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: Bio Ritmo's 'Puerta Del Sur'

Bio Ritmo
Puerta Del Sur
Vampisoul

Afro-Cuban salsa from Virginia? You bet. The guys of Bio Ritmo create foot-stompin' and head-bobbin' melodies ripe with salsa elements, vintage melodies, gritty guitars, punchy horns, and funky-experimental songs that are multinational and multi-faceted. There are glittering keyboard arrangements, down-and-dirty percussive set-ups, and fluid bass-lines. The last track, "Codeina," is more of a classical tune with strings at the beginning of the song, which then fade to make way for a Middle Eastern percussive section and vocal arrangements of a similar vein with a bit of electronica and jazz thrown in for fun. At any rate, the Latin groove, contemporary arrangements, and psych-funk-jazz concoctions are very enjoyable and a perfect companion for anyone seeking inventive and creative Afro-Cuban music with a few variations and influences. ~ Matthew Forss

CD Review: NMercer's 'Crossroads' EP

NMercer
Crossroads EP [explicit]
Self-Release

Raised near Seattle and based in South Central, California, Naomi Mercer (aka NMercer), presents us with a fine compilation of hip-hop and electronica-tinged songs with an urban edge and soulful mix of fanciful lyricism and quirky percussion. "DB" is a jazzy, edgy, and urban track with swishy percussion and miscellaneous electronic elements. The emotive vocals are rather hip-hop oriented overall. "Why U Gotta Be So Fine" opens with an electronic concoction of sounds before a slightly-hip hop-influenced vocal section picks up. The smattering of electronic embellishments and punchy percussion are most evident throughout. "Steal It" opens with drippy and blurby keyboard sounds that move into a hip-hop instrumental masterpiece without losing its electric showers of charm. "Crossroads" is an urban joint with swishy electronic adornments with assertive vocals and symphonic blips and beeps that scream hip-hop-electronica. You're guaranteed to find yourself at a 'crossroads' and it starts and ends with NMercer. ~ Matthew Forss      

CD Review: Harmonic Blue's 'Villa Borghese'

Harmonic Blue
Villa Borghese
Self-Release

The Maryland-based quartet, Harmonic Blue, is an alt-pop, rock, folk, and classical group that is refreshing and amazing in the same vein. Lead vocalist and acoustic guitarist, Zach Field, is joined by Anthony Ajluni on guitars, Gabe Bustos on bass, keyboard, and harmonica, and Sam Balcom on drums and percussion. The breezy, "Silver Spoon," is slightly jazzy overall, but not too far removed from alt-pop and folk. Jake Balcom's trumpet solo at the end of the song finishes it off nicely. The jaunty, ambulating "Subreality" is anything but fiction. The lilting guitar and wavering harmonica tones set the stage for an alt-folk composition that opens up into a quasi-rock medley mid-song. "Villa Borghese" opens with a rumbling guitar tune and light percussion that would make Xavier Rudd jealous. The tune finishes with a nice trumpet display. The seven-track release is a heavenly rompy through the world of alt-folk, pop, and rock with a raw, organic performative nature. This is a very fine recording that will please the college crowd, as well as the refined audiophile. ~ Matthew Forss

CD Review: Deva Premal & Miten with Manose's 'A Deeper Light'

Deva Premal & Miten with Manose
A Deeper  Light
White Swan Records

The dub-centric, yoga-focused, Sanskrit mantras of Deva Premal & Miten have been known for years. However, the addition of Manose--a Nepali Bansuri flute master--and keyboardist, Maneesh de Moor--takes the languid, soul-stirring music to new dimensions. There are even classical influences with violin and viola, thanks to Richard Moody. The sputtering, dry notes of the Bansuri flute eloquently play off the swishy, electronic undertones of the keyboard. However, the sounds are very tantric and sensual with none of the tunes connoting a hurried or frenzied state of being. Moreover, the sounds are not rooted exclusively in samples, loops, or showy electronics. The eight long tracks spans one-hour in length. There are certain themes with each song, such as 'innocence' and 'devotion'. The Sanskrit anthems are perfect for relaxing, dreaming, and believing in a higher human cause. This is perfect for fans of laid-back music with a purpose--a purpose of being in harmony with each other. ~ Matthew Forss

CD Review: Vandana Vishwas' 'Monologues'

Vandana Vishwas
Monologues
Self-Release

The Indo-Canadian roots of Vandana Vishwas are clearly evidenced on her sophomore release, Monologues. Contrary to the initial tone of the title, there are songs on the album with good vocalizations and the same songs steeped in Hindustani classical music, Persian melodies, and Urdu poetic masterpieces. The upbeat music is driven by tabla drums, but the unmistakable drone of the sitar is also present, along with sax, flute, guitar, piano, and keyboard. The floating vocals are classical and contemporary in the same vein. It seems Lata Mangeshkar comes to mind on the vocals, but in a much more contemporary way. However, the music is not Hindi pop/dance music. It is influenced by global wanderings and a rich, South Asian heritage in the musical arts. The scintillating melodies and dreamy percussion tracks are outstanding. Nothing is questionable here. ~ Matthew Forss

