Olchey - Boyduska Yorel (SKMR​-​022)

by Olchey

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about

Tuvan traditional music has won itself a special place in the music world. First of all, it is characterized by highly developed art of throat-singing. It is easy to see the relation of it to throat singing used in Tibetan Buddhism, while some scholars point that this manner of sound creation dates back to the first attempts of mankind to speak. It is these attempts that have become extinct in most of the world but still live on as geographically limited heritage which only regains its legacy in the past few years.

It is not that throat singing survived only in Tuva. In the surrounding Siberian and Central Asian regions and even in Africa there are similar techniques. However, from large concert halls to remote pastures, throat singing was a symbol of Tuvan identity from the first half of 20th century at the very latest. But Tuvans boast not only the widespread ability to throat sing. It is also a highly developed art which includes at least 3 major genres (sygyt, khoomei and kargyraa) and several common subgenres, as well as popular personal styles that become nationally popular due to the modern media like tapes or radio waves, that confer every new development of this art onto the nomadic farmers or local artists throughout the mountanous republic much faster than a celebrated singer is able himself.

This record is a response to the growing worldwide attention towards Tuvan music. It mixes Tuvan traditional songs and contemporary ways of rhythmic organization, that are rooted in house, chill out, and ambient music.

This CD is a message that uses the contemporary elements of club culture to better communicate the feeling of the near-isolated people living in close contact with nature and preserving their centuries-old culture, to the audience accustomed to big city soundscape and urban civilization.

Pulses of many of Tuvan songs are surprisingly very much like house, and the voice of Ayan-Ool sometimes goes together with synthesizers as naturally as it would have with igil fiddle. This creates the unique feeling of Boyduska Yorel, both contemporary and traditional.

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Тувинская народная музыка занимает особое место среди этники…
В первую очередь, благодаря уникальной технике горлового пения, берущего свои истоки в буддийских традициях. И, несмотря на то, что подобные способы звукоизвлечения есть и в других культурах, именно у тувинцев они представлены наиболее полно (сыгыт, хоомей, кыргыраа и другие стили горлового пения). Видимо, этим и объясняется интерес к тувинской культуре во всём мире.
Эта пластинка – микс тувинских песен с современными ритмами house, созерцательным настроением chillout и ambient. Своеобразная попытка передать средствами современной музыкальной культуры отношение к жизни этого небольшого народа, хранящего свои традиции вдали от индустриальных мегаполисов, красоту природы этого края, практически не затронутого всепоглощающей цивилизацией.
Пульс многих тувинских песен очень естественно ложится на биты house, а голос Аян-Оола временами переплетается со звуками современных синтезаторов и всё это создаёт неповторимое звучание этой пластинки.

credits

released October 10, 2005

Ayan-Ool Sam -- piano (7), igil (1, 6, 7), doshpulur (3), throat singing (2, 3, 4, 5, 6), khoomei (2, 3), sygyt (2, 3), vocal (4, 5, 6, 7)
Georgy Beletsky -- vocal (6), throat singing (2, 3, 6), sygyt (2, 3)
Andrey Plotnikiv -- arrangement, mastering
Oleg Kalyadintsev -- flute (1)
Sholbana Dendzyn -- music (5)

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Аян-о Оол Сам - фортепиано (7), игил (1, 6, 7), дошпулур (3), горловое пение (2, 3, 4, 5, 6), хоомей / khoomei (2, 3), сыгыт / sygyt (2, 3), вокальные (4, 5, 6, 7)
Георгий Белецкий - вокал (6), горловое пение (2, 3, 6), сыгыт (2, 3)
Андрей Плотников - аранжировки, звук, мастеринг
Олег Калядинцев - флейта (1)
Шолбана Дендзин - музыка (5)

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