Roman Miroshnichenko "Ascension"
Own label; 2017
Russian guitar wizard Roman Miroshnichenko returns with a new fiery album. Wizard is not overused here as his technique can be matched with the very best in the world. My first impression was that he sounds quite a bit like Al Dimeola with a more metal influence in the mix. And of course one of the first things you can read about Roman is how he has worked with both Al Dimeola and Steve Vai, which just about explains it. I may have known that, as this is not the first time I have heard his amazing playing. The one thing that strikes me every time I hear him is that he is a bit easier to emotionally connect to than many of the guitar wizards like Malmstein and yes, even Al Dimeola. In part that may be due to his creative mix of acoustic and electric passages as well as a variety of pace and power. Good dynamics and fantastic playing make this a fine album.
© David Hintz
Roof Beams "Charon"
Own label; 2017
This band has been a favorite of mine over the years here in Washington DC. They have an Americana indie rock style with plenty of folk moves within. They start with fine songs mostly by Nathan Robinson who brings intensity and warmth in his vocals. The band’s arrangements are sharper than I have heard before and the sound is quite full and interesting. A cello adds to the electric guitar work to give those midrange sounds a full blanketing effect. This is a strong outing and should attract a wide audience of fans of heartfelt folk rock.
© David Hintz
Nonah Hendryx & Gary Lucas "The World of Captain Beefheart"
Knitting Factory Records, 2017
Thankfully this ‘world’ of Captain Beefheart is an interpretation of the music Beefheart AND his Magic Band and not the specific world that Captain Beefheart lived in. Because frankly, Beefheart was one of the most contemptible human beings in music. It is so bad that I struggle to even want to listen to him for that reason more than his obtuse melodies and odd structures. And much of HIS individuality was due to that of creative band members who did the bulk of the arrangements and structuring of his fragmentary advice. But enough of my issues with Beefheart, for we have a fine reworking of good Magic Band music from a latter day member, Gary Lucas. He teamed up with the magical voice of Nonah Hendryx, who brings her own strong personality to this project. Both the Hendryx style and Lucas’ interpretations brings this music at least halfway to those music fans who think that Beefheart was too ‘out there’. This is not easy listening, but it does have smooth corners and won’t freak out party guests if played in the background—well at least the first half of this LP, until the ferocious guitar work takes off.
© David Hintz
Marc Almond "Shadows and Reflections"
BMG; 2017
British pop crooner Marc Almond has taken on a fun little project here. He pays homage to the 1960s pop songs he enjoys with his own sharply produced versions. The title cut is a song from The Action and has that same bouncy tough fun of the original. This is that big, full, baroque style of pop music that is one baby step away from a show tune. Akin to a Douglas Sirk film, this album bristles with over the top songs, just slightly pulled back by Almond. He has a bit more vulnerability in his voice than some of these originals, yet he can push hard when needed and keeps the overall tone big and romantic. It is a great list of songs and goes toward non-Top 40 fare such as the Yardbirds ‘Still I’m Sad’, one of my favorites given a fine presentation here. The older I get, the more this style of baroque pop music from my youth comes back into my life with all the excitement of my pre-teen years.
© David Hintz
Ken Dunn "Wondrous Beauty"
Own label; 2017
This Canadian folk artist has the form down well enough, but has subtle twists and turns that makes this highly refreshing music. His warm voice and acoustic guitar anchor the songs, but his band creates these fascinating excursions down counter melody alleys. Tyler Beckett’s fiddle is the main culprit that takes a rural Americana starting point, but twists it into unknown terrain. This is not radical as Dunn’s vocals and the backing vocals of Anna Green are the core of what draws you into the song. There is even some spacey hurdy gurdy to add to the surprise elements. But the overall tone is warm and inviting and folk fans of all types will easily latch on to these fine songs.
© David Hintz
Aaron Nathans & Michael G. Ronstadt "Hang on for the Ride"
Own label; 2017
We have an interesting duo from the Midwest of the United States (more mid-east if people from other parts of the world were to look at a map). The photo shows them walking along a road carrying their instruments, which is quite normal for the acoustic guitar, but Michael Ronstadt makes handling a cello easier than I would have thought. And good for him, as I am always happy when cellists bring their skills to any musical style from folk to metal. The cello and the guitar for that matter do not dominate the proceedings here and there is a variety in backing to their voices. This variety of the arrangements is a big help to why I kept listening. The vocals are good if not a bit formal and the songs move along at a steady pace. Ultimately a decent listening experience here.
© David Hintz
Randall Kromm "Rough and Polished Stones"
Own label; 2017
Folk with just a wee bit of folk-rock is on the menu here. I rather wished there was a bit more folk-rock, as the opening cut features Kevin Barry’s tasty electric guitar runs. He only features one more time and is quite recognizable with his offerings. But the rest of the album is a decent folk LP with additional backing variations to the standard formula. The vocals are quite touching at times and the songs thoughtful enough to keep the rhythm going.
