Life". The ethereal, ambient elements and touch of piano and harp make Distant Shore soar into areas previously unexplored by other artists in the New Age/Celtic genre. The rather pop-focused, "Dancing In The Moonlight", is a sweet song about love that is sure to make feet happy with dancing maneuvers. The songs are primarily sung in English, though one track is in Gaelic and another track showcases a harp medley. Fans of Celtic Woman, Gaelic singing, and New Age/Irish music will especially love it. Moreover, Orla's second solo album is accessible for everyone and is only as 'distant' as your nearest music store. The tide is rising and Distant Shore is on top. It's that good. ~ Matthew Forss

CD Review: Sea Sew Is Not So So

Lisa Hannigan
Sea Sew
ATO Records

Ireland's folksy crooner, Lisa Hannigan, brings us a set of simple and sweet songs to chew on. With some diverse song titles ranging from "Venn Diagram", "Splishy Splashy", and "Pistachio", she offers a glimpse into her avant-garde, musical repertoire. Lisa's voice is similar in tone and range to Heide Talbot (Ireland) and Karine Polwart (Scotland). The instruments used include harmonium, guitar, drums, xylophone, bass, trumpet, glockenspiel, violin, cello, and organ. Lisa's voice is also indicative of former-trip hop singer, Lamb. I think a vocal comparison with a combined talents of Beth Orton (UK) and Leigh Nash (USA) of Six Pence None The Richer fame, represent a not too far-fetched comparison. Moreover, Sea Sew contains a touch of downtempo, a handful of folk, and a hint of avant-garde. Put simply, an amalgation of styles is packed into one album. However, the primary musical vein of Sea Sew is best described as folk, and it never feels inorganic or forced. In short, Sea Sew is anything but so-so. ~ Matthew Forss