CD Review: Mr. Ho's Orchestrotica's 'Where Here Meets There'

Mr. Ho's Orchestrotica
Where Here Meets There
Self-Release

American-based and globally-derived, Mr. Ho's Orchestrotica brings us a chilling romp through world jazz, chamber music, Middle Eastern percussion, and classical music with an instrumental ability that almost rivals the works of Gershwin, Bach, Tjader, and Gillespie. Actually, those greats have music on here, but Mr. Ho's Orchestrotica reinvents various preludes, songs, and dances with a contemporary spin. Musicians Brian O'Neill, Geni Skendo, Shane Shanahan, Jason Davis, Tev Stevig, and Noriko Terada provide a wealth of instrumental accompaniment. The final result is intriguing, but not overdone in any way. The glistening vibraphone melodies, Arabic percussion, fluid flutes, and various overdubs make Where Here Meets There absolutely amazing no matter where you are. Fans of global jazz, instrumental music, classical, percussion, dance, and easy listening will find Mr. Ho's Orchestratotica very enthralling. ~ Matthew Forss

CD Review: Fat Freddy's Drop's 'Blackbird'

Fat Freddy's Drop
Blackbird
The Drop/!K7

New Zealand's Fat Freddy's Drop brings us a new album, Blackbird, which traverses the world of dance, reggae, jazz, funk, and soul. The music is contemporary and urban. There is also an element of electronic embellishments that drive some of the melodies. There are nine infectious tracks brimming with luscious hooks, reggae beats, and funky adornments. The group utilizes electronic sounds, trumpet, trombone, sax, guitars, drums, and keyboards. The steady melodies and funky rhythms reflect the Black sounds of America's 1970s and 80s. Yet, the music is still unique and groundbreaking with its own sense of style and direction. Fans of Afro-beat music, soul/funk, jazz, and reggae will find something to sing and dance about on Blackbird. It simply soars with unabashed brilliance. ~ Matthew Forss

CD Review: Brian Larney's 'At The Starting Line'

Brian Larney
At The Starting Line
Nunya Records

Connecticut-based singer, guitarist, and composer, Brian Larney, takes the spotlight on At The Starting Line. The folk music-based material contains a bit of Southern rock, contemporary pop, and nostalgic Americana. The eleven song release contains catchy melodies and rhythmic textures that are pure pop gold. The pop/rock anthem, "Closed Door," is a perfect song with a little Southern rock influences and lush harmonies. "Solace" is a little classic ditty with jangly guitars and an uppity tune that is highly-reminiscent of the late-Owsley. "Never Argue With The Devil" opens with jingly guitar lines and soft vocals in the vein of Fountains Of Wayne and the late-Owsley. "You Me And Allison" is an upbeat, jingly, pop-focused tune with swishy percussion and full guitar sounds. The classic folk tunes are more rock-inspired than folk, but there is an element of nostalgia inherent in similar songs from America's folk explosion in 1960's and 70's. Still, Brian puts a more modern spin on the music with a little Southern rock and contemporary folk. Each song gives us something to remember and that is definitely a positive quality. ~ Matthew Forss  

CD Review: Gift Of Tongues' 'Songs Of My People'

Gift Of Tongues
Songs Of My People
Self-Release

The theatrical and performative antics of electronica and dark music magnate, Gift Of Tongues, is not your usual music group. There are a mix of gruesome anthems with comedic, ironic, and thought-provoking lyrics about some of America's most provocative killers, including Manson and Dahmer. That is only one aspect of the recording, as the rest of the tracks contain darkly-brooding electronica with metallic and industrial beats, noises, and sounds that are rather light overall. The vocals are rather robotic, but the melodies are particularly catching, including the piano-based, Chopsticks-like portion of "Dahmeresque," as well as "What's Mommy Getting Up To," "Long Way Home," and "Home." More techno-focused tunes, such as "Big Bad Wolf," "Glory Hole," and "I Am A Large Man" showcase some poetic wordplay and blurby percussion. There are swishy sounds, blurby electronics, static vocals, robotic vocals, and piano melodies that meld the past with the future. There are enought sounds to evoke an enthusiastic response of enjoyment. There is a dark sense of humanity that permeates each song, but that is not a bad thing. When poetic lyrics, enticing rhythms and melodies, and theatrical displays of sound come together unabashed, Songs Of My People results. Think of Enigma crossed with Rob Zombie and Squonk Opera. Simply amazing. ~ Matthew Forss     

