Slumberland and Sainkho Namtchylak
Lightkeeper
Proper outernational fusion of Tuvan throat singing with the inventive tonalities and rhythmic impulses of Slumberland, produced by Radwan Ghazi Moumneh (Jerusalem in my Heart) for Rabih Beaini’s lesser spotted Morphine Records
Imagine Harry Partch conjuring ritual music with Diamanda Galas and Senyawa and you’re not far off the imaginative thrust of ‘Lightkeeper’, the first collaboration between Belgium’s Jochem Baelus (Slumberland) and female singer of throat music, Sainkho Namtchylak, in the tradition of her native Tuva, north of Mongolia. Bowing in equal parts to krautrock, exotica, avant 4th world, and drone musicks, the release arrives with Morphine’s nod to “expect the rattling drones of motorized chanters grinding against the unearthly sounds of a Siren”, which leaves lots to the imagination and only begins to outline the energies summoned within.
‘Lightkeeper’ is the 3rd Slumberland album and sees the artist getting better acquainted with his custom battery of sewing machines, projectors and dismantled mechanical objets, deployed in a range of beguiling, bilious and outlandish forms. Namtchylak provision idea foil to her collaborator, most explicitly practising throat singing overtones on the keening drone of ‘’Il Widna’ and against the stygian procession of bony percussion in ’Poet’s Beacon’, or most extraordinarily when shredding freestyle over the thunderous ‘Bullroarer’. However the rest depicts her possessed like some spirit creature, variously speaking in tongues on the war-like brass lament of ‘Zarja Zakat Zarja’, and over Konono No.1-esque metallic tonalities in ‘1000 Days’ and the roiling krautrock mass of ‘Dolls Toys’ with inimitable effect.
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Proper outernational fusion of Tuvan throat singing with the inventive tonalities and rhythmic impulses of Slumberland, produced by Radwan Ghazi Moumneh (Jerusalem in my Heart) for Rabih Beaini’s lesser spotted Morphine Records
Imagine Harry Partch conjuring ritual music with Diamanda Galas and Senyawa and you’re not far off the imaginative thrust of ‘Lightkeeper’, the first collaboration between Belgium’s Jochem Baelus (Slumberland) and female singer of throat music, Sainkho Namtchylak, in the tradition of her native Tuva, north of Mongolia. Bowing in equal parts to krautrock, exotica, avant 4th world, and drone musicks, the release arrives with Morphine’s nod to “expect the rattling drones of motorized chanters grinding against the unearthly sounds of a Siren”, which leaves lots to the imagination and only begins to outline the energies summoned within.
‘Lightkeeper’ is the 3rd Slumberland album and sees the artist getting better acquainted with his custom battery of sewing machines, projectors and dismantled mechanical objets, deployed in a range of beguiling, bilious and outlandish forms. Namtchylak provision idea foil to her collaborator, most explicitly practising throat singing overtones on the keening drone of ‘’Il Widna’ and against the stygian procession of bony percussion in ’Poet’s Beacon’, or most extraordinarily when shredding freestyle over the thunderous ‘Bullroarer’. However the rest depicts her possessed like some spirit creature, variously speaking in tongues on the war-like brass lament of ‘Zarja Zakat Zarja’, and over Konono No.1-esque metallic tonalities in ‘1000 Days’ and the roiling krautrock mass of ‘Dolls Toys’ with inimitable effect.
Proper outernational fusion of Tuvan throat singing with the inventive tonalities and rhythmic impulses of Slumberland, produced by Radwan Ghazi Moumneh (Jerusalem in my Heart) for Rabih Beaini’s lesser spotted Morphine Records
Imagine Harry Partch conjuring ritual music with Diamanda Galas and Senyawa and you’re not far off the imaginative thrust of ‘Lightkeeper’, the first collaboration between Belgium’s Jochem Baelus (Slumberland) and female singer of throat music, Sainkho Namtchylak, in the tradition of her native Tuva, north of Mongolia. Bowing in equal parts to krautrock, exotica, avant 4th world, and drone musicks, the release arrives with Morphine’s nod to “expect the rattling drones of motorized chanters grinding against the unearthly sounds of a Siren”, which leaves lots to the imagination and only begins to outline the energies summoned within.
