Soulsha "Carry it on"
Own, 2019
This album must range amongst the, if not being the, coolest releases of 2019. Soulsha effortlessly blends Celtic sounds with Senegalese traditions and Salsa, and then adds a strong dose of Funk and Soul and New Orleans style brass sections, often within single tracks. Yes, the listener may be reminded of Afro Celt Sound System or Salsa Celtica, yet Soulsha has created their own wide horizon of new high energy and fun music. Tilly Moses "If I could gather all the songbirds"
After her most impressive debut album, and as a result of successful crowdfunding, I am delighted that here we have a wonderful new album of young English folk singer/songwriter Tilly Moses. When writing about her debut album I commented on the maturity of her songwriting; on her new album the quality and depth of Tilly’s songs stands out perhaps even more than on her debut. Her warm distinctive voice and singing style brings the lyrics fully alive. Perhaps the most striking songs on the album were inspired by Tilly’s experiences with her disability, in particular “The Social Model” which sums up in strikingly simple lyrics the cause of many disability campaigners: “I am not a burden, nor a duty or a curse; I am not a scrounger, reaching into your purse. I live a full and honest life, I am loved for all I am; I offer just as much as you, even when I cannot stand.” This song in particular has already found lots of resonance in a circle much wider than folk fans. Bob Leslie "The barren fig"
Edinburgh born Bob Leslie started off on the 60s folk scene as singer and songwriter, but was then led astray from folk music working for many years in the London rock scene. Only in 2012, now based in Glasgow, did Bob return to folk music. This is his second folk album since 2012. As a prolific songwriter, Bob sings, with two exceptions, on the album only his own material, in both Scots and Scots English. Topics are as varied as war, empty nests, the devil’s wardrobe, Scottish emigrants in America or Scottish mythology. Accompanied by guitar, accordion, fiddle and clarsach, this is a classic “traditional” Scottish songwriting album, presented in a personable and warm style.
FBB - Sibelius Academy Folk Big Band "Katrilli Toisesta Elämästä"
I am delighted to declare this wonderful album as my prime folk soundtrack of 2019 - not least in memory of the band’s unforgettable multiple late night performances at Rudolstadt Festival (as it’s dated 2018, it could not be included in my Top 10 for 2019 though – it would have otherwise!). Moussu T e lei Jovents "A la Ciotat - Best of"
A versatile band from Marseille, the Jovents cannot easily be pigeonholed - Provençal music (with Occitan and French lyrics) meets Caribbean and Brazilian traditions, black music, Blues and Jazz, Cajun and operettas by Vincent Scotto. The music feels coherent and appealing, despite the wide range of influence and the built-in apparent contraries:
Open minded world music which is at the same time very local; modern yet inspired by 1930s Marseille music styles. Perkelt "Air & Fire"
Labelling themselves as “Pagan speed folk”, Perkelt’s music is actually much better than I would have expected from that label. In Germany the label used might have been Medieval Folk Rock, but probably neither of these labels is helpful to describe the music. Based in the UK, the band is centred around two ex-pat Czech musicians - the band’s singer, guitarist and composer Stepan Honc, trained classically, and recorder and overtone flute player Paya Lehane, trained in early music. They are joined by fiddler Duncan Menzies and ethnic percussionist Dave Maurette. The album combines fast recorder and fiddle tunes, written by the band and presented in a folk rock style, with songs in English language - usually ballads with a traditional feel.
Allison Lupton "Words of Love"
Allison Lupton presents a brilliant collection of new Canadian folk songs with strong Celtic influences on her new album. Her original material stands out, including two strong ballads about her family’s history: her Great Uncle who was one of over 100,000 British children from „needy families“ sent to Canada to work on Canadian farms as part of the British child emigration movement; and her grandfather who travelled on the Canadian Pacific Railway to find work on a threshing team. The other songs are a mix of traditional and new ballads, from, and about, Canada or England. Alison has an expressive style and a gentle warm voice that brings to life the stories told in the songs. There’s a stellar cast of guest musicians with strong Celtic influences - including Scottish Trad guitar maestro Tony McManus. The two instrumentals feature Allison on Irish flute in beautiful harmony with fiddler Shane Cook.
