Sussan Deyhim & Richard Horowitz
The Invisible Road: Original Recordings, 1985–1990
Sussan Deyhim & Richard Horowitz
The Invisible Road: Original Recordings, 1985–1990
Boomkat Product Review:
If you heard Richard Horowitz's mind-blowing 'Eros In Arabia', you'll be well prepared. Freedom to Spend has dug out a suite of unheard early material from the NYC composer made with Iranian-American artist Sussan Deyhim, and it's a revelation - properly spannered downtown experimentation that casts Deyhim's ornate vocal melodies against a backdrop of Horowitz's big-brained electronic expressions. Whether you're into Kate Bush's 'Hounds of Love', Laurie Anderson's 'Excellent Birds'or Byrne and Eno's 'My Life in the Bush of Ghosts', this one's a doozy.
Deyhim left Tehran in 1980, when she moved to New York and began collaborating with a slew of experimental greats, from Ornette Coleman to Peter Gabriel. But her most enduring partnership was with Horowitz, who featured her on 'Eros In Arabia' before working together on a slew of albums together, including the recently reissued 'Desert Equations: Azax Attra' in 1985, and 1996's milestone 'Majoun'. 'The Invisible Road' catches Horowitz and Deyhim right in the middle of their prolific downtown period, poolin a selection of their most vital unheard rarities from the original reels, and remixing and remastering them. It's some of the duo's most self-consciously experimental material - which is not doubt why it's remained in the archives for so long - and shows the breadth of their process as they figure out a completely idiosyncratic sound together. Horowitz brought with him not just a background in jazz (he played with Anthony Braxton, among others, back in the '70s), but an interest in electronic music and folk he nurtured while he lived in Morocco. Deyhim meanwhile was well versed in traditional Persian sounds, and their echoes the contemporary Iranian scene, inspired by the modernist poet and filmmaker Forugh Farrokhzad.
This fusion begins to coalesce into a coherent soundscape on the brief opening track 'Siren and Secrets', when Horowitz stacks Deyhim's poignant vocal takes into a coiling chorus, but comes into full view on 'Craving Your Embrace', a sultry slice of wyrd Persian downtown pop. Horowitz's production - all translucent skittering FM shards and sloped syn drums - is on another level, both of its time (we can hear traces of his later collaborator Ryuichi Sakamoto, for one) and completely in its own zone. And it marries remarkably well with Deyhim's soaring incantations, that seem to melt like butter over Horowitz's percussive rolls. The title track is even more convincing, and more forward thinking, when Deyhim's affecting chants and wails are sculpted into convulsive drones, pitched down by Horowitz until they're unearthly utterances, and lavished with echo and reverb that begins to ghost them into Grouper territory.
Elsewhere, the duo expand on the downtown era's high camp with theatrical screamers like 'There's No Romance, You're So Extreme' and 'Monkey See, Monkey Do', but the most shocking stuff on here are the three 'Smelting Loop' tracks, that pick up where the Fourth World-influenced 'Eros in Arabia' left off. Deyhim's voice is vaporized comlpetely on 'Smelting Loop 6', transformed into celestial pads that hover over Horowitz's rubber tuned drum hits, and on 'Smelting Loop 2', she quivers in the foreground, letting Horowitz's rickety rhythm and sparkling FM bells help widen the aspect ratio. Everything's brought into focus on 'Smelting Loop 1', where the beat tightens into a clattering swing, and Deyhim commands attention, singing eerie lullabies that drape lavishly over Horowitz's peculiar muddle of electro-pop chimes and off-kilter rips. We really can't fathom why this material's stayed under lock and key for so long - but we're eternally grateful yet again to Freedom To Spend for making sure it gets the release it's always deserved. Massive recommendation!
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Boomkat Product Review:
If you heard Richard Horowitz's mind-blowing 'Eros In Arabia', you'll be well prepared. Freedom to Spend has dug out a suite of unheard early material from the NYC composer made with Iranian-American artist Sussan Deyhim, and it's a revelation - properly spannered downtown experimentation that casts Deyhim's ornate vocal melodies against a backdrop of Horowitz's big-brained electronic expressions. Whether you're into Kate Bush's 'Hounds of Love', Laurie Anderson's 'Excellent Birds'or Byrne and Eno's 'My Life in the Bush of Ghosts', this one's a doozy.
