CD Review: Simrit's 'Songs Of Resilience'

Simrit
Songs Of Resilience
Self-Release

Born in Greece and raised in South Carolina, Simrit Kaur invokes the sounds of South Asia and Africa on her latest release, Songs Of Resilience. The eight-song album incorporates a mixture of new age, lounge, and world music-inspired tunes that include harmonium, kora, conga, log drums, bass, slide guitar, piano, acoustic guitar, and mellotron. The rather spacious arrangements are very cinematic, thought-provoking, and infectious. The electronic elements are reduced, but the results are very magical. The kora arrangements are reminiscent of Rokia Traore's songs on Tchamantche (Nonesuch, 2009). The vocals are fluid, emotive, and breath-taking throughout. The yoga-inspired traditions of the world are accentuated here. There is even a Native American element that fits nicely with the rest of the album. Simrit incorporates a mix of English and Sanskrit vocals with new age instrumentation indicative of Katie Melua's contemporary songs and similarities to Zero 7 and Dala Girls are certainly represented here. Get ready for a guilt-free romp through a yoga-filled journey of music with Simrit. This is simply one of the best recordings of the year. ~ Matthew Forss

CD Review: Atlas Jungle's 'From The Dirt'

Atlas Jungle
From The Dirt
Self-Release

The Guilford, Connecticut tribal, funk, new age, psychedelic rock group, Atlas Jungle, releases an innovative five-track EP that includes both vocal and instrumental gems. The spacey, funky, and psych-laden, "Space Being," contains some atmospheric washes, electronic pulses, and smooth grooves for one heck of a ride. "The Cave" contains heady rock beats, light vocals, and gritty guitar work matched with electronic pulsations for a space-meets-South journey. "Goa Nights" opens with a little slap bass that heads right into a groovy, sultry, and funk-laden concoction with glittery electronica adornments and excellent percussion arrangements. There are even sitar-like sounds near the end of the song, which makes sense, since Goa is actually a state in Western India. The end of the song contains airy, yet punchy, flute renderings that could have been produced by a didgeridoo. "Pythagoras" is another great psych and funk journey with a slight Southern rock vein. The jaunty mix is has a world flair with sounds similar to an Australian origin. Some parts of the song are a more amped-up type of background music similar in style to a YouTube video demonstrating the Australian-made OzTent. "Snow Cat" is a vocal tune with buzz-laden sounds, heady rhythms, and a meandering beat that brings in rock, psych, and funk in equal proportions. If you haven't been convinced yet; you will. From The Dirt is definitely a highly organic experience. 5 Stars (out of 5). ~ Matthew Forss

CD Review: Randy Armstrong & Volker Nahrmann's 'Beyond Borders'

Randy Armstrong & Volker Nahrmann
Beyond Borders
UMP Records

Beyond Borders is beyond the ordinary when it comes to the musical explorations of Randy Armstrong and Volker Nahrmann. Upon listening to the first track, "Ciao Bella," one can easily discover the nod to groovy, South American and Brazilian brilliance with sweeping vocals, breezy percussion, and smooth rhythms punctuated with bass, guitars, and other instruments. The percussive sounds heat up on "Fear Not Fear" in a sort of instrumental jazz vein. "Shanti Om" is dedicated to Ravi Shankar and George Harrison, so you know it is going to be a good one. In fact, it contains trance-inducing sitar amidst a plethora of instrumentation that flows from one chord to another, while truly exemplifying the genre of world music. Eleven tracks are included for your listening pleasure. Travel the world through the sounds on Beyond Borders. ~ 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: Tina Malia's 'Bridge To Vallabha'

Tina Malia
Bridge To Vallabha
Self-Release

Tina Malia discovered the great mantras of South Indian devotional music just before working with Jai Uttal's Pagan Love Orchestra. Falling in love with Sanskrit mantras, Tina has released four previous albums covering different aspects of mantra music. The latest offering, Bridge To Vallabha, contains a host of vocalists, including Karnamrita Dasi, Peia, Donna DeLory, Heather Wertheimer, Jai-Jagdeesh, Sasha Rose, Al Torre, and a few others. In addition, Tina is not only a vocalist, but a skilled musician on various guitars, Rhodes, synths, vibraphone, charangon, and percussion. The rather symphonic, spacious, and awe-inspiring songs bring in cello, sarangi, lap steel, bass, tabla, piano, and shaker for a more textured result. The music is not as dance or urban-oriented as Wah! or Donna DeLory, but the end result is still impressive. There are mostly Sanskrit chants throughout, but a nod to Hebrew and Native American influences are present on two separate tracks. At any rate, Tina's vocals are atmospheric, light, and brilliant--all in the same breath. ~ Matthew Forss

CD Review: Shankar Tucker's 'Filament'

