Cúl na Mara "The World is Colourful"
Own label, 2018
This record starts with a Pogues-like roar. This is Irish folk rock, but created by just two men and two women. They are not only rocking but have a full lush sound that carves out a rather different territory from the Pogues. This is even clearer as the record unfolds, as they head to more progressive folk sounds. By shear coincidence, I listened to them right after Spirogyra (RIP-Martin Cockerham) and they made for a perfect follow-up with their brisk smooth and skillfully arranged songs. They mix up their moods from spritely to haunting and do a fine job of proving exactly how colourful the World can still be.
© David Hintz
Bernd Rinser "Evil, Wild & Blue"
Own label, 2018
Bernd Rinser "Split Pea Shell"
Own label, 2018
Bernd Rinser "Street Dog Blues"
Own label, 2018
There certainly is a different business climate in the ways an artist can release music in this century. But I am not sure that I have seen too many people take the approach of accumulating an arsenal of songs and then releasing three separate LPs all at the same time. And if my translation program is accurate, there may two more forthcoming. Rinser’s last album was eight years ago, so the songs have probably been written over time. I think hearing them evenly spread over eight years would be preferable than hearing them (letting alone buying them) all at once. The problem is that the sound is so similar and it is such a steady folk blues approach, that it just settles too much into the background over 26 songs. Rinser’s playing is fine, but his vocals have that old laid black bluesman’s style that does not do enough here. The arrangements occasionally lift the songs particularly through the use of accordion. Like a lot of double album releases, with judicious editing there may be one good album here.
© David Hintz
Tilly Moses "Alight & Adrift"
Ginger Dog Records, 2017
I was thinking how thoroughly modern this folk singer songwriting outing was sounding, when “One of Them” kicked in and transported me back a few centuries. Ultimately, Tilly Moses has managed to bring the traditional into a modern setting that sounds fresh. She varies the arrangements from delicate mandolin strokes to full on cello and fiddle. The vocals also have a certain classic quality to them without trying too hard to invoke the ancients’ calling. A good listen, this.
© David Hintz
Katie Garibaldi "Home Sweet Christmas"
Own label, 2017
It would be near impossible to listen to every Christmas album in existence, but there is no shortage of new entries every single year. Katie Garibaldi has a good approach for this genre as she has written eleven original Christmas songs to go along with her cover of ‘Silent Night’. There is a country vibe in many of the songs, but it is not as annoying as that can usually be for me. Garibaldi’s voice is interesting and the arrangements are just varied enough. She focuses on the Christianity of the holiday, which is often lost, although there are the usual family sentiments in some of the songs as well.
© David Hintz
Gerry Tully "Things Heard"
Own label, 2018
There are three original songs and eight more ‘things’ Gerry Tully has ‘heard’ and now interprets for us in his warm folk manner. Although Irish, he has only the lightest accent and is happy to take songs from all over the UK and beyond to offer his version. Tully’s style is warm, thoughtful with the right balance of intellect and emotion. The acoustic guitar work is quite tasty throughout. He has a couple of classics like ‘Spencer the Rover’ and ‘Night Visiting Song’ which he has interpreted from Al O’Donnell’s version of Ray Fisher’s version. So Tully clearly knows these songs and knows interesting performers that aren’t necessarily in everyone’s record collection. I will recommend adding this is one to add to your record collection and then work back into earlier versions.
© David Hintz
Hans-Werner & Melanie Dietzsch "Changes"
MeBal Music, 2016
I love the vibe on this record. It has that distant transportive quality that was on records by Raven&Mills or The Sun Also Rises. There is plenty of male/female harmonies and alternating lead vocals to keep things vibrant throughout. In addition to the guitars, a violin or some percussion sneak in as well. And full credit to the fine musicianship in this duo as they handle the wide variety of instruments with great skill. This one is definitely for the old time folk and psyche-folk fans, but will work well with classic folk fans as well.
