CD Review: Silva's 'Jupiter'

Silva
Jupiter
Six Degrees

Brazil's Silva brings us pop-infused tunes with R&B, electronica, tropical, Latin, and urban qualities on a new album that celebrates his love of Jupiter. As a child, the planet Jupiter has been a fascination. Hence, the album artwork illustrates this point from the beginning. The music is not spacey or atmospheric, as one would expect from an otherworldly image or album title. Instead, Silva's ethnic-infused concoctions showcase the lounge side of pop, jazz, and dance. The punchy rhythms and bubbling bass accompany traditional percussion and electronically-tinged arrangements with such ease and grace the album is sure to be a favorite of all who listen. Silva's vocals are soft and mellow, but very compelling. Fans of contemporary Brazilian music will love it. Everyone should get on-board with Silva's latest release. ~ Matthew Forss

CD Review: Kimie Miner's New Self-Titled Release

Kimie Miner
Kimie Miner
Self-Release

Hawaii's Kimie Miner is a singer-songwriter of Hawaiian and Portuguese descent. The rousing tunes on her self-titled release are in English; except for "Kumulau." The melodies retain a slight R&B presence and lounge jazz sensibility that is refreshing, urban, and pop-focused. There are some danceable tunes with vocals not too unlike Nelly Furtado. A bouncy piano rhythm makes an appearance (along with Caleb Keolanui) on "Love's In The Melody." "Trouble" is a nod to South American alternative pop and electronica with a sassy reggae edge. While, "Make It To Morning," "Fallin' Again," "Lullabies," and "Shine" resemble the harmonic structures of The Beu Sisters' early work. Kimie's album contains equal parts of dance, electronica, guitar pop, reggae, and alternative genres for a great musical journey. ~ Matthew Forss

CD Review: Ozere's 'Anyplace'

Ozere
Finding Anyplace
Self-Release

The Canadian folk-roots-group, Ozere, tackles beautiful melodies, breezy rhythms, and rootsy vocals with engaging instrumentals mixed in for added pleasure on their latest release, Finding Anyplace. This is mostly an original effort with only two songs attributed to other artists, such as "Wayfaring Stranger" and "MacArthur Road." The instrumental gem on the album, "Anyplace," weaves a tapestry of sonic sounds ranging from Celtic to Nordic and even the Middle East in a seamless fashion. However, the vocals are great on "Keeper" and "Someday Soon." Ozere does not fit into a specific genre very well, but anyone with a passion for folk, roots, neo-classical, new age, and world fusion will find love at first note with this one. ~ Matthew Forss

CD Review: TriBeCaStan's 'Goddess Polka Dottess'

TriBeCaStan
Goddess Polka Dottess
Evergreene

The fifth studio recording from TriBeCaStan is yet another excellent release of truly groovy world music. The group brings in bluegrass, funk, folk, dance, middle eastern, south Asian, jazz, psych, rock, blues, pop, and other elements in magical medley of sounds. Mostly instrumental, Goddess Polka Dottess, is a whimsical title for a relatively straight-forward release, but it is not without it's ups and downs. Importantly, there is nothing bad about this album. In fact, it contains a rousing mix of melodies and rhythms that keeps one on their toes. The bouncy, Balkan-esque waltz, "Zoli's Strut," is an amazing medley of pure dance pleasure. The South Asian-inspired, "Majestic Ganesh," is one of the few vocal tracks on the album. The repertoire brings in a plethora of instruments covering a range of strings, horns, and percussion instruments for a genuine world music blend. The group is spearheaded by John Kruth and Jeff Greene and they provide some production and songwriting credits here. Overall, Goddess Polka Dottess is a great instrumental and vocal (where applicable) album of world music fusion. Try them out today! ~ Matthew Forss

CD Review: Dead Rock West's 'It's Everly Time!'

Dead Rock West
It's Everly Time
Angel Flight Recording Co.