© David Hintz
Folkapotamus "Middle of Nowhere"
Own label; 2017
The hippopotamus is hardly a poster child for delicate and smooth, but Folkapotamus easily makes use of those adjectives. This Boston duo features the glidingly smooth vocals of Penni Hart, who also plays some guitar along with her partner who adds bass and vocals as well. They have some guests, most notably a mandolin, but the sound is steady and vocal focused. It is almost a bit too steady for me at times, but if you want to focus on folk music with luxurious vocals akin to Karen Carpenter, you won’t do much better than this.
© David Hintz
The Furious Seasons "Look West"
Stone Garden; 2016
More like a gentle California rain than a furious Texas hurricane here. With mostly acoustic guitars and bass along with just a touch of electric guitar, it is not too surprising that this is a gentle season of folk music here. But there are depths and complexities in the songwriting and melodic lines that makes this rise above the average. If you like your folk smart, but still with melodic roots, and warm story telling, then give this a listen.
© David Hintz
Green Diesel "The Hangman’s Fee"
Talking Elephant, 2017
Just as the many great bands of the UK folk revival were capable of writing original songs that sounded like their traditional arrangements, enter Green Diesel. This Faversham folk rock band has a couple of fine albums to their name and continue to spread the sound of the revival of the revival. Male/Female harmonies, violin, accordion, mandolin bouzoki, and rock music backing all contribute to the rich sound of this exquisite band. You don’t know how often I have wanted to say that ‘this band sounds like Spriguns of Tolgus’. Well it is true here and the vocals even come close to that eerie seascape that Mandy Morton conjured up.
© David Hintz
Reto Burrell "Side A&B"
Tourbo; 2017
I am reviewing a CD and what once was an ironic title is not so anymore with the vinyl resurgence. These 14 songs are clearly split on to each “side” in what appears to be heavy electric blues-rock to more acoustic folk with some tasty blues licks. Even though I often prefer heavier music to that of folk, in this case, Burrell’s style seems less clichéd and far more interesting when he leans toward folk. He still gets a little too prosaic, but there is a comforting tone within his music that is worth a listen.
© David Hintz
Chantal Acda "Bounce Back"
Glitterhouse, 2017
The recent spacey folk pop style of Iceland is a good reference point for me when I begin my introduction to Belgium’s Chantal Acda (born in the Netherlands). There is a folk base here, but the depth of the vocals and the intriguingly soft but thorough arrangements take this into that newer territory scoped up by Icelandic singers and others mostly in Europe with a few in North America. For me, this is a way to modernize folk music into slightly new listening spaces. It is fresh, but hits many of the classical buttons within us old time listeners. Chantal Acda has a fine voice and highly interesting songs. I am quite pleased with this album.
© David Hintz
Lighthouse Sweden "Silence in the City"
Moody Maraccas; 2017
While there is plenty of Americana in here, it also has an indie rock feeling. The music is thick and rocking and is almost more mainstream than indie. The vocals are bold and there is an inner strength that rather commands attention here. There is a certain slickness that adds to the musical skill on display, but takes away from the heart of the song. So it depends on the style of Americana styled folk rock you like as to whether you will gravitate to this.
© David Hintz
The Nightjar "Objects"
Pear O’legs Records; 2016
There is a sparseness and distance that is present in every song in spite of the mood shifts. Some of the shifts go into spacey realms that are most psychedelic, but not usual, more of a ‘coming from afar’ feeling. The lighter songs still have much space between the steely yet soft female vocals and piano. This reminds me a lot of Nico if she had a voice approaching Karen Dalton. The overall effect is quite mesmerizing and is one that stays with you well after the final note.
© David Hintz
Son of the Velvet Rat "Dorado"
Fluff & Gravy; 2017
If you like mid period to latter day Bob Dylan, you should have a listen here. The vocals and songwriting style reminds me a lot of various Dylan LPs. There are some female vocals and a full band throughout, so there is plenty going on. I rather like the organ with the smooth tones working across the rhythm section and guitar. The pace is quite mannered and sometimes really slow, which may or may not work for you. They pick it up toward album’s end, which refreshes things considerably.
© David Hintz
Bobbo Byrnes "Motel Americana"
Own label; 2017
You can check out any time you like, but you can never leave. It gets that way for we reviewers as well. This is comes from California, but does not have as much as the signature Cal-sound that I usually hear. This is a bit more universal Americana folk with some rockabilly and blues tossed in at times. There are three cover songs, but the originals are pretty decent and the style kept working its magic on me as the album progressed. This is ultimately a good breezy folk rocker.