© David Hintz
Billy Shinbone "The Billy Shinbone Show"
Tiny Dog, 2018
I was a bit worried that this would fall into the likable, but overplayed, grouping of dirty blues rock groups. Thankfully, Mr. Shinbone mixes up the album with some quality folk songs and plenty of twists and turns in the psychedelic blues oeuvre. Shinbone plays guitar in the Neville Staple Band, so he has his chops. Yet he strips it down here at times to allow some space in between the twisted guitar and banjo runs. At times it reminds me of a cross between the Decemberists and O’Death. The quality is there along with the heart and that is the combination that makes for a winning album.
© David Hintz
Waydown Wailers "Backland Blues"
Blind Raccoon, 2018
More electric full-band blues is on store here. No surprise as these waydown wailers deliver the backland blues from their upstate New York home. Frankly, there is nothing here I have not heard before, but it is all quite listenable. And as I so often say (especially with blues acts), I would much rather hear this live. I have no doubts that their material makes for a lively, rousing set for a night in the clubs.
© David Hintz
Bobbo Byrnes "Two Sides to this Town"
Songs & Whispers, 2018
This record label generally delivers up some quality tunes and score another point for them here with this California singer-songwriter. Byrnes is in the alt-country Americana camp, but does not skimp on scorching rock moves here. He plays all kinds of strings and keyboards and has a fine voice atop of it all. There are some folkier cuts that are excellent, but the up tempo numbers resonate even further. His band is sharp and on point with full credit due to Byrnes on the ‘noisy guitar solos’ and Danny Ott for the ‘tastier guitar solos’. They all work for me as my energy is up after listening to this loud and tuneful music.
© David Hintz
Svjata Vatra "Muutused Zminy"
Nordic Notes, 2018
Folk music from Estonia is not something I can point to in my vast collection. So, enter Svjata Vatra into my universe of world folk music. There are some intriguing traditional sounds, yet the setting is quite modern, instrumentally. The vocal work is particularly exciting. Both male and female vocals are here and the range in intensity and on the musical scale is quite high. That and the chipper instrumentation definitely gives this a unique time and place within your musical space. I am quite intrigued by what else may be a part of this scene and history.
© David Hintz
Louise Støberg/Martin Rauff "Appetite for Distraction"
Go’ Danish Folk Music, 2017
Here’s a gem that fits right into my collection next to Kirsten & Bernd. They were a little known Belgian duo from the late 1960s that had intense harmonies atop interesting folk music. It is all that and more here as the instrumentation is even a bit more intriguing. The male and female voices are more often together than apart and they continually show how much they belong together throughout these thirteen songs.
© David Hintz
Curse of Lono "As I Fell"
Submarine Cat Records, 2018
This second LP was recorded in Joshua Tree, California and there is definitely some of that spacey and spacious feeling present here. But the slick countrified folk rock is even more present and that gives me pause for thought. This has an accomplished sound and quality to it, but it is almost a bit too professional for me. It is like the Americana heartland depicted here has a cleaning service to ensure a pristine landscape. That is all well and good, but I can’t quite get to the heart of the music. That said, this sounds inviting enough that they will likely pick up more fans than many of the other bands that I may rave about.
© David Hintz
Tom Hambridge "The Nola Sessions"
Superstar Factory Productions, 2018
Hambridge is a successful producer/songwriter/drummer who has worked with Buddy Guy. He adds his vocals to this LP and truly creates a NOLA session with musicians named Toussaint, Neville, and Landreth taking part. Those are some famous surnames in New Orleans and they definitely bring their style to the bluesy music going on. This mostly is merely an excellent session, although a few songs stand out. But any ‘mere’ session from New Orleans is well worth a listen.
© David Hintz
Nico Rivers & the Black Grass
Songs & Whispers, 2018
Unlike the more famous Nico, Nico Rivers is a man, albeit with a voice pitched higher than his more famous namesake. It is a warm voice that sits atop some toe tapping American based indie rock. The songs are all catchy and have a breezy easy going style that feels quite natural. There are some quieter more thoughtful moments as well which balance things out nicely.