CD Review: Jason Sinay's 'Ape & The Wall Of Questions'

Jason Sinay
Ape & The Wall Of Questions

California-based, Jason Sinay, brings us six new songs and a few covers by Bob Dylan and The Grateful Dead. The music is steeped in keyboards, guitars, drums, and bass. The ballad-esque, "I'll Bring You Diamonds," is a soulful little tune with acoustic guitars, percolating keyboards, and cinematic qualities and harmonies. "Hey Mama" contains piano tones, Southern rock elements, and grungy guitars. "Gimme The Time" contains a soulful, swaying melody that is rich with slide guitar sounds, jingly guitars, and bluesy percussion. "Santa Rosa" is a moving, rock song with a good beat that is road trippin' rock at its finest. The music is good without any faults. Anyone with an interest in good music will love Jason Sinay's latest release. You will have many more answers than questions with this release. ~ Matthew Forss

CD Review: Sarp Maden's 'Ardindan'

Sarp Maden
Ardindan
Kalan

Sarp Maden's exciting 2010 Turkish jazz release explores a little vocal prowess on "Tazecik," while the remaining songs are completely instrumental. The musical tone is upbeat jazz with keyboard, trumpet, fretless bass, fiddle, and guitar accompaniment throughout. The nine songs traverse the world of ethnic jazz, experimental, avant-garde, and fusion. The music is slightly more complex and varied than the more recent release, Durgun Sular. In a related manner, the music is more rock-driven on a few tracks with frenzied guitar stylings and fast playing, but it is not out of the ordinary for world jazz. Anyone with an interest in world jazz, Turkish jazz, or instrumental music will be very happy with Sarp Maden's Ardindan. ~ Matthew Forss

CD Review: Kelly Carpenter's 'Passage'

Kelly Carpenter
Passage
Self-Release

The chilled and relaxing grooves of Kelly Carpenter’s piano playing combine elements of ambient rock with new age instrumental magic on his latest release, Passage. The adventurous “Summer Rain” takes on a life of its own with lush piano melodies and an ambient rock vibe that is wholly instrumental. The quick and short keys resemble falling rain. “A Distant Shore” seems more like an ode to Ireland with a pensive, yet emotive violin solo that only lasts thirty-seconds. “Whom Have I But You?” contains playful piano melodies and a little percussion to add some meat to the track. The fluttering electric sounds merge into an electric guitar medley that appropriately accompanies the piano. The rain and thunder noises of “Waiting” are accompanied by solo, meditative piano. “Saying Goodbye” contains a rousing and jazzy melody with light percussion and piano accompaniment with the unmistakable sounds of an electric guitar. This is probably the most ambient rock-type song on the album that encompasses a bit of blues and roots music thrown in. “Ascent” opens with bird sounds and a fast-paced piano with light percussion and atmospheric keyboards. “The View From Here” opens with spacey noises, atmospheric washes, and sparkling piano sounds before a little post-ambient rock guitar breaks the serenity. The last few tunes add a little more rock guitar, but it does not detract away from the new age nuances throughout. In fact, the rock guitar is a perfect addition to the instrumental music. If Passage is a journey, his piano is the vehicle. Fans of solo instrumental piano, new age and ambient rock will love it. Similar artists: Michele de Wilton, Danny Wright, and Al Conti.     

CD Review: Robert A. Wolf's 'Krakatoa'

Robert A. Wolf

Krakatoa

Wolfymusic

Indiana's Robert A. Wolf is a composer and producer of New Age music with a knack for the instrumental. His latest album, Krakatoa, is named after the famous Indonesian volcano as a symbol of musical creativity that is about to burst. The result is a set of tracks that sparkle with keyboard washes, pristine piano, and a light percussion base indicative of Enigma, Tangerine Dream, and Ronan Hardiman. The only vocals are angelic non-sensical sounds used intermittently throughout the album. The instrumental beat of "No Horizon" is musically boundless and aptly named as no horizon exists in this musical world. The equally enthralling "Distant Lights" is a perfect song and, by accident, a nod to the stellar piano and production work of Ronan Hardiman. "Caldera Sea" is a frothy cauldron of Mediterranean sounds with all the luscious keyboard washes one can handle. "Burnt Orchid" is a more piano-focused song than other tracks on the album. The final track, "Cracking the Mountain", incorporates all the sound effects, washes, vocal 'ahhs', and rhythmic beats inherent in any progressive New Age recording. Krakatoa should 'krak' the top 10 list of any New Age music chart. ~ Matthew Forss