Music Reviews

Verma, Arjun K. – “Moods of Sitar / Sketches of Raga” – [Arctic Records]

aarbor   5/20/2025   CD, International

Moods of Sitar/Sketches of Raga

Arjun Verma is a sitarist here in the San Francisco Bay Area. Arjun works within the tradition of North Indian classical music, and collaborates with musicians in various other genres. He also composes orchestral and soundtrack music. He trained with his father, Roop Verma, and with sarode maestro Ali Akbar Khan and his son Alam Khan. This is 2 of his EPs on 1 cd. Moods of Sitar (the first 5 tracks) are “Sitar Conversations” which demonstrate how ornamentation and the movement between notes create a deep mood in the music. It highlights the importance of the musical nuances and emotional expression beyond the notes themselves. Sketches of Raga music for the winter season, to calm and console listeners in these troubled times. AArbor

If you want to learn more about the sitar from Arjun Verma watch this youtube video https://www.youtube.com/watch?v=88u9xtVoWng

Skazka Orchestra – “Kalamburage” – [Eastblok Music]

humana   5/12/2025   CD, International

In Russian, “skazka” means fairytale. This music from the Berlin-based band is characterized as Ukrainian rock, but all you need to do is listen to any of these stellar songs to feel a mixed influence of klezmer, folk music, upbeat–accordions just add that extra sparkle to the music. Check out the liner notes to see the band members as you bounce along to these fantastic tunes!

Synthesizing the Silk Roads: Uzbek Disco, Tajik Folktronica, [coll] – [Ostinato Records]

aarbor   4/27/2025   CD, International

Synthesizing the Silk Roads: Uzbek Disco, Tajik Folktronica, Uyghur Rock & Crimean Tatar Jazz from 1980’s Soviet Central Asia

This is the music that got me excited about Central Asia. At the end of WWII 16 million people were sent from Moscow to Tashkent (in Uzbekistan) including some recording engineers who created a record pressing plant there. This compilation comes from the dead stock of the records produced there during the 1980s. Tashkent was a sanctuary for musicians from the Asian parts of the Soviet Union. This music provides a rare glimpse into popular music created at the end of the Soviet Union in Central Asia by different ethnic groups of people: Uzbeks, Tajiks, Uyghurs, Tatars… Don’t miss! AArbor

Suarasama – “Timeline” – [Drag City]

aarbor   4/16/2025   12-inch, International

Timeline

Suarasama are from Indonesia and this is the re-release of their 2013 album Timeline. Their traditional North Sumatran roots are a launching point into some lovely hypnotic music here. Timeline traverses the earth’s time and space: avenues of world cultures and music, and the instruments played there; the crossroads where and when the roads meet and the track of time inside the lines of the songs themselves. Even though it was released in 2013 it still sounds relevant today. AArbor

CRVZLOMA – “Mitos I Ritos” – [ZZK Records]

aarbor   4/3/2025   12-inch, International

Cruzloma is a duo from Quito, Ecuador.  This is a dialogue with the past, present and future of traditional Ecuadorian music. Their intention is to promote traditional rhythms in contemporary styles. It’s a process of musical reinvention and self-discovery in homage to the indigenous peoples of the Ecuadorian jungle and the riches of ceremonial music, based around the bambuco style from Esmeraldas on the northern coast, and the bomba del chota and the san juanito from Imbabura province. AArbor

Sidibe, Namian – “Namian Sidibe” – [Sahelsounds]

aarbor   4/3/2025   12-inch, International

Namian Sidibé is from Mali and what she’s singing are modern versions of Malian praise songs, recorded in her home with her cousin Julius Diabaté playing acoustic guitar. She’s part of a rising generation of young Malian divas who have built a social media following, publishing videos and dedications in song. Her vocals are powerful yet plaintive and the acoustic guitar verges on melancholy. AArbor

Digital Zandoli 2 [coll] – [Heavenly Sweetness]

helmynth   3/3/2025   12-inch, International

Photo credit: Chuck Wilson on iNaturalist (source)

The zandoli (Anolis oculatus), also known as the Dominican anole, is a species of anole native to Dominica. Anoles are a family of sticky-footed territorial lizards, whose males typically have a brightly colored flap of throat skin for use in displays. Zandoli, as a species, are notable for having a wide variety of naturally occurring coloration.

