Red Orange playlist:

Tanya Tagaq interview on Montreal Mirror

Tanya Tagaq interview on Popmatters

Terry Riley, Talvin Singh and George Brooks European Tour

Asian Music Circuit in association with Red Orange presents




California Kirana – The West Coast Legacy of Pran Nath


Terry Riley has been away from Europe for many years, and this is his 75th Birthday. Red Orange and the Asian Music Circuit are honoured to tour the world famous Terry Riley as he performs Indian ragas with arrangements on the saxophone played by the ever progressive saxophonist George Brooks and Mercury Music awarded tabla player Talvin Singh. Solos from each artist as well.

Music, like all living beings, must evolve to keep pace with a changing environment. The ancient arts of India struggle for survival in a world moving at an every increasing speed. Technology and desire for wealth move us forward and leave little time for the reflection and introspection necessary to evolve the high art known as raga.

Pran Nath’s music was rooted in the masters of the late 19th and early 20th centuries. As a young man he survived a harrowing journey during partition from Lahore to the new nation of India and later to the US where his most dedicated students absorbed his teachings and continue to reflect on them in deeply personal forms of artistic expression. Pran Nath took the ancient traditions of fierce dedication to craft and guru and handed them to a new generation of American disciples.

Terry Riley, George Brooks and Talvin Singh will perform traditional ragas arranged for piano, voice, saxophone and percussion, focusing on some of Pran Nath’s favorite ragas from the Kirana tradition such as Darbari, Bageshri, Malkauns, Yemen and Bhimpolasi. In addition they will perform works from their duo repertoire including movements from “Salome Dances for Peace” and “Ebony Horns”. Each artist will also perform a solo work.

Date Location/Contact Details
Fri 15 Oct
Teatro MPX, Padua, Italy
Sun 17 Oct
Uppsala Konsert & Kongress Roslagsgatan 8 SE-753 75 Uppsala, Sweden
Tue 19 Oct
Theatro Circo de Braga Av. da Liberdade, 697 4710-251 Braga, Portugal
Fri 22 Oct
Muziekcentrum Frits Philips Postbus 930 5600 AX Eindhoven, Netherlands
Sat 23 Oct
Porgy & Bess, Jazz & Music Club, A 1010 Vienna, Riemergasse 11, Austria
Sun 24 Oct
Haus der Kulturen der Welt John-Foster-Dulles-Allee 10 10557 Berlin, Germany
Thu 28 Oct
St.Georges, Bristol, England
0845 402 4001,
Fri 29 Oct
An Tain theatre Dundalk Louth, Ireland
0818 205 205,
Sat 30 Oct
Elmwood Hall, Belfast BT7 1NF, Northern Ireland (as part of The Ulster Bank Belfast at Queen’s)
028 9097 11 97,
Tue 2 Nov
Turner Sims, Southampton SO17 1BJ, England
023 8059 5151,
Wed 3 Nov
Kings Place, London N1 9AG, England (as part of the London International Festival of Exploratory Music)
020 7520 1490,,
Fri 5 Nov
RNCM Concert Hall, Manchester M13 9RD, England
0161 907 5555,

Tungijuq nominated for an award

Tanya Tagaq’s short film, Tungijuq, produced by Isuma Productions, with music by Tanya Tagaq and Jesse Zubot, filmed by Felix Lajeunesse and Paul Raphael, has been nominated for Best Multimedia at the Western Canada Music Awards. The winner will be announced at the Break Out West Conference, Kelowna, BC October 21 – 24.

Tungijuq is more of a short film than a music video. It is a thought-provoking meditation on the seal-hunt and what it means to the traditional way of life. Tanya created the mystical, form-shifting fantasy and filmmakers Félix Lajeunesse and Paul Raphael brought the idea to life. Jesse Zubot and producer Juan Hernandez joined Tanya to create the music and the seven minute film includes an appearance by Cannes-winning actor Zacharias Kunuk. Tungijuq is a cinematic and musical expression of the organic and indisputable reality of hunting in Inuit culture. The work was produced by Kunuk Cohn Productions and Igloolik Isuma Productions.


