With Celtic roots and a home-base in UK. Vinna Bee is an eclectic, contemporary folk singer with pop leanings on her latest release, Omega Eldorado. The seven-track release contains electro-acoustic dreams of vocal heaven by lead vocalist, Vinna Bee. Vinna is joined by keyboards, harmonica, guitars, bass, drums, and piano in a relatively laid-back atmosphere that is truly awe-inspiring.
“Atlanta” opens with some swishy, electro-acoustic adornments in a quiet, yet suspenseful manner, along with Vinna’s sweet vocals. The electronic percolations of sound ebb-and-flow in metallic and drippy fashions, before a swishy piano and percussive back-bone ensue. The meandering tune is not much more than two-and-a-half-minutes long, but its impact is far-reaching, due the amazing production and performance attributes. There are rain-like sounds at the end of the song.
“Steny (Walls)” is a Russian-title song, but it is sung in English. The jangly guitars and hook-laden melody contains an echoing of vocals, rings, bells, and percussive taps that add an alternative sound to the whole mix. Think of the musical simplicity of Regina Spektor and the vocalizations of The Cranberries and you get Vinna Bee. The three-minute tune is spot-on with vocals, percussion, guitars, and rhythms. It’s seemingly indescribable, but very likable and addictive.
“January Daze” opens with a television snippet about hypothermia, before Vinna’s vocals accompany a beautifully-played guitar melody that is definitely pure folk/pop bliss. The backup vocals are equally-beautiful. There is some percussive tapping, but drums are not present here. The clear vocals lead the song into a lovely place of beauty that brings with it Euro-pop sensibilities and Euro-folk foundations. The song ends with a repeat of the hypothermia broadcast.
“Goodbye To The Isles” opens with a muted keyboard piano effect with sweet vocals. The tune is relatively plaintive and linear with a limited instrumental performance. At any rate, the song is more vocally-driven than other songs, but the same lush instrumental accompaniment is found throughout the song. There are some atmospheric washes, but the end of the song ends without an extensive outro—much like the rest of the songs on the album.
“I Know These Things Now (Live)” begins with jingly guitars and background vocal sounds that bleed into a more cohesive avant-garde folk song with Vinna leading the charge. The spritely guitars and backup vocals are steeped in American folk influences of the 1960’s and 1970’s, but Vinna makes the tune her own with experimental and eclectic resonations abounding. A soulfully-played harmonica adds a hearty blend of blues and soul to the song about one minute from the end of the song. There are points where the vocals are very akin to The Cranberries’ Dolores O’Riordan.
Overall, Vinna Bee combines a sweet sense of experimental folk, pop, and acoustic music into a very likable and intriguing array of songs. Vinna’s musical ingenuity is evidenced on each track with clear vocals, catchy rhythms and melodies, and a mix of quaint instrumentation. There are three live songs on the album, but the difference is minor, compared to studio productions. Each song is cozy and welcoming with good degree of likability. The vocals and rhythms on every song are top-notch without any improvements needed. The European folk and pop influence is observed in the vocals and song arrangements. Importantly, the music is contemporary in its origins. At any rate, fans of electro-acoustic pop, folk, and avant-garde music, in addition to Regina Spektor and The Cranberries, will love the alternative leanings and eclectic instrumental deliveries throughout. This is one of the best mini-albums in awhile.
Artist: Vinna Bee
Album: Omega Eldorado
Review by Matthew Forss
Rating: 5 Stars (out of 5)
Matthew Forss Music Reviewer Bio Writer
Genres: World, Folk, Ambient, Downtempo, Electronica, Jazz, Reggae, Zydeco, Bluegrass, Old Time, Comedy, Latin, Blues, Pop, Rock, Fusion, and Dance.
Since 2000, Wisconsin-based Matthew Forss has been actively involved in the ‘global’ world music scene as a music journalist. He is published with ABC-CLIO, World Trade Press, Oxford University Press, Golson Media, Greenwood Press, and Facts On File. He diligently maintains his ever-growing collection 4,200+ recordings of music from every country in the world, while looking, discovering (and reviewing) new music.