Pot Pourri

Nadah El Shazky – Les Damnes Ne Pleurent Pas
Nadah El Shazky; Various Artists
Asadun Alay Records (asadunalayrecords.bandcamp.com)

The British-Moroccan independent film director Fyzal Boulifa released his latest film, Les Damnés ne Pleurent Pas (The Damned Don’t Cry) in 2022. Already the winner of several awards, it is scheduled for release with English sub-titles in the near future. The music for the film was created by the Cairo-based composer, producer and vocalist Nadah El Shazly, and the vast majority of it is performed by a trio consisting of violin, double bass and electronically modified harp played by Nicolas Royer-Artuso, Jonah Fortune and Sarah Pagé respectively; El Shazly provides the vocals on one track, Adi. 

For a gritty mother-son drama set in Morocco, one might expect the film to feature some plaintive, evocative, Arab-scented music and you will find some lovely, complex examples of that on such tracks as Mausoleum, Haircut and End Credit. Special mention here goes to El Shazly’s deeply satisfying vocals on Adi and to beautifully effective moments where some non-Western tuning turns the harp into a sort of folk instrument. There are other tracks, however, like Claustrophobic Love and Fight with Auntie, that get quite darkly disturbing with Fortune’s expert bass roaring away like a raging bear. I’m a big fan of music that walks the line between strangeness and beauty and I’m sure these tracks work well in the context of the film, but just for listening, they’re pretty challenging. Still, you’ll find much interesting and evocative music on this disc, beautifully played and branching out in so many satisfying directions. I look forward to watching the film.

Editor’s Note: Montreal’s Asadun Alay Records is the brainchild of noted producer-musician Radwan Ghazi Moumneh and Amélie Malissard of act·art·mgt. The label was launched in late 2022 with Safala by acclaimed Lebanese electronic music producer, DJ and performer Liliane Chlela.

The Curious Badger
Marc van Vugt
Baixim Records BR F533 (marcvanvugt.com)

Many music fans can listen to a great deal of acoustic guitar without realizing how distinctive these instruments can be. For example, I’ve played several acoustic guitars for friends who are surprised by the differences among a mid-sized Collings OM (“orchestral model”), a larger Martin dreadnought or a 1956 Gibson archtop. Marc van Vugt pushes these acoustic differences to a very happy extreme with The Curious Badger, where he lists the nine guitars used on the album’s 12 tracks. 

The title piece features aggressive and rhythmic strumming on a Guild 12-string, showcasing its bold and open sound. Back to the Market Square is slower and sweeter, featuring a Lowden baritone guitar, which has a gorgeously full resonance. Black Belt has many exciting and jazzy runs and features van Vugt’s overdubbing of two guitars: a nylon string and an archtop. This piece is a virtuoso work with the guitars switching from rhythm to lead and several runs are played together adding to the excitement. Van Vugt is an excellent guitarist and each of the pieces is unique and compelling. It is a bonus that the album credits contain the complete list of guitars and tracks so that we can truly appreciate each instrument’s unique sonic properties.

Listen to 'The Curious Badger' Now in the Listening Room

Distancia
Solidaridad Tango
3AM FISH RECORDS 3AMFR02 (solidaridadtango.ca)

Toronto-based Aparna Halpé is a Sri Lankan-Canadian tango violinist, arranger and composer with over a decade of experience in the traditional Argentinian form. In early COVID-time 2021, she founded Solidaridad, an all-female Toronto tango ensemble comprised of Valeria Matzner (vocals), Halpé and Suhashini Arulanandam (violins), Esme Allen-Creighton (viola), Sybil Shanahan (cello), Shannon Wojewoda (bass), Elizabeth Acker (piano) and special guest Eva Wolff (bandoneon).   

Halpé’s English lyrics are not in traditional tango Spanish. Thu opening track’s intense spoken poem Winter’s Coming sets up the tango. The moving recitation And I Have Been Looking is about the deaths of three indigenous women. The closing poem The Dance with unexpected background subtle instrumental held notes, gives thanks to indigenous peoples and land acknowledgements. 

Solidaridad expands tango soundscapes throughout. Argentinian Petalo Selser’s complex Deriva’s opening traditional tangos develop into the low string groove as other instruments play percussive beats, held notes, high pitched strings with slides, melodic conversations, a short slow section and closing rhythmic cadence. Wolff’s arrangement of José Dames’ Fuimos features a comforting calm bandoneon with technically challenging musical tango flavours in varying tempos. In YYZ, Halpé takes on arranging her self-described tango homage to the rock instrumental by Rush’s Geddy Lee and Neil Peart with contrasting Sri Lankan folk music and rhythms in riveting tango/rock sounds with alternating loud and quieter sections, rhythmic banging, faster repeated melody, slow final crash and closing laughter!!

Inspired by COVID grief to exuberant happiness, Solidaridad’s “Toronto tangos” are perfect!

Listen to 'Distancia' Now in the Listening Room

Ancestor Song
Janice Jo Lee
Independent (janicejolee.ca)

Multi-instrumentalist and vocalist Janice Jo Lee has had seven years between albums, during which time she has peeled away several layers of her former self in order to lay bare her spiritual, political, cultural and environmental bones. Lee, a well-known artist in both Kitchener and Toronto, is more than music. A poet, folk artist, improvisor, facilitator, creator and comedy workshop leader, she is nearing the height of her powers in this latest album, a beautiful collaboration with another Ontario native, producer JoJo Worthington.

Overture: Ancestral Song opens the album with a medley similar to the opening of a musical, leading into Oil in the Grand, a story of contamination on the Grand River, with beautiful vocal harmonies. Here I am is Lee’s statement of her new anthem of taking space and commanding control of her own power. Moonlight Tide is fun and slightly campy, featuring Lee’s poetic lyrics and vocal range. She Looked like Me is a folk-inspired gem about her ancestral Korean heritage, but could be an anthem to anyone feeling disconnected from their own lineage. Swim Forever features Korean lyrics to a strongly rhythmic melody and features the beautiful flugelhorn playing of Rudy Ray (probably my favourite track on the album). The jazzy Crumpled Heart Unfolding and Account Ability, the folksy Child Inside and her vocal looping on Take Space, the catchy Ancestral Song itself, and the power rock-inspired closer Patient as the Land will give you the vast range of Lee’s style, skill and passion.