FolkWorld #63 07/2017

CD & DVD Reviews

Mélanie Pain "Parachute"
Kwaindan Records; 2016

www.melaniepain.com

OK, I admit that I thought this was first a new album from the old pop folk singer Melanie, entitled ‘Pain Parachute’. But half way through the first song, I had to go off to the web to figure out my error. Note to graphics guy Jeff Gaudinet—you could make things a bit clearer for us old folkies. But this record was showing its merits even in the midst of my confusion. Pain has a lighter voice that is cute, but dreamy and quite expressive in the French chanteuse style. There is a lot of piano backing, giving this a lounge feeling, but it is still a bit modern on top of that.
© David Hintz


Christian Kjellvander "Solo Live"
Stockfisch, 2016

www.christiankjellvander.com

This solo artist should be named Richard as I could file him somewhere between Buckner and Thompson. But I could even add Gordon Lightfoot into the equation, so we will leave him with his proper Christian name. The voice is so rich and the guitar work holds up well with a slight electric sting to the chords. It is not as fancy as Richard Thompson, but it effectively sets the stage for the song. At times, it sounds like English is his second language, but he sings it so well and it is so heartfelt, that it always delivers a fine impact for folk lovers—be they modern day or old school.
© David Hintz


Peter Hook and the Light "Live Albums"
Westworld Recordings; 2017

www.peterhook.get-ctrl.com

In December 2010, Peter Hook showed up with a band promising to play his former band’s first LP and much more. Since this was Joy Division, whose run was shortened when lead singer Ian Curtis committed suicide, I was apprehensive regarding this show, but ultimately curious. And thankfully I went and was blown away with what a great job Hook did with the vocals and with what the band did with the brilliant post punk material. Hook came back the following year with ‘Closer’ and he has also added the first New Order album into the potential set list. And now, even crazier than all this, he has released FOUR new live albums (two of them doubles!) documenting these fascinating live events. They seem to be complete shows, rather than selected cuts. This shows that although Hook has a grasp on Curtis’ style, his rougher approach takes over toward the end of the set and his voice is pushed. Still, it is a great job and fantastic collection of fresh takes on all the great music of Joy Division, New Order, and even Warsaw!
© David Hintz


Yasmine Hamdan "Al Jamilat"
Crammed Discs, 2017

Artist Video

www.yasminehamdan.com

We have a very worldly pop folk singer here. By pop, I do not mean anything overly sweet or danceable, but more of a mainstream smooth hook oriented style. Her Lebanese heritage almost certainly brings its way into these songs, but they cross over well to just about any musical culture. It is an effective balance between the exotic and the pleasantly mundane. This could do quite well, although I was only given half of the tracks on this album, odd for a label called Crammed Discs.
© David Hintz


Cornelius Boots "Holy Flute"
Own label; 2017

www.corneliusboots.com

If you are skeptical about hearing 12 songs of solo instrumental flute, I will not blame you. I play the flute, so that is not a problem for me and this is a bamboo flute, which offers more breathy tones and deep power. The extra kick is that Cornelius Boots is taking contemporary rock and metal songs by Black Sabbath, Led Zeppelin, and Lamb of God and working out the spiritual side of them. These are fascinating interpretations, many times offering little resemblance to the original songs. Although there are blues and deep spiritual folk feelings throughout, you also get some strong rock vibes that punch through as well. It won’t quite make for that smooth backtrack for your zen meditations, although I am interested in trying. The vocals on the last song, ‘Behind the Wall of Sleep’, come as a surprise and close out the album with a bang. This all comes together and is strong enough in inner spirit to blow by any label of novelty record and stand out as a sparse and intriguing work.
© David Hintz


Garden of Delight "Back in Ireland"
Broken Silence, 2015

www.god-band.de

Imagine Jethro Tull or Horslips doing their innovative folk rock in a post punk world. That is pretty close to what we have here with a vocalist sounding like he grew up on Modern English and the like. The music is fairly straightforward (although oddly reminding me of Slim Cessna’s Auto Club) with decent arrangements. When it works, it is quite good. When it doesn’t (about half the time) it sounds like the weakest Horslips/Tull cuts you can find. So it is well worth a listen, but it will depend on how many of these rock moves connect. This is pretty much a one-man band with a rock rhythm section and a fiddler, although Alan Doherty’s whistles on half the tracks elevate the songs quite a bit. Mixed, but interesting and further listens may get me to lean more heavily one way or the other on how much time I will spending in the Garden of Delight.
© David Hintz


