Womex 2013, Cardiff, 23-27 Ottobre 2013

The Showcases 

Emily Portman Trio (Britain) 
I like Emily Portman's gently-smoky voice and many of the songs are exquisitely written and arranged. The three women's onstage persona is sweeter than I imagined, as sweet as could be in fact. Which means the shadows in the lyrics are understated in the performance which is, well, sweet. I'm all for understatement but less for unalloyed sweetness. When the voices hang in the air on their own with sparser accompaniment I am more drawn into atmosphere and mood, and I like that. I think it's especially the harp which tends to tip understatement into saccharine when played more busily. Anyway, these are lovely songs, which don't require explanation or much adornment for the imagination's entrancing. 

Teta (Madagascar)
Loudish bluesy duo with a touch of cowboy. Somehow I'm not drawn in very far, maybe it's a bit unremarkable, though nice for sure, a bit showy, a bit lacking in some quality which would make the music stand out. It's played with some energy, and I like the concept but need them to go further into whatever it is they're going into. I wonder what it'd be like hearing them in an Antananarivo club. The vocals are much more interesting and charged when the two of them sing together, I wish they sang every song like that. 

Georgia Ruth (Wales)
Trucking singer-songwriter rock. A four-piece. The drummer thinks he's in a big British rock band and sounds like he's in the wrong band to me. They'd sound better without the drums I think. They're competent, a bit dull, with more than a toe dipped in schmaltz; the Welsh touches give them some individuality but the music is beating on very well-trodden ground, and sounds familiar before you've even heard it. 

Fanfaraï (Algeria/Morocco/France)
A big (eleven on stage) Balkan North-African brass band merger. They need some time to get into their swing. The kind of music which needs to swagger its way between wild brassy flights and sinuous orientalisms perhaps. The arrangements aren't quite free-blown, there's a European jazz side to them which holds them back I think. The vocals are quite okay but not great and not entirely fitting with the Euro brass. 

Krismenn (Brittany)
Folksy, genre-hopping singer-songwriter with a computer-sequencer. The best thing to do with the computer would be to save it for e-mail. The rest of the music is okay if unconvincing but rendered unlistenable by the naff and pointless electronics. 

Ensemble Al-Kindi (Syria/France)
Thanks to the mean-minded policies of the British Consulate (in France I guess) the eight-piece, music and dervish-dancing Ensemble Al-Kindi didn't get their UK visas and were the only artist unable to perform at this year's Womex. We had a close shave with one of Ayşenur Kolivar's musicians and for no good reason, resolved only thanks to the stirling efforts of the Arts Council of Wales and team Womex, so Ensemble Al-Kindi's non-appearance is a sign of our times where little-Englanderism rears its ugly head once more - and not only in the UK. 

Cumbia All Stars (Peru)
There are eight of them and they all have long names. Sorry guys but you get docked a point for calling yourselves 'All Stars'. Summery music built on sauntering rhythms. A sound much borrowed by Manu Chao (nowt wrong with borrowing I hasten to add). They don't leap out of their own settledness so though they're perfectly amiable they're not really amabile. They trundle along nicely but aimlessly. More ambition please. 

Fiona Hunter (Scotland)
An acoustic folk foursome (the guidebook says five, maybe). I've a bit of trouble to put my finger on why I'm unable to enthuse about them. Hunter has a nice voice, the band play tastefully. The songs are firmly traditional and, even with a non-overplaying band, sound like they'd come across stronger if acapella or maybe with just one accompanying instrument. The arrangements plod and nothing unexpected happens, which is a pity in these times of reinvented folk music which can bring such pleasure to jaded ex-rockers like me. 

Shangaan Electro (South America)
Another point docked. No idea why they called themselves 'Electro' because electro they are not. Except in a way they are, as the rhythm is from track which must be good for the group's economy but is a pity as the backing sounds perfectly playable to me. The five or six rolling-hip singers are a delight though. Lovely singing and lovely dancing. I just wish they'd play the rhythm backing live and sing (much) more. (And reading the Womex guide blurb afterwards, I see that the 'electro' is essential to the point of the band, oh well...). 

