Reverend Freakchild "Illogical Optimism"
Treated and Released Records, 2016
Well, what do you really expect from someone named Reverend Freakchild? Eclectic? Check. Oddball blues for the most part? Check. Sense of Humor? Check. A three CD set of covers, 12 versions of one song, and a guest street musician/preacher? Well I would not have guessed that, but that is what we have here. The first disc shows off some excellent and versatile blues running around various cover songs with heavy rocking moments and quieter songs. The good reverend’s vocals are sharp and expressive and the guitar playing accentuates the message every step of the way. It is unique and the covers are clearly reminiscent of the song but personalized just the way a good cover should be. The second disc is a strange one with 12 variations of one song—punk version, reggae version, German version, etc. It is so versatile that it seems like some odd compilation, not terribly mismatched. The third disk is a short blast of blues, raw but clear. This is crazy fun, but not for people who like a lot of order in their life.
© David Hintz
Oysterband "This House Will Stand"
Westpark Music, 2016
This is a two-disc compilation from this long running band’s 1998-2015 era. I had been a follower of the Oysterband but had stopped getting their records around 1995, so this is a perfect way for me to see what they have been doing the last couple of decades. I became a fan when someone said they were a lot like the Pogues if you sanded down all the rough edges. Sure enough, Oysterband provided many fine folk rock songs with rich and somewhat slick arrangements. But it was hardly mainstream as they had too many folk routes to get casual listeners in. This collection shows they have not lost the touch, which is unsurprising as they were always fine musicians. John Jones, aided by Alan Prosser and Ian Telfer, provides strong direct vocals to ensure you recognize it as the Oysterband. The guitars, violin, and rhythm section cook up a storm and there are no weak moments here. And if you have kept up with their releases better than I have, there are several alternative takes, live cuts, and single edits that serious fans will want to check out. Oysterband is still a great band.
© David Hintz
Echo Bloom "Red"
Songs&Whispers, 2015
There is plenty of in depth American roots in the music of Echo Bloom. It never gets overly Country and Western, although there are elements there. Instead, there is plenty of interesting guitar textures from acoustic to electric, delicate fingering to slide, clean to distorted… plenty of contrasting sounds. Yet it all comes together in these fine songs with male and female vocals offering even some more contrasts. This band sounds like they would be excellent as a live experience, but the record clearly captures some of that excitement with these vibrant arrangements.
© David Hintz
Kyle Fosburgh "Two Night"
Grasstop Recordings, 2016
From Grasstop Recordings comes another fine Kyle Fosburgh acoustic guitar record. Between his fine solo albums and Robbie Basho reissues, this is a label that real serious minded, cosmic traveling folkies should pay attention to. Fosburgh has a post-Basho feel, but is more delicate in the way of a Pierre Bensusan. There are seven lovely songs here, all with fine finger style guitar work and with vocals that are carefully worked into the song, some times sparingly, but effective in their quiet clarity. I always like a good finger style folk guitarist, but Kyle Fosburgh is one that is near the top of my list.
© David Hintz
Marten Lärka "Alouette"
Motion Songs; 2016
I suppose this is somewhat of an Americana album, blues based, but in a more eclectic sense. I say ‘somewhat’ as the French language really throws a curveball into the sound. There are no real French folk ties, despite what the romantic language nearly tricks you into thinking. Instead, it is hearty folk rock with some real oddball moves, almost outsider like, but well played. OK, so it is tough to categorize. What I can say is that it is fun if you are in the right playful mood for it.
© David Hintz
Steven Casper & Cowboy Angst "I Feel Like I’ve Got Snakes in my Head"
Silent City Records; 2016
Just seven songs here, but that is plenty to get the taste of this band. It is barroom blues rock when they cook it up faster and louder. But elsewhere, there are some Americana folk rock cuts, and even a Tex-Mex style of rhythm and rock. This is all well enough, but I would need to hear more to get a real feeling for this music. It is decent, will work in a live setting, but the songs are just fair and not sufficient enough for me to get fully engaged.
