02/10/2026

‍Egin/Arfolk/2025


‍Personnel:


‍Korentin Le Davay: vocals

‍Maël Guego: guitar, vocals


‍It was with a slight sense of panic that a few months ago I noticed that vocalist Korentin Le Davay, best known for his work as frontman for the best Fest Noz band going today, War Sav, was releasing an album with another band. Had he grown tired of War Sav and moved on? Noooo! My fears were unfounded, however. Egin, Davay’s duo with Maël Guego, was actually the older of the two bands, and were finally releasing their first recording.


‍Egin describe themselves: Egin is unlike any other act in the world of Breton music. The duo composes folk pieces in Breton tinged with blues and jazz harmonies. Accomplices with a long friendship, Korentin Le Davay and Maël Guego dialogue with well-embodied popular Breton texts and a very colorful acoustic guitar.


‍Egin is a duo who observes the world, a duo listening to the way the world echoes in them. Egin talks about the world through the events and feelings that go through their lives and those of the people around them. In this eponymous record Egin, Korentin and Maël express the need to experiment with new musical styles in Breton and hope to participate in nourishing the imagination of the Breton community.


‍Egin has been around for years, having started playing together in high school. They are not a Fest Noz act - their repertoire consists of original songs inspired by American folk and blues acts as diverse as Bob Dylan and Robert Johnson, as well as early Breton bands from the 1970s such as Storlok. Their lyrics, always in Breton, tend towards two broad themes: nature, particularly the environment and ecology, and then social/political aspects of everyday life, such as immigration and homelessness. 


‍On to the recording itself - this is a charming, easy-to-listen-to album. Not ‘easy listening’ as in boring elevator music, but as in sensitive, lovely, and well-done material. While Davay’s appearance and work with War Sav has earned him some comparison with the recently deceased vocalist Erik Marchand, Egin puts those comparisons to rest. Davay’s vocals here are tender and warm - adjectives that would never be applied to any of Marchand’s work despite his legendary status.


‍Guego was a revelation here. Unlike Davay, I’d never heard his music or even heard of him at all, but his guitar work is superbly tasteful, with a touch of Soïg Siberil here and a bit of country blues there, all thoroughly incorporated into his own style. Together these two childhood friends have created the kind of musical experience that comes from musicians who have been playing together and developing their sound for a long time. The songs themselves are stylistically utterly original. My favorite track, Avel, has distinctively Breton guitar work, and several tracks show some country blues influence, but the rest shows that all influences have long since been distilled down into their own sound.  It’s unique, engaging, and it works really well.


‍Egin funded this recording through crowdfunding. On their crowdfunding page they wrote

‍At the dawn of the celebration of the 10 years of Egin, we wanted to work on an album whose release is planned for the winter of 2024. Through the various tracks of this record, recorded at the Logelloù (Penvénan) during the summer of 2024, we invite you to a musical and poetic walk on the paths of our lives and our emotions. 


‍Our history is a long friendship. We grew up together, young Bretons in a world that leads us to find our place and trace our own furrows. Each song of the recording makes you enter our intimacy, in an acoustic sound where the voice is clear and the guitar is bright. A beautiful universe from which emerges a freshness and a simplicity that recalls that of the American song writers, with lyrics grounded in a popular language.


‍Beyond the musical creation, we wanted to conduct a reflection on the physical object that this work will be. The choice turned to silkscreen printing, a work for which we wanted to be accompanied by our longtime ally Berc'hed Kallag. Each album will be screen-printed by us from a visual produced by Berc'hed. True to our values, we have aspired to make Egin and its production also a work of craftsmanship. We wanted to devote time to the object, beyond just the music and its interpretation.


‍You may have noticed the interview article by Morvan Léon on the front of the gallery above, which Egin posted on their Facebook page. We’ve translated the more interesting parts:


‍Q: Your duo is called Egin (sprout or bud in French). What is its story? 