The Everly Brothers, once popular in the 1950's and 60's, are resurrected here with the work of Frank Drennen and Cindy Wasserman in Dead Rock West's latest homage to The Brothers with the Grammy-winning producer, Mark Linett, on It's Everly Time. There are fifteen songs by The Everly Brothers remade by Drennen and Wasserman, but the overall sound is highly-reminiscent of the original recordings, which are due to the use of vintage amps and microphones. In addition, the same vocal keys were used to further replicate the original music. "Cathy's Clown" is ripe with great vocals, jangly guitars and percussion, and a rhythm right out of the 1950's and 60's. The swaying ballad, "June Is As Cold As December," contains Drennen and Wasserman's heart-felt vocals backed by a great guitar and percussion base. "Leave My Girl Alone" is a rather upbeat melody that is a bit of a departure from the other songs, but it is still classic Everly Brothers. "[Why Am I] Chained To A Memory" is a slower ballad with twinkling piano keys, light percussion, and guitar-work. The vocals are tender and clear throughout. A classic ode to the now-extinct phone booths, "It Only Costs A Dime," is an upbeat pop ode with light rock effects and of course, great vocals to boot. "[You Got] The Power Of Love" is a bluesy, rock song that sheds the pop-centric qualities of other songs, but the vocals are still clear and rockabilly-like. Fans of The Everly Brothers, song from the 1950's and 60's, and even Fountains of Wayne's work on the That Thing You Do! soundtrack will love it. Highly-lauded! 5 Stars (out of 5). ~ Matthew Forss

CD Review: Jacob Davich's Self-Titled EP

Jacob Davich
Jacob Davich
Self-Release

A former actor turned musician, Jacob Davich releases a candid five-song EP. Jacob's folksy sing-songwriter guitar and vocals resemble the work of Jim Croce, James Taylor, and David Gray. "Don't Run Don't Hide" is a great roots-driven, folk-centric, and pop-infused medley of throbbing B3, jangly guitars, and swishy percussion. "Call My Name" is a slower, down-tempo ballad with folk and alt-country stylings. "Hold On" is another ballad with introspective lyrics and a jazzy or bluesy musical influence with piano backing and guitar accompaniment. "How You Gonna Tell Me" is a great folk-rock song with a hint of roots-driven qualities from American folk music of the 1960's and 70's. The Dylan cover, "I Shall Be Released," is a bluesy, almost gospel-driven medley of sound reflecting the music of the time that is equally-relevant today. All in all, there are four original tunes and one cover. If you are fans of the above-mentioned artists, you will definitely love Jacob Davich's new EP. Everyone else should pick it up. It's that good. 5 Stars (out of 5). ~ Matthew Forss

CD Review: Zoya's 'The Girl Who Used To Live In My Room'

Zoya
The Girl Who Used To Live In My Room
Zoya Mohan Music

With a birthplace in India and a current home base in California, Zoya brings diverse vocals and eclectic instrumentation from around the contemporary world on her latest venture into quaint and quirky pop music on The Girl Who Used To Live In My Room.  The ten-track release possesses a hint of South Asian influences with neo-classical strings, varied percussion, and wind instrumentation, while the other half of the influences stem from European or North American folk, roots, and pop.

“What’s Done Is Done” opens with a soft, keyboard medley, swishy percussion, and a flute before Zoya’s slightly husky vocals commence in a sort of jazz standard arrangement.  A few cymbals crash and a snare drum add to the percussive effects.  The drums, flute, cymbals, keyboards, and strings add to the full sound.  Though, the track is only two-minutes long.  Still, the song is impressive and Zoya’s voice is enticing.

“Swim” opens with an atmospheric wash and jazzy sax with scintillating, vibraphone sounds and Zoya’s jazzy, slightly R&B vocals in a down-tempo vein.  The sounds are jazzy, urban, dreamy, and intriguing with influences mainly stemming from an edgy jazz or trip-hop foundation. Zoya’s back-up vocalists are equally amazing by filling in the melodies and rhythms.  The jaunty song brings out smooth and sultry jazz influences indicative of a Colombian or Brazilian origin. Importantly, Zoya’s eclectic arrangements make the song stand out no matter what genre it may fit in.