Amira (Bosnia and Hercegovina/France/Serbia/Austria)
The poshly-dressed Amira sings in a rounded voice, what I'd call a high-cultural version of a Balkan folk voice. As I'm missing the folk in folk music these days, I'll call it bourgeois folk. The jazzy double-bassist is good, not too flashy but a bit inappropriate. My piano allergy is set off by, of all things, a piano. The jazzy pianist is certainly good but does it suit the music or does it tip it over the top of the attempt to make upwardly-mobile music which sounds miserable about leaving its soul behind? (Phew...)

Jacky Molard Quartet (Brittany) A quite loud jazz-folk group with not too much jazz and a very fine fiddler (Molard). If all four of them were as hot (or maybe given as room to vamp) as Molard they'd be pretty amazing. As it is they're good. Definitely good.

Sidi Touré (Mali)
The calabash is mixed wrong I think - it shouldn't sound like a severely-gated kick-drum. Otherwise we're doing fine here. Malian roots music. There are many groups from Mali with a similar sound, which I am often too ignorant to distinguish. And that's my impression with this foursome - I'm unable to distinguish them. The guitar and the ngoni (especially) are nice. The bass is uninventive and hold things back. And the vocals don't, I think, really cut it. 

Orquestra Contemporânea de Olinda (Brazil)
Their name might warrant another point docking. There are a floating ten in the orchestra. The best bits are the breaks when they leave the songs behind and just groove. I especially like the fuzzy trombone. The vocals are nice but a bit ordinary - live they seem to lack zing. Hearts are neither being sung out nor to. The songs are merely okay. Maybe they should dispense with the songs and just let those breaks soar free. 

Kan (Ireland)
Another instrumental allergy rears its ugly head - my flute allergy. Nor do I like the dead straight drummer with his thudding kick-drum. Which leaves the other two. I'm being unfair I know but, I have to say, I can't get into this band's music with their take on bubble-along folk-rock.

Flamenco Eléctrico (Spain)
This joke isn't funny any more but for their lacking-any-inspiration name they really deserve a docking. The electric is in the guitar. The drums aren't electric but they are a rock drum-kit (such that only animals or geniuses should play) rather than typical flamenco percussion. The acoustic guitarist plays his (are there any female ones?) flamenco straight. As does the singer who is good. The drummer is very economical with his kit which is a good thing. The el-guitarist is bearable but given to jazz-rocky runs and sounds which stand outside the core of the music. I'd prefer them as a conventional singer and acoustic guitar duo. 

Gipsy Burek Orkestar (Macedonia/France)
Another docking... (for 'gipsy'). A certain Roma-robber has been known to say that he can easily fire his musicians if they get too big for their boots because there are plenty more in the Balkans hungry for work. Or in other words, the Balkan brass band model suffers no shortage. Maybe it's the midnight hour but although this ten-piece has some not quite standard elements (an electric guitar) I find them quite lacking in distinction. 

Debademba (Mali/Burkina Faso/France)
It's for sure a shameful prejudice but whenever I see 'France' as part of the members of a band playing African (and not only) music, my purist's heart sinks (though, I again hasten to add, I'm a fan of much French music). This five-piece have (for my taste) a dribbly drummer and a marked tendency for all to chase after him in trying synchronicity, making for an incontinently jazz-rocky version of the music of the desert (except when they take it all down). The wasp-striped singer is good but would be much better in a smaller, more focused group, where he both had more space and had to work harder. 

April Verch Band (Canada)
An accomplished dancing fiddler, Verch's step-dancing provides the occasional percussion as well as the visual entertainment for her acoustic string trio. In the overlong, introductory interview she speaks about the importance of music speaking to you, and it's fair to say that her fiddling has a great deal of class, where the rich tone and a certain restraint puts the sense of what's being played before virtuosity. I'd like the other two of the trio to share the lead more so there was a sense of intertwining themes rather than an accompanied lead. Not sold on Verch'es singing but that's a detail as most of the set is instrumental. Good stuff. 

Radik Tülüsh (Tuva)

Like Richard Feynman, I've never (so far) made it to Tuva (though I've peered towards it from the top of a Siberian mountain) yet Tuva figures high in my personal cultural mythology, and Central Asian vocal techniques have influenced my own singing and have informed my lectures on voice. We also work with Yat-Kha, who like Tülüsh are the real thing. Tülüsh performs roots Tuvan folk including throat-singing, overtone singing and jaw harp and other typical Tuvan instruments. Tuvan folk music is very much a living and constantly-mutating form with hundreds of active and often excellent amateurs as well as professional musicians like Hüün-Hüür-Tür and Yat-Kha (Tülüsh has performed with both). Tülüsh's solo performance is lovely, not obviously refashioned for a non Central Asian audience, so quite hardcore, allowing the listener to focus on the subtlest aspects of a music where timbre is given just as much focus as melody and rhythm. The duo version of Flash Company with Carole Pegg works quite well, though the two musical worlds remain far apart. 

