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Dub Qawwali

by

Gaudi

 
Dub Qawwali
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Want to celebrate Six Degrees tenth anniversary? We've got the album for you.

  • We Say...

    San Francisco ethno-eclectico-electronica label Six Degrees turns ten years old this year, and I can't imagine any release marking the occasion better than my favorite new album, Dub Qawwali, a beautifully executed posthumous remixture of qawwali king Nusrat Fateh Ali Khan by the London producer Gaudi. Nusrat died in August 1997 just as Six Degrees founders Bob Duskis and Pat Berry were gearing up to blend the era's burgeoning electronic dance esthetic with regional sounds from around the globe.

    "Wouldn't it be interesting if it wasn't two German guys using tiny little pygmy samples, like on the Deep Forest albums," Duskis recently recalled musing back then. "What if you instead had electronic producers in India blending the music of their homeland with electronic music and music from Africa and Brazil?"

    Gaudi runs with that mandate on Dub Qawwali, adding flutes, strings and tablas to previously unreleased Nusrat vocal tracks from the '60s and '70s, folding them all together into a lilting, echoing sauce of warm analog Jamaican dub production techniques. Gaudi cuts to the melodic core of Nusrat's music, setting into relief blissful South Asian melodies that might otherwise have been overwhelmed by the intensity and passion of the live qawwali experience. Gaudi also artfully steers us to another, subtler Nusrat than we may have thought we knew by recontextualizing him. "Ena Akhiyan Noo" resembles a glorious rub-a-dub opera, and Kraftwerk's slinky 1977 synth-pop classic "The Model" makes a guest appearance in "Dil Da Rog Muka."

  • They Say...

    Over the years, the singing of the world famous qawwal Nusrat Fateh Ali Khan has become a canvas on which a wide variety of admiring musicians and producers have painted their own musical images -- guitarist Michael Brook recorded an album with him, and Khan's work has been remixed by everyone from Black Star Liner to Asian Dub Foundation. The latest celebrant in the Church of Nusrat is the brilliant electro-dub artist Gaudi, whose aptly titled Dub Qawwali takes rare and previously undiscovered vocal recordings of Khan from the '60s and '70s and embeds them in completely new instrumental settings, all of them based on varying styles of reggae, and all of them mixed in a rich, warm dubwise style. The album's high point is its lead track, the softly beautiful "Bethe Bethe Kese Kese." Here Khan is in relatively restrained mode, tenderly crooning a simple melody and avoiding the virtuosic flights of melisma that characterize his more up-tempo work. Gaudi's accompaniment is similarly gentle and caressing. On "Tera Jana Kere Rang Lawe" the melody is drier and the bassline busier; "Dil Da Rog Mka Ja Mahi" benefits from a wet, spacy sound similar to what you might have heard if Lee "Scratch" Perry had moved his Black Ark studio to Mumbai; "Kahin Mot Se Bhi Na Jao" is built on a rockers beat and a sturdily chugging organ part. But on every track, the star of the show is Khan's gorgeous, powerful, and plaintive voice -- this album is ultimately a labor of love and a tribute to the memory of one of the finest singers who ever lived.

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