The O’Reillys & the Paddyhats "Sign of the Fighter"
Metalville; 2017
There are many post-Pogues bands of varying degrees of Irish traditional and punk rock formulas and it can get overwhelming for all of us Pogues fans. Often, I find that the punk attitude is there and even the Irish traditional melodies, but the subtle qualities are lacking. I think the Paddyhats understand the quiet moments better than most. Yes, the guitars rock, but between the vocal flexibility and the focus on the playing, particularly violin, these songs have a chance to breathe. And that is welcome beyond the usual crude comparisons. So good on you, O’Reilly’s/Paddyhats, long may you rock.
© David Hintz
Plastic Paddy "Lucky Enough"
Own label; 2017
For a more mannered and less punk Irish traditional music, Plastic Paddy offers a mix of original music and Irish traditionals. Even without the Pogues and many bands since, there always is a feisty attitude in Irish music and that is present here. But the spirit is a bit lighter and the music is more acoustic based. The harmonies are nice and the pace moves a moderate and occasionally brisk foot tapping pace. Perhaps it is the California home of this band that brings a touch of flavor into the Irish mix? Whatever the case, their debut album is a nice effort with a few cuts I will remember.
© David Hintz
Hat Fitz & Cara "After the Rain"
MGM Distribution; 2017
Hat Fitz is the guitarist and male vocalist, while Cara sings the female lead vocals and is the drummer and percussionist. Aside from a trombone on the title cut, it is just the two of them cooking up a full sound on their blues based music. It heads toward folk at times and rock at others, but keeps its identity throughout. It is all solid enough in tone and attitude, but the one thing I cannot escape is how much Cara sounds like Sandy Denny. If you have to sound like somebody, you can’t do much better than Sandy and Cara’s lead vocals are really the star for me because of that. But even without that connection, there is plenty of good music here for all.
© David Hintz
Michael Dietrich "Across Open Seas"
49 Grad Records; 2017
This record began in an almost smooth classic rock fashion. It is not a style I usually gravitate toward to, but the execution was good and it rocked. Eventually the record evolves in a more rock ballad direction with some folk roots, but nothing overly overt. It is got that rock ballad style down so well that at times I expect to hear a Ronnie James Dio voice cut loose. But Dietrich keeps it restrained, never over the top. So if you really have a full range of rock music in your listening experience, I recommend this record as a slightly askew take on a classic style.
© David Hintz
Hanne Kah "Hand Full of Secrets"
Kosmopolit; 2016
Although Hanne Kah and her band appear German based, they travel the world and provide music that that will work just about anywhere. They have a folk rock approach with a bit of Americana/country aspect to it. Yet the bold sounds and the dynamism of the vocals and instrumentation balances this out beyond the clichés of any one genre. At times it almost too balanced, but the sincere vocals and decent songwriting keeps me attentive as the smoothly flows by.
© David Hintz
Mãløx "Gaza Trip"
Greedy for Best, 2016
The worldly ethnic moves here might make you believe some folk rock is coming your way, but it ends up far more rock and jazz. It is a fascinating sound, although it gets a little tiring for me, mostly due to the free jazz element. I enjoy the energy, and a bagpipes and drums version of ‘Walk Like an Egyptian’ is better than it may sound to you. A fun listen, but only once for me.
© David Hintz
Much Better, Thank You "…Just a Dream"
Finest Noise, 2016
Art Folk from Germany? Yes, that is about right, but more of a folk-rock flavor as the electric guitar and bass and drums offer a strong backing for the fine vocal work of Heidi Engle. She manages chilling mysterious tones and on some songs channels my memories of the brilliant Carol of Harvest LP. That is a progressive folk classic while this has more modern and varied touches, but occasionally captures that sort of magic. The subtle contrasts between vocals and music make for engaging listening with riveting moments ready to surprise you at any moment. Subtly theatrical, this is a fine, fine album.
© David Hintz
Greg Sover "Songs of a Renegade"
Own label; 2016
Sover plays the blues, but in that great rock style that developed from Cream onwards. He adds a bit of that late 60s soul and swing to the heavy blues roots in this music. And even better, there is a good sense of melody and quality in the songwriting. His band, of course, has a lot to do with the overall feeling that takes me back to those early blues rock days. But Sover has the touch on the guitar, with his voice, and in his songwriting. This Philadelphia musician seems to have developed a decent following thus far, but the sky is the limit with even more exposure of this quality.
