Skipinnish "Steer by the Stars"
Own label, 2019
Skipinnish is without doubt one of the hottest bands on today’s Scottish music scene, yet it is a band that rarely ventures far away from their home turf and remains a bit of an inside tip outside of Scotland. This is a band that proudly carries on the tradition of the greatest Scottish folk rock bands, notably Wolfstone and Runrig - yet Skipinnish has found their very own heady music style: Skipinnish is about catchy sing-along ballads and lively Gaelic waulking songs, bridging Scottish trad with melodic rock and pop, and the songs are interspersed with wonderfully mighty, energetic and loud folk rock pipe tunes featuring directly two sets of Highland Bagpipes – without doubt, Skipinnish has all the perfect ingredients for the best of live music parties. Di Grine Kuzine "Liebe Übrig"
This amazing band is unmistakably from the cultural melting pot of Berlin, where east meets west with that unique energetic urban beat. Groovy sharp brass, intoxicating rhythms, an accordion and the expressive voice of Alexandra Dimitroff: this successful blend has won Di Grine Kuzine many a fan over the last two decades. The melodies, and indeed some of the songs, originate in Central and Eastern Europe, and there is a clear Klezmer influence in the music - yet the sound is unique and addictive: World music at its very best. Songs, including superb contemporary originals in German language and Yiddish songs, are interspersed with hot danceable tunes. Their latest album is a real firework of first-class songs and tunes, which are so danceable that it is extremely unlikely that any listener will sit still throughout the album. For many years Di Grine Kuzine is not a “Geheimtipp” anymore in Germany or abroad, and Di Grine Kuzine’s new album is breathtaking and should not be missed.
DiaTon "Strange Atmosphere"
DiaTon combines two highly talented diatonic accordionists of the pan European folk scene - Johannes Uhlmann from Saxony (of the famed Uhlmann family - one of the most influential and inspiring families on the German folk scene) and Simon Gielen from Liege/Luik in Belgium. The album proves that the duo combination of two accordions is not in any way limiting - DiaTon’s music is varied, lively and exciting. The music is in the BalFolk tradition, with dances like Gavotte, Schottische, Waltz, Mazurka or bouree - about half of them composed by one of the players, the other half either traditional or contemporary. Whilst the two accordions together already provide a superb and full sound, a few of the tunes also benefit from an even more impressive sound as a result of the brilliant guest musicians: Johannes’ brothers Till on hurdy gurdy and Andreas on a groovy trombone and whistle, as well as Uli Stornowski on guitar and cajon and Vincent Sionneau on hurdy gurdy. Kim Richards "Leaves that fly"
It is a real privilege of the reviewer to discover through a review album a young singer of this calibre. Kim Richards has a very fine crystal-clear voice, with an attractive Scottish lilt, as well as being a superb songwriter. West of Eden "Flat Earth Society"
This well-established band of Anglo-Celtic folk pop actually hails from Gothenburg in Sweden. Not only are these five Swedes good singers and musicians but also talented songwriters. The latest album was created on a journey through Scotland and England, and features a number of musicians from the Island. While I was less impressed by West of Eden‘s anniversary album, this album is indeed convincing. It is perhaps more Celtic and more relaxed, and both the songwriting and singing is of a consistently very high quality. It is more than once on this album that West of Eden positively remind me of the great English Celtic/Americana band „The Willows“ - Jenny Schaub‘s pleasant singing style is very Willows-esque. The guest appearances of the brilliant Scottish fiddlers John McCusker and Duncan Chisholm, as well as Heidi Talbot, Damien O‘Kane and Jarlath Henderson add further interest to the album.
Crossfiedler "ins Blaue"
Hardly any Austrian folk acts have made their name on the international (beyond Germany) folk scene – yet Crossfiedler is one of those bands that certainly would deserve interest beyond Austrian borders. The four musicians have created their very own style, blending a versatile and energetic violin with groovy (electric and acoustic) guitar, bass and percussion. In addition to instrumentals, there’s also some well-arranged yodelling and Austrian song, both with appealing harmonies, and two attractive versions of English folk pop songs (Shirley Grimes’ “Waltz of life” and Lorena McKennit’s “The Dark Night of the Soul”). Yet most of the tracks are original compositions, which cannot easily pigeon-holed - there’a folk rock, Austrian tradition and world music (including an Austrian snow reggae!), with a strong dose of jazz and groove and improvisation. The CD packaging is equally unique and appealing as the music is - a card board packaging which folds outwards when opened to release the CD.
