Hear Azam Ali & Loga R. Torkian interviewed tonight on Echoes.
An album that is sure to be in the Echoes Top 25 for 2013 is Azam Ali and Loga R. Torkian ‘s Lamentation of Swans, a Journey into Silence. They used to be in two different bands. Torkian played guitar in the Persian fusion band, Axiom of Choice and Ali was half of the world fusion duo, Vas. They got together romantically and musically and formed the Persian electronica band, Niyaz. Now they’re a married couple with a five year old child and they’ve released their first album as a duo. It’s called Lamentation of Swans, a Journey into Silence. Tonight on Echoes I go quietly with Azam Ali and Loga R. Torkian.
HIGHLIGHTS
Azam Ali on her Iranian roots: Wherever you’re born, that’s where your roots are. And you can live your whole life in foreign countries, but that connection to where you are will always remain.
Loga R. Torkian on discovering the guitarviol: As soon as I played the first note I knew this is a magical instrument. And I told him in 10 minutes, Jonathon [Wilson], can you build one for me?
Azam Ali on her imaginary language: There is a certain value to making it sound like a language because just the human mouth is capable of so many different kinds of sounds. And when you add the syllables it changes the texture of a melody. It breaks the note in a particular way, it affects the kind of ornaments you can use, and in so doing, there are so many emotions that can be experienced.
John Diliberto (((echoes)))
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Biomusique – The 10,000 Steps – Echoes
June 19, 2008You’ve heard the voice of Lisbeth Scott. You may have picked up on one of her solo singer-songwriter albums like Dove or heard her calling the heavens in gothic chants with State of Grace. But it’s more likely you’ve encountered her in dozens of film soundtracks. She sang fantasy refrains in The Chronicles of Narnia, wailed behind Bruce Willis‘s travels with the dead in The Sixth Sense, escaped danger with Harrison Ford in the latest Indiana Jones film, and sang laments in John Williams’ score for Munich.
It’s that side of Lisbeth Scott that turns up on the debut album of Biomusique, a collaboration with Greg Ellis. He’s highly regarded as a percussionist who works in films, plays with Billy Idol and Juno Reactor, and was the rhythm half of the Persian fusion duo, Vas, with singer Azam Ali.
In fact, songs like “Ohroo,” will remind you of Vas as Ellis plays a mountain dulcimer with mallets, recalling Azam Ali’s hammered dulcimer playing with Vas.
But with Lisbeth Scott, he’s found a different kind of collaborator. On The 10,000 Steps, she brings a classical sensibility and a gentle feel to songs that read like haiku. “The Tender Green” mixes Ellis’s tribal drums with Scott’s layered, serene vocals, intoning “There is a world somewhere, way up high, way down deep.” It builds to a slow, erotic throb that resolves to a tribal coda.
Like a Rumi poem or an Abbess Hildegard von Bingen chant, Scott’s spare lyrics can be heard as love poems or hymns to a higher spirit. The opening “Ananda” finds her calling out passionately in despair and anguish. “Caeili et Terra” (Heaven & Earth) is a lament with Scott’s voice stacked up in Enyaesque choirs.
Greg Ellis has placed the instruments in a delicate balance that matches Scott’s lyrics. On “Redemption, Lisbeth Scott just sits down and plays piano in a pensive, Arvo Pärt-like meditation while Ellis blows some disarmingly affecting trumpet, like an elegy for Miles Davis.
Their name might sound like the product of a scientific gene splice or music created by plugging into plants, but Biomusique is much more about human souls than earth souls.
You can hear a review of Biomusique with sound samples. Their CD of the Month feature show will run on Echoes on Monday, June 2 and an interview with Biomusique can be heard on Tuesday, June 24
© 2008 John Diliberto
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Tags:Biomusique, Vas
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