Fanfare Tirana meets Transglobal Underground (Albania/Britain)
Mellow Balkan brass and singing with beats, raps and samples. The fifteen musicians merging sounds unlikely. The MC doesn't do it for me, which is how it usually is given that the majority of MCs are stuck in the same thing. Fanfara have some great Albanian tunes and they shine through come what may. And TGU do a pretty good job of making grooves for Fanfara to play over - and through. And it's nice to see each side trying to meet the other with a welcoming spirit. But I'm afraid that I'd still rather see Fanfara on their own. Will be interesting to see how they sound after a run of gigs. 

Catrin Finch and Seckou Keita (Wales/Senegal)
Meanwhile at the other stage there's a different British / not-at-all British fusion going on. The kora and harp are a logical pairing, and here it seems that the two musicians have played enough together to make a comfortably-sitting, rather marvellous hybrid. The kora usually sounds sweet in itself but beside the harp, the sweetness is nearly all the harp's, while the kora provides a meatier, scratchier counter. Very nice, though the harp - though brilliantly-played - in its very highly-refined timbre doesn't catch my aural interest in the way the kora does. 

Guillaume Perret and the Electric Epic (France)
An electric quartet who've sneaked their way into Womex from Jazz Ahead. They're very good. A proper band, not dominated by their leader, where all four are, to different and shifting degrees, in counterpoint with each other. And where the intros are as long and important as what comes after. They're quite proggy, which usually would get me proverbially started, and I wouldn't say they're original, but I like them. They play very well, the timbres are warm and fuzzy, and there is always at least two, usually more, lines to listen to, and their tempos and tunes switch and slide seamlessly. Probable influences include Mahavishnu and Magma. Quite a surprise in a Womexican context but a very pleasant one. Top class. 

Budiño (Galicia)
The schedule this evening is rich so I can only stay for a too short while. I'm a sucker (the opposite of an allergy) for bagpipes. They're a vibrant, folk-rocking, instrumental, polysemic five-piece bunch. Likeable. Entertaining. Infectiously danceable. 

Les Tambours de Brazza (Congo/France)

After a long few days, I'm having trouble with my mental reset button. Ten-piece Les Tambours are quite like I imagined them. Uptempo, boisterous, running on lazer beans. The music is an inversion of many a band. The non drums and vocals are there to provide the groove over and through which the drums bounce along like a river of round rocks in flood. Their happiness might paper over a certain lack of shadow and different moods. Anyway, great fun. 

Lo Griyo (La Réunion)
La Réunion is in more ways than one a sort of tropical Iceland. Where midst the volcanos, a small population seems to make a lot of music. Lo Griyo play Afro-electronic space-jazz-rock. The electronics tend to be leaden though I like the fuzziness, the bass clarinet is rather out of place, and the vocals (by Danyèl Waro's son, Sami Pageaux) are out of another place. For my ears, they haven't come upon their own music yet - how they meld the disparate elements, which currently sound all a bit slung together like broth made of whatever there is in the fridge. 

Ross Ainslie and Jarlath Henderson (Scotland)
Not two but five on stage (the guide says six, maybe). And the second set of bagpipes of the evening. First impression is that the band hasn't played much together, as the other three sound tentative. They play mostly instrumental Scottish folk. And it's fine though praps could go up a level if the band were five rather than two plus three. The schmaltzy numbers are not for me but when they get into their stride the music is cheery and pleasant listening. 

Ganesh-Kumaresh (India)
I'm no expert but I love Indian classical music which makes this two violins and mridangam trio hard to write about as I feel the need to know more. The music's lovely, the interplay's lovely. Perhaps they're not cosmically-great masters but this is very fine music

Laila Amezian 'TriOde' (Morocco/Flanders/Sweden)
A trio playing quiet music in a noisy room. Amezian sings partly in Swedish, partly in Arabic. The music seems to lack a centre and floats about like jellyfish. Not poisonous but spineless. That could be a magical quality but I feel it as a lack. The elements just don't seem to gel sufficiently to make much sense of what they're doing. 