Na Mara "Sisters and Brothers"
I discovered this impressive folk troubadour duo from their last album,[58]
and their new album is equally as convincing. Singer / guitarist Paul McNamara has an expressive and very accessible singing style, in the true tradition of folk singers as troubadours and storytellers. The songs are given an extra magical touch by the imaginative mandolin playing by Rob Garcia. Steeleye Span "Est‘d 1969"
An album of new songs to celebrate the 40th anniversary of this English folk rock legend. To start the album, the song „Harvest“ takes the listener back in style to the greatest moments of the band’s history - Maddy Prior‘s voice sounds as charismatic as ever, backed by full harmony singing and robust folk rock backing, then moving into a ballad part still led by Maddy Prior with a more pop style chorus. Moenje "Klarvær"
Moenje combines two music styles that only very rarely meet, despite the geographical proximity of the two traditions: Sami “Joik” singing and Norwegian accordion and fiddle dance music. Amy Thatcher "Solo"
This is the very first solo venture of Amy Thatcher, the accordionist of The Shee and the current incarnation of the Kathryn Tickell band. And it is well and truly a solo album, with all tunes played solo on accordion - the only slight exception is “Stomping Clogs” finishing off the album which is remixed by Julien Batten and David de la Haye. This is such a talented accordionist and tunesmith, and the album represents all her sides - contemplative, energetic, imaginative and fun. An album I won’t get bored of.
Kathryn Tickell & The Darkening "Hollowbone"
Kathryn Tickell is perhaps the only Northumbrian piper of international fame, and she is renowned for pushing the boundaries of how to play these soft sounding pipes. The new album „Hollowbone“ certainly follows in this tradition. The first song „O-U-T spells out“ clearly makes such a case - with a memorable postmodern folk arrangements featuring accordion, programming, Rhythm section, whispered and rapped words and flying Northumbrian pipe sounds. Whilst the audiences have wondered whether this song might be about borders, walls or perhaps even Brexit, it is much less political as it is actually based on old counting and skipping games from Northumbria. Oratnitza "Alter Ethno"
Oratnitza play Bulgarian folklore in very contemporary arrangements: focussed on the harmony singing of the four powerful female singers, the songs are packaged in exciting and innovative, electronics and synths based arrangements, featuring also didgeridoo and cajon plus, on a couple of songs, sax and drums. Sometimes the singing is intense indeed, while other tracks have a more clubby electronics backdrop. The arrangements remind me occasionally of some of the great contemporary Finnish bands like Väärtinä or Sari Kaasinen. A curious and varied mix.
Seoirse O Dochartaigh "A Chraoibhín Aoibhinn Álainn Ó"
I had last come across this wonderful Irish Gaelic singer some 25 years ago, and was delighted of this opportunity to revisit Seoirse’s songs with this new release, which is a collection of songs recorded between 1988 and 2013. Seoirse has a unique warm and gentle voice; listening to his singing is like wrapping a cosy blanket around you. His singing is subtly accompanied by guitar, piano or a second voice. The songs are exclusively in Gaelic, as are the sleeve notes – but this music speaks for itself even if you do not understand a word. The Donegal singer is also an artist, which is showcased in the sleeve design - yet his songs paint their very own comforting pictures. A wonderfully relaxed album.
Saoirse "Encore"
Not to be mixed up with the Irish singer above (quite a similar web address!), Saoirse is an Australian Celtic folk band. They start off their new album with a highly convincing version of the Gaelic classic “Cunla”, featuring impressive vocal arrangements with a touch of jazz. Much of the remaining material on the album is originals written by band members - lovely songs with elegant lyrics, Celtic in style with a touch of Americana or Bluegrass, presented by beautiful clear voices. While the focus is on the soaring vocal harmonies of the three ladies in the band, all four band members are equally good instrumentalists, on fiddle, bodhran, guitar and accordion/whistle. There is a further Gaelic song - traditional Mouth Music - which follows the same quality of vocal arrangements as the album’s opener.
