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: Kyle Carey's 'North Star'

Kyle Carey
North Star
Americelta Records

The sparkling folk and roots music of Kyle Carey spans continents and time-spans that are unimaginably magical. The incorporation of American, Celtic, Gaelic, Scottish, Irish, and Appalachian leanings are evident throughout. Kyle's vocals are akin to European songstresses, Heidi Talbot and Karine Polwart. There are fiddle, mandolin, piano, cello, banjo, bass, guitar, and percussion elements that add to the folksy roots. Some songs connote a bright, sunny day, while others touch on love, loss, immigration, seasons, dreams, and even gospel connotations. The dozen songs represent morsels of delight that are enriched by the musical traditions of North America, Scandinavia, and the U.K. Fans of folk, roots, European music, and country will be amazed by the stuff on this album. I give North Star five big ones! Try it today. ~ Matthew Forss

CD Review: Nitya Thomas' 'Awakenings'

Nitya Thomas
Awakenings
Watchfire Music

Awakenings is a three-track release that is ripe with joyous, Christian melodies. The first track, "O Dreamer," is a traditional Irish melody by lyricist, Rosa M. Turner. The song begins with a few keyboard chords followed by Nitya's sparkling vocals and guitar sounds. "My Grateful Spirit Sings" is a song by Sally DeFord with a popular sound that brings together gospel, classical, and new age. "Psalm 23" is the only song written by Nitya. There are classical piano sounds and classical strings that set the mood for the Bible-based composition. Anyone with an interest in contemporary vocal performances with a Christian foundation will love Nitya's soulful and heavenly release. The vocals are strong and clear throughout. Fans of Christian music, new age, piano pop, and female vocal music should check it out! ~ Matthew Forss

CD Review: Baka Beyond's 'After The Tempest'

Baka Beyond
After The Tempest
March Hare Music

The Afro-Celtic band, Baka Beyond, grew out of a collaboration with the Baka of Cameroon with the musical styles of the Caribbean, Europe folk, and Afro-pop. The bubbly reggae-infused, "Heart Of The Night," is a perfect track for lounging. There are also Irish lullabies, Baka traditional songs, and Shakespeare-inspired compositions. The theatrical songs are full of life and quite varied. All of this success is owed to the instrumentalists and vocalists, including Martin Cradick on guitar, Su Hart on vocals, Kibisingo Douglas on bass guitar, Ayodele Scott on percussion, Paddy Le Mercier on violin, Clyde Kramer on drums, Ellie Jamison on vocals, and Molara on vocals. The uppity sound of "Mosumana Colle" is especially intriguing and friendly with vibrant percussion, lush vocals, and a Congolese-like guitar rhythm. After two decades of bringing Baka music to the world, Baka Beyond still has what it takes to keep listeners listening. Importantly, all royalties owed to the Baka musicians to to them via the Global Music Exchange (www.1heart.org). ~ Matthew Forss

CD Review: Childsplay's 'As The Crow Flies'

Childsplay
As The Crow Flies
Childsplay Records

Fiddle fans will rejoice with this one. Childsplay features singer, Lissa Schneckenburger and fourteen talented fiddlers that showcase instrumental greatness from Celtic and Irish origins. The sweeping melodies are organic, pleasant, and rustic. The sweet sounds emanate from the fiddles with glorious results. The meandering polka, "Childspey Strathsplay/Black Diamond Polka/Putney Mountain Polka," is a very soothing song that ends in a punchy and edgy manner, as all the instruments combine to provide a richly-textured result. "Leave No Millionaire Behind" opens with light guitars, symphonic strings, and light percussion that set the stage for a beautiful vocal set. A dozen tunes represent a good mix of jigs, polkas, waltzes, and folk fiddle tunes that incorporate some vocals. All in all, Childsplay is a great group for fans of folk, fiddle, and instrumental music. ~ Matthew Forss

CD Review: Sean Tyrrell's 'Walker Of The Snow'

Sean Tyrrell
Walker Of The Snow
The Vital Record

Irish folk music is alive and well with the voice and fingertips of Sean Tyrrell. Sean's poetic interplay between folk, pop, country, and soul on the mandocello, mandola, banjo, and tenor guitar, awakens the spirit with a contemplative, timeless, and enigmatic work. The anthemic songs contain a host of instrumental accompaniment on keyboards, piano, whistles, bodhran, Hammond organ, fiddle, slide guitar, and others. This is Irish roots music at its finest. There are eighteen songs in all with nearly one-hour-and-ten-minute running length. This is not jig music. This is rather intimate, pensive, emotive, and mournful music with a strong story backbone. Anyone with an interest in Irish folk music without dance or jig music will love Sean's latest release. ~ 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: Elisa Brown's 'New World'