Vojasa (Hungary)
Amazing what a cup of tea can do to wake up a mind become sluggish. The singers have to be gypsies because they look and sound like gypsies. Magyar folk-rock. A six-piece band. The gypsy-folk elements are fine but the rock side is bog-standard (I greatly miss early Kolinda) and I don't see the point. Well the point is obviously to update the form, but the result is to kill it. 

Lokkhi Terra (Bangladesh/Cuba/Britain)
The speed reviewer's trouble with bands formed of disparate elements is that it takes a while to understand if the band has managed to hone its own style out of the bits - or not... In this eleven-piece band we have Indian subcontinental alternating with Latin vocals over a well-worn jazz-rock base and well I think they just don't sit well together. Not well enough for sure. Neither in themselves nor together. 

Ghazalaw (India/Wales)
The idea of 'discovering each other's cultures' via musical collaboration seems a thin one to me. It sounds like a worthy thing to do but cultures are different to the extent that they're different. By which I mean that if you need to water down what makes them different in order to find common ground then you end up with musical tourism. And, as in every tourist brochure, the destination is constantly sunny and free of ugliness. And unfortunately that's what six-piece Ghazalaw's music reminds me of. Rather than a gritty hybrid of cultures forced together in an urban pressure-cooker, we have a picture-postcard of somewhere which doesn't exist and doesn't belong and where, bizarrely, people speak two mutually incomprehensible languages to each other. Anyway... The result is quite new-agey - rather too much like yoga-studio background music. 

Mandolinman (Flanders)
A (male) mandolin foursome. It's the noisy room again and their music is delicate and intricate. Anyway they are distinctive and don't seem to be making any obvious compromises so I like them although this is quite the wrong context for their music - like trying to grow orchids on the top of Black Mountain if you see what I mean. 

Winston McAnuff and Fixi (Jamaica/France)

Theirs is one of the highlights of the Womexizer compilation. McAnuff has a lovely voice - benign, smoky, restrained, aged like a good whiskey - and he knows how to use it well. The beatboxer's sounds are carefully chosen though I'd prefer acoustic rather than electronic percussion. Fixi's piano is a little too brash but anyway quite okay. His accordeon playing serves well. I'd rework the music so that it was a gentler, more atmospheric accompaniment to the voice, but anyway the music works. It's tasteful. But back to the voice. McAnuff's has that lived-in quality which bespeaks a tough life lived fully and that's a rather wonderful thing. Also rather wonderful is the mento feel. Not so far from Gill Scott-Heron with echoes of Ray Charles and Bob Marley. I hope (if he hasn't been already) that he's 'discovered' but not spoiled by it. 

Lau (Scotland)
A pet hate is lights shining in the audience's eyes. Makes no sense to me. And another is low stages so you only see the hair on the performers' heads. The seated (I think) trio Lau play quite intense, driving folk-rock. Given their acclaim as the cutting edge of British folk, would it be unfair to accuse them of seeming to ignore the inventive possibilities of The Incredible String Band? I start off thinking that they shouldn't be so trad but then I warm to them so the answer is yes it would be unfair. They manage to be not in the least twee without using electric instruments. I like them but I need to see a whole gig to know how much. 

Waiora (Horomona Horo & Joshua Rogers) (New Zealand)
Reminiscent of kabuki, extreme sounds and timbres coupled sparsely and boldly with sharp movements and gestures in a carefully-arranged dramaturgy. Offset by gently sparse acoustic guitar, the ritual unfolds intensely in a frame of silence and the public's attention. Slight-clad Horo is a master of the sounds he makes, from animal roars to avian whistles. The soft guitar, almost Faheyesque in its abstraction, provides an unlikely but effective ground. Meditative music-theatre. With a sense of post-catastrophic melancholy, like hunters reliving their rituals long after the forests are gone. 

[su:m] South Korea

A neo-classical duo who compose their own music on traditional instruments. Very pleasant in a dreamy sort of a way. With touches of modernism and experimentation - especially with the sounds. And that's nice. They remind me of a softer, less obviously avant Kimmo Pohjonen Sometimes they get a bit new-agey but mostly not. They could throw a little more drama into the dreamy, sometimes sleepy sea. That would be very nice. 

