Sorry for the long hiatus!`

Hello readers! I'm sorry I've been off the map for a while. Since April I have been quite busy, so my blog-updating pace has gone out the window.

I shall return at some point.

In the meantime, feel free to check out the fruits of my absense from End(-)of(-)World Music.

http://www.myspace.com/piegemusic

I've made an ep (containing the tracks: Gora Dub, Cylinder Dub, Cusp, and Newjack) of dancey/ discoey stuff under my Piege alias. I expect there will be another one along before the end of the fall.

Anyway. Hopefully I will be back online here soon!

Street Music of Java

While this stellar compilation kind of falls outside of my usual mandate of attempting to post albums and songs that are not available from the North American/ European markets (to my knowledge, that is!) I feel as if this album warrants me breaking (or rather, only half breaking--it's quite out of print!) my own rules.

Released in 1990 by the label Original Music, Street Music of Java is an joyous romp through various infectious forms of music played by small street ensembles in Java. Not all the styles are strictly Javanese but the music consistently fun and beautifully performed, full of hoarse female voices, scratchy violin, buoyant drumming. There's also plenty of that very Indonesian-sounding guitar playing. Those of you who have listened to any of the super asli keroncong or the Smithsonian Indonesian Guitars compilation can attest that there's a very uniquely Indonesian style of guitar playing (often sort of a blend of old Portuguese colonial influences with kacapi playing).

Featuring various ramshackle forms of familiar Indonesian popular and folk styles, each song on this compilation feels like a hit single albeit minus any studio frills. You'll hear the Bollywood-informed dance music known as dangdut whittled down to an acoustic ensemble with near-shouted vocals, replete with gleeful outburst of laughter. There's also some languid kerocong (very Portuguese-sounding) numbers with enough of grit to them to differentiate them from the myriad adult-contemporary recordings of keroncong out there. Dry throated crooning voices sing sweetly weaving themselves "pitchy" yet quite ornate violin lines, atop the trademark interlock plucked parts.

The vocals in the Melayu guitar-tunggal ("solo guitar") style track "Hinam Himam" displays a Islamic influence you frequently hear in Indonesian and Malaysian musics. While the vocals have an Arabic music flavour, the strummed guitar almost evokes South American folk styles.

The highlight for me is the folksy dangdut track "Kuda Lumping". With a lilting bounce in the drums, the loosely-strung twang of a cheap guitar and tambourines offer some rapid rhythmic propulsion. Meanwhile the shrill squawking vocals dance along the line of the songs ridiculously catchy and playful melody. Strangely I'm left with the thought that you could almost hear an Indonesian version of the Slits covering this song plugged-in!

Later you get some coarse examples of langgam jawa, both in a more authentic and a kerocongified format before some particularly spare vocal & drum treatments of the dangdut rhythm.

Near the close of the album you get a taste of some ronggeng-based music, which feature some of the familiar gamelan instruments which accompany some yearning male-female vocal exchanges. There's also a short processional recording (also labelled "Kuda Lumping") before a lengthy final cut which features the siter (a zither), percussion, clapping and woozily soulful singing.

It's a damn shame that this album is out of print and, like a number of excellent rare early 90's releases fetches a king's ransom on Amazon marketplace!

Here's the link!

Utne Reader writes about the global musics blog / reissue scene -- quotes one of my articles!

Stuart Ellis of Radiodiffusion Internasionaal & Sublime Frequencies fame wrote me when I was at work a couple of days ago to inform me his blog, and several others had been written up in long-running alternative culture mag the Utne Reader.

He told me that they also mentioned me. I had assumed he was referring to my blog, but in actual fact they quote an article that I wrote for Musicworks this past year.


At any rate I'm pleased to see the Utne Reader taking notice of this whole scene, and am extra happy that they decided to include me in their celebration.

Here's their very well-written article!

A somewhat revisionist glance at a few of the big names in Mauritanian song

Anyone who's heard (the sadly out-of-print) Moorish Music of Mauritania (1990) by Dimi Mint Abba and Khalifa Ould Eide can attest to the marvelous music contained within.

The highlight: her trademark vocals--strikingly hoarse yet as nimble and graceful as you can imagine, easily gliding over top of the craggiest of melodic terrain (full of tic-like ornaments and flickering appregiations).