Brass Lassie "Brass Lassie"
Now brass is not an instrument group normally associated with Celtic music, and there are all too few brass musicians on the Celtic music scene. This new 10-member big band makes up for this, with a four piece horn section featuring trumpet, trombone, bass trombone and French horn, as well as brilliant flute, pipes, fiddles, piano, percussion, bass, song and even step dancing. And as the band name suggests, the majority of band members are female. Mary Ann Kennedy "Glaschu"
This album is a labour of love of Scottish Gaelic singer Mary Ann Kennedy: an homage to Glasgow, the city she was born in into a Gaelic speaking family, and has grown up in. “Glaschu” (Gaelic for Glasgow) celebrates this city, its cultures and its people. Gerry O’Beirne "Swimming the horses"
I last came across Gerry O Beirne some 25 years ago, playing alongside the late legendary Scottish singer Andy M Stewart. So I was even more delighted to hear that this sympathetic Irish singer is still writing and singing songs in his very own unique style. This is a dreamy, thoughtful and calm album of original songs in a traditional ballad style. Gerry backs his singing with a range of guitars - 6 and 12 string, slide, Spanish and national steel -, ukuleles and banjo. His warm voice wonderfully wraps around the listener and transports them to a cosy spot - perhaps in front of an open fire, perhaps in an old cottage in Ireland - but certainly to a dreamy place of calm.
Topette!! "Rhododendron"
The Anglo-French Bal Folk quintet is returning with their top-quality dance music on their second album. Featuring the great accordion Andy Cutting and bass guitarist Barnaby Stradling - both of Blowzabella fame, James Delarre on violin, and on the French side Julien Cartonnet on bagpipes and banjo and Tania Buisse on bodhrán, Topette!! will keep Bal Folk dancers on their feet. To me this album feels indeed a Bal Folk album - and a great one it is for this purpose. Yet despite its quality it does not quite hold my excitement for listening only.
Trials of Cato "Hide and hair"
This singer/songwriter trio has recently taken the British folk scene by storm. Originally from North Wales and Yorkshire, The Trials of Cato formed in the rather unlikely city of Beirut whilst the three of them lived there, and found directly quite some acclaim in Lebanon. “Hide and hair” is the debut album of these three young men. Powerful new songs with lyrics in the traditional idiom appear alongside convincing interpretations of traditional songs and instrumentals. Theirs is an interesting contemporary take on folk music, with some superb vocal arrangements. Featuring bouzouki, mandolin/banjo and acoustic/electric guitar, the only missing element for me is a melody instrument to join the strings - but given the overall quality of this trio, this is a very minor point.
Kate Rusby "Philosophers Poets & Kings"
The new album of English folk scene’s long-standing favourite singer Kate Rusby provides more of the kind of songs that Kate is famous for. With her angelic voice, Kate sings a mixture of her own songs, traditionals (such as the title track, “The Farmer’s Toast” or “Bogie’s Bonnie Belle”) and contemporary songs (Richard Thompson’s “Crazy Man Michael” and Noel Gallagher(!)’s “Don’t go away”). Her support, of, amongst others, Damien O’Kane on guitars, Nick Cooke on Accordion, whistles played by Ross Ainsley and Michael McGoldrick, and Duncan Lyall on Double Bass, means that the songs are well arranged too. Kate’s voice and style are perfectly suitable to lullabies - the album features two new lullabies, with words of reassurance, as well as a sad lullaby about the Huskar Pit Disaster 180 years ago when 26 children died working in a mine. And whilst a number of the remaining songs also have the sweet sound of a lullaby, others are more upbeat- this includes the traditional song “Jenny” which is included twice on the album; both versions are contemporary and not too dissimilar, although the remix also features programming and a bit more beat. An album that will please Kate’s many fans.