© David Hintz
Phil Smith "Year of the Dog"
Own label; 2016
Although I might guess that Phil Smith is a West Texas folkie influenced by Ralph McTell and some of the British folkies, Phil Smith is actually from Brisbane, Australia. But of course music is as universal as ever and he examines the full reaches of the universe, although staying fairly grounded with an earthy brand of rural folk. His voice carries the songs with its smooth subtle emotional delivery, while the arrangements are simple but effective. This is a good solid album for this kind of style.
© David Hintz
Yelli Yelli "Terre de mon Poème"
Beating Drum; 2016
This French outfit has a fascinating mystical blend of world music forms. It all fuzzily focuses into an easy going folk rock of sorts, but there is so much rhythm shifting and emotional jabs and flows, that it is hard to pin down. But you will have fun trying as this is well thought out and executed with spirit and élan. There is a folk base here, even as it goes psychedelic, progressive, or who knows where. But they even do some straight folk as well, and I recommend this highly to the adventurous listener.
© David Hintz
Byrne and Kelly "Echoes"
Own label; 2016
This duo from Celtic Thunder began somewhat encamped in the new age. But they cut into a nice ‘Step it out Mary’, so out came the folk. They still maintained a smooth, sanitary delivery, so the new age sound never is too far away. As the songs continue, they lean more towards folk or more towards progressive new age music. It is well executed, but a little lighter than I would like. They remind me of a lighter, modernized Dulcimer (the band, not the instrument).
© David Hintz
Sofia Jannok "Orda – This is my Land"
Songs to Arvas; 2016
This is the first I have heard of this Swedish-Sami singer and it is an intriguing introduction. This is very modern and experimental, but it sounds like there are some traditional melodies here that are worked up in a modern pop manner. Orda is the Sami word for tree line, between the tundra and the forest, which is a great place for mystical folk music to happen. This is much more modern than that, but if you like to dance and listen carefully; you can pick up the ancient vibe that Sofia Jannok is conjuring up.
© David Hintz
Stone Cupid "The Cardinal"
Own label; 2015
Stone Cupid is a full-blooded electric blues rock band. There also is some country and western in here and if you are thinking bar band by now, you are most correct. They sound like a good bar band and there are some creative touches in their music, but even as they vary tempos and forms, like a good bar band, it all kind of drifts back into the background. You will have a good time with Stone Cupid, but I think the live stage is where to experience them.
© David Hintz
Billy Shaddox "I Melt, I Howl"
Folkwise; 2015
This starts as a brisk and breezy pop record with some punchy rock moves. There are also some Americana moves such as in ‘Feels Like Home’ and others, and even a song that has a slick pop-folk feel like ‘Fireflies’. Although this certainly won’t be a folk purist playlist special, if you like warm bright catchy music that covers more than a couple bases, then Billy Shaddox has a way with bringing a song to life.
© David Hintz
Inouwee "Rawhide"
Own label; 2016
This has really nothing to fit into even the most liberal interpretation of “the Folkworld Universe”. It is a perfectly nice shimmering pop-rock record for the 21st century, complete with electronica, big guitars, and attractive female vocals. It is a fine production and I love listening to rock records as much as I do folk albums, but this is not quite in my wheelhouse. Although if they did a rousing cover of ‘Rawhide’, I would be happy, but alas, their ‘Rawhide’ is an original song.
© David Hintz
M. Soul "This Time the Girl’s in Trouble"
Irrational Man; 2016
Singer Songwriter Marcel Soulodre has a clever way of shortening his name and fortunately for us, more than a few clever songs to listen to. He is from Winnipeg, lives in France, but practices more of an Americana, country infused brand of rock’n’roll. He writes stories in his songs, which keep attention to the lyrics, aided of course by expressive singing. The music is bright and vibrant and varied in style and pace. I like the rousing numbers like ‘Fat Bob Blues’, although all the songs are worth a listen. Hard to find any fault with the quality of this release.
