مقاله ی Spectrum Culture در مورد کورش یغمایی و آلبوم Back From the Brink

سایت Spectrum Culture اقدام به انتشار مقاله ای در مورد کورش یغمایی و آلبوم جدیدش Back From the Brink کرده است . در این مقاله توضیحاتی درباره موسیقی راک اند رول و کورش داده شده و سپس به آلبوم پرداخته شده . در ادامه اهنگ های " انتظار " و " کی تو میایی " را از بهترین آهنگ های این آلبوم معرفی کرده است .

spectrumculture.com

Kourosh Yaghmaei - Back From the Brink - spectrum culture_Sep2011

The foundation of rock 'n' roll is rebellion, but it's one thing to face oppression from parents insisting that the garage is the only acceptable practice space and quite another to be a dedicated guitar player in a nation all too well versed in social tumult. Kourosh Yaghmaei was, according to legend, a naturally talented musician. He was a university student in Tehran in the early 1970s when he released his first single, "Gole Yakh," a gentle pop song with a lilting piano underpinning. It became a significant success, and Yaghmaei took the opportunity to start bringing his flavored version of the rock music he loved to his homeland, drawing particularly on some of the touchstone bands of the '60s such as the Doors and the Kinks. That lasted until 1979, when the Iranian Revolution led to Ayatollah Khomeini taking over and turning the country into an Islamic Republic. Clearly a government that was going to do things like strip away women's rights with mandatory hijab wasn't going to stand for godless rock 'n' roll. Yaghmaei was barred from performing and recording, a prohibition that lasted for years.

For decades, much of his music was thought to be forever lost, but it turns out Yaghmaei surreptitiously protected the songs. Much of it has now been collected on Back From the Brink, which bears the telling subtitle Pre-Revolutionary Psychedelic Rock From Iran. Spread across two CDs or three LPs (or in a special box set that features "exact reproductions" of his original 7-inch singles), the music is the sort of thing that can be easily imagined as the misty soundtrack of George Harrison's dreams after overindulging on Sleepytime tea. There's a clear debt to the rock bands he loved, but all of the music is clearly, defiantly connected to the place where it was conceived. Employing traditional Persian instruments along with guitar parts and Vox organ tones more familiar to Western ears, the whole compilation has a hypnotic quality. It's hard to shake the sense that this is exactly the sound all those other bands were chasing on the albums packaged with gatefold covers that were nicely suited for separating out stems and seeds.

Part of the release's purpose is to illuminate the gradual evolution Yaghmaei experienced. Slowly but surely, Yaghmaei gets more confident in his ability to meld disparate genres. "Hajme Khali" starts with the scratchy sounds of a recorded thunderstorm as preface to Yaghmaei's lushly murmured vocals - as a singer, he sounds as if he's in a constant state of seduction - and then finds room for a nifty bluesy guitar lick on the bridge. Like many of the songs, it has an exploratory quality, a feel of musicians figuring out what they can do as they do it. Not many of the songs can be described as jazz-influences, but there's some of that genre's signature creation-through-feel woven through the work.

With more than two hours of music, Back From the Brink doesn't always hold the attention. When music seems designed to help hippies relax, there's a good chance that it's going to become a little too lulling at times. The further he pushes into different musical zones - the '70s cop show theme song funk of "Entezar" or the classic AM radio slickness of "Kei Toe Miayee" - the better the album gets, not just because of the surprise of those moments, but also because the songs steeped in his own background are made even more resonant by the contrast. It's these passages that make Back From the Brink something more than an admittedly vital piece of musical archiving. It's an album that, strictly on its own song-by-song merits, deserves attention.

by Dan Seeger

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گزارش صدای آمریکا از پخش آلبوم " بازگشت از حاشیه " کوروش یغمایی

روز دوشنبه 14 شهریور 1390 برنامه شباهنگ از صدای آمریکا (VOA) گزارشی را به بهانه انتشار و پخش آلبوم جدید کوروش یغمایی پخش کرد . پخش صحبت های ایوتن آلاپات مدیر شرکت Now Again و Stones Throw در مورد کوروش یغمایی بسیار شنیدنی است .

پخش آلبوم Back From the Brink کوروش یغمایی نظر مساعد اکثر کارشناسان موسیقی جهان را در بر داشته و موسیقی ایرانی با رعایت کلیه استانداردهای جهانی بار دیگر توسط کورش یه جهانیان معرفی شد و این افتخاریست برای ایران عزیز ...

دریافت ویدئوی گزارش صدای امریکا از آلبوم جدید کورش یغمایی

 

www.yaghmaeimusic.com

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بررسی آلبوم جدید کورش یغمایی در MTV IGGY

سایت MTVIGGY از سایت های متعلق به MTV آلبوم Back from the Brink کورش یغمایی را مورد بررسی قرار داده است .

ضمناً آهنگ های گل یخ - اخم نکن - سراب تو - هوار هوار و دختر دلخسته ی شهر بصورت جداگانه هم نقد شده اند .

Kourosh Yaghmaei - Back From the Brink - MTVIGGY.com

An Iranian Psych Rocker's Musical Journey

Back from the Brink launches listeners back to the free-wheeling days of pre-Revolution Iran, where a young Frank Zappa look-alike listened to Dylan LPs and remade psych rock in his own image.

