FolkWorld #63: CD Reviews

Lundgren achieves a fine result with this album. It is a folk outing all the way with voice and acoustic guitar leading the way. There is light accompanying instrumentation on several songs; most effective is the raindrop style piano. Lundgren’s voice has that great timbre that connects with the instrumentation, while clearly bringing out the emotion in the words. The music is brisk, but in a light manner that effectively draws you in. This is a folk record for fans of all ages and all eras. This is his 14th solo record for this Swedish born, Copenhagen residing singer songwriter, so he clearly has a handle on his approach.
© David Hintz

This collective bills itself as an immigrant band from New York City. They have that toughness that you get in New York, but bring in intense rhythms and fun melodic structures from south of the border. There is some South American, Carribean, and African styles within. They remind me a bit of alternate Dengue Fever, who although has some South American touches, focuses more on Cambodia and an LA psyche style. This band is more of the grittier east coast style, but also has good songs to grab a hold of. They remind me a bit of Goat as well. And this record can hold its own with the records of the bands I mention here.
© David Hintz

North Dakota is next to Minnesota and is in the heart of where Scandinavian settlers took root, as they were among the few that could handle the cold and barren landscape. I am not sure this album fully reminds me of that, but North Dakota has some interesting variety within. Brosseau and company recorded this in bright and sunny LA, so there are emotions that range from the "look California and feel Minnesota" vibe (quoting the just now late Chris Cornell). The acoustic guitar is quite good here as Brosseau, or Sean Watkins, or both do an excellent job. Some of the songs really stand out such as ‘On a Gravel Road’, which should work its way into any folk fan’s head and heart.
© David Hintz

What looks like a gnarly Scandinavian death metal record turns out to be surprisingly decent folk-rock. It does not even have an overwhelmingly Norse feeling, but there are some elements in the root work I suppose. You know you are in for tricky arrangements when a band combines cigar box guitars and basses with synthesizers and vocoders. And Pekko and company kept me guessing pretty much throughout the album. It’s bluesy, rocking at times, laid back at others. It is unique enough to be interesting and not overly audacious for the less adventurous among us.
© David Hintz

Here is a good concept, as the subtitle makes clear: 12 banned songs from 12 countries. There are only a couple of songs that I would have predicted before looking at the list. I knew Victor Jara would be represented and Billie Holiday’s ‘Strange Fruit’ is a classic. But there is even a Kate Bush song here, ‘Army Dreamers’. The folk style is a bit mannered and modern for my liking, but it is still pretty decent. There is even one song from his native Norway, as the geography of this project is indeed worldwide.
© David Hintz

This full band effort runs the range from gutsy indie rock to roots folk-rock reminiscent of The Band. I preferred the former, as these guys have an edgy instrumental attack that keeps you poised for the next passage of their song. And there are some fascinating sounds and passages abounding about the best of these songs. So if you can get by the cover art and dig into the contents, you may find some satisfying and rather intense music.
© David Hintz

First this is a band and not a solo artist, and second, this has nothing musically to do with Mexico. This trio is from Kentucky and recorded this in Nashville with that distinctive Nashville Americana style in the forefront. When it rocks, it stays light on its feet, and when it goes for a more delicate shade of its roots music style, it is slick and assured. And there is a bit of country twang at times, although it is subtle and appealing to those with one foot in the genre. This does not quite add up to enough of a whole project to interest me further, but the qualities are there to attract a fan base.
© David Hintz

This is easy going folk rock/indie rock for the most part. There some country sounds within, but the song style steers more straightforward folk rock. It is all fairly laid back, which is not a style I gravitate toward. Ergo, I can’t really find anything to grab a hold of here, but if you enjoy the lighter side of Dan Fogelberg, Jackson Browne, and many lesser artists whose names I try to forget, you should give this a listen.
© David Hintz

Although this has lighter folk rock tendencies, which I am a bit inundated with as of late, this weaves a bit more magic than most. The female vocals are assured and just flexible enough to expand the material. The dancing electric guitar lines are what really give this record its unique presence. That and the overall quality of the songs kept me attentive throughout. This is a fine Norwegian band that works well within that country’s rich heritage of folk-rock.
© David Hintz

I have long been a fan of Mark Lanegan’s crooning baritone vocals, ever since the early days of the Screaming Trees. He did some quiet and dark folk music with Isobel Campbell about ten years ago that was quite memorable among folk fans. But now it is something in between that style and his older rock style. My first inclination is thinking of Joy Division with a thicker sound. It has that same intense sense of mystery in the music with strong vocal work on top. Even as a Lanegan fan, I was not sure what to expect and was presently surprised as such snappy and melodic music as this. It may not be as full out folk as the pairing with Campbell, but frankly, this is far better realized and appealing.
© David Hintz