© David Hintz
Annuluk "B*A*M"
Broken Silence, 2016
When you can’t read the writing on the cover due to the outlandish artistic font, you can safely assume you are not going to get a finger style guitarist, but something else entirely. The graphics are not in that root structure style of metal bands, but more computer chic, so that leads me to electronica. And yes, that is the core of this, along with chilling female vocals and some big instrumentation. In fact, the ‘BAM’ stands for ‘beautiful and massive’ if I have it correctly from my web browsing. It certainly has some big and bold sounds and I do sense some creativity here with some surprising twists and turns along the way. This is actually better than I expected and I am a tough sell for this kind of music. It certainly is not folk, but it is interesting.
© David Hintz
Na Lengo "Ingoma"
Ozella, 2015
Although this album was recorded in Germany, there are a myriad of influences, mostly from the Latino world. I hear the Carribean and South America with a bit of Africa and southern Europe in here as well. It almost goes jazzy at times with its breezy spirit, but it has a worldly spirit that invokes several folk sources focused into a thoughtful light rock approach. The songs are warm and catchy and should have a large audience for this, as there is some intricacy and intelligence behind it all. This should lift your spirits as it lifted mine.
© David Hintz
Daniel Martin Moore "Golden Age"
Sofaburn; 2015
Although this is piano based singer songwriter material, there are some bold sonic moves such as the scorching guitar on “Our Hearts will Hover”. Yet it is the warm and powerful vocals that carry the heart of this album forward. All of this is none too surprising as Daniel Martin Moore has quietly burst on to the scene in recent years with bold but personal work no matter if the arrangements are sparse or rich. He has a way with his songwriting that will pull in most folk and rock fans. He is a serious talent that is well worth taking time for. And this album is a fine place to start or continue on with if you have been with him all along.
© David Hintz
The Sumner Brothers "The Hell in your Mind"
Sumner Brothers Records; 2016
There is a hearty songwriting style in here that could be pushed into Americana and even folk rock at moments, but this is a hard rocking album. It is smart and heavy indie rock styled and not into the hard rock or heavy metal camp, however. But have your earplugs near by if you see this band, as they bring it. And the hearty sincerity in the vocals makes it of interest to folk rock fans as well. There was a touch of naïveté in a couple of songs, but it was mostly smart and adventurous and a pleasure to listen to.
© David Hintz
Clarence Bucaro "Pendulum"
2020 Records; 2016
Brooklyn is a town where if you threw a rock in the air you would have a 50/50 chance of hitting a musician. Hopefully Clarence Bucaro will not be that musician as he has some nice songs offered up here. He comes from Cleveland through New Orleans, which are even cooler music scenes in my opinion (Brooklyn is great, but it is a ‘move to’ place). He has an Americana singer songwriter style that is quite popular these days, but with at least a few songs that stand out from the pack. In fact, he’s written my second favorite song about eye color, ‘Emerald Eyes’, losing out only to Grant Hart’s brilliant ‘Green Eyes’.
© David Hintz
The Mystix "Live – Rhythm and Roots"
Own label; 2016
This is a fine recording of a live set from who no doubt is a successful live band. Even with their deep roots showing in their original songs or their well known covers, it is surprising that they come from the undecidedly non-roots oriented city of Boston. You will hear far more west Texas here, with their outlaw country blues style. I particularly like the world-weary vocals, although the arrangements do well to add with the imagery. The recording is better than most live albums, but it still would be more fun in the club (always safe to assume that).