© David Hintz
Citizen K "Second Thoughts"
Paraply, 2017
Swedish popster Citizen K, aka Klas Qvist, has offered up that rarity or rarities these days—a double album. Especially unusual is that it is all studio material and merely a lot of quality music as opposed to some thematic enterprise. Although he cites the Beatles ‘White Album’ as an influence, the material here is not as crazily varied as was in that classic album. There are some instrumentals, but they follow the vocal pop songs comfortably. And the pop songs are of high quality with much subtle variety within the vocal lines especially. No real folk of any kind here, but if you like the progressive pop nature in some of Steven Wilson’s recent albums, then you should definitely check out this latest lode of songs from Citizen K.
© David Hintz
Sweet Gum Tree "Sustain the Illusion"
Dreamy Bird; 2017
This begins as a sort of indie rock-pop hybrid with electric guitar and dreamy smooth vocals. As the album unfolds, there are pianos, electronics, and drum machines that change the accompanying focus. The vocals are good and are the star here, but something does not quite connect with me as much as I had hoped. A good listen, but I think this would work with an audience a lot younger than I. Maybe it’s that blasted drum machine….
© David Hintz
Stacy Jones "Love is Everywhere"
Own label; 2017
We have more blues here atop a good rock beat. There are guitars and harmonicas with the rhythm section all supporting Ms. Jones’ vocals. There is a smooth flowing rock feel to it all, but when it really works, it is due to a particularly excellent song. “Can’t Find Love” has some clever hooks at work, but if you don’t want to focus on the songs, War’s Lee Oskar is on hand to add some harmonica to a fun little jam. There is plenty here for fans of blues and rock music.
© David Hintz
Malcolm Holcombe "Pretty Little Troubles"
Gypsy Eyes; 2017
This North Carolina based blues singer/guitarist has an old timey style. The voice is weathered well beyond his years, even as this is his 15th studio recording. His music has that easygoing porch blues style that is more toe tapping than raucous. It is a nice record that flows by easily, but as is so often the case merely adds to the large body of work by blues artists worldwide over many, many decades. But he does have real style here, so this may just be to your taste.
© David Hintz
Ricky Ferranti "One Soul"
FreeMood; 2017
This one is all over the place, but after being perplexed early on, it ultimately it won me over. There are quite a few covers with some highly welcome: ‘Fire’ (Hendrix); ‘Paint it Black’ (Rolling Stones). Others I could have done without: ‘Country Road (Denver); Hotel California (Eagles); and ‘Danny Boy’. Even more perplexing is that he moves from excellent original songs done finger style such as ‘I Miss You’ to outright blues numbers. Ferranti is a veteran and has been in several bands of different style, so the eclectic approach is none too surprising. And it works because his playing along with his vocal approach and arrangements are creative (especially on the less interesting songs). So if you don’t overthink it all, there is fun to be had on this record.
© David Hintz
The Last Dinosaur "The Nothing"
Naim Records; 2017
This is the second album from Jamie Cameron, working with Luke Cameron and few others. Apparently the previous album was eight years earlier and was the ‘divorce album’. This comes with the trauma of death and relates to that classic theme in a manner of Neil Young’s ‘Tonight’s the Night’. I was never a big fan of that LP and this one causes concern as well. However, there is a quality to the music that can be uplifting, although it does not quite move me to the degree of a John Grant, who also works some dark areas. Simply put, Grant’s vocal tones are much more penetrating than these whispers. Dark themes are tricky business and I am not sure what the formula is that works on me or works on the masses. But if you like exploring the terrain, this LP will offer some interesting arrangements in a modern production style. I’ll have to explore further to see if my initial skepticism dissipates.
© David Hintz
John Garner "Writing Letters"
Issa Records; 2017
The easiest way to describe this record is that John Garner wears his heart on his sleeve, quite literally. There is heavy earnestness in this music, which emits as a bit folk rock, Americana, and indie rock. I cannot fault anything, but despite the energy and occasional decent song, it just does not stand out. I would try the live show if it comes my way, though.