‍Maël Guego: Egin is a folk duo in Breton that has existed for ten years. We started playing music at the Diwan high school in Carhaix. Initially, there were four of us, with a percussionist and a harmonica player, for a sound close to Bob Dylan. We wrote songs at the boarding school and participated in Taol-Lañs, a competition organized every two years during the Breton national festival. We won it in 2009 and expanded to six members with a backing vocalist and a beatboxer (a type of vocal percussion). We became a duo with just Korentin and I when we turned professional.


‍Q: You draw inspiration from American folk music. Does that change anything about your songwriting in Breton? 

‍Maël Guego: I often write lyrics after reading a book or going through a difficult stage in my life. I only write songs for Egin. I'm reserved, and Breton protects me. In French, it would be more complicated to talk about certain subjects. 

‍Korentin Le Davay: Our songs are spoken in a straightforward voice, with everyday words. We talk about feelings, about all sorts of things, in a direct way; it's written like prose poetry, even if it's sometimes rhymed.


‍Q: You're using crowdfunding; is it the best current model? 

‍Korentin Le Davay: It allows us to communicate, to make the public feel involved. We're working with the Beliza company, which handles the administrative procedures and with finding dates. This year, they launched into producing records for Breton artists. They produce War Sav, the band I sing in, and they're experienced with crowdfunding.


‍Q: Your CD will be accompanied by a screen print, why and how? 

‍Maël Guego: We contacted an artist from Buhulien, Berc'hed Kallag, whom we went to high school with. We asked her to do the graphic design and she suggested we do everything ourselves using screen printing. We have a stencil board, we ink the stencil and then we run the screen print through all the holes of the stencil. Each copy is unique. We create gradients of color, and the ink blends little by little. 

‍Korentin Le Davay: Being a musician is also a way of life. We try to do things ourselves, to keep a handcrafted touch. We're not just about artistic performance, we're creating an ecosystem. Berc'hed enjoys doing screen printing with others, whether it's something that people invest in or not.


‍~ Fañch

01/19/2026

‍TiTom/Retour Au Crépuscule/Coop Breizh/2024


‍Personnel:


‍TiTom (Thomas Lotout): bombard, composer

‍Stéphane Rama: bass

‍Marcus Camus: drums

‍Gaëtan Grandjean: bouzouki

‍Yannig Alory: wooden flute

‍Gab Faure: violin


‍Invités:

‍Adeline Haudiquet: Vocals

‍Jérémie Simon: Accordéon

‍Néven Kernaudour, Chim Cadudal: Bagpipes

‍Gurvan Kerboeuf: Vielle à roue

‍Farid Aït Siameur: percussion  


‍I don’t exactly, entirely, like the recordings of Thomas Lotout, AKA ’TiTom’, but nonetheless I buy every single one as soon as they come out. Why? I’m a talabarder, a bombard player, and Lotout is a historically significant, phenomenally talented, singular genius on this instrument. Listening to his tone, articulation, and dynamics is like a free music lesson every few moments for double-reed players. His bombard is always beautifully recorded as well, providing a richly detailed, intensely powerful and nuanced voice that utterly destroys any notion that the bombard can’t take its place alongside any other woodwind as a completely professional lead instrument at the highest level. This is of course entirely true for his 2024 recording, the sixth TiTom album, entitled Retour Au Crépuscule (Back to Dusk), which is the subject of this review.


‍’TiTom’ is, of course, more than just Lotout, and he has assembled and maintained over the course of six recordings a fairly stable lineup of absolutely rock-solid musicians including Stéphane Rama on bass, Marcus Camus on drums, Gaëtan Grandjean on electric and acoustic bouzouki, Yannig Alory on wooden flute, and the talented violinist Gab Faure providing significant melodic ‘response’ in the frequent call-and-response nature of the genre.