Zari "Sazaroti"
Latvian folk music? Most of us have probably never heard any music from this Baltic state - but if Latvian music is usually as exciting as Zari’s album then we have missed a real treat. Saulius Petreikis "Jurese"
While Zari, reviewed above, has been my first Latvian CD, I have here now my first Lithuanian album.
This album is very different to Zari’s but has equally high standards, and can equally appeal to international audiences.
Saulius is a composer as well as a collector and player of instruments from all over the world, primarily flutes and whistles as well as brass instruments.
On his new album, he is joined by a string sextet and a guitarist, which gives the music an orchestral feel. He says that this album is about home,
and “the almighty freedom and the world”. The music certainly gives me the feeling of space and harmony, the kind of music that would make excellent music scores
for some epic nature movies. Saulius’ compositions take influences from classical music, perhaps a small dose of Jazz,
but most of all from world/folk music from different parts of the world - his home country, Celtic music and other undefined places.
Joanne McIver & Christophe Sauniere "Canty"
The beguiling clear voice of Scottish ex-pat Joanne McIver combined with the beautiful harp playing of Frenchman Christophe Sauniere is a marriage made in heaven. The duo’s latest album features solely original songs and tunes, which are clearly at home in Scotland; the songs tell about life and nature on the Isle of Arran (where Joanne hails from), about Scottish heroes – such as the meteorologists who used to be based on top of Ben Nevis, about the literary classic “Whisky Galore” or about Robert Burns. The lyrics, some in English and some in Gaelic, are very accessible, and the musical arrangements are enchanting. In addition to her fine singing, Joanne also plays flute, whistles and Scottish small pipes, and whilst the album is often a duo album, there is still a host of guest musicians contributing violin, cello, viola, trombone or tuba. The duo is based in Paris, yet their music has the sound of remote Scottish islands. What a beauty of an album.
Daria Kulesh "Earthly Delights"
An unusual album which may at times sound like an English folk album while at other times Daria Kulesh’s Russian and Ingush (North Caucasian) roots clearly shine through. Even though all songs on the album are in English language, both lyrics and melodies gently indicate these influences. Many of the songs are Daria Kulesh originals, inspired by Russian folklore, and by love and life; the album also features an English translation of an Alexander Pushkin song and a William Butler Yeats song put to music. The songs are atmospherically arranged, featuring esteemed duo Johnny Dyer (guitars, piano, bouzouki, trumpet) and Vicki Swan (nyckelharpa, English border bagpipes), the even more famous Phil Beer contributing his fiddle playing on two songs, Kate Rouse provides hammered dulcimer, and Jason Emberton drums, percussion and more. Refreshingly different, powerful songwriting in appealing modern folk arrangements.
Herve Drean "Chant"
Eric Menneteau & Hoela Barbedette "Amzer da goll"
Brittany, at the most western tip of France, is well known for its rich tradition of old-style singing, often a Capella, with a somewhat archaic flair. With these CDs, I am fortunate to present directly two outstanding Breton singers presenting their songs. Tommy Sands "Fair play to you all"
Tommy Sands has certainly had an extraordinary life as peace ambassador, music performer and songwriter, and this album proves how strong he is still going. Born and bred in County Down in Northern Ireland, Tommy has written over the years some of the greatest songs that have come out of Ireland, has toured the world both with the charming and influential Sands Family and as a solo artist, and has instigated and been involved in numerous piece activities, including his memorable impromptu performance with a group of children and Lambeg drummers during the Good Friday peace talks in Northern Ireland.
“Steer by the stars” marks the band’s 20th anniversary, and is the second album with their current singer, charismatic Gaelic and English singer Norris MacIver. As usual, the album features folk rock hymns with choruses perfect to sing along to, like “Last of the hunters” or “Still we run”, beautiful calm ballads such as the Gaelic “Thar Sail”, a Gaelic Puirt set, and of course the raw power of the two bagpipes in wild tunes. A number of notable guests join the eight-piece band on the album, too many to name here, although I want to pick out the large number of primary school children who provide an impressive backing choir on the first track of the album, “Anchors of the Soul”.
Perhaps it is not quite the same firework of catchy ballads of their predecessor album “The seventh wave” but boy this is a superb album. And as good as the album is, it is in live that one really has to catch this one of my all-time favourite bands.
