CD Review: Tanya Tagaq's 'Animism'

Tanya Tagaq 
Animism
Six Shooter Records

Hailing from Cambridge Bay, Nunavut, Canada, Tanya Tagaq is an innovative and experimental performer of throat-singing, rock, electronic, and avant-garde music inspired by the spirits of the great North. Sometimes the music is repetitive and meditative, but the wide variety of metallic, grinding, squeaking, and ancillary sounds makes it an intriguing and artistic piece of history. In addition to Tanya's sporadic vocals, there are drums, electronics, violin, viola, synths, bass, trombone, french horn, and assorted vocals throughout the eleven tracks. The combination of melodies and rhythms creates a dark and swirling masterpiece that is both chilling and exciting. Some of the sounds are quite abrasive and fairly removed from the traditional throat-singing structures, but this is contemporary music anyway. Still, Tanya succeeds with another stellar recording that has won--and will continue to win--awards. ~ Matthew Forss

CD Review: Meikhaneh's 'La maison de l'ivresse'

Meikhaneh
La maison de l'ivresse
Self-Release

France's Meikhaneh produces intriguing music inspired by Central Asia, the Mediterranean, and the Middle East. The group incorporates a little Central Asian throat-singing on "Jaran tsagaan aduu." Maria Laurent's sweet vocals and her stately morin khuur (horse-head fiddle) combines to form a unique blend of vocal and instrumental music. Maria is joined by Johanni Curtet on guitar, dombra, various chants, as well as Milad Pasta on tombak, daf, and udu drum. The music is more French inspired with wistful melodies and breezy vocals on "Mellekdal" and a more somber tone on "La fille qui tourne dans une piece blanche." "O leite e o pao" contains more of a flamenco or Portuguese flair. The final track, "Talyn theme," is an improvisational masterpiece with glorious instrumentation and enigmatic vocals that are sweet, sincere, and traditional. Meikhaneh is a group based in France, but their repertoire originates from other world regions. At any rate, Meikhaneh knows how to make an album that is entertaining, memorable, and highly-recommended. ~ Matthew Forss

CD Review: Various Artists' 'Kyzyl-Moscow III'

Various Artists
Kyzyl-Moscow III
Sketis Music

This collection of Tuvan throat-singing music spans twenty tracks and numerous, well-known artists from the region. You will hear the Tuvan Ensemble, Eduard Damdyn, Vadim Oorzhak, Ayas Kuular, Evgeny Saryglar, and Mai-ool Sedip. There are sung melodies, as well a throat singing accompaniment throughout. There are plenty of traditional instruments backing the vocals, including the igil, chanzy, kengirge, dungur, byzaanchi, and doshpuluur. These instruments are various percussion and string accompaniments that accentuate the gritty and soaring vocals. Kyzyl-Moscow is actually a festival held every year in Moscow since 2004. It was organized by George Arat Beletsky--a talented producer, musician, and music promoter. Anyone interested in the effervescent melodies of Tuvan instrumental music and throat-singing styles should check out Kyzyl-Moscow III. Very listenable. ~ Matthew Forss

CD Review: Qetiq's 'Rock From Taklamakan Desert'

Qetiq
Rock From Taklamakan Desert
Dreyer Gaido

Uyghur rock music? You bet. This is a compelling, energetic, and unforgettable romp through the rock music of northwest China's Xinjiang province. There is a good combination of electric guitar, bass, drum, and vocals. The vocals are at times akin to Pearl Jam's lead singer. However, the music is not as hard as Pearl Jam. There are a plethora of traditional instruments in the mix, which includes dutar, citar, darbouka, riqq, and daf. There is even a little throat-singing on "Qara Jorgha," which plaintively accompanies the sweet sounds of the dutar. The emotive "Ag Bayan" is a great vocal and instrumental ballad - no matter what language it may be in. These songs come from a Uyghur and Kazakh perspective. Each track contains beautiful melodies and instrumentation that cannot be missed or ignored. Anyone interested in contemporary rock music with a traditional twist from China's northern deserts will love this one. ~ Matthew Forss

CD Review: Iarla O Lionaird's 'Foxlight'

