Ragamuffins: Baraka Moon and "Raga Bayragi"

Raga Bayragi - with Baraka Moon from Ken Adams on Vimeo.


Today's randomtune is a fusion of Indian raga and Sufi trance music. Raga Bayragi is by Baraka Moon, a Pakistani, Indian, Australian, American band which fuses the above with didgeridoo, global drums and guitar to create music that transcends boundaries. Legend has it that they were founded on the night of a full moon eclipse in 2008. Raga Bayragi can be found on their 2011 CD Baraka Moon.

Listen to songs like this and more on the KUNM Global Music Show every Monday night from 10 pm - 1 am Mountain Standard Time. Live streaming, program information and the two-week digital archive can be found at http://www.kunm.org.

Source: http://www.barakamoon.com/home.html

Entrancing: Niyaz and "Hejran"

Today's song is by Niyaz, an Iranian-Canadian musical duo created in 2004. Their music is a mixture of Sufi mysticism and trance electronica, and adapts Persian, Indian and Mediterranean poetry, songs and folk with Western electronica. They write their own songs, and also adapt lyrics from poets such as Rumi, Obeyd-e Zakani, Amir Khusrow and Khaju-ye Kermani and source folk material from Iran, Afghanistan, Pakistan, the Middle East and parts of Asia. They sing primary in Urdu and Persian, and occasionally in Turkish. This song, Hejran, can be found on their 2008 album Nine Heavens.

Who's That?: Baraka Moon and "Allah Hoo"

Take a little Indian raga and add a generous helping of Sufi trance music and you have our random tune today. Allah Hoo is by Baraka Moon, a Pakistani, Indian, Australian, American band which fuses the music listed above with a dash of didgeridoo, global drums and guitar to create music that transcends boundaries. Legend has it that they were founded on the night of a full moon eclipse in 2008. Allah Hoo can be found on their 2011 CD Baraka Moon.

Trancy Pants: Baraka Moon and "Raga Bayragi"

Raga Bayragi - with Baraka Moon from Ken Adams on Vimeo.

A fusion of Indian raga and Sufi trance music provides the basis for our random tune today. Raga Bayragi is by Baraka Moon, a Pakistani, Indian, Australian, American band which fuses the above with didgeridoo, global drums and guitar to create music that transcends boundaries. Legend has it that they were founded on the night of a full moon eclipse in 2008. Raga Bayragi can be found on their 2011 CD Baraka Moon.

Entrancing: Cheb i Sabbah and "Raja Vedalu"

Question: Is trance music of the nineties roughly similar in its goals and effects to the psychedelic music of the 60s and 70s? From what I've read, the answer would suggest yes. Psychedelic music of the sixties developed out of a culture that was clearly into experimentation and usage of drugs such as LSD, and the music was often played by people who were taking these drugs and translating their experiences into music, and the music was in turn listened to by people who were also using drugs and getting not only a chemical but an aural high all at the same time. The music was also known for bringing in new instrumentation, particularly Indian instruments such as the sitar and tabla, as well as using other techniques such as looping, phasing, backward taping and lots of reverberation.

In turn, in the 1990s as electronica became more popular in music, many of these techniques were also used along with repeating melodies, and usually a fast beat though not always. Trance music was also used to replicate the effects of the drug Ecstasy, or X, by amplifying inner peace, self acceptance, heightened mood and euphoria, intimacy and love for others, insight, introspection and clarity, self confidence, desire, drive, motivation, energy, endurance, alertness, awareness, awakening, empathy, compassion and forgiveness while diminishing aggression, hostility, fear, anger and insecurity. Trance music is supposed to do all of this without the harmful effects of drug usage. Glow sticks are also a big part of the trance music scene.

Despite both psychedelic music and trance music having an association with drug usage, I think that they stand well on their own. I certainly like both, and the fact that they have a similar history doesn't surprise me.

The random tune today is a trancy kind of composition from DJ Cheb i Sabbah called Raja Vedalu. Sabbah, who died in 2013 at age 66, was a DJ, composer and producer that combined Asian, Arabic and African sounds. Born Serge el Beze, he was Algerian of Jewish and Berber descent. Born into a family of musicians, he moved to Paris as a teenager and began DJing in 1964, working primarily in American soul records. In 1984, he moved to San Francisco and took the name Cheb i Sabbah which means "young of the morning." He was nominated in 2006 for the BBC's World Music Award in the Club Global category, and he was known for concerts featuring live musicians, dancers and massive projections that backed up his electronic music. He died of stomach cancer in November of 2013 in San Francisco. Raja Vedalu can be found on the Shiva Rea's compilation CD Nataraja (2006) and other compilations as well. It has also been remixed and mashed up a few times.

Grain for the Harvest: Inna Zhelannaya and "The Wheat"

Here in Albuquerque, in the depths of the summer heat, it's hard to think about fall right now.  Temperatures range into the 90s, and even over 100 F yesterday.  For most of my childhood, my life was spent in three seasons: summer, winter and spring.  My hometown, because it is in a mostly conifer belt, did not have the explosion of fall colors that characterize many of the other regions of the United States.  It wasn't until I moved to the Midwest after college that I saw fall colors in their true glory, and fall remains a spectacular affair that seems all too brief to me.

I also grew up in timber country, not farmland, so the fall harvest of grains was not part of my life.  Yet driving through the fields of the Midwest in the fall, the tall grains like wheat waving in the late fall breezes, shining reddish-golden in the late afternoon sun, is something that I still remember.  There is a calm peacefulness about it, with brief signs of the coming winter as the threshers take the wheat, the leaves begin to turn, and the sun goes down earlier each day.  While I didn't grow up in that type of environment, I can still appreciate it for what it is.

In the same way, I can appreciate Inna Zhelannaya's song The Wheat.  I did not grow up with a lot of electronica in the music that I listened to, but rather was fed on a steady diet of rock and pop.  I am a relative latecomer, in my 40s, to the appreciation of the electronic enhancements that can be applied to music and now at 50 find myself hearing a lot of it on the world music scene.  The Wheat is not an overly electronic song, but instead layers a landscape that befits wheat that is about to harvested, with Zhalannaya's haunting voice overlaying the music like the coming thresher - not grim or even frightening, but inevitable.

Inna Zhelannaya was born in Moscow in 1965 and grew up studying music in school and singing in choir.  After finishing primary school, she attended a music college.  After school, she participated in a number of bands in the 1980s and 90s.  Most notable among these bands was Alliance, which won Radio France International's Best Eastern European album in 1994.  However, soon after Zhelannaya had to leave the band to give birth to a child.  She returned after with a new band called Farlanders, which released three albums.  As of 2013, she has a new band and has released three solo albums.  In her solo work, she reworks old Russian folk songs, some as old as 1000 years, with electronica, trance and progressive rock.  Because of her efforts, and the popularity of her albums, she has been called the "first world music star of Russia."

The Wheat is from Zhelannaya's album Winter, released in 2009, which marked a new direction for Zhelannaya - her voice intricately interacting with electronica and sound design.