Zug Records, 2018
Heideck/Galileo, 2019
This music is perfectly suitable for dancing yet it firmly holds the interest for the pure listener. A superb album.
Own label, 2018
Whilst her singing has a traditional style, the songs are arranged in contemporary way taking in folk, jazz, songwriter and other styles. Kim accompanies herself on keyboards, whistle and ukulele, yet the range of guest musicians give further depth and variation to her songs. Most notably amongst the guest is the producer of the album, the wonderful Mike Vass, on guitars, fiddle, mandolin and (gentle) programming, but equally Mairead Green on accordion, James Lindsey on bass and Signy Jakobsdottir on percussion add their stamp to the music. The songs on this album are largely written by Kim and show great songwriting skills - they feel quite personal, talking about growing up in the highlands, losing someone or perhaps about relationships. Three songs are from other sources: a poem by Andrew Lang skilfully put to music, a song by the great Irish singer/songwriter Kieran Halpin “Nothing to show for it all”, and the traditional shanty “Shallow Brown”.
This is Kim Richards’ debut album, which has been seven years in the making - hopefully we don’t have to wait a further seven years until her next one, as this is a real beauty of an album.
Own label, 2019
Own label, 2018
Own label, 2019
As with their last album, many of the songs are original, performed in a traditional ballad style, some with contemporary topics such gambling addictions or refugees, others based on historical events such as the early days of life insurance (which led in Victorian times to murders!), or the Spanish civil war. There is a French/Québécois flair to the album, with a few French songs translated by the duo into English as well as a song kept in the original French language plus a set each of French and Québécois tunes. A superb album that confirms my view that Na Mara is one of today’s leading folk ballad duos on the British folk scene.
Park Records, 2019
Unfortunately, for me the album simply cannot hold the same level of interest after this powerful start. Many of the other songs are, to my taste, much more nondescript, often with more emphasis on rock and pop than folk - despite the line-up featuring talented musicians including Benji Kirkpatrick, and the promotional blurb suggesting that the current seven-piece line-up would rank as one of strongest of the band’s long history.
Kirkelig Kulturverksted, 2019
After listening to this wonderful album, you wonder why this is so rarely done - as it seems like a musical marriage made in heaven. The intriguing melancholy and intensity of Marja Mortensson’s joik - a throaty meditative mouth music style sung by the indigenous Sami people from Northern Scandinavia - is perfectly balanced with the more uplifting Norwegian dance tunes on accordion, fiddle, double bass and drums. A fascinating and highly enjoyable project that demands the full attention of the listener.
Own label, 2019
Resilient Records, 2019
The album is full of innovation and variation, often straying into folk rock, yet also having moments of pure traditional sounds – be it a capella harmony singing or traditional tunes. Kathryn‘s current band is equally as versatile as Kathryn, featuring Amy Thatcher on accordion and synth, Kate Young on fiddle and charango, Kieran Szifris on octave mandolin, Cormac Byrne on bodhran/percussion and Joe Truswell on drums. Despite being so different to Amy Thatcher’s solo album reviewed above, the two albums have one thing in common - you won’t get bored by either. With “Hollowbone” you can be sure that you will, for a long time, discover new aspects of the album on every listening.
Own label, 2018
Errigal Records, 2019
Own label, 2018
Own label, 2018
Founded by St Paul/Minneapolis Celtic musician Laura Mackenzie, Brass Lassie has found its wonderful own niche with an exciting repertoire of Irish, Scottish, French and French-Canadian music. Superb arrangements, successfully blending the groovy brass sounds with rhythm and trad Celtic music, for a tasteful selection of traditional, new and contemporary folk pieces. Thrown into the mix are also a few songs - three Gaelic waulking songs, a Scots ballad and the Spanish Salsa Celtica number „Cuanda me vaya“. Some of the arrangements give away that the band has been inspired by two of the greatest folk bands combining folk and brass - La Bottine Souriante and Salsa Celtica - yet the Brass Lassies have taken their music into their very own dynamic, unusual and exciting direction. This CD is great fun, full of joy and inspiration – if it would have arrived earlier in my CD player, this would have been a certain contender for my Best of 2018 list. Hopefully the Brass Lassies will soon also be playing on this side of the pond.