“Hold On” begins with a few guitar strums, a sweeping vibraphone melody, breathy flute or clarinet, and Zoya’s achingly-beautiful vocals.  The flute sounds are rather vibrant throughout, while the acoustic guitar rhythm sets the base for the vibraphone sounds with are very dreamy. Zoya’s vocals are not too unlike that of Zero 7.  The four-and-a-half-minute composition contains jazzy improvisation the last minute of the song.

“She Was” begins with a jaunty, acoustic guitar medley that is very organic and earthy, while a rustling percussive sound and string slide begins the vocal portion of the song.  Zoya’s vocals are rather theatrical amidst the diverse guitar stylings, various percussion, and slightly Middle Eastern and flamenco-tinged arrangements.  The jazzy, back-up vocals are a perfect backdrop to Zoya’s vocals, as the song matures into an instrumental frenzy before four-minutes into the song. The song ends with a lighter mix of vocals, airy sounds, and clicking percussion.   

“The Girl Who Used To Live In My Room” begins with a raw, acoustic guitar melody with sounds of kids playing early on in the song.  Zoya’s vocals are rather airy and poetic.  A variety of string and horn sounds lend a jazzy substance to the mix.  The five-minute song is poignant, delicate, and intricate in a more structured manner than anything composed by Regina Spektor. At any rate, the title track is full of edgy percussion, Middle Eastern-like instrumental arrangements, and a theatrical vein that is rather chaotic (in a good way) by the end of the song.

Zoya’s new album provides listeners with a sassy and sensual voice that seemingly changes contemporary pop and world music for the better.  The down-tempo, jazz-laden, and R&B-esque vocalizations are poetic and theatrical.  The instrumental arrangements are rather short, but diverse.  For example, there are various wind instrument sounds, vibraphone additions, and sporadic strings that are performed in non-traditional manners, which showcase Zoya’s creative edge throughout.  This is not a pop, rock, classical, new age, urban, or artsy album.  Zoya’s new work is rather indescribable, but it incorporates the vocal similarities of Katie Melua and Zero 7 with the instrumental aptitude of an eclectic or alternative songstress yearning for something more.

Review by Matthew Forss

Rating: 5 Stars (out of 5)

CD Review: Patricia Vonne's 'Viva Bandolera'

Patricia Vonne
Viva Bandolera
Bandolera Records

Patricia Vonne's emotive Latin folk and rock music takes on new heights with soaring vocals, multi-instrumental repertoires, and a pop-edge cement the deal with Viva Bandolera. Patricia's vocals are a blend of Lila Downs and Shakira throughout. The song structures are more varied than Shakira, but rooted in the Tejano, Latin-American rock and folk of Mexico's Lila Downs. Seventeen tracks in all. Patricia brings more than basic Tex-Mex fanfare here. In fact, there are swirling melodies and rhythms with passionate and evocative vocals representing a deep, Latin-American connection, as well as American pop and rock constructions. The Spanish songs are back by great instrumentation and arrangements that do not disappoint. Get it today! ~ Matthew Forss

CD Review: Honeybird's 'Out Comes Woman'

Honeybird
Out Comes Woman
Duckhead Green Music

Honeybird incorporates a variety of world, jazz, urban, classical, and pop elements on Out Comes Woman. The fourteen tracks are uniquely-named and equally-enthralling from a musical perspective. Some of the titles include, "TMBLGBT," "Ex-Spearmint," and "Bi Dead Chickens." Some of the vocals are arranged in a scat jazz setting, while others are set in a theatrical or artsy context with whimsical instrumentation and short or fast beats. This is not a power pop album or rock album, for that matter. Instead, it is filled with poignant melodies, diverse vocals, and varied instrumentation arranged in delicate ways. The vocals are often reduced in more of a spoken word or poetic delivery--especially on "Wanted In Wanted Out." At any rate, Honeybird creates some sweet tunes for anyone looking for something different. ~ Matthew Forss

