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Zohar Biography
1. from: http://www.themilkfactory.co.uk/music/zohar.htm
Erran Baron Cohen’s life changed one night, at the Astoria, in London, when he heard Paid In Full, by Eric B & Rakim, and remixed by Coldcut. As he recognised the voice of legendary Israeli singer Ofra Haza, the song was for him a complete revelation. Already familiar with the traditional Jewish melodies contributing to his family’s heritage, he had, a few years earlier, discovered the beats of the burgeoning hip-hop culture, and was now contemplating the idea of merging both genres; Zohar was born. In 1997, as he was about half way through recording his first album, he met Andrew Kremer. The new friends realised how similar their interests were, and Kremer became the second permanent member of Zohar.
Onethreeseven follows Zohar’s first album, Elokainu, which, if released on a small scale, back in 1999, became an underground favourite in London clubs such as China White, Momo or Megatropolis. Benefiting of a wider release, Onethreeseven is likely to reach a much wider audience. Zohar offer here an array of contemporary beats and ancient forms of singing. Incorporating Jewish Cantors, Arab Meuzzins, Byzantine chants and operatic voices, Baron Cohen and Kremer work on the singularity of vocal techniques and their spiritual or religious meaning. For the connoisseurs, this album refers to, and features, some of the biggest names in the Middle East, including Pierre Pinchik on the beautiful opening track, Ehad, Oum Kalthoum (Angel), Bimi Mint Abba (Harmony) or Zavaha Ben on the title track. It is not necessary to know anything about any of these cultures to enjoy this album though, as the power of the vocal performances and the precise production prove to convey the deeply emotional significance of this record brilliantly. Zohar mix the complex Middle Eastern musical instrumentations with western influences, ranging from jazz or classical to hip-hop and drum’n’bass, and create some magnificent waves of chilled music, sometimes reminiscent of the peaceful ambiences of a Zero 7 or any of the Buddha Bar series. Highlights of this album include the stunning opener, Ehad, the magnificent Elokainu and The Merciful One, both tracks offering some of the most intense singing heard, as well as Angel and Maroc.
With Onethreeseven, Zohar transcend the notion of World music, allowing access to ancient forms of music by wrapping them up around contemporary structures. Although the contrast is strong, Zohar don’t disfigure nor destroy the intrinsic emotional or spiritual message of these traditional melodies.
2. A Japanese doujin artist who primarily arranges tracks from Chrono Trigger for solo piano.
Read MoreErran Baron Cohen’s life changed one night, at the Astoria, in London, when he heard Paid In Full, by Eric B & Rakim, and remixed by Coldcut. As he recognised the voice of legendary Israeli singer Ofra Haza, the song was for him a complete revelation. Already familiar with the traditional Jewish melodies contributing to his family’s heritage, he had, a few years earlier, discovered the beats of the burgeoning hip-hop culture, and was now contemplating the idea of merging both genres; Zohar was born. In 1997, as he was about half way through recording his first album, he met Andrew Kremer. The new friends realised how similar their interests were, and Kremer became the second permanent member of Zohar.
Onethreeseven follows Zohar’s first album, Elokainu, which, if released on a small scale, back in 1999, became an underground favourite in London clubs such as China White, Momo or Megatropolis. Benefiting of a wider release, Onethreeseven is likely to reach a much wider audience. Zohar offer here an array of contemporary beats and ancient forms of singing. Incorporating Jewish Cantors, Arab Meuzzins, Byzantine chants and operatic voices, Baron Cohen and Kremer work on the singularity of vocal techniques and their spiritual or religious meaning. For the connoisseurs, this album refers to, and features, some of the biggest names in the Middle East, including Pierre Pinchik on the beautiful opening track, Ehad, Oum Kalthoum (Angel), Bimi Mint Abba (Harmony) or Zavaha Ben on the title track. It is not necessary to know anything about any of these cultures to enjoy this album though, as the power of the vocal performances and the precise production prove to convey the deeply emotional significance of this record brilliantly. Zohar mix the complex Middle Eastern musical instrumentations with western influences, ranging from jazz or classical to hip-hop and drum’n’bass, and create some magnificent waves of chilled music, sometimes reminiscent of the peaceful ambiences of a Zero 7 or any of the Buddha Bar series. Highlights of this album include the stunning opener, Ehad, the magnificent Elokainu and The Merciful One, both tracks offering some of the most intense singing heard, as well as Angel and Maroc.
With Onethreeseven, Zohar transcend the notion of World music, allowing access to ancient forms of music by wrapping them up around contemporary structures. Although the contrast is strong, Zohar don’t disfigure nor destroy the intrinsic emotional or spiritual message of these traditional melodies.
2. A Japanese doujin artist who primarily arranges tracks from Chrono Trigger for solo piano.
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