The String Revolution "Stringborn"
Own label, 2016
The String Revolution are 4 talented Guitar players, Janet Robin, Daniel Schwarz, Art Zavala Jr., and Markus Illko. The Los Angeles based quartet debut with a 7 tracks EP, 6 original and one covered.
They kick off with a rhythmic co-composition called “Flying trumpets”, awesome playing together including bass lines, mimicking percussion and melodic grooves. Then they bring forward a stunning instrumental version of Michael Jackson’s “Billie Jean” and “ARTicus”, a romantic composition with classical elements. “Blue mountain road” is an intoxicating shuffling Blues featuring Jonathan Hathaway on lead and Sarai Sarinana on backing vocals, my favourite track. Illko composed the final tune, “La rosa negra” highlighting some fine Flamenco grooves.
The four guitar masters present themselves as brilliant musicians and fine composers, check them out!
© Adolf „gorhand“ Goriup
Janet Robin "Take Me as I Am"
Little Sister; 2016
What started off as another nice blues rocker, quickly veered into a variety of styles that all connected under the fine songwriting, singing, and playing of Janet Robin. She can slow it down to deeply heartfelt folk or rev it up to honkytonk. She can lay down a delicate acoustic line or let the electric guitars rip. She has some top notch musicians adding both muscle and finesse and all in all, this is a bright, smart record. It should appeal to just about anyone.
© David Hintz
Folklaw "Smokey Joe"
Fiddle of 8 Records, 2016
Folklaw is a 4-piece band from Gloucestershire featuring songwriters Nick Gibbs (vocals, fiddle, keys) and Bryn Williams (vocals, guitar) as well as Martin Vogwell (vocals, bass, mandola, guitar) and Gaz hunt (vocals, percussion). For their third album they recorded 11 original songs, 8 by Gibbs and 3 by Williams.
They start off with the intoxicating title song, an up-beat Bluegrass and my favourite. The soulful harmonies of “Waterways of England” and the beautiful vocals mesmerize the melancholic ballad. Then they accelerate the pace for “Talk to me”, a great Folk-rock song with a bluesy note. Another of Gibbs’ songs is “Forever and a day”, a hymn with nice choir singing and some classic fiddle sounds. Williams wrote the rhythmic “My time”, a folky swinging song, or the final folk ballad “Cradle to the grave”.
The new album of Folklaw is great mix of different styles, brought forward by 4 talented musicians.
© Adolf „gorhand“ Goriup
Folklaw "Smokey Joe"
Own label; 2016
Not unlike early Levellers, Folklaw lays it out with vibrant fiddling cutting through the acoustic guitars and mandolas. There is percussion to keep the beat and vocals to deliver their passionate views and stories. The edges are softened, but the thrust is there and this should be easy to dig into for most folk fans. They drive their points home with a pleasant style like a kindly yet intense uncle at the family feast.
© David Hintz
Chimera "Gestolen Lente"
Pan Records; 2016
Year after year, it just never changes for me. I see a record or a concert listing featuring a band that seems impossible for it to still exist. I should not continue to be surprised, but I am yet again as the Netherlands’ Chimera has returned these past few years with more great music. The reason they gave for calling it a day shortly after the wonderful ‘Obstakel’ from 1981 was that the husband and wife duo in the band wished to focus on raising their children. Well, they are grown now, and the band is back with a sound that feels as if three months went by, rather than three decades. Marry Verkade’s vocals are still delicate and quivering with an occasional forward thrust that can stand up to rockier elements. The music is lush and complex and they are joined on a few cuts by a couple of other original Chimera members, as well as some other guest musicians. Recorders and violins add great variety to the music now as they did then and Chimera still has the ability to carve out a unique space in the now larger realms of folk rock. If you have not discovered this band by now, there is still time and great new music to integrate into your collection.
© David Hintz
The Prodigals "Brothers"
Grab Entertainment; 2016
These are not the first post-Pogues Irish rockers from New York City that I have heard (at least the third) as that market is ripe for this music (and most everything else, too). This is their ninth CD and it is far less Pogues and more of a mature rock band. It is almost too easy going at times, but there is occasional fire that elevates the material. This record is dominated by cover songs and traditionals along with a handful of original tunes. It is all quality work, although their version of ‘Newry Town’ reminded me how much more I really enjoy the work of Boiled in Lead, who nailed that song a few decades back. Decent work here and worth a listen, but it will depend on how rocking you want your Irish music.
