Album Review: Mark Barron – Redefinition

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Mark Barron – Redefinition album cover

image courtesy of Mark Barron

Album Review of Mark Barron: Redefinition

Rocker Mark Barron covers a lot of territory with axework that ranges from blistering to floating on Redefinition, and all that real estate is in the progressive rock township. Can I place it Barron’s music into a subcategory of progressive rock? Well, if progressive, soaring, guitar-wizardry-driven space rock is a progressive rock subgenre, then this would be the dictionary definition of it.

Barron is a jack of all trades, a multi-instrumentalist, not just a guitar wizard. The liner notes of Redefinition read: “Mark Barron: Vocals, guitar, keyboards, bass, drums, production and mixing. Music and lyrics by Mark Barron. Mastered by Doug Northcott at Amplitude Audio.” So we know he doesn’t master his own record. He can’t do everything, I guess, but Barron comes close.

First song “Praeludium” kicks off with heavy, soaring hard rock guitar, suggesting perhaps a heavier record than Redefinition turns out to be, the sort of anthemic, soaring heavy metal that might have instrumentally backed one of Dio’s more melodic productions. At the very least, it suggests images of knights and dragons and castles – very medieval and adventury sounding, like the backdrop of a D&D quest.

Then the title track, “Redefinition,” begins with a sort of synthy-sounding, ’80s electronic-style intro, which leads into some higher, more technical, prog rock instrumental shredding. Yet, a garbled, wizardly background vocal resumes the fantasy before the lead vocals themselves bring about an almost Styx-influenced mainstream-meets-progressive sound. By this point, it’s clear any and all expectations should be thrown out the window, and you should just sit back and enjoy the album’s journey.

Throughout the journey, you get energetic progressive rock with a soaring musical backdrop and plenty of axe-wizardly shredding.

“Closer to Me” soars softly, with a calm, outdoorsy vibe, with the music suggesting water imagery just before the lyric “as the wings crash down on me,” as if so-designed. The energetic kick into the song’s chorus is almost Survivor-like, though the rest of the song is pure floating, soaring, kinda mellow progressive rock. Of all the songs on this record, “Closer to Me” is the one that most often pops into my head, so do give it a listen.

A fun, lighthearted instrumental romp, “Burnout,” follows, and it’s my favorite instrumental number on the record, perhaps my favorite song overall. It’s followed by “Afterglow,” which features guitar noodling through the song’s first half before the first vocals, which soar angelically, turning the song into almost a hymn.

The rest of the album continues along similar themes while still unleashing new facets of Barron’s skill-set. “Leap of Faith” feels very Styx-ish. “Into the Wild” is a fun, 5-plus minute journey powered frequently by relatively fast-paced guitar and a persistent, driving drumbeat. And “Rift” features a bit more keywork than many of Redefinition‘s other numbers – in addition to plentiful guitar, natch – as the song leans toward the more mainstream end of progressive rock. The guitar in the instrumental “Divinity” is the crunchiest, thickest on the record, seeming to lean a little bluesy at times, too.

The album’s penultimate track, “Ivory,” is motored by pianowork, slow and very balladic, with Barron adding softer-edged though still insistent vocals; it also might be well-suited to musical theater, specifically something along the lines of Phantom of the Opera. Indeed, Barron seems to channel Andrew Lloyd Webber throughout much of this song.

The 11-song journey through Redefinition ends with “Weightless,” a 7-minute closing number that showcases many sides of Mark’s music, from the song’s soft opening to its varied guitar styles to an almost march-style rhythm and beat, particularly through its middle, before beginning its big, soaring-into-wide-open-spaces final minute-plus dramatic climax then fading out. It’s a fitting ending to an impressive progressive rock song collection!

So, if you’re a progressive rock fan, you should definition check out this record. It’s a good one. And if you’re not already familiar with Mark Barron, then you have a new name to remember. And if you’re not a prog rocker, well, maybe start by checking out “Closer to Me,” “Ivory,” and “Burnout” – there’s probably something in this collection you’ll like, too.

