CD Review: Laraaji's 'Ambient 3: Day of Radiance'

Laraaji
Ambient 3: Day of Radiance
Glitterbeat

Ambient 3: Day of Radiance was originally released in 1980. Producer, Brian Eno resurrected the album conceived by Laraaji, a masterful zither player, dulcimer connoisseur, pianist, and keyboardist. This recording displays the timelessness of Laraaji's electronic and ambient styles. The melodies are atmospheric, spacious, and scintillating. The zither and autoharp sounds are very magical and entrancing. The album is divided up into two sections: The Dance and Meditation. The three tracks of The Dance contains more upbeat, dreamy, and melodic ambient tones, while the last two songs of Meditation contain a more spacious, atmospheric tone. As a whole, Ambient 3: Day of Radiance possesses a great selection of instrumental gems that are relatively repetitive, which is not a negative here. The nature of ambient, electronic, and atmospheric music is varied, but ever-changing. Whether the true quality of music is indeed ambient, Laraaji knows no bounds when creating beautiful works. Oh yeah, and the production credits of Brian Eno don't hurt either. ~ Matthew Forss

CD Review: Tri Nguyen's 'Consonnances'

Tri Nguyen
Consonnances
Lunelios

The music of Vietnam is rarely available to mainstream, world music listeners. However, Tri Nguyen's new album, Consonnances, will hopefully reignite a global passion for the traditional and classical artforms of Vietnam's musical styles and influences. Tri's latest release contains thirteen different tracks of traditional and classical-tinged folk music on the dan tranh (a Vietnamese zither with close ties to the Japanese koto, Chinese guzheng, and the Korean kayagum), as well as classical strings. The contemplative, serene, and beautifully-sweeping melodies capture a very moving and emotive side to instrumental music rarely observed in other settings. Tri's utilization of melodic tones and cheery tempos makes Consonnances shine with inner and outer beauty. The classical undertones resemble Mongolian, Chinese, Japanese, and even American theatrical soundtracks from the 1940's and 50's. At any rate, Tri Nguyen is a welcome addition to the world of music and highlights the importance of Vietnamese music necessary for any music fan of Southeast and East Asia. ~ Matthew Forss

CD Review: Lala Njava's 'Malagasy Blues Song'

Lala Njava
Malagasy Blues Song
Riverboat/World Music Network

Anyone familiar with Malagasy music knows about the valiha (tube zither) and probably Tarika - one of the most popular bands from Madagascar. However, you need to know about another group spearheaded by blues songstress, Lala Njava. Lala creates moving, contemporary, and bluesy tunes with lush Afropop rhythms and melodies that are very accessible. Lala is the chief vocalist, but is joined by Dozzy Njava on guitars, Pata Njava on drums/percussion, and Maximin Njava on bass. There are also backing vocals in the mix, along with a banjo and accordion making an appearance on a few tracks. Lala's vocals are rather choppy and mature beyond her years, but that breaks up the backing vocals and crystalline instrumentation. Vocally, Lala is the African equivalent of Stevie Nicks. ~ Matthew Forss

CD Review: Van-Anh Vanessa Vo's 'Three Mountain Pass'

Van-Anh Vanessa Vo
Three Mountain Pass
Innova

After spending decades in Hanoi, Vietnam, dan Tranh and dan Bau master, Van-Anh Vanessa Vo, learned to create moving and contemplative pieces of mostly instrumental work. The San Francisco-based musician plays the dan Tranh, a zither instrument, which resembles the koto in looks and sound. The strings are plucked and notes are created by sliding a bridge across the strings. In addition, the dan Bau is a pitch-bending, monochord, which adds a spritely sound to the mix. Also, the Kronos Quartet add their classical strings to the work. Van-Anh Vanessa Vo also plays the hang, which is a Swiss-made steel drum. The entire work is rather avant-garde and experimental to those unfamiliar with Vietnamese folk music. However, there is something magical about the way the strings tell stories through the sounds. There are only seven songs on the album, but all of the songs are rather long. Fans of Vietnamese folk music and contemporary world music will love Van-Anh Vanessa Vo's reflective and creative songs. ~ Matthew Forss

CD Review: Lise Lunde Brennhagen's 'Kjeringe i snodrevet'