© David Hintz
Erika Kulnys "Rise Up"
Own label; 2016
Although this record starts off with a bluesy number that showcases Kulnys’ fine range, there is quite a variety of material here. That usually lumps this in the vague singer songwriter category, but do not dismiss this if the genre does not excite you. For Erika Kulnys has a strong voice full of expression and nuance and can carry her tunes into fine light folk rock realms among the best of the style. And it is great to hear Dave Mattacks laying down the beats in his usual thoughtful style. Add a good balance of piano and guitar, and you have the right accompanying music to the fine vocal leads.
© David Hintz
Kalēvala "Tuoni Baleni Fulmini"
Marduk; 2015
Folk-metal has become popular in recent years and it is world-wide, which makes sense as hard rockers can look to their classic roots to find intriguing melodies, which when revved up can appeal to metal fans looking for something beyond the clichés of the genre. Kalēvala is Russian and certainly has some folk melodies at work with plenty of high pitched electric guitar shredding around those melodies. While they have some native moves, there are far more Celtic roots showing, especially on the heavy Horslipsian ‘Brian Boru’. And there are classic reworked metal tunes such as Black Sabbath’s ‘Supernaut’ featuring heavy guitar, pounding rhythms, screaming vocals… along with flute and accordion. This is a two record set featuring a live audio disc (although it sounds studio recorded) and a video DVD featuring a different set with just a couple of repeated songs. All in all it is a fine package featuring great vocals and spirited, quality playing.
© David Hintz
Dom Duff "K’kwll"
Own label; 2016
This exciting musician from Brittany lays the strings on you here. He plays them all in front of a strong rhythm section with ‘only’ a guest violinist. There is a lot of great interplay at work as the songs are as heartfelt as most folk songs, while the rock intensity is there as well. His voice is strong but comforting and there are English translations for the lyrics. The title refers to an old maritime ruling to eliminate the letter ‘K’ and each of these song titles begins with a ‘k’. This is certainly O-Cay by me, but even without the interesting story, the music has me wrapped around its little finger.
© David Hintz
Martyn Joseph "Sanctuary"
Beste Unterhaltung, 2016
This Welsh veteran slots easily into that heartland singer songwriter style that leans a bit more to folk than rock, but can go either way. The songs are a bit more prosaic story telling, sometimes hitting the obvious points (that still need to be hit) and other times creating an interesting character and environment. My lyrical interest varied quite a bit, but there is nothing to fault with the solid musical outing featuring some nice guitar and warm vocals.
© David Hintz
Jim Wurster "No Joke"
Own label; 2016
There are many musicians here to assist Jim Wurster on his easygoing country rock LP. At the beginning it is too quiet, which allows way too much scene stealing steel guitar into the mix. But at other times, a scorching electric guitar makes you wonder if the guitarist showed up to the studio a week after his metal band left. There are even some reggae beats and a lounge version of Neil Young’s ‘Down by the River’. This album is way too schizophrenic for me, even with Wurster’s low-key voice that is at least more world-weary than disinterested, although it still manages to create less interest for me. Plenty of talent here as this finishes better than it starts, but ultimately it is just not the Wurster collection I want to hear.
© David Hintz
Ursula Burns "The Dangerous Harpist"
Own label; 2016
This harpist is dangerous enough to have only a few musicians work with her. Yet the sound is full, even with the clear space between sounds. This is far more into the light experimental rock than any folk music your father loved. But there is a connection with the modern folktronica scene, even if this is more organic and sounding more like Jenny Hval than Anne Briggs. It certainly is not for everyone, but I thought it was a lovely collection of songs with music that had me on the edge of my seat even as it gave out a chilling and even relaxing vibe. Oh, and this is not the Ursula Burns that was CEO at Xerox, as there is nothing duplicative in this music.
© David Hintz
Wooden Sky "Swimming in Strange Waters"
Nevado Records; 2017
Although I would consider this more in the vein of light psyche-rock, I think psyche-folk fans would find much to like here. The vocals have a rootsy down home folk approach and the music can pull back into an easygoing groove with occasional fire. They are not unlike Black Rebel Motorcycle Club, on ‘Howl’ with this approach, although Wooden Sky establishes their own sound here. There is the occasional straight up folk outing such as ‘Born to Die’ as this album has a nice variety of sounds and pace, while not losing its overall feeling. That is usually the formula of a successful album and it works here for this fine Canadian band.