‍The ‘rock’ from rock-solid can especially be used to describe the powerful bass and drums of Rama and Camus, who could be seamlessly dropped into any prog-rock setting without blinking an eye. These two are also recorded in a crisp, ultra-modern style and are placed well forward in the mix, resulting at times in a cognitively dissonant soundscape where the traditional sounds of flute and violin are overwhelmed by the massive rock rhythm section. Filling the space between these two camps is Gaëtan Grandjean’s electric and acoustic bouzouki, where the electric sound fits perfectly into any hard-rock scenario and the acoustic sound mixes well with the flute and violin. Of course, front and center on top of all of this rides the soaring, overwhelming voice of Lotout’s bombard.


‍So what’s not to love? We’ll use Taghazout Kasbah - Tour, which is an Andro tune type, as an example. This piece opens with a really cool, funky driving opening section that rides along for a few measures before the bombard comes in with a lovely phrygian-mode melody that lays on the top in a very satisfying way. Wow, this is really great! Then at the two-minute mark the track suddenly shifts into an interlude: a technically impressive but melodically challenged prog-rock sort of bit that shows chops and precision in its delivery but completely breaks the vibe and leaves the listener in a state of nonplussed musical confusion. This resolves itself into the next section fairly quickly though, and the piece once again picks up some meaningful ability to engage the listener, particularly with Faure being given a solo, which is however flawed by being mixed too far back in the mix relative to the bombard and the ever-present bass and drums. It’s a critical flaw in the concept of the piece. At 3:27 we hit another vibe-killing, odd interlude which thankfully morphs back into a return to the first tune. Taghazout Kasbah encapsulates Retour Au Crépuscule’s strengths and weaknesses: some jaw-dropping parts that are both beautiful and quite wonderfully rocking, mixed with odd moments of compositional failure that come in the form of off-putting digressions or, in some cases, the forfeiture of harmonic underpinnings that results in some pieces feeling strangely untethered.


‍Retour Au Crépuscule is, like all of TiTom’s recordings, a strange mix of sublime and disappointing, but the not-too-infrequent flashes of brilliance in this recording are really quite brilliant.

‍Vison Visu, L’Autre Distribution, 2025

12/11/2025

‍Vison Visu/L’Autre Distribution/2025


‍Personnel:

‍Janick Martin : diatonic accordion 

‍Robin Fincker : saxophone, clarinet


‍In an intimate and imaginative encounter, Vison Visu (Face to Face) brings together the wildly talented Breton accordionist Janick Martin (Hamon-Martin, etc) and saxophonist and clarinetist Robin Fincker, who has been active for twenty years in European contemporary jazz and improvisational music scenes.


‍If you want a toe-tapping piece of Fest Noz ear candy, this is not the recording for you. While we’re quite tempted to say ‘casual listeners need not apply’, there’s a lot going on here and it’s hard to say who might or might not be grabbed by the rich tonality, the unfolding of strange themes, and the constant experimentation and sonic exploration. This is a recording of profound depth and virtuosity. While there are some traditional melodies buried in the ‘spine’ of this material, overall this is a jazz album with Breton roots, one that is remarkably free and quite freaky. At times there is a complex, peaceful somberness to somewhat dreamy opening segments in particular, and at other times the music builds to an Ornette Coleman-like crescendo of intense noise.


‍From their BandCamp page, translation ours: “Musicians with a deep love of melodies, fascinated by the magical power they can hold, Vison Visu absorbs tunes from all eras, delving into their essence and subverting conventional phrasing. Playing with breaks and melismas, dances and improvisations, the duo, with its resonant timbres, engages in a passionate and intense exchange.”


‍Their BandCamp page actually contains much more useful information about this recording than any other source we’ve found, so we’ll continue more-or-less paraphrasing here. The two musicians met in cellist Vincent Courtois's Finis Terrae quintet, with whom Robin Fincker has collaborated for many years. Following an invitation from the Jazz à Dissay festival, they developed a repertoire that combines the duo's original compositions with melodies from Brittany, Scotland, and the Cajun country.