© David Hintz
Mario Rojas "Lost Angelino"
Own label, 2017
I was hearing a west coast California feeling to this music even before I looked at the album title. So there is nothing overly lost about the breezy sound of Mario Rojas. Frankly, it is all the sort of thing I have heard before way too many times and it could catch me on a day where it is easy to be cynical about such things. Fortunately, Rojas has a lot of charm and it was hard not to tap my beat to the brisker rhythms and enjoy the basic melodies. So if you are in a good mood and want to make it a wee bit better, this may be the prescription.
© David Hintz
Mark Huff "Stars for Eyes"
Exodus Empire, 2018
From Las Vegas to Nashville… or as I would put it from the slick city out west to the slick city out east. Although Nashville is only slick in the main music scene, where Las Vegas is a slick artificial city in a world of its own. But it offers Mark Huff plenty of interesting perspectives as he has been a lot of places in between and beyond. He has good songwriting chops on display here, although it gets a bit too pop country for me at times. I leaned more toward the thoughtful feeling of ‘Big City Down’. This just settles a bit too much to the comfortable sound of Nashville for me, but there is plenty of quality here for others to explore.
© David Hintz
Love on Drugs "Solder"
Paraply Records, 2018
This is on the rockier side of folk-rock. They definitely establish a nice groove, which gives this the edge over many other bands you hear playing in club land. I only have two minor gripes. First, I read this is a solo project of Thomas Pontén and if that is the case, this is yet another case of where I would just rather see an individual name as opposed to a band moniker (I would say more, but I could do an essay on this). Also the lyrics are sometimes distracting, but when the voice is good and the music is hot, this is but a minor issue. The songs are good, there is a Joni Mitchell cover, and these guys can play. So give it a listen.
© David Hintz
Andrea Van Cleef "Tropic of Nowhere"
Rivertale Productions, 2018
This is one gritty rock LP. There are folk moves, but the electric guitars lead the way. There is a hearty sound to it, but the band flies off in such strange directions, that they don’t stick around long enough to be pigeon holed into a simplistic genre. It is if they have ex-members of the Cramps and Spaceman 3 in the band as there are hints of those bands here. Oddly enough, one of the more laid back songs is a cover of Black Sabbath’s ‘Paranoid’ complete with brass.
© David Hintz
Anduril "Atlanterra"
Rockwerk Records, 2017
There is a sort of up-tempo Irish folk rock at the core of this, although a certain Scandinavian vibe is present throughout. The band is from Germany and they have dished up a rather epic journey over vast oceans with this album. It rocks quite hard, but there is a distant moodiness in the vocals, which should resonate with folk fans who love rock music. The whole is better than the sum of the parts and it is a fine album for folk rockers and listeners that like concept albums.
© David Hintz
Various Artists "A Tribute to Punk"
Jump Up, 2018
This two CD set from Germany features classic punk covers compiled by Lucha Amada. The style is geared toward Latin dance music, which may make classic punks skeptical. However like the ska-punk movement, there is a natural fit and there are some highly original songs here. Unsurprisingly, there is an awful lot of Clash here, but that is understandable with the way the Clash broke down a lot of world music barriers back in their day. And this compilation has excellent liner notes where the bands often discuss their involvement with punk music and how they share the same rebellious spirit in breaking down barriers and such. There were some incredible highlights such as the surprisingly rocking Stooges classic ‘I Wanna Be Your Dog’ by Aleko Lem. There is plenty of Ramones and some fine takes on the Dead Kennedys, the Pogues, and Motorhead. Great songs, but get the CD release for the liner notes, art work and extra songs.
© David Hintz
Glen Matlock "Good to Go"
Peppermint, 2018
And continuing the punk rock listening theme, what could be better than the new Glen Matlock album? The original bassist of the Sex Pistols is here with an album that bridges the gap between the last two times I saw him play. The first time was a solo show with acoustic guitar covering a variety of songs including those from his early bands, the Pistols as well as the Rich Kids. The second time he, Chris Spedding, and Slim Jim Phantom (Stray Cats) were backing rockabilly singer Robert Gordon. So we have that latter rock’n’roll spirit with Matlock’s tunesmith, singing, and acoustic guitar. In fact, Slim Jim Phantom is here on percussion. The real ace in the hole is guitarist Earl Slick whose tasty electric leads and fills keeps this rocking. But Glen’s classic rock and pop moves shine through. This may be simple in approach, but it quite effective in the result.
