the family elan

the family elan - low bow bright glow (alt. vinyl, 2010)

Fusion is a dirty word, implying clinicism and a dry sense of conscious matchmaking. “Bow Low Bright Glow” is a more a communal excavation and re-presentation of buried European folk and sufi-hearted music than any form of experiment. Family Elan are alone in their field. Here, Chris Hladowski has put together a collection of original numbers, visions created from lost/found tapes and traditional pieces (including a absolutely gorgeous “The BlackPlanets Of Her Eyes”) that are a fitting companion to Family Elan’s “Stare of Dawn” debut.

Alongside Hladowski’s voice, there’s the vocal input of Nalle’s Hanna Tuulikki – a voice as easily capable of gentle Qawwali as it is folk song. This is a record of heavy treble intricacy, Hladowski’s saz and bouzouki playing encompassing drones, folk, dervish progressive work and a woozy shimmer over and through the entwining melodies. Family Elan are more than just a project or a band, Hladowski has endowed the music here with a such a unique voice that shaky shorthand comparisons would be pointless and a short sell. Music that hints at the devotional rarely feels as inclusive, as communal and as enjoyable as this.

Abandonado Locust y tras tres años de larga espera, el proyecto de Chris Hladowski y Hanna Tuulikki, una debilidad personal, regresa al traditional-folk del Eastern Europe y lo rodea de múltiples referencias, drones, una sensibilidad más propia de Clive's Original Band e intricadas melodías al saz y al bouzouki que revolotearán sin cesar en tu subconsciente.

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the family elan

the family elan - stare of dawn (locust, 2007)

The Family Elan was christened by Chris Hladowski in 2006, being the natural culmination of many hours spent in solitude, both writing songs and attempting to develop an intuitive approach to music making based on the myriad traditions of the long-necked lute. The debut album, Stare of Dawn, consists of spiraling free form yet rooted originals with Hladowski playing bouzouki, baglamas, violin, clarinet, and guitar, alongside various percussion instruments, and Hanna Tuulikki on recorder and flute. The songs range from instrumental modal wanderings with themes such as cascading waterfalls, to folk-inflected tales of friendship and seduction. It was recorded by John Cavanagh (Phosphene) at his home in Muirend, on the outskirts of Glasgow. Since the recording of the album several forays have been made into the murky world of live performance.

Elan derives much inspiration from devotional and folk music traditions. The tanbur playing of the Kurdish Sufi mystic Ostad Elahi and Âshyq songs of the Azerbaijani sâz master Edalat Nasibov spring immediately to mind, alongside the rawer, more percussive sounds of the Yayla musicians of the Eastern Black Sea region – who fashion reed instruments from young pine saplings - like Hasan Yïldïrïm (who plays the violin like a drum) and Hayri Dev. The music of the Rebetes of early twentieth century Greece is an obvious benchmark, alongside more recent European folk revivalists like the Hungarian band Muzsikás. Other signposts might include the bouzouki inventions of Anne Briggs and the musical tapestries of the Incredible String Band. There is also a ‘pop’ sensibility lurking in there somewhere, though it is nigh on impossible to pin down in the conventional sense.

Audio:
monumental

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