Amira Medunjanin is a very subtle singer. The Bosnian chanteuse doesn’t overdo it: she draws you into her poignant Balkan songs. Her darkly thoughtful, jazz-tinged 2015 album Damar is streaming at Spotify.
The album’s first track, Pjevat Cemo Sta Nam Srce Zna (We’ll Sing What the Heart Knows) is a calmly syncopated, elegant blend of pensive minor-key Mitteleuropean folk and jazz. Likewise, Tvojte Oci Leno Mori is a spare, hushed, balletesque take on what could be a boisterous fiddle-driven Balkan dance.
Medunjanin’s quiet, loomingly plaintive vocals over moody cello and guitar as the rubato ballad Vjetar Nuzu Poloikuje gets underway transcends any linguistic limitation; then Bojan Zulfikarpašić’s slightly out-of-tune piano adds Chopinesque ripples to the mix
Delicate echo phrases from the acoustic guitars – Boško Jović and Ante Gelo -introduce the trickily rhythmic Romany song More Izgrejala Sjajna Mesecina (rough translation: Moonlight on the Ocean), livened by rippling piano over the nimble rhythm section (bassist Zvonimir Šestak and Zulfikarpašić doing double duty on percussion).
With its spare, fingerpicked guitar-and-vocal intro and a ringing Portuguese guitar solo midway through, Kad Ja Podoh Na Bentbasu has echoes of fado music. Medunjanin’s tenderly ornamented vocals mingle with spare, spacious, echoing piano in Moj Golube, Moj Golube (My Love, My Love).
Passion simmers but never quite spills over the edge of the pot in Moj Dilbere, a pulsingly suspenseful, chromatically charged Romany love song: Jenny Luna’s work with magical Turkish band Dolunay comes to mind. The album’s hypnotic, almost conspiratorial title cut has bolero, blues and surreal doubletracked piano and organ cached within its minimalist jazz pulse. Medunjanin saves her most impassioned, imploring vocal for the album’s final cut, Aj Sto Cemo Ljubav Kriti, over a pensive expanse of low-key flamenco-esque guitar.