the sounds of lotusfest

balkan beat box
If you think you'll hear something akin to Rahzel and his vocal boom-bap acrobatics when you listen to Balkan Beat Box, think again. Ori Kaplan and Tamir Muskrat are a pair of Israeli-born musical masterminds who have stirred up their own concoction of Bulgarian, Turkish, Spanish, Israeli and Moroccan sounds into an eclectic multimedia dance party. New York City-based Balkan Beat Box is all about synthesis. By digging down to their roots, they combine the sounds of traditional Jewish hymns, belly dancing rhythms and hip-hop production. The music of Balkan Beat Box is border blurring, but their live performance is otherworldly. Through their use of synchronized video art and the lead singer's inclination to sing in the middle of the crowd, the limits of the stage melt away in the heat of the moving masses. If you want to be blissfully overwhelmed by the sound of stomping feet and a sense of well-being, then I'll see you on the dance floor at LotusFest. -- Brad Wicklund

samarabalouf
Sometimes people forget the strong musical heritage of France. When I say "music from France," college kids are bound to say Air, M83 and countless other electronica "cool-down" musicians. Enter Samarabalouf, a group insistent upon calling our attention back to Django Reinhardt, with speedy and excitable guitar and bass work. Francois Petit, Pierre Margerin and Luc Ambry make up this former trio, who recently added the accordion stylings of Arnaud Van Lancker. Their music suggests each musician in the group has six hands, moving all over their respective instruments with such efficiency and charisma. Their music is not only more danceable than the French electronica mentioned earlier, but their performances are exciting. When you see them at LotusFest, they'll probably rock out gypsy jazz style, with the irrepressible exhibition of chemistry between each musician. -- Thom Kudla

téada
Give Us a Penny and Let Us Be Gone
Whether you're Irish, listen to Celtic folk or simply a fan of Guinness, you'll find the quintessential Irish sounds of Téada's "Give Us a Penny and Let Us Be Gone" reminiscent of the Emerald Isle itself. The album is composed of instrumental pieces that would provide the perfect backdrop to a village festival in Limerick or Belfast or a hearty drink in a Dublin pub -- either way, you'll feel more Irish after just thirty seconds of the first track. The group performs with the fiddle, flute, guitar and accordion, along with accompaniment from some more European instruments: the bouzouki (a stringed instrument resembling a harp), the concertina (an even smaller accordion with even more buttons) and the bodhrán (percussion with a truly Celtic flair, it's a drum made from goat skin and played with a stick). "Give Us a Penny and Let Us Be Gone" does a fine job at giving its listeners the chance to be immersed in its musical snapshot into the Irish culture. Serving as a good "gateway album" into Celtic music, this album would appeal to American fans looking to broaden their musical and cultural horizons. Instrumental performances of true Irish roots make Téada a band whose worth goes far beyond a penny. -- Bryan Lufkin

Funkadesi
It's About Time
When you have a group that freely moves from funk to reggae, Caribbean to middle-eastern-influenced sounds, it's hard to find one specific genre. The ensemble of talented musicians is a group not afraid of melding diverse ranges of sounds and instruments to create a unique music they can call their own. Funkadesi is based out of Chicago and is a three-time winner of the Chicago Music Awards for Contribution to World Music. The band performs with instruments like electric guitar, bass, drums and keyboards, while also adding more distinctive sounds from instruments like African drums and percussion instruments to the Indian sitar and banjuitar. Their album It's About Time features eleven very different songs sung in both English as well as African/Indian languages. Bottom line: if names like Bob Marley or Jimmy Cliff frequent your iPod playlists, and if you're hip to the Afro Pop music scene, then Funkadesi will no doubt spark your interest. -- C. Warner Sills

tlen-huicani
Veracruz Son y Huapango
Have you ever seen a harp played with high energy? If not, Alberto de la Rosa of Tlen-Huicani has got something to show you. As the director of Tlen-Huicani, he manages to keep his strumming of the folk harp a center focus of this collective. Hailing from Veracruz, Jalapa, Tlen-Huicani brings the music of their state to Bloomington. They received praise all thirty-plus years of their career, and Mexican critics once named them the best folk group in Mexico. But this isn't the Dylan-esque kind of folk music to which we are accustomed. Some Tlen-Huicani songs will have you dancing in a fiesta atmosphere, and other songs will make you want to meditate in a state of siesta. Tlen-Huicani means "The Singers" in Nahuatl, so their vocals, in addition to the folk harp and acoustic accompaniment, are equally impressive. There are these moments when their vocals reach great heights, soaring through the heavens as if carried by the irrepressible acoustics of harp and guitars. If you want authentic music from South America, check these guys out. Tlen-Huicani will have Ricky Martin and Shakira both wishing they had a folk harp. -- Thom Kudla