© David Hintz
Rod Abernathy "The Man I’m Supposed to Be"
Songs from Downstairs, 2018
There is versatility in the simplicity of this album. Abernathy is a fine acoustic guitarist and has split his music into a two CD set. The first is a collection of mostly original songs performed in a basic acoustic guitar and voice format. He also adds mandolin and some other stringed instruments to fill the sound out a bit, but it is in the classic folk style. It is certainly fine music, but I prefer the second collection which includes ten instrumental guitar songs. This collection showcases his incredible skills as he slots right in with the many classic American acoustic guitarists over the decades. He mentions many that influenced a particular song and the Leo Kottke comparisons definitely connect in my mind. This is exquisite guitar work with flourish and emotion and is pretty much everything you want in an acoustic guitar album.
© David Hintz
I See Hawks in LA "Live and Never Learn"
Own label, 2018
Indeed, this band is from Los Angeles and certainly has mastered that western brand of laid back cowboy folk dusted with rock rhythms. When they push the tempo to the middlin’ level, it works nicely. And when the songs take on a House Band quality, I rather like them. However a few too many take a laid-back country approach allowing the steel guitar to wail too much for my taste. For instance ‘Stoned with Melissa’ got so laid back and repetitive, I wanted to give them coffee. But if this California style is to your liking, I See Hawks in LA has got a lot to offer here.
© David Hintz
Kelly & Woolley "Miner’s Eyes"
Clunk & Rattle Records, 2018
This folk duo operates in the manner of Subway (Mowrey & Watson) or Carthy & Swarbick, although with more harmonies than either. The violin and acoustic guitar combination always works well and is no different here. There is even some mandolin to add to the variety. The vocals are laid back with depth and thoughtfulness in mind, while the harmonies lift them up to higher planes. The song writing is interesting and ultimately this is a very fine folk album.
© David Hintz
Kate Callahan "Triumph"
Own label, 2018
The triumph here is in the vocals. Kate Callahan has a purity in her tone that remains as she pushes forward or pulls back into quieter passages. Instrumentally, it is on the sparse side with the acoustic guitar working best. The piano is interesting, but sometimes a bit too prominent. And the dreaded steel guitar occasionally countrifies things a bit much for me. There is Dylan and Cohen, but it is mostly original. And although you have heard it a thousand times, Cohen’s ‘Hallelujah’ is always welcome on an album from a great singer.
© David Hintz
Stephen Harrison "It Starts with the Soul"
Word Poem, 2018
From one of my favorite places on the planet, Edinburgh, comes the latest LP from fine folk singer-songwriter, Stephen Harrison. I am no expert in accents, but he was born in London and perhaps has a more worldly voice as a result. Or maybe it is other-worldly, as he is so soft and quiet here, that it opens a world of mystery in every line. The overall tone is so quiet that the delicately picked solo acoustic guitar sound like piercing Goblin shrieks (the band or the beast, your call). Well I exaggerate, but this fascinating approach shows the value of quieting things down for more dramatic intensity. This one is for Leonard Cohen fans and anyone else who likes it deep and still.
© David Hintz
Gaye Su Akyol "Istikrarli Hayal Hakikattir"
Glitterbeat, 2018
This album begins with explosive sounds. First, it feels like a Goblin soundtrack with synthesizers setting a menacing tone. Then it breaks into an Erkin Koray styled catchy psychedelic tune. When her vocals come in, it has the feel of an evocative Gal Costa number. So I have spanned the globe before the first chorus—that is a very good beginning. There are folkier songs and even some surf guitar moves as the album progresses, so it just keeps getting more and more interesting. Gaye Su Akyol is from Turkey so the Erkin Koray influence is certainly there. The Turkish music scene has always been a fascinating one and if you agree, you really need to get this album as it continues the tradition of great music coming out of that part of the world. Music that reflects an exotic reflection of the area as well as connecting with the rock moves in other parts of the world.