EP Review: Diablogato – Snake Oil Salvation

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Diablogato

photo by Pat Piasecki; photo courtesy of Knyvet

EP Review of Diablogato: Snake Oil Salvation (Rum Bar Records)

Crazy-ass, eclectic, electric, straight-ahead, aggressive, guitar-driven, distortion-laden western rock and roll. That’s Diablogato. And this record is exactly what you’d expect from a leather-clad, axeslinging devil cat! Or perhaps a stray cat possessed by the devil. Indeed, Johnny Custom plays upright bass for Diablogato, partially inspiring my Stray Cats reference, as this music swings pretty well for heavy rock music; maybe the bass plays a role. Custom is joined by Charlie MacSteven on guitar and backing vocals, Jesse Von Kenmore on drums and the inimitable, rough-hewn powerful voice of Drew Indinagaro on vocals and guitar.

“Heavens Gate” kicks things off with an echoing, heavy, angry rhythm thumping straight through grittily howling blues-rock vocals. You may not be able to imagine things will amp up after this opener, but Diablogato is just getting started.

Diablogato – Snake Oil Salvation EP cover art

image courtesy of Knyvet

My two favorite songs on this EP (personal taste, ymmv), in reverse order, are numbers two and three. The first of those two, “Wandering Hearts” opens more airily haunting, like a devil-possessed Johnny Cash song. The “whoa-o-oah” will draw the listener in. What if Chris Isaak’s “Wicked Game” was darker, heavier, and a bit more foreboding but still just as haunting? Then you could pair it with “Wandering Hearts,” though the surf-meets-blues-rock guitar solo during the late-song bridge in “Wandering Hearts” really doesn’t compare to much of anything else.

Third song “Fire and Powder,” my favorite on the EP, amps up the “whoa-o-oah” to the next level, with a frantic, full-speed-ahead energy that’s interrupted only at the halfway-point for an instrumental section that begins slow but intense and slowly ramps up the speed until it returns again to maximum energy level, erupting into a nifty, high-speed guitar solo that runs until the song’s few closing lyrics. The tempo, though? Whew!

Of course, just because those are my favorite tracks, that doesn’t mean I’m dissing the rest of the disc. Au contraire, six songs isn’t nearly enough Diablogato for one sitting!

“Jet Black Night” is a slower-paced but still heavy, bluesy-groovin’ heavy rocker. “July 1969” has a steady beat, some country twang with an almost folk-influenced heavy rock vocal, meaning it harkens back a bit to that psychedelic rock era, and a raucous punk-but-it’s-too-smooth-to-be-punk attitude. And “Lost Highway,” which closes the EP, opens with a mellower, more bluesy rock vibe before picking up the pace with energetic rock, except for the instrumental guitar bridges, which are slower, a bit bluesy and haunting, and very heavy and plodding, much like late ’70s/early ’80s heavy metal – pre-big hair, real heavy metal. It’s a cool blend of styles, much like this entire Diablogato album, making it a fitting conclusion to a fantastic six-song listen.

In the end, if, based on Snake Oil Salvation, I had to compare Diablogato to other bands I’ve reviewed at the blog over the years, I’d say they belong in the desert southwest, nestled between Angie & the Deserters and Love and a .38. In other words, as the middle band in a kickass rock ‘n roll triple-bill with two other artists that give off a similar vibe, arranged from lightest to heaviest, with Diablogato perhaps residing closer to the heavier band. Regardless, Diablogato is a very original, thoroughly engaging must-hear, especially – but not exclusively – for guitar-based rock fans.

Single Review: Ilianna – “A Year From Now”

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Ilianna

photo courtesy of Highway Music

Single Review of Ilianna: “A Year From Now” (Highway Music)

You may remember Ilianna (Viramontes) from her appearance on The Voice a few years ago. Although that’s the one singing competition show I sometimes watch, I don’t watch every season, and that was one of the seasons I missed, so “A Year From Now” is my first encounter with this exceptionally talented pop singer-songwriter.