Iarla O Lionaird

Foxlight
RealWorld

Ethereal world music is Iarla’s middle name—in fact, it is his entire name. Working with the Afro Celt Sound System, Iarla set the stage for success with a solo career. Hailing from Ireland, Iarla sings contemporary Gaelic songs that incorporate a plethora of pleasant percussion, sweeping electronic washes, and twinkling string arrangements. Leo Abrahams plays a large role in programming, special effects, electric guitar and piano. “Daybreak” is a meditative song with vocals akin to Girish. Interestingly, the addition of Sara Marielle Gaup from Norway is a talented and necessary part of “Daybreak,” since she adds some joik, which is Sami vocal music that is similar to Central Asian throat-singing. The relative low-key vocals and instrumentation provide a new age element throughout. However, world music renderings are evident with soulful vocals, soothing instrumentation, and plaintive percussion. The dozen tracks are an insightful romp through the musical repertoire of a candid and creative performer. ~ Matthew Forss  

CD Review: Various Artists' - 'Folk Album'

Various Artists
Folk Album
Sketis Music

Folk Album contains a dozen and-a-half tracks from several musicians across Russia, Yakutia, and even Japan that participated in the European Broadcasting Union folk festivals, EBU Christmas and Easter Projects, and other Radio Russia events. This recording features folk music, throat-singing, guttural vocals, classical elements, and some pop forms. The Moscow Balalaika Quartet, Sergey Starostin, Stepanida Borisova, The Trigon Group, The Hide-Hide Group, The Yat-Kha Group, Pavel Ukhanov, Zhili-Byli Group, and many others lend their musical talents to this great project. There are nearly fifty-five minutes of music to keep one occupied. Fans of Russian folk music and ethnic music will find joy in this exciting recording. Buy a piece of musical history today. Folk is where it's at! ~ Matthew Forss

CD Review: Tanya Tagaq's Live Album 'Anuraaqtug'

Tanya Tagaq
Anuraaqtug
Les Disques Victo

Originally from Cambridge Bay, Nunavut Canada, Tanya Tagaq, has been throat-singing for several years. Tanya's solo form of throat-singing is traditionally accomplished by a pair of women singers. Anuraaqtug is a live album recorded in May 2010 at the Festival International de Musique Actuelle in Victoriaville, Quebec. Tanya is joined by Jean Martin on percussion and trumophone, along with Jesse Zubot on violin. Tanya's primordial vocal stew contains swirling noises that resemble mystical creatures. The instrumental accompaniment often mimics the vocal sounds, which produces scary tones and avant-garde foundations that border on naturalistic experimentation and hauntingly, beautiful Halloween music. The erratic sounds and vivid--though indiscreet vocalizations--make Anuraaqtug a captivating and emotional release. Nearly one of hour of music and five songs signals Tanya's quirkiest and mesmerizing vocal performances. Tanya's latest release will not be everyone's cup of Inuit tea, but she will still amaze a large majority of faithful followers. ~ Matthew Forss 

CD Review: Torgeir Vassvik's 'Sapmi' From Norway

Torgeir Vassvik

Sapmi

Idut

The Norwegian musician extraordinaire, Torgeir Vassvik, assembles a set of ten songs from the land of the Sami people. Historically, the Sami people inhabit the Sapmi region--for which the album was named--and includes the countries of Norway, Sweden, Finland, and Russia. The mysterious sounds of the viola, saw, bells, percussion, frame drums, field recordings, and guitars are played in such a manner to evoke images and sounds of the natural world. For instance, some of the sounds resemble falling rocks or clanging ice crystals. Moreover, the folksy melodies border on avant-garde. Torgeir's vocals are in the form of yoik singing, which is a form of throat-singing comparable to Inuit and Mongolian chanting. In fact, the instrumentation and singing is most similar to the music of Huun Huur Tu, coincidentally from the Mongolian/Tuvan region. Sapmi is an album that sticks with you long after the last note commences. Anyone with an interest in throat-singing, yoik chanting, or music from Scandinavia, should lend their ear to Torgeir's masterpiece. ~ Matthew Forss

CD Review: Yat-Kha's Tuvan Rock on 'The Ways of Nomad'

Yat-Kha

The Ways of Nomad: The Best Of

Sketis Music

The Tuvan rock and throat-singing of Russia's Yat-Kha has been an iconic presence in the world of Tuvan music for the past two decades. Led by vocalist and guitarist Albert Kuvezin, Yat-Kha takes the world by storm with traditional instrumentation and electro-ethnic elements that are darkly inviting. The name of the group is coined after a Central Asian instrument. The vocal style of Kuvezin has been noted as kargyraa, which is basically a deeper, more growling version of the traditional form of Tuvan throat-singing. Importantly, not all of the songs center on throat-singing. The Ways of Nomad features hits from 1995-2003. Anyone with an interest in Tuvan folk, throat-singing, Mongolian, Central Asian, or Russian folk and rock music should own everything by Yat-Kha. Liner notes in English, Russian, and Tuvan. ~ Matthew Forss

