CD Review: Kimberly Haynes' 'Awaken Me'

Kimberly Haynes
Awaken Me
Wise Old Owl Recordings

California singer/songwriter, Kimberly Haynes, brings us eleven songs infused with delicate musical arrangements, graceful vocals, and spacious melodies on Awaken Me. Kimberly knows how to create beautiful songs with a soul. The music arouses new age leanings, world music fusions, Middle Eastern panache, and South Asian traditions for a truly unforgettable musical journey. The meditative opener and album title track, "Awaken Me," is a perfect introduction to the album, as it sets a steady tone amidst hang drum, frame drums, bass, bell, synth, and guitars. The Middle Eastern-influenced tune, "The Dreams," adds a more upbeat element with strings, guitars, and a gopichand. "The Light Of My Soul" strengthens Kimberly's pop presence with light percussion, fluid bass-lines, and excellent vocals throughout. The contemporary edge is rather reduced overall, but some songs are more pronounced and melodic. Kimberly's voice is akin to Canada's Susan Aglukark, but Donna De Lory and Natalie Merchant are similar influences, too. Awaken Me will cause everyone to wake up and listen to a small portion of beautiful music contained in this world. Let Kimberly be your guide to open that world for you! ~ Matthew Forss  

CD Review: Ciro Hurtado Releases 'Selva'

Ciro Hurtado
Selva
Inti Productions

The Peruvian-born and California-based, Ciro Hurtado, brings to life the sounds of his homeland, which are eloquently captured throughout the new album, Selva. Ciro's roots are found in the album's title, which is Spanish for 'jungle.' The album artwork is as colorful as the music. Ciro's wife, Cindy Harding, provide some vocals, while the music is mainly steeped in Latin fusion, light jazz, and acoustic forays. The pleasant music is never boring or uninspired. In fact, it encompasses some of the best instrumental sounds from the region. There are even classical Indian elements. The album is rather contemporary in its approach, making sure not to veer off too far in any one direction (i.e. rock, folk, fusion, etc.). However, there is a nice mix of lounge melodies, new age concoctions, and simply beautiful sounds that run the gamut from Amazonian, pre-Columbian, and cumbia-inspired tunes. Ciro's guitar and charango work are outstanding throughout. Simply put, this album is perfect for any occasion and any person. This is one of the best 'Latin' albums to ever come out. Own it now! ~ Matthew Forss

CD Review: Vahagni's 'Imagined Frequencies'

Vahagni
Imagined Frequencies
Self-Release

Armenian-born and LA-based, Vahagni is a talented guitarist and composer with an intuitive ability to cross genres and borders with his unique musical style. Vahagni weaves through flamenco, world jazz, classical, folk, and Afro-Spanish worlds via guitars and a range of strings, percussion, and sequencing. The flamenco-induced, "Sketches of Dali," is especially intriguing and upbeat. The Afro-Spanish-influenced, "Hov arek sarer jan," contains soft vocals from Buika for an otherwise Armenian song. The serene melodies are akin to Baaba Maal or other Senegalese performers. Vahagni brings in piano, bass, drums, percussion, blul, duduk, violin, cello, and a few other instruments for an adventurous palette of sound. The dreamy and somewhat pensive, "Pendulum," is ideal for relaxing or dreaming. Over forty-minutes and eleven tracks represent a wide range of music from Vahagni that is highly-praised for good reason. Fans of Matthew Montfort and Lawson Rawlins will enjoy Vahagni. Experience Vahagni's Imagined Frequencies for yourself (and for a friend). ~ 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: The Expanders' 'Hustling Culture'