Lise Lunde Brennhagen

Kjeringe i snodrevet
Etnisk Musikklubb

Norway’s Lise Lunde Brennhagen plays the langeleik, which is a traditional zither instrument with a long resonating box, one melodic string, and up to seven drone strings. The instrument is strummed with a plectrum. The sound produced is akin to a psaltery, dulcimer, and kantele. The melodies are entirely instrumental and feature only the langeleik. The twenty songs are rather short, but that does not diminish the fine result. Anyone with an interest in Scandinavian instrumental music, harp music, kora music, and most of all, langeleik fans, will get the most out of this recording. It is time to experience the wonderful music of an ancient and seldom-heard instrument. ~ Matthew Forss

CD Review: Urna's 'Portrait: The Magical Voice From Mongolia'

Urna
Portrait: The Magical Voice of Mongolia
Network

Urna is an Inner Asian songstress from the great, vast expanse of Mongolia. With ties to China and Western Europe, Urna employs a range of instrumentation that represents Inner Asian genres. The violin, zither, sheng, cello, zarb, udo, viola, accordion, morin huur, sax, guitar, and assorted percussion make up the instrumental repertoire on many of the songs. The spacious acoustics and free-flowing vocals are not particularly throat-singing examples. This is classic, Mongolian vocal and instrumental music that is calm, reserved, and contemplative. It is not rigid, boring, or plain. The music is similar in tone to contemporary examples coming out of Nepal and Tibet. Yungchen Lhamo is a similar comparison. At any rate, the thirteen tracks and one hour of music are a joy for fans of Inner Asian folk music. Liner notes are in German, English, and French. ~ Matthew Forss

CD Review: Kardemimmit's 'Autio Huvila'

Kardemimmit
Autio Huvila
Frigg

The kantele, a plucked zither indigenous to Finland, is the primary instrument in Kardemimmit's repertoire, but they also include harmonicas, double bass, guitar, and bouzouki. The group is comprised of four young ladies from Finland. They are excellent vocalists and professional kantele players in Finland and beyond. The music is traditional folk music that is vocally similar to another Finnish folk group, Varttina. However, Kardemimmit does not utilize as many instruments as Varttina. The sweet vocals are a perfect match for the scintillating kantele strings. The harp-like tonal qualities are very relaxing and engaging. The liner notes include Finnish lyrics only, but song summaries are in English. This is a great album for folk music fans with an interest in Scandinavia. ~ Matthew Forss

CD Review: Urna's 2001 "Jamar"

Urna

Jamar

Trees Music & Art

Mongolia's Urna performs her signature vocals on Jamar. In this case, Mongolia's national instrument, the morin huur (horsehead fiddle), makes an appearance, unlike on her other recordings. In addition, a zither, percussion, and throat-singing is included, too. Jamar is closely aligned with elements of Chinese folk music, which results from Urna's global wanderings over the years. It is an engaging journey, a movie soundtrack, a day on the steppes, and a peaceful river of harmony, style, and rhythm. A particularly interesting track is "Grandmother and I". It features a spritely rhythm, good tempo, folk-roots elements, lively vocals, and catchy sounds. The zither sounds similar in tone to a cross between a piano and acoustic guitar. Jamar is a trans-global recording primarily inspired by the historical roots of Mongolian and Chinese music creations. Urna is easily one of the best recording artists to emerge out of Mongolia. ~ Matthew Forss

CD Review: Urna's 1999 "Hodood"

Urna

Hodood

Trees Music & Art

Hodood, or "in the steppe", is a more traditional, yet somewhat modernized recording with various instrumentation, awe-inspiring vocals, and spacious sounds. Hodood is a perfect journey through a Mongolian and Chinese musical history. This album includes a little throat-singing, spoken word, and a sheng, also known as a mouth organ. A drum, zither, and cello to round out the instrumental repertoire. Urna's vocalizations are indicative of some European and Scandinavian folk-roots music. However, Urna's voice is distinctly Mongolian. One highlight of many is the track, "Sangjidorji", which is a rather poignant song about one of the most famous Freedom Fighters from the Ordos (southern Mongolia). The incredible quality of the music and production reminds the listener this might be a Real World Records release. In fact, it is difficult to believe all the sounds on Hodood do not incorporate some type of electronic instrumentation. The mix of shamanic sounds, haunting vocals, cool instrumentation, attractive packaging and detailed liner notes in English, Mongolian, and Chinese, make Hodood a remarkable album of contemporary Mongolian music. ~ Matthew Forss