Song Reviews: Alpine Camp's ''Regrets of A Cosmic Mountaineer" and "Seven Miles"

The Alpine Camp
Songs: "Regrets of A Cosmic Mountaineer" and "Seven Miles"
Self-Release

The Alpine Camp is a musical duo that comprises the work of Chris Bell and Charles Etienne. Chris is the primary guitarist and vocalist, while Charles is a pianist and vocalist. The duo brings in Jeff Stella on bass, Shad Wilhelm on drums, Bob Hamilton on banjo, and Jamison Hollister on lap steel. "Regrets of a Cosmic Mountaineer" opens with whining lap steel, uppity piano  melodies, rootsy percussion, and old-time folk elements wrapped around a catchy chorus with fast vocals and banjo stylings caught amid a roots and rock vein. The sub-three-minute track ends with a repetitive vocal line and guitar arrangement in a folksy context without any issues. "Seven Miles"  opens with a contemplative banjo tune with down-tempo drums and percussion amid jazz-standard and blues vocals in a classic R&B set-up. This seems to be executed in a very classic manner with a big nod to Americana tunes coming out in the 1960's and 70's. Though, as a completely original song, it stands alone with a complex categorization somewhere between folk, roots, rock, jazz, blues, and pop standard styles. The diverse stylings are still commendable and enjoyable throughout the above-mentioned tracks. 5 stars (out of 5). ~ Matthew Forss

CD Review: Chico Trujillo's 'Reina De Todas Las Fiestas'

Chico Trujillo
Reina De Todas Las Fiestas
Barbes Records

Chilean cumbia, pop, and rock maestros, Chico Trujillo, bring out the inner dance in all of us when the percussion, guitars, horns, and vocals come out on their latest release, Reina De Todas Las Fiestas, which roughly translates to 'Queen Of All Feasts.' Well, feast your ears on these guys. There are some great South American rhythms here, such as the uppity "Alturas" with pan flute type sounds and steady percussion and a great beat. "Chatito" is another great tune with bouncy bass, heavy percussion, and a playful melody with loads of horn sounds and keyboard sounds. There are nine tracks, which span the gamut from Latin jazz, cumbia, pop, rock, Latin beat, South American pop, and neo-soul wanderings. Chico Trujillo brings out the best in cumbia beats. ~ Matthew Forss

CD Review: Foam Ropes' Self-Titled Release

Foam Ropes
Foam Ropes
7 Trick Pony Records

Links: Twitter, Reverbnation, Facebook, YouTube, Instagram

New Yorker, Derek Nicoletto, formed Foam Ropes after years of studying acting. The self-titled release showcases a variety of alt-rock, pop, grunge, and indie song styles that are sure to stir the soul and move the body (all in positive ways). "Potion Me Well" contains edgy rock guitars, wild percussion, and loud vocals that echo the musical angst of American contemporary rock from the 1980's and early '90's. "Truth In Fables" is more of a rock ballad with some classic vocals in the vein of New Jersey-band, Every Damn Day. The punchy guitars and slight neo-classical edge combine with great vocals for a truly unforgettable experience. "Birches" is more of a folk and roots-influenced tune with acoustic guitar, light percussion, and softer vocals. "Bad Apples" is a sauntering, down-tempo ballad that draws inspiration from the 1950's and '60's-era of American classics. However, the entire album contains original songs. Overall, the songs display a good mix of talent, song styles, and catchy hooks that will keep everyone entertained. ~ 5 Stars (out of 5). Matthew Forss  

CD Review: Paula Maya's 'Iluminar'

