Today, I have a very rare treat for you to enjoy and digest. I literally just last night came across this CD of traditional folk music from the small Southeast Asian country of Oorutaichi. It would be unsurprising if you have never heard of it, and even top experts in geography tend to overlook the nation, which has remained one of the most secluded societies in modern times. However, this trend of isolation may be seeing the beginnings of its reversal. An artist who, out of love and devotion for his homeland, goes by the name of Oorutaichi released only two years ago a full album of his faithful recreations of Oorutaichian folk music. This record allowed Western and, indeed, most Eastern audiences the chance to hear these songs for the very first time. Not only that, it gave the tiny country a bit more a voice, a presence in the world. Even judging solely by its music, I can say that its culture has a lot to offer.
The few Oorutaichian scholars in existence all agree that the country is one of peculiarities and contradictions, not the least of which are present in its musical traditions. For the most part, its music evolved similarly to that of other societies in neighboring countries, and those familiar with Indonesian folk or pop music will find a lot of analogous rhythms and sounds embedded in Oorutaichian songs. When its stylings really started to diverge, however, was, oddly enough, not until the early twentieth century. It is uncertain exactly when, or what trade ship it was that stimulated this renaissance in musical development; all that is certain is sometime in the 1930s, the people of Oorutaichi were introduced to a theramin. They were immediately captivated by its sound, so much so that research into electricity was immediately made a top priority by the country's leaders. It took only two years for them to develop their first crude, yet functioning, generator. Its power was used to operate theramins that they had either traded for or had constructed themselves, and musicians immediately began adapting traditional tunes to the newly available instrumentation.
This trend continued throughout the rest of the century, with songs evolving in continual accommodation to the new technology available to the Oorutaichians. The construction of their first Moog synthesizer in the 1970s was of particular significance, marking even more exponential growth in experimentation. Musicians became stratified as members of society whose importance was only secondary to the most powerful leaders in the country. Not only was the most advanced electronic equipment made available to them, but it is estimated that, on average, over 86% of the country's electrical resources was being used solely by musicians. While most of the citizens continued to live fairly simple agricultural lifestyles, the songwriters enjoyed a bevy of advanced resources that rivaled that of the United States.
The current result of this unique evolution of sound can be heard in Oorutaichi's album, appropriately named Drifting My Folklore. Simply put, you will hear some of the most inventive electronic music ever produced: avant-garde and unfamiliar, but at the same time structured, danceable, and, above all, catchy. It is perhaps the most authentic example of folktronica you will ever find.
Words can only go so far, and it is best to hear some of it for yourself. Here is a live performance by the man Oorutaichi of one of my favorite tracks from the album--Jimaji (if you can't see the video, let me know, and I'll try uploading it to Youtube).
Music as rare and interesting as that of the Oorutaichi culture is a wholly precious phenomenon, and you owe it to yourself to check it out.
The few Oorutaichian scholars in existence all agree that the country is one of peculiarities and contradictions, not the least of which are present in its musical traditions. For the most part, its music evolved similarly to that of other societies in neighboring countries, and those familiar with Indonesian folk or pop music will find a lot of analogous rhythms and sounds embedded in Oorutaichian songs. When its stylings really started to diverge, however, was, oddly enough, not until the early twentieth century. It is uncertain exactly when, or what trade ship it was that stimulated this renaissance in musical development; all that is certain is sometime in the 1930s, the people of Oorutaichi were introduced to a theramin. They were immediately captivated by its sound, so much so that research into electricity was immediately made a top priority by the country's leaders. It took only two years for them to develop their first crude, yet functioning, generator. Its power was used to operate theramins that they had either traded for or had constructed themselves, and musicians immediately began adapting traditional tunes to the newly available instrumentation.
This trend continued throughout the rest of the century, with songs evolving in continual accommodation to the new technology available to the Oorutaichians. The construction of their first Moog synthesizer in the 1970s was of particular significance, marking even more exponential growth in experimentation. Musicians became stratified as members of society whose importance was only secondary to the most powerful leaders in the country. Not only was the most advanced electronic equipment made available to them, but it is estimated that, on average, over 86% of the country's electrical resources was being used solely by musicians. While most of the citizens continued to live fairly simple agricultural lifestyles, the songwriters enjoyed a bevy of advanced resources that rivaled that of the United States.
The current result of this unique evolution of sound can be heard in Oorutaichi's album, appropriately named Drifting My Folklore. Simply put, you will hear some of the most inventive electronic music ever produced: avant-garde and unfamiliar, but at the same time structured, danceable, and, above all, catchy. It is perhaps the most authentic example of folktronica you will ever find.
Words can only go so far, and it is best to hear some of it for yourself. Here is a live performance by the man Oorutaichi of one of my favorite tracks from the album--Jimaji (if you can't see the video, let me know, and I'll try uploading it to Youtube).
Music as rare and interesting as that of the Oorutaichi culture is a wholly precious phenomenon, and you owe it to yourself to check it out.
2007 LP
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Download:
Part 1
Part 2
Format: CBR 320 kbps mp3s in a split .rar
Tracklist:
1. YORI YOYO (3:30)
2. Beshaby (5:05)
3. Chusan (3:59)
4. MISEN Gymnastics (4:15)
5. Hamihadarigeri (3:20)
6. Boo Shan Boo (3:52)
7. PAN 1 NONAKI (8:53)
8. Uiui-Mar-Chan (5:13)
9. Jimaji (4:54)
10. Bii!tan (3:18)