Frode Nyvold "Soldater og redelig sjømenn"
Norwegian shanties is something I had not come across until this CD of singer Frode Nyvold. Whilst the material on the album is wider than shanties, many of the songs are sailor songs sung by what certainly feels like a Norwegian shanty choir. Other more “land-based” songs are in a calm ballad style. The majority of the material is Southern Norwegian traditional material sourced from Agder music archives. The album features a host of other singers and musicians - the “shanty choir” features the singing group “Five men in a boat” (French Didier Olivier and Emmanuel Parisielle, Brit Richard Burgess and Norwegian Gabriel Fliflet) and some well established (including Anon Egeland) and newcomer folk musicians from the Oslo music scene.
Steve Turner "Late Cut"
English folk singer and concertina player Steve Turner has been recognised as a great traditional singer for many decades, yet this album shows that, as Pete Heywood rightly points out in the sleeve notes, he is clearly currently on top of his game. Nick Wyke & Becky Driscoll "Cold light"
Nick and Becky are both extremely talented musicians and composers, which is well showcased on their new album. Yet it is the original songs on this album that stand even more out. Written in a traditional ballad style and interpreted with very effective atmospheric backing, the lyrics of these songs have lots of depth: Contemporary and ‘heavy’ topics are covered in „Halo“ – based on recent cases of institutional abuse of vulnerable people - and „Who‘s crying now“ - the struggle of addicts to break free. „Winter“ takes a more traditional theme of the powers of the sea, and „The last waltz of the evening“ is a moving tribute to those suffering from the two wars and to the strength that people find to move on from such experiences. Each of those songs should, if there’s any justice out there, find their way into the repertoire of many other folk singers. Louisa Lyne & Di Yiddishe Kapelye "Lust"
The first track of this album made me wonder if I was playing a different CD - no sign of Yiddish there, instead a Swedish song reminding in style more of Sweden’s Lisa Ekdahl. Then, most of the remainder of the album turned out to be in Yiddish language (although there are a few returns to Swedish or English). Still this is certainly not a typical Yiddish or Klezmer album (if there is such a thing!). Norman Mackay "The Inventor"
Norman Mackay is a truly inventive and skilful composer and accordionist. The Edinburgh based musician and furniture maker presents on his new album twelve new compositions. He draws on folk traditions but his tunes effortlessly venture to film scores or classical music, jazz or other music styles. On the new album a host of guest musicians appear, on violins, cello, piano, double bass, trumpet and percussion. An evocative album of beauty, that demands listening and daydreaming.
Sadie and Jay "A passing of seasons"
New ballads which evocatively tell stories of Australia and Australians. Sadie Gwynn Jones and David (Jay) Penman write and sing about the hardship of miners, mining disasters, the wild horses in the Snowy Mountain, Australian world champion swimmer Fanny Durack, the tradition of setting alight sugar cane at harvest time, about losing loved ones, or having the confidence to reach out to others. Most poignant, particularly this 2019/20 season, is the song “Lucky Country” about the horrendous bushfires of Black Friday 1939, evoking the news coverage of this year’s unprecedented disastrous Australian fires. The ballads are attractively arranged, with guitars, banjo, cello, violin and bodhran.
Tautumeitas "Songs from Auleja"
Powerful female harmony singing has been perfected by this A Capella band from Latvia. The six young ladies of Tautumeitas are dedicated to study, learn and disseminate the range of Latvian vocal traditions, and have undertaken lots of field work to meet traditional singers. This album is specifically dedicated to the strong vocal traditions of a small village near the Russian border, the village of Auleja, home to one of the most important vocal Baltic ensembles of the last century, Auleja Silvas. The album features songs in an archaic singing style called Bolsi, which was sung by women whilst working, and is a unique local Latvian style. The vocal arrangements on this album are accessible to an international audience; their powerful and emotional harmony singing will touch any listener. If you like Modern Finnish folk vocal harmonies, or perhaps some of the great Eastern European powerful female vocal ensembles, this album is a must.
