Kaia Kater "Grenades"
Smithsonian Folkways, 2018
Moses Asch’s label lives on,[65] tied in with the Smithsonian Institution, the foremost museum of American history and culture here in the USA. But this is no rustic field recording, but a young and well produced singer songwriter showing her talents on her third album. Yet there are some Appalachian stylings in these songs, even though Ms. Kater was born in Montreal with a Grenadian heritage. Ultimately, she provides just enough variety and a lot of quality in these 14 songs. Wise beyond her ears and a treat to our ears.
© David Hintz
The Sign "Naked Glory"
Rock Spider Records, 2018
The Sign "C the Sign"
Rock Spider Records, 2018
Jo Stevens and Paul Volta are the duo that comprise the band. There are a few other musicians on occasion, but the great harmonies, guitars, and even rhythm section instruments are mostly provided by the duo. There is quite a mixture of rock, blues, and folk in here. Even when the acoustic instruments dominate, the rock moves are apparent. They sign in unison often and create a powerful harmony. When Ms. Stevens sings solo, there is a restrained Geddy Lee quality at times, which sounds odd, but just adds to the rock vibe. The second record refers to every song being played in an open ‘G’ tuning. And while that may imply a positive tone, their version of ‘California Dreaming’ sounds positively menacing.
© David Hintz
Timo Brandt "Grounded"
Timezone, 2018
Timo Brandt plays most of the instruments here and develops a quiet, yet full sound. There is some added cello that thickens it out in some welcome spots as well. The quiet is achieved with his easy vocal moves reminiscent of something between Dan Fogelberg and Kenny Rankin. The music is a bit too assuredly easy going for my taste, but credit is due for a fine achievement in this area.
The Breath "Let the Cards Fall"
Real World Records, 2018
I do not listen to enough Icelandic music, even as popular as it is. If I did, I may make some comparisons the latest album from The Breath. This is silky smooth both in the female vocals and the sumptuous yet space yielding arrangements. The songs captivate just enough, but the overall mood is the success of this style and this album. It is interesting that they are from Manchester, but this is not exactly something I would expect from Factory. However, I apparently have been quite out of touch as this is the first record I have heard from Real World Records in decades. I am happy they are still bringing this quality of music to our homes.
© David Hintz
Andrew Sheppard "Steady Your Aim"
Own label, 2018
Immediately, the psychedelic cowboy cover with bright colorful 1960s hippie style font and décor has me intrigued (think Quicksilver Messenger Service). While not quite a San Francisco throwback, Andrew Sheppard delivers a twisted country rock record that is challenging enough to be a lot of fun. The songs are good and the arrangements offer a fine dynamical array of country, rock and folk music, with plenty of Americana and blues within. It takes quite a bit to make this style (especially loaded down with steel guitar) to work for me, but Andrew Sheppard delivered the goods. I advise seeing if this works its way on to your play list.
© David Hintz
Iva Nova "Uba Hoba"
Geometry, 2018
I thought I was hearing Kraftwerk when this started before exotic Russian folktronica kicked in. Normally, I find folktronica severely wanting, but these ladies in Iva Nova cook up a magical concoction of accordion, vocals, rock instruments and electronics. They remind me of the Norwegian band, Katzenjammer. But the roots are more Slavic here with thoroughly modern arrangements as well as the more obvious modern instrumentation. I have reviewed some very exciting Russian music over the years in thanks to a fairly large population here in Washington DC, and I am hoping Iva Nova will come over for a live show some time. Based on this fine record, they would provide loads of energy for a wildly exciting night. This record will serve until then.
© David Hintz
George Leitenberger & Roddy McKinnon "Raw Love"
Silberblick Musik, 2018
Here is proof that creative people can start with the basics voice and guitar and turn out something creative with just a little flourish of electric and acoustic variations. These two mostly have a style similar to Bill Callahan with deep, distant voices and guitars. However, they have some playfulness akin to Robin Williamson, although maybe if he had been born in California. The rustic appeal is here in the most cosmic sense. A couple of the songs are merely there, but a few more of them just may lift you to a magical place. Intriguing to say the least.
© David Hintz
Suistamon Sähkö "Etkot, Pectopah Jr Etnoteknor"
Kihtinäjärvi Records, 2018
The Karelian influences are strong in this modern Finnish quartet’s powerful sound. However, it is more ethnic modern dance music than folktronica if I can even make such a distinction. There is a strong throb and power to the music, so it is not a light night out in electronica land. The vocals are thick and strongly attached to the landscape of Finland. The constant accordion offers enough folk moves and there are some stringed instruments on occasion, so this is worth a listen for adventurous folk rock fans.