The Expanders
Hustling Culture
Easy Star Records

Hailing from California with a sound from Jamaica, The Expanders expand their horizons (and ours!) with their new reggae-infused, Hustling Culture. The roots-influenced, rock and reggae beats grace all the tracks on this urban and contemporary-inspired release. The deep bass beats and syncopation are iconic in reggae music from Jamaica and contemporary reggae music from around the world. A dozen tunes of reggae bliss blast from the album with soothing beats, diverse percussion, and great vocals that do not miss a step. The upbeat and catchy ballad, "Piece Of Love," is a reggae anthem worthy of global praise and multiple listens. The laid-back, syncopated beats of "People Business" showcases a lighter side of reggae. Overall, The Expanders are very talented and do not have trouble creating beautiful songs that will stand the test of time. ~ Matthew Forss

CD Review: David Correa's 'New Moon'

David Correa
New Moon
BajaTSR Records

David Correa is a very talented Spanish guitar player from California with a knack for flamenco, rumba, and folk song structures over a fifty-minute medley of heavenly sounds in an instrumental arrangement. However, "Tierra Roja" is the only track with vocals, which are provided by David himself. The tunes are not just Spanish guitar tunes--they are complex creations of musical delight backed by a slew of instruments, including bass, palmas, drums, congas, bongo, cajon, darbuka, udu, timbale, violin, and other acoustic guitars. The Spanish guitar is the lead instrument on this album. The melodies ebb-and-flow with a calming influence throughout. The plaintive, yet up-beat musical tone is refreshing and relaxing. Fans of Matthew Montfort and Lawson Rollins will love David Correa's latest venture. ~ Matthew Forss

CD Review: Jeff Oster's 'next'

Jeff Oster
next
Retso Records

Jeff' Oster is a very accomplished and revered trumpet and flugelhorn player. On next, which is purposefully-lower-cased, Jeff presents us with twelve unique gifts--gifts of music where each track is new and delightfully-inviting. The instrumental album contains a few spoken word lines, but that is it. The music is very relaxing, jazz-centered, and new age brilliant. In some cases, the percussive beat incorporates horns, guitars, piano, and other instruments. The title track, "Next," is a great introduction to the album with a rousing beat, swishy percussion, a jazzy vein, and sultry horn punctuated with crystal, clear keyboard tones. "Night Train To Sofia" begins with a sultry beat, atmospheric washes, horn accompaniment, and background voices that fill the instrumental track with Bulgarian-inspired choral vocals. "Half A Cookie" opens with atmospheric sounds, jazzy horns, light percussion, and a steady, new age beat with bright piano infusions and spacious soundscapes. "Heroes" is a triumphant horn tune with upbeat percussion in true Oster-fashion. All in all, Jeff brings in a talented group of musicians, producers, and talents, including Nile Rodgers, Bernard Purdie, Chuck Rainey, Tony Levin, Michael Manring, Will Ackerman, Todd Boston, Shambhu, Carl Weingarten, Philip Aaberg, Catherine Marie Charlton, Ricky Kej, Bob Ludwig, Tom Eaton, and everyone at the great Imaginary Road Studios in Vermont, USA. Fans of new age, jazz, instrumental, lounge, and atmospheric music will love it. 5 Stars (out of 5). ~ Matthew Forss

CD Review: Desert Dwellers' 'The Great Mystery'

Desert Dwellers
The Great Mystery
Black Swan Sounds

Amani Friend and Treavor Moontribe are Desert Dwellers that bring out the best in world rhythms, dance, electronica, chill, and down-tempo. The California duo amass an onslaught of atmospheric blurbs, washes, and arrangements that combine with world rhythms, voices, and styles that create a stellar musical result. There are some dance-worthy tunes here, but a lot of world percussion in parts keeps everything rather chilled. The upbeat, electronic sounds and beats creates a moving thriller or suspense film result that could be used on a film. Also, the music is relaxed enough in some places that allows it to work just as well in a down-tempo or lounge format ideal for relaxing, studying, or related activities. The ten tracks provide a diverse selection of tunes, sounds, and emotions that will satisfy everyone's inner psyche. The Great Mystery is not so mysterious, but it challenges the mind, body, and spirit with delectable sounds that nourish the soul. ~ Matthew Forss

CD Review: Stash's 'Strip Me Bare'