© David Hintz
KhaRa "Мерячение - Meryachenie"
Sketis, 2016
Pardon my limited language skills, but I can only go so far with Greek or Russian alphabets. This album has a Russian title, but I went with the subtitle live in studio, which is the only English verbiage other than some words in websites. And of course, I don’t understand the lyrics, but the emotional qualities still come through. Even better is the snaky music this band produces. There is a lot of ethic folk here and they touch on the exotic nature of droning strings and mid tempo rhythms with lots of fascinating instruments popping in and out. And there are only three players with strings, guitar, and percussion combining with their vocals into these undulating mantras (but look out for the sax). This is a fine, fine album.
© David Hintz
Rekk "SixtyTwo"
Stargazer; 2015
This is a fairly slick release. The band has an array of acoustic and electric sounds and employs male and female harmonies throughout, creating music that has a gentle side, but is really big. There is a lot of quality here and Rekk has some of the same traits that are in other big band folk rock type bands in recent years like the Fleet Foxes and so on. Good solid effort here from this German band.
© David Hintz
Sugarfoot "Different Stars"
Crispin Glover Records; 2016
This Norwegian band has had quite the history in its short time together. Its particular brand of psychedelic Americana that harkens back to Grateful Dead or Flying Burrito Brother days caught the interest of many. They had lots of guest artists from other big bands like Motorpsycho and International Tussler Society for their live shows. Now the band is back with a studio LP that is quite a gem. The sound surpasses those bands I mention in the progressive rock manner that deliver these hearty songs. It is still quite Americana in approach, but is rich with a modern European vibe. This is well done and fairly unique, even sounding quite comforting.
© David Hintz
Stephen Harrison "Cherry Fair"
Word Poem; 2016
It is a challenge to stay in punk or even post-punk forever, but even more to move on and Edinburgh’s Stephen Harrison proves that you can alter the approach and succeed. He was on a variety of 7” singles back when that was the best way for a band to get a record out, but now is doing it himself. This is just Stephen Harrison on vocals and acoustic guitar playing his songs. He has a nice guitar style that has an eerie structure to it at times, but eventually finds interesting patterns and melodies. His voice is deep, a touch weathered with a light touch and carries the melody along. This should resonate with Folkworld readers, especially those who enjoy highly personal direct folk music.
© David Hintz
Ricky Ferranti "This Flame"
FreeMood; 2016
More Americana here, courtesy of an Italian string master Ricky Ferranti. He plays all the guitars, mandolins, banjos and harps here. He has mostly original songs, but several famous songs by Neil Young and Paul Simon. He sounds a bit like Neil on “Like a Hurricane”, although he is a bit smoother in delivery. The accompaniment features plenty of overdubs and he adds some simple percussion, too for that full sound. He even does both Simon AND Garfunkel on a couple of their more famous songs, so his vocal work is impressive. Hard to find anything not to like here. This one will make you feel good.
© David Hintz
Matty Wall "Blue Skies"
Hipsterdumpster; 2016
Hot electric blues… there probably are not too many places you can’t find some version of this style. Matty Wall melts the walls of the clubs of Perth, Australia with his music. He has got a rhythm section propping up everything and some horns and Hammond organ blasting away as well on a few cuts. But it is the vocal melodies leaving room for the guitar licks to hop around are what you will be focused on. And Matty Wall does a good job with it all and there is ultimately more of a blues rock feeling about it, especially with his solos. It takes me back, but still is lively enough for another listen, since I likely won’t be at a club to see this where it always sounds best.
© David Hintz
Rupert Wates "Colorado Mornings – True Love Songs"
Bite Music; 2016
I had eighteen years of Colorado mornings and they are often bright and sunny, which this record captures fairly well. Wates has a crooning style, whether he is headed toward a folky style or taking a more contemporary pop approach. His voice reminds me of an obscure folk artist named Beau, who had a couple of records out around 1970. It is a fine package of songs here, but you need to like the crooning style, which I find refreshing now and then.