Arc Music, 2019
The album is principally all in Gaelic language, in recognition of its significant Gaelic population. It not only features songs but also a few short poems, read in English and Gaelic by actors – the poems vividly tell about life in the city by describing people at an Orange Parade, in the main artery Sauchiehall Street, at a football match or in the City Chambers. The songs on the album include a Gaelic version of Michael Marra’s “Mother Glasgow”, “When I came to Glasgow first” the account of a Gael arriving in Glasgow in a mix of English and Gaelic language, and the beautiful Gaelic “Song for Glasgow” written by Donald MacPherson reflecting typical urban issues of this city. Throughout the album, the songs are skilfully and gently backed by a wide-ranging cast of top Scottish folk musicians. This album feels as much a piece of art, a social history and a stunning collection of music and poetry.
Own label, 2019
Own label, 2019
Own label, 2019
Pure Records, 2019
CPL Music, 2019/2017
Zari Interprets Latvian traditional music in a very modern outlook, blending electronics and heavy percussion with folk instruments such as accordion and flute, yet at centre stage are two powerful female voices. If anything, the style reminds me of some of the progressive folk rock bands of Latvia’s near-neighbour Finland - and being reminded of the greats Väärtinä or Sari Kasiinen should certainly be seen as a strong compliment!
Zari‘s music is intriguing, magical, different yet also danceable and radio-friendly. I love it, and am ever so glad for this to be the first Latvian CD in my review collection!
Fans of the band should note that this is a German re-release of the original 2017 CD.
Own label, 2019
Buda Musique, 2019
Own label, 2019
AEPEM, 2019
Coop Breizh, 2019
Herve Drean’s album is purist - published in AEPEM’s series “One musician, one instrument, one repertoire”, Herve’s instrument is his voice, solo and a capella. He started collecting songs from oral traditions back in 1975 when he was 15. Over the years he collected a vast repertoire of songs from the region of La Roche Bernard in Upper Britannia. 18 of these he shares on this album, in French language.
Eric Menneteau is an equally impressive traditional singer, whose songs tend to be in Breton language and come from Central Brittany traditions. Eric is joined by gifted harp player Hoela Barbedette, known in her own right as a soloist. The harp even more brings the songs to life, and is usually played in a creative yet traditionally based style. The harpist does show her innovative side too, most notable on the second track of the album “Me Zo un den yaouank”, when her harp playing is to a dramatic effect more free style, giving it a touch of jazz. In comparison to the solo album of Herve, this album is somewhat more accessible to international audiences, as a result of the harp accompaniment.
Yet for fans of Breton singing, these are both wonderful albums and you will be hard pressed to decide for the one above the other - it probably will have to be both!
Spring Records, 2019
Tommy’s latest album features twelve new songs, most with profound messages, yet with words that evidence Tommy being a “people person” who loves to talk to and observe people wherever he goes. There is so much depth in the words within these songs that it takes some intense listening to fully appreciate the full messaging of the songs: For example, the chorus of “Refugees” may first come across as a song about meeting old friends again but actually is about the journey of today’s refugees (and as much about the Irish refugees from many years ago); “What’s going on in Jerusalem” tells the story of a Jewish lady whose father had escaped the Nazis by going to North America, who then decided to move to Israel looking for peace; “Who killed JFK?” about recent research about the reasons behind JFK’s assassination. Some songs have a twinkle in the eye - like “Every county on the island” which recalls car trips with Tommy’s young children regularly asking in which county they were in and features the names of all Irish counties. Many of the songs have the Sands-typical high quality sing along choruses - on the album, the singing-along is undertaken by more than one generation of his musical family. There’s also a host of great guest musicians on the album.
The “Ode to Europe”, to the melody of the “Ode to joy”, is a celebration of the European Unioan as a peace bringer to the continent and to Northern Ireland in particular - on the eve of the latest potential Brexit date (at the time of writing still unknown if it will happen), this is an even more poignant song.