Paula Maya
Iluminar
Yellow House Records

The jazzy, South American styles of Texas-based, Paula Maya, incorporates Brazilian melodies with folk, roots, electronica, and pop on Iluminar. The soft ballads and Brazilian percussion reveal an intimate side of Paula's music. It is very enjoyable and steeped in swirling melodies and rhythms of South America. Whether you are on an island, on the beaches of Rio, or in the comfort of your living room, Iluminar lights up any mood or situation with grace and authenticity. "So In Tune" showcases some great vocals here. Crystal-clear vocals and an uppity melody cements a beautiful song to her credit. The light vocals are indicative of Susan Aglukark's voicings. At any rate, Paula Maya creates a stunning release of pop-friendly songs with a good dose of South American pizzazz. ~ Matthew Forss

CD Review: Razia's 'Akory'

Razia
Akory
Wake Up Music

Madagascar is an island known for vanilla, Tarika, valihas, and now Razia. The Malagasy singer has been making music for a few years with her first album, Zebu Nation, released on Cumbancha. The poignant and happy rhythms and sounds of Madagascar are alive and well on her latest release, Akory, which means, 'what now'? Well, now we have an energetic and world-pop release with native lyrics and a roots-driven beat that traverses influences from many lands, including East Africa, Europe, and America. The upbeat sounds of "Baraingo" and "Gny Lalagna" are sure to make everyone dance. The pleasant sounds of "Ela Izay," "Taranaka Afara," and "Papillon" resemble Euro folk, or even South American music, as the accordion adds a nice, authentic touch. Fans of contemporary Madagascar music rooted in authentic sounds and rhythms will find Razia a welcome addition to any music library. ~ Matthew Forss

CD Review: Jah9's 'New Name'

Jah9
New Name
Rorystonelove/Steamchalice

Jah9 hails from Jamaica, so naturally, reggae music is a likely influence. You would be right, but mix a little pop, urban, dub, and roots music and you have Jah9's new album, New Name. Jah9 is a rare find, as she is one of a very select number of reggae stars that are female. There are reverberations of dub electronica, vocal prowess, trippy beats, socially-relevant lyrics, and throbbing keys projecting sounds through one's soul and mind. There are even poetic moments of spoken word on "Interlude." The fluidity of "Gratitude" makes one want to dive into reggae with full-force and never look back. There are fourteen tracks with two of these tracks performed as an extended mix. At any rate, fans of dub, electronic, reggae, Jamaican roots, and just plain great music will love New Name. ~ Matthew Forss

CD Review: Selasee & Fafa Family's 'Time For Peace'

Selasee & Fafa Family
Time For Peace
Self-Release

Born in Ghana, Selasee & Fafa Family, create whirling rhythms of heady funk and reggae beats with a fusion of Bob Marley, Alpha Blondy, and Caribbean melodies that possess a pop background in a contemporary and somewhat urban setting. The music of West Africa is influenced by reggae music, but it is not as globally-prevalent as Afro-pop or blues music. The soulful vocals, bouncy drums, fluid bass, gritty guitars, sax and trumpet sounds, keyboard washes, and strings create a magnificent musical medley rich in history and highlife sensibilities, which grow out of the reggae and soul domain. Whatever it is called; it is something that should be shared with everyone you know as soon as possible. These African melodies and sounds are unparalleled. For a truly great musical journey, please make Time For Peace a staple in your listening library. ~ Matthew Forss

CD Review: Live Hart's 'Honesty'

