Anouar Brahem’s ‘Thimar’ sets memories reeling into motion

Updated 17 May 2018
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Anouar Brahem’s ‘Thimar’ sets memories reeling into motion

  • Brahem’s sparse, maqam themes offer a skeleton frame for collective sound-scaping of the most intuitive kind:

ROTTERDAM, Netherlands: I can distinctly remember the first time I heard Anouar Brahem’s playing because the circumstances were so cinematically odd. As a wanderlust-struck student sitting in a café in Tangier, Morocco, a sketchy-looking local struck up a rapport and insisted on taking me to a nearby pirate CD shop, where he demanded the owner put on his favorite album.

The sounds which spiraled from the speakers were magical — a spellbinding swirl of oud, woodwind and percussion unlike anything I’d ever heard before. I bought the album on the spot. It was called “Madar” and was co-credited to Tunisian oud virtuoso Anouar Brahem. 

May 18th marks the 20th birthday of “Thimar,” arguably the most enduring recording of Brahem’s glittering, three-decade international career. Brazenly paired alongside two distinguished English jazzmen — bassist Dave Holland and saxophonist/clarinetist John Surman — the “transcultural” conceit exemplifies Brahem’s restless mission to transplant Arabic classical music traditions into an international, improvisational context.  

Brahem’s sparse, maqam themes offer a skeleton frame for collective sound-scaping of the most intuitive kind: Holland’s low growls and Surman’s plaintive cries a sympathetic sonic foil to the oud’s meditative meandering.

Tellingly, Brahem’s is the last voice to be heard, the oud only appearing half-way through the eight-minute opener “Badhra.”

There’s something special about the sparseness of “Thimar,” democratically colored by three largely monophonic instruments, like three wise men in a conversation. 

This is music to think to, not think about — sounds which fire up the synapses and set memories reeling into motion.   

 


Muse: Singer-songwriter Gaya talks storytelling and creativity

Updated 27 May 2018
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Muse: Singer-songwriter Gaya talks storytelling and creativity

DUBAI: Dubai-based singer-songwriter, vlogger and content creator Gaya (Gayathri Krishnan) talks storytelling, creativity, and experimentation in a conversation with Arab News.

If you want your voice heard, build your own microphone, your own channel, your own soapbox. When you’re young you feel like the world owes you a stage, a chance, a shot. But with time you realize that the dream opportunity, whatever it is, the surest way to get there is to create that opportunity for yourself.

Music inspires me to do most things in my life. It really sets the tone for everything I do and I am. My exploration as a creative person started with music, but over time it has taken me into the spaces of film and design. Whatever the medium, though, a need to be creative and tell a story is what drives me.

Getting into the vlogging space has been extremely rewarding as it has a semblance of the immediacy that a live performance has; you’re connecting with people in real time and you’re breaking the third wall and putting yourself out there. The space feels familiar to me and brings together all my loves — music, shooting and editing films, and telling stories.

I don’t see my work as separate from my life or who I am. It is a very intrinsic part of my existence, so being creative is something I’m engaged in most of the time. I’m proud of having figured out how to make a living by doing all the things that I love and not having to limit myself to doing only one thing or being only one thing.

A lot of my work is autobiographical to some degree. It gives me great joy to be able to have a record of my life and be able to stay present in the moment through the pursuit of my work. I love that I am the boss of my own time and have the privilege and pleasure of working for myself. Most of all, I love that the intent of any idea that I work on is to be able to connect with people on an emotional level.

Every time I travel, I feel like I’m getting to live an alternate reality. I try to have an experience as close to a local as possible, making sure to carve out days to do the mundane things I would do in my own city. This really feeds my creative process in so many ways and many unfinished songs have been completed during my travels. I love traveling for extended periods of time as opposed to short trips because I feel like the best songs and writing come from that pivot point between comfort and discomfort. And when I travel, that oscillation is constant and really gets my creative juices flowing.

I move from project to project with a certain level of uninhibitedness. This somehow leads people to believe that everything I do is locked into some of kind of well-thought out strategy, but in reality every day is pretty much an experiment.

The biggest influence on me as a person has been watching my parents’ love and appreciation for music while I was growing up. Their ability to take anything we were listening to and appreciate every note, every nuance, every instrument, the timbre of the singer’s voice… It was a masterclass in music appreciation. It taught me and my siblings at an early age about the value of art and creativity in the world and how much of a two-way street it is: That as much as one must create for oneself, a perceptive audience is an essential part of any art form made for public consumption.

I admire any artist who isn’t afraid of going against what they set out to do when they started. I think the biggest disservice you can do to yourself as an artist is to say, “I do this one thing.” As great as it is to have a signature style that distinguishes you, it also important to not let it box you in.

My husband is also my music producer. In our relationship, the music came before the love and the marriage, so music has sort of been the cupid in our story. I think what makes it work is that I have always felt an immense sense of trust with him as a producer; that he too, wants the best for these songs. So when we’re both setting out with the same intention, everything else is gravy. We have learned to communicate well with each other and are able to both stand our ground, have both our voices heard and still love each other no matter how heated the creative arguments may get.

There’s still such conditioning around what a woman ought to be and what her role is, and it’s the root of so many problems. “Ambition” in a woman, for example, is seen firstly as something that needs to be talked about or pin-pointed and secondly, and most annoyingly, as some kind of negative, cut-throat thing; a quality that shouldn’t be possessed by women. I’m hoping to continue to voice my opinion when I feel like I’m being boxed into some archaic idea of what a woman ought to be.

A lot of men seem to be shaken and a bit confused about how they figure in a world where women are demanding their rightful place in various spheres. Very few men are happy to engage in a dialogue about this without feeling like we are on opposite sides of the table, but by getting involved they can help move the needle as opposed to drawing more lines in the sand. We need to get on the same page to actually move forward.