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Yoshihiro Hanno invites us to take part in a comprehensive storytelling
session. He gathers some expressive voices around him who are skillful
contributors to the art of narration – just like the Japanese producer
himself.
Setting up an array of soundmarks to be followed continuously, with ears
wide open, Radiq supplies a reduced framework of themes and subjects
where guests are welcome to get involved in. They are here to
accompany Hanno's visions, to leave their own impressions, to deliver
various ingredients of personal flavour, to provide some very special and
unexpected aromas to the story of ‘Eastern Hemisphere EP’.
Displaying a sophisticated funkiness like in "Brown Chase" and "Waiting
for My Man", Radiq takes us on a trip on a serpentine road under a clear
crystal sky with uncountable stars that mark the progression of the beat.
A true gentleman, his work follows the rules of understatement. His
productions are of a certain hypnotic quality which makes the listeners
feel like being spellbound. Every now and then the tracks appear to be
close to bursting out,
but they always keep their decency by strictly following the storyline.
However, a storyline of surprises.
Driven by a percussive impetus which incorporates both a relaxed and
carried-away play of the Tablas, "Cashmir" unites an Asian view on
electronic, hypnotic meditation with lively African chants to create a
friendly culture clash. Japan, India and Morocco are quite close here, as
if there is no physical distance. Is it any wonder that Margaret Dygas
opens the space wide again to gain an illusion of distance, allowing her
psychedelic elements to breathe? Her extremely reductive approach is of
artificially calculated colourfulness and beyond reality.
Travelling to the "Eastern Hemisphere" with the flow of the continuing
story brings us back a full scale of sensations: kidnapping the listeners
on a dusty road to bliss, the track develops to become a breathtaking
epic. Three raconteurs from Casablanca present their skills here:
Hassan opens the view to the horizon with his Rbab play, an Arabic onestringed
violin, which soon enters into a dialogue with the Arabic guitar
Oud performed by Salim. Along the persuasive drive of the beat,
Rachid's percussive accompaniment conducts a serious dance move.
Surprisingly, the trip develops to an almost New Music-influenced full
string drama that delivers an insight into the unfathomable depths of the
soul. A true professional, Thomas Melchior steps forward to keep (the
seriousness on) a solemn level. Here's the opportunity to drive straight
forward through the night without thinking of tomorro – because there's
no need to think, just feelings: feelings lost in the trance of the desert.
But then, like a gentle wake-up call, machines whisper and murmur
incantations with their voices from alien spaces to resurrect the
mysterious "Romeo". It's alive... but still held in suspension between the
worlds of twilight and imagination. Its communication is focused on
subliminal messages.
On the contrary, Moroccan singer Khansa Batma provides a sublime
message that comes directly from her heart. Her beautiful singing and
telling enhances the driving Dub energy of "Bonez" and the hotness of
the amazing, finely syncopated Funk/Jazz groove of "Waiting for My
Man". Like an emotional prisma, her charming and stunning voice of
many phrasings splits up the path of musical experience and adventure
inot several romantic views to a global dancing future.