Deyhim left Tehran in 1980, when she moved to New York and began collaborating with a slew of experimental greats, from Ornette Coleman to Peter Gabriel. But her most enduring partnership was with Horowitz, who featured her on 'Eros In Arabia' before working together on a slew of albums together, including the recently reissued 'Desert Equations: Azax Attra' in 1985, and 1996's milestone 'Majoun'. 'The Invisible Road' catches Horowitz and Deyhim right in the middle of their prolific downtown period, poolin a selection of their most vital unheard rarities from the original reels, and remixing and remastering them. It's some of the duo's most self-consciously experimental material - which is not doubt why it's remained in the archives for so long - and shows the breadth of their process as they figure out a completely idiosyncratic sound together. Horowitz brought with him not just a background in jazz (he played with Anthony Braxton, among others, back in the '70s), but an interest in electronic music and folk he nurtured while he lived in Morocco. Deyhim meanwhile was well versed in traditional Persian sounds, and their echoes the contemporary Iranian scene, inspired by the modernist poet and filmmaker Forugh Farrokhzad.
This fusion begins to coalesce into a coherent soundscape on the brief opening track 'Siren and Secrets', when Horowitz stacks Deyhim's poignant vocal takes into a coiling chorus, but comes into full view on 'Craving Your Embrace', a sultry slice of wyrd Persian downtown pop. Horowitz's production - all translucent skittering FM shards and sloped syn drums - is on another level, both of its time (we can hear traces of his later collaborator Ryuichi Sakamoto, for one) and completely in its own zone. And it marries remarkably well with Deyhim's soaring incantations, that seem to melt like butter over Horowitz's percussive rolls. The title track is even more convincing, and more forward thinking, when Deyhim's affecting chants and wails are sculpted into convulsive drones, pitched down by Horowitz until they're unearthly utterances, and lavished with echo and reverb that begins to ghost them into Grouper territory.
Elsewhere, the duo expand on the downtown era's high camp with theatrical screamers like 'There's No Romance, You're So Extreme' and 'Monkey See, Monkey Do', but the most shocking stuff on here are the three 'Smelting Loop' tracks, that pick up where the Fourth World-influenced 'Eros in Arabia' left off. Deyhim's voice is vaporized comlpetely on 'Smelting Loop 6', transformed into celestial pads that hover over Horowitz's rubber tuned drum hits, and on 'Smelting Loop 2', she quivers in the foreground, letting Horowitz's rickety rhythm and sparkling FM bells help widen the aspect ratio. Everything's brought into focus on 'Smelting Loop 1', where the beat tightens into a clattering swing, and Deyhim commands attention, singing eerie lullabies that drape lavishly over Horowitz's peculiar muddle of electro-pop chimes and off-kilter rips. We really can't fathom why this material's stayed under lock and key for so long - but we're eternally grateful yet again to Freedom To Spend for making sure it gets the release it's always deserved. Massive recommendation!
Boomkat Product Review:
If you heard Richard Horowitz's mind-blowing 'Eros In Arabia', you'll be well prepared. Freedom to Spend has dug out a suite of unheard early material from the NYC composer made with Iranian-American artist Sussan Deyhim, and it's a revelation - properly spannered downtown experimentation that casts Deyhim's ornate vocal melodies against a backdrop of Horowitz's big-brained electronic expressions. Whether you're into Kate Bush's 'Hounds of Love', Laurie Anderson's 'Excellent Birds'or Byrne and Eno's 'My Life in the Bush of Ghosts', this one's a doozy.
Deyhim left Tehran in 1980, when she moved to New York and began collaborating with a slew of experimental greats, from Ornette Coleman to Peter Gabriel. But her most enduring partnership was with Horowitz, who featured her on 'Eros In Arabia' before working together on a slew of albums together, including the recently reissued 'Desert Equations: Azax Attra' in 1985, and 1996's milestone 'Majoun'. 'The Invisible Road' catches Horowitz and Deyhim right in the middle of their prolific downtown period, poolin a selection of their most vital unheard rarities from the original reels, and remixing and remastering them. It's some of the duo's most self-consciously experimental material - which is not doubt why it's remained in the archives for so long - and shows the breadth of their process as they figure out a completely idiosyncratic sound together. Horowitz brought with him not just a background in jazz (he played with Anthony Braxton, among others, back in the '70s), but an interest in electronic music and folk he nurtured while he lived in Morocco. Deyhim meanwhile was well versed in traditional Persian sounds, and their echoes the contemporary Iranian scene, inspired by the modernist poet and filmmaker Forugh Farrokhzad.