As the anthropological title suggests, the record is relatively traditional and largely acoustic featuring percussion (tabl), qawwali-esque clapping and group vocals, the four-stringed tidnit, the buzzing harp (ardia) and electric guitar. It was recorded, however, in the studio and not "the field".

The songs reference her griot(te) roots, as well as devotional themes but incorporate some more modern elements. It could be considered the culmination of her worldwide exposure, which spread across all of Africa and the Arab world (in 1976 she won a Gold Medal at the Oum Kolthoum Festival in Tunisia for her vocal talents!) , to Europe and then elsewhere.

Then there's also the equally brilliant singer Ouleya Mint Amartichitt, who, hot on the heels of the aforementioned album also managed to make a bit of splash in the World Music industry with her album Praise Songs, now also out-of-print (and also fetching similarly exhorbitant approaching-three-digit prices in Amazon's marketplace).

Both artists were embraced early on by the then-young World-Music machine, (seemingly looking for the next "big" thing). Now a few years on, you'll have to look to music forums, blogs and Youtube to get a hold of their music.

When I was poking around on Youtube though I caught some interesting glimpses into the less- Westernized (in terms of its production and target audience) yet, not necessarily more traditional stuff that also goes on in Mauritania. I decided to look around more and share some of my findings.

Here's a few from Dimi...

Dimi nasi7a
Uploaded by cheikhdidi

Dimi minte aba
Uploaded by cheikhdidi

Dimi minte aba
Uploaded by cheikhdidi

This one is notable for the absense of percussive rhythmic drive, but for the presence of the woozy psychedelia emanating from the guitars and synths. Note the guitar player's built-in effects!


Here's a guitar solo from the same excerpt. Who the hell said phasers are over? Awesome!






Here's what looks like an old-school clip of Dimi...



Now on to Ouleya Mint Amartichitt




Here's a video from singer Enima Mint Sheik.


Here is another singer whose name I am not sure of. She has a smoother less fiery voice than her peers but still gracefully executes the rapid melismas.


Another...

ida3t mauritane musique
Uploaded by aitoussya

Here's two real old ones by Hadrami Ould El Meydah:




Enjoy! And if you have any tips on the singers, or any links to downloads of this music (or spots for purchasing it) feel free to comment!

Wannabe Indian Music from South East Asia.

I can definitely see why one might want to be Indian. Indian culture is rich, diverse and multifaceted and its roots run deep.

Another thing is it's one of the best countries, musically in the world, so it's no wonder musicians feel compelled to imitate their styles! And it's not just goras like George Harrison who were inclined that way. In South East Asia, there's been a longstanding obsession with Bollywood in particular. Two fellow bloggers have been kind enough to provide us with interesting examples of such musics.

Over at monrakplengthai we have a great record by Chatri Sichon which demonstrates a nice fusion of Thai sensibilities to 1950's-70's Bollywood-style arrangements.

Meanwhile, at Madrotter we hear a peculiar fusion of Jaipongan, Dangdut and old-fashioned Bollywood which even includes a cover of Lata Mangeshkar's early hit "Aayega Aanewale" from the 1949 spookfest Mahal (check track 4!).

Madrotter also features this strange soundtrack(?) which contains songs in what sounds like Hindi and in bahasa Indonesia. The arrangements and vocals are largely derivative of Bollywood while, still maintaining a certain detectable Indonesian-ness.

Anyway... Enjoy!

Byungki Hwang - Kayagum Masterpieces

Byungki Hwang is one of the foremost performers on the kayagum, a multi-stringed zither from Korea (similar to the koto or guzheng). While rooted heavily in tradition, however, he has been one of the primary forces of innovation in Korean art-music. According to the liner notes of The Labyrinth - Kayagum Masterpieces Vol. 3, he can be attributed to bridging the gap between folk and court music traditions in korea, as well as pushing the role of composer to the fore, without pursuing more Westernized directions. Hwang has long been engaged in the music of Korea but also contributed to the academic discourse of Western art music (including essays on John Cage).