Ilianna – "A Year From Now" cover art

image courtesy of Highway Music

Ilianna’s voice is sweet with a soft vocal edge despite a slightly hoarse texture in spots, but only when she stretches for notes. It’s the sort of voice that can make a song seem warm and inviting and, indeed, that’s exactly what it does on “A Year From Now.” The vocals and the melody change pace, feeling introspective in the verses but a bit more self-confident and playful in the chorus.

As for subject matter, it carries a light mood through thoughts of the future in the early days of a relationship that’s going well. Totally relatable for those seeking love, in love, or who remember falling in love. Some insecurity sneaks in, but not much, keeping the song pleasant and enjoyable. The lyrics and Ilianna’s delivery will make the song content feel current – or reminiscent, depending on your current lot in life and love – with well-crafted lyrics like “what if I told you I was picturing us a year from now?” combining with Ilianna’s engaging delivery to help secure “A Year From Now” a welcome place across a broad range of listener personas’ playlists.

Ilianna

photo courtesy of Highway Music

Looking For More?

Well, “A Year From Now” was Ilianna’s second single release. She released “Close to You” a month before “A Year From Now.” You can hear “Close to You” here on Spotify. Spotify also includes Ilianna’s cover of Yael Naim’s “New Soul” from her appearance on The Voice eight years ago. Of the three, I think “A Year From Now” is my favorite. Based on her outstanding but still-too-small body of work, I hope to hear much more new music from Ilianna in the very near future. She has the talent to become a long-term favorite artist on my playlist… and on yours, too, I bet.

Single Review: Liam Foody – “Waiting For You”

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Liam Foody

photo courtesy of Cobra Promotions

Single Review of Liam Foody: “Waiting For You”

Irish singer-songwriter Liam Foody serves up an energetic mid-tempo pop-rock single with “Waiting For You.” The song is easy to listen to, with jangly guitar – and even a little grainy guitar crunch in spots – supporting Liam’s steady voice atop a frequently-airy soundbed. Liam’s voice has just a hint of a warble that helps the song come across as heartfelt, despite its rather poppy, keep-it-moving vibe that pushes the song forward without lingering too long on an emotion.

In the end, “Waiting For You” is a pleasant song that’s sneaky-good and will grow on you progressively with each subsequent listen. It’s a light, feel-good pop-rocker that serves as a terrific introduction to this talented artist. So check out “Waiting For You” and get ready for more – I’d expect to hear plenty from Liam Foody in the coming years.

By the way, this is actually Liam’s second single. If you like what you hear, be sure to also take his first single, “Take Your Hand,” for a spin.

Single Review: Annie & the Caldwells – “Wrong”

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Annie & the Caldwells

photo by Eric Welles-Nystrom; photo courtesy of 23 PR

Single Review of Annie & the Caldwells: “Wrong” (Luaka Bop)

The funky opening of “Wrong” will grab you right off the bat, as “Wrong,” a single from the Annie & the Caldwells album Can’t Lose My (Soul), evolves into the kind of powerfully-vocalled (with backup singers) kind-of-Motowny soul song that’ll keep you moving in your seat with its engaging beat. And you’ll be singing along with the lyric “I was wrong” by the end of the very first listen.

The group’s bio notes that Annie & the Caldwells are a family group from West Point, Mississippi and labels their sound as “disco soul.” Yes, though I couldn’t quite place it in the review above, penned before digging into the band’s bio, there’s definitely a disco flavor to the song, too.

The song includes a nice video, filmed right there in West Point, that begins in Caldwell’s Fashions, the business owned and operated by family matriarch and bandleader Annie Caldwell. The family band is comprised of vocalist Annie, her husband Willie Caldwell Sr. (guitar), her sons Willie Caldwell Jr. (bass) and Abel Aquirius Caldwell (drums), daughters Deborah Caldwell Moore (featured vocals), and Anjessica Caldwell (backing vocals), and goddaughter Toni Rivers (backing vocals).

