Black Forest/Black Sea's mostly instrumental self-titled album is mood provoking and lovely. It possesses a somnolent, thoughtful beauty with enough discordant elements to ensnare and just enough to excite. The strange pairing of Miriam Goldberg's cello and Jeffrey Alexander's guitar or banjo (both previously of Iditarod) creates this paradoxical sound that is both old and modern at the same time. becomes exuberant, then fades as someone tries to capture seagulls with electronics. The first track, "Sevastopol," begins with haunting guitar. As soon as you think you have the melody, Alexander slips everything slightly off key, so it doesn't continue in the same vein. When Goldberg comes in with her cello, she adds richness and continuity to the change. becomes exuberant, then fades as someone tries to capture seagulls with electronics. On "Blackbird on Gray Sky," our least favorite track, Miriam Goldberg's singing makes its first appearance. Mixed with the delicate guitar picking (and cello, possibly) and a secondary lightly delayed guitar, her vocals are too soft and tenuous to hold the song together. Midway through, however, rattling drums and whirring saw-song electronics redeem it. becomes exuberant, then fades as someone tries to capture seagulls with electronics. "Middle Song" and "Banjo Song," the solid foundation of the album, are simply inspiring. "Middle Song" is more contemplative, and "Banjo Song" would be even better without the cello playing so dirge-like and strident over the tentative beauty of the banjo. becomes exuberant, then fades as someone tries to capture seagulls with electronics. By the fifth track, "Beautiful Here," we are on board with the vocals and even bought into the loon calls, blue jays, and chickadees at the end. "Sunday Market" traps you in the hallway of a music school. From one classroom, a cello mournfully weaves around an aggressive electric guitar. The guitar disappears to be replaced by echoing circuitry. An alto sax begins somewhere down the hall, becomes exuberant, then fades as someone tries to capture seagulls with electronics.

There is so much to recommend on this album, and it is never what you expect to hear. - Fake Jazz, daron gardner and r. renzoni
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