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YAIMA’s music is interwoven with intention and acknowledgment for the elementals. Their music is reminiscent of well known music groups such as Purity Ring, Massive Attack, Bjork, Portishead, Wildlight, Emancipator and Lulacruza. 2014-presentĬreating a deeply captivating and finely tuned container for their audiences- YAIMA (Mas Higasa and Pepper Proud) allow the listener the opportunity to Journey through Sonic Soundscapes traversing sensually stimulating and heart centered compositions deeply inspiring each listener to return to their truth. “It’s become more sophisticated, more-dimensional, and much more relevant to current music sensibilities.YAIMA is a Cascadian Elemental & Alchemical Electronic Music Duo based in Seattle WA. “Gradually, over the years, the sound has shifted,” reflects former manager and co-producer of their 2010 release, Ancestors Call, Vladimir Oboronko. This experience, along with their role as the heart of a new kind of chamber orchestra, has guided much of their music following that project.

#Yaima nectar lounge how to

By working closely with Rizzo on Eternal (GreenWave, 2009), the members of Huun Huur Tu got a taste of how to create electronic soundscapes around traditional material. While the quiet influence of minimalism can be felt in the group’s newest approach to “Chyraa-Khoor,” a traditional Tuvan song, but with a contemplative Philip Glass-esque undercurrent.Īnother, similarly harmonious collaboration with a very different kind of musician came when the group worked with producer Carmen Rizzo (Niyaz, Seal, Paul Oakenfold, Ryuichi Sakamoto). Martynov’s background in Russian Orthodox music, other non-Russian music from Central Asia, as well as his embrace of everything from mid-century minimalism to rock operas to Renaissance polyphony, made collaboration easy and inspiring for Huun Huur Tu. In 2011, Huun Huur Tu collaborated with prominent Russian composer Vladimir Martynov, who drew on the works by the visionary early 20th-century avant-garde poet Velimir Khlebnikov to create Children of the Otter (forthcoming as a DVD on GreenWave), a 70-minute piece for chamber orchestra, choir, and Tuvan ensemble. The most recent member to join the group, Radik Tyulyush, a third-generation throat-singer, talented multi-instrumentalist, and conservatory trained composer, added a dose of youthful energy and rhythmic complexity recalling good old American funk. Well-established as “world music” masters, Huun Huur Tu has long been involved in pushing the envelope and digging deep into their roots to find new possibilities. They sparked a boom in Tuvan and other throat-singing, lute-strumming ensembles from Central Asia that have been the mainstays of global music festivals.īeing the first (and arguably the most skillful) has its advantages. They’ve wowed audiences in both Americas, Europe, Asia, Australia, and Africa, eliciting surprised remarks after one festival show in Kenya that they played with the same ”soul” as local musicians. They toured the world, gaining fans and inspiring overtone singers. They made groundbreaking traditional recordings that put their home on the map. Yet the group also had the musical savvy and the chops to take their traditions far from the slopes and valleys of Central Asia. Hailing from the high pastures of the Altai Mountains in south central Siberia, the musicians have spent decades honing the overtone singing, instrumental approaches, and vibrant songs of their home. Using traditional instruments and drawing subtly on 20th-century composers, funky rhythms, and the palette of electronica, Huun Huur Tu transform ancient songs into complex acoustic compositions.Īs they began touring in the West seventeen years ago, Huun Huur Tu almost single-handedly introduced the outside world to the boundless wealth of Tuvan traditions, thanks in great part to their superior musicianship. The Tuvan acoustic quartet Huun Huur Tu prove that Tuvan music can take plenty of intelligent innovation. The descendents of isolated Siberian herdsmen make serious, strangely universal music out of some of the planet’s quirkiest acoustics. The repeated thrum of a string against wood and hide turns into a meditative, evocative figure straight from the avant garde. The whistling of the high-mountain wind creates eerie overtones and postmodern statement.