‍Thanks to the support of contemporary music producer Marc Thouvenot, the Le Grand Pas collective, and La Buissonne studio, the duo was given the opportunity to record their repertoire in a direct and unadorned manner. Set up in the studio's main room, the pieces were recorded without cuts, in a single go and in just a few takes, allowing the duo to give free rein to their taste for the unexpected as well as sonic exploration. Mixed by Gérard de Haro and mastered by Nicolas Baillard at La Buissonne, Vison Visu's music conveys a non-linear expression of the passage of time, composed of cyclical comings and goings and interplay of memories, where the pleasure of playing and storytelling prevails over any preconceived plan.


‍Where to get it: As always, a reminder that we do not support the use of streaming services, which undermine the ability of actual musicians to make a living. While this recording can be purchased digitally via iTunes, we recommend the same BandCamp page referenced above for digital and/or physical media.

The URL is:
https://robinfinckerjanickmartin.bandcamp.com/album/vison-visu


‍- Fañch

10/28/2025

‍Eben/Dinaskañ/ArFolk/2025

‍Personnel:

‍Vocalists:

‍Sterenn Diridollou

‍Marine Lavigne 

‍Sterenn Le Guillou 

‍Instrumentalists :

‍Antoine Lahay – guitars

‍Julien Stévenin – double bass

‍Jonathan Dour – alto violin


‍To read vocalist Marine Lavigne’s interview with Musique bretonne magazine, click HERE.


‍Eben, formed in 2018 for the Festival Interceltique de Lorient's “New Leurenn #3” project, is a Breton sextet with a clear artistic vision: to blend strings and voices, using the traditional kan ha diskan vocal style to tell contemporary stories. The sextet’s artistic statement was clearly laid down on the back of the jacket of their 2019 self-titled debut: 

‍Eben is a Breton word meaning "the other" in the feminine form. Their latest release, Dinaskañ, is an astonishingly powerful recording of tremendous ambition and scope. Three young vocalists take Breton kan ha diskan -style singing to a new place with complex arrangements and exquisite harmonies, while the superb instrumental accompaniment is unique, nuanced, and wildly creative. Dinaskañ explores themes of resistance, poetry, and liberation. Demonstrating a visceral desire to enhance the Breton language, all texts are written and sung in Breton, albeit fully translated into french in the accompanying booklet. A small exception is the song "Douar Nevez" (New World), which includes a Galician section reflecting the group's broader inter-celtic influences. 


‍In this record the lyrics address very current topics: social struggles, women's rights, the defense of minority languages and, hearteningly in these troubled times, resistance to fascism. The title Dinaskañ, meaning to unbind, or break free, is drawn from a poem by the renowned Breton poet Angela Duval, and encapsulates the group's intention to break down boundaries, both musical and societal. From the politically charged anti-fascist Dañs ar Bleiz, to Eostig Kuzh, a compelling feminist anthem, the album skillfully balances political engagement with musical depth.  The album captures both personal and collective struggles, with moments that range from quiet introspection (Hillig ur pok) to intense, tension-filled passages (Tremen) and bursts of optimism (Douar Nevez). 


‍The vocal trio of Sterenn Diridollou (replacing Enora Jegou from the first recording) , Marine Lavigne, and Sterenn Le Guillou stand out with their distinctive voices and technical prowess, delivering mesmerizing performances that range from powerful to subtle. Accompanied by Antoine Lahay (guitars), Julien Stévenin (double bass), and Jonathan Dour (alto violin, a five string violin/viola hybrid), the group creates a sophisticated, singular sound combining elements of traditional music and jazz, among other influences. This musical setting is complex, subtle, and immersive, with each track contributing to a captivating and atmospheric listening experience.