RadiaLx 2010, International Radio Art Festival

Miguel Santos, the creative director of Red Orange, participates in the third edition of RadiaLx, Portugal’s unique festival dedicated to radio art. An International Radio Art Festival happening in Lisbon on 01-03 July 2010, it will include 3 x 57 minutes special programmes of Sleeping Dogs Lie, an ambient music programme made by Miguel Santos for Resonance FM.

This year, RadiaLx focuses exclusively on radio art and will feature three days of a special, non-stop, broadcast on Rádio Zero (local frequency of 99.0MHz in Lisbon) and will also be streamed worlwide. It comprises site-specific projects, streams from all over the world and live shows, as well as broadcasts of the most contemporary and inventive radio art works. Workshops, roundtables, interventions, exhibitions and performances will provide an in-depth showcase of live events in the hope of bringing listeners, students and practitioners into a forum of collaboration and direct engagement with the radio field.

Tanya Tagaq’s “Auk” reviewed on Sonomu

Tanya Tagaq: “Auk” (Jericho Beach Records)

Tanya Tagaq may well be the most exciting aboriginal artist yet to emerge from North America. Her art is unclassifiably idiosyncratic yet in demand from an ever-widening audience. In early 2010 alone, she appeared in concert with Kronos Quartet, the Winnipeg Symphony Orchestra and a brace of electronic musicians, including the inimitable Deadbeat. She´s made a movie that will appear at Sundance and she´s an accomplished painter, combining near-photo realism with bold colour and abstraction reminiscent of Norval Morrisseau. And yes, of course she´s worked with Björk.

Like many in our postmodern world, Tagaq did not grow up embracing traditional culture in her native Ikaluktuutiak in Nunavut, but rather turned to it and taught herself Inuit throat singing as a cure for homesickness while away at university in Halifax. This relative lateness and distance has the effect of preventing her from getting stuck in merely transmitting tradition and instead dragging it into the contemporary arts, where her interests lie, while retaining a clear connection to her landscape and heritage.

That this is not your traditional, ”anthropological” disc is apparent from the opening. After a mood-setting, ambient introduction, what sounds like traditional throat singing quickly proves to be a duet owing more to Meredith Monk than Inuit tradition, as she trades crazed ”riffs” with guest Mike Patton of Faith No More. On ”Growth”, she delves even deeper into her tradition, psyche and esophagus, in a wild collage of splintering violin, cello and drumkit.

Tagaq sustains admirable tension throughout the fifty-two minutes of Auk, between swirling wisps like ”Tategak” and intensely-focused pieces like ”Force”, a feral duet with Shamik Bilgi which reveals the uncanny family resemblance between throat-singing and beatboxing. In either mode, she appears to simply let the spirit move her, quite literally – she herself speaks of improvising out of possession.

”Hunger” might well be the most raw depiction of female sexuality committed to tape, with increasingly orgasmic moans setting the rhythm for her graphic description of what she wants to do for her lover and what she wants him to do to her.

The inclusion of two tracks featuring rapper Buck 65 might appear a sop to current popular tastes if it weren´t for the fact that she and the Maritimer are close friends and share many of the same concerns.

How much this is ”her” (and producer Juan Hernández´) album becomes startlingly apparent after a glance at the liner notes. While the sound is so full and rich, she is normally accompanied by no more than a violin, cello or electronic treatments.

Posted by Stephen Fruitman at 00:58, 31 May 2010 (

Hey, what’s that sound: Throat singing

A droning, pulverising sound of shamanic origin, this is ancient soul music from the east

by David McNamee (, Wednesday 2 June 2010 13.02 BST

What is it? A catch-all term covering different disciplines of extreme vocal technique from around the world, often recognised as a low, pulverising, drone-growl that western ears sometimes interpret as “scary”. But the history behind the throat singing traditions of Inuit tribes and the people of Siberia has strong cultural significance, and the overlapping, oscillating vocal tones (several different notes are produced in the mouth of one singer simultaneously) can be transcendent and beautiful.