This fusion begins to coalesce into a coherent soundscape on the brief opening track 'Siren and Secrets', when Horowitz stacks Deyhim's poignant vocal takes into a coiling chorus, but comes into full view on 'Craving Your Embrace', a sultry slice of wyrd Persian downtown pop. Horowitz's production - all translucent skittering FM shards and sloped syn drums - is on another level, both of its time (we can hear traces of his later collaborator Ryuichi Sakamoto, for one) and completely in its own zone. And it marries remarkably well with Deyhim's soaring incantations, that seem to melt like butter over Horowitz's percussive rolls. The title track is even more convincing, and more forward thinking, when Deyhim's affecting chants and wails are sculpted into convulsive drones, pitched down by Horowitz until they're unearthly utterances, and lavished with echo and reverb that begins to ghost them into Grouper territory.
Elsewhere, the duo expand on the downtown era's high camp with theatrical screamers like 'There's No Romance, You're So Extreme' and 'Monkey See, Monkey Do', but the most shocking stuff on here are the three 'Smelting Loop' tracks, that pick up where the Fourth World-influenced 'Eros in Arabia' left off. Deyhim's voice is vaporized comlpetely on 'Smelting Loop 6', transformed into celestial pads that hover over Horowitz's rubber tuned drum hits, and on 'Smelting Loop 2', she quivers in the foreground, letting Horowitz's rickety rhythm and sparkling FM bells help widen the aspect ratio. Everything's brought into focus on 'Smelting Loop 1', where the beat tightens into a clattering swing, and Deyhim commands attention, singing eerie lullabies that drape lavishly over Horowitz's peculiar muddle of electro-pop chimes and off-kilter rips. We really can't fathom why this material's stayed under lock and key for so long - but we're eternally grateful yet again to Freedom To Spend for making sure it gets the release it's always deserved. Massive recommendation!
Boomkat Product Review:
If you heard Richard Horowitz's mind-blowing 'Eros In Arabia', you'll be well prepared. Freedom to Spend has dug out a suite of unheard early material from the NYC composer made with Iranian-American artist Sussan Deyhim, and it's a revelation - properly spannered downtown experimentation that casts Deyhim's ornate vocal melodies against a backdrop of Horowitz's big-brained electronic expressions. Whether you're into Kate Bush's 'Hounds of Love', Laurie Anderson's 'Excellent Birds'or Byrne and Eno's 'My Life in the Bush of Ghosts', this one's a doozy.
Deyhim left Tehran in 1980, when she moved to New York and began collaborating with a slew of experimental greats, from Ornette Coleman to Peter Gabriel. But her most enduring partnership was with Horowitz, who featured her on 'Eros In Arabia' before working together on a slew of albums together, including the recently reissued 'Desert Equations: Azax Attra' in 1985, and 1996's milestone 'Majoun'. 'The Invisible Road' catches Horowitz and Deyhim right in the middle of their prolific downtown period, poolin a selection of their most vital unheard rarities from the original reels, and remixing and remastering them. It's some of the duo's most self-consciously experimental material - which is not doubt why it's remained in the archives for so long - and shows the breadth of their process as they figure out a completely idiosyncratic sound together. Horowitz brought with him not just a background in jazz (he played with Anthony Braxton, among others, back in the '70s), but an interest in electronic music and folk he nurtured while he lived in Morocco. Deyhim meanwhile was well versed in traditional Persian sounds, and their echoes the contemporary Iranian scene, inspired by the modernist poet and filmmaker Forugh Farrokhzad.
This fusion begins to coalesce into a coherent soundscape on the brief opening track 'Siren and Secrets', when Horowitz stacks Deyhim's poignant vocal takes into a coiling chorus, but comes into full view on 'Craving Your Embrace', a sultry slice of wyrd Persian downtown pop. Horowitz's production - all translucent skittering FM shards and sloped syn drums - is on another level, both of its time (we can hear traces of his later collaborator Ryuichi Sakamoto, for one) and completely in its own zone. And it marries remarkably well with Deyhim's soaring incantations, that seem to melt like butter over Horowitz's percussive rolls. The title track is even more convincing, and more forward thinking, when Deyhim's affecting chants and wails are sculpted into convulsive drones, pitched down by Horowitz until they're unearthly utterances, and lavished with echo and reverb that begins to ghost them into Grouper territory.