© David Hintz
LL Goat "LL Goat"
Own label; 2017
And I quote from his website in regard to these songs recorded in 1996 and 1997: “Having been signed to several major labels, these songs were not included in his previous releases for all the right reasons.” And there is even less reason for a folk fan to head this way, or most anyone else for that matter.
© David Hintz
June Star "June Star"
Own label; 2017
I am happy to get this record as this band is from Baltimore and recorded this LP with local great, J. Robbins. June Star are veterans in the alt country Americana world, so the world weariness in the vocals is well earned. Yet singer Andrew Grimm has a delicate touch and a way with the melody that makes it better than the mere raspy, breathy singers. The band cooks up some fine electric guitar led music that can soar of on its own or hold down the melody. This music is rich in texture and has spring its step and would be a welcome addition to many a music collection, including this one.
© David Hintz
Russell Joslin "Hey Mathematician"
2+2 Records; 2017
Russell Joslin may be from Bournemouth, but he has a universal style mostly headed toward a classic American folk with additional UK folk rock influence. It has a classic feel to it, but the songwriting is fresh and inventive. The playing is mostly acoustic, but there are some big sonic bursts that are quite stimulating. The vocals are crisp and to the point and each song builds on the last, often with some adventurous maneuvering not often found these days. If you are a fan of the classic UK folk, folk rock, and psyche folk (like me), you should really give this is a listen to see how that can progress in today’s language and style.
© David Hintz
Ghosttown Company "FolkRock"
Prosodia; 2017
File this under ‘You Can Judge a Book by its Cover’. Between the album, title, Irish flag, and by my count the 18,714th cover of ‘Whiskey in the Jar’, this is clearly up-tempo Irish folk music. No new ground, but quite well done and I can never dislike decent Irish music especially when their original songs are good.
© David Hintz
John Statz "The Fire Sermon"
Why River; 2017
Remember Henry Gross? He wrote a hit song about his dog Shannon. He had a slightly pop, light rock style that was radio friendly. If you add a touch of earthy American to the formula, you may have something like this album. It is more smooth than fiery, but does not dip into the treacle department. Still, I would like to hear a real fire sermon and stir the pot just a bit more.
© David Hintz
Catherine MacLellan "If It’s Alright with You"
True North Records, 2017
Canadian country music is on the menu here and if you didn’t read the liner notes, a cover of the Anne Murray hit ‘Snowbird’ would offer a clue. I was a bit underwhelmed at first, as is nearly always the case of country music with a heavy pedal steel and slow pace. However, there was more bluesy rock as the album progressed and it kept me attentive. But there was not quite enough of this for me to recommend this. But if you like country…
© David Hintz
Winter Wilson "Ashes & Dust"
Own label; 2016
Here is a classic folk duet for real die-hard folkies. Dave Wilson offers the strings and male vocals with Kip Winter joining in on female vocals, accordion, and flute. Classic folk instrumentation, classic harmonies, and original songs that sometimes sound like traditional arrangements. And with titles like ‘Weary Traveller’ and ‘Hark the Blackbird’s Singing’, you definitely feel like you are part of a coffeehouse folk show, perhaps from long ago. The singing and guitar work are also up for the challenge of sounding fresh and interesting. The lyrics are also easy to dig into and have fun with—this English/German duo is worth hunting out for records and hopefully live shows some day.
© David Hintz
Gus McKay "Talisman"
RPM; 2017
At times, this is an easygoing blues-rock album with comforting tones and decent melodies. Then some skronk rock and jazz moves come along in ‘Hundred Acres’ and you wonder if ‘Red’ era King Crimson has gone American blues. Other times are more ordinary, but still pretty good. Definitely give this a listen for the highlights and your brain will be given a welcome workout at the choices a songwriter and arranger can make.
© David Hintz
Janet Martin "Eve Sessions"
Own label; 2017
It is all Janet Martin here: voice, electric guitar, acoustic guitar, mandolin, percussion, and a lot more if one listen’s closely. For just one person, there is a lot of music happening as this is a full sounding blues-rock and folk outing. The strong voice fills it out even further as Martin can belt out the blues. She can pull it back too, but there is still a strength that works over the delicate guitar passages. Pretty solid effort with a lot of decent songs that should move people. And she is from Richmond, Virginia, so I may get a chance to catch a live show some time.