My limited description above only offers a glimpse into the unique soundworld of Hwang's music. Admittedly my own explorations have been just a taste too... but enough to fall in love with his unique voice within an already incredible rich vocabulary (I love Korean classical music!). While some of his works (as heard on, for instance, 2007's Darha Nopigom - (Vol. 5 of the masterpieces series)) exhibit a exquisite, restrained approach to a more tradition sonic palette, the music on The Labyrinth (particular the titular piece) offers a contrasting image with wild colours abound including bowing the instrument and eerie vocal interjections.

Here on this mysterious number-domain (which appears to be a massive repository of Korean music), you can hear volumes 1-4 of the series. And here you'll find Darha Nopigom (which has apparently been reissued by the ARC Music, hence making it not quite eligible for the blog... oh well. Enjoy!

Another wonderful aural friend! Mon Rak Pleng Thai

Recently I got a really lovely email from a fellow blogger, Peter, who appreciated my enthusiasm for Thai music, and recommend I check out his blog. And what a great blog it is. It's called Mon Rak Pleng Thai.

Peter's got quite a few excellent albums of delicious Thai music--covering everything from Molam Sing to old Luk Krung n'Thung, to Thai dancehall. I haven't checked it all out yet, but what I have heard was really stellar. Peter is also, fortunately for his readers, very knowledgeable about the music and has graciously translated (I think he's the translator?) and/ or transliterated things, and provided insightful notes to accompany each selection.

New music series in Toronto.... Starts tomorrow!

Here is an announcement about an intriguing new series starting up. I'll be frank that I'm a little unsure about the name... but I'm not about to be thuggish about it because the idea is brilliant!

Michael Keith and David Sait, in conjunction with AIMToronto are starting a brand new series called the Night Bazaar beginning this Wednesday night (January 28th) at 10pm (Tranzac - front room). The Night Bazaar is booked for the next 3 months at the Tranzac on the last Wednesday of the month (Jan. 28, Feb. 25, March 25) as a test series. Music-wise, they will be scheduling an equal portion of musicians from the [so-called] “World music community” and “Experimental” type-music leaning heavily on improvisation.

After the 3^rd set of music has concluded, and if time allows, there will be a large jam to cap off the night…….so if you are in the neighbourhood, please bring along your instruments. If you are free, please take the time to stop by and support the kick-off to this new series and perhaps hear some exciting new music that you may not have heard before.

If you have any suggestions for upcoming Night Bazaar performers from Toronto, post in the comments, and I will pass on the information to the promoters!

The Night Bazaar Schedule so far:

Wednesday January 28 – 10pm ($5)

(i) Kousha Nakhaei (Persian Fiddle) & David Sait (guzheng)

(ii) Debashis Sinha (improvised manipulations of field recordings from Kolkata, India )

(iii) Michael Keith plays the complete works of Karl Magnet (chicken guitar, voice and electronic debris)

(iiii) open jam (time permitting)

Wednesday February 25^th – 10pm ($5)

Neeraj Prem Masih – Sitar

Siman Tov Orchestra – Russian Klezmer

...and others tba

Wednesday March 25^th – 10pm ($5)

Reza Manbachi Duo - Iranian tar & tombak

Brian Ruryk - noisy guitar & junk (this guy is amazing to see live)

...and others tba

Parvin - Ghoghaye Setaregan

First of all... HAPPY NEW YEAR!

Entering 2009 I offer my first purely music post in a while... A collection of songs by the singer Parvin entitled Ghoghaye Setaregan.

I don't have all that much to say about this album except that I really like it. As per usual with older artists from outside of the English-speaking world, it's kind of hard to find info about them, unless you have some keywords in that particular language to work with. Even then, sometimes, it's hard to find too many hits on Google.

To my ears, this Persian vocalist sounds like she comes from the generation behind Googoosh, Firoozeh and the 60's-70's era of Persian music. This guess is mainly based on the tone of the recording, and her delivery which is markedly more distended than many later singers. The song forms are a bit longer too and employ traditional Persian scales more obviously than the vaguely more Westernized music produced later on.

The real draw is Parvin's bold, dark-hued voice. Not unlike her Arab contemporary, Oum Kolthoum, her voice is almost androgynous, sitting comfortably in the mid to upper range of a tenor voice with immense power, but with a timbre that is not readily identified as either male or female.

Enjoy it here!