Alison O’Donnell "Climb Sheer the Fields of Peace"
Mega Dodo; 2017

www.alisonodonnell.com

It has been a long time since a 15-year-old Irish singer led her slightly older bandmates into the first Mellow Candle recordings. And nearly half a century later, Alison O’Donnell still creates mesmerizing music. Her voice is full of youth and vigor, which is plenty to pull you into these twelve songs. But the backing music is also outstanding. It mostly features a quiet synthesizer backing that creates landscapes eerily similar to John Cale’s compositions for Nico on ‘The Marble Index’. There is even a harmonium! The music is nowhere near as dark as that album, but the vibe is shared as the deep contemplative mood is well established. This is for older fans as well as anyone who has never heard of Mellow Candle (and go quickly and fix that quite understandable oversight).
© David Hintz


Dave Desmelik "Lifeboat"
Own label; 2016

www.davedesmelik.com

On the surface, you could classify this North Carolina singer songwriter’s record as Americana. Yet there is a playful inventiveness to the arrangements and the guitar lines that almost cross into experimental territory. It does not quite get all the way there, as the warm melodic nature of the songs stays in focus throughout. Aside from a few pretentious moments, this is quite excellent and I recommend moving away from the dock and drift where the Desmelik current takes you.
© David Hintz


Calan "Solomon"
Sain Records, 2017

Artist Video

www.calan-band.com

Here is yet another Welsh band to take me to intriguing folk pastures. Calan has only the slightest modern feel to it, with lots of traditional moves within the jigs, reels, and folk songs. The fiddle work is strong and there is plenty of accordion in addition to the guitars, bass, and drums. I really enjoyed the fuller songs with the female vocals. They remind me a bit of Booze Hoister Band, as well as fellow Welsh legend Heather Jones, and many more for that matter. I have been listening to fine folk music on the Sain label for more decades than I want to think about and it is great to see them continue here with a fresh, yet classic approach from this find band.
© David Hintz


Devil Grass "Dog + Cross"
Own label; 2017

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Michael Roberts used to be in a Philadelphia band that specialized in intense progressive metal music. Since his move west to Arizona, he has pushed further into rootsier folk music. Thankfully, he has not lessened his intensity, as he has managed to retain inventive progressive heavy moves in this newer form. Although this is just a four song EP, the songs are long, thick and even epic. Even in rock music these days, there are not enough bold epic moves and this proves that it can work just as well in folk-rock music, even as it is more unusual. One listen should confirm whether you favor strong expansive moves that can fit into your folk world. They certainly do in this household. Devil Grass fills a rather large void in my musical universe.
© David Hintz


Emel "Ensen"
Partisan Records; 2016

Artist Video

www.emelmathlouthi.com

Take some of that Kate Bush power and put it with more Icelandic song structure and you have a very rough idea of what you are in store for here. Yet the exotic worldly folk tones within the background instrumentation are Tunisian. There is a fair amount of electronica, but the undulating tones do not draw much distinction in my head about what instrument is in play. Credit the overall atmosphere created by the strong vision of Emel. She is based out of New York City and I hope some day to catch a live performance, which would no doubt be as arresting as what is evident on this record. These eleven songs grabbed hold of me and kept me in place until they had unleashed their magic.
© David Hintz


Josienne Clarke & Ben Walker "Overnight"
Rough Trade, 2016

www.josienneandben.com

This is a pretty solid modern folk outing. Female vocals and well-played acoustic guitar are the core of these songs. At times there is some orchestration or fuller arrangements. It does not stand out for its audacious originality, but is a cut above many other artists with the skill in the execution. And if you think my reviews of the ‘out there’ or genre-busting artists are too much for you, then you may want to pull back to this good straightforward quality. You get plenty of that here and there are even a few magical moments in the mix as well. ‘Weep You No More Sad Fountains’ sent me to distant cranial spaces.
© David Hintz