The best thing about this 40-year time (and space) travel is arriving to weirdly discover that Kourosh Yaghmaei’s vintage tracks seamlessly complement your iTunes collection, nestled between The Horrors and Hello Seahorse! His music is ripe for mining by today’s young’uns, maybe because his Persian-dipped psych rock pointed the way to our globalized present day, long before Maya Arulpragasam was even a neon twinkle in her mother’s eye. Now, thanks to Now-Again Records’ stunning compilation of his work, much of which has never been officially released, we have the chance to follow in his psych-folky footsteps.

Yaghmaei’s early band, The Raptures, played Beatles covers in suits and matching shirts, and judging from the photos in the CD liner notes, these fresh-faced Iranian heartthrobs could have graced the pages of New Musical Express. As the sixties passed into the seventies, Kourosh grew out his hair, started wearing flowing peasant shirts, and began composing and ghostly psychedelia with traditional Iranian influences. Which is where we begin our journey.

With his voluminous center-parted hair and handlebar moustache, Kourosh looked like Frank Zappa crossed with Captain Beefheart — a scary hippie rocker. But in his photos he wears a soft, faraway expression, unlike his zany American counterparts. You could say the same about his musical resemblances to Western rock — it shares the innovative fusion and sounds of psych-folk rockers, but with a more relaxed, philosophical worldview. The music is certainly more romantic and fatalistic. Maybe it’s the addition of Persian melodies and rhythms, or just that Yaghmaei probably did less drugs when he was songwriting. But there’s some little twist that makes you want to come back again and again.

The album starts out strong with “Gole Yakh” (“Winter Sweet” or “Ice Flower”), easily the album’s standout song. Kouroush released only four 45s in his entire career, from 1973 to 1975, and “Gole Yakh” was the first. It also sold millions of copies in Iran, allegedly to a fifth of the Iranian population at the time. Even if that’s an exaggeration, the dozens of low-res video clips of his television performances lovingly posted on YouTube point to the song’s popularity and his Iranian beloved-ness in general.

One Kourosh discussion thread roughly translates “Gole Yakh’s” lyrics, which begins, “the sadness has made a nest in your beautiful eyes.” If your hard heart isn’t broken yet, it’s because you haven’t heard the sad, beautiful melody. With its jangly keys and bluesy guitar flourishes, the song hints at his different influences but doesn’t show its cards.

“Akhm Nakon” (“Don’t Frown”) strangely has a minimalist percussion opening, almost like New York post-punkers ESG. But that resemblance disappears with the entrance of noisy, feedback-heavy guitar. ”Saraabe Toe” combines harmonized vocals, mellow guitar riffs, and tambourine for a sublime, melancholy experience. Listening to it, you may want to put on a peasant blouse, away to the renaissance fair, so you can tryst with your beloved. You’ve been warned.

Of course, some things get lost in translation. “Havar Havar” (“Shout Shout”) wavers on the outer edge of avant-garde. The arrangement is from outer space, with really reverby guitar and a funky bassline, but the melody gyrates between traditional-sounding minor chords. Not all cross-pollinations work, and this one veers off into cheesy Iranian deep space somewhat.

“Dokhtare Delkhasteye Shahr” falls among the group of tracks which were nearly lost to history. Kourosh’s music, like all Western music, was outlawed after 1979, and the last eight songs on the second disc only survived the Revolution on damaged tape masters. Although the rocking guitar chords and his smooth crooner voice still ring through, the songs’ wispy, undulating quality gets lost in the static. Instead of transporting us magically to a dreamy place, the music bring to mind the high price paid by Western-influenced artists like Kourosh who chose to remain in Iran. Prohibited from making the music they loved, they had to pretend it didn’t exist, or even destroy it. Lucky for us that these tracks remain

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مقاله ای در مورد کورش یغمایی در نشریه Dusted Magazine

نشریه ی آمریکایی Dusted Magazine  به بهانه ی انتشار آلبوم جدید کوروش یغمایی مقاله ای را در خصوص موسیقی ایران و کورش یغمایی منتشر کرده است .

از لینک زیر می توانید متن کامل را مشاهده نمائید .

Dusted Reviews
Kourosh Yaghmaei - Back From The Brink: Pre-Revolution Psychedelic Rock From Iran 1973-1979

 

Kourosh Yaghmaei in Dusted Magazine

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انتشار مقاله ای در خصوص آلبوم جدید کورش یغمایی در Shindig Magazine

مجله ی معتبر !Shindig به بهانه ی انتشار آلبوم جدید کورش یغمایی ، Back From the Brink ، در آخرین شماره خود مقاله ای را تهیه کرده که در آن آهنگهای "غزال" و "ساقه" نیز بررسی و نقد شده اند .

 

Shindig Magazine

 

Kourosh Yaghmaei - Shindig Magazine

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دعوت جشنواره Transmusicales از کوروش یغمایی

جشنواره معتبر ترانس موزیکال " Transmusicales " از کورش یغمایی برای اجرا در فرانسه دعوت کرده است .

لازم بذکر است ترانس موزیکال از معتبرترین جشنواره های موسیقی در جهان است .

Les festivaliers les plus impatients et gourmands peuvent dès à présent étancher leur soif en se procurant le Pass festival à un prix exceptionnel. Véritable sésame des Rencontres Trans Musicales, ce pass vous donnera accès aux concerts de La Cité (1er, 2 & 3 décembre), du Liberté le 1er décembr

www.lestrans.com

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