Song Reviews: Galliano Sommavilla's "Elektro Country" and "Breathe"

Galliano Sommavilla
"Elektro Country" and "Breathe"

"Elektro County" is a rollicking instrumental treat with ambient and spacey electronic sounds backed by keyboard accompaniment and atmospheric guitar work. The swishy percussion is accompanied by spacey tones and intergalactic noises that propel the track into a third dimension, or another galaxy. The guitar-like tune is upbeat and melodic with a slight country presence that is not particularly intrusive. The end of the song is a culmination of the musical elements from rock, new age, instrumental, and filmic worlds. The nearly four-minute song is aptly-titled, "Elektro Country," because it symbolizes a country edge with a modern twist of lush, electronic overtones. The music brings together a good mix of sounds that connote contemporary new age creations and electronic wizardry that does not lose its intensity or appeal. Overall, Galliano continues to amaze us with inventive songs new ways to discover some of the best instrumental music in the world. "Elektro Country" does not disappoint and Gary Ritchie's electric guitar work is perfect.

"Breathe" is a five-minute musical journey that is very magical and melancholic with subtle doses of acoustic and electric guitar work. The atmospheric washes and light vocal additions accentuate the song's delightful qualities. The cascade of sounds are steeped in lullabye-like arrangements that are meditative and dreamy. There is a host of new age-isms that come to mind, but everything is creative and memorable. The vocal additions are almost non-descript, but their sounds are very indicative of an early Enya recording. Compared with "Elektro Country," "Breathe" is a longer, more majestic tapestry of aural colors that only reinforces Galliano's amazing ability to create meaningful and vibrant songs with little in the way of instrumentation. From the opening, neo-classical arrangement to the electronic medley of sound, Galliano does not shy away from experimentation. Fans of world music, instrumental, jazz, new age, ambient, and related forms of music should be quite satisfied with Galliano's latest offerings. ~ Matthew Forss  

CD Review: Galliano Sommavilla's 'Vol. 30 Ambient and Mellow'

Galliano Sommavilla
Vol. 30 Ambient and Mellow
Self-Release

Galliano Sommavilla, hailing from Australia, has released his latest compilation of songs borne out of a-song-a-day-project. Having released several albums of songs created each day over one year as part of his 365 project, Galliano continues to amaze listeners with his instrumental splendor on keyboards, guitars, percussion, and piano sounds. The latest album, Vol. 30..., contains fourteen tracks that are found in no particular order and titled "song/day". The whole feel of the album encompasses a more down-tempo theme that is serene and exploratory with a blissful side.

"Song/Day 110" begins with a sauntering piano-like melody with piercing atmospheric washes, and jazzy percussion that incorporates a sexy brass sound. The rolling bass and fluid, yet uppity tune, conjures up images of a smoky jazz lounge or a down-tempo gem that will not get out of one's head after listening to it the first time. Mesmerizing electric guitar sounds are rather solid near the end of the song. The twinkling piano keys and fluid bass-line with a sporadic blurts of trumpet make "110" a necessary listen.

"Song/Day 317" opens with a blurby, electronic-tinged intro with sweeping atmospheric sounds, punchy sounds, and horn-driven noises amidst a lush bass-line and percolating guitar strums. The song moves along with new age elements and a jazzy beat that is very calming, but equally enigmatic and engaging. The horn-like sounds and dizzying cascade of swishy whirs makes the song come alive.

"Song/Day 151" contains a breezy flute, light percussion, and jazzy atmospheric opener with a cheery foundation and soundtrack-esque qualities that seem to float effortlessly on sound waves. The song is more structured than other songs on the album, but it still retains a unique blend of improvisational quirks that make it one of the best songs on the album. Over two-minutes into the song, the jazzy chorus shines on in utter beauty without faltering.

"Song/Day 55" opens with a light, sauntering jazzy side with atmospheric washes and a glowing, smooth keyboard style. The smattering of percussion, driving beat, and atmospheric elements arouse an inventive element that is not to dissimilar than a good Zero 7 instrumental. A few trumpet sounds give the track a sultry side. The horn-driven, electric guitar sounds awaken the track with a little psychedelic panache. Overall, the song is another jazzy masterpiece in-line with Galliano's best works.

"Song/Day 40" begins with a soft, yet majestic arrangement of atmospheric washes, stark piano keys, and neo-classical elements that are thought-provoking and timeless. There is a percussive element about one-minute into the song. The poignant piano sounds and wash of cymbals melds nicely with the mellow foundation. The hand-percussion sounds give the song a more organic feel overall. The sweeping piano sounds and atmospheric washes cement the tune into another solid recording from Galliano.