Jambinai (South Korea)

A loud - in a nice way - beginning announces a confident prog-folk-hard-rock band, maybe a bit like Sunn O))) or Liturgy. The vocals are spacey and screechy, I prefer them voiceless. Like just about every rock band, they're some kind of old hat but it's a nice old hat. Like an unexpected visit by an old pal who likes their rock slow, unconventional and moody. I hear that they became more and more beautiful as the set progressed. 

Family Atlantica (Venezuela/Britain)
I'm all anerves because of our coming showcase so this will be the most cursory of reviews. The six-piece band's rhythm section is conventional Latin jazz-funk but maybe slower (good) than normal. Luzmira Zerpa, the singer scats over the top. Scat singing is an uncommon thing at Womex but here the effect is like a Gong outtake when Gilli Smyth was in a bad mood and the band were at their most space-jazz infected. Probably not my cup of tea. 

Ayşenur Kolivar (Turkey)
Disclaimer: Though I live in Istanbul, sometimes I hear about an exciting artist from outside, usually via fRoots for which I also write. With Kolivar the tip came from Ian Anderson, after which I got greatly into her album and interviewed her, and then - because the album is one of the most artistically ambitious folk records to have been made in Turkey - we started working with her. And then she was invited to perform at Womex and here we are - nervous because a lot hangs on a Womex showcase. What for me is so special about Kolivar's singing is the exquisite, deeply musical refinement of timbre, soaring like a viola rather than a human voice, and differing from song to song according to language. Singing which is both instrumental and in service of the words. It's not unusual to hear Black Sea music in Turkey but I've never come across any other singer from the region who turns it into such a singular artform. The region, in common with Wales, features, thanks to rain all year round, tree-covered mountains dropping into the sea. The land also conceals a tragic history of vanished peoples, especially the Pontic Greeks and Armenians. The Laz - a close relative of the Georgians - are still there. These and others, including of course Turks, make for a commons of polyglot, overlapping traditions. Kolivar and her four accomplished musicians meld these styles into a whole, and allow space for each other so that the songs are pregnant with the ancient dramas of peoples thrown together in a narrow strip between sea and mountain. The band combine restraint with commitment and skill, rhythms surging then dropping back to catch their breath. The supporting vocals work well. The sound is good apart from somewhere around the middle of the set where the voice doesn't come out of the music as much as it should. Splendid! 

Nomfusi (South Africa)
They rock and some. Super buoyant six-piece band and enthusiastic female singer (Nomfusi Gotyana). Could only catch two songs but they sound like an ideal band for many a festival. 

Grupo Bongar (Brazil)
I could only catch the last seconds of their set so no review except to note that the crowd applauded them warmly. 

Ljova And The Kontraband (USA)
Not quite sure how to pigeonhole (yes I know...) them. Speed manouche maybe. An instrumental relative of Bratsch might be nearer the mark. There's nothing wrong with them, no musical faux pas, no great lapses of taste, but despite the quality of their playing, I'm not drawn in. I was just thinking that they need a singer when a singer appears for a twisted 'Yiddish love song'. She's quite cabaret flouty for my taste and I'm still not drawn in. The band's leader and very good fiddler Lev 'Ljova' Zhurbin talks a bit more than he needs to and comes over as condescending in a professional entertainer sort of a way. To listen to again one day I conclude. 

We Banjo 3 (Ireland)
As is the way with trios these days, there are four in the band. But there are three banjos. They play a hoedowny sort of Irish folk. Jolly, bouncy music. The vocals are functional but not remarkable. Generally I find them too much in the mainstream of the style to be carried away by them. 

Filastine & Nova (USA/Indonesia)
Always good when one has to pause just to fathom what's going on. Electronic and sampled backings which remind me of Fun-Da-Mental at half-speed (a good thing). Black and white projections of a world-in-crisis nature (a rather hackneyed thing). A treated cello. Some requisitioned percussion (a shopping-trolly). A darker TGU perhaps. It's not obvious why they would go in a record store's (showing my age there) world-music bin. Anyway the music sounds quite integrated and pleasant in a soft industrial sort of a way. But also music in search of a reason for being apart from just sounding inoffensively and not crassly modern. Just like film music really. A soundtrack for something, but what? 

Bon Débarras (Québec)
Canadian cajun. Frizzy music like bumble bees in a garden of bergamots. Maracas (I think) and harmonica. The noisy room doesn't work in their favour but their music sounds open and friendly with plenty of twang. The instrumental correspondent of Québécois nasality perhaps. Très plaisante. I'm happy to swing with them and I'll be happy to see them again.