Frigg
Frigg
Frigg is friggin' great at fiddlin'. Though their sound represents Norwegian and Finnish folk music, Frigg also features elements of American mountain, bluegrass and country music. Think Nickel Creek if they had seven members in the band like Frigg. The more you listen to Frigg, the more you want to dance amongst a circle of friends and family, doing a little do-si-do. Every member of Frigg reflects those warm, friendly and happy feelings in their smiles as they perform. They play their instruments with such zeal, and it shows in their music's effect upon the listener. Every song seems to tell a story, even though there are no vocals. This folk collective has the ups and downs of life covered, though their primary focus is the ups. To attend a Frigg performance is to celebrate life. And now Frigg wants Bloomington to become a part of this celebration. Just like at a Nickel Creek show, Frigg performances foster an excitement that pervades the entire stage and audience. -- Thom Kudla

le trio jourban
Randaza
Consider this an ode to the oud. An oud is an Arabic lute. It is an almost-almond-shaped stringed wooden instrument. For many years, it has been thought of as a mystical instrument capable of transporting its listeners to a place of ecstasy. Samir Joubran and his brothers make up Le Trio Joubran. Samir fashioned their instruments himself, including the oud. Le Trio Joubran seems to channel the spirits of their ancestors with every shaky pluck of the strings. There is something mysterious, sensual and alluring about the Trio's music. The shivering strings of Samir's oud will hypnotize you. You might find yourself in such a trance by the end of the Trio's performance at LotusFest that you won't remember how to get home. These guys will intoxicate you with ecstatic and enigmatic soundscapes. No wonder the oud is considered capable of inducing ecstasy. Do you know all those moments in System of a Down songs when the vibrato of Serj Tankian and company suggests something otherworldly? Consider the Trio Joubran the source of such transcendence. -- Thom Kudla

sidi goma
Black Sufis of Gujarat
There are many types of Sufi practices, especially within Sufi music. Sidi Goma is a unique treasure that incorporates both elements of their past and their present to form an entrancing and exciting performance. Sidi Goma, the Black Sufis of Gujarat, are a population of people from East African origins. First arriving as slaves, sailors and merchants, they adopted Indian ways and language, while still holding onto their African heritage. Their music is a strong example of how they have developed throughout their history and created their own defining sound. Singing devotional prayers, known as zikrs, Sidi Goma uses joyful song and traditional dancing to share their music with their audience. Including colorful costumes, joyful movement, captivating rhythms and melodic vocals, Sidi Goma offers an interesting look at the blending of cultures through music, song and dance. There are twelve performers in the group, six musicians and six dancers. It is the dancers' performance that has grabbed much of the attention, but it is the song that drives such powerful movement. Sidi Goma should provide an entertaining performance and offer this year's LotusFest a distinctive sound that encompasses Indian ways with clear African influences. -- Mary P. Hansell

mártires del compás
No Papeles, No Papers
Fans of Santana will see that the Latin sounds of No Papeles, No Papers, the latest CD from Mártires del Compás, to be a rewarding find of Spanish authenticity. Flamenco and bass guitars and vocal performances gives the album a definitive tone, giving each track a consistent style of high energy and fast-paced beats. Mártires del Compás (translating into "Martyrs of the Compass") sports an album cover design of varying colored passport stamps, which fits the music of the CD well. The songs are vivacious and colorful themselves, and spread across the globe from many directions of the compass. Spanish and English lyrics make for an ethnic hybrid, giving the album a decidedly multi-culti touch. Many of the guitar harmonies are beautiful. The ethereal yet upbeat "Metamorfosis" is a joy to the ears. It isn't until the lead vocalist chimes in will some listeners reach for volume control. All of the songs follow the pattern of mesmerizing guitar intros being quickly followed by hit-or-miss vocals. Regardless, No Papeles, No Papers is definitely worth a try. Whether you give Ocano's voice a thumbs up or down, his pipes give the album culture that is as authentic as Spain itself, and isn't that what it's all about? -- Bryan Lufkin

king wilkie
Broke
Sounding a little bit like the Charlie Daniels Band and a southern ho-down, King Wilkie hits the spot for those of you who feel like sittin' in the rockin' chair on the front porch with a pipe o' tobacco in your mouth. The album, Broke, has a nice mix of quick-tempo songs and slow ballads. The six members of the band all play instruments for this nice collection of folk music. Those who sing sound like capable country singers, just without the whining twangs to their voices. The fiddle is extravagantly serenading the listener as the real surprise comes from the banjo, which is actually played by a talented man who knows how to pluck those strings with the passion of the south in full force behind him. Usually, banjos aren't sexy, but in this band it's the sexiest part of the ensemble. Be warned, for listening to this group will leave you susceptible to being coerced into listening to even more folk music. -- Larry Walters