Digital Zandoli 2 is a compilation album of zouk and synthetic funk music from the French west indies. Prepare yourself for elephant samples, groovy basslines, and a lot of French-language lyrics. The whole album feels bright, tropical, and funky. A nice listen, even if lizards weren’t actually involved.

Bhattacharya, Pandit Debashsish – “Sound of the Soul, The” – [Abstract Logix]

aarbor   12/3/2024   CD, International

The Sound of the Soul, is Pandit Debashish Bhattacharya paying tribute to another pioneer of Hindustani music, sarod virtuoso Ustad Ali Akbar Khan – who turned 100 in April of 2022. Bhattacharya is playing his self-designed chaturangui in duet with percussionists Padmashree Pandit Swapan Chaudhuri (tabla) [2-4] or Pandit Akhilesh Gundechha (pakhawaj) [1]. The Chaturangui is a six-string hollow-neck lapsteel with the addition of three sets of strings: two drone strings on the bass side of the 6 main melody strings, two rhythm strings on the treble side, and 12-14 resonating strings on the bass side. The Chaturangui traverses the traditions from Hawaiian to Eastern and Western music. It’s traditional Indian raga music integrated into contemporary European and North American music. The sparse setting of just guitar and percussion allows you to hear Bhattacharya’s awe-inspiring playing. There are 4 tracks here. The 2nd track is almost 40 minutes long but the others are around 8-9 minutes each. When asked how does he know when a track should end, Bhattacharya replied: “In this performance, since it was fully improvised, it was like a dialogue, a dialogue between the melody and the rhythm. I almost drowned in that raga. But when it ended, it ended.” AArbor

Nikhil Banerjee – “Live Concert Vol.1” – [Chandra Dhara]

Isotope   12/2/2024   CD, International

Nikhil Banerjee was a master of the sitar, and a much revered Indian musician (1931-1986). This album, Live Concert Vol. 1, displays his mastery in the form of a single hour-long track, performing a piece titled Raag (or raga) Malkauns, one of the oldest Indian ragas. The piece as a whole is meditative. The first 21 minutes have a slow tempo; then the tabla (Indian drums) enters, and the music’s pace and its complexity pick up. During the last 40 minutes of the piece, Banerjee’s sitar becomes more adventurous, exploring musical progressions with increasing intensity and complexity until the end. The liner notes explain that Banerjee’s performance is unique and very unlike other musicians’ versions of the piece. His is a deeply spiritual approach. When you are looking for a meditative, spiritual, almost hypnotic raga, play Banerjee’s version of the Malkauns. It will give you a feeling of well-being.

Orquesta Akokan – “Caracoles” – [Daptone]

aarbor   11/13/2024   CD, International

Orquesta Akokan

21st century mambo from Orquesta Akokan a traditional Cuban outfit. Akokán– is a Cuban Yoruba word meaning “from the heart” which perfectly describes the passion here. Mambo is both a song and a prayer, beseeching good spirits to guide one’s journey away from darkness.  You’ll hear the iconic grooves of an era indelibly marked by Perez Prado and Machito in New York bands and Cuba’s orquestas gigantes of the mid-twentieth century, with a very 21st century energy. Two of the album’s songs —including the title tune— are in a Congo dialect, designed to be impenetrable by the uninitiated. According to the outstanding vocalist Kiko Ruiz, Caracoles’ fierce, effervescent grooves can “…vibrate your soul, which is precisely what the world needs right now”. Drop the needle and dance in the fast lane! AArbor

La Dona – “Los Altos de la Soledad” – [Self Release]

humana   10/18/2024   12-inch, International

Coming to us on bright red, clear vinyl is this collection of rich boleros, cumbias, corridos con banda, and reggaeton from San Franciscan La Dona. She recorded the album in Oakland and Mexico City and her voice expresses so much, along with spoken word poetry, interviews, and more, all in her presentation of “the diverse realities of life in the Bay Area.” This is a valuable expression of the harsh realities of our time, both politically and emotionally.