All in all, Galliano Sommavilla satisfies new age tastes, down-tempo lovers, and instrumental connoisseurs with a knack for neo-classical, alternative jazz, and electronic music. Honestly, Galliano excels with another excellent compilation of songs to come out of the 2013 to 2014 project. Collect all the recordings by one of the most talented musicians in the down-tempo and electronic genres. Review by Matthew Forss

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: Manika Kaur's 'I Bow To You Waheguru'

Manika Kaur
I Bow To You Waheguru
United Sound

The supercharged beats of kirtan dance music are reduced here to cinematic and serene morsels of cosmic and spiritual beauty that are best categorized as new age and world music fusion. Manika Kaur's Australian and United Arab Emirates roots bring a spirited mix to the music that is inherently Sikhism with strings, light percussion, and sweeping arrangements. Manika's sweet and light vocals are a perfect addition to the music foundation. This is the first album I've observed with a cinematic appeal to kirtan music. The result is an album of seven awe-inspiring tunes that bring to light Indian, neo-classical, South Asian, and European musical arrangements in a calm and engaging package. Fans of vocal music, kirtan, Indian music, and new age tunes will love Manika Kaur's latest offering. It's guilt-free and blissful.  ~ Matthew Forss

CD Review: Syre & Fresko's 'Gonna See Miracles'

Syre & Fresko
Gonna See Miracles

Links: Facebook, Twitter, YouTube, Soundcloud

The husband and wife duo, Syre & Fresko, hail from Melbourne, Australia and present us with an excellent five-track EP, Gonna See Miracles. The contemporary release encompasses a slight rock feel with anthemic sounds of pop and alternative leanings throughout. "Broken Fragments" is a rock anthem of intelligent lyrics, great guitar hooks, and full-on vocals with bass, guitar, percussion, and electronic effects. "Gonna See Miracles" opens with spacious sounds of guitar, swishy percussion, and a classic, almost Western vocal arrangement. However, the chorus is purely rock and pop-driven with both male and female vocals. "Plastic Dreams" possesses an electronic sound with a full sound that is rock-laden with vocals that are all-encompassing and memorable. "Ruth" begins as a more laid-back guitar and vocal tune void of any percussion. The folksy melody is a bit country-esque with the whining dobro-like instrument. Syre & Fresko both lend locals on this tune. "Tightrope" begins with swishy sounds and female vocals with electronic bell tones. The airy vocals and lack of much percussion throughout the first half of the song gives way to a more robust rock sound with a stellar chorus and climax. 5 Stars (out of 5). ~ Matthew Forss

CD Review: Emma Donovan & The Putbacks' 'Dawn'

Emma Donovan & The Putbacks
Dawn
Hope Street Recordings

Australian vocalist, Emma Donovan, joins her rhythm section, The Pubacks, on her latest release of bluesy, jazzy, and funk-infused concoctions on Dawn. The opening song, Black Woman, is a punchy, funk-filled anthem that sounds like a classic American hit from the 1970's, but this is completely Australian and filled with innovative funk elements. The swaying melodies and vocals of "My Goodness" showcases Emma's talent. The musical abilities are boundless and timeless here. The entire album is full of funk, roots, and pop elements that are unforgettable and highly-recommended. Emma Donovan & The Putbacks are not something you want to 'put back' on the shelf. These musicians are not to be missed. ~ Matthew Forss

CD Review: Xylouris White's 'Goats'

Xylouris White
Goats
Other Music Recording Co.

Xylouris White is a group formed from George Xylouris and Jim White. George is a very talented Greek lute player with one vocal song on the new album, Goats. Jim White is a percussionist from Australia with a penchant for creating rhythms characteristic of goats traversing rocky hill-sides. The lute adds an element of surprise to the entire album with diverse tunings, playing styles, and an unabashed ability to create diverse and engaging tunes. There are nine total tracks, but only one contains vocals and George is the vocalist. The entire album is around thirty-five minutes in length, but it should not be ignored. The triumphant silences and sounds of the opener, "Pulling The Bricks," intrigues the listener with its divergent sound. The minstrel-like lute sounds of many of the tracks suggests a Medieval presence, too. Overall, Xylouris White is a great duo that knows how to entertain humans and goats with ease. ~ Matthew Forss

CD Review: The Bombay Royale's 'The Island Of Dr. Electrico'

The Bombay Royale
The Island Of Dr. Electrico
HopeStreet Recordings

Bollywood surf, spy, funk, disco, and dance music from a Melbourne, Australia group? The unlikely combination is nothing to get upset about, since everything works well here. The entire album is around forty-five minutes in length, but the sounds seem to live on forever. The orchestrations are reminiscent of a spy-thriller film soundtrack that could be heard in almost any country, but the Bollywood and spaghetti-Western sounds are most pervasive. The psychedelic sounds and surfadelic connotations are timeless and catchy. Every song on the album is worth repeating over and over. The infusions of punchy horns, suspenseful orchestrations, gritty funk, and South Asian vocalizations are simply too much to take in, because they are so appropriate and memorable. The Island Of Dr. Electrico is one of the best world music albums of the year. Discover it today. ~ Matthew Forss

CD Review: Barefoot Divas' 'Walk A Mile In My Shoes'

