A diverse and sparse series of songs, most of which revolve around falling out of love and disillusionment with the world in general. Although these themes could lead to Carnival Love being one of the most depressing albums ever, Amy Correia's fragile, singsong voice carries each track gently along, leaving the listener with an unshakable feeling of hope. Reminiscent of Mary Lou Lord or Victoria Williams, her little girl voice belies a worldly brashness and wry knowledge that lends itself well to her sparse poetry. A good first album which will surely lead to even more successful efforts in the future.
Like many Caribbean nations, Trinidad has felt the effects of globalization on its economy, politics, and expressive culture. Even Carnival, once a clandestine folk celebration, has been transformed into a major transnational festival. In Trinidad Carnival, Garth L. Green, Philip W. Scher, and an international group of scholars explore Carnival as a reflection of the nation and culture of Trinidad and Trinidadians worldwide. The nine essays cover topics such as women in Carnival, the politics and poetics of Carnival, Carnival and cultural memory, Carnival as a tourist enterprise, the steelband music of Carnival, Calypso music on the world stage, Carnival and rap, and Carnival as a global celebration.