Maria Raquel – “Mucha Mujer” – [Chulo Records]

aarbor   10/16/2024   12-inch, International

Maria Raquel moved from Colombia to New York to follow her dream. This is her debut album. It’s full of passion and the guts it takes to do what she has done. She breathes new life into the haunting yearning of classic boleros and the pulsing insistence of classic cumbias. She shares the stage with many of New York’s finest Latin musicians in a live 16 piece orchestra of percussion, strings, horns, bass and guitar. Mucha Mujer features all original compositions recorded to analog tape (of course it’s on Daptone’s Chulo sublabel). It is reminiscent of classic recordings by artists like Celia Cruz, and La Lupe, but perhaps more gutsy. AArbor

Bulla en el Barrio – “Vamonos que nos vamos” – [Figure & Ground]

aarbor   10/16/2024   12-inch, International

Bulla en el Barrio is from New York. It’s a collective and study group of the traditional rueda de bullerengue – dance music originating from the Caribbean coast of Colombia that transmits ancient African rhythms and knowledge. The group’s main focus and mission is to recreate the participative energy and vibes of la rueda – the circle. People with no prior musical experience can clap, sing, dance, socialize, and celebrate life in an open space. The co-founders are Carolina Oliveiros and Camilo Rodriguez. This is their debut album. The songs on Side A are new original bullerengue spirituals and the ones on Side B are traditionals written by Oliveros and Rodriguez. Opaque white vinyl. AArbor

Poder del Alma – “Poder del Alma” – [Pharaway Sounds]

Isotope   10/7/2024   12-inch, International

Poder Del Alma is a lost and now recovered gem of Latin soul funk with a fascinating history. The band name (which is also the album title) means “soul power.” The Nicaraguan musicians who made this music were active during the 1960s and 70s in other bands. In 1972 a catastrophic earthquake killed more than 20,000 people in Managua, and about a year later, Santana went there to headline a benefit concert. Poder Del Alma was originally brought together solely to perform at this show, but they ended up staying together for several years after until the chaos of the Sandinista revolution caused the band to fall apart late in the 70s. Their music gives you Latin soul infused with salsa, as well as jazzy and psychedelic sounds. The tracks are instrument-heavy, but most have lyrics in Spanish. You will want to get up and dance as you play these tracks, and play them I hope you will. This album is actually the second Poder Del Alma rerelease, but is not clearly labeled as such on the cover. Original copies of these releases are rare and highly sought after, so the reissue is good news for Latin soul fans.

A Heart in Splinters More from the CAIFE Label, Quito, 1960- [coll] – [Honest Jon’s Records]

murdock   10/6/2024   12-inch, International

“A Heart in Splinters: More from the CAIFE Label, Quito, 1960-1968” is 2 record compilation of Ecuadorian music. Released by Honest Jon’s Records, the album focuses on the CAIFE label, a Quito-based recording company considered to be a representative of the Golden Era of Ecuadorian music. Apparently Quito was a vibrant bohemian scene with a blend of Multi genre music, arts and traditional indigenous sound. Artists, musicians, poets, painters and a lot of alcohol all fed into the scene.

This collection is an  exploration of Andean and coastal traditions, blending traditional themes that came from boleros, pasillos, and other local indigenous styles and small towns with global influences of the 1960s. What stands out is the emotional intensity of the music—the title A Heart in Splinters perfectly encapsulates the poignant vocals and melancholic melodies that dominate this compilation.

The tracks are all on the shorter side, 2 to 3 minutes max Each one paints a different emotional landscape, yet they all share a rawness and authenticity that make them timeless. Even if you don’t understand the language (like me), the feeling and emotions of the vocals comes through. The sound quality is excellent, allowing these vintage recordings to feel vibrant, as if you’re sitting in a smoky, intimate bar in 1960s Quito. There is also included a multi page booklet in this two album set with great details about the history of the recordings, which helps to open up the recordings and put them into context.

Overall, A Heart in Splinters is a captivating listen that offers both a historical snapshot of Ecuadorian music and an emotionally stirring experience. No FCCs, just a lot of sweet sorrow and gut wrenching heart ache. 

Tomokawa, Kazuki – “Finally, His First Album” – [Blank Forms]

olygark   10/4/2024   12-inch, International

Seek out Whinger’s review of the 1977 released “A String of Paper Cranes Clenched Between My Teeth” for an introduction into Tomokawa’s world.  On “Finally, His First Album” released in 1975 the “vagabond poet” recorded the tracks sober and was characterized by the electric guitarist Suguro as “…always standing around with bloodshot eyes grumbling to himself.” With a disguised folk song, and obscure poetry, some recorded in Tomokawa’s native Akita dialect, the songwriter managed to get the messages past the Recording Industry Association of Japan’s Ethical Standards Committee.  Read the liner notes for translations of the lyrics into English, along with other notes.  Vocals can be raw and tortured.  On different tracks acoustic guitar, electric guitar/bass/drums/piano, recorder, windchimes, and traditional Japanese instruments accompany the vocals.  