Rascasuelos (Argentina)
The second echo of Bratsch this evening. Tango Bratsch. The singer has a chewed-up Paulo Conte of a voice but hams it too much for me to buy. Without the singer, the band are a competent but unexceptional proponent of street-band (a good thing) tango. With the singer 'Limón' Garcia, they are both more distinctive and more irritating at the same time. You can't win, can you? 

Navarra (Sweden)
A Swedish folk-rock foursome. Enthusiastic, singalong (not usually a good thing for me) tunes. The violin is a bit down in the mix which is a pity as the voice needs a more audible foil and support. I feel a bit like I'm supposed to like them but I don't really but maybe on record it would work for me. The nightclub-influenced singer sings well but conventionally and a bit exaggeratedly and shouldn't be carrying the music on her own. The keyboard and drums don't do much for me - if anything. And that leaves the partly-absented fiddle. If they didn't bring their own sound-engineer they made a mistake, and if they did, they made a bigger one... 

9Bach (Wales)
Folk-rock sung in Welsh. Their music is carefully arranged including the rhythm parts so they avoid predictable grooves. On the other hand... The seven-piece band does have a tendency to be portentous and don't pull it off in the way that say Dead Can Dance do. The more distinct their arrangements, the more I warm to them. The drumming could be mixed better and the drummer shouldn't fall back on the same patterns so much. The singer Lisa Gên (not in the least like her DCD namesake I should add) sings in a fragile, quite high, slightly husky voice which grows on me. And when joined by other voices, there's room in the songs for magic. Perhaps partly influenced by the Cocteau Twins. It would be nice if they took that side of the music further. 

Stelios Petrakis Quartet (Greece)
A stringed quartet. It's quite beyond me why Greek (in this case Cretan) music isn't better-known outside Greece (though the shameful absence of a Greek music export office doesn't help). It's just as rich as the music of say Portugal. Anyway great to have Petrakis at Womex. They play as a band of equals. The music is faultless. A swirling, sometimes rushing, sometimes sauntering river of exquisite sound. The singing and dancing are damn fine too. 

Yves Lambert Trio (Québec)
Lambert used to be in La Bottine Souriante. Once upon a time only jazz groups called themselves trios and quartets, though I think no folk band yet calls themselves a quintet or higher - yet. I suppose that calling yourself a trio etc. is a signifier of high cultural aspirations (nothing wrong with that but it is interesting). Québec seems to specialise in a kind of bouncy, choral, rounded Franco-chanty. Happy music. Impossible to dislike really. Couldn't see much of their set but they seem a good example of the genre. 

Ebo Taylor (Ghana)
The last band of the (by now) night is a party nine-piece and the (big) crowd is dancing like a pod of dolphins in the Irish Sea. The music? Well, mmm, well it grooves along infectiously but there mostly isn't enough going on on top to give the pause I'd like to be given to my ears. My feet are happy though and only a party-pooper (not me of course) would grumble about that. 

Los Van Van (Cuba)
Hard to follow Andy Morgan's heartfelt and articulate speech in his presentation of The Womex Professional Excellence award, to Manny Ansar, the director of and on behalf of the Festival au Désert, with happy rather than angry music; and my thoughts took a while to return from the Sahara and what it means to a people and culture for music to be banned in the name of a Talibanic god.Before the award I knew nothing about Los Van Van. Playing in a theatre on Sunday afternoon is obviously not the ideal context for a band which should be listened to through the body. There are about fourteen people (all guys bar one of the singers) on stage so there's a lot going on. Alternating lead and chorus vocals, percussion, horns, strings, bass, flute and keys. They're not in any way experimental, as an augmented charanga band they play a Cuban stylistic melange which I can easily imagine cooking into a hot sweat over the course of an evening. I like the violins and flute. The rhythm base is tracked (I think) or sampled, the keyboard is cheesy, the bass could be sinuous rather than foursquare, the singers are not, it seems to me, individually outstanding, it's the ensemble which counts. Anyway, nitpicking aside, as an ensemble the music works and, although glued to my e-notebook, I'm happy to innerly dance along.



Nick Hobbs
(postato anche nel forum del mensile fRoots alla voce 'Gig Reviews')