Long before such eclectic artists like Boiled in Lead and Reptile Palace Orchestra tantalized discerning listeners with their unique brand of rock-driven ethno-fusion, and even before Brave Combo was recognized as leading purveyors of offbeat world music, there existed a little known band from Finland. Piirpauke was formed in the early seventies and continues to this day. They specialize in combining folk melodies from throughout Europe and the Mid East with Latin rhythms, a rock beat and a free-jazz mindset. The jazz element does dominate some of the earlier recordings as leader Sakari Kukko hails from a jazz background, however, as this band progressed so did their musical influences and performance style. If that’s problematic for you but this description intrigues you, try their mid eighties period as a starting point. Albums like THE WILD EAST and particularly ALGAZARA are loaded with diverse sounds like the Romanian “Turceasca,” the beautiful Finnish traditional piece “Kantele” and their rendition of Wolfgang Mozart’s “Rondo a la Turca.” Indeed, Piirpauke creates compelling music for discriminating tastes.
The second solo offering from Kila lead singer Ronan O’Snodaigh differs vastly from his 2001 debut TIP TOE. That album was resplendent in its swirling and rich melodies. While rhythm is always key to O’Snodaigh’s music, it wasn’t the driving force of TIP TOE. This album, however, is a rhythmic affair with virtually no lasting melodies to speak of. O’Snodaigh’s passionate yet monotonous vocals coupled with his percussive accompaniment create an omnipresent and droning rhythm that is inspirational and tiresome all at once. The fact that this album was sung entirely in Irish Gaelic (TIP TOE was sung in English) adds to the mystery and complexity of this recording. This is clearly an acquired taste that could either leave the listener begging for more or refusing to finish the serving on his plate.
The third release by this German outfit reveals some of the most innovative advances in modern Celtic music. Combining the pop and hip-hop foundation of their first album and the sophisticated acoustic arrangements of RAUS, their second effort, UNIVERSUM is the logical next step for front man Markus Brachtendorf. Sung exclusively in German, Lecker Sachen rivals the sampling and techno efforts of such groundreaking Celtic artists as Tartan Amoebas, Paul Mounsey, Shooglenifty and Slainte Mhath. And as is the case with those bands, Lecker Sachen shines when they allow the folk instruments like banjo, fiddle and wood flute to be heard above the programming. The non-German speaking among us may gravitate toward instrumentals like “Schnelle Melodie” and “Fabrik Melancholique,” two outstanding selections driven impeccably by their inherent folk melodies but accentuated creatively by peculiar rhythms and effects and boldly supplemented by the neo-classicist Gangsta String Trio. An exceptionally artistic effort, this album provides mood music for both the background and foreground in an unconventional yet appealing manner.
Now for something from way out in left field. Los Langeros are from Cork, Ireland and they play quite possibly the most intense country music ever put to disk – it’s punk, trash and Hank feckin Williams. Yeah, yeah, yeah, yeah, yeah… very interesting CD. Curious, go to http://www.unsignedireland.com/artists/loslangeros.htm and listen to some mp3’s.
So finally we have the new, much anticipated CD from Blood or Whiskey. The first without original vocalist Barney Murray, and actually it’s pretty much an entire new line up since “No Time to Explain”. Only guitarist and now vocalist Dug’s and drummer Chris O’Mara survive.