Torridon "Break the Chains"
After the retirement of Scottish roots rock legend Runrig, Scotland is not short of bands that have for many years successfully walked somewhat in Runrig’s footsteps, with their own distinctive styles of Scottish roots rock - whilst still relatively unknown internationally, these bands are extremely popular in their homeland. Skipinnish is clearly the front runner, yet Torridon is certainly a superb band with their own blend of Highland Roots Rock. Chris Gray "Chris Gray"
The young Scottish folk scene is really hot, and the Royal Conservatoire of Scotland in Glasgow has certainly played its part in heating it up by supporting lots of new talent in Scottish traditional music. Chris Gray is one of those highly talented musicians graduated from the Conservatoire in 2019. His debut album was launched at Celtic Connections 2020. Ester Formosa & Elva Lutza "Cancionero"
The Spanish—Catalonian female singer Ester Formosa and the Italian—Sardinian instrumental duo Elva Lutza (Nico Casu: trumpet, vocals, and Gianluca Dessi: guitar), develop in this album a set of thirteen songs, most of them from composers or inspired by places and traditions from: Mexico (‘Cielito Lindo’), Sephardic (‘Esta Muntanya’, ‘Bre Sarika’), Catalonia/Mallorca (‘Cucurutxu’, ‘Tonada d’Esterrossar’, ‘La Druita Més Primerenca’, ‘Corrandes d’Exili’,…), Italy (‘Menica, Menica’, ‘Lune’, ‘In su Mare’), Venezuela (‘Acidito’), Cuba (‘Drume’), or Spain (‘La Violetera’). ‘Cancionero’ is a splendid harvest of several of the most popular tunes from all the before mentioned places, some of them perfectly blended one with the other, such as ‘Drume’ which smoothly fusions two lullabies; the Catalonian ‘El Noi de la Mare’, and the Cuban (written by Bola De Nieve) ‘Drume Negrita’. From the perspective of the musical instruments and the combination of rhythms and genres, ‘Cancionero’ can be considered a crossover between the southern European and north African traditions (the guitar, the accordion by Ricardo Tesi, and the percussion by Bruno Piccinnu: cajón, riqq, udu, bendir, bodhran), and Jazz (the trumpet, the clarinet by Dante Casu, the horn by Michele Garofalo, and the tuba by Giovanni Becciu). ‘Cancionero’ is a colorful compilation of tunes, probably with the dominance of what could be defined as the sound of the Mediterranean traditional music, but taking it one step beyond, with the beautiful voice of Ester Formosa and the powerful support from the instrumental band Elva Lutza and their friends.
Formed in the multi-cultural melting pot of Boston in the States, each band member is an ingenious player of their traditions in their own right. Headed by Senegalese sabar drummer and singer Lamine Toure and US Celtic bagpiper, low whistler, singer and songwriter Elias Alexander, the Band also features piano/accordion/mandolin, drums, bass, guitars and of course the groovy brass section of trumpet and saxophone. On top of that, fiddler Alastair White makes a superb guest appearance.
There’s contemporary (but folk/world influenced) soul songs, Gaelic recitals, African songs - some tracks end up being full of surprises. Take “A’ghrian”, which uses as lyrics the words of a Gaelic prayer from a book of ancient Gaelic hymns from Scotland published in 1900 – this is turned into African Soul, before finishing in an energetic party of a wild Scottish bagpipe tune with amazing brass grooves. This music is high energy, catchy, danceable and just so much fun. The blends of music styles are often unexpected yet work perfectly – there are no words to describe this music doing it justice.
Soulsha is a sensation, one of those bands that only comes about every now and then. Festivals around this world (including Rudolstadt!) take note of this exceptional bundle of creative energy.
Gingerdog Records, 2019
Another song, “Rot & ruin”, talks about a day of struggle when suffering with her disability. The song “Even when uncertain”, featuring beautiful harmony singing by Crispin Halcrow, is a reaffirming song of support during dark times. “Little Bird” is a beautiful dedication to Tilly’s mother; there are also love songs (including the lyrical “If humans were housed”) and a dedication to stretch marks “Stripes”. For good measure, there is also a lovely traditional song attractively arranged in a folk rock style, “My Donal”. The album features an excellent range of young backing musicians, with James Delarre (fiddle), Kevin Duncan (bass, piano, drums), Ginny Davis (Cello), Crispin Halcrow (guitar) and Ellie West (whistle), and their music bridges folk and contemporary music styles.
Tilly’s album deserves wide attention and awards; this is a warm and highly personal album with evocative lyrics that will strongly resonate with a wide range of audiences. Tilly should establish herself swiftly to be one of the most distinctive songwriters on the English folk scene.
Own label, 2019
Own label, 2018
This Folk Big Band is a showcase of the impressive talents of the folk music students of Finland’s Sibelius Academy - and a big band it is indeed; the sleeve notes list an impressive 35 musicians and singers being featured.
The album has a mighty and full sound, and is packed with wonderful music ideas based on traditional Finnish music, new music inspired by these traditions, but also world, jazz and other music styles. The songs feature awe-inspiringly powerful five-way female harmony singing. There are multiple violins and kanteles, a couple of accordions, a couple of groovy saxophones, clarinets, guitars, percussion, harmonium, mouth harps and much more, all brought together to a terrific full and harmonic sound. The music features the gentle magic of Finnish music (sounds of kantele and violins), the power of female vocals we know from so many modern Finnish folk acts, improvisation and jazzy sounds, and a full band sound which might remind of that other great Northern folk big band Chateau Neuf Spelmanslag.
