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| Deleyaman |
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Line-up: Aret Madilian (vocals, keyboards, lyrics) Béatrice Valantin (vocals) Mia Bjorlingsson (drums) Gérard Madilian (doudouk) "Founded by Aret Madilian an American of Armenian origins, this is debut CD from this four piece from mixed backgrounds and influences. 00/1 has a rich spirituality to it with what will sound like a weird mixture in that there are Armenian orthodox chants interwoven with baroque, oriental, multi-cultural ambient and yet they claim influences from Jimmy Hendrix to The Cramps! At very least this is different but with abit more investigation you'll find rich seams of musical gold. "
-- netrythms.co.uk, 2/03
"Multi-ethnic mixture of religious, film and dance music by post-punks Armenian lithurgic chants and Joy Division may not be the most obviously winning influences, but Deleyaman (also including French, Turkish, Swedish, Georgian Orthodox, Anglican and Bach inspirations in its four-piece fold) create a charismatic, shifting, sensual ambience from these dirge-like elements. It's gypsy cathedral music, exotically sacred and nomadically slippery, plus a touch of the dancefloor and the spy film, with unearthly male and female spiritual cries."
-- Nick Hasted , uncut.net, 2/03
 2001:
00/1
 "The debut album featuring main members Aret Madilian and Beatrice Valantin plus Gerard Madilian and Mia Bjorlingsson. Not a rock album by any means but rather a blend of world music, particulary Oriental styles and the vocals of Aret and Beatrice. The nearest comparison to my ears would be Dead Can Dance, especially in the vocal harmonics but without the Goth trappings of that band. The album has very mellow tunes including opener 'Deleyaman' with it's harmonic vocals and the Oriental feel of 'Ayn Kisher'. Then there is the haunting and atmospheric instrumental 'Revelation'. 'Almast' has a Vangelis feel about it coupled with some Medieval backing arrangements. Quite a different array of styles which keeps the listeners attention throughout the CD. Not easy to pigeonhole, which is good as this is unique in style and if you enjoy Dead Can Dance and possibly Enya, then try this album. Nice way to chill out at the end of the day."
-- Jason, Classic Rock Newswire, 1/03
¼ 2003:
Second
Tracklisting: 01.Sparrow 02.The Door 03.îken 04.Ambi Metch 05.Battlefield 06.Leï Leï 07.Yana 08.5th Day 09.Black Rainbow 10.Arev 11.Dice 12.Denials 13.2003 "Two years after the release of 00/1, Béatrice Valentin and Aret Madilian, along with Gérard Madilian and Mia Bjorlingsson, offer this 'Second' album, even more seductive and sensual than the first. Feminine and masculine voices hover over magnificent oriental and ethereal volutes, formed of traditional instruments and a few keys. Deleyaman, like Rajna, are of course indebted to Dead Can Dance, but the sombre mysticism of these 13 new pieces will convince even the most fanatic fans of the now defunct anglo-australian band. In fact, few are those who know how to evolve with as much personality and talent, within this fastidious realm. The listener is inexorably transported for more than an hour long into a space of infinite exotic charm and can't help but fall in love with the deep voice of Aret Madilian and that of Béatrice, which are as magical and atmospheric as their music."
-- Yannick Blay, D-Side n18, Sep-Oct/03
translated from french by Said Sukkarieh, musicfolio.com,
11/03
2006: 3
Tracklisting: 1.Arev patsvets 2.Raven days 3.Cilicia 4.Antsrev 5.Ispahan 6.Dejlig rosa 7.Home 8.Yergnaïn 9.Labor chant 10.Kalisse 11.The doubt and louyce 12.Sister 13.Eversince "The band shows strong similarities to artists like Dead Can Dance, Arcana and Dark Sanctuary with serene romantic ethereal neo classical compositions, and heavenly operatic vocals sung by both male and female singers. I really like the female vocals performed by Beatrice Valantin as she always sounds like she’s gravely in pain or depressed while male vocalist and group mastermind Aret Madil has a gentle voice that sounds much like Brendan Perry from Dead Can Dance. Also a very interesting aspect of their music is that the lyrics are written in a variety of different languages some of which I don’t believe I’ve heard in music before. The featured languages are Armenian, French, English, Swedish, and Turkish all of which sound quite stunning to my ears. While the album does have a very heavenly relaxing tone to it, it also has a very dismal feeling as well that can alter your mood if you listen to the entire album. However I’ve always really enjoyed music in this vein and Deleyaman is indeed a welcomed edition to my collection and should definitely be heard by others that enjoy Neo Classical World music."
-- JJM, Lunar Hypnosis, 6/06
2009: Fourth, Part One Tracklisting: 01. Book Of Change 02. Stay On 03. Roses 04. Aravod Luys 05. Be Still 06. Temples 07. Somehow 08. Jardin 09. Fill My Heart 10. Traffic Lights 11. Arev Tibav "Following the release of the album '3', in 2006, Deleyaman have written and composed over 25 titles. 11 of these compositions, recorded, mixed and mastered entirely in the band's studio in Normandy, France, are now presented as 'Fourth, Part One' . The remaining material is set to appear as 'Fourth, Part Two', a complimentary yet contrasting sister-release which will come later this year. The overall mood of this new album is different from their prior releases, yet the sincerity with which they continue to explore their art is a constant in Deleyaman's work. Inspiration for the lyrics comes partially from the works of American poets E.A. Robinson, A. Hecht, R.W. Emerson, E.A. Poe, H. Crane and T. Stickney, but also from the Lebanese mystic poet Khalil Gibran. Most of the titles are sung in English, except for two tracks sung in Armenian and the track Jardin, sung in French, the words taken from the poem Nous n'Irons plus au Bois, by T. de Banville. The use of several languages by Beatrice Valantin and Aret Madilian, the two vocalists, has always been a distinct characteristic of the band, whose members all come from different backgrounds. Deleyaman's style, which to this day remains difficult to classify into a single genre, is further defined by the inclusion of the duduk, an Armenian wind instrument. More than simply adding an ethnic reference to their compositions, the duduk grants them a unique tone, emphasizing the ethereal and exotic qualities that allow the album to reach beyond the darker specter of alternative music from which the band originally derived. Through their art, Deleyaman translate a sense of timeless spirituality into a contemporary and universal language, carrying the listener into a mesmerizing world which still sounds comfortably familiar and close at heart." |
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