© David Hintz
Richard Paul Thomas "Solado"
RPT; 2016
Thomas almost has a crooning style, but it is more of deep resonant voice where he stretches the notes with a bit of vibrato. He couples this with some local Texas rhythm and some lush production moves. It is an interesting combination. There is some folk, blues, and some songs that are more pop folk. It is a bit of a mixed bag with the style shifts, but there are some nice songs that probably will resonate with you based on the genres you prefer.
© David Hintz
Parfum Brutal "Into Earth"
Hey Blau, 2016
This is another one of those slick rock records that I am not sure what is doing in my Folkworld in basket. But I am happy it is here as it is inventive, driving, and with fine hooks. There are some slower cuts, but they are not folk, just more relaxed pop songs that weave electronics around guitars and have glowing vocals to guide the journey. Good stuff for the most part.
© David Hintz
Gypsy Soul "True"
Off the Beaten Track; 2016
This duo has a fine handle on Americana, folk, country and western, as well as rock and they put it all together in a tasty and gutsy album. They can really push the barriers from crisp electric guitar rock chops to intricate acoustic finger styling. The vocals have spirit, but great touch on each syllable. This has quality written all over it, but there is no pretension here, only sincere delivery of fine music.
© David Hintz
My Girl the River "This Ain’t No Fairytale"
Super Tiny Records; 2016
From Nashville comes this fine singer songwriter Kris Wilkinson Hughes operating under her evocative band name. No fairy tale indeed, as her songs conjure up expressive imagery of person and place. Her voice has a rich tone that is easy to listen to over a long player and her band is Nashville sharp without the cornball country moves. Instead, it expresses a more worldly sound, Americana based, but broad in scope. It should leave you much to reflect on after a thorough listen.
© David Hintz
Matt Bauer "Dream’s End"
Crossbill Records; 2015
Bauer’s music is easy going with just enough underlying tension both in music and voice to make this interesting. It is not overly folk oriented, but more quiet singer songwriter music. The arrangements are careful with sudden yet subtle bursts of intriguing sound. It is a fine moody listen with a few genuine highlights such as ‘What the White Book Said’.
© David Hintz
Esquela "Canis Majoris"
Livestock; 2016
This may be Americana, but there are a lot of old time rock’n’roll moves at the core. And if it goes country, it is far more honky tonk than Nashville. Lots of electric guitars here make this fun for me. The vocals are spirited and clearly this is a fine live act. I really enjoyed their heavy ballad, ‘Pine Tar’, but everything here is quite good with plenty of energy and quality playing as well. Bonus points for the cat in the photos.
© David Hintz
June Star "Pull Awake"
Own label; 2015
This began much like any other Americana album, world weary vocals, that certain twang, and a rhythm section keeping things going. But the songs kept coming and the quality started showing through. It is still a matter of the songs I like versus the ones that are a little too pat (and feature a bit too much steel guitar).
© David Hintz
San Antonio Kid "San Antonio Kid"
Off Label Records, 2016
This starts off with that spacey Western sound I like. If you have seen the more modern Western films post Sergio Leone, like say a ‘High Plains Drifter’, you can imagine some of this music fitting into the landscape. Yet it moves into areas not altogether mysterious, some of it has a bouncy psychedelic pop style within the Western twang rock. Yet, the songs all have a psychedelic sense of space in the guitars with laconic vocals and a controlled rhythm section. This is a highly enjoyable album.
© David Hintz
Early Autumn Break "Farewell to the Juvenile Heart Volume 2"
One Sunny Day, 2016
I don’t have Volume 1[55] right at hand to compare to, but I have reviewed this German folk rock band before.[43] And they seem to still have that big bag of tricks where they cull from folk scenes around the world from the American West to the deep forests of the UK to points in Germany and France. They weave it together well and with bold production and strong vocals it more than holds together. I like big and bold, even in folk music, and Early Autumn Break is a great way to combine the haunting historic qualities of folk music with the vibrant exciting sounds of a live rock band or orchestra.