‘Lightkeeper’ is the 3rd Slumberland album and sees the artist getting better acquainted with his custom battery of sewing machines, projectors and dismantled mechanical objets, deployed in a range of beguiling, bilious and outlandish forms. Namtchylak provision idea foil to her collaborator, most explicitly practising throat singing overtones on the keening drone of ‘’Il Widna’ and against the stygian procession of bony percussion in ’Poet’s Beacon’, or most extraordinarily when shredding freestyle over the thunderous ‘Bullroarer’. However the rest depicts her possessed like some spirit creature, variously speaking in tongues on the war-like brass lament of ‘Zarja Zakat Zarja’, and over Konono No.1-esque metallic tonalities in ‘1000 Days’ and the roiling krautrock mass of ‘Dolls Toys’ with inimitable effect.
Proper outernational fusion of Tuvan throat singing with the inventive tonalities and rhythmic impulses of Slumberland, produced by Radwan Ghazi Moumneh (Jerusalem in my Heart) for Rabih Beaini’s lesser spotted Morphine Records
Imagine Harry Partch conjuring ritual music with Diamanda Galas and Senyawa and you’re not far off the imaginative thrust of ‘Lightkeeper’, the first collaboration between Belgium’s Jochem Baelus (Slumberland) and female singer of throat music, Sainkho Namtchylak, in the tradition of her native Tuva, north of Mongolia. Bowing in equal parts to krautrock, exotica, avant 4th world, and drone musicks, the release arrives with Morphine’s nod to “expect the rattling drones of motorized chanters grinding against the unearthly sounds of a Siren”, which leaves lots to the imagination and only begins to outline the energies summoned within.
‘Lightkeeper’ is the 3rd Slumberland album and sees the artist getting better acquainted with his custom battery of sewing machines, projectors and dismantled mechanical objets, deployed in a range of beguiling, bilious and outlandish forms. Namtchylak provision idea foil to her collaborator, most explicitly practising throat singing overtones on the keening drone of ‘’Il Widna’ and against the stygian procession of bony percussion in ’Poet’s Beacon’, or most extraordinarily when shredding freestyle over the thunderous ‘Bullroarer’. However the rest depicts her possessed like some spirit creature, variously speaking in tongues on the war-like brass lament of ‘Zarja Zakat Zarja’, and over Konono No.1-esque metallic tonalities in ‘1000 Days’ and the roiling krautrock mass of ‘Dolls Toys’ with inimitable effect.
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Proper outernational fusion of Tuvan throat singing with the inventive tonalities and rhythmic impulses of Slumberland, produced by Radwan Ghazi Moumneh (Jerusalem in my Heart) for Rabih Beaini’s lesser spotted Morphine Records
Imagine Harry Partch conjuring ritual music with Diamanda Galas and Senyawa and you’re not far off the imaginative thrust of ‘Lightkeeper’, the first collaboration between Belgium’s Jochem Baelus (Slumberland) and female singer of throat music, Sainkho Namtchylak, in the tradition of her native Tuva, north of Mongolia. Bowing in equal parts to krautrock, exotica, avant 4th world, and drone musicks, the release arrives with Morphine’s nod to “expect the rattling drones of motorized chanters grinding against the unearthly sounds of a Siren”, which leaves lots to the imagination and only begins to outline the energies summoned within.
‘Lightkeeper’ is the 3rd Slumberland album and sees the artist getting better acquainted with his custom battery of sewing machines, projectors and dismantled mechanical objets, deployed in a range of beguiling, bilious and outlandish forms. Namtchylak provision idea foil to her collaborator, most explicitly practising throat singing overtones on the keening drone of ‘’Il Widna’ and against the stygian procession of bony percussion in ’Poet’s Beacon’, or most extraordinarily when shredding freestyle over the thunderous ‘Bullroarer’. However the rest depicts her possessed like some spirit creature, variously speaking in tongues on the war-like brass lament of ‘Zarja Zakat Zarja’, and over Konono No.1-esque metallic tonalities in ‘1000 Days’ and the roiling krautrock mass of ‘Dolls Toys’ with inimitable effect.