© David Hintz
John McDonough "Surrounding Colors"
Own label; 2016
With the many waves of Americana artists in the world today, it is refreshing when one stands out. I think there are two reasons here, at least to these tired ears. McDonough writes good songs. They are catchy and heartfelt. The second reason is the overall energy that keeps many of these songs rocking as opposed to sliding into laid-back country clichés. He can keep it acoustic and cut the pace back when warranted, which adds a nice variety to this album. Good solid sophomore effort here and I hope to hear more from Austin’s John McDonough.
© David Hintz
Bravo Max "Bullfighter Blues"
Own label; 2016
Bravo Max is a rock band from Dallas. They have loads of blues moves, even more than the average rock band. And the special ingredient is that extra kick provided by their knowledge and integration of classic Texas psychedelia. Texas was one of the best scenes ever and many bands of today pull from that era. These guys don’t overdo it (well not in the Black Angels sense), but it is present in much of their mid to up tempo material. The vocals are attractive and could front and indie rock band or a classic rock band. The music continually delivers and this is a welcome listen.
© David Hintz
The Grand Undoing "Sparks Rain Down from the Lights of Love"
Candy Rock Records; 2016
This rock record is fairly smooth, but there are some dynamics in play. Somehow it still seems to flow by even with the highlights. This band appears to mostly center around Seth Goodman and a variety of musicians filling out the sound. It is all decent, although somehow never quite stands out for me. I think a live show with all the warts and bouquet would be a better format for seeing these songs.
© David Hintz
Davey O. "A Bright Horizon Line"
Own label; 2017
We have a good straight up folk record here with Davey’s voice and guitar bringing out his songs. He has a few guest spots on some songs, most notably some fine mandolin coloring, which is used quite well. His style is earnest and autobiographical for the most part. It is a bit more prosaic than poetic, but the rhythm is there and the emotions come out well. His guitar work is not off the charts, but far better than a mere strummer. Good solid folk music is welcome here and this fits the bill.
© David Hintz
Elijah Ford & the Bloom "As You Were"
Nine Mile Records; 2016
There is not much different about this release than that of many other indie rock/Americana based bands. But there are some subtle qualities that made this a pleasant listen. The band has just a bit more of a rock bite than most with that extra push from the rhythm section with the guitars and vocals working hard to stay in front. Some of the songs have good hooks to jump on board with. So if you want a little more rock and a bit less folk with your morning coffee, then give this a spin.
© David Hintz
Kurt Deemer Band "Gaslight"
Own label; 2016
No deceptive Charles Boyer lines here, just straight up full band Americana based indie rock. They come from nearby Baltimore, which has a good music scene, and more than its fair share of Americana based acts. So to be a part of that scene, means you have to up your game and this band has. They have a somewhat slick, but earthy gutsy style that delivers the melodies with vigor. A slight criticism may be that this feels steady and settled, where I would prefer a bit more edge. But it sounds excellent and may be just what many Americana rock band fans are looking for.
© David Hintz
Ray Goren "Ray Goren"
Own label; 2016
Ray Goren is a teenage guitar wiz who has a penchant for the blues. Perhaps blues rock is more the proper term here as there is a flowing style with some nice hooks within these songs. In fact, it gets more soulful as the album wears on with a mainstream style that is a bit overly slick for myself. Robby Krieger guests on a unique take of his song ‘Light My Fire’. Not my cup of tea here.
© David Hintz
Rick Drost "Turning the World"
Own label; 2017
Tired of Americana? I know I am. Well turn to this, a true folk album with a universal style. Rick Drost may be from Cambridge, right next to Boston, but he sounds like he could be from anywhere singing to anyone. Although this is his first album, he has been writing and playing for decades. Now with more time to devote to music, he is putting it together in this fine little album. It has a light airy sound, but has smart and quiet accompanying players with a cello welcome as always. The atmosphere is attractive and the songs are thoughtful. Everything works here, although the cover drawing makes him look a bit too much like Chairman Mao.
© David Hintz
Anna Coogan "The Lonely Cry of Space & Time"
Own label; 2017
Whether it was the album title or the photo of her in a Pere Ubu t-shirt, I suspected Ms. Coogan was going to be giving me something fairly original. It was not long before that was confirmed. She has successfully crafted her own world with voice and electric guitar and mostly just one percussionist/synthesizer player in support. The musical landscapes are distant and mysterious, while the vocals are strong yet with subtle dynamics at work in a near Kate Bush range. There is even a more gothic Dead Can Dance vibe in here as well, although everything has a subtlety to it, more pronounced than the initial artists that come to mind. This is also as accessible as it is creative, so it is recommended for all who like a touch of uniqueness to their music. It is an absolute gem.