Live Hart
Honesty
Goin' Native Records

Links: Facebook, Twitter, YouTube, Soundcloud

Florida's Live Hart brings a fresh alternative soul and pop release with ten new songs loaded with heartfelt lyrics and smooth grooves. Honesty traverses the human soul with such acuity that is unparalleled in today's music. Live's candid expressions and emotive result shines through on every track. The first song, "I'm Gone," is a laid-back, soul-enveloping romp into a smooth jazz world of punchy bass, swishy percussion, and keyboard washes. "Lala" is a poignant guitar ballad with Live's solo and somewhat acrobatic vocals throughout. However, the vocals are quite tame and solid. "Release" is a neo-soul and pop tune with some electric guitar displays that set it apart from other tunes on the album. "Summer Love" is a lush, pop song with keyboards, guitars, percussion, and other effects that create a sort of dance-friendly result. "This Is Me" is another great pop tune with crystalline guitar notes, laid-back percussion, and clever lyrics. The same great elements, including back-up vocals, are present on "Please Don't Say It's Over." Overall, Live Hart's new release is more alternative soul and pop than urban or R&B. Every tune brings something new and fresh to the mix without resorting to any of the common traps of contemporary music. Honesty: It's the best! 5 Stars (out of 5) ~ Matthew Forss

CD Review: The Armory's 'Rediscover'

The Armory
Rediscover
Self-Release

Links: Twitter, Facebook, YouTube, SoundCloud

The Armory is an Atlanta-based indie rock band comprised of Sean Wheeler and Marc Harris on lead vocals, Ben Harris on bass and vocals, as well as guitarists, John Patton and Ricky Free. Together, the group forms a compelling and entertaining form of rock music with a pop vein and alternative leanings led by crunchy and symphonic guitar arrangements. The static-driven rock vocals of "If I Ever" prove the band has what it takes to bring a song to life. "Stay" contains a heady mix of crunchy rock guitar arrangements and great vocals not too unlike Three Days Grace and Splender. "Peter Piper" adds a heavier mix of rock vocals and guitars that are not as cohesive and enjoyable as other tunes on the album. "Rediscover" opens with a plaintive, acoustic guitar melody and clear, emotive vocals. Half-way through the song, heavier rock arrangements and vocals take over and end the song on a solid note. The nine-track release is a solid effort with a generous dose of rock riffs and melodies that are not too dissimilar from Three Days Grace and Splender. 4.5 Stars (out of 5) ~ Matthew Forss

CD Review: Violette's 'Falling Strong'

Violette
Falling Strong
Self-Release

A native, French chanteuse, Violette brings together warm song of incredible complexity and life with swirling piano melodies and somewhat bluesy, pop song creations on her latest release, Falling Strong. Now based in Brooklyn, Violette does not stray too far from her French song origins. There are classical, jazz, pop, rock, and folk elements throughout. Each song is catchy and beautifully-executed with vocals as sweet as sugar and melodies as fluid as a babbling brook. With vocals akin to Michelle Branch and Norah Jones, Violette knows how to evoke images of love, happiness, and hope with lyrical stories. Fans of piano, pop, rock, ballads, and a few French-lyric songs will love Violette's latest offering. The album is so good it should be 'falling' up the charts! ~ Matthew Forss

CD Review: Torsha Lynn's 'Inappropriate'

Torsha Lynn
Inappropriate
Self-Release

Links: Instagram, YouTube, Facebook, Twitter, SoundCloud

Dallas, Texas singer, Torsha Lynn, knows how to create edgy, urban beats and flowing verbage that does anything but stay grounded. The new album, Inappropriate, contains some 'super' hits with the dance-friendly, "Supa Badd." This is a contrast from other songs, such as, "So Wrong," "Down South," "Keep Me," "Space Age," and others. These songs are more urban, R&B beats with some dance elements, but the main gist of the songs stems from a deep, urban influence. Torsha's vocals are rather fluid and edgy with a sound akin to Rihanna, Tamia, or Aaliyah. "Super Human" begins with a little piano introduction and Torsha's emotive vocals with neo-classical string accompaniment for an urban ballad result. "Lady Sings The Blues" also begins with a piano intro, but there are some electronic dance elements that set this track apart from the previously-mentioned song. There is a dance element to the song, but the entire song flows with a slower tempo and more electronic embellishments. "Down South" is a frenzied, electronic display of dance and urban R&B elements, which provides an awe-inspiring chorus with a male, backup vocal that is a little distracting in a deep, vocal register. Still, Torsha amazes listeners with a solid and mature release. 4.5 Stars (out of 5 Stars). ~ Matthew Forss