Elsewhere, the duo expand on the downtown era's high camp with theatrical screamers like 'There's No Romance, You're So Extreme' and 'Monkey See, Monkey Do', but the most shocking stuff on here are the three 'Smelting Loop' tracks, that pick up where the Fourth World-influenced 'Eros in Arabia' left off. Deyhim's voice is vaporized comlpetely on 'Smelting Loop 6', transformed into celestial pads that hover over Horowitz's rubber tuned drum hits, and on 'Smelting Loop 2', she quivers in the foreground, letting Horowitz's rickety rhythm and sparkling FM bells help widen the aspect ratio. Everything's brought into focus on 'Smelting Loop 1', where the beat tightens into a clattering swing, and Deyhim commands attention, singing eerie lullabies that drape lavishly over Horowitz's peculiar muddle of electro-pop chimes and off-kilter rips. We really can't fathom why this material's stayed under lock and key for so long - but we're eternally grateful yet again to Freedom To Spend for making sure it gets the release it's always deserved. Massive recommendation!
Mixed and mastered from the original multitrack reels. Includes a 12 page booklet containing liner notes, photographs and unseen ephemera.
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Boomkat Product Review:
If you heard Richard Horowitz's mind-blowing 'Eros In Arabia', you'll be well prepared. Freedom to Spend has dug out a suite of unheard early material from the NYC composer made with Iranian-American artist Sussan Deyhim, and it's a revelation - properly spannered downtown experimentation that casts Deyhim's ornate vocal melodies against a backdrop of Horowitz's big-brained electronic expressions. Whether you're into Kate Bush's 'Hounds of Love', Laurie Anderson's 'Excellent Birds'or Byrne and Eno's 'My Life in the Bush of Ghosts', this one's a doozy.
Deyhim left Tehran in 1980, when she moved to New York and began collaborating with a slew of experimental greats, from Ornette Coleman to Peter Gabriel. But her most enduring partnership was with Horowitz, who featured her on 'Eros In Arabia' before working together on a slew of albums together, including the recently reissued 'Desert Equations: Azax Attra' in 1985, and 1996's milestone 'Majoun'. 'The Invisible Road' catches Horowitz and Deyhim right in the middle of their prolific downtown period, poolin a selection of their most vital unheard rarities from the original reels, and remixing and remastering them. It's some of the duo's most self-consciously experimental material - which is not doubt why it's remained in the archives for so long - and shows the breadth of their process as they figure out a completely idiosyncratic sound together. Horowitz brought with him not just a background in jazz (he played with Anthony Braxton, among others, back in the '70s), but an interest in electronic music and folk he nurtured while he lived in Morocco. Deyhim meanwhile was well versed in traditional Persian sounds, and their echoes the contemporary Iranian scene, inspired by the modernist poet and filmmaker Forugh Farrokhzad.
This fusion begins to coalesce into a coherent soundscape on the brief opening track 'Siren and Secrets', when Horowitz stacks Deyhim's poignant vocal takes into a coiling chorus, but comes into full view on 'Craving Your Embrace', a sultry slice of wyrd Persian downtown pop. Horowitz's production - all translucent skittering FM shards and sloped syn drums - is on another level, both of its time (we can hear traces of his later collaborator Ryuichi Sakamoto, for one) and completely in its own zone. And it marries remarkably well with Deyhim's soaring incantations, that seem to melt like butter over Horowitz's percussive rolls. The title track is even more convincing, and more forward thinking, when Deyhim's affecting chants and wails are sculpted into convulsive drones, pitched down by Horowitz until they're unearthly utterances, and lavished with echo and reverb that begins to ghost them into Grouper territory.
Elsewhere, the duo expand on the downtown era's high camp with theatrical screamers like 'There's No Romance, You're So Extreme' and 'Monkey See, Monkey Do', but the most shocking stuff on here are the three 'Smelting Loop' tracks, that pick up where the Fourth World-influenced 'Eros in Arabia' left off. Deyhim's voice is vaporized comlpetely on 'Smelting Loop 6', transformed into celestial pads that hover over Horowitz's rubber tuned drum hits, and on 'Smelting Loop 2', she quivers in the foreground, letting Horowitz's rickety rhythm and sparkling FM bells help widen the aspect ratio. Everything's brought into focus on 'Smelting Loop 1', where the beat tightens into a clattering swing, and Deyhim commands attention, singing eerie lullabies that drape lavishly over Horowitz's peculiar muddle of electro-pop chimes and off-kilter rips. We really can't fathom why this material's stayed under lock and key for so long - but we're eternally grateful yet again to Freedom To Spend for making sure it gets the release it's always deserved. Massive recommendation!
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