Mauerbercher is a music collective headed by Rane Knudsen. Characterized as medieval/electro/world, Knudsen’s music encompasses world music, neo-folk, and neo-medieval, all of which are represented on “Wilderness”, and more. Whenever I see the term “neo-medieval”, I have feelings of intense trepidation, bordering on impending doom. With Mauerbercher, this was thankfully unwarranted.

“The Heel of Winter” has a Middle Eastern sound, with synth drones that (surprisingly for me to say) do not detract. “Daz Die Milton” has a spooky horror-movie intro, that turns into a medieval epic, with spoken lyrics and plodding percussion that lends a sense of foreboding. “Nerve Candy” is an electro piece with a harpsichord-ish sound reminiscent of folk hymns or even holiday music. “The Holy Sepulcher” is another somewhat Middle Eastern sounding track, with both traditional instruments and electronics. “Helas Medame” written by Henry VIII is next, with mostly traditional instruements and strong percussion that lends a dramatic air. “Coming to Rocamadour”, one of my favorites, is truly epic, and would not be out of place on a soundtrack. This is a perfect song for gearing up for the Renaissance Faire or sword practice. Play it loud. In the same vein, “Son ar’ Merc’hed” is another mix of electro and traditional instruments with a decidedly medieval feel. “Elfin glades” is a haunting, plaintive air, with harp dominating. “Wilderness” is dark and ambient, with a steadily mounting sense of suspense. “Eske Litle’s March” finishes the CD with another grand epic style, with military percussion, hurdy-gurdy, and other traditional instruments that invokes a medieval army on the march or arrayed for battle with standards waving. ‘Wilderness’ is a very atmospheric CD that is highly recommended for anyone who enjoys early music, particularly those who are not ready for the purely period pieces, or those who seek a bit of variety in their medieval musical fare. But you don’t have to be a fan of medieval music to enjoy Mauerbercher. It will lend an air of majesty to any musical collection.

www.myspace.com/mauerbrecher

http://www.fossildungeon.com/fossildungeon/

Niyaz calls their music a “21^st Century global trance tradition” and others have called them a “fusion of eastern and western musical styles”. Neither description really does this CD justice. Nine Heavens is a seamless blend of medieval Persian mystical and South Asian poetry and western rhythms and electronics. Azam Ali’s vocals are simply captivating, superbly complimented by the arrangements of Carmen Rizzo and Loga Ramin Torkian. Guest musicians include none other than Tony Levin of King Crimson. Traditional Middle Eastern instruments are finely balanced with electronics in a way that I would have deemed possible until listening to Nine Heavens. As a longtime fan of Medieval music, I have always been skeptical of attempts to merge Medieval poetry and melodies with modern instrumentation. There are some bands who manage to do this quite well, and whom I enjoy immensely, but generally speaking, they sound like…well…attempts to merge medieval music and the modern electronics. I will gravitate towards the more traditional sounding songs, and bear with the “dance” material.

But Niyaz have succeeded admirably in capturing the essence of ancient Sufi and Persian songs, while adding electronics and modern rhythms without diluting the effect in any way. Azam Ali’s haunting vocals weave amid the hypnotic percussion and electronic arrangements with traditional instruments, transporting the listener through the centuries and back again. As an added bonus, for those who prefer the music without electronics, a second “acoustic” CD is provided. I never thought I would say this, but I like the electronic versions as much as the acoustic ones. The acoustic CD does not have the same track order, which makes it seem almost like another album.

The CD begins with the irresistible “Beni Beni”, an 18^th century Turkish Sufi poem with strong percussion and lutes that is one of my favorite tracks. ‘Tamana” is an 18^th century Urdu poem that opens slowly, then glides into a raga bridged by atmospheric electronics. “Feraghi- Song of Exile” is an evocative lament that conjures epic spaces of both terra firma and the soul. “Ishq: Love and the Veil”, an 18^th century Urdu poem by Khwaja Mir Dard is eminently danceable, with a complex mixture of driving percussion, trance, and traditional instruments melded with Azam’s vocals. The very Middle Eastern sounding “Allah Mazare” is a traditional folk song from Khorassan with rich layers of vocals and instruments. “Iman” a lullaby written by Azam and Loga for their son, evokes a sense of longing and reflection, with sort of a New Age minimalism.

“Molk-E-Divan”, a song by 13^th century Persian mystic Amir Khosrau Dehlavi, has hypnotic rhythms and urgent vocals with traditional string instruments.  “Hejran”, a wonderful instrumental, is a veritable tapestry of percussion and strings.  “Sandrang” another poem by Amir Khosrau, finishes up the CD with Azam’s mesmerizing vocals backed by effective electronic drones, deep percussion, and strings.