© David Hintz
Gerry Spehar "Anger Management"
Own label, 2018
From the American West comes this modern day follower of the faith and practice of one, Woody Guthrie. Woody’s followers comprise a large part of the musical universe, but as Gerry Spehar claims, the stakes are higher than ever. His opening salvo, ‘Thank You Donald’ is dedicated to you-know-who for giving him the reason to embrace the vibrancy of life and fight back. There are a whole lot of musicians who don’t even listen to Woody Guthrie that know that feeling. The lyrics are all interesting here and they fortunately do not take the one dimensional fight against everything approach that some folkies do. Musically, it can be inventive such as on ‘Carnival’, but it mostly follows a countrified folk approach, again not unlike Woody, but much more modern. So if you want to manage your anger in a more upward level, this will do the trick.
© David Hintz
Long Tall Jefferson "Lucky Guy"
Red Brick Chapel, 2018
This album is tricky for me. There is a good easy going pop rock quality to it, but not too many folk moves aside from the overall easy going vibe. There are songs that I can’t tell whether they could be on Merrell Fankhauser’s ‘MU’ LP (cool!) or an old Henry Gross album (not cool). There are a couple heart-felt songs that I enjoyed, so it may be worth a listen even though it is not as consistent as I would like.
© David Hintz
We Used to be Tourists "The Benefit of Doubt"
Couch’n’Candle, 2018
For fans of the Cowboy Junkies and other modern indie rock bands with strong rootsy folk leanings, we have We Used to be Tourists. They are from Germany, although it appears they are channeling Nashville far more than Berlin. There is a strong focus on harmonies here with male voices and one female voice smoothly blending together. The piano also takes a strong part in driving forward the melodies. It is all quite steady and solid as an album and it plays through very well. A few more mind bending melodies and we may have a great band, but I’ll settle for a very good one.
© David Hintz
Harpeth Rising "Against all Tides"
Own label, 2017
This female trio half-won me over with their very line-up of violin, cello, and banjo/guitar. Add vocal harmonies and that is a winning combination to my ears. The music does not disappoint—it has that slightly intellectual level, but without pretension. They have just enough intimacy to keep the folk feeling strong amidst the classical moves. They are definitely on the smart side of the equation, but are easy to absorb and enjoy. They would likely be fairly magical on stage I would think.
© David Hintz
Mike Spine "Forage & Glean Volumes I & II"
Own label, 2018
I recently read that the Eagles Greatest Hits LP passed Michael Jackson’s ‘Thriller’ as the all-time best selling album. I never could quite understand the greatest hits package as being a great seller. Sure, it is an introduction to a band, but the Eagles? Well, I don’t really want to understand the breadth of their fandom anyway, so I will move on to this two CD collection of songs from four previous Mike Spine LPs. And this IS a good set for me as it introduces me to the music he has made over the past 22 years. Mike Spine’s band ‘At the Spine’ is more in the punk rock vein, while his band ‘The Beautiful Sunsets’ is more folk rock. His solo material is full-band indie styled folk rock for the most part. What it all has in common are excellent lead vocals and a good sense for melodic songwriting. Whether the electric guitars jangle + roar, or the acoustic guitars strum, the rhythm section is their to anchor the songs and the vocals will get you involved. This is a good place to start with Mike Spine or even finish as there is a lot of material here to enjoy, even if it is not his complete output.
© David Hintz
Town of Saints "Celebrate"
Snowstar Records, 2018
This is an interesting collection of songs that lean most heavily toward a country rock style. Yet, there are shifts and undercurrents that take it into deeper folk territory as well. But this is not a terribly quiet album. The band can and does rock and has a playful style even when they slow it down. It is a professional approach by a band that has fine command of their style.