Shankar Tucker
Filament
Shrutibox Music

Shankar Tucker's new album, Filament, brings together neo-classical stylings, Hindustani classical music, and Western traditions in a contemporary context for both voice and instrument. Shankar is a clarinetist, but also adds vocals, guitarist, keyboardist, pianist, and percussionist to his list of talents. The wildly effervescent clarinet on "Chal Chal Sakhi" is especially intriguing, along with the vocals of Ankita Joshi. The heavily-laden cast of musicians on "Aa Re Chanda" brings out the classical, contemporary dance, and Indian music across form different forms: alaap, exposition, improvisation, and tillana. The vocals of Vijay Prakash on "Dil Hai Namazi" are very serene and ballad-like. The song is backed by Shankar's clarinet with tabla, cello, drums, keyboards, and guitar for a more modern arrangement. The more modern "Kashti" contains all the great tabla rhythms, percussion, and clarinet, but it adds the sweet vocals of Nikhita Gandhi for a truly remarkable result. Overall, Filament turns out to be the real-life thread that bridges the musical gap between the East and the West. ~ Matthew Forss    

CD Review: Adham Shaikh's 'Basswalla'

Adham Shaikh
Basswalla
Black Swan Records

Adham Shaikh's dedication to ambient and electronic music forms began nearly twenty-five years. Basswalla is an interpretation of earlier songs, but new tracks appear, too. The instrumental gems are punctuated by sporadic vocals throughout. However, the instrumental prowess of Adham's music is at the forefront. There are urban elements, South Asian fusion, electronic wizardry, and trance-driven honey that flows from creative places within Adham's soul for all to enjoy. There are some atmospheric moments, as well as percussion-driven displays of superior musicianship in places. Most of the tracks are fairly long: many songs over five minutes, which are great for a worthwhile and value-packed album. The various songs are permeated with South Asian percussion, wind instruments, and electronic blurbs that are wrapped around a delicious, urban beat that stands alone. Every track is great. Buy it today! ~ Matthew Forss

CD Review: Midival Punditz' 'Light'

Midival Punditz
Light
Six Degrees Records

The electronic and fusion-focused Midival Punditz release their latest album, Light. It is anything but light from a musical standpoint. In fact, the tunes are rather hard-hitting with diverse South Asian, new age, and world music stylings with contemporary beats, guitars, and traditional sounds emanating from keyboards and actual instruments. The rather organic and enticing sound from New the Delhi-based duo stem from eighteen-years of DJ culture exposure and world music experience, which culminate in a very rewarding and satisfying album. There are nine tracks, but most of them are pretty long. Everything is diverse and reaches deep into the soul of the Earth with fluttering melodies, heavy percussion, wild guitars, dance-friendly beats, and a mix of electronic sampling and engineering that is unparalleled. All of the songs are produced by Gaurav Raina and Tapan Raj--the progenitors of the group. The primary sounds resemble South Asian electronica mixed with a dose of The Trans-Siberian Orchestra! ~ Matthew Forss

CD Review: Kiran Ahluwalia's 'Sanata: Stillness'

Kiran Ahluwalia
Sanata: Stillness
Magenta

Indo-Canadian, Kiran Ahluwalia, ventures into uncharted territory with the swirling, bluesy, guitar riffs characteristic of North Africa's Saharan Desert region. However, South Asian delicacies are still apparent throughout the album, but the instrumental guitar, harmonium, and drums arouse a North African spirit laced with curry-scented morsels called songs. The breezy and bluesy style of "Hayat" resembles a North African anthem spearheaded with vocals of a South Asian origin, but "Sanata" contains similar influences . "Jaane Na" is more aligned with Indian jazz and pop with drifting melodies and floating vocals. "Lament" is a South Asian jazz tune with elements of rock, fusion, experimentation, and contemporary leanings in a mostly instrumental display. All of the music is created from acoustic/electric guitars, bass, tabla, organ, harmonium, drums, and vibraphone. Overall, Kiran challenges music origins and presents them in a very endearing package. Liner notes are in English, Hindi/Punjabi, and French.

CD Review: Marti Nikko & DJ Drez's 'Dreaming In Sanskrit'

Marti Nikko & DJ Drez
Dreaming In Sanskrit
Black Swan Records

Blissful, electronic, and yoga-inspired, Dreaming In Sanskrit is the debut work of husband and wife duo, Marti Nikko and DJ Drez. The thirteen tracks are soaked with lush dub melodies, sitar-sizzling riffs, and down-tempo beats that cannot be ignored. Marti and DJ Drez are accompanied by Bansuri flute, cello, bass, sax, chinese flute, piano, flute, and tabla. The repeated Sanskrit mantras are very soothing and rhythmic, while backed by symphonic sounds and ambulating beats. There are even Arabic sounds on a few tracks, but the most prevalent influence is modern mantra and yoga-inspired music with lengthy melodies and electronic wizardry that is not too overt. Fans of yoga, meditation, down-tempo, groove-laden, and world fusion music will love. ~ Matthew Forss