Stash
Strip Me Bare
SAS Entertainment

Links: Facebook, Instagram, Vevo, SoundCloud, Twitter

The L.A.-based, female musical duo, Stash, combine electronica, dance, and pop elements into an infectious result on Strip Me Bare. Steph Prost and Amanda Maze not only know how to create upbeat, dance songs, but they also toss in a few clever rap vocals and DJ artistry that is quite mature and innovative. The gritty, dance tune, "Upside Down," features pulsating and grinding electronica noises with crystal clear vocals. "Strip Me Bare" contains a few rap lines, swishy percussion, and heavenly vocal arrangements for an urban-inspired dance beat. "Red Cup! Pink Up!" is a feverish, dance tune with glorious vocals and buzz-laden electronica and sporadic raps. "Tear Me Down" is one of the best songs on the album and it represents a perfect blend of rap, urban, and dance influences with equally-impressive vocals. Stash resemble Katy Perry, Kesha, and a more mature and clever Lady Gaga. Strip Me Bare has alot to offer for dance and electronica fans. 5 Stars (out of 5) ~ Matthew Forss

CD Review: Rocky Dawuni's 'Branches Of The Same Tree'

Rocky Dawuni
Branches Of The Same Tree
Cumbancha

Ghanaian-native and LA-based, Rocky Dawuni brings a rousing mix of Afro-roots and reggae-based grooves to the forefront on Branches Of The Same Tree. The English vocals and great backup vocalizations make the songs very lively. However, the drums, bass, guitar, and keyboards played in a staccato pattern is the real prize here. "Black Star" features edgier guest vocals from Samini. There is even some electric guitar sounds that fuse a little rock n roll to the reggae beat. The pleasant and island-friendly tune, "Island Girl," is more of an acoustic song with earthy ukulele and catchy melodies. Of course, fans of Bob Marley will be enamored, as well as contemporary listeners of reggae music. This is jah-st a beautiful album! ~ Matthew Forss

CD Review: Farah's 'Neoteric'

Farah
Neoteric
Self-Release

California-based, Farah Washington, is a singer, performer, model, and all-around creative person with a heart and soul in alternative, urban, R&B, and hip-hop-like song-crafting. Her new album, Neoteric, which actually means 'new idea,' is a perfect description of this carefully-selected and imaginative work of slow beats, urban sounds, and even electronic embellishments. The five-track release features a groove-laden and sultry song, "I Don't Wanna (Leave)," which showcases Farah's intimate and commanding vocals. "You Got It (Interlude)" is a two-minute song with a beat akin to something by Rihanna with repeating vocals and swishy percussion. The opener is a fuzzy, electronic, and drowned-out track with a smattering of vocals and an urban beat that sounds distant and despondent, but that doesn't make it terrible. "5.3.1" is a soothing tune with R&B grooves and sultry vocals. The percussion is rather swishy and electronic. For an EP, Neoteric is a good example of an artist defining their voice and musical style, while making us yearn for more. Little room for improvement here. 4 Stars (out of 5). ~ Matthew Forss

CD Review: William Johnson's 'Sacred Roots'

William Johnson
Sacred Roots
Cedros Records

A percussion wizard with ties to Illinois, California, and North Carolina, William Johnson creates scintillating compositions with lively percussion, strings, new age sounds, and world fusion melodies that are truly unforgettable. This is an energetic release with cultural ties to Latin America and Africa with many kinds of instruments to go along with it. The vibrant kora is highlighted on "New Every Morning." The country-tinged, "Carolina," is a musically-complex tune with many influences bleeding through. A few songs have duplicate titles, which connote different instruments utilized and/or different melodies employed. There are eleven total tracks, but only a couple of these are new with different track titles. Overall, William Johnson creates a magnificent collection of sounds, melodies, and instrumental arrangements that bridge together folk, jazz, Latin, African, and Americana music into an enjoyable mix of musical heaven. ~ Matthew Forss

CD Review: Cascada de Flores' 'Radio Flor'

