Much like Nathaniel’s first release, Live at the Columbia Theater, this latest release is an aural experience of instrumentation from a man who has a clear ear and impeccable taste in tunes. Six tracks of beautifully arranged work are contained in Unwound, and each has a distinct flair—and all with a decidedly middle-eastern beat.

 

It is clear that Nathaniel is at home at a hafla, and any bellydancer or enthusiast of the art are sure to enjoy this album in its entirety. Curious as to the creative process of the album, I thought our readers would like some insight straight from the source. While speaking to the composer himself, I found out the album was a collaborative work.

 

“In the spring of 2010 I did a couple of improvised performances with Tempest—just me playing mandolin and her dancing. We had such a fun time with it that we thought that it would be fun to do a more involved collaboration,” said Nathaniel. Tempest’s aspect of their project can be seen on the DVD “Bellydance Artistry with Tempest.”

 

Talking with Nathaniel about this EP and his process, one is left with the indelible impression of a man in love with music and art in all its forms. “I take great joy in collaborating with other artists and I’m lucky enough to have become friends with some amazing and talented dancers. The interaction between music and dance is something that I find incredibly inspiring and so it seems natural for me to take the inspiration I get from my friends and make music with it,” he says modestly.

 

I am never left feeling anything but joy listening to his work, and this EP is no exception. Although I have not seen Tempest’s DVD, I aim to review Nathaniel’s work on its own merit as an album.

 

Two of the tracks, “Ifritah” and “Zola,” are also on his breakout album with the Brazilian Surf Mafia —in name, however, but not in spirit. The tracks have a distinctively different sound, but do echo refrains from their originals. This EP is a delight the whole way through, and there is a clear sound that is emerging from this virtuoso that stems from his band’s jam session in the Columbia Theater, a sound that is coming into its own.

 

The opener “Avi Solym” starts strong with the Arabic influence and a defining fun sound that can best be described as mandolin meets sitar with a hint of banjo, which continues almost on spotlight in the title track “The Heart Unwound.” Ethereal vocals, percussive beats, and emotional depth define the rest of the EP. Perhaps my favorite track though, is the closer, “Uncle Achmed’s Porchtime Jamboree,” it’s a treat. Mix one part world music, mix in some porch jam band and pepper in a slight electro-swing and you have a fun song to dance to, with just a hint of whimsy.

 

All in all, I am happy to recommend Nathaniel Johnstone’s latest album to anyone who loves the sounds he makes on strings. His band’s talent and ability shines through.

 

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