Aquarian Weekly, Give Me a Beat >>
by Derek Beres
The common image of the gypsy, in western thought, is exotic, mysterious, often sexually promiscuous. So it follows their music would be similar, an abstract fusion of esoteric ritual and campfire anthems reserved for lonely wayfarers. Given the gypsy heritage of travel this may, on the surface, appear feasible. Of course, we are well aware of modern romanticism--Hollywood movies and Republican government only two examples--but gypsy music is much more realistic, and accessible, than one may imagine.
Originating in North Central India circa 300 BC, the gypsies found their way through Persia, settling in scattered residencies en route to Eastern Europe. Making their living in trade, and, as often noted, divination, they were viewed as unclean, unchaste bands content living outside the restrictions of established communities. Their music paralleled this lifestyle, often focused on love, cooking food and the weariness of travel.
Such an existence today seems impossible, but even with constant advances in technology the root remains: Be it on horseback or coach seat, by foot or air, wanderers still traverse the earth on an auditory ambassadorship. Bringing the sounds of traditional gypsy and klezmer tradition to a global audience, France's Les Yeux Noirs are among the best.
Taking their name from an old Russian gypsy tune made popular by Django Reinhardt, Les Yeux Noirs ("The Black Eyes") are finally finding global audiences, touring in support of their fourth album, Balamouk (World Village). An exquisitely textured, richly modern offering of chaotic violins, cellos, accordions, and driving drums and bass rhythms, this may not be their parents' music, but it is certainly a step forward.
"I don't think we have music in our blood," says Oliver Slabiak, violinist and vocalist. "But our parents need us to play music. It was their dream, so we began playing classical music for 15 years. Now it would be impossible for us to play classical music because we don't have the concentration to do that. It's a very hard life. It's very intellectual, but we love the violin and the music and the possibility of playing music. One day we discovered this gypsy music with our uncle and we remembered our grandmother singing Yiddish lullabies. It's a mix of remembering, of dream, and of fantasy, of playing traditional music with pop culture, because it's our culture."
Dubbed "the boyband of a lost era" by the Bangkok Post, Les Yeux Noirs would have no problem thrashing and demolishing the pop mentality of western radio. Their live show is one long infusion of traditional and energetic futurism. Oliver, joined by brother Erik (also on violin and vocals) are charismatic and musically talented, threading scorching violin solos atop a calm backdrop of accordion and cimbalom-laden melody. Most of the band sits, quiet and consumed, while the brothers ravage the stage with new traditionalism.
"Music is a language, really," comments Erik. "It's a passport for us, and we want to explain our music. It's not traditional music; we play our music like we play rock music. We do the arrangement we want, we can do what we want, here we do some melody and we can do everything we want around it."
Rock is an understatement. One would never expect music borrowed from wedding ceremonies and acoustic travels to be so blaring, to infect so deeply a rhythmic groove, but this boyband knows differently. Balamouk marks their first experimentation with electric guitars and drum loops, and B-side club remixes have already been released. Inspired by a plethora of sources, from the aforementioned music of their family to David Bowie and Portishead, the album's name is indicative of their unique soundscape. A Romanian word meaning "house of the insane," Balamouk fits Les Yeux Noirs to a tee.
"A lot of us are a little mad," admits Oliver. "When we pick out the album we always joke with the word 'balamouk."
"We work with a gypsy from Romania, and he always says this word," Erik continues. "It was exactly the feeling we had when we pick up this album. Everything is very new for us: the sound, instruments, playing with electronics, sampling and loops. It makes us very crazy, and we love this feeling."
Currently marketed as a "gypsy/klezmer" band, the brothers don't find the klezmer tag as relevant. Definitely intrigued on an early trip to America, they have integrated klezmer elements into their regiment, though the style's dependence on wind instruments like the clarinet and tuba is a far cry on their bass-driven grooves of the moment. "The difference is klezmer music is more for wedding party than our Yiddish music," says Erik.
The parallels between the styles, however, are fitting. The nomadic gypsies, as noted, were considered rambunctious and odd, with little morals. This is contrary to the strict rules of modesty and chastity observed by women, as well as the communal court and policing systems structured into their bands.
Klezmer, in origin, suffered similar misinterpretation. Many municipalities limited their players to certain hours of play, finding the brash sounds of clarinets and brass instruments annoying and blasphemous. The style assimilated into wedding ceremonies considered "safe" in its reserved context. Ironically, Jews often joined gypsies during these ceremonies, as both artistic classes were united by disparate economics.
Les Yeux Noirs are using digital means to push these sounds past ceremonial confinement. Much like Nusrat Fateh Ali Khan bringing qawwali music from Pakistani rituals to international stereos, these French-bred madmen are loosing their evolutionary tunes on an equally-insane world. Just wrapping up two extensive U.S. tours, their musical passport is affording them to see the planet, as well as giving the planet an opportunity to learn what modern nomads look, and sound, like. Again ironically, they had to travel to America to find an audience fitting of their anything-goes, rock-and-gypsy style... "[American audiences are] very expressive, they participate from the beginning," muses Erik. "The first song they are standing up and dancing. In France they are seated and they wait to the end of each song to clap their hands. They are moving maybe six songs before the end, because they are very classical public. All the public, in Hollywood or Los Angeles, they were not so young but they participate from the beginning and they move a lot and like to shout. It's very nice to play for this public." 11/27/02
|