Cascada de Flores
Radio Flor
Ita Music

The California-based group, Cascada de Flores, takes listeners back to the era of the 1930's with more vocal-centered songs with folksy, Latin-esque percussion on Radio Flor. There are eighteen tracks that bring poetic boleros and romantic ballads with light instrumentation and percussion that produces a sense of nostalgia. It is easy to forget the songs are composed in modern times, but that is part of the mystique with classic, Latin tunes. The music incorporates Latin American, South American, Caribbean, and Afro-Latin leanings. The swaying rhythms of "La Gloria Eres Tu" combines a trumpet, light percussion, and heartfelt vocals amid a slow, jazzy beat. "Jardinero de Amor" picks up the pace with uptempo percussion and a leading female vocal line that is accompanied by a fiery guitar segment that enriches the song with elements of flamenco delight. "Maria Cristina" is a lush, percussion track with vibrant vocals and instrumentation that will blow away even the most discriminating of listeners. Overall, Radio Flor is an album that should graced the shelves of anyone interested in Latin music with a historical edge. ~ Matthew Forss

CD Review: Ricardo Lemvo & Makina Loca's 'La Rumba SoYo'

Ricardo Lemvo & Makina Loca
La Rumba SoYo
Cumbancha

With ties to Congo, Angola, and the United States, Ricardo Lemvo and his Makina Loca band continue to put out Afro-Cuban hits. La Rumba SoYo is another fine example of Ricardo's uncanny way of producing and performing amazing music with ease. Due to Africa's various musical influences and origins, Ricardo incorporates some Angolan contemporary music with Congolese guitar rhythms, and Portuguese-tinged tunes with unforgettable consequences. There is a star-studded cast of musicians involved in the production of the album, including Mario Aguilar, Jose Papo Rodriguez, Danta Pascuzzo, Yordan Martinez, and about two-dozen other artists. The Los Angeles-based Ricardo spices the music up with rumba, salsa, and contemporary grooves that are Afro-pop and Afro-Cuban. All eleven tracks are sure to please fans of African music everywhere! ~ Matthew Forss

CD Review: Hassan Hakmoun's 'Unity'

Hassan Hakmoun
Unity
Healing Records

Based in Brooklyn, NY and born in Morocco, Gnawa musician and sintir player, Hassan Hakmoun, brings us an energetic release steeped in cultural brilliance and trance-inducing beats. The instrumental arrangements of "Balili" are nothing short of a miracle. The opener, "Zidokan," is a gritty, steady beat of a song. The rock elements of "Hamadiyi" showcase a more rock instrumental medley without squealing guitars. However, the instrumentation is rather alternative and grunge-like in a world fusion sort of manner. Anyone familiar with gnawa music will recognize the sintir instrument, but the musical melodies also give it away. This is also the most cohesive album to date. Consequently, the beats are tight, memorable, and full of organic, soul-stirring, trance-inductive qualities that stick with the listener long after the tracks end. ~ Matthew Forss

CD Review: Tinariwen's 'Emmaar'

Tinariwen
Emmaar
Anti Records

North Africa's blues guitar kings are back with another highly-lauded release. Emmaar, which means "the heat on the breeze," is the next installment in Tinariwen's slew of successful albums that attempts to bring a more world rock sound, while still cementing their name in the addictive, swirling, and blues-infused music inherent from their humble beginnings. The reinforcement of the Westernization influences are evidenced by the cover art and liner note poster featuring Tinariwen at a ranch in southern California. This is partly due to the political instability back home in Mali. However, Tinariwen seems at home in any desert; no matter where it is located. There are eleven tracks on this album. There are a lot of repetitious guitar rhythms throughout, but it is broken up by various percussion and vocals. The guitars are organic, gritty, and fuzzy in parts, but the recording quality is still top-notch. Overall, Tinariwen produces yet another fine recording with relatively minor qualms. The lyrics are sung in Tamasheq. ~ Matthew Forss

CD Review: Juliane Jones' 'The Space Between The Telephone Lines'