© David Hintz
The Man from Managra "Half a Century Sun"
Inner Ear Records; 2017
From the distant shores of Greece, comes this fascinating album of dreamy, somewhat mysterious folk rock. The pace is quite mannered and just slow enough to pull you back a bit as you scoot up on your chair to dig into the attractive vocals. And although I am pleasantly surprised to see Blaine Reininger of Tuxedomoon assist on viola and vocals, it is not too surprising as I hear some Tuxedomoon influence within these songs. This is fine music and should appeal to fans of Bill Callahan and other modern day folkies who use electronic backgrounds (not quite folktronica, but in the ballpark). It definitely got me in a contemplative mood.
© David Hintz
Holly Macve "Golden Eagle"
Bella Union; 2017
If you are hankering for a more mysterious brand of country music, Holly Macve may have some samplings you will want to take home with you. She begins with a great brand of mysterious music that is reminiscent of the hazy shots of the horizon in ‘High Plains Drifter’ where ghosts come and go. Although there are straighter country blues style songs like ‘Heartbreak Blues’, most of the material has more of an ethereal nature to it, which suits Macve’s fine voice. She somehow combines a sense of vulnerability with an assured tone and control to create a voice that you can’t help wrap your arms around. This is my brand of country.
© David Hintz
WHY? "Moh Lhean"
Joyful Noise!; 2017
There are some fine psychedelic styled folk sounds present on this record. But like most modern day approaches, it does not quite hit that mystical cosmic sound of old. But I am not sure they are fully trying for it, as they have some modern electronica and an indie vocal style that is a strong part of today’s sound and likely fully in WHY?’s comfort zone. This hits a lot of the right buttons for the younger light psychedelic fan and if the band can find some more melodically obtuse angles, they may pull me further into their world. ‘The Water’ is the one cut that hints at the kind of music that is easy for me to come back to frequently.
© David Hintz
Transona Five "Transona Five"
Sonic Surgery Records; 2017
The only thing worse than an album that gets a bit monotonous is a double album that gets monotonous. Transoma Five has been accurately called space rock ‘with the emphasis on space’, but actually the rock is barely there at all. These are 20-year old recordings, some of which are just now seeing the light of day. It is interesting to denote an early approach to folktronica here, so this band was a bit ahead of their time in that respect. Musically it certainly nails the vibe it is shooting for with a steady withdrawn sound that just works its way from the background. The vocals are just a bit too dreary for 19 songs, and that is where I really struggle to get into this vision. This is an interesting relic, but as something I want to listen to, well, lets just say I wished the label had lived up to their name.
© David Hintz
Rench "Thems the Breaks"
Own label, 2017
Rench is part of a hip hop/bluegrass band called Gangstagrass, who likely own that genre. But for this solo project, he works in the familiar territory of country blues roots music. What works well is the addition of female vocals on select songs in addition to his fine lead vocals. Also, the music is varied in pace and emotion. After hearing so many bands that follow a narrow path, it is nice to hear something move around in different terrains, even if they don’t stray from the overall geography of their approach. More simply, these are good songs that are easy to dig into and digest well. They just have that flow where the lyrical melody is perfectly embedded into the musical backing. There is even a touch of the hip-hop influence on one cut, just to remind you where he comes from.
© David Hintz
BaBa ZuLa "XX"
Glitterbeat, 2016
This is a two record set of dub music. That is quite a lot for me to digest at one time, but with the skill and variety that BaBa ZuLa provides, it was worth every minute. Well, the first disk isactually more song oriented, while the second disc is heavy, heavy dub (still fine). They feature a worldly psychedelic vibe, full of rhythm, but with snake charming guitarists and mysterious vocal lines that kept me quite alert. The band has been around for over 20 years (or XX years), so they have a lot of experience to draw on. They feature a local instrument called the saz, which gives them their special sound. From Erkin Koray and Baris Manco to BaBa ZuLa… there is some great Turkish music out there. This is but the latest.
© David Hintz
Albert af Ekenstam "Ashes"
Kning Disk; 2016
I read something about ‘Damien Jurado sounding’ and that is not too far off when you think of Albert Ekenstam. Jurado is from cool and wet Seattle, while Ekenstam comes from colder Sweden. This is present in the cool deliberate slow paced delivery here. The guitars are electric but played quietly with plenty of chill in the tone. The vocals are laid back and leaning toward delicate, but still with heart. At times they are a bit too monotonous as this style does make me weary as it is far too steady. But Ekenstam has enough emotion to overcome the failures of lesser singers, so this ultimately succeeds. And musically, there is occasional magic at work.