Barefoot Divas
Walk A Mile In My Shoes
VGM/MGM

Barefoot Divas is a collective of six women with a connection to the indigenous people's of Australia, New Zealand, and Papua New Guinea. The vocal group is comprised of Aboriginals Ursula Yovich and Emma Donovan, Maori's Whirimako Black, Maisey Rika and Merenia. Ngaiire represents the Papua New Guinea connection. The opening vocal track by Maisey Rika is rather contemplative without any instrumentation. The serenity is short-lived, as "Never Forget" brings an amped-up, R&B and gospel composition to light. The Spanish-tinged, "Fortuna," is driven by the world fusion repertoire representing Greek, Chilean, and Peruvian elements. The work is largely vocal with a poetic, social commentary. However, the combination of vocals and contemporary instrumentation represents an edgy mix of world fusion worth listening to over and over. There are fourteen tracks in all. The recording was recorded live in 2012 at the Sydney Festival. This project could not have been possible without the group's creator, manager, and producer, Vicki Gordon. ~ Matthew Forss   

CD Review: Oh, Jeremiah's 'Tall Tales And Tiny Fables'

Oh, Jeremiah
Tall Tales And Tiny Fables
Self-Release

The lyrical wordplay of bluegrass-esque and folksy pop singer, composer, and guitarist, Oh, Jeremiah, dazzles audiences with sheer sincerity and catchy melodies on his new five-track release, Tall Tales And Tiny Fables. Based in Mississippi, Oh, Jeremiah brings carefree vocals to the mix with sweeping guitar tunes, wavering strings, and some percussion. "Better Man" is an uppity tune with a bluegrass or folk presence. "Circles" is an acoustic treasure with vocal similarities to Dave Matthews and Australia's Xavier Rudd. "Happy Now" brings a sort of new age pop presence to the forefront with a light rock beat without electric guitars and the usual angst-ridden characteristics. The choppy beat and punchy string accompaniment makes the song shine with elements of neo-classicism, folk, contemporary pop, and new age. "Mississippi, I'm Yours" opens with a jaunty acoustic guitar, lead and backup vocals, and a void of percussion. This a memorable tune with slow, string accompaniment. There is a good degree of melancholy throughout the album. "The Scariest Thing" contains some percussion and alt-rock ambiance with some strings and folk-pop charm with piano accompaniment. With vocals akin to Dave Matthews, Xavier Rudd, and R.E.M., Oh, Jeremiah promises to astound all who seek good folk music. ~ Matthew Forss

CD Review: Okapi Guitar Band's 'Plenty'

Okapi Guitar Band
Plenty
umHUTU

Australia’s Okapi Guitar Band is a truly world music act creating music that spans numerous countries and continents with ease. The giddy guitar rhythms, vocals, lap steel, bass, pedal steel, dundun, keyboard, drumkit, congas, doumbek, cowbell, trumpet, trombone, sax, and other instruments make up the band’s unique sound. “Man In The Fluoro Vest” seems like a concoction brewed by the Cambodian/American band, Dengue Fever. The psychedelic melody and quirky lyrics is a winner. The folksy “Cut And Run” is anything but cut and dry, since its galloping tune reflects a little Afro-Caribbean and Congolese presence. Plenty is aptly-titled, because there are many reasons to love this album. Each track is different and seems to reflect a different part of the globe. The nearly one-hour-and-ten-minute length is definitely worth the money. There are tropical rhythms, Latin touches, African brilliance, and Aussie splendor that is not to be missed. This is a great album for world music or fusion fans. ~ Matthew Forss

CD Review: Joseph Tawadros' 'The Hour of Separation'

Joseph Tawadros

The Hour of Separation

Enja Records

Joesph Tawadros is an Egyptian-born oud player and a resident of Australia with James Tawadros on req and bendir. His latest album is number seven in a handful of recordings with an improvisational, jazz, or world beat background. Joseph is joined by three other musicians from America, including John Abercrombie on electric guitar, John Patitucci on double bass, and Jack Dejohnette on drums. The fifteen, instrumental tracks are fairly reserved and not too energetic; except for Track 4. However, the album is nearly seventy-eight minutes long, which provides the listener with a satsifying musical experience. The crystalline sounds of the oud are a perfect match for the drums, guitar, and assorted percussion. Fans of Middle Eastern, North African, jazz, percussion, and instrumental world music should find The Hour of Separation a worthy addition to your music library. ~ Matthew Forss

CD Review: Parker Ainsworth 'Parker Loves You'

Parker Ainsworth

Parker Loves You

Self-Released

The classic folk crooner and SoCal resident, Parker Ainsworth, is a guitarist with a big heart and a big soul. The guitar, percussion, and piano, is more folk-based than blues on this five-song release. From the opening "Awake" to the final "Higher Up," it doesn't take long to draw vocal comparisons to the UK's David Gray and Australia's Xavier Rudd with the instrumental folk sensibilities of the earlier work of Shawn Colvin and the jazz-tinged pop of Sara Bareilles. "We Just Forgot" is an emotive ballad with smart lyrics and a sparkling piano melody with an equally entrancing rhythm. Parker Loves You is poignantly, albeit appropriately titled, because it is an infectious and golden album of intelligent folk tunes without reliance on today's electronic accompaniments, dance beats, or redundant hip hop beats. Furthermore, every song on this album is radio-friendly. Parker knows how to compose memorable songs that might resemble anything by Shawn Colvin, Xavier Rudd, David Gray, and other similar artists. Buy it today. Parker will love you for it! ~ Matthew Forss