Malphino – “Visit Malphino” – [Lex Records]

aarbor   10/2/2024   12-inch, International

Malphino is a mysterious band from an imaginative tropical island of the same name that plays cumbia and a heady mix of “volcanic” sounds. Their music is kind of a cinematic score and backdrop to the mystical isle. Envision in your mind and ears a land of hypnotic cumbia rhythms, subtle digital warbling, accordion textures, and voodoo vapours which tips its hat to the various denominations of modern cumbia movements worldwide, yet carves its own unique, spin on the genre. They reinterpret the traditional Colombian banda (band), with organ, accordion and tuba. Their sound also integrates an array of percussion and rhythms from either side of the Pacific ocean with a strong emphasis on East-Asian folkloric traditions alongside the distinctive origins of Brazilian forró, 1930’s Cuban rumba, Peruvian chicha and cumbia in a variety of styles. There’s also electronic sequencing, with reverb and echo effects laced into the melodic lines and vocals to create the dreamlike rapture of their magical island. AArbor

Lido Pimienta – “Miss Colombia” – [Anti]

aarbor   8/27/2024   12-inch, International

Lido Pimienta misses Colombia, hence the title of this record. It’s also a double entendre because she’s also making fun of the pomp and circumstance of beauty pagents which abound with the objectification of women in Colombia. She was a shy daydreamer in Baranquilla, Colombia, attending an arts program for gifted children, but she always knew she had a voice to be reckoned with. At 10, she began entering talent shows; a year later, she fronted her first hardcore band, and by 13, she was a practiced and powerful metal vocalist. Though she left guttural growling behind long ago, these experiences in aggressive bands made a lifelong impression. Pimienta now calls her politically-minded music “Pop Satanico”—Satanic pop. She’s begun using Twitter to bring greater attention to causes that matter to her as a queer artist, mother, Afro-Colombian, and part of the larger Latin American diaspora. “My songs and the things that I stand for are very intense,” she says. “The things that I talk about are not the happiest. I don’t write hetero songs, and I don’t sing in English. For somebody like me, humor is my coping mechanism, because I come from a place of extreme poverty and injustice. The things that I want to change are very difficult to change. But it’s easier if we laugh at ourselves a little, and that’s how I’ve been able to just do it.” The songs on Miss Colombia deal with the complexities of race, indigeneity, womanhood, and her identity as both a Colombian and a Canadian. She grapples with colonialist violence, and celebrates acts of self-love and self-care as an Afro-indigenous Colombian in the greater Latin American diaspora. Pimienta draws in her listeners by hypnotizing them with glamour, in order to get a larger message across. AArbor

Saturnia – “O Mistico Orfeao Sonico de um Corpo Estranho” – [Malafamado Records]

Jay Omega   8/20/2024   12-inch, International

2021 Psychedelic rock from Portugal. Driving stretched out hypnotic rock grooves, and soothing Portuguese vocals. The usual instruments plus sitar, banjo, ukulele, autoharp, viola, and gong. All tracks get a thumbs up.

Alaya Project, The – “Alaya Project, The” – [Self Release]

karma   8/7/2024   CD, International

The Alaya Project is based out of Oakland. Leader Rohan Krishnamurthy is a classically trained South Indian classical percussionist. He is joined by Prasant Radhakrishnan on the saxophone, and Colin Hogan on the keys and accordion. The goal of The Alaya Project is to bridge Carnatic classical music with contemporary jazz and funk. The band shows deep knowledge and appreciation of all of these genres. I enjoyed the saxophone rendition of the 20th century Carnatic song “Paratpara.” The band reinterprets classics with a Carnatic flair, such as the Beatles’ “Being for the Benefit of Mr. Kite.” Tracks such as “Hybrid Kit Solo” show their mastery of Eastern and Western percussion traditions. Excellent album that puts the Alaya Project at the forefront of contemporary fusion.