In any case, this is a fun single. I haven’t given the full-length album a listen yet – it’s been out a few weeks now – I fully expect to be wowed.

You can also find Annie, Willie Sr., and their sons in the Staples Jr. Singers, who’ve been around since 1975, according to the Staples Jr. Singers’ Instagram page.

Album Review: Neale Eckstein – Never Too Late

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Neale Eckstein sitting in a studio, holding an acoustic guitar

photo courtesy of Broken Jukebox Media

Album Review of Neale Eckstein: Never Too Late

Neale Eckstein has been a part of the metro Boston music scene for as long as I remember. His Fox Run Studio has recorded numerous projects. His Fox Run Concert Series has hosted top artists from all over since the late ’90s. I’ve seen Neale share photos from his Kerrville Folk Festival visits for years. It never dawned on me that he hadn’t ever released a full-length album as a singer-songwriter. Until October 2024, that is, when Never Too Late came out. Digging deeper into Neale’s bio, he’s a retired pediatric dentist (I already knew that), who didn’t take up songwriting until he was nearly 60 (that’s something I didn’t know). Although he released an album with “Neale Eckstein & Friends,” he only performed lead vocal on one song, so that doesn’t count. In 2019, he released a short EP. But finally, at age 75, Neale released his first full-length record. I have one problem with that – there’s no way Neale’s 75! As they always say, I guess – music keeps you young!

Neale’s songwriting is impeccable. And his voice is earnest, honest, and a bit gravelly, well-suited for the observational (or participatory) storytelling music at which he excels. If I were to paint a picture for you, Neale’s vocals are the sort you’d expect from a grizzled old cowboy, singing expansive western-folk music while sitting around a campfire somewhere in the dusty southwest.

Never Too Late contains many memorable lyrical moments, a nod to Neale’s songwriting prowess and to his honest, heartfelt delivery. Vocally, again, Neale’s voice is hoarse, gravelly, forthright, and emotive, helping him attain that folk music storyteller role on pretty much every song.

The first three songs on the album run the gamut of song topics. “Masterpiece” kicks things off reminiscently about parents cherishing the memories and times spent with their young children. “One Month Crazier” is a fun song about being on the road; I mean, it’s sung kind of sadly, but it’s packed with clever wordplay. And “Red Swivel Stool” is a song about growing up in segregated Durham, North Carolina, through the eyes of a child who notes, “Some sat in the front. Some sat in the back. And some couldn’t sit anywhere at all. Some went to the front door. Some went to the back. Didn’t make much sense when I was small. Didn’t make much sense at all.” Of course, since the song is sung as if looking back as an adult, the final line of the song revises the ending to that chorus to “Still don’t make no sense at all.”

Neale Eckstein – Never Too Late album cover

photo courtesy of Broken Jukebox Media

A couple songs later is “Devil’s Gate,” a very western-sounding song about the Pony Express, with a rhythm sounding very much like hoofbeats.

“Like a Poem Needs a Rhyme” is a sweet, heartfelt song, sung as a duet with acclaimed, Austin-based folk-Americana singer-songwriter BettySoo. The song is soft, slow, simple, and straightforwardly from the heart. The album notes say it was inspired by Kris Kristofferson, and you can really hear the influence in this track.

“Big Shining Circle” is a steady, soft ode to moon photography with some nifty, occasional guitar twang keeping things interesting. That’s notable for a couple reasons. First, it’s the only song I’ve heard that focuses on this particular subject, so it’s likely to become the all-time favorite song to a small but very devoted following. Also, well, check out the album cover. Neale loves taking pictures of the moon, and his passion shows in both this song and the record’s cover art.

“Stormchaser” is slow and haunting, a storm-themed song about relationships, that includes the particularly cool lyrical turn-of-phrase: “But I know that I will never leave when I am warned. Been running into the wind since the day I was born… a stormchaser.” The music, too, accompanies the feeling of eerie calm right before the storm arrives, a little unsettled and echoey at times.