Juliane Jones
The Space Between The Telephone Lines
Self-Release

New York-based singer, musician, and ethnomusicologist, Juliane Jones, brings us a unique set of songs that combine the poignancy and intimacy of French pop music with the folk and alternative melodies of Cantonese pop--ripe with Chinese and English vocals throughout. Juliane's pop-centered songs reflect a little Regina Spektor-meets-Faye Wong-and-Gigi Leung arrangement. The quirky, little songs are incredibly catchy from the opener, "Free This Mind," to the ballad-esque, "When You Sleep." It is rare every track on an album is great, but Juliane Jones succeeds without a hitch. "Wooden Horse" echoes with youthful brilliance, as the guitars reverberate and the roots-inspired keyboard combines with sparse drums and smooth bass wrapped around stellar Chinese vocals. "Hey Shadow" is a peppy little ditty that features a ukulele instrument that gives the song is happy feel. It is impossible to feel down when listening to this stuff. By the end of the album, you'll be craving some Chinese food and find yourself praising Juliane in Chinese with phrases such as: Hao ji le! (Excellent) and Wo hen xi huan Juliane! (I like Juliane very much!). Overall, Juliane is a fantastic singer and a fine addition to any world pop collection. ~ Matthew Forss

CD Review: Various Artists' 'Sembeh Ma Fa Fe: Roots Volume'

Various Artists
Sembeh Ma Fa Fe: Roots Volume
Stronghold Sound

The San Francisco-based label, Stronghold Sound, continues to pump out some great African tunes on Sembeh Ma Fa Fe: Roots Volume. The new album continues in the tradition of Guinean folk rhythms in a contemporary context. The sixteen-track album contains music by Guinea's great, including Blondi, Saran, Bosta, Aisha, Alassane, MyBaby, Cissoko, Captain Planet, J-Boogie, Dub Snakkr, and Balandougou Kan. The contemporary music is Afro-pop-based with killer percussion moments, rippling guitars, and crooning vocals. Fans of Stronghold Sound already know about this album. Anyone with an interest in Guinean music, West African music, and African music in general, will find it very fascinating and ear-friendly. ~ Matthew Forss

CD Review: Rafi eL's 'Ay De Mi'

Rafi eL
Ay De Mi
Dutty Artz

The L.A.-based singer, songwriter and musician, Rafi eL, possesses roots in Jewish and Argentinian cultures, which shines through on his new, adventurous release, Ay De Mi. The music is slightly electronic, urban, and spacious enough to let the melodies permeate the souls of the listeners. The somewhat synth-infused concoctions represent a refreshing style of music never before heard in the music world today. The eleven tunes contain sparkling, reverberating, and electronic-tinged melodies and rhythms that bridge South American and American influences. The light rhythms fuse a bit of Enigma, Jack Johnson, and Xavier Rudd in an imagined urban vacuum with cumbia as a foundation. Everyone will love this one. Rafi eL succeeds on Ay De Mi with a healthy dose of folkloric and electronic compositions that seem to bring back ancient melodies and spirits for today's generations. ~ Matthew Forss

CD Review: John Adorney's 'The Wonder Well'

John Adorney feat. Daya
The Wonder Well
EverSound

The California-based acoustic and new age musician, John Adorney, brings together European soundscapes the are aurally-satisfying and very groovy. The electronic presence combines Enya with Ronan Hardiman. Mostly instrumental, The Wonder Well contains verses of delicate, engaging, and unforgettable beats, piano melodies, and sparkling atmospherics. Whether it is new age, electronic, instrumental, acoustic, neo-classical, or alternative pop, John Adorney knows how to create magical pieces of music delight. Daya's vocals on a few tracks only accentuate the instrumental capabilities of the music. The angelic washes, meditative rhythms, and awe-inspiring tunes are very well executed throughout. It seems every song is catchy and graceful with a moving delivery and a fanciful interplay between instruments that never gets old. Fans of Enya, Ronan Hardiman, and Vangelis will like its new age appeal and old world charm. ~ Matthew Forss