CD Review: Olchey's 'Shuga' From Tuva

Olchey

Shuga

Sketis Music

Shuga is a Karelian word for "a thin piece of ice at the water's edge". Interestingly, the Tuvan word for 'chuga' is "thin". Consequently, the folk music of Karelia and Tuva meet with glorious results. The throat-singing traditions of Tuva and electronic and natural sounds form the basis of Shuga's message. The music is closely reminiscent of Huun Huur Tu. There are only four songs that only add up to forty-minutes in length. However, the music is so entrancing that time seems to stand still upon first listen. The seemingly avant-garde melodies are a perfect mix for throat-singing and modern percussion and nature sounds. Anyone interested in the contemporary music of Tuva, or Russia's great North will find enjoyment in the songs of Olchey. ~ Matthew Forss

CD Review: Stepanida Borisova's 'Impressio'

Stepanida Borisova

Impressio

Sketis Music

Yakut-singer hailing from Russia, Stepanida Borisova is cultural purveyor of songs from Yakutia, a republic in Eastern Russia. Impressio is an album that fuses folk with rock and throat-singing. The songs are quite contemporary in sound, but remain largely traditional in spirit. The songs are sung in Yakutia, but liner notes are provided in English and Russian, too. Track 5 is an especially intriguing rock ballad. While, Track 7 resembles a classic psychedelic tune to come out of Southeast Asia. A range of songs, styles, and sounds make Impressio an impressive release. ~ Matthew Forss

CD Review: Huun Huur Tu 'Step'pes It Up!

Huun Huur Tu

Ancestor's Call

World Village

The galloping sounds of Tuva's throat-singing and instrumental ensemble, Huun Huur Tu, are revisited as more modernized sound palettes accentuate the group's characteristic style of ancient melodies. Keep in mind, the group's traditional instruments are still here, including the igil, doshpuluur, flute, byzaanchi, igil, and drums. The addition of the guitar eloquently steers the songs into a glorious setting of listenable comfort. For the most part, the songs are reinvented from their earlier Orphan's Lament (Shanachie, 1994), but one selection, 'Konguroi', makes an appearance from Sixty Horses in My Herd (Shanachie, 1993), as well as 'Saryglarlar' from Eternal (Electrofone, 2009). There is a slightly modernized tone to the songs without showy electronic elements or techno/dance noises. Essentially, Ancestor's Call is culled from thousands of years of throat-singing traditions for a new generation. This is a slight departure from Eternal (Electrofone, 2009), which featured the electronic wizardry of Carmen Rizzo. At any rate, Huun Huur Tu 'step'pes it up like no one else! ~ Matthew Forss

CD Review: Lian & Chirgilchin Ensembles on "The Window" (released May 2010)

Lian & Chirgilchin

The Window

Lian Records

The Window is what happens when two groups from different countries come together and make music for one afternoon in Los Angeles, USA. The Persian/Sufi Lian Ensemble incorporate Persian lyrics and traditional instrumentation, including the tar, kamancheh, udu and frame drum. Imagine the sounds of the ancient, Persian courts mixed with the throat-singing elements of Tuva's Chirgilchin. Chirgilchin consists of four members playing traditional fiddles and lutes, including the igil, doshpoulour, and byzaanchy. Their notable throat-singing is an excellent accompaniment with the Persian and Tuvan instruments. The eerie vocals, droning sounds, and mystical percussion are rarely heard in other recordings. One drawback with The Window is the length. There are only four songs at about 40 minutes. However, the songs were recorded in only one afternoon and the group's busy schedule only allowed a limited playing time. Still, the results are quite remarkable. English and Persian liner notes are included. The Window is perfect for Persian, Tuvan, Mongolian, Central Asian, and Sufi music fans. ~ Matthew Forss

CD Review: Urna's 2001 "Jamar"

Urna

Jamar

Trees Music & Art

Mongolia's Urna performs her signature vocals on Jamar. In this case, Mongolia's national instrument, the morin huur (horsehead fiddle), makes an appearance, unlike on her other recordings. In addition, a zither, percussion, and throat-singing is included, too. Jamar is closely aligned with elements of Chinese folk music, which results from Urna's global wanderings over the years. It is an engaging journey, a movie soundtrack, a day on the steppes, and a peaceful river of harmony, style, and rhythm. A particularly interesting track is "Grandmother and I". It features a spritely rhythm, good tempo, folk-roots elements, lively vocals, and catchy sounds. The zither sounds similar in tone to a cross between a piano and acoustic guitar. Jamar is a trans-global recording primarily inspired by the historical roots of Mongolian and Chinese music creations. Urna is easily one of the best recording artists to emerge out of Mongolia. ~ Matthew Forss