“Fall From Grace” and “Gonna Get It Right,” back to back, are songs Neale notes are inspired by friends’ breakups, and they carry the appropriate gravitas but with slightly different melodies and vocal/musical approaches, so this is the part of the record to turn to if you want to hear a couple tightly-written and well-performed songs about this particular topic.

The album closes with “Messy Bed,” a slow, powerful song – sung, of course, with a soft, gravelly, truthful-sounding voice – based on the message of the fact that it’s never too late. For Neale’s first full-length release after a lifetime of experiences, it’s such a fitting way to end this record, as the chorus sings: “So don’t be afraid of the messy bed you made. No, don’t be afraid ‘cause it just gets in the way. And sometimes the world makes you wait, but the truth is, it’s never too late.” Words to live your life by in the form of, perhaps, an encouraging song to help you do just that.

In all, this 14-song collection is soft, well-written, and excellently-performed. Folk music fans, in particular, are likely to really enjoy this record, though all of us are likely to latch onto at least a song or two that really touches us, so it’s probably worth at least one listen to everyone; many, many more to core fans of this genre because it’s a great disc.

What’s next? Well, I believe there’s a “Fox Run Five” recording in the works – the “Fox Run five” being Neale’s core set of collaborators – so watch soon for a Fox Run Five double-vinyl release, as Neale discusses in this Facebook video.

Single Review: Paul Sherry – “Fades”

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Paul Sherry

photo courtesy of Cobra Promotions

Single Review of Paul Sherry: “Fades”

Award-winning Irish blues and rock musician Paul Sherry released a cool single, “Fades,” late last year. The song was produced at Start Together Studio in Belfast by Rocky O’Reilly. Multi-instrumentalist Sherry performed guitar, bass, and piano on the record, while Davy Cassidy contributed the drumwork.

“Fades” opens with jangly, rough-hewn guitarwork before being joined by Sherry’s gritty, raw, passionate vocals, which lend an edgy insistence to the chorus: “I see everything just fades, letting go now. I see everything fades. Where’s it go now? Everything changes.” The second verse maintains a bit more energy, allowing the song to amp up even more in the second chorus. In need of a release, the song adeptly passes through a less-instrumented, airier bridge before picking up the energy on the other side, rockin’ it out to the close until a final-second fade. Just a really cool arrangement, well-suited to Sherry’s delivery.

Taking a holistic view of “Fades,” the song has a real-life, gritty, honest vibe along the lines of a Bruce Springsteen or John Mellencamp song. Stylistically similar but not sonically. No the sound is unique to Paul Sherry. So if you’re not familiar with his work, this song seems like a great introduction. And if you do know Paul already, well, if you haven’t hear “Fades” yet, you’re gonna dig rocking along to it!

Paul Sherry

photo courtesy of Cobra Promotions

Looking Ahead

If you want to catch Paul Sherry live, there are several upcoming shows listed on his webpage. He also announces upcoming gigs on his Instagram and Facebook pages.

 

Album Review: High Lowdowns – Honey Moonshine

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High Lowdowns

photo by by Kathy Parella; photo courtesy of the High Lowdowns

Album Review of High Lowdowns: Honey Moonshine

New England’s High Lowdowns hail from Worcester, MA and Rhode Island. The bulk of the band’s sound is an energetic, kinda twangy Americana, though the band covers a breadth of musical real estate, coming off as nearly an alt-rock band on at least one track.

The High Lowdowns are Gregg Levins (vocals, guitar, Farfisa organ, harmonica), Joe D’Angelo (lead guitar, bass) Scott Kenyon (drums, percussion) and Julia Benoit (vocals). Honey Moonshine is the band’s second full-length release, following its self-titled 2023 debut.

Honey Moonshine begins with perhaps the three most quickly catchy songs on the album. (It’s always smart to start a record with the songs that connect with listeners the quickest!)

