{"product_id":"anatolian-weapons-feat-seirios-savvaidis-to-the-mother-of-gods","title":"Anatolian Weapons feat. Seirios Savvaidis - To The Mother Of Gods","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: BIS037\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003eJune 14, 2019 (digital)\u003cbr\u003e\u003cspan\u003eJune\u003c\/span\u003e\u003cspan\u003e 14, 2019\u003c\/span\u003e (physical)\u003c\/p\u003e\n\u003cp\u003e \u003cb\u003eAggelos Baltas\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a veteran of the global electronic music scene, responsible for a handful of celebrated EBM 12”s as \u003c\/span\u003e\u003cb\u003eDream Weapons,\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e and a particularly heady and open-ended brand of krautrock as \u003c\/span\u003e\u003cb\u003eFantastikoi Hxoi\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e. His newest project, \u003c\/span\u003e\u003cb\u003eAnatolian Weapons\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, was conceived as a way to bring together these two seemingly mismatched concepts, with the polyrhythmic percussion and wailing tones of Greek folk music serving as their unlikely bonding agent. \u003c\/span\u003e\u003cspan\u003eHis output garners praise particularly around the Golden Pudel scene care of \u003c\/span\u003e\u003cb\u003ePhuong Dan \u003c\/b\u003e\u003cspan\u003eand the Salon Des Amateurs crew, such as \u003c\/span\u003e\u003cb\u003eVladimir Ivkovic\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eLena Willikens\u003c\/b\u003e\u003cspan\u003e, who included Baltas’ track “Disillusioned” on her Dekmantel Selectors compilation in 2018.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBut where much of what Baltas has released as Anatolian Weapons is instantly recognizable as dance music, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTo The Mother Of Gods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e - Baltas’ debut album for Beats In Space - is something else entirely. Created in tandem with Greek folk musician \u003c\/span\u003e\u003cb\u003eSeirios Savvaidis\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, it is a work of simultaneous collaboration and subtraction whose meticulous construction becomes more apparent with every listen. An album-length exploration of what happens when the principles of dance music are applied to pre-digital musical modalities. It is a record of psychedelic folk music that has more in common with \u003c\/span\u003e\u003cb\u003eKikagaku Moyo\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eMinami Deutsch\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and the Habibi Funk label than it does with anything else Baltas has produced under any alias. It’s difficult to imagine this music in any kind of club setting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnd yet, it’s very much the work of a DJ. Baltas initially heard Savvaidis’ music through a friend, and was absolutely amazed. “\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIt was his very esoteric, pagan [music and] beautiful lyrics that grabbed me\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e,” he writes. Seirios is a composer and performer of traditional Greek folk music with a growing discography of regional psych-rock gems. Baltas reached out to collaborate and the seeds of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTo The Mother Of Gods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e were sown.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSavvidis contributed stems of ten songs, which Baltas deconstructs and rearranges with appreciation of the ancestry of their lineage and of the deceptively ancient eerie, droning qualities inherent in the style. Occasionally augmenting Savvaidis’ recordings with his own, Baltas treats these elements as if raw materials for an architectural process.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTo The Mother Of Gods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e showcases Baltas’ arrangement skills. He treats Savvaidis’ songs as landscapes, filling them with slanted, droning light and setting the singer’s vocals in dead center. His years behind the decks have given him an intuitive understanding of dynamics — drums crest and recede like tides, snippets of bassline repeat and swirl. He knows how to entrance, and when to push the music from the head to the body. Opener “Taratchi Katarratchi” (“Stormy Cataract”) is sung as a spell to ward off the fear of death, but Baltas’ orchestration demonstrates that dancing is an equally effective way of dispelling the darkness. The beat he assembles from Savvaidis’ playing recalls the late-night ecstasies of \u003c\/span\u003e\u003cb\u003ePrimal Scream\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e circa \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eScreamadelica\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTo The Mother Of Gods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a reminder that folk music and dance music are both powered by their audience as much as the musicians themselves. Savvaidis’ lyrics echo pagan Greek themes, touching on what Baltas calls “the magic of nature.” At times, as on “Kalesma” (“Invitation”), this can feel incantatory. Savvaidis chisels his vocal melodies into hard, clipped syllables, their cadence recalling Gregorian chant, and yet Baltas cloaks these details in washes of distortion. “Ston Stavraito” (“In Stavraithos”) is delivered with a lamentive tenderness that Baltas swells into a prideful stomp, immersing Savvaidis in marching drums and distant vocals that form a resilient protest-song.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTo The Mother Of Gods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a testament to the ongoing and innate truth that music can take us beyond ourselves. That repetition and drone can shepherd us to a liminal space beyond thought and rationality, where the wall between perception and reality does not exist. Call it spirit, if you want, and watch as it courses its way through modern-day dance music, mid-century psych, and the ancient sounds of the anatol.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAnatolian Weapons’ \u003cem\u003eTo The Mother Of Gods\u003c\/em\u003e will be available from Beats In Space on June 14, 2019 in limited vinyl and unlimited digital forms. On behalf of Anatolian Weapons, a portion of the proceeds from this release will benefit The International Rescue Committee (IRC) as part of our Come! Mend! 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