Alash

During the Alash performance at Isis Restaurant & Theatre, the songs engaged different styles, rhythms, tempos, and sound ranging from traditional Tuvan tunes to more contemporary “rock and roll” style Tuvan music. I found the performance to be very accessible, as I have familiarized with myself with throat-singing before ever having been introduced to the band. However seeing throat-singing live was much different than just through a recording, as the music could be heard and felt through the stage presence of the musicians.

Pieces that stood out to me the most during the performance, were the throat-singing solos that occurred in more than just one song without the use of instrumental back – up, and also pieces that included lyrics that were sung in a more traditional manner rather than throat singing. The band’s presence together on stage was calming, as they reflected the meditative nature of the music. It was interesting to see them on stage, as relatively little communication between the musicians was had on stage. The American man who had been touring with the band for years (not as a musician) who explained the band and music’s history, song titles, and song meanings was very helpful. I feel I would’ve been able to appreciate much of the music without having such a formal explanation, yet with the formal explanation the meanings of the songs went deeper. Also it was beneficial to hear of the history of the music in order to understand how sacred this music is as of how long it has been in practice, and the ties it holds with connecting to spirits in nature.

I felt as if Isis Restaurant & Theatre was an appropriate venue to see Alash, especially in comparison to the other venues around the Asheville area. The relaxed atmosphere there is created through dim and candle lighting, a more sophisticated feel to the bar and a spacious seating area complete with table cloths. This sort of feel accentuated the meditative qualities of their music, and also helped to uphold a sense of respect from the audience. Had the venue been more akin to the Orange Peel with a ballroom style dance floor or the Asheville Music Hall also without seating, the audience may not have been able to slip into the trance of the music as well. Also at these other two venues, heavier attention is paid to the bar, making for what could have turned into a louder crowd.

The piece I remember most throughout the performance was the second to last piece played. It was the longest piece, probably ranging from five to seven minutes, while the other songs performed lasted maybe two to four minutes. This piece stuck out to me as beauty in the piece was found with a mostly slower tempo and much attention paid to creating harmonies. Throat singing was involved in the tune, yet a lot of the song was purely instrumental with much emphasis on the bowed instrument on stage. The drum was also played but rather than carrying a beat akin to the galloping of a horse (like many of the other songs), the pulses of the beat were more spaced out, slower. The structure of the song changed much throughout, as if following some current of wind, and even as the stringed instruments changed pitch and tempo, a harmony was kept in place.