High Lowdowns – Honey Moonshine album cover

image courtesy of the High Lowdowns

Album-opener “So Much More to Life” reminds me, right off the bat, of a long-form version of a Hee Haw song. I mean that in a good way, of course. It’s instantly catchy with a sort of down-home wisdom message and delivery: “So leave all your troubles and leave all your strife. Believe me when I tell you there’s so much more to life.” It’s one of those songs that you initially think must be a cover because it feels so comfortable and familiar from the first note. But it’s not. It’s simply a good, catchy song.

“All Twisted” follows, another lively song feels like something the B-52’s might record… if they were an Americana band. Be aware, you will soon find yourself singing along with the chorus. But there’s nothing NSFW there, so don’t worry.

Next up, in the three-hole, is the album’s title track. “Honey Moonshine” slows things down a bit, with an almost haunted vibe, as you might expect from a Love Love song, but without the dark subject matter. I mean, it’s not a happy song by any means; quite the contrary, the music fits the mood. But it’s just a normal-type of sad.

Saying that the first three songs are the quick-grabbers is, by no means, meant to show disrespect to the rest of the disc. The whole 10-track record is a fantastic repeat listen. It’s just that the first two singles, if you’re thinking like a record company exec, should probably come from the album’s first three tracks.

High Lowdowns

photo by Steph Benoit; photo courtesy of the High Lowdowns

The very next song, in fact – “The Devil You Embrace” – turns a really nifty phrase in its chorus: “We all got demons now to twist and turn our fate. They’ll walk you down pathways where temptation lies in wait. It ain’t easy but you’ll find, at the end of the day, it’s only you that gets to choose the devil you embrace.” I’m not sure if I’d describe that more as “cool” or “badass,” so I’ll meet somewhere in the middle. That chorus’ lyrics are “coolass”!

“Wilted” is another of my favorites, a moderately-paced danceabilly-ish number. And it’s followed by “Turn This Thing Around,” which is the song I mentioned being a little reminiscent of alt-rock – with an Americana influence, clearly, but it’s a distinctly different sound – albeit it enjoyably so – from most of the rest of the collection.

Those of you who favor “All Twisted” are likely to consider “Can’t Shake You Out” your second favorite track. It’s not a soundalike by any means, but it bops along with a similarly energetic tempo and delivery style. Meanwhile, I could say the same thing about “Soul Tied” relative to “Honey Moonshine.”

The record closes with “Sun Sets West,” a mid-tempo song that maintains a steady, moderately energetic tempo. Indeed, the core sound and delivery of the main portions of the song are relatively mainstream, rich Americana, but notably, the opening – and a late-song solo – have a slightly airy-instrumented structure that hints at a western style. It’s a fun closing number for Honey Moonshine, an enjoyable collection of songs that fit well together yet offer enough variety to provide an interesting full-album listen.

It’s also worth noting that the High Lowdowns’ style seems as if it would translate very well to a live performance, so it’s worth seeking out the band’s upcoming concert calendar. Perhaps, follow the band’s Facebook page for future gig announcements.

 

Single Reviews: Battlemode – “Playlist” and “Just Pretend”

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photo by Dave Green Photography; photo courtesy of Knyvet

Single Reviews of Battlemode: “Playlist” and “Just Pretend”

Battlemode is a trio of Boston-based purveyors of super-catchy, hypnotically beat-driven chiptune pop. To any of us not embedded in the heart of that particular electronic music scene, stylistically, think synthpop. Mostly, though, think of an electronic-based, danceclub-ready, infectious, thumping earworm. Or, in this case, two tuneful aural parasites – “Playlist” and “Just Pretend.”

Battlemode – "Playlist" cover art

artwork by Sadie Parrotta; image courtesy of Knyvet

You my have seen Battlemode – Biff, Astro, and Sam – featured at Boston Bitdown in March. The group is scheduled to appear at Boston Calling in May. Simply put, Battlemode is everywhere this year, and deservedly so.