© David Hintz
Wardruna "Runaljod – Ragnarok"
Norse Music; 2016
I am excited about this release before I have even heard a note. This is a Norwegian band who with this release has completed a trilogy where they have composed music for each of the 24 ancient Nordic runes. Not only has Norway and Sweden produced outstanding folk music, but I am also very interested in their progressive and metal scenes as well. And this music probably is akin to: progressive in terms of overall sound; metal in its dark ambiance; and folk in its sparse arrangements. Ultimately this has that ancient gothic feeling that takes you back to the times when the runes were created. Imagine Dead Can Dance meeting Angels of Light (or lighter Swans) while keeping the atmosphere of soundtrack music and you may have an idea of how this sounds. Highly effective music that I will be revisiting often.
© David Hintz
Shirley Collins "Lodestar"
Domino, 2016
I was committed to travelling across the ocean to see Comus a few years ago and was thrilled that Shirley Collins was on the bill. She was narrating a video presentation of gypsy music, which is not surprising at all since she has a scholarly history made clear in her first book (second coming soon!). She actually led a sing-along, which was quite exciting, as she had not sung in public in decades. But since then, she has performed again and now in her ninth decade on this planet, she has graced us with a new album. The voice is older and deeper, but the magic is still there. She is working with older English folk material as well as newer American songs, some of which she may have discovered on her anthropological studies here. The musical accompaniment is excellent here, vibrant yet keeping the vocals front and center. Her reworked ‘Death and the Lady’ is one of the best things I have heard this year and will send chills down the spine of every serious folk fan. From the pantheon of Olympus, Ms. Collins has deemed us mortals fit for another album. I suggest you welcome this offering.
© David Hintz
Mikko Joensuu "Amen 2"
Svart Records; 2016
What do you get when you cross delicate vocals with big epic sounds? Well, you might get Spiritualized, but in this case you get Finland’s Mikko Joensuu with his sequel to Amen 1. The vocals are clear and direct, while the music is spacey and thick in a shoegaze fashion. There is a folk undercurrent like in Spiritualized and it has that same effect on me, one of modern day folk that is transcendent, yet steeped in nature. Joensuu is not the first to perform this style, nor even the second, but he has a strong record here full of his personal music to share.
© David Hintz
Moussu T e Lei Jovents "Navega!"
World Village, 2016
This French band is quite the spice blend. Apparently they were steeped in reggae for a time and that is present in many of these songs. But there is a certain blues rock style worked through their native French influence that takes this record to unique places. Lots of rhythm is present in a variety of beats. The vocals move in different directions almost hitting hip-hop in a couple of spots. The guitars are strong and rock in both an over the top and more subtle manner. There are banjos, mandolins and other instruments popping up, which move this into folk rock territory. If you are adventurous, this is a lot of fun and it all comes together far more easily than you may imagine. Credit a sharp band that is in full command of their vision for that.
© David Hintz
Rusty Shackle "Dusk"
Get Folked; 2016
Get Folk-rocked here. Rusty Shackle is more earnest rock than folk, but the roots are there throughout. Although Welsh, I hear American, Irish, and English roots in here as well. It is all likeable music with catchy songs and foot tapping beats. It is a good record, although I think I would have enjoyed it more when I was younger. They also seem to be one of those bands that can step it up a notch or two in a live setting. That is where I recommend you start, if you have the chance.
© David Hintz
Wesley Stace "Wesley Stace’s John Wesley Harding"
Yep Roc, 2017
It is nice to see Wesley Stace dropping the moniker ‘John Wesley Harding’ and recording under his own name. But he says it is still confusing, hence the title of the album (akin yet different than Nik Turner’s Hawkwind and many more). What is even more fun is that he has Minneapolis’s excellent Americana band the Jayhawks backing him here. Gary Louris provides some fine lead guitar and the band lifts the folky material into a solid rootsy folk rocker. Yet unlike other albums I have heard recently, we get smarter lyrics along with the clever arrangements. I particularly like the rocking guitar in the ironic “I Don’t Wanna Rock’n’Roll’, which sets the stage of this very fine album. Stace should be a part of your listening by now. If not, you can dive right in for this gem.
