Vladiswar Nadishana
Takku Ta Tei
Reviews
author: World
Music Central
One of the most pleasant discoveries
of 2006, thanks to social networking site Myspace, is Berlin-based Russian
multi-instrumentalist Vladiswar Nadishana. He has released several self-produced
CDs on his own label. Takku Ta Tei was recorded earlier, in 2000. On this
album Vladiswar Nadishana uses dreamlike electronics and sequences combined
with distant wind instruments, Asian strings, frame drums, Indian vocals
and echoing sounds.
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Really
interesting, enjoyable and also surprising.
author:
Gerald Van Waes
Vladiswar Nadishana plays on this
release a whole number of instruments of which many I've never heard,
and some not under their original names. He plays bansuri, or Indian flute,
tabla, manjira, or Indian hand cymbals, "yeioing" bamboo flute,
a self built flute in semitone scale, kalyaka, or Russian overtone flute,
zhaleka, or Russian reedpipe, gayda, or Yugoslavian/Thracian bagpipe,
khomus, or Ancient Jew's harp, nidlaphon, a self built instrument consisting
of a needle and pen used to drum the cymbal, wind and stringed ghost catchers,
or some self-built overtone instrument, morchang, or Indian jew's harp
(see here), dzuddahord, or a self built kind of sitar-guitar (see here),
bananng, or preparated beer- and coffee-tins, pruzhingum, or a self-built
prepared gamelan-like instrument, and many more percussion instruments,
cencaki, or "junkphones", musical instruments made from junk,
computer, and I also heard a few vocal samples. Some sounds of instruments
I cannot recall, like the strange pipe-like sound as if sampled to play
with keys or programming with a computer as some arrangement on "Umbetombi
Embio". Vladiswar shows a very specific flute style which might be
influenced by Slavic traditions (they have lots of different flutes in
their traditions, fitting with the wide landscapes and huge forests and
mountains), but just a few times the flute playing leans to Irish themes,
even when the context is different. And he also is a talented colourist
on percussion. The music on this CD is said to contain influences of Bulgarian,
Indian, Arabian, Kuzhebarian and Russian musical traditions. I heard for
instance a mixture of Middle Eastern with jazz and other ethnofolk on
"Something behind" with rather progressive touches. In general
one can say that Vladiswar's music has much of an all-world attitude and
he succeeds to make even a modern blend, gaining even more identity through
his approach, inspired through the creative core from several traditions.
Really interesting, enjoyable and also surprising...
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