© David Hintz
Wolfgang Kalb "Blues Songster"
AAA Culture, 2018
This is eighteen songs worth of traditional blues from the likes of John Lee Hooker, Elmore James, and Robert Johnson. It is all solo resonator guitar and voice recorded live in the studio. There is a bit of harmonica as well, but this is as straight forward as it gets and that is entirely the intent. The playing is fine and feeling is good, so if you are in the mood for straight up blues, his may be worth your while.
© David Hintz
David Graff "Supposed to Fly"
Own label, 2018
This is more country music than folk, which normally interests me a lot less. But Graff’s honky-tonk arrangements are a lot of fun. His resonant voice handles the light hearted fare and the heavier material equally well. And this variety serves this album well, as the music sounds fresh throughout. So ultimately, this was a good listen that held its own throughout.
© David Hintz
Popa Chubby "Prime Cuts"
Own label, 2018
Subtitled, ‘the very best of the beast from the east’, this is a compilation of 15 songs (two of them are new) from this big guitarist’s three decades worth of music. I was thinking this would be a straight up blues record. There is that, but there is a bit more swing and R&B in some of the cuts as well. The guitar work is solid, quite tasty in fact and although most songs are original, there are cuts of the often covered classics, ‘Hey Joe’ and ‘Hallelujah’. I never get tired of those.
© David Hintz
Úzgin Űver "Patak"
Lollipop Shop, 2018
This veteran Hungarian band hits all the right buttons with me by featuring swirling vocals meshed with violin, ethereal flutes, and the usual guitar, bass, and drums. Their music is exotic and supposedly less folk based than it may sound. It has eastern European motifs, but the psychedelic style and heavy electric guitar take it on the rockier side beyond psyche-folk. The songs are few and long and create a hypnotic groove that easily sustains their length. This would be a gas live, although I am quite happy giving this a spin and setting my mind adrift.
© David Hintz
Of the Valley "Of the Valley"
Backseat, 2018
There is a lush yet subtle tone running throughout this album. There are soft electronic sounds behind the light folk rock approach that is at the core. Thus, it is a modern record for modern tastes. And it is fairly well executed in that regard. The vocals are soft but with a certain intensity that keeps attention keen. I like the songs that are more sparse, although the droning qualities in ‘The Tides’ is quite special. An interesting album this is for modern or adventurous ears.
© David Hintz
John Garner "See You There"
Bangup Bullet, 2018
I was curious that a trio was pictured on the cover of what appeared to be a solo LP. But John Garner is the group name of this trio, who also recorded this at John Garner Studio in Augsburg, Germany. It may be a trio, but that arrangements are big and there are even some strings as well. It has a rich, mainstream feeling, although the vocals vary between quiet moments and bombastic rock. Although folk-rock, I find the best comparison to that of a rock fan (unlike me) who prefers the slick powerful arrangements of Styx to the more straight forward attack of, say Black Sabbath. For folk fans regarding this record, it is a similar proposition.
© David Hintz
Pat Chessell "I Confess"
PCB, 2018
This is a fun pub-folk album full of boisterous, yet charming music. There is even a sea shanty styled traditional that makes you want to join in on the chorus. Although simple in approach, there are some nice production touches with with whistles, backing vocals, and fiddles to go along with the folk rock axis. Ultimately this a charming little Celtic folk record of seven songs that you don’t often see as much as in the revival years.
© David Hintz
The Refusers "Disobey"
Own label, 2018
A local critic once described the Ramones debut album as “utter garbage of the worst kind”. These guys are not the Ramones and I am confident that my not liking this dull rock record that is nowhere near punk rock (nor folk for that matter) will not ever have me looking like the foolish rock critic who did not understand the Ramones. The funny thing is, that unlike that critic who probably sold his record to a used record store for a dollar, this CD will indeed become garbage after its last note.
© David Hintz
Blinded by Stardust "What Life’s About"
Lindo Records, 2018
I like this band’s style. They have a song oriented lightly rootsy approach. It fits the spirit of modern folk rock, but it seems more timeless than that. The vocals have that quivering edge to them that work off of the smoother violins and guitars. This is well balanced between composed and spontaneous, quiet and loud, edgy and comforting. It should appeal to a wide variety of music lovers.
© David Hintz
No Snakes in Heaven "Blue Sky"
BSC Music, 2018
This band creates one of the steadier albums of roots indie folk rock that I have heard in a while. I suppose they are akin to the Cowboy Junkies, although a bit breezier at times. Not that they are without emotional depth, but it is a mannered thoughtful approach. The album will creep up on you over time and is probably worth a few more listens to fully ferret out the depths within.
© David Hintz
The Plastic Pals "Psychic Reader"
Paraply Records, 2018
This Swedish band is doing nothing I have not heard a thousand times before. Their R&B infused electric rock music has been a staple of rock radio for half a century now. Yet, they do it well and prove once again that the death of rock music is greatly exaggerated. They mix it up from highly rhythmic lighter fare to thick and pacey rockers. I particularly liked the REM like ‘Cat on a Hot Tin Roof’. My only gripe was the ringing phone they had deep in the mix on “Connecting’. I kept looking around my room wondering if it was mine.