So what’s it like? Musically it’s still the familiar Trad-Punk of before just punkier, way more punkier, but old time fans will recognize the sound as distinctively Blood or Whiskeys. Dug’s does a reasonable job on vocals though he’s no Barney Murray (for those who heard the promo CD from last year, the vocals are much improved.) The attitude is still Fuck you. And the songs? When the songs are good on” Cashed Out On Culture” they are very good-the Ska tinged “Poxy Pub”, “Glory O”, “Jar’D fror Life”, “Impaired Vision” and “Ruler, Ruler” to name a few–and Blood or Whiskey are top of the game. When the songs are not, they are just average
In an odd move Antichrisis has re-recorded their 1998 artistic breakthrough A LEGACY OF LOVE in its entirety on a new record label, Reartone Records. I’m not exactly sure why this was necessary as this final product isn’t measurably different from the original. But if it generates buzz and attention to this erstwhile overlooked gem perhaps it is justified. Antichrisis is somewhat of an anomaly as they combine progressive metal with Celtic-rock in a highly theatrical yet melancholy manner. The attentive listener might conclude that this album is more cohesive and consistent than the original. I try to convince myself that this mix is superior and the rearranged tracklist makes for better continuity but I’m not really sure. There is one new track called “End of December” that (in a real stretch) might remind listeners of Black 47. In any event this is a fine recording that deserves to be heard again. Hopefully this strategy will pay off for Antichrisis.
Although not received until early 2005 this ‘04 release instantaneously rocketed to the top of my “best of” list for last year. How do I even begin to describe this totally unique band? While Bosnian filmmaker and guitarist Emir Kusturica seems to attract most of the attention of No Smoking Orchestra these days, this is truly a group effort that depends as much on singer Dr. Nelle Karajlic’s acerbic vocals and violinist Dejan Sparavalo’s inspired arranging and writing as Kusturica’s celebrity. Equal parts vaudeville, punk rhythms and gypsy music, this is unlike anything many of you have ever been subjected to. It must be noted that this music is “inspired and taken from” the quirky film of the same name so variations on the main theme are revisited throughout the album. But the individual songs like “Wanted Man,” “Who Killed the DJ,” “Ovo je Musiki Svet” and “Gladno Srce” are the main attraction here — marches driven by the sloppy (by design) gypsy brass band, unhinged operatic singing, reasonable acoustic jazz guitar, swirling interaction between tuba, accordion and gypsy violin and more indescribable zaniness. This CD is an utter delight and highly recommended for those who are looking for uniqueness that isn’t confined to any one genre. Punk? At times. Folk-rock? Absolutely! Camp? If that’s what you wanna call it. This is the best damn soundtrack recording ever created, period!
After a steady string of CDs dating back to 1992 that were influenced heavily by English and Irish folk-rock, this Austrian combo scaled back its membership and increased its songwriting responsibilities, yielding a stripped down, subdued modern folk sound. This retooled group refocused its efforts toward instrumental precision and strength of melody, an approach hinted at slightly on 1999’s WHEN I’M THERE. That release relied solely on original compositions, albeit with a rockier edge. Unfortunately, like Lack of Limits, Foggy Dew would be received much better in the US and other English speaking regions if their enunciation were sharper and cleaner. Still, if you enjoy the sounds created by accordions, mandolins and acoustic guitar there is definitely redeeming value to found here.
Unlike Lack of Limits, An Cat Dubh is a German band that has a solid grasp on English and its nuances. On this, their seventh release An Cat Dubh employs an exclusively acoustic lineup that more closely resembles the Dubliners than their previous rock-oriented efforts. Predominantly comprised of traditional Irish tunes (including the suddenly trendy “Fields of Athenry”) LIGHT also tackles selections by Tommy Sands, Eric Bogle and Bruce Springsteen. This band fares better when the amps are turned up, however, this coffeehouse set works better than expected. And the sing-along nature of these songs would be accompanied nicely by a pint of Beamish or Sprecher Irish Stout (shameless local plug).
This is the fifth album release by this German folk-rock outfit and the second live CD since 2000. Overall they perform in the classic Celtic-rock configuration of drums, bass and guitar augmented regularly by accordion and fiddle. On rare occasion saxophone and didgeridoo color their arrangements – and not always for the best. Their rendition of “16 Tons” takes on a dubious identity with the heavy saxophone and overwrought lead vocals. Of the eight tracks included here, five are traditional while two are borrowed from Pressgang’s FIRE album – “Take a Jump” and “Merrily Merrily.” Although Lack of Limits’ thick German accent may cloud one’s impression of this band, they are an extremely competent band, instrumentally speaking, who might benefit from a more natural, English speaking vocalist.
Shite'n'Onions 