“Playlist” kicks things off right from the start with an electronic dance beat that’s an immediate attention-grabber, moving on to heartfelt, powerful pop vocals, appropriate for the song’s way-cool lyrics, featuring the oft-repeated “It’s over. All I have left is your playlist, your playlist.” The mid-song rap, as the electro-beat continues, provides a tempo-change, before the full wall-of-sound and the primary vocals return. You will be singing this song all afternoon after just about any mid-day listen, that’s for sure! In fact, if you can’t groove along to “Playlist,” you’re probably dead inside.

Battlemode – "Just Pretend" cover art

image courtesy of Knyvet

“Just Pretend” has a more mainstream pop music feel, the sort of thing you might hear from a Nick Jonas tune, particularly in collaboration with other artists, like Battlemode, perhaps, sometime down the road. It’s not really super-different stylistically from “Playlist” – clearly two songs from the same artist – but there’s a unique vocal breakdown early on and a slightly more complicated baseline rhythm. The mid-song rap comes a little earlier in the song. There are also some nifty sound effects. I know the band’s bio says Astro’s instrument is the Game Boy. That’s sure what it sounds like. Or, more precisely, it sounds an awful like the sound effects from the old arcade game Caterpillar. Regardless, it totally fits in with the song, making an already-engaging tune even a little more interesting.

It’s easy to get hung up trying to describe Battlemode’s sound, but that’s hardly the point. Battlemode’s songs are sure to appeal to anyone who likes music, especially if you enjoy pop, electronic, or any related style, but not necessarily just that group of music fans. The songs are well-written, engaging, and hooky, suggesting the potential for massive crossover appeal, too.

photo by Dave Green Photography; photo courtesy of Knyvet

Looking Ahead

Battlemode has a couple upcoming concerts listed on the “Shows” page of the band’s website. On May 7th, you can catch them in Boston as part of the “Sound On” concert series. And on May 21st, Battlemode will take the stage at Boston Calling in Allston, MA. Of course, keeping checking the band’s website for future live performance dates.

Album Review: Itamar Erez & Hamin Honari – Migrant Voices

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Itamar Erez & Hamin Honari – Migrant Voices album cover

image courtesy of Dog Ranch Music PR

Album Review of Itamar Erez & Hamin Honari: Migrant Voices

As you know if you’re a regular reader, I like a good instrumental album from time to time. Well, Israeli guitarist Itamar Erez and Iranian percussionist Hamin Honari deliver a great one with Migrant Voices. Erez and Honari met through the Vancouver music scene and have performed together in and around British Columbia. They applied for a Canada Council grant to record this album.

Itamar Erez

Itamar Erez; photo by Diane Smithers; photo courtesy of Dog Ranch Music PR

On Migrant Voices, Erez and Honari combine Erez’s softly meandering, often rhythmic strumming and picking with Honari’s broad array of percussion sounds and beats to create a nifty jazz collection that would be equally at home in a theater setting or at a venue with more of a coffeeshop vibe. In a personal setting, the Migrant Voices album is equally suitable as music for relaxing after a stressful day, music in the background to help feed a bit of relaxation into a stressful day, or in a number of other situations.

Hamin Honori

Hamin Honori; photo courtesy of Dog Ranch Music PR

The title track, “Migrant Voices,” was the only song that was pre-written before the album was recorded. The rest of the songs were “freely improvised without a plan” while in the recording studio, though the artists note that “Forgotten Sands,” while it began as an improvisation, was honed by recording several versions and includes some overdubs. Of course, as the end result is such an enjoyable listen, it seems like a solid artistic choice, just as years of practice and years of performing together by Erez and Honari served as the basis of their improvisation in the first place.

From the steady progressions of “Migrant Voices” to thoughtful use of open space during transitions in “Embrace” and the artistic intertwining of the instruments through out the album, Migrant Voices remains relatively hushed in tone, which is why it’s a great companion for such a variety of experiences, from thoughtful, in-depth listening to accompanying other activities. Throughout, this record is an intriguing listen and an excellent addition to any music collection.