A Gorgeously Dark Album of Adventurous, Psychedelic Afghani Rubab Music From Quais Essar

by delarue

Today’s album is on the shortlist of the best this blog has received over the past couple of years that were patiently waiting their turn on the hard drive here. Qais Essar, whose axe is the Afghani rubab lute, may not be a household word, but he’s attracted the attention of a whole slew of western musicians. His latest album The Ghost You Love Most is streaming at Bandcamp. On one hand, it’s pretty exotic compared to the bands whose artists play on it. On the other, it’s not that far removed from the Turkish psychedelia or, for that matter, some of the rock-ish sounds that came out of Iran in the 1960s and early 70s.

He opens it with The Culmination of a Sorrowful Life, a spare, slow, haunting anthem that’s practically a Nashville gothic ballad. Christopher Votek’s cello and Arc Iris keyboardist Zach Tenorio–Miller’s organ add elegaic lustre behind the stately rhythm section of Godspeed You! Black Emperor’s Thierry Amar on bass and Ray Belli on drums. The ending is even more surreal: they take it doublespeed, making quasi-bluegrass out of a lick seemingly ripped straight from lite-jazz guy Grover Washington Jr.

Essar’s rubab ripples, weaves and flurries frantically throughout the album’s swaying title track, spiced by delicate textures from Kamaljeet Alhuwalia on santoor and Cenk Erodgan on fretless guitar.

Journey to Qaf begins as a chilling, Lynchian dirge, Sheela Bringi’s harp contrasting with the resonance of the cello and Essar’s spare, broodingly emphatic phrasing. They eventually pick up the pace, but never so much that they manage to leave the shadows behind.  Rhitom Sarkar contributes a lingering alap (improvisation) on Indian slide guitar to open Sohini Surf, then Essar takes over and they motor along with a muted surf beat.

The group slow down again for The Simurgh, Essar’s steady, banjo-like lines, echoed by Erodgan’s shivery melismatics over Justin Gray’s stately, rising bass veena. They end the album with a gorgeously bittersweet, pastorally-tinged wordless ballad. It’s music to get completely lost in.