Tribalation! CD Review by Sabine

Americanistan’s latest CD, “Tribalation!” captures the spirit of tribal belly dancing with music that is fun, funky and fresh. In a radical departure from the group’s other two CDs of belly dance music, their newest offering is heavy on the drums, mijwiz and zurna often found in music of the tribal genre. Yet with a fresh approach and the use of unique instruments such as yuemba, Brazilian Tam, “caveman” bagpipes and dvoyanka, the music sounds totally original. This CD will have you bopping in your car seat and boogeying in your kitchen. This music is definitely made for dancing.

“We prepared to create this CD by consulting with Tribal belly dancers, watching DVDs of tribal troupes from all over, and listening to ethnic music from India and Africa,” says Dunyah, director of Americanistan. “We have been working with tribal belly dancers more and more often the past few years and we wanted to develop our tribal sound. The CD is named after troupe Tribalation! from Eugene. The name comes from the words Tribal and Celebration. We consulted with Sabine, tribal sword dancer extraordinaire and director of Tribalation! the troupe. We worked closely with Sabine in developing the music for “Dangerous,” which is designed specifically for her amazing double sword routine.”

“Tribalation!” is also the name of the CD’s first track. Strong drums and mijwiz open the piece with an upbeat 2/4 rhythm, which segues into a slow chifti telli section featuring the twangy string sound of the yuemba. This instrument was invented by band member John Marzicola and is a kind of cross between a birimbau, rebaba and shakers. It has a slithery, stringy sound that is quite compelling. A fast 2/4 with the mijwiz and yuemba playing together gives a rousing finish.

“Swing” is next, named for the syncopated Brazilian tam and sultry 6/8 rhythm. The Brazilian tam has a naughty sound like a burlesque drum that makes my hips sway irresistibly. Wayne Omar’s “caveman” bagpipes, which he created and built, provide a droney melody that melds to the rhythm with hypnotic effect. A really fun piece.

“Dangerous” is a very unusual piece, beginning with snakey shakers and a drum roll, then continuing with a stately 10/8 rhythm and the yuemba. This is sharp, sparsely orchestrated music that creates an ominous atmosphere. The yuemba sound conjures up an image of warriors lazily sharpening their swords in full confidence of victory in the battle to come. Halfway through the piece the tempo speeds up and the kanoon comes in, sounding as sharp as barbed wire or knife points. Thunder drums that sound almost like taiko drums ramp up the energy as the drama builds to a climax.

“Full Moon Rising” is an apt title, as the feel of this track is one of ever-increasing energy rising to an ecstatic frenzy. The harmonium supplies a continuous drone beneath the bagpipes, supported by the rhythm called karachi. The slow beginning section feels very trancey. After awhile the tempo picks up speed and the bagpipe melody gets a little more intricate. Shakers and bells underline the increase in energy. The piece ends fast, with the relentless drone, the bagpipes get more frenzied, the shakers and drums get faster and faster, evoking the image of ecstatic dancers in the moonlight.

“Spirit Flame” is a complete change of pace, with a slow chifti telli rhythm on deep drums and silvery tambourine and the haunting sound of the dvoyanka, a double-chambered flute played by Anna Armaiti. The sound of the flute evokes the image of a darkened room, sweet smoke of incense drifting above the flickering flames of many candles. The melody has an almost medieval quality. This is the moment of calm after the frenzy of the first four pieces.

The quiet is broken almost too soon as “Celebration” follows, another high-energy piece featuring zurna and multi-layered percussion. Cries, zills and zaghareets of the dancers are heard in the background. Wayne “Omar’s” zurna playing is impressive for its power and skillful trills and runs.

“Haunt” is a moody piece set to a slow zar rhythm on the tar drum. This song really showcases Wayne’s mastery at playing the ney. The breathy, heart-wrenching sound of the flute matches well to his emotional style of playing.

According to Dunyah, the next piece, "Peak” got its name because it is the pinnacle of energy on this CD. As energetic as the preceding pieces were, this one tops them. The driving beledi rhythm, with its tight percussion and hot drum breaks, is matched by the hot mijwiz, an irresistible combination of sounds to a tribal dancer!

“Dark Grace” offers a lovely oasis of quieter energy after the extreme high of “Peak.” Kanoon and bamboo flute alternate over a medium 2/4 rhythm on the tars. A minor key and the simplicity of the melodies make this song feel restful if somewhat melancholy.

“All Is One” has no drums at all, just a big drone sound from the harmonium cruising along beneath Wayne’s powerful harmonic chanting and ney playing. This piece has a wonderfully relaxing and calming effect. Perfect for cooling down at the end of a long dance session!

All in all, this is a surprisingly good offering of tribal style music from Americanistan. Surprising not because they aren’t good musicians – they are – but because this music is such a radical departure from their past CDs and shows such an awesome grasp of the tribal belly dance sound. I predict that this CD will be very popular with tribal dancers.