The 8th volume in the Made to Measure series for Crammed Discs features Iranian composer, vocalist and activist Sussan Deyhim who has collaborated in the past with a host of different artists including Peter Gabriel, Ornette Coleman, Rufus Wainwright and Bobby McFerrin. This is one of several projects on which she has worked with composer and multi-instrumentalist, Richard Horowitz. Since first working together in 1981, the pair have forged a successful working relationship that has produced some wonderful work in cinema, television and beyond. " />

The 8th volume in the Made to Measure series for Crammed Discs features Iranian composer, vocalist and activist Sussan Deyhim who has collaborated in the past with a host of different artists including Peter Gabriel, Ornette Coleman, Rufus Wainwright and Bobby McFerrin. This is one of several projects on which she has worked with composer and multi-instrumentalist, Richard Horowitz. Since first working together in 1981, the pair have forged a successful working relationship that has produced some wonderful work in cinema, television and beyond.

Desert Equations is the 8th title to be released in the Made to Measure series and was originally released by Crammed in 1987, however this reissue features 3 bonus tracks composed and recorded in the 1990s. The album opens with the track Desert Equations (For Brion Gysin), as one might expect from a song named after the artist/ dream machine inventor, the track has a dreamlike quality, middle eastern flavoured electronic drones and hummed vocals transport the listener to the banks of the Nile or the Jordan. Ishtar sticks with the Middle Eastern flavour but changes things up, far more up-tempo and with a wider range of instruments on show, it features some lovely middle eastern style percussive elements mixed with more modern electronic instruments to create a wonderful juxtaposition of the traditional and modern. Got Away uses African-style rhythms and massed vocal samples to create the basis on which Sussan Deyhim vocalises, almost in a rap style, before breaking into some Bjork-style screeches and squeals midway through. I’m A Man experiments with samplers and electronic drumbeats, whilst the vocal lines create something that feels far older and more tribal. The use of samplers and effects throughout reminds me somewhat of Oingo Boingo’s 80s output, but obviously less chart orientated. Tear layers massed voices on top of one another to create complex and interesting rhythms, whilst Azax Attra heads in a funky 80s electronic direction with vocals that remind me of Kate Bush’s Waking the Witch in places but have a distinctly tribal feel all their own. Jum Jum once again takes the listener to the Middle Eastern with ambient electronic drones, massed vocal harmonies and some beautiful lead vocals from Sussan Deyhim that evoke the sound of a zither. Armour is the final track on the original album and is the perfect mix of modern technology and the traditional music of the Arabic world. Middle Eastern rhythms played on electronic drums leave the album firmly planted in both the modern and ancient world. 

The three bonus tracks are all written and recorded in 1992 by Richard Horowitz, and whilst those middle eastern flavours remain on Broken Vows, they are less evident in the music and other jazzy/proggy influences are at play. I’m reminded of 80s/90s King Crimson at times, however Sussan Deyhim’s vocals retain a real taste of the middle east and give the tracks a fairly unique feel. Midnight Visitation is probably the most Middle Eastern flavoured track, sounding quite traditional instrumentally even though everything is played on a synth. The final track, Intergalactic is one of my favourites on the album, an ambient electronic instrumental that mixes the traditional sounding with modern technology to perfection. A perfect end to what was probably quite a revolutionary album for the time of its release, that still sounds great today.

Desert Equations mixes modern electronic soundscapes with traditional Middle Eastern music to create something that feels like it has one foot in the folk traditions of Arabia and one in modern-day experimental electronic music. The performances are sublime, Sussan Deyhim’s voice is so adaptable, and her vocal style remains fresh and creative today, whilst Richard Horowitz’s ability with electronic instruments is rarely matched. This is a great album; I’ve played it a bunch of times to chill out to and you pick out new things on every listen. Beautiful stuff, if you like electronic music with a flavour of Arabic traditional music, prog and jazz then this is for you.