© David Hintz
Dan Israel "You’re Free"
Own label, 2018
This is pretty much a no frills singer songwriter LP. It has all the basics covered, earnest song writing, fine vocal delivery, and a band that is locked in and delivers smooth but potent rock music. Although I can not pick out a distinguishing characteristic that would make me praise this as a must have recording, it ended up being a pleasant listening experience by its end. And that in itself is recommendation enough.
© David Hintz
Zan Zone "It’s Only Natural"
Own label, 2018
It is good to see a band take care in packaging their recording. The artwork and the humorous write-ups inside making this look like food packing with nutritional information is quite funny. As for the music, I was expecting something more exotic like a Dengue Fever perhaps. But Zan Zone plays a hybrid of older style R&B rock music with a modern indie rock flair. But while their overall style is not wildly eclectic, each song has highly distinctive and variable traits. There is blues, R&B, rocking soul, and many variations of rock music. It is a tasty stew and something that you should carefully examine at your local grocery.
© David Hintz
Moussu T e lei Jovents "Operette Volume 2"
Manivette Records, 2018
If French bluegrass styled jazz done show tune style is your thing, then look no further. This French band is unique to say the least as they highlight operettas from 1930-1940 with a slightly modern take. I say slightly, as the old timey feeling is there on every cut. Even if this is not your thing (and I am not sure it is mine), it makes a fascinating listen and should bring a smile to your face. It did mine.
© David Hintz
Noah Zacharin "A Startle of Wings"
Own label, 2018
Noah Zacharin has a fine touch with his finger style guitar playing. But he also adds a fine singing voice and a good sense of melody in his songwriting. He combines the best of British and American styles in his music. I particularly thought the song ‘Faint Footprint’ sounds like some classic song I heard on the radio in my youth, rather than a recent original composition. The lyrics are also quite strong, which is all the better with the simple backdrop. But there is enough density here to not attribute a stark arrangement for any song on this LP. This is a keeper for any Folkworld reader.
© David Hintz
Laura Meade "Remedium"
Doone Records, 2018
This has the big bold folk sound of the rare UK album Chimera. But that is only the starting point as there are modern electronics in here as well as some jarring electric guitar (not quite Fresh Maggots, but in the ballpark). The song structures are intriguing and thoughtful and the arrangements are quite mesmerizing with spooky solo piano playing in between the thick and thin of the rockier songs. Although New York based, this music sounds like it could be from another continent, and maybe even another planet or dimension at times.
© David Hintz
Camilla Barbarito "Sentimento Popolare"
Felmay, 2018
Although this is an album of folk songs, the rich variations in theme and style just may astound you. Some of that is due to the source material that collects fascinating songs from around the globe. But also the musicians take that southern European approach and stretch it out into unique directions. Barbarito’s vocals are strong throughout as she has a more earthier style than that of Savage Rose’s Anisette, yet with a similar appeal here. This whole album is highly appealing especially if you like wide, vibrant music with that certain Italian flair.
© David Hintz
Steo Wall "Where I’m From"
Own label, 2018
Usually when I talk about modern folk, I am alluding to electronics and folktronica. But Irishman Steo Wall adds a touch of modern rap into his strong folk base. There is a bit of country at times, but the Irish folk moves are what carries this forward. There are strong lyrics and he can occasionally dream up an atmosphere that is dark and evocative such as in the title track. It should appeal to a younger crowd or old timers that don’t subscribe to the Newport Folk Board or Ewan MacColl rules. And Luka Bloom and Davy Spillane are on board, too.
© David Hintz
Lonesome George "Flat as the Earth"
Own label, 2018
This is a full band, more traditional brand of Irish music. There is a relaxed feeling about it, although quiet emotional depths are often reached. And the musical virtuosity is pretty vibrant throughout. Everything about this is quite Irish (although not in a corny way) aside from their name, which is presumably taken from the last Pinta Island tortoise who lived until 100. I think there will be bands like Lonesome George still making great music 100 years from now.
© David Hintz
Gaetano Letizia + the Underworld Blues Rock Band "Beatles Blues Blast"
Own label, 2018
The liner notes ‘remind’ us that the Beatles started as a blues band. This blues band takes 17 original Beatles songs from various points in their history and plays a straighter blues arrangement of them here. But the Beatles were not as good a blues band as the Stones or the Yardbirds. They were, obviously, brilliant songwriters and created wonderfully produced songs. Here, the songs are merely there with the blues at the forefront and all rather lacking in sparkle. Part of it is due to the average vocals, proving yet again that Beatles covers don’t work very well, due in large part to quite normal vocal inadequacies (compared to the Beatles, that is). Still, a Beatles fan may want to give this a spin. As for me, I would rather hear this band do originals or other classics.
© David Hintz