Jennie Abrahamson "Reveries"
Sweetwound; 2017

Artist Video

www.jennieabrahamson.com

Lush pop? It is certainly lush with sumptuous vocals and smooth thick backing. The hooks are there to make this popular if it reaches enough ears. There is nothing at all folk here, ‘tronica’ or otherwise. The melodies are sweet, but not cloying, so it is a pleasant enough listen.
© David Hintz


Liset Alea "Heart-Headed"
Kwaidan Records; 2016

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Now here is an example of lush music that has a roots base that the musicians work from. There is a steady Americana rock feeling buried in here, but it becomes so vast and expansive, it is hard to limit to even broad based categories. The vocals are lovely and the music creates outstanding atmosphere. The songs express a good range of emotions and are both direct and mysterious. Born in Havana and living in Paris, it makes sense that Liset Alea offers such broad music shifting songs here. This is certainly not for the trad crowd, but will stimulate the senses of most music fans.
© David Hintz


Yacine & the Oriental Groove "l’estima veme la salvatgia"
Take Away; 2016

German CD Review

www.yacineorientalgroove.com

This is pretty much as advertised, although there is a fair amount of variety within the groove. Normally I like variety, but this record headed me toward songs I really liked and then veered hard to those I could do without. The songs that danced around the classic Asian harmonic minor scale were far preferable than the songs that laid down beats and pushed forward the hooks to help out people on the dance floor. Eclectic? Yes, but not always in a good way. Still, this is an inventive romp that is worth a listen if you have a foot in both of these worlds.
© David Hintz


Max Paul Maria "Figurines"
DevilDuck Records, 2016

www.maxpaulmaria.com

This is classic up-tempo singer songwriter styled folk rock. The voice is nasally in that ragged glory style, while the music can hold its own in an up-tempo rock number or a folkier cut. Like figurines, this is a collection of individual songs, and a few them stand out enough to warrant further listening. The opener is strong and I liked the fiery ‘Bittercold Now’. There is some country twang in here, but its more ‘alt’ than ‘trad’. This is a decent effort and Max Paul Maria is worth keeping an eye on for fans of O’Death or Elliott Brood.
© David Hintz


Tamikrest "Kidal"
Glitterbeat, 2017

Artist Video

www.tamikrest.net

I listened to about half of this record before I even bothered checking out the band name and looking them up on the web. By then, I felt I was listening to a very tasty band featuring all the classic electric guitar moves you hear from the bands in Mali. Well, it is always nice to be right, as Tamikrest is indeed a band from Mali. And most importantly, this shows that the music of Mali is a highly significant style with worldwide appeal that can easily be picked out from the pack. Whether it is the Toure father or Toure son recordings, Tinariwen, or many more, Mali desert blues-rock belongs in almost anyone’s collection. And Tamikrest has all the right moves and plays interesting guitar lines with a smooth and sultry manner that befits the quiet vocals on top. The rhythm section is solid and the songs are good. Nothing to fault here, this is a fine release.
© David Hintz


Kaurna Cronin "Southern Loss"
Broken Silence, 2016

www.kaurnacronin.com

From South Australia comes this nice example of electric folk rock. It could almost be indie rock, but the traces of harmonica and the nice acoustic guitar work offsetting electric moves keep it clearly one foot into the folk camp. There is a real positive vibe along with a slight dreaminess in the vocals that is at times quite enchanting. The slide guitar work stands out as a nice addition to the fine arrangements. When the songs don’t slip too much into the mainstream, this is quite good and well worth a listen. Apparently he is successful in Australia and with the right exposure and touring, the world could easily join in.
© David Hintz


Dirty Old Town "Beauty and Truth"
Celebration; 2016

Artist Video

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Morten Christensen’s music is almost too attractive for him to record under the moniker ‘Dirty Old Town’. But as the album title infers, he covers the light and dark of life, all with an attractive voice over a mannered composed backing. However over the course of the whole album, it becomes too locked into one long sound (with too much steel guitar, too). I would have liked a few rhythmic or tonal shifts to challenge my listening more. Still, there is a fine composed voice atop these songs, so it may be your style more than mine.
© David Hintz


