The Glorious Gongs Of Hainuwele
Upon hearing UK-based Harappian Night Recordings' The Glorious Gongs Of Hainuwele, it is common for people to assume that it is a collage of field-recordings from a varied cast of inhabitants from the non-industrialized parts of the world. Such is the rich depth, vitality and authenticity of the recordings. The music and sounds, however, are created entirely by one man, Dr. Syed Kamran Ali. He has such an instinctive feel for putting seemingly incongruous sounds together and such audacious irreverence in utilizing any instrument or object from around the globe he can lay his hands on, that what he creates is unique. The real miracle, however, is that his attention-deficit, scatter-gun, one-take approach so often works. It's an anarchic buzz of ideas constantly usurping each other. Duelling ouds, whirling mizmars, screeching jouhikkos, tapping finger harps, rumbling monosynths, groaning harmoniums, a fist full of khene, talking gamelan lila derderba popping, giving a bent-backed Dante's ring hell or like an Egyptian civilian army shitting on Eden's skull, or a Cuban guerilla force stepping on Eisenhower's throat, emptying their glorious bladders on his face. And you can dance to it, Tuareg-style. References to Gnawa possession ceremonies, William Morris' early fantasy novels, goddesses sprung from coconuts, anarchist Ukrainian armies, evil eyes, etc., abound.