Melt-in-your-mouth funk

In recent years Israeli music has delved into soul and funk music drawing much from the well of 1970s Black American music.

But the Israeli musicians focus primarily on the beat and hip-swaying of funk and soul and tend to overlook another important aspect of these musical styles: their incredible softness.

Think of Marvin Gaye, the Delphonics, Minnie Riperton; it's hard to imagine music with more addictive and sensual combinations of delicacy and softness.

Karolina's new album, "Mah E'eseh Akhshav?," ("What Will I Do Now?") has a few such moments of warm chocolate that melt in your mouth and they are beautiful.

Take the song, "Matzpen Libekh," ("Your Heart's Compass") for example.

It opens with soft conga drums beating that are immediately reminiscent of the Curtis Mayfield hit, "Super Fly," continues with wafting and pleasant flute playing that heightens the feeling of good old funk and then Karolina comes in soft and tranquil.

And then the song is flooded with violins straight out of Marvin Gaye's hit "What's Going On."

Then come the synthesizers which move everything in a dreamier direction and then at the last minute, Karolina bursts into an enjoyable "ahhh" wrapped in a psychedelic veneer concocted especially for her by her excellent duo of producers Sabbo and Kutiman (Ophir Kutiel).

Be careful, this material may be habit-forming.

Karolina's album is a diverse work. It is not a retro album. But the sections where Karolina and her producers create a great Hebrew version of the sensuous and warm funk are not just successful musical endeavors (until they have had enough by the final third of the album).

They also help those who usually do not get excited by Karolina's bohemian-funk to connect to her and enjoy her performance.

They connect the tranquility and softness typical of her singing to a clear-cut aesthetic and beloved (at least by me) sources and prevent her from sounding like a talented spokesman for cheap spirituality.

The great "Matzpen Libekh" is the fifth track on the album and not only is it preceded by good songs, but it is also followed by an excellent section, and a duet with Boom Pam member Uri Kinrot.

The first time Kinrot's deep voice is heard, it is impossible not to think of Lee Hazelwood (which makes Karolina something like Nancy Sinatra), but very quickly 1972-style Israeliness takes over, and the song becomes a sort of Kobi Recht (and Karolina, perhaps, becomes Shula Chen or Ruti Navon).

One way or another "Habalada al Abir Hahofesh U'bat Galim" ("The Ballad of the Knight of Freedom and Bat Galim") is a captivating song. Please release it immediately as a single for radio.

Afterward, from the sixth track and on, the album starts to lose altitude. Karolina is at her best when she sings calmly.

In songs such as "Makhmaot" ("Compliments") and "Who Sheli Kol Kakh" ("He's So Mine") she pushes too much and it does not sound good.

Even the 1970s retro becomes too much (although the ninth song, "Uf Itkha" still works to some extent).

The next to last song, "Smile 2 Me" is not really worthy, also because of the overused quotes from Portishead and the woodwind aesthetics of Amy Winehouse and also because when Karolina sings in English, she loses everything that makes her unique.

The last song, "Mah Eeseh Akhshav?," improves the situation slightly, but does not restore the charm of the half of the album.

That charm is the main reason to listen to Karolina.

Karolina, "Mah Eeseh Akhshav" BMusic