‍Through arrangements written, for the most part, by the three instrumentalists, and with most of the lyrics written by Lavigne, Dinaskañ uses traditional Breton music and singing to evoke very current subjects.  Dinaskañ avoids folk clichés, instead offering a fresh, emotionally resonant take on Breton music. It is an engaging, dynamic album that merges cultural traditions with political themes and musical innovation, making it a compelling listen for those who appreciate music with both artistry and message.


‍- Fañch

”Strings and voices, Kan ha diskan singing the stories of our time.” 

09/25/2025

‍Barzaz/War Al Leurenn / Beliza - L’Autre Distribution/2025

‍Personnel:

‍Youenn Lange - voice

‍Jean-Michel Veillon - wooden flute 

‍Gilles Le Bigot - acoustic guitar

‍Alain Genty - fretless bass

‍David “Hopi” Hopkins - percussion

‍Invité

‍Erik Marchand - voice


‍The fascinating recent quotes from Barzaz members in this article are taken from “Le bel hommage de Barzaz en un double CD” by Christophe Ganne, Published June 8, 2025. 


‍With her permission, we have also incorporated a number of details from Lois Kuter’s excellent review of this recording from issue 175 of Bro Nevez, available in due time at icdbl.org


‍Barzaz. ‘Bards’ in the Breton language. This word has enormous significance in Breton culture, being the title of the Barzaz Breiz (Bards of Brittany), a collection of Breton popular songs compiled from oral tradition. Published in 1839 by Théodore Hersart de la Villemarqué, it brought Breton culture for the first time into broader European awareness. It is also the name of one of the most significant bands in the Breton firmament. After the death of the band’s central figure, Barzaz, the iconic musical group, has surprisingly returned and released a sublime new double album; both a tribute to the past and a leap into the future.


‍Barzaz first emerged in 1989, quickly becoming a pivotal force in the Breton music scene. Their first two albums, Ec’honder that same year and An Kozh Dall in 1992, quickly became cornerstones of contemporary Breton music. They toured widely before pausing in 1997, a hiatus that lasted until 2013, when they released an eponymously titled remastered boxed set of the two recordings that included two impressive new tracks. Singer Yann-Fañch Kemener tragically passed away in March 2019, however, bringing the project to a close. 


‍Kemener wasn’t just a singer. He was the voice of Brittany, channeling centuries of oral tradition through an unforgettable sound that absolutely seized the listener’s attention. Flutist and founding member Jean-Michel Veillon recalls the origins of the group in the late ‘80s, a modest start that grew into so much more. "We started with that voice," Veillon says, "and built the rest around it.” Joining Veillon and guitarist Gilles Le Bigot were bassist Alain Genty and Irish percussionist David "Hopi" Hopkins, both of whom brought a modern edge and international flair to the mix. It wasn’t just the vocals that set the band apart, however. Drawing sonic influence from the spacious, experimental productions of ECM Records and artists such as Jan Garbarek, they sculpted unique soundscapes that felt ancient and modern all at once.


‍“We had to pay tribute to him in our own way.”


‍Barzaz surprisingly returned in 2022 with young singer Youenn Lange now at the center. Lange wasn’t an outsider; he had been a protégé of Kemener and they performed together. "It was self-evident," says Hopkins. "Youenn had learned from Yann-Fañch. He got it.” The two reunion shows featuring the new lineup in June of 2022 were wildly successful. 


‍Two years after re-embarking with Lange, the band decided to record this new experience. Recorded in May 2024 performing at Plabennec’s Espace du Champ de Foire, War al leurenn (On Stage) is a soaring double live album that is both a tribute to Kemener and a bold step into new terrain. Produced by the Trégor-based label Beliza and distributed by L’Autre Distribution, the album finds the band in full command, rearranging 15 of their most iconic tracks into a sweeping live set that feels at once familiar and revitalized. While the sonic textures of Barzaz remain anchored in the innovative style they developed in their first recordings, it is evident that the original members, now with over three decades of additional experience, have evolved significantly in the meantime. These are not washed-up rock musicians stumbling through their old hits. Completely active throughout the intervening years, the group’s original members have all significantly deepened their musical abilities. 