© David Hintz
Chicago Farmer "Midwest Side Stories"
Own label; 2016
The artist named Chicago Farmer dropped a couple of names when describing some of his songs. Neil Young was one I came up with on my own, but Violent Femmes was the secret ingredient I could not immediately identify. That is the modern playful touch he adds to his fairly intense roots rock. Even when the instrumentation lightens up to folk sounds, the vocals and lyrics are still pretty rocking and intense. Yet there is a touch of modernity, not unlike what David Eugene Edwards of Woven Hand does, that makes this all interesting. The lyrics are amusing, if not a bit naïve at times, but the spirit is good so it is easy to stay tuned in.
© David Hintz
Swans "The Great Annhilator"
Young God Records, 2017
Although Michael Gira’s other band, Angels of Light, slots better into FolkWorld than his noise rocking Swans, I cannot pass up an opportunity to write about a Swans LP. This is a reissue and remastering of their ninth album from 1995. Only long time guitarist Norman Westerberg remains with Gira in the recent years line-up, but the approach here is fully mature and akin to the more recent releases. The drone is there and delivered with surprising creativity and passion. There are quieter songs like ‘Blood Promise’, which have a jangly folk rock sound, but sound like they are delivered through a dense mythical forest. And when Jarboe sings ‘Mothers Milk’, I am reminded of some of the great “femme-vox” folk of the early 1970. Swans are still an essential band, as long as you have an open mind to multi-genre music and you have a bit of patience to let them work their way inward.
© David Hintz
Swans (Michael Gira) "Drainland"
Young God Records, 2017
Although now being released under the Swans name, this was initially released as Swans founder Michael Gira’s first solo LP in 1995. The distinction is important, as it does not have quite the attack of a Swans album, while still working in drone territory. Gira takes a folk/post punk approach that is sort of like the dark side of Morrisey with a touch of Joy Division and certainly Nick Cave within. I always enjoy the dark, folkier side of these artists and this comes out every bit as deep as you would expect from Gira. This is a strong record and will appeal to dark, gothic folk fans, as well as dark metal heads, and various post punk listeners. It will be getting repeated listenings in this household.
© David Hintz
Epsylon "Ourage du Coeur" [EP]
Epsy’son Asso; 2016
It is the sign of a good EP, when the listener immediately wishes he had the full LP. These five folk rockers get me warm and sweaty, but with plenty of energy left for a full set. They have a pacey rhythm section that lays down a foundation for guitars, accordions, and other instruments to bang out a catchy melody. The vocals are enjoyable with strength and passion and none of that over the top poor-Springsteen imitation that sometimes goes on in folk-rock. I believe there are more than five songs on this album, but my French and translations are not good enough to figure it out. But I know I like this band.
© David Hintz
Sammy Eubanks "Sugar Me"
Underworld Indie; 2016
Sammy Eubanks is yet another in the long line of blues guitarist/vocalists. He works the great northwest territory of the United States and is quite well received. You can see why as he has a tasty take on the blues as opposed to the fiery variety. There is some pace and the band rocks out, but with a certain swing to it all. That said, this still would be more impressive on stage, I would think. It seems every area has its blues scenes and its fine players. I just don’t find too many that it is worth going beyond your own turf to find. And with seven covers out of ten songs, I wish this Nashville label luck on breaking Eubanks into world markets.
© David Hintz
The Gentle Good "Ruins/Adfeilion"
Bubblewrap Collective; 2016
This is not a group, but the nom de plume of Welsh folksinger Gareth Bonello. It is a good choice as the music is very gentle throughout and also quite good (at a minimum). At worst it is quiet and nice, but at its best, has a sneaky bite to it along with a smooth pace. The guitar work is exquisite, the vocals are fine, and the songs are memorable. There are even mystical touches that hearken back to the fabulous Welsh folk artists and bands of 40-50 years ago. Welsh folk music works very well with whatever is in the genetics of the geography. It is a pleasure to hear this more modern addition to the great Welsh history that is already in my music library.
© David Hintz
Georgia Ruth "Fossil Scale"
Navigator, 2016
Again from Wales, comes this delicate folk outing. Like Heather Jones of old, Georgia Ruth knows how to work pop hooks into the light rock/folk format. It makes for a sound that is easy on the ears. Fortunately the vocals are strong, even at their quietest. The songs are mostly intriguing, such as ‘Grand Tour’, which has a Renaissance meets Melanie feeling. There are even some Mandy Morton phrasings and tones from time to time. Aside from a couple less interesting cuts, this is a very fine record.
© David Hintz