Superb and and perhaps one of the top of the best Finnish folk albums recorded - an album which always cheers me up, with its uplifting energy and harmonic beauty.
Manivette Records, 2019
The band features singer Moussu T (also known as Tatou) and guitarist and banjo player Blu - both of the Southern French reggae /Hip hop band Massilia Sound System - as well as Brazilian percussionist Jam de Silva. This compilation album of six previous albums also features drums, bass and accordion. It is relaxed, full of Southern sunshine and, in its variety, very much keeps the interest and enjoyment.
Own label, 2019
Own label, 2019
Etnisk Musikklubb, 2019
The Tradition Bearers, 2019
With a stellar cast of guest musicians - including Eliza Carthy (for beautiful harmony vocals), Martin Simpson, Gina Le Faux, and Sam Carter - it is nevertheless Steve‘s singing and concertina that is the one and only focus of this album. The majority of the album are traditional songs, combined with songs from contemporary songwriters. A strong album of traditional folk singing, perfectly presented and arranged.
Own label, 2019
The tunes equally show lots of creativity, with great arrangements and tight duo playing, often on two violins/violas, although between them the duo also play piano (Becki) and guitar, mandolin, e bass, lyre and percussion (Nick). There are a number of guest musicians providing a band sound, without losing the at times minimalistic and ever so effective arrangements of elements of the tunes and songs. The tune repertoire includes traditional English tunes, own compositions as well as a beautiful Swedish Polskas.
This is brilliant new traditional music, cleverly interweaving classical, jazz and other influences.
Own label, 2019
Louisa Lyne has a beautiful charismatic voice. She confidently presents her songs in a style that has some Yiddish as well as Nordic influences, yet is contemporary and light, with a gentle jazzy cabaret style. Perhaps it is that fact of having no Yiddish background but having fallen in love with Yiddish music and culture that gives Louise this fresh and different approach to Yiddish songs.
Also notably her Kapelye does not feature a clarinet; there’s accordion, violin, cello, double bass, trombone, guitar and keyboards.
A really beautiful album, light and vivid as a butterfly, which gives yet another colour to the broad kaleidoscope of Yiddish music.
Own label, 2020
Own label, 2019
CPL Music, 2019
Own label, 2019
Whilst Torridon exists already for 14 years surprisingly this is their debut full length album. A charismatic lead singer, Kenny Smith, together with a very Scottish sound of bagpipes, whistles, a superbly melodic and Scottish electric guitar, accordion, drums etc., makes Torridon a winner for some brilliant craic. Some of the songs (all written by Kenny) have much deeper topics then might be thought on initial listening - several tracks are about men’s mental health and the band’s real-life experience of suicide among young men in Scotland. For example “Sweet 16” deals with Kenny’s emotions when, in August 1996, he lost both a cousin and a best friend; and “Lighthouse” is an uplifting song which is meant to encourage men to talk, also if they are not OK. Not all songs have such serious background – the ever popular “Highland Girl” is a love ballad, and the title of “Drinking Away” gives away what this song deals with. In addition to eight original songs three lively tunes.
Hopefully we won’t have to wait another 14 years for a follow up album.
Own label, 2020
Chris masterfully plays not only whistles and Highland Bagpipes, but also the piano. And not only that, he also composed and arranged every single one of the ten cracking tunes on this album. The music is centred on Scottish traditional music, but there are inspirations from jazz, Nordic and classical music. The album has very much a band sound, featuring brilliant fellow musicians including Talisk’s Mohsen Amini on concertina, cellist Alice Allen, fiddler Graham Mackenzie and guitarist Innes White.
Some folk rock arrangements for pipe tunes, more gentle beautiful whistle tunes, inspirational piano tracks – this is an extremely well crafted album with wonderful arrangements. The tunes have also great stories behind them – be it travelling through Basel on an electric scooter, spending three hours on trains between Lockerbie and Crieff, or an 8 minute transfer in Schiphol. My favourite track on the album is “Lappis” – an enchanting tune inspired by the beautiful scenery around the student campus village “Lappis” outside of Stockholm – a place I know and love well, and the tune is just as beautiful as my memories of this special place.
Felmay, 2018
© Pío Fernández