seu jorge
Cru
I first heard Seu Jorge the way I imagine most Americans were introduced to him: via "The Life Aquatic with Steve Zissou." His covers of David Bowie hits were brilliant -- and not just for the face value of hearing Ziggy Stardust acoustic and in Portuguese. The great thing about Jorge is the cross-genre appeal. Jorge appeals to those interested in blues, jazz, pop and worldbeat stylings. I look for an artist to inspire me to do one of a few things: make my own music, make love or simply chill. Cru, like only a few other albums, does all three. The accomplishment of this man seeps out of the speakers, in Brazillian or English. He's a Brazilian Jack Johnson, and he should be a highlight of the fest. -- Sam Nissen

Ana Moura
Keep My Life in Your Hand
A mixture of pure talent and pure heart, Ana Moura takes your mind by storm with her debut album, Guarda-me a vida na mão. Every single song on the album is in the Portuguese fado style. Basically, fado music is just Portuguese emo. If you are into soothing foreign music, then Ana Moura is definitely for you. She's got a very mellow-sounding voice, with remnants of a Spanish Goddess' intonation erupting from her mouth. When she sings of love, she means it, and you can tell. On track thirteen, she personifies her guitar, and sings to it (in Portuguese), "O guitar, guitar, you will feel pity/Don't break the silence, because I am alone." If she feels pain in a song, her lyrics explain, and so does the inflection in her voice. If you liked Selena, then you are definitely going to like Ana Moura. -- Larry Walters

Nii Tettey Tetteh and The Kusun Ensemble
Nokoko
Like a Southern Baptist choir sharing a stage with a drum squad, Nii Tettey Tetteh and the Kusun Ensemble seamlessly switch from gospel to lightening-fast percussion. The 16-piece ensemble from Ghana makes its convincingly large sound on the back of two guitarists, a bassist, five percussionists, eight "dancers and singers," and Tetteh's flute. The optimistic choral rounds sound both soulful and innocent, and the electric strings seem to be the only modern twist on a timeless sound. In many songs, the percussion gets carried away and shows off The Kusun Ensemble's complex rhythms, but what sounds out of place on record should make their live show seem more lively and exciting. Tetteh's flute accompanies the strings and helps alleviate songs that seem to drag on indefinitely at times. The choral chimes are memorable and catchy, putting listeners in the mind of "The Lion King," The sound seems remotely like grassroots reggae or even salsa with its slick guitar licks spicing up tribal drum riffs, so it's difficult to pigeonhole the sound into a genre. With music this danceable and timeless song structures (some are based on regional harvest music, so this makes sense), listeners can't help but sing along, even if we don't know Ga. If you like pre-Marley reggae with a touch of "The Lion King" and a healthy dose of Stomp!, check out Nii Tettey Tetteh and the Kusuun Ensemble. -- Josh Kastrinsky

Lura
Di Korpu Ku Alma
With a voice as warm as a hug, gentle, swaying rhythms and big brown eyes, Lura promises to steal a whole load of hearts at this weekend's LotusFest. Hailing from Cape Verde (an island nation off the coast of Senegal) and raised in Lisbon, Portugal, Lura has the pipes to truly bring her music to life. The grooving, shuffly, can't-hold-still beats will be a major draw for the dancers in the crowd, but even if you have two left feet, I dare you to hold your hips still when Lura casts her spell with show-stoppers like "Tabanka Assigo" and "Tó Martins." And while the beats are fabulous, it's Lura's sweet, sweet voice that will hook the crowd. She goes from sharp to gentle in the span of a song, and when she decides to bring you home, she means business. Don't speak Portuguese? No worries. Neither do I, but when Lura launches into stunners like "So Um Cartinha" and "Nha Vida," I know what she's saying. You will too. She's speaking the language of love, laughter and a night out on the town dancing in a pair of great shoes. Who doesn't understand that? She's probably best for fans of both chick rock and torch, because her sound, while best classified as world music, is akin to the I've-seen-the-world grit and the smile-in-her-voice humor of singers like Melissa Ethridge and the sheer vocal power of someone like Peggy Lee. Because while this lady can purr, she can roar, too. Check out her latest album, Di Korpu Ku Alma, for some of her tunes, but for the true Lura experience, check her out at Lotus. Her act promises to be one of the best of this year's festival.