© David Hintz
Craig Cassler "Find My Way"
Own label; 2017
Pretty much a blues based rock sound here, delivered with smooth but passionate strokes. The vocals are easy going as they slide right into the music. The electric guitar has a distant sound and the rhythm section is quick and nimble. While this is not quite revolutionary in approach, when he writes a good song, he can be very engaging. ‘Find My Way’ has a classic feel to it that could slip easily into a set from the National or Raymond Lamontagne. He’s lived on both coasts of the USA and perhaps has the versatility in his style to encompass that range.
© David Hintz
Trevor Sewell "Calling Nashville – An American Adventure"
Own label; 2017
Generally I would prefer it if Nashville would not pick up, although there is some great musicianship in the city, obviously. And thankfully, as this record shows, there is plenty of variety beyond slick country music. Sewell went over from his native England to record in Nashville and enlisted some big names like Tracy Nelson and Janis Ian to assist on vocals (and piano on one cut). There still is just too much of a mainstream approach to interest me a whole lot, but when he fires up the guitar to play some fast placed blues while dueling a violin, it can get mighty interesting.
© David Hintz
Johnny Oskam "In My Shadow"
Own Label; 2017
I thought I was in for another hotshot young blues guitarist with this album. And I was, although he and his band fired off into psychedelic rock trails once blazed by the Groundhogs and others from that era. The vocals stay rather straightforward bluesy rock, but the musical muscle is really jacked up here. When Oskam gets flying, this is quite impressive. Normally I like variety, but here I recommend they bring the goods full speed ahead.
© David Hintz
Paul Sachs "Love is Love"
Own label; 2016
Here is a good old-fashioned story telling folk LP. These songs are rich with interesting characters and stories to keep your attention. At times, the musical phrasing is also quite good, and even when not so much, it still is a pleasant melodical delivery. There is a touch of country in a couple of places, but this still remains full frontal folk music. If you like the Harvey Andrews style of folk, but with more deeply thought out stories, this is a fine record to have.
© David Hintz
Sam Baker "Land of Doubt"
Own label; 2017
Sam Baker is a fine architect in his use of space. It is easy to go musically safe and fill space with lots of excessive riffing, beats, and even vocals, but Baker knows how to build the drama with what he omits. But it is not all sparse, as a full band sound can also bring the drama in the song with a steadily increasing presence. At its best, there are some excellent songs here. There are some cuts that are not quite as arresting, but the style is there, so it remains a fulfilling listen.
© David Hintz
Susan Cattaneo "The Hammer & the Heart"
Jerseygirl Music; 2017
Catteano had a period of life where she left the stage and worked as a songwriter in Nashville. Well, now that she is back singing, she still has plenty of songs—in fact, enough to fill a double album out. She has an occasional assist from the musicians she works with on the writing including Bill Kirchen on a couple of songs, but she remains quite prolific. But unlike some musicians who spew out fragments and call them songs, these eighteen cuts are all well formed and executed. It is an alt-country, Americana sound with some songs rocking out and others pulling back to folk ballad tempo. There is even a bit more variety, which is always welcome on a double LP. Good job by all involved and this is something quite easy to sink your teeth in on.
© David Hintz
Rob Jungklas "Blackbirds"
Madjack Records; 2017
There is almost a David Eugene Edwards quality in these songs, which is high praise coming from me. The voice is simpler, at least at first listen, but a more careful listen takes note of the slight quiver and the fine range on display. The music is dark and effective as these seemingly laid back songs meander about in the shadows. Jungklas is a veteran of the Memphis music scene and was worked a number of styles. This album may reflect back on a long life in music and has a great command of style. It is one of my favorites of recent days, so you may want to make it one of yours.
© David Hintz
The Moorings "Unbowed"
Mast Productions; 2017
Although this has an Irish swagger, there is initially even more punk rock in here than in the usual post-Pogues formula. There is violin and some banjo and keyboards to supplement the rock instrumentation, so it is on the heavy side, but with nice rhythms as well. The vocals have that raspy Joe Strummer style and the band has a snappy pace and is well locked in. Eventually some easier paced rootsy material comes in to the mix. They have a nice take on the great Jacques Brel song ‘Amsterdam’ and you can check out that video at their website.
© David Hintz
Paul Brady "Unfinished Business"
Proper, 2017
If anyone does NOT have any unfinished business, it is Paul Brady. If he is making music in another three years, he will move into his seventh decade of music. And don’t underestimate this 70 year old, he just may do it. I would be lying if I said this was my favorite Paul Brady LP, but with his work in the Johnstons and some of his solo and collaborative work, I simply have too much to choose from already. This is simply another solid folk entry from one of the masters. So add it to your Paul Brady collection.
© David Hintz
