Erran Baron Cohen’s life
changed one night, at the Astoria, in London, when he heard Pain In
Full, by Eric B & Rakim, and remixed by Coldcut. As he recognised
the voice of legendary Israeli singer Ofra Haza, the song was for him a
complete revelation. Already familiar with the traditional Jewish melodies
contributing to his family’s heritage, he had, a few years earlier, discovered
the beats of the burgeoning hip-hop culture, and was now contemplating
the idea of merging both genres; Zohar was born. In 1997, as he was about
half way through recording his first album, he met Andrew Kremer. The new
friends realised how similar their interests were, and Kremer became the
second permanent member of Zohar.
Onethreeseven follows
Zohar’s first album, Elokainu, which, if released on a small scale,
back in 1999, became an underground favourite in London clubs such as China
White, Momo or Megatropolis. Benefiting of a wider release, Onethreeseven
is likely to reach a much wider audience. Zohar offer here an array of
contemporary beats and ancient forms of singing. Incorporating Jewish Cantors,
Arab Meuzzins, Byzantine chants and operatic voices, Baron Cohen and Kremer
work on the singularity of vocal techniques and their spiritual or religious
meaning. For the connoisseurs, this album refers to, and features, some
of the biggest names in the Middle East, including Pierre Pinchik on the
beautiful opening track, Ehad, Oum Kalthoum (Angel), Bimi
Mint Abba (Harmony) or Zavaha Ben on the title track. It is not
necessary to know anything about any of these cultures to enjoy this album
though, as the power of the vocal performances and the precise production
prove to convey the deeply emotional significance of this record brilliantly.
Zohar mix the complex Middle Eastern musical instrumentations with western
influences, ranging from jazz or classical to hip-hop and drum’n’bass,
and create some magnificent waves of chilled music, sometimes reminiscent
of the peaceful ambiences of a Zero 7 or any of
the Buddha Bar series. Highlights of this album include the stunning opener,
Ehad, the magnificent Elokainu and The Merciful One,
both tracks offering some of the most intense singing heard, as well as
Angel and Maroc.
With Onethreeseven,
Zohar transcend the notion of World music, allowing access to ancient forms
of music by wrapping them up around contemporary structures. Although the
contrast is strong, Zohar don’t disfigure nor destroy the intrinsic emotional
or spiritual message of these traditional melodies.
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