CD Review: Los Cenzontles' 'Regeneration'

Los Cenzontles
Regeneration
Self-Release

The music of Mexico and California is brought to life upon the tracks of Regeneration. The music is rooted in Mexican folk traditions with swaying rhythms rich in instrumentation and percussion. The vocals are primo, no matter what track is played. The jaunty folk-rock melody of "Murmullos," is very upbeat and alternative with a good amount of pop to go around. Los Lobos' David Hidalgo provides some musical input for the project and plays keyboards, drums, guitars, accordion, B3, mandolin, and adds vocals on "The Silence." Other artists provide instrumentation on zapateada, electric bass, jarana, piano, violin, sax, guitar, drums, and assorted percussion. It seems the music strikes a fine balance between rural and urban Mexican folk music with endearing pop senses from America. The fifteen track release is littered with good hooks, riffs, and musical medleys that are contemplative, danceable, and heartfelt. The Spanish vocals are soulful and emotive. Fans of Mexican folk-rock will love everything about it. ~ Matthew Forss 

CD Review: Meklit & Quinn's Self-Titled Release

Meklit & Quinn
Meklit & Quinn
Porto Franco Records

Meklit Hadero, a native of Ethiopia, and Quinn Deveaux, from California, showcase their blend of soul, blues, and a little downtempo funk from music by Arcade Fire, Talking Heads, MGMT, Lou Reed, Patti Smith, Stevie Wonder, Kyle Field, Neil Young, and Sam Cooke. Meklit's vocals are a perfect mix of Sade and Leona Naess. Quinn's vocals are slightly bluesy, but there is an element of smooth jazz vocalizations with airy and sultry deliveries. The twelve tracks explore a bit of nostalgic jazz, soul, R&B, and downtempo. Meklit writes "Slow" and "Sent By You," which is composed with Quinn. The music contains a plethora of instrumentation, including guitar, keyboard, bass, piano, mellotron, strings, trumpet, tuba, pedal steel guitar, trombone, sax, organ, washboard, B3, and others. The soft grooves and stirring melodies are modern in composition, but they reflect a sort of classical ambiance from America's early music history. The music is not rock or folk; it's just good music with good instrumentation. It's that simple...and delectable. ~ Matthew Forss 

CD Review: Bekay's "Livin' My Dream"

Bekay
Livin' My Dream
TSOB Records

Bekay's amped-up rap-infused tracks from Brooklyn, New York are in-your-face and ready to take America by storm. The twelve tracks are actually five different tracks with various remixes (both clean and explicit) of each track. At any rate, Bekay's lyrical delivery is a bit slower than Eminem, but no less fascinating. Interestingly, only three tracks are original: "Grab Someone," "Livin' My Dream," and "Fuk U." The original songs and remixes include hard-hitting lyrics about relationships, partying, urban lifestyles, and celebrating rap/hip hop culture. "Open The Door (Let 'em In)" is a rap cover of Paul McCartney's song. Also, "Where Brooklyn At" is a cover of the late-Old Dirty Bastard's hit song. Bekay incorporates a bit of shout-outs, indiscriminate vocals, and a party-like atmosphere with electronic wizardry, tight percussion sets, and urban dance grooves. Fans of rap and hip hop will love the music of Bekay, even though the album is a little short and if it includes seemingly senseless remixes and edits. Start a party on the streets with Bekay today! ~ Matthew Forss