© David Hintz
Michael Moravek "In Transit (is What We are)"
Popup Records; 2017
There is an overriding sense of relaxed story telling and restrained playing that dominates this record. It works well if the understated is what works for you in the listening experience. But there were times; I just wanted these songs to scream out at me instead of coming at me with breathy half spoken lines. A few (‘Dirge’) managed some vocal range and those were welcome.
© David Hintz
Rami and the Whale "Rami and the Whale"
Own label; 2016
This is a collection of recordings of Rasmus Blomqvist with guests, in Sweden from 2015 to 2016. The voice is quiet, but with rich tones. The music is also gentle but with enough passion to push it forward when needed. And the melodic writing pulls it all together into an interesting whole. It is more slick than raw, but the passion seems quite genuine and translates well through the music.
© David Hintz
Giulia Millanta "Moonbeam Parade"
Ugly Cat; 2016
There is always some success in a record when one is stumped to come up with a comfortable genre to place it in. Especially so, when it is melodic and listenable throughout. There is a sort of folk-rock style at the forefront here, but the lounge elements, quirky rock moves, and even country shift it around quite a bit. And the Bowie cover ‘R&R Suicide’ is quite inventive and fun. Considering Giulia Millanta is from Firenze, Italia and now makes home in Austin, Texas, it is not surprising for the genre hopping. You can certainly sense the Austin influence here and this record should appeal to all Austin fans here and abroad.
© David Hintz
Robert Carl Blank "Fairground Distractions"
A1 Records; 2016
There certainly is a sense of the old time carnival in this music. It is broad and bold at times, while quite subtle at others, but it is always in the air. Blank has a flair for taking his songs out there, while still retaining some deeply personal space for him. The band is crafty and attuned to the song. The flowing nature of their playing gives a lot of character to the album.
© David Hintz
Lost Bayou "Kalenda"
Rice Pump Records; 2017
I was thinking more ‘Lost Atlantis’ with the opening trippy Hawaiian type song. But then they move into rural Louisiana porch music before soaring off again into various three dimensional directions. The ethnic moves are there, albeit hard to identify. Musically, the twisted fiddle playing is the most consistent feature, but the spacey moves take on a number of textures. The vocals sound like African/Cajun rural blues pulled backwards toward their ancient roots. This one is not easy to describe and Cajun music is only a starting point. When so many albums slot comfortably into ready-made divisions of your listening experience, it is refreshing to find something that is engaging, but is in an unknown category.
© David Hintz
Barbez w/Velina Brown "For Those Who Came After"
Important Records; 2017
A Brooklyn rock band collaborates with a Bay area singer. Fine, but Spanish Civil War tunes? Why not, at least the way this collective interprets these tunes. There are a lot of interesting beats and clarinet. Velina Brown has a great power and range at her disposal and uses it well to lift the songs to their inspirational intentions. She reminds me a bit of Gal Costa. This is a brisk invigorating listen, maybe not to everyone’s interest, but fascinating to those of us that like a bit of history and variety. And I think I would be happy to hear Velina Brown sing just about anything.
© David Hintz
Elliott Brood "Ghost Gardens"
Paper Bag Records; 2017
This Toronto band has been a welcome live show for me each time through DC. Their first couple of albums were edgy Americana, but the latter ones went a bit too safe and bland for my liking. This is more in form. Songs like ‘2 4 6 8’ and ‘Til the Sun Comes Up Again’ have a bit of pace and rock heft, which is welcome for me. The quieter songs are a mixed bag, although most have a good melody that is played out with raspy voice, banjo, and guitar. So this is a good album for Elliott Brood fans and well worth a listen for newcomers as well. Now I shall see how they are live in another month or so.
© David Hintz
Sumie "Lost in Light"
Bella Union; 2017
Sumie is a female vocalist from Gothenburg and has released this gem of an album that translates her part of the world to the rest of us. Or perhaps she transcends barriers? She does have that cool voice with a bit more emotion than some of the more icy distant singers. The arrangements are sparse and inventive with melancholy giving room for optimistic journeying forward. Although the overall effect pulls you into Sumie’s world, there are some individual cuts that are catchy enough to stand on their own. ‘Blue Lines’ has a great melodic line to it and a highly attractive vocal to envelope the listener.
© David Hintz