“Nine Heavens” is truly a wonderful CD that will appeal to fans of World Music, Trance, Medieval music, and more.

http://www.niyazmusic.com/

Well now, here is something!  While the rest of the world is busy learning the steampunk aesthetic, the Unextraodinary Gentlemen stand out as one of the few bands not content to merely dress in worn-out Victorian garb, but actually make a sound of things.

5 Tales From God-Only-Knows starts off slowly but surely, with triangle strikes and travelling bass on Black Iron Road.  It gradually introduces violin, keys, and Malcom Shreeck’s full-bodied vocals.  We are immediately transformed to a melancholy, haunting world of Victoriana-dipped technology.  Locomotives, pox, and of course, black iron all make lyrical appearances, and tell us that this is not going to be another typical album in new outfits.

Next, Mr. Soot’s Little Black Book gets rolling with Shreeck shouting “gather round, gather round!” although we are already quite obliged to.  The tempo picks up, while the lyricism remains nostalgic and the musical elements stay intact.  No where else will you hear stories of old-time prostitution described with words like “strumpet,” or “trollops,” but I believe the Unextrodinary Gentlemen wouldn’t have it any other way.  Open Arms, Empty Air introduces more synths and conjures images of airships.  Airships, of course, are a quintessential steampunk theme, but indeed a welcome one here.

By the time we get to the slinky, dance-y Skeleton Comes to Town, we begin to appreciate the real excitement that is behind steampunk right now.  The Unextrordinary Gentlemen are not merely rehashing familiar fantasies, but creating entirely new ones.  Creativity, at last!  Harpischord, violin, and swing-inspired drumming is not what you may first think of when you think goth/deathrock, but that’s exactly the point.

While the album ends with the much more danceable Ants Under Glass, dancing is still clearly not the obsession, and the song retains its artistic edge.  5 Tales From God-Only-Knows tips the iceberg that is steampunk music, and is as unique as it is accessible.  If you have looked down your nose at steampunk in the past, I suggest you don a top hat and spectacles and learn to enjoy the view.  Then you should pick up this delightful little treat and get ready for what is next - if this is the beginning, we should all be so lucky as to see it through to the end.

www.unextraordinarygentlemen.com

www.myspace.com/unextraordinarygentlemen

Note:  You can catch the Unextraordinary Gentlemen alongside musical steampunk pioneer Vernian Process at this year’s Eccentrik Festival. The entire lineup is quite spectacular, and I suggest you check it out.

Despite working on independent movie soundtracks and even a collaboration with Death In June’s Douglas P., Thomas Nöla et Son has remained one of the criminally neglected bands of this decade.  If you are not familiar with Thomas Nöla et Son Orchestre’s work, I recommend picking up their albums “So Long, Lale Andersen,” and “¡Vanity is a Sin!” immediately.  Yes, right now; it’s that good.

Thomas Nöla et Son usually combines experimental percussive elements with cello, occasional synths, and Thomas Nöla’s baritone croon in a foreboding but strangely inviting trip through ragtime, new wave, and other musical permutations.  From the samples of children laughing on “So Long, Lale Andersen” to songs like “Kinderbund” and “Children in the Fall,” there has always been a indelible presence of dystopian childhood Thomas Nöla’s works.

Here, he deviates musically, while diving even deeper into this landscape, and morbid tots everywhere can rejoice.  “Songs for Children, vol. 1″ is comprised completely of Nöla playing layers of Hammond Organ.  What we get is not the same organ of the Doors or the Animals, but rather an eerie, sinowey sound closer to what you may expect coming from the speakers at a haunted house.  When first receiving the album, I was entranced by song names like “Ice Cream Zeppelin,” “Twisted Ankle Theme,” and “Child Removal Claw.”  Impressively, these titles are entirely accurate and, as in the case of “Ice Cream Zepplin,” immediately bring to mind the image the title dictates.