Elisa Brown
New World
Self-Release

Soprano singer, Elisa Brown, produces a diverse array of classically-inspired songs with various jazz, rock, folk, Celtic, and new age elements in a world beat stew.  The international vocal arrangements reflect Scandinavian, Middle Eastern, Asian, and Indian cultural subtexts with varied vocals from various international sources.  The varied instrumentation and classical music base is characteristic throughout.  Eleven songs reflect a world music presence that is encompassing, engaging, and full of rich sonic textures. “Invocation” opens with blissful trickles of crystalline and metallic sounds and Elisa’s spoken word lines.  Mid-song, a single vocal line is repeated, but in different languages, including French, Arabic, Chinese, Spanish, Russian, Korean, Hindi, Hebrew, and English.  There are very little instrumental additions.  The entire song is rather dreamy, inspirational, and thought-provoking, but the power of poetry is most evident. “Cullins of Rhum” begins with a scintillating, Scottish guitar line, weeping violin, and sweeping electronic accompaniment that creates a full sound throughout.  The melody is also Celtic-driven with soaring vocals indicative of a mature Orla Fallon.  There are even bird sounds to lighten the melody and mood mid-song.  The song is rather sweeping with giddy guitar work and sparkling vocals throughout.  Fans of Scottish, Celtic, or Euro-folk will find this track most fitting. “We Are So Much More” opens with a keyboard wash and a few guitar strums with narrated spoken words and an upbeat percussion set.  Elisa’s clear, soprano vocals create a beautiful Celtic Woman or Ronan Hardiman result, while the keyboard washes and dance beat suggests similarities with the instrumental efforts of Enigma.  The mix of Elisa’s clear vocals, narrated portions, and vibraphone sound effects create a magnificent result that is majestic, ear-pleasing, and memorable.  The chorus is symphonic, danceable, and rich with fluid and sonic textures. One of the last few choruses features the sound of a younger voice, which represents a wide vocal spectrum throughout the song.  This is one of the best contemporary world music tracks ever produced…bar none. “Theme for Music for Life NYC” features a jazzy, Latin-tinged percussion section, and an effervescent vocal line that is operatic in its delivery, but warm in its reception.  The sweeping violin and fiery acoustic guitar work showcase Elisa’s varied song textures and styles incorporating a more world beat sound.  The flamenco-type song is full of danceable flavors and Spanish lingo.  There is even a few electric guitar squeals near the end of the song for a slight rock presence.  Fans of Latin, Spanish, and world jazz will love this one. “Namaste Fever” is brimming with eerie violin, percussive drums, additional sound effects, and an almost continual chant of the song title throughout.  The violin picks up some speed and sound intensity, while the percussion delves into a more upbeat tempo with jingly tins, metal, and cymbals.  The sounds are interrupted with a little didgeridoo, B3, and trilling electronica.  The song contains a little Celtic ambiance with a traditionally Hindu phrase in Sanskrit.  This is ideal for the world fusion fan with a hankering for Celtically-inspired yoga dance. “Ave Maria: Mother of the Light” begins with a meandering, upbeat melody with Elisa’s operatic vocals leading the charge on the traditional song.  The Latin lyrics are sung throughout, but not for the last line.  The music is supercharged with heavenly light and bliss with sonic sounds of beauty from strings, percussion, and keyboards.  The cascade of vocal melodies and arrangements produces an orchestral and operatic affect that is very enthralling. Overall, Elisa Brown’s new work, New World, is a marked achievement in the world music, new age, and world beat genres.  Elisa’s ability to change from operatic to pop vocal patterns creates a versatile recording.  The eleven songs represent a wide range of vocal and instrumental styles that should appeal to a diverse listening audience.  The help of Grammy Award-winning producer, Barry Goldstein, adds another dimension to the album that only increases its desirability.  Ultimately, the music is what will keep listeners coming back for more.  The new world has arrived and Elisa Brown is leading the musical revolution. ~ Matthew Forss     

CD Review: The Mickey Finns' 'Prayers and Idle Chatter'

The Mickey Finns
Prayers and Idle Chatter
Mankeltray Music

The Celtically-inspired gospel, punk, bluegrass, and folk collective, The Mickey Finns, creates an inspirational, upbeat, and refreshing album of excellent music. The opener, "Return of The Prodigal Son," is an energetic gospel-bluegrass tune with Celtic fiddle and guitar work. The seasoned vocals make the song shine with Celtic pride. "Tanks and Barbed Wire" is a slower tune with fiddle, percussion, and guitar. "The Jester" is a playful tune with lively strings, percussion, guitar, and plucked instruments. The vocals are good and the melody is upbeat and classy. The Celtic-bluegrass connection is not that far away here. "Be Minor" is an upbeat instrumental track with bass, fiddle, percussion, and jiggy guitar. The music is contemporary, but not electronic or dance-laden in that regard. However, a little toe-tapping is expected, along with some head-nodding. Anyone with an interest in contemporary Celtic music with an ear for bluegrass, gospel, punk, and folk idioms will love The Mickey Finns. I give it a 5 out of 5. ~ Matthew Forss 

CD Review: Bellowhead's 'Broadside'

Bellowhead
Broadside
Navigator Records

UK's acclaimed folk-rock group, Bellowhead, arrive with a new album that attempts to continue the band's writhing folk-rock rhythms and melodies that are playful, loud, and theatrical. The experimental and improvisational antics are contemporary and classical at the same time. The jaunty rhythms, quick melodies, and horn-driven outros are seemingly outlandish and crude, but the effect is awe-inspiring. Not particularly traditional, the tunes are reinvented with a plethora of exciting instruments (nearly twenty to be exact) that are always engaging. Canada's Scottish and Irish fusion band, Glengarry Bhoys, are similar, but more rock-driven than Bellowhead. Though, the quirkiness of Squonk Opera is observed on occasion. Nevertheless, Bellowhead knows how to achieve success with both live performances and recorded music by understanding English folk tune heritage and understanding what contemporary listeners want to hear in a fun manner. The dozen tunes are traditional in nature and every one is stellar. Nothing is amiss here. Bellowhead is above everyone else when it comes to English folk. ~ 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: Jack Harrison's 'The Enchanted Island'

Jack Harrison
The Enchanted Island
Nutone Music

Jack's three-decade history devoted to Irish folklore is a major influence for The Enchanted Island. In this case, Irish folk melodies combine with Sanskrit and Indian melodies and mantras to create a unique blend of musical bliss. Two cultural areas meld together; forming a blend of music that is meditational, devotional, and inspirational. The seven tracks run nearly fifty-minutes long. Each track contains a few notes describing the history and meaning behind the songs in English. Jack sings in Sanskrit and English. A variety of strings, wind instruments, guitar, bass, and backing vocals round out the package. Highly-recommended. ~ Matthew Forss