Avec "What if We Never Forget"
Earcandy; 2016

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Speaking from experience, a good memory is a curse in many ways. I would love to forget a lot of painful memories. Thankfully, I do forget a lot of mediocre things, like so much music that crosses my path. But I don’t think I will be forgetting Avec too soon. It is not overwhelmingly bold, but has core strength even in its steadiness as the smooth electronics and soft voice floats by. There are some folky moments and the overall tone will work well with a modern folk fan that can handle 21st century arrangements. I do not always care for the modern style, but there is enough of a balance here and effective vocal work, that I will remember these tones and songs.
© David Hintz


Michael Lanning "Words Should Mean Something"
Own label; 2016

www.michaellanning.com

This is subtitled, ‘Live at the Bitter End’ and that is exactly what it is. Michael Lanning was not a name I knew, but I have heard his work as he has had songs recorded by other bigger names and has done a lot of work on advertisements, so he is out there. But now here is a raw straight up look at him and his work. It is classic folk club/coffee house format for the most part, voice and acoustic guitar. There is a bit of musical help on a few cuts, but it’s mostly Manning here. Fortunately, his words mean something and are interesting to listen to—meaningful and quite funny when he wants to be. So if you are tired of the new fangled folktronica, Americana, and indie rock and just want the classics, this release is made for you.
© David Hintz


Joshua Hyslop "In Deepest Blue"
Nettwerk, 2016

www.joshuahyslop.com

Joshua Hyslop has a light and sensitive touch, both with his voice and his guitar work. That soft vulnerable voice is one that we have heard before in folk music, but he is assured in his singing and the songs stand out rather well with his approach. The backing varies from one acoustic guitar to subtle electric instrumentation, which expand the horizons considerably. "Living & Dying" is particular magical in creating a cinemascope landscape which is quite mesmerizing. This is a good solid album with some real highlights.
© David Hintz


The Refusers "Wake Up America"
Own label; 2016

www.therefusers.com

Where to start.... I am quite skeptical of any band that opens their album with a song entitled ‘Born to Rock’. For the record, this is assertive blues-rock, with some punk attitude, certainly in lyrics and partly in the music. Then we get into their protest music, which is as clichéd and nebulous as it gets. ‘You Won’t Read it in the NY Times’ doesn’t adequately define what ‘it’ is. To be fair, they rail at Rupert Murdoch, too, so it is nice that they are against everybody. That is safe. This was written before the recent US election, so I am not sure if they think America woke up or not. But if this is waking up, then I am sure most of the world would prefer America goes back to sleep. By the time the band tells me to ‘go back to sleep, you silly little sheep’, I am convinced that this is great advice and there is not point listening further. And until they come up with something more distinctive or at least poetic in their clichéd lyrics, I will continue to practice the DOA mantra that I fully believe in: Talk minus Action equals Zero. And if they are doing something beyond this, then great, I would advise continuing to do that and do less music.
© David Hintz


Wolverton "Wizard Land"
Woodpile; 2017

www.wolvertonmusic.com

Although the vast state of Texas HAS an excellent psychedelic reputation beyond its obvious country and Americana scene, it has never been known for much of a psychedelic folk scene. San Antonio’s Wolverton continue to their best to change that perception. Their previous two EPs were real gems and now their first long player continues the magic throughout these fourteen songs. Although this hearkens back to the classic European style, it retains a touch of Americana creating a sound that that is rooted more in the soaring clouds than any spot on the planet. The vocal work is great throughout with a lot of female harmony and a male voice as well. The piano is surprisingly chilling and the guitars are quite tasty. There is also some playfulness in a few of the songs, so it leaves a good after taste at album’s end. This is a solid recommendation for all types of folk fans.
© David Hintz


Blair Dunlop "Gilded"
Gilded Wings; 2016

Artist Video

www.blairdunlop.com

The UK based Dunlop does a pretty good job of merging old folk traditions with a more modern folk-rock sound. He handles guitars and voice with keyboard, bass, and drums backing. His music is both light, but rocking, so it certainly can fit well in an indie rock club as well as on a folk bill. It is a decent balance and his songs have enough flair to command attention. Nice record, this.
© David Hintz


