Oleg Fesov
Lalaiki Pamir

"Lalaiki Pamir" is one of those cases where music intertwines with true History: the songs on this album were recorded in Dushanbe between 1989 and '92, during the final phase of the slow collapse of the USSR. Democracy? Freedom? Not at all; the former RSS of Central Asia, economically weak and lacking a real widespread independence sentiment, have turned into corrupt satrapies in the hands of former apparatchiks colluding with the Kremlin and the oligarch-mafia underworld connected to it; the only true change for the common people was a general worsening of living conditions. For Tajikistan, this change had even more disastrous consequences: Islamic extremists, warlords linked to heroin trafficking, pro-government militias, and ethnic groups divided by ancient grievances sparked a bloody civil war that lasted practically throughout the '90s, with lingering and unresolved tensions still present. At the time, Oleg Fesov was an emerging musician, and like many of his compatriots, he was forced to flee his country, first emigrating to Russia and then to Germany with his family in tow, along with his recordings. The positive outcome of this tragedy was the opportunity to become known and to introduce the music of his land to Europe, thanks to Blue Flame Publishing, a record company in Stuttgart specializing in world music publications.

Oleg Fesov is originally from Badakhshan, as are Muboraksho and Daler Nazarov. It's curious to note how a region that represents 45% of Tajikistan's territory but only 3% of its population has produced almost all the country's most famous and representative singers, and this album sounds like a hope for peace and unity for his people. It is significant to note that half of the songs are in Tajik and the other half in Shughni, a native language of the Pamir. Faithful to the Tajik folk tradition, as well as the Persian one from which it derives, "Lalaiki Pamir" features sounds dominated by string acoustic instruments; guitars, but also sitar, mandolins, and typical instruments like the rubab and the oud, to which Oleg Fesov adds, with balance and moderation, a touch of synthesizers and some sax. This album is a little wonder to be discovered step by step, without haste: seemingly homogeneous, it conveys an overall feeling of great tranquility and relaxation, partly due to Oleg Fesov's subtle voice, but it hides a great vital energy and many different stylistic nuances. The splendid instant-classic melody of "Marav", with its elegance, warmth, and driving rhythms, is the perfect introduction to an album rich in charm and style, capable of offering unforgettable moments like "Chudat Medoni" with its sinuous 3/4 rhythm and a fairytale atmosphere reminiscent of one thousand and one nights, or the almost reggae melodic cadence of "Messusam", sunny and passionate. There are also more reflective and spiritual moments, such as the languid and evocative "Az In Schab Mastum" and "Lalaik", a poignant acoustic ballad interpreted by Nargis Bandishoeva, a beautiful female voice who passed away prematurely in a road accident in 1991, perfectly balanced by the more rhythmic and passionate sounds of songs like "Armonija" and "Amina", the former strongly influenced by Indian music, the latter characterized by an almost epic harmonic progression.

The synthesizers are used very intelligently and purposefully, to create an ecstatic and meditative atmosphere in "Yo Mavlo" or more somber and dramatic tones in "Muslim"; in a couple of episodes, "Dargil" and especially the cheerful and delightful "Masch Kutscha", Oleg Fesov abandons his folkish style to experiment (with excellent results) with '80s pop sounds of fine craftsmanship with ethnic twists. A truly beautiful, sincere, and complete album this "Lalaiki Pamir," with a turbulent genesis that only adds to its charm; if one were to find a flaw at all costs, it could be said that it doesn't reach the emotional spleen peaks of his compatriot Muboraksho, but it's simply a matter of style and sensitivity. The fact remains that this album further confirms my love for Tajik music, music that can go straight to the heart in its own unique way.