Customer Reviews

Oceania

5 star:		(49)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(2)

 

 

From the first second of the first track I was drawn in. Oceania is overflowing with energy and respect for the old ways and uses traditional Maori instruments such as the pahu (drum), pukaea (trumpet), koauau (flute), and the putaatara (a conch shell played like a trumpet) and the Maori language. Each track was fresh and invigorating, offering something new with each listen. The voice of Hinewehi Mohi is otherworldly, perfectly suited to the haunting music of Jaz Coleman and Hirini Melbourne. The final result is a seamless blend of voices, instruments, and modern sounds as well. In the end Oceania seems more organic than electronic.

Also touching are the two songs that were written for Hineraukatauri, Hine's daughter, who was born with cerebral palsy. The first, Hineraukatauri, is a beautiful ode to motherhood and its unconditional love. The second, Pepepe, was a poem written in English and then translated into Maori with beautiful results ("You are as fragile as the harmony in the laughter of a waterway/ the crystalline melody of your song/ we will wait for it to enchant us."). This is a unique, touching, spiritual CD that honours the past and holds bright hope for the future.

From New Zealand, sung in Maori and using native Maori instruments,
but with a contemporary base. This is not Electronica. This is not New
Age put-you-to-sleep music. This is bliss. From the first track,
Pukaea (The Trumpet), we are transported to a forest where everything
speaks; the atmosphere is palpable; and angels sing. Kotahitanga
(Union) is a driving, sweeping call to action. You want to go through
the speakers and join the movement. Beautiful female lead harmonies
wave over the thundering musical engine as smoke over a raging
fire. Hautoa (Warrior) has gathered those harmonies after the frantic
call, now we assemble and assess. The singer, Hinewehi Mohi, reminds
me (on this song and the next especially) of Agnetha Fältskog. Think
ABBA meets Anonymous 4. Hineraukatauri (Goddess of Music) is more than
aptly titled; it is a visit to heaven. I defy anyone not to cry when
listening. He Tangata (People) is like a musical galloping stallion
and we are the proud riders. The harmonies delve even deeper, becoming
ethereal, like a medieval choir with nature as its cathedral in
Kihidihi (Cicada), the CD's sixth track. Haera Ra (Farewell) bears a
light sadness but that of a lullaby, as this melody could very well
serve. Still driven by the spirited undertow like an excited
heartbeat; the track also features an arresting violin. The disc's
eighth track, Pepepe (The Moth) is an utter delight. The instruments
blend into a kind of tropical train whistle with the vocals echoing
the lament and providing the steam. The undercurrent beats and
flutters much like the flying insect of its title. Tino
Rangatiratanga (Self-determination) continues the feel of the previous
tracks without sounding the same. It is, in fact, technically the
album's closing but evocative of a new start - a second wind, if
you will - therefore calmer, less frenetic in character. Tracks 10
and 11 are Beatmaster Mixes of Warrior and Union. I didn't think it
possible for dance-mixes to stand equal in quality to their originals,
but these do. Produced by Jaz Coleman, best known for his work with
Killing Joke, but for many years now has been the Composer in
Residence for the Auckland Philharmonic. From the liner notes:
"This is not a sampled album. It is a written album, we wrote it
and played all the instruments on it with the help of the best master
musicians of the Maori people. The music and traditions of New
Zealand's native people collides with the modern world...no journey
into the past...rather a confident exploration of future
possibilities." This work reflects the pure love its makers have
for their culture and exhibits near-perfection in musicianship. This
is one of the most excitingly beautiful albums I have ever had the
pleasure of listening to.

I bought this great Cd on a whim - I don't even know why - maybe because of the beautiful eyes of the girl on the cover, whom I assume is the lead singer. I hadn't had any prior experience with Maori music or with any of the artists. I was stunned when I heard it. It is beautiful, powerful and truly engaging. The melodies, the rhythms, the ecstasy of the music reach deep and grab you. This is primitive, ultra modern dance music at its best. The lead singer's voice is almost transcendental and the musicianship is too. I played cut 3, entitled "The Warrior" at least fifty times in a row the first few days after I got the Cd. Wow! It is one of the greatest rock songs I have ever heard. The mystical power of the lyrics (translated in the lyrics booklet) added meaning and power to the music. Listen to this music loud with the base and treble turned up. It's great rollerblading music, too. What an album!

The blend of tribal and modern instruments, Maori lyrics with contemporary rhythms, plus, Hinewehi Mohi's incredible vocals on the songs Kotahitanga and Pukaea were what stopped me in my tracks at the cd store -- I HAD to buy this cd! If this is the first international Maori album, then I certainly hope there will be more in the future.

As an ex-pat New Zealander, this CD brought back wonderful memories of the harmonies of Maori music. This, blended with great New Age type rhythms, melodies and vocals, made for an incredible listening experience. Heartily recommended for all 'Deep Forest' and similar type music fans, and New Zealand ex-pats everywhere!

This CD hooked me by the 4th cut the first time I listened to it. I've listened to it a number of times since and now I wonder how to communicate the essence of this so that you know whether it's something you want in your collection or not. You already know that I think it's absolutely great, but I realize that the unique sounds here obviously won't appeal to a lot of people.

First, this is basically New Zealand Maori music, and as such has a primitive native sound. There are instruments here which most of us have never heard before. Especially prominent is the ocarina, an underated instrument which used to be called "the sweet potato".

While this music is definitely Maorian, it is done in a contemporary mode. Punk rocker Jaz Coleman is a chief collaberator, but on the other hand, this sure isn't punk rock music.

It's the beautiful and often ethereal sound of Hine's voice, an incredible female voice which, in spite of the huge cultural difference, made me think of Enya, although I then wonder how can I compare the two. I think also of the legendary Yma Sumac, though Hine doesn't have the fantastic range that she did. It's Hine who, along with the native instruments, make this musical experience what it is.

The songs are in their native Maorian language, but they are translanted in the liner notes. That is, if you care about the words. For me, they are unimportant. It's the voice and the instrumental accompaniment that carries this.

Some of the songs are wildly rhythmic and some of them are exotic. I especially liked Hineraukatauri (Goddess of Music) composed for Hine's daughter who was born with Cerebral Palsy. Kihikihi (Cicada) is another fantastic piece of music to listen to. Then, there's Pepepe (The Moth).

Sample this album and see if you believe that it's for you. If you are willing to be free of conditioning to what most commercial music is, I think you'll find something special here.

to be honest i bought this entirely because jaz coleman's name is attached to it (he's the frontman of killing joke, the band that started the industrial rock genre). also because i once bumped into Oceania singer Hinewehi Mohi at a Killing Joke show (she was taking singing lessons from Mr Coleman at the time - a very nice lady). This album is infinitely better than i expected. Hiