In grad school, at least in my grad school, they did their best to, as politely as they could, shove world music down your throat. This has interesting consequences. As hard to believe as this is, not all world music is good. In fact, most of it is bad. Because the phrase “world music” covers, like, 90% of music. It would be really weird if all of it was good.
Maybe because I grew up listening mostly to some strange combination of jazz, Arabic music, and my school bus driver’s favorite R&B top 40, I don’t tend to go nuts for music just because it has a world beat. Great, this uses maksum, how awesome. It’s still just another bad rap track. I mean, don’t get me wrong, the very first time I heard Big Pimpin I flipped out, but a young half-Syrian kid can only handle so much.
What I’m saying is that it’s easy to write off world music as something kitschy, or some kind of gimmick, and sometimes you’d be right. This happens even in the world of academic chamber music… but not even remotely in the case of Rhein Percussion. Rhein means “to flow”, and they seriously do. This album grooves, regardless of how uneven the meter might look on paper, and it does so in a natural, authentic-but-super-fresh manner. They flow seamlessly between improvisation, complex tala and electronics, sometimes combining all three at once.
These guys played on my recital, and many have since said their performance was a highlight. Rhein Percussion consists of a core group of CalArts drummers, with a rotating cast of collaborators. The tracks on their self-titled debut are all composed, mixed, and recorded by ensemble members and friends. Their signature sound combines world rhythms and instrumentation with drum set, and some truly profound soundscapes emerge. Amir Oosman, as I’ve said before on this blog, is a master kit player. Dan Ogrodnik’s knowledge of hand drumming styles knows no bounds. Josh Carro, it’s been rumored, must now carry around an extra set of tablas because the ones he’s playing sometimes spontaneously burst into flames of ecstasy.
On two tracks, Brian Foreman‘s unique brand of electronics and live processing casts the group’s already modern sound into a deep, dark future filled with buzzy beats and rhythmic surprises that modern live electronic production so often lacks. Other collaborators who should blow your mind just by seeing them all on one album: Matthew Clough-Hunter on gamelan, drummers Sean Fitzpatrick and Etienne Rivera, and Ryan Bancroft, Rusty Kennedy, and Andrew Rowan on conch shell. How cool is that?
When the electronics fade, this excellent album rounds out with a couple live performances. The ensemble has already started performing around Los Angeles, just recently at the awesome Blue Whale with the world famous Hands On’Semble, and they were even featured a coveted slot on the 2013 CalArts Jazz CD. Take a listen below, follow them on Facebook, and name your price for their album on Bandcamp.