CD Review: Megan Chaskey's 'Naam Radiance'

Megan Chaskey
Naam Radiance
Heartways Music

Produced around the basic structure of Naam Yoga meditation, Naam Radiance is a collection of Sanskrit-soaked compositions that feature wistful sounds and glorious melodies that are transcendental and soul-soothing. Almost an hour of calming music is included on her new album. Her vocal delivery is delicate, purposeful, and amazing. Of course, there are South Asian influences, but there are also world fusion embellishments on guitar, bass, piano, percussion, celtic harp, and cello. Each song is meaningful on a deeper level, but they be easily enjoyed with passive listening. One need not be a yoga expert or practitioner to appreciate the multi-factoral songs. As a whole, the recording is light, airy, spacious, and pleasantly-delightful. Anyone with an interest in contemporary yoga music will love Naam Radiance. ~ Matthew Forss

CD Review: Sean Johnson & The Wild Lotus Band's 'Unity'

Sean Johnson & The Wild Lotus Band
Unity
Wild Lotus Productions

The New Orleans-based kirtan music group, Sean Johnson & The Wild Lotus Band, bring an energetic mix of global treasures with lively kirtan, yoga, Sanskrit-inspired, and new age mantras with beautiful vocals and melodies on Unity. The ten-track release romps through infectious mantras, global chants, and Rumi poetry all composed in an easy-to-listen-to format. The extended instrumentals and repetitive vocals in spots reinforces the melodies and rhythms throughout. "Remember" contains an upbeat world rock beat with vocals akin to Australia's Yothu Yindi, but the tune is more South Asian-inspired than Aboriginal. "The Man In Blue" features a great mantra and uppity guitar tune with a little Southern charm. In a similar manner, "I'll Fly Away" is a gospel-esque tune with Southern roots and a kirtan infusion. "Unity" is a Rumi poetry and chant song that promotes happiness for all by repeating the popular mantra: Lokah Samastah Sukhino Bhavantu in a light pop/rock arrangement. Whether this is neo-kirtan, new age, yoga music, or spiritual music, you will find happiness and solace in the music of Sean Johnson & The Wild Lotus Band. ~ Matthew Forss

CD Review: Prem Joshua & Chintan's 'Kashi'

Prem Joshua & Chintan
Kashi
White Swan Records

Prem Joshua & Chintan bring us some tantric and Sanskrit-infused compositions from India's inner soul on their latest collaboration, Kashi. There are nine hit tracks with a little Indian psych funk, contemporary yoga rock, and electronic elements infused with a good dose of percussion, vocalizations, and new age/jazz connotations that are ripe with world music elements. The transcendental songs are majestic, euphoric, and meditative. Of course, the tabla, harmonium, and sitar are a part of the mix, but the electronic and contemporary elements are a bit more prevalent. The result is a global fusion that covers dub on "Tumhaari Maya;" dance on "Gayatri Ghetto;" and modern embellishments on "All Roads Lead To Om," "Ya Devi Sarva," and "Lingashtakam." The devotional tunes are rather lengthy between five and ten minutes long, which allows for some expressive and thought-provoking results. There is nothing really comparable to Kashi, but the apparently-defunct group, Nuklearte, from Italy, is relatively close. If you love the South Asian-inspired modern grooves of yoga, Hindi, and mantra-style music, then Kashi will satisfy your soul. Best enjoyed with your favorite cereal : ) ~ Matthew Forss

CD Review: Nadaka & Gopika's 'Surya'

Nadaka & Gopika
Surya
Raga Mantra

Nadaka & Gopika's newest release, Surya, contains beautiful, contemplative, and aural-friendly vedic mantras with the light and energy of the sun the primary focus here. The instrumental tunes contain some of Gopika's Indian vocals, but Nadaka's raga guitar, guitar synth, and added vocals add an avant-garde and experimental element to the mix. The duo are joined by tabla, violin, percussion, and sampling on most of the tracks. There is a transcendental quality to the sound that creates a sense of deeper calm and new age spiritualism. The South Asian and Sanskirt-soaked album is meditative enough to be wanted by yoga fanatics and world fusion fans everywhere. There are eight total tracks that range from four to nine minutes in length. There are some electronic subtleties that remind us of the modern era; but nothing is too overdone or overt here. Experience inner and outer light with Surya. ~ 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: Various Artists' 'Bombay Disco'