“Songs for Children, vol. 1″ departs radically but sensibly away from Thomas Nöla et Son Orchestre’s previous work, and is definitely not for some one looking for a continuation of (or introduction to) their existing albums.  For Thomas Nöla’s fans, however, this album will likely not be a surprise.  If you’re enjoying the current small resurgence of minimal synth, or looking for dark ambient that doesn’t go on forever (most songs are less than three minutes), this is an album you absolutely must get.  At $4 for 8 songs,  you also have little excuse not to.

http://www.eskimofilms.com/

http://www.myspace.com/etsonorchestre

A worthy successor to “Can’t Never Could”, “A Little More Road” features the current lineup with Billie Feather on the double bass. The Bo-Stevens explores their old-time country roots even further, with 14 great original songs. Ranging from rousing honky-tonk numbers like “Honky-tonk Saturday Night” and “I Need A Drink” to slower classic-country sounds of steel pedal guitar on ”I’m Over You” and “Stop”, the Bo-Stevens display their prolific talent that spans the entire range of Country music. But it doesn’t end there. The nearly Bluegrass-style harmonizing on “One More Town”; the haunting ballad “Lace”; and the Gospel-inspired “Companion” round out the CD even further. Billie and Richard alternate vocals on “Honky Tonk Woman”, while “Satisfied” has a bit of a more modern country touch. “A Little More Road” is a great CD, and fans of old country and honky-tonk should definitely have this in their collection. And, by the way, don’t miss the Bo-Stevens if you have the chance to see them in person!

http://www.myspace.com/thebostevens

Hick’ry Hawkins: Unleashed

After catching Hick’ry Hawkins live at The Heavy Rebel Weekender, I simply had to have this CD. Hawkins can throw down some of the most rawkin’ Country Honk you’ll ever hear. Nothing on CMT compares to this! “Unleashed” captures the energy of his shows, with 16 tracks and an interview WAMC radio. Songs like “Wildest Trailer” “Devil Train” and “Appetite” are meant to be played LOUD. The Fetish crowd will appreciate “Let Me Love You Til It Hurts”. “Goodnight John” is a tribute to one of my personal heroes, Johnny Cash. “My Name is Hick’ry Hawkin’s” is a well-deserved dig at Mr. Corporate Nashville. As for “Fireman of Love” and “Panty Song”….well, you need to hear them to appreciate them! Hawkins has a droll sense of humor that in no way detracts from the music, which not many people can successfully pull off. There are no fillers here. This is an awsome CD in the best of the DIY tradition.  I’ll never figure out why Hick’ry Hawkins has not been signed to a label. Screw ‘em. Hawkins might indeed be a little bit too strange, a lot like Morrissey, but he’s truly keeping the name of Johnny Cash alive. That’s a lot more than the “big” Country stars can say.

http://myspace.com/hickryhawkins

Carolina Rockabilly, Vol. 1

I stumbled across this Cd at the Heavy Rebel Weekender, and I was glad I did. This is a compilation featuring some of best Rockabilly bands of the Carolinas. There are tracks including a bonus cowpunk song. Some of my favorites are “”Put me in My Grave” by the Defilers; “My Kitten is Up a Tree” by The Tremors; and “Vegas Bound” by the Truckstop Preachers. But they are all great tracks. “Carolina Rockabilly” is indispensable for any Rockabilly fan.

www.rockstarincoprorated.com

Brian Setzer is one of the central figures of both the Rockabilly and Swing revivals. The Stray Cats brought Rockabilly into the modern mainstream; and the Brian Setzer Orchestra did much the same for Neo-Swing. As a fan of both genres, I awaited the new Brian Setzer CD with much anticipation. The cover of “13” is classic Setzer, with very Rockabilly inspired artwork. On the back, Setzer is featured mid-leap in a classic “Rock this Town” pose. The opening chords of Drugs and Alcohol (Bullet Holes)” were fraught with promise. But alas, that promise was to remain unfulfilled. You will find precious little of either Rockabilly or Swing on “13”. Most of the music is in the classic rock mold. For example, “Broken Down Piece of Junk” has guitar licks that remind me of Aerosmith. “Everybody’s up to Something” brings back shades of Rick Derringer. Oddly enough, “Bad, Bad, Girl (in a Bad, Bad, World)”, for me at least, has a hint of Devo. You get the picture. “Really Rockabilly” is a cynical, biting commentary of the commercialization of the Rockabilly scene. Maybe this explains Setzer’s departure from the genre, but this is nothing but mere speculation on my part. Sometimes the old Setzer does shine through. “Mini Bar Blues” might just be able to pass on a Swing Dance night. “When Hepcat Gets the Blues” has sort of a Swing/Hot Jazz feel that grows on the listener. “The Hennepin Avenue Bridge” has some charming ban, ukele and tuba, somewhat reminiscent of Leon Redbone. Fans of classic rock will enjoy this CD.  But if you are looking for the old Setzer style Rockabilly and Swing, you won’t find it here.

http://www.briansetzer.com/