Who uses it? The Canadian Inuit throat singer Tanya Tagaq has fashioned a powerful, abstract music all of her own, catching the ears of Mike Patton, Kronos Quartet and Björk. Tuvan exile Sainkho Namtchylak uses elements of throat singing in her challenging Yoko Ono-type music, which melds pop, jazz and avant garde. Huun Huur Tu are perhaps the Ladysmith Black Mambazo of Tuvan throat singing, with a prodigious back catalogue and collaboration credits with everyone from Frank Zappa to Nina Nastasia. Yat-Kha are edgier, covering Motörhead and working with Asian Dub Foundation. Check out our Spotify playlist.

How does it work? The Tuvan overtone technique involves producing a droning note that is raised and lowered by opening and closing the vocal cords until harmonic resonances appear. It is the abrupt open-and-shut of the vocal cords that (through a process known as biofeedback) apparently charges the higher harmonics with increasing energy, resulting in separation between up to six simultaneous tones. Inuit katajjaq (and the now-extinct Japanese rekukkara) throat singing is less dependant on overtones, instead two women will stand holding and facing each other and alternately sing either words, or half-words, or just abstract tones, faster and faster into each others mouths, with the “receiving” woman modulating the incoming stream of sound by adjusting the shape of her open mouth.

Where does it come from? Tuvan throat singing, like the (not dissimilar-sounding) Aboriginal didgeridoo is said to physically connect the singers to the spirituality of the Tuvan mountainside. The singing styles were supposedly modelled on the harmonic resonances herders would find naturally occurring around valleys or waterfalls, with some vocal styles configured to mimic the sounds of animals, wind or water. Inuit tradition doesn’t actually posit throat singing as music in itself, it evolved and continues as a game or competition that Inuit women would play to pass the time, the first woman to lose pace, run out of breath or start laughing is the loser.

Why is it classic? Throat singers sound as though they have a whole orchestra of instruments, that could never be invented by human hands, caged inside their bodies. It is ancient soul music.

What’s the best ever throat singing song? It’s not really a “song” medium, so don’t expect it to click with you instantly, but start with Tagaq and Huun Huur Tu.

Five facts and things

Tanya Tagaq admits she was not good at traditional competitive Inuit singing. It was by removing the technique from its role as a game, and imbuing her singing with deep emotion, that she found a new musical language.

There are some examples of overtone singing in European classical music. Stockhausen’s awesome Stimmung, for instance, or Tan Dun’s Water Passion after St Matthew.

The most famous non-traditional throat singer was the American blues musician Paul Pena, who brought self-taught throat singing into his bottleneck blues, and who in the 1999 documentary Genghis Blues travelled to Tuva to compete in throat singing contests.

What is it in the European musical psyche that links overtone singing to the demonic? Tenores is the profane counterpoint to cuncordu, Sardinia’s sacred polyphonic choir music. The styles are differentiated by the use of overtone singing in tenores, which also allocates roles in a four man-choir to each emulate the sounds of wind, sheep and cows.

There are four main disciplines of Tuvan overtone singing: khorekteer (“chest voice”), khomeii (a swirling, wind-like sound), sygyt (piercing, whistling bird noises), and kargyraa (the deep growling sound, said to be a figurative depiction of winter in Tuvan folklore).

Tanya Tagaq photos from the recent concert in Prague

Tanya Tagaq photos from the recent concert in Prague:

Tanya Tagaq at Festival Barroquisimo

Tanya Tagaq with Cris Derksen (cello) and Michael Red (DJ)
Recorded in Puebla, Mexico, May 1st 2010
Thanks to Festival Barroquisimo and Miguel Angel Valdes Alavez of Nexos Producciones

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