Chattanooga Pulse

Written by Ernie Paik
Wednesday, 27 August 2008 20:24
2008 Believer Music Issue CD
Various Artists

(McSweeney’s)

One thing that makes me cringe in a typical record store is seeing a small section labeled “world music” used as a catchall for pretty much anything not from the Western world. The lumping and the separation are both bothersome, although I admit it makes sense somewhat for reasons of convenience in a place like East Tennessee where, say, Ethiopian CDs aren’t exactly flying off the shelves.

On the CD included with the July/August issue of The Believer, this separation is acknowledged and even labeled in its accompanying article: MABELs are “Musicians of American, British, or [Western] European Lineage” and ANABELs are “Artists Not of American, British, or [Western] European Lineage.” The good thing that the CD illuminates, though, is that the musical separation between these two categories is shrinking.

By including tracks from both camps, the CD demonstrates how ANABELs directly influence MABELs, sometimes very clearly and sometimes more delicately. The CD begins with the entrancing “Ansari” from Tartit, a Saharan nomadic rock band, with fluid guitar lines; it’s followed by “Winters Love” by Animal Collective (who acknowledge their appreciation of Tartit) with a subtle African influence. Two American bands, Gang Gang Dance and Sholi, are represented as aficionados of the vocalist Googoosh (”Queen of Persian Pop”) who enjoyed huge success in Iran before Khomeini’s ban on female singers. Sholi’s contribution is an adept Googoosh cover, exuding mystery with nervous drumming and nimble playing; Gang Gang Dance’s original track is a compelling jumble of Middle Eastern scales and synthetics, and “Makhloogh” from Googoosh is included, a ’70s orchestral pop track that shows off her nuanced voice.

In the case of this project, a song is worth a thousand words; we’re told that Dirty Projectors borrow singing techniques from Bulgarian women’s choral music, but actually hearing both back-to-back provides clarity. The same goes for High Places, whose track bears a Laotian influence, and Skeletons of the Kings of All Cities, who incorporate the swinging rhythms of ’60s/’70s Ethiopian music. It’s a well-executed examination, both informative and entertaining; while it holds up as a standalone compilation, surely it was intended to be a starting point for further musical explorations. And who knows? Maybe the next time I go into a record store, I’ll see Googoosh filed right next to the Goo Goo Dolls.