Although from Belfast, Rory Lavelle has the sound of a world traveler. His style pulls from America and the UK. He includes everything from blue-eyed soul to folk rock and even has a modern post Radiohead vibe at times. Although this is just his first solo LP, Lavelle has been in numerous bands and is a veteran who clearly knows his way with a song. While the style is not overly brazen here, it is individually strong and assured and the songs move forward with confidence and clarity. There is also some delicate acoustic guitar work that will sit comfortably for any folk fan.
© David Hintz

Put this in the ‘aptly named band’ category. They will throw most listeners for a loop just as if you fell off the high ride and got a nice bop on the head. There is warmth in their folk manner as they start with vocals reminding me of the old band, Dulcimer. Just as I was wondering if this might be too pretty, a jagged post punk electric guitar line knocks me off of my clichés in a hurry. There are still plenty of delicate acoustic guitar led tunes, such as the title cut, so ultimately this fits well into the folk category. Just be ready for it to knock at the walls a few times, sometimes with delicate jangly folk rock, along with the occasional sonic surprise. So this is certainly a good album for the adventurous folk fan, while wide minded indie rockers will be mostly be at home.
© David Hintz

You may have heard Mancini in his band Butchers Blind,^[53] but he is featured here on this solo LP. Not that he is solo, as he has full band backing including some Butchers Blind musicians and guest artists such as Iain Matthews. It is a strong Americana outing with plenty of country moves that are effective and avoid the cloying nature that generally turn me off. Instead, the songs and stories are quite strong and should remind you of some of the fine Americana work that came out of California from the beginnings of Gene Clark and Chris Hillman through 2017. The quality is such that there is something here for just about every type of folk fan to work with and enjoy.
© David Hintz

One of the more successful Irish pop bands is back with a new album of sorts. This is ten of their greatest hits (or at least good well known songs) along with three new entries. They have redone these songs with acoustic guitars and worked with the Irish Chamber Orchestra throughout. There is an easy going folk rock quality in the sounds of the Cranberries and it is on full display here. And the arrangements here are as lush as the lead vocals of Dolores O’Riordan. She reminds me of Natalie Merchant or Mandy Morton in her tone and clarity and has a precision that is often muted by many lead vocalists. Although she can add heft and cut loose, such as she does in ‘Zombie’, a strong performance on top lush guitars and silky violin. This sometimes gets a bit too slick for me, but that is not surprising for a group with such broad success. It achieves its goal at a fairly high level of quality and occasionally offers up a compelling arrangement.
© David Hintz

Somehow in my eight years of hard charging blogging here in DC, I missed seeing this fine local band. They have a strong alt country, roots, folk rock sound that works very well and the band would have been a welcome addition to a show with the WeatherVanes or the Highballers. Their sound is rich with guitars of all types, fiddle, and anchored by a steady rhythm section. The vocals are warm and make it easy to get into the stories in their songs. There are some good jangly pop hooks that crop up on occasion, which always makes me happy (‘She Doesn’t Know’).
© David Hintz

I just listened to some music from the old English band Quintessence before listening to this LP and found a surprising amount of connections. Mullinax employs some of the spiritual jamming concepts that Quintessence brought onto the blues rock/progressive scene so many decades back. But Mullinax brings in an even wider variety of sound. The instrumental tracks don’t quite sound like anything I have heard before (which is saying something) due mostly to the arrangements and instrumental selection, such as the vibes that are frequently on display. Mullinax is a percussionist, yet his exciting rhythms do not overtake the melodic themes. The songs moved in different emotional directions, which keep them fresh. The band has a relaxed but invigorating approach, which also works well. It is hard not enjoy this on some level and I think it works quite well.
© David Hintz

I have enjoyed Larkin Grimm’s live performances various times over the last twelve years, yet this is the first record I have heard from her. She has a fascinating background, growing up with her parents who joined a unique religious cult/order. She has come out of that experience with a fine eye and ear for creative musical and lyrical expressions that offer us listeners a welcome listen. She began in wyrdfolk and that remains a component here, but it is less weird than most and more adventurous. Her arrangements are vibrant and varied, with a smoothness that makes this accessible to most music fans, while retaining something unique. Larkin Grimm walks with one foot in comfortable singer songwriter realms, but has the other firmly planted on otherworldly musical paths that are roads less traveled. But these are fun scenic roads that are well worth traveling.
© David Hintz