CD Review: Tuva's National Orchestra

Tuvan National Orchestra

Independent Release

The Tuvan National Orchestra was formed in 2003. It comprises members of other throat-singing ensembles, including Chirgilchin, Alash, and Tyva Kyzy. The orchestra is now led by director and conductor Ayana Mongush who includes nine compositions released in a limited CD pressing. The contents of songs range from mythical legends to the environment, instruments, and personal longing. Additionally, the Tuvan national anthem is included in the opening track, 'Tooruktug Dolgai Tangdym'. On the whole, orchestral music tends to reflect classical leanings, but the Tuvan National Orchestra melds history with the present to produce very enlightening and contemplative works that are anything but boring. This is a perfect album for anyone interested in throat-singing or traditional music of Central Asia. ~ Matthew Forss

Photo courtesy Tuvan National Orchestra website: www.tuvannationalorchestra.com

CD Review: Alas...Alash!

Alash

Alash

Independent Release

In recent years, a slew of musical abums and compilations devoted to throat-singing from the steppes of Central Asia have graced the stores and charts. Those familiar with Huun Huur Tu, Egschiglen and Hanggai should pick up Alash's self-titled 2007 album of Tuvan throat-singing songs. Alash's ensemble does not incorporate Western instrumentation or modern beats. Instead, they present traditional songs with traditional instrumentation. Moreover, the liner notes detail the types of string and wind instruments used, including igil, kengirge, shynggyrash, limpi, murgu, byzaanchy, and doshpuluur. The instruments evoke images and sounds of nature indicative of indigenous Tuvan surroundings of grasslands, rivers, and animal galloping. At times the vocals seem otherworldly, but that only adds to the mystique of the Tuvan musical culture. The liner notes include a brief introduction to the music, throat-singing styles, and lyric translations from Tuvan to English by Sean Quirk. ~ Matthew Forss

CD Review: Huun Huur Tu and Carmen Rizzo...or Bust!

Huun Huur Tu and Carmen Rizzo
Eternal
Electrofone Music

Huun Huur Tu are throat-singing masters from the Republic of Tuva located in southern Russia. There name can be translated from Tuvan to mean "sunbeams". They have been wowing crowds with their vocal mastery since the early 1990's. The addition of electronic musician, Carmen Rizzo, adds a modern flair to the historical instrumentation of igil (two-stringed instrument), guitar, doshpuluur (lute), flute, byzaanchi (spike fiddle) and drums performed on Eternal. Additional instrumentation is provided on violin, cello, trumpet, cumbus, and bass. "Ancestors Call" is the opening track that begins with an ambulatory drum-beat indicative of galloping horses roaming the taiga. Vocals, although present, are interspersed throughout the album. "Mother Taiga" is an inviting track with all the elements of a great Huun Huur Tu track. Carmen's electronic sounds and ambient backdrops propel the songs into an otherworldly place. Yet, the unfamiliarity is broken by the slightly guttural; but hauntingly beautiful and unmistakable vocals of Huun Huur Tu. Vocals are provided by Kaigal-ool Khovalyg, Sayan Bapa, Radik Tyulyush, and Alexey Saryglar. Eternal is an album that will last for the ages. It's a perfect beginning for those seeking contemporary throat-singing. ~ Matthew Forss

CD Review: Mamer - Eagle

Mamer
Eagle
Real World

Born in China's northwestern Xinjiang province, Mamer has been a pervasive figure in Chinagrass music: a blend of traditional Kazakh folk music and Chinese bluegrass. Mamer plays the guitar, dombra, sherter (plucked lute), Jew's harp, and dabel drum. He is joined by members of his band, IZ, on ghijek, kobyz, and sybyzghy (end-blown flute), as well as Mongolia's Hanggai, Grammy Award-winning musician, Bela Fleck on banjo, and a bonus track by the late-Hector Zazou. On Eagle, the ethnic elements of traditional, nomadic cultures encounter contemporary musical production and innovation. The throaty vocals of Mamer float gently alongside folksy instrumentation. In fact, the whole musical package is aptly named Eagle, because, it soars high like an eagle. Everyone who listens to Mamer will find themselves floating with excitement. It's that good. ~ Matthew Forss