Author Archives: Sohrab Saadat Ladjevardi

Recommended Nonfiction Film: “DEATH METAL ANGOLA”…?

Death Metal AngolaText by Ned Sublette (from Nedslist)

There’s a nonfiction film playing in NYC this week (and some other cities) that offers a rare view inside Angola, a country that is largely closed to outside reporters.

Jeremy Xido’s Death Metal Angola takes place in Huambo (in the country’s interior, founded as Nova Lisboa, a colonial railroad terminal, in the early 20th century.) Unfortunately for its residents, Huambo was a UNITA stronghold; Jonas Savimbi declared it to be his capital. So it was bombed practically out of existence, from the ground (including street-to-street battles) but mostly from the air, by the MPLA (i.e., by the Angolan government) and was in ruins from about ’94 on. Now the guns are silent; the Angolan Civil War ended in 2002.

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Recommended CD: Yom’s “The Silence of the Exodus”…a hypnotic journey across a mystical desert

16712-860255Artist: Yom
Title: The Silence of the Exodus
Label: Buda Musique
Genre: Eastern European/Klezmer/Sufi music

Recommended by Sohrab Saadat Ladjevardi

The French virtuoso clarinettist Yom takes you on a journey through the history of the Jewish exodus. The Silence of the Exodus tells the story of their departure from Egypt to begin long years of wandering through the Sinai Desert… This is a hypnotic journey across a mystical desert, one where oriental cellos converse with Iranian percussion, the double bass and the clarinet.

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Music vs Visual Arts: “Toward the Unknown” – Yusef Lateef’s Autophysiopsychic Art Work Visits New York

Photo by Dawoud Kringle

Photo by Dawoud Kringle

Venue: White Columns Gallery (NY)
Date: Saturday 8, 2014
Review by Dawoud Kringle

An overlooked element of a legendary legacy is being presented by White Columns Gallery in the West Village neighborhood of Manhattan. Curated by Alhena Katsof, and overseen by Ayesha Lateef, the visual artwork of the master musician, composer, author, artist, philosopher, educator, playwright, and science fiction novelist Dr. Yusef Lateef (1920 – 2013) is being presented in New York City. The title of the exhibition, Towards the Unknown is taken from a recording Dr. Lateef made with composer and percussionist Adam Rudolph.

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Music Listings – 11/17 through 11/23/2014

1. The Mast & East India Youth

Date: Monday, November 17, 2014
Time: 7pm
Venue: Mercury Lounge (217 East Houston St., New York, NY 10002)
Price: $10
Genre: electronic/experimental/pop

The Mast is vocalist and instrumentalist Haleh Gafori and percussionist and beatsmith Matt Kilmer. Merging live electronics, vocals, and percussion, The Mast creates a full-spectrum sonic experience that features “Haleh’s phenomenally powerful, nuanced, and hypnotic voice and Matt’s gorgeous deft beats (both sequenced and live)” (Wompblog). Influenced by early IDM, post dubstep, and experimental beat music as well as acts like Mount Kimbie and Bonobo, The Mast delivers a warm and inviting sound that booms through the subwoofers, propels the body to dance, and soaks the mind in a bath of endorphins.

William Doyle, better known by his stage name East India Youth, is an electronic musician from Bournemouth, England. His first album, Total Strife Forever, was released by Stolen Recordings on 13 January 2014.It was nominated for the 2014 Barclaycard Mercury Music Prize Album of the Year award.

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Recommended 7inch Single: The Paradise Bangkok International Molam Band (Thailand) performing “Nu Molam Music”

Text by Sohrab Saadat Ladjevardi

Another great album release from Zudrangma Records (Thailand): The Paradise Bangkok International Molam Band from Bangkok. They have just returned from a successful Europe tour. Recommended by our friends from Hong Kong Metal Postcard.

Speaking of Molam: Molam is a multi-faceted folk music native to Laos and the predominantly rural Northeastern region of Thailand known as Isan – home to myriad ethnic groups and provinces, and once a part of present-day Laos. Mo meaning “master” and lam meaning “song”, Molam literally translates into “master singer”, but it remains more of an umbrella term covering over a dozen types of lam styles in which male and female singers can be backed by a free-reed bamboo mouth organ called  khaen, indigenous lute-like instruments called phin or the soong, a bowed fiddle called sor and a percussion ensemble featuring finger cymbals and hand drums.

Between the 1970s and 1980s Molam began to be electrified and integrated with Western instruments. When electric bass, effected guitars, electric organs, kit drums and horns played alongside the khaen and the phin. Maybe this is the end of original Molam music  due to the historical development of the music industry and the introduction of modern technolgy,

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