If a folk artist limits himself to voice and banjo, it may be a hard sell (Derroll Adams aside). But Dan Walsh convinced me in the first of his eleven songs that he had an album I wanted to listen to. His banjo playing is excellent and even somewhat varied as the songs went on. He has a traditional style, although has eight original songs here, some instrumental. I particularly enjoyed his questioning of the US visa policy on ‘Going to the USA’. There is some nice percussion on a couple of songs, but this is very straightforward and simply arranged music. Yet the quality in the playing and the emotions brought out will have folk fans savoring this record.
© David Hintz

This album has more ambition than most. There are three vocalists with rap, traditional Irish folk, and rock poetry being the distinction for each. Musically, it is quite challenging to put all this together and the results are not surprisingly mixed. There are fine moments, but it rather depends on just how open you can be to all of this. If you are a folkie, you are probably not going to care for the rap, as it often feels misplaced. But with some traditional sounding songs, there are others that are more modern rock, with rhythms and dance moves inherent. I believe younger music fans will really be able to dig into this. As for me, I enjoyed the adventurous listening experience the first time, but there are only a few moments I would ever want to return to.
© David Hintz

There is no sadness in listening to this powerhouse effort in the field of down and dirty blues-rock. They don’t head toward the Cramps style, but perform this in more of a Black Sabbath/Windhand manner. The guitars are thick and the drumming is slow to moderate and steadily hard. The female vocals are what elevates the powerful music into further heights that make this such a pleasure to engage in. Like a metal band, they also know how to pull back into a quieter song like to ‘Tonight’ to give a nice contrast. But that is no ballad and ultimately explodes into a thick and loud finish. And this is not straight blues, there are some creative droning psychedelic moments as well. So roots fans beware, you are in for a roller coast ride along the rootsy trail.
© David Hintz

The latest Kenn Morr Band album has a fine, gentle approach to folk music. The rhythm section lays down a light and steady foundation with just a quiet rock beat for the instrumentation to work off of. Kenn Morr handles the guitar and lead vocals with a bit of piano as well. And with just one additional member, Tom Hagymasi, we get violin, mandolin, bouzouki, accordion, and dulcimer. So there is no shortage of sound variations, even if the pace and overall sound is so relaxed. It is a successful approach as the songs are most inviting and are a pleasure to take in.
© David Hintz

This is a pleasant enough sounding folk album, but the words will go at you from prosaic force to sly satire. Pledger has a fine voice and writes a decent enough song, but it is even more about what he is saying. And with a comfortable overall style, he will fit right into your classic folk collection. This may be the 21st Century version, but little has changed, just a few details here and there.
© David Hintz

If you are a fan of the twisted Americana West evident in such bands as Gun Club or the Sadies, you may want to check this album out. Add a dose of laid-back stoner styled jamming and you can imagine what these Davidians come up with. As jamming as they can get, they take a twisted musical road with a number of surprises in their songs. Psychedelic Folk done Americana style… perhaps this could be the poster child for that description in its rawest form. I am sure they would be a gas live and this record will get some more spins as well.
© David Hintz

Live albums rarely capture the true live spirit. If this one does not, it is not for lack of trying. You can almost feel the energy from these uptempo R&B/soul rockers. The band has all the normal instrumentation with a strong brass section. Frasco’s vocals are energetic and the band can almost go manic, but keep the beat and the groove. If you like New Orleans style music revved up and are looking to smile, than slap this baby on the player of your choice. They even have that live playfulness on display with jamming to both Beethoven and Metallica in the middle of their songs. If a band knows how to swing, then I am sold on this style; and this band proved it to me early and often.
© David Hintz

If you would like to classify this release as folktronica, you may want to emphasize the ‘tronica’. This is mostly electric in the backing and it is quite pleasant, clearly more pop oriented than folk based. The folk part enters the picture with the well-crafted female vocals. Katerina Koutouzi (who is FOS) brings her Greek island heritage to this music and elevates it to where even more hardened folk fans may want to experiment. There are also songs with traditional instrumentation adding a delightful color to the beats and electronic hooks. I enjoy melody in any genre’s musical language and FOS has that working extremely well in these nine songs.
© David Hintz

