Johan Borgh – Island Blues
Self-Release – 2025
www.facebook.com/johanborghmusic
10 tracks; 40 minutes
With his debut album “Island Blues”, Johan Borgh conjures electric blues, Afro-Cuban rhythms, and New Orleans style grooves, with a variety of instrumental songs that share excellent instrumentation. Borgh, a Stockholm native and guitar prodigy, has won guitar contests and played with the likes of Gary Clark Jr., but it was only after fans demanded he produce his own music (and a relative passed away) that the LP materialized.
Soft percussion and horns start off the first track “Raga Blues”, with African sounding drums, whistles, and crying flutes. A solid alternative Afro-Cuban rhythm comes through, propelling a catchy instrumental hook. Borgh plays with quiet confidence; its a mellow and upbeat song, with musical precision. He softly stretches guitar notes then gives a little more edge with a gnarly solo, while the beat is carried throughout, like a heartbeat. Floating ethereal flutes add layers.
The only song with lyrics, “Santa Monica Serenade (Somos El Amor)” employs slowed down Afro-Cuban rhythms as Caro Luna sings, in Spanish “Prefiero quedarme aqui en tus brazos junto a ti. (I prefer to stay here in your arms, together with you.) Aqui somos eternos. Somos el amor. (Here we are eternal. Here we are love.)” It is a lush, richly textured song that feels like a dream, like the more pleasant sides of a David Lynch movie.
“Santa Monica Serenade” appears earlier on the album as an instrumental, with island sounds from the start, melancholy guitar notes, and loose, free flowing percussion. Tortured, delicate guitar notes from the Afro-Caribbean tradition ring out, recalling some of the sadder tracks of Buena Vista Social Club and Ry Cooder. Within the repeated island grooves, there is a certain calm.
A smooth, fluid introduction opens “Rio Grande” with gentle guitar strokes like soft waves crashing on the shore. Low key, basic, crisp percussion provide the background to jazz intonations with pop sensibility and several melodic progressions. While straying far from the blues, the track has a delicate touch, handled with sensitivity.
Fuzzy, edge filled electric guitar jumps out from the start of “Boogie Blues”, followed by juicy splashes of ivory keys, in the powerful boogie song, fit for a juke joint. Delicate, yet rapid fire key flourishes compliment the wailing guitar, which displays power and range, ascending the scales. This is the track that leans the most into blues and blues rock, and strays furthest from the island sounds.
Steady drums introduce “Beach Train”, followed by solid guitar riffs in an island-rock track with touches of the blues. The piano is moving and skillful, trembling with emotion, and a morose feeling and an intractable sadness emanates. An impassioned, yet precise electric guitar solo comes from Borgh in a song that is spacious and compartmentalized,with breathing room for all the instruments.
Steady drums beat from the onset of “Surf Soul”, a sexy, funky track with tasty guitar licks. Horns add a certain spice and flair, while the adept, powerful guitar solos make for a high energy highly danceable groove.
Cumulatively, Borgh’s first major solo effort proves itself to be a record of high musicianship, carving deeply into both the blues and the Caribbean. Borgh attains an emotional depth, a sonic tapestry fueled by strong performances, and the creation of a hybrid, unique sound. While the poet in me hungers for some more lyrics like the ones we were blessed to have on the last track, this instrumental LP is a strong collection worth the listen.
