Mar Mar Aye - Khauk Sike Ma - 1980

[*]Mar Mar Aye - Khauk Sike Ma - 1980Mar Mar Aye (birth name Aye Myint): born 26.07.1942 - Myaungmya, Ayeyarwady, Myanmar (Former Burma)
[*]Жанр Southeast Asian Music | Burmese Classical Music | Mono
[*]Аудио mp3 | tracks | 320 kbps | cassette
[*]Сканов в содержимом нет

[*]Треклист

01. Taung Thu Pyao (07:22)

02. Bawe Dod (07:14)

03. Kauk Sike Ma (07:02)

04. Zar Ti Nwe (09:00)

05. Shwe Minn Gan (07:45)

06. Sar Chauk Youk (04:56)

07. Dot Myay Si (04:13)

08. Htow Gueen Lay Net Chin Khart Thu (06:25)

total / 00:53:53

Mar Mar Aye 'Khauk Sike Ma'...

[*]November 2014 was a great time for me discovering female vocalists. The preceding review, being that Kesarbai Kerkar's compilation on Canary Records, has turned into one of my all-time favorite records, and Mar Mar Aye's cassette from the early 80s, 'Khauk Sike Ma', is exactly as good as it, despite being radically different in its musical appeal and cultural background.
'Khauk Sike Ma' is one of a litany of albums released by Mar Mar Aye, for she is quite a prolific artist. Outside of which, she ran a radio show, a music academy, wrote two novels, starred in films (on top of singing for them) and ultimately revolutionized her nation with her music. Her second album, released at the age of 13, was a national success. Though she may not have been included on the NASA Voyager record like Kerkar, her music certainly possesses the calibre.
The phenomenal multi-layered musical structuring comes from a deep integration of Burmese Classical Music mixing with mainstream pop sensibility, almost creating an 'avant-pop' sound that has three contrasting linear musical progressions intertwining with her patiently cycled lyrical hooks. These hooks possess a high degree of variability, showcasing raw emotion, strength, ferocity, gentleness, and even innocence all in their authentic, unaltered forms. One could summarize all of this as a direct musical communication of feminine energy being highly resonant with the gorgeous orchestral performances. The potentiating effect is undeniable.
My two favorite tracks on the album are 'Bawe Dod' and 'Zar Ni Twe', which I only mention because of how the two contrast in their emotional sensibilities. 'Bawe Dod' is an intense theatrical experience that has Aye almost yelling at points to convey her music, and not but two songs later we have 'Zar Ni Twe's' chorus being so warm, soft and tender that it feels like a blanket is being slowly wrapped around you on a cold night by the one you love.
The latter half of the album has more tempo, a little less variety, but a lot more playfulness. This is where Aye's inner child comes out to speak, musically whimsical, exuding a charismatic innocence that took me a few listens to fully understand.
To clarify, this album isn't intellectually revolutionary, and it doesn't necessarily contain the same musicianship to the degree of, say, Kerkar, but what it does provide is the cleanest depiction of feminine emotions that I've ever heard. It's powerful in an empathetic sense, and still just as musically flavourful after chewing on it for ten listens. For anyone looking towards Myanmar as a country to musically investigate, this glowing cassette is a near-perfect microcosm of Burmese music that is sure to enthrall.