Some times I stretch the term ‘folk’ into odd areas with loud electric guitars, electronica and other non-traditional elements. But there are also folk sounding sounds on albums that really have nothing to do with folk. I would say that about this release. It is quiet with nice singing on top of traditional instruments in a singer songwriter style. But it is so mainstream, that I really don’t detect much in the way of folk. It is somewhere between Kenny Rankin and Loggins & Messina to my ears. That can be a good thing if that is what you like and Fieldhouse certainly exhibits some quality here. But this is not a direction I care for.
© David Hintz

From Estonia comes this pacey traditional music played in a folk rock fashion. The sounds on top are mostly folk with guitars, whistles, bagpipes, zithers and more. But it is the drums that propel the rock feeling throughout. The vocals are quick and chipper for the most part and there is a sense of fun within the traditional contemplative melodies. Although this sounds like a lot of things I have heard before, there is an originality here as well and it ultimately is a very likable record.
© David Hintz

North Americans could be forgiven for thinking this some sort of Native American chant in front of electronica. But this outfit from Finland is no doubt tapping into some sort of native spiritual chanting of their own. My anthropology is not advanced enough to detect the similar paths of Laplanders and native Americans, but there likely is a connection. There is an electronic rhythm frequently present in this music, but there are even more clarinets. The traditional, ancient, and modern all come together fairly well here. This music can be relaxing, contemplative, and occasionally dancey, but it is always involving.
© David Hintz

This Irish singer songwriter from Cork has a contemporary easy listening style in his folk music. Often, that can be a turnoff for me, but when someone masters the style as what happens here, a really enjoyable listening experience can result. The music has a slight sense of mystery and airiness within that transcends the soft approach into something deeper. As much as I enjoy the crazier aspects of psyche folk or folk rock, it is great to have quiet contrasts to round out the musical palette. And this LP will be a great item for your balance.
© David Hintz

From the cover, I was expecting either gypsy-punk or perhaps a variant of Wayne County and the Electric Chairs. It ended up more of the former, although it was more mannered than I would have guessed. The pace and energy is there, but there was more of a relaxed focus on form. That may have been due to the nice organ work smoothing it out, although all the players were sharp and on point. So if you want manic energy, you may want to look elsewhere. But if musicality and swift delivery of nice melodies are more your thing, plant yourself in front of this.
© David Hintz

Here is another one for the quiet folk fans. The package says to file under ‘singer songwriter’ and that is about right as this has folk elements and light folk rock moves as well. The soft breathy vocals could be a bit monotonous except that Leitenberger is able to use them to project some varied emotions and tones. The backing band has a light touch and accentuates the melodious songs with fine skill. All in all, a decent album here.
© David Hintz

Early on in my listening without aid of any notes of the artist, I felt like this was a modern UK folk outing with a strong Icelandic pop influence. I felt a cool isolated island vibe in these easy going but subtly deep songs. Well, I was close. Gomes hails from the even tinier island of Guernsey situated in between all sorts of fascinating folk cultures with no doubt a unique blend right there. She has lived in Central America and traveled around much since then, and shows a fine universal musical language on display here. Nessi Gomes’ debut is a fine fit within the ever-expanding lush pop folk genre that has done well in recent years. Some of the folkier cuts such as ‘Long Way Home’ are also quite unique.
© David Hintz

Ani Di Franco continues to push forward with creative efforts that defy simple categorization. The opener and title cut is a heavy dose of rhythmic pop, almost dub in its intensity. Thereafter it is more of a mix of singer songwriter styles with guitars and keyboards taking leading spots, at least musically, as Ani’s voice and lyrics lead the way throughout. There are sharp lyrics in the well-titled ‘Pacifist’s Lament’ and probably much more, once I study this further. But my first few listens are more to enjoy the variety and catchiness of the music, even as it doesn’t sound simple and push hooks forward in the usual manner. The usual combination of playfulness and thoughtfulness makes this record a pleasure to be with.

Iconic singer/songwriter/activist/poet/DIY trendsetter Ani DiFranco shares the bold new Play God EP, which centers around studio and live versions of the reproductive rights anthem "Play God," the first single from Ani’s album Binary. The EP also includes 2016 live recordings of the timely songs "Alla This," emphasizing the importance of political resistance, and "Subdivision," focusing on the damage of racism. All songs were recorded with DiFranco’s long-time rhythm section of bassist Todd Sickafoose and drummer Terence Higgins. Live versions of “Play God” and “Alla This” were performed at Red Rocks on 9/4/16, and “Subdivision” was performed at WFUV on 11/10/16.
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