Arushi Jain - Delight

First published in Songlines Magazine issue 196, April 2024.

Arushi Jain
Delight
Leaving Records (43 mins)

With 2021’s Under the Lilac Sky, Arushi Jain announced herself as a gifted alchemist of electronica and Hindustani music through her mastery of modular synthesizers and classically-trained singing. The concept then was sunsets; now she turns her focus to her personal philosophy of ever-present delight, to be found wherever one seeks it.

This whole album is an exploration of Raga Bageshri, with its implications of love and longing, but the classical element is diffused within flows of downtempo and ambient techno. Jain adds acoustic instruments to her soundscape for the first time – strings, saxophone, flute and marimba all evolve through production to become extensions of the synths. Her voice, too, is warped with a dreamy, reverb-heavy treatment. The distinction between acoustic and electric is never quite clear, the organic and synthetic working together as one organism.

There is a surreal joy inherent in this music, a wonder at all the creative, positive futures we can imagine for ourselves, echoing the ‘utopian scholastic’ aesthetic that will give 90s kids a healthy dose of nostalgia. The optimism is so refreshing! It’s such a feeling of relief. With the world out of balance in so many, seemingly ever-increasing ways, an album that revels in and radiates so much positivity is… well, it’s a delight.

Emahoy Tsege-Mariam Gebru - Souvenirs

First published in Songlines Magazine issue 196, April 2024.

Emahoy Tsege-Mariam Gebru
Souvenirs
Mississippi Records (36 mins)

The world lost a unique composer with the passing of Emahoy Tsege-Mariam Gebru at the age of 99 last year. Her beguiling piano melodies that mix Ethiopian and European classical and religious music marked her as a true original. Now, Souvenirs shows a different side of her music.

This is the first full release of Tsege-Mariam’s vocal music, home recordings of her singing her own songs in Amharic, accompanied by that unmistakable piano. Recorded in Addis Ababa between 1977 and 1985, these are special recordings, and emotional ones too – one need only listen to the opener ‘Clouds Moving on the Sky’ to feel it. We also hear some of her most Ethiopian moments here: ‘Ready to Leave’ is a tizita, a song of wistful yearning and loss, and it’s almost as if the piano takes the role of a giant krar lyre.

These are lovely songs. However, whether it is because of the lyrics-focussed nature of these pieces or the less-optimal quality of the amateur recordings, this set doesn’t quite give the revelatory, otherworldly experience of Tsege-Mariam’s solo piano works. Nevertheless, Souvenirs remains a special, touching album that adds to the beautiful legacy of a much-missed musical genius.

Mukdad Rothenberg Lankow - Just Leave It All Behind

First published in Songlines Magazine issue 196, April 2024.

Mukdad Rothenberg Lankow
Just Leave It All Behind
Clermont Music (41 mins)

Music doesn’t have to have words in order to say something. Just Leave It All Behind sees three instrumentalists coming together to improvise for peace.

This is the second album from a group collaboration that has been bubbling for years. Each participant is multiply-hyphenate in their work: Wassim Mukdad is a doctor, an oud player and an anti-torture campaigner; David Rothenberg is a professor of philosophy, a clarinettist and an interspecies sound artist; Volker Lankow is a nurse, a percussionist and an aid worker for Médecins sans Frontières. Together, their music-flow touches the worlds of Levantine classical, jazz, acoustic-ambient and even blues.

Although the album is entirely instrumental, its music is inextricably entangled with the importance of human rights and the trio’s yearning for peace – for which this release is as timely as any. In the accompanying notes, the artists say ‘these improvisations represent the belief that art can help us get beyond the darkest impulses of humanity.’ However, the end result feels less provocative than that mission statement implies. The musicians and their abilities combine well – this would undoubtedly be a lovely collaboration to experience live, but in an album setting it somewhat lacks a coherent through-narrative. This set is a clarion call for human good, with multiple beautiful moments, but perhaps not as powerful as its message deserves.