© David Hintz
Eric Congdon "Into the Woods"
Own label, 2017
So as I was trying to work out the mystifying influences of American Primitive guitar (a term I don’t like, by the way) in the first three songs, I take a gander at the song titles. And of course, there it is—‘Requiem for John Fahey’. So Congdon gives away his influences before you hear a note (if you read the credits quicker than I did). But it won’t take long to figure out his influences anyway. The real fun is hearing more Leo Kottke and Robbie Basho here as well as Fahey. ‘Legend of Blowing Rock’ is one of those rare songs that doesn’t actually sound like the influence directly, but is clearly led by the spirit of Robbie Basho. And anything Basho related makes me a very happy listener. And if you are not following any of these points, just grab this album for some highly skilled acoustic guitar playing, supplemented by some really nice songs.
© David Hintz
Eva Hillered "New Me"
Hill Songs, 2018
Some times I use the phrase “smooth and steady” as a back-handed compliment or worse. But here, Eve Hillered’s smooth songs do not contain an ounce of pretension and therefore deserve a sincere compliment. The style is light band folk music with a touch of rural country feeling within. The songs are personal and will work their magic if you connect with the overall tone and pace of this Swedish album (with lyrics in English).
© David Hintz
Melanie Dekker "Secret Spot"
Elephant Ears, 2018
There is a good mix of pace here in what generally could be grouped with folk rock albums. There are light touches and tougher numbers that seamlessly connect into a whole. Melanie Dekker can flex her voice just enough to make it all work and the result is an album easy to absorb and find yourself listening carefully to. This fine singer songwriter is from of my favorite places on the planet, Vancouver, Canada. Hopefully she will be playing a show when I next visit.
© David Hintz
David Munyon "Planetary Nights"
Mobile Home Records
Fans of old time gravelly voiced folk music with just vocals and acoustic guitar, take note of this release. The vocals are soft and warm with just enough of that resonance that suggests worlds of experience delivered in every line. That is a style that works in country as well, but this is pure American styled folk music here—all original songs by Munyon and S.P. Standley. There is a second guitarist on half of the tracks, but aside from the obvious fuller sound, there is no real difference in approach. It is as straight forward with a quality level that will have you coming back for more. But there is also more with a bonus DVD featuring a video of demo sessions. So this release has a lot for the folk fan.
© David Hintz
Son of the Velvet Rat "The Late Show"
Fluff&Gravy Records, 2018
More gravelly voiced folk music is on tap here, although this time in more of a band format, recorded live. This was recorded in their home in Austria although the husband and wife team that head this band moved to Joshua Tree, California. The music leans toward the American side of the Atlantic, but there are some nice instrumental flourishes that are worldly enough. The female harmony vocals are quite subtle and the music has a steady flow whether it rocks a bit or pulls back into a more mysterious folk realm. They remind me of a more subdued Walkabouts.
© David Hintz
Matthew Robb "Spirit in the Form"
Wabisabi Music, 2017
Here is another more traditional folk album. In fact, the songs really link up to some of the standard style and cadence of more familiar songs. There is even a sea shanty styled rhythm in one song. There is touch of electric guitar, harp, and other assorted instruments but it is mostly Robb in voice and guitar leading the way. This is a nice likable album.
© David Hintz
Dry Dudes "Memories"
Timezone, 2018
This is somewhere in between a boy-band and emo-band. In other words, it is pop music with a slick earnestness that may appeal to some—just not me and most Folkworld readers. The cover alone gives it all away, which is why I put it at ‘the bottom of the review pile’. You can most assuredly find a good review somewhere else on the world wide web.
© David Hintz
Mona Wallin "To Build a Fire"
Heatherhall, 2018
Although from Sweden, this singer-songwriter could be from just about anywhere, especially in the heartland of the USA. She has a country lilt to her songs, although they go into folky territory as well. It is not my favorite style, but she brings and effective emotional level to the music, not too corny or too dry. So a pretty good effort here, if you lean to the country side of folk.
© David Hintz