© David Hintz
Love on Drugs "I Think I’m Alone Now"
Paraply, 2016
Thomas Pontén is the man behind this band with help from various musicians for the full band sound when he heightens the arrangements. This is quality singer songwriter music that is more folk than not with decent lyrics and a lilting style within. It is balanced as far as where it sounds from, world-wise that is. It is closest to American in style, but there is a touch of Europe in here as well. He can step it up to folk rock when required such as the catchy ‘I Wanna Stay Young with You’. Nice effort from this Swedish musician.
© David Hintz
The Mojo Slide "Twist Your Bones"
Do It Records; 2015
This is heavy rocking blues music. The band goes for power and volume and there are of course the skills needed to make it germane and interesting. The vocals are raspy fun, but the real kick is some sort of ragtime piano sound exploding in the background. The thick guitars make the piano all the more mysterious. This is fun, but only if you want some hard rocking tonight.
© David Hintz
Riddle & the Stars "New Coastline"
Broken Silence, 2016
This has that heartland rock sound that you may find in good bar bands, but is consistently a cut above. The songs have a catchy melody and rhythm with vocal lines that are musical and will have you singing along even before the song is finished on your first listen. There are male and female lead vocals, acoustic led and electric led songs, slow ones, faster ones… you get the idea, a good helping of variety within the unified sound. I imagine the collaboration of an Australian musician with a California band helped the unique imagery the songs conjure up. Even the country and western moves work for me.
© David Hintz
Allison Dietz "Pretty Lies"
Own label; 2015
From nearby Baltimore comes an Americana folk artist with country and western moves. Dietz has a clear straight ahead voice that is easy to focus on, no matter the arrangement. And there are banjos, guitars, accordions, and a rhythm section, along with a few other things from time to time. At worst, the songs are good, but there are a few that stand out as fairly memorable. “I’ve Just Seen a Face” reminds me of Paul Simon (maybe it is the lie-die-die’s) to some extent and it sails by with relish. The highlights here are well worth a listen for fans of this style.
© David Hintz
John Blek & the Rats "Borders"
Tonetoaster, 2015
This is a tricky record to describe, but it is a good record, so it is worth pondering the prose. Sure, singer songwriter music is an easy out. It also rocks more than it displays folk moves. But with the quivering vocals in some songs to the more assured passages in others, it has a tricky overall identity. There are some folk moves and even more surprisingly, some country shifts as well. These guys are from Ireland, although there is something more worldly about their sound as they manage to merge the environmental reality with the conceptual in this interesting music.
© David Hintz
Femi Kuti "No Place for My Dream"
Knitting Factory Records, 2013
Fela Kuti is certainly known as an African legend, as his Nigerian afrobeat set a course for many musicians around the world. One of them was his son Femi who has now been active for 30 years (where has the time gone). I am less familiar with his music, but since he first played in his father’s band, I am sure many of the core traits will be there. He clearly has a fiery lyrical approach and a high energized beat to support the vocal lines. The guitars and brass are bright and quick to the note. You have to look hard to find anything not to like here. So if not to your taste, it could easily hit you in the right mood; and I like a good blast of this style of music from time to time.
© David Hintz
Various Artists "Songs from the Black Meadow"
Mega Dodo, 2016
The Black Meadow is a place of mystery located in the Yorkshire moors. A University Professor that collected folklore from that area went missing is the focal point of this release. Chris Lambert curated the artists here who contributed songs to help tell the tale of this mysterious locale (in addition to his book). It is a fine collection of psychedelic folk and goth tinged songs from several bands I know little of. I note that Mellow Candle’s Alison O’Donnell is on one track, which is a pleasure to see. This is a well done compilation, sort of a more modern Wicker Man soundtrack. It is not quite of that quality (few psyche-folk records are), but surprisingly not terribly far behind. There is just a more modern feeling that permeates some of these songs, which may or may not go over with each listener (Eastgreen’s rap moves don’t fit). But the sense of mystery and journey is present here and this a great pleasure to listen to.
© David Hintz