‍Veillon, for instance, after setting the benchmark for Breton flute with his work with groups such as Kornog and Pennou Skoulm, continued with a series of groundbreaking solo recordings as well as several duo recordings with guitarist Yvon Riou, while Genty’s fretless bass work stretches across genres, collaborating with some of Brittany’s most innovative musicians. His albums include La couleur du milieu (1994), Le grand encrier (1998), Une petite lanterne (2004), Eternal Tides with Joanne Mclver (2017) and Instant Space (2020). Hopkins has become known for his percussive mastery of instruments from around the world, while Le Bigot’s 2023 solo recording Bale as well as his continuing work with groups such as his Empreintes ensemble, and of course, the mythic group Skolvan remain foundational to the Breton music scene.


‍In that light, it cannot be emphasized enough that this recording is palpably, amazingly, tight. It’s very impressive and even more so because this is a live recording. This is an absolutely solid addition to the group’s catalog. The virtuosic instrumentals really carry the listener off in interesting directions, without ever overshadowing the poignant storytelling at the core of the material. On War al leurenn, the interplay between Lange’s voice and the group’s impeccable instrumentation creates a beautifully textured soundscape. The melodies, often carried by Veillon’s flute, are complemented by Le Bigot and Genty, who weave intricate and expressive harmonic support beneath the vocal lines. Hopkins constantly surprises by making various sounds that fit exceptionally well into the music but are wholly unexpected. Apart from percussion, his compelling skill is clearly the use of the imagination.


‍Lange’s similar range and tonality to Kemener is immediately apparent, yet he is not a copy. Where Kemener had an operatic flair, belting out his phrases with incredible power and a distinctly commanding presence, Lange has a lighter, more interior and reflective feel with an emphasis on higher overtones. It’s not exactly the same nor should it be, and it still works very well. In the liner notes he writes: "They taught me to see what I wasn’t seeing yet, to listen to what I didn’t yet hear.” That humility, paired with unmistakable vocal depth, cements his place in the group. 


‍A special guest appearance by legendary vocalist Erik Marchand on two tracks adds another unexpected layer. Lange and Marchand are certainly not strangers, having released the recording Hiri together in 2023, as part of a trio with vocalist Eric Menneteau. The pairing of Marchand and Lange, voices clashing and intertwining, adds a new dimension to the Barzaz formula, conveying the unadulterated power of traditional paired Breton singing. The “kan a boz” track is a sort of verbal duel, in this case on the topic of slander, the back-and-forth between the powerful voices dramatized by a somber instrumental drone running underneath. Equally powerful is the pairing of Marchand and Lange for kan ha diskan singing for the lively dañs fisel track “Ar butun.”


‍This latest incarnation of Barzaz is certainly not a nostalgia act. This group reminds us why Breton music still matters in 2025. War Al Leurenn is an album that demands repeated listening. From the deep emotional resonance of the gwerz lament to the exuberance of the dance tunes, this double album showcases the enduring power and beauty of the Breton musical genre, steeped in history yet bursting with modern vitality. Barzaz is as relevant as ever, and War Al Leurenn proves they are not just ‘keepers of the flame’ but innovators shaping the future of Breton music. This reviewer looks forward to their next recording!


‍Where to purchase: Of course, we do not support the use of streaming services, which undermine the ability of musicians to make a living.  The beautiful recording can be purchased digitally via iTunes. With the collapse of Coop Breizh it is harder to find in CD format, but can be ordered from the reliable vendor FNAC.


‍- Fañch

Yann-Fañch Kemener performing with protégé Youenn Lange in 2017.

Barzaz Ec'honder
Barzaz - An den kozh dall
Barzaz 2013