Pierce Edens "Stripped Down Gussied Up"
Own label; 2017

Artist Video

www.pierceedens.com

This is not for the faint of heart folk fan. Pierce Edwards bares it all in his songs and has musical backing that moves from delicate acoustic passages to intense mythic electric explorations. It has a Sadies feel to it, although the intensity is similar to that of early to mid-period Woven Hand or Slim Cessna/Munly. He pulls it back here and there, but an explosion that which occurs in ‘The Bonfire’ seems imminent at all times. This album will get many listens in this household. I just hope he can keep up the intensity and I would love to see this presented on stage.
© David Hintz


Zoë Schwarz Blue Commotion "This is the Life I Choose"
33 Records; 2017

www.bluecommotion.com

Normally, this is the type of blues-rock record where I find it is good, but rather typical, so I say you should see the act in a live setting where it is best heard. That applies here to some of these songs, but Ms. Schwarz and her drummer, guitarist, and organist also put together some excellent rock songs, complete with pop hooks and some interesting melodic moves. So if they never come to your town (or continent), see them, but also enjoy this nice little record. Dig in day or night, as there is a fine array of songcraft here, performed by a sharp little band. I guess I should have noticed the clue of the Stranglers t-shirt she was wearing on the cover. That garners some extra credit points that ultimately weren’t needed here.
© David Hintz


Husky Tones "Who Will I Turn to now?"
Own label; 2017

www.huskytones.com

It’s my lucky day. I have yet another blues act that avoids the clichés and brings a creative approach to the predictable formula. When this drums/female vocals and guitar duo steps it up, they achieve a crazy sound somewhere between the Cramps and the White Stripes. They can also dial it back with some nice acoustic folk work as well. It all connects with the evocative vocals that are smooth and inviting (quite unlike the Cramps). I definitely want to catch this UK act in action some time soon.
© David Hintz


Mark Ripp & the Confessors "Under the Circumstances"
Manhunt Park Records; 2017

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Usually with an ‘& the’ band name, you expect singer songwriter barroom style bands. Not always of course, but this time my expectations were met. It is bluesy, rocking, but with some storytelling aspects of folk music, even if the music doesn’t quite go that direction too often. There is a big, big list of bands I hear where I find the music adequate and some times even good, where I believe it would work so much better in a live setting than on a record. Add this to the list. But bonus points for the excellent ‘Side of the Road’.
© David Hintz


Tom Mank and Sera Smolen "Unlock the Sky"
Ithaca Records; 2017

www.tommank.net

Although this is a male/female duo, the female vocals are other parties as Sera Smolen focuses solely on cello. And that is a very good thing as her cello gives this a different quality than that of most records in this field. There is something lounge about it as well in addition to the obvious folk qualities. It is easy going, but with smooth cello melodies and flourish, there is something vibrant going on where the vocals and acoustic guitar can sound even more firm and interesting. Ultimately, these two have a nice touch and have a nice selection of songs as well.
© David Hintz


Svarteper "Svevestov"
Heilo/Grappa, 2016

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I finally figured out this band is from Oslo, as everything is in Norwegian here. Musically, they are almost as tricky to pin down as they were in the geography department. They have an easygoing style that you could comfortably slot into folk rock. There are some heavy moments and a mixture of roots authenticity and laid-back lounge stylings, which is unusual. It mostly works, but you have to be in a certain mood for this music. It may take me a few listens to get a full handle on it, but it is certainly worth an exploratory listen.
© David Hintz


Jewish Monkeys "High Words"
Greedy, 2017

Artist Video

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Klezmer punk is what I was expecting and it is what this collective delivered. The pace is there, but there is a lighthearted nature to their approach, which keeps it fun and invigorating. So much gypsy punk is based on pace and energy with a certain craziness within. This has much of that, but it is far more relaxed and focused on melody, even with a slower song here and there. So if gypsy punk is something you are only half into, this may be the half you are looking for. And if you like the wilder klezmer bands, then step right up to the Monkeys.
© David Hintz


Marc O’Reilly "Morality Mortality"
Virgin; 2016

www.marcoreillymusic.com

This is a strange record of contrasts. The vocals tend towards dreamy with music that is lightly snappy to downright heavy. The loud fuzzed guitars can be quite striking and they appear a number of times throughout this album. But the overall tone is one of modern indie style with a certain airiness about it all. It is an interesting sound that is just fresh enough to warrant a listen. Don’t expect many folk moves herein, but there is a safe adventure to be had.
© David Hintz



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