Various Artists
Bombay Disco
Cultures of Soul

Bombay Disco celebrates the 1970's disco-inspired music of India's Bollywood scene, along with North American influences that shimmer with notions of dance, cinematic instrumentals, and infectious rhythms. There are thirteen different tunes on the album attributed to about a half-dozen artists. You will hear Usha Uthup, Bappi Lahiri, Kishore Kumar, Amit Kumar, Asha Bhosle, Lata Mangeshkar, and Salma Agha. The music is steeped in filmic constructions with strings, synth, drums, and a frolicking bass. The music is suspenseful and danceable. Bad is not one of the words to describe the album. Instead, astounding and memorable come to mind. Anyone familiar with suspense, spy, and thriller films of India's Bollywood past will love the music on Bombay Disco. ~ Matthew Forss

CD Review: Ahmed's 'Dhaalu Raa'

Ahmed
Dhaalu Raa
Asasi Records

Ahmed Nasheed hails from The Maldives--a tiny group of islands off the coast of India. Ahmed weaves melodies and rhythms of The Maldives with acoustic and electric guitars, drums, sax, percussion, bass, organ, and euphonium. The contemporary instruments are played right alongside traditional, percussion instruments, such as boduberu and dhandi. The soft and laidback "Dhiyaanaage Huvafen" is poignant and emotive with arrangements akin to Daby Toure of West Africa. The upbeat "Alifuthu" provides lots of log drum rhythms and rockin' guitars in a pop-focused arrangement. "Dhoni" contains great vocal harmonies and sweet guitar sounds in a classic, laidback melody that resembles world folk at its best. "Magumathi" is a jazzy and punchy tune with guitar rhythm rich in roots and fusion. "Manjemen" is another stellar track with soft vocals and light guitar work. The rock guitar elements electrify the notes on "Rasge." Overall, the songs are sweet and melodic with very inviting elements from an ocean community rarely heard in the West--or other places, for that matter. Think of Gurrumul meets Daby Toure. Take a trip to The Maldives and let Ahmed be your musical guide. ~ Matthew Forss

CD Review: Amanda Homi's 'Till I Reach Bombay'

Amanda Homi
Till I Reach Bombay
Self-Release

London-born and New York-based, Amanda Homi's Indian descent and world travels shines through on her latest release, Till I Reach Bombay. The danceable elements of "Dancing Girls" is very fitting and addictive. The classy pop-infused "Samba Feliz" brings to life a tropical and Latin medley. The upbeat "Shoes" is a marvelous and quirky Latin-themed composition with comedic lyrics. The South Asian-infused, "Till I Reach Bombay," is a dance-themed track with contemporary elements. There are Latin, Middle Eastern, Central Asian, and Mediterranean elements throughout. Vocally, Amanda has an operatic side, but there are plenty of pop, dance, and neo-classical components. Nothing is awry here. ~ Matthew Forss

CD Review: Baird Hersey & Prana's 'Sadhana'

Baird Hersey & Prana
Sadhana
Bent Records

The multiphonic, yogic, and kirtan-influenced vocal traditions of Tuva, Nepal, Tibet, and India are showcased with a variety of singers from different backgrounds on Sadhana. The new album, which means 'practice,' is a deeply-meditative romp into the yogic center of the universe clearly inspired by vocal traditions and nothing else. However, a few instruments pop up from time to time. Notably, drums, konnakol, ghatam, kanjira, and other percussion. Some of the singers include Amy Fradon, Kirsti Gholson, Baird Hersey, Julie Last, Julian Lines, Julie Parisi, Joe Veillette, Peter Buettner, and Bruce Milner. The trance-inducing vocal melodies are fairly angelic and spiritual with extended vocal-lines and various pitches that flow seamlessly throughout. As a bonus, Krishna Das is featured on the final track, "My Foolish Heart." Fans of world chants, tantric music, Central Asian music, kirtan, yoga, meditation, and spiritual music will find Sadhana divine beyond belief. ~ Matthew Forss    

CD Review: Nistha Raj's 'Exit 1'

Nistha Raj
Exit 1
Self-Release

A distinguished performer of Hindustani Classical and Western Classical violin in the Washington, DC-area, by way of Texas, Nistha Raj connects with her Indian roots, but includes a twist: vocal beatboxing, upright bass, piano, and drums. The edgy, innovative, and clearly awe-inspiring tunes are Indian fusion at its best. There is a jazzy feel with the bass, piano, and violin, but the Indian connection is channeled through raga cycles, tabla, and somewhat rustic, earthy tone of the violin. The somber, "Ek Pyar Ka Nagma Hai," is an instrumental ballad with organic violin, pensive piano, and light drum accompaniment. In contrast, "The River," embodies the innovative Indian instrumental spirit with punctual violin melodies, rhythmic percussion, and luscious drones. There are upbeat and plaintive moments throughout. However, the South Asian instrumental arrangements are creative and fresh. Nistha knocks this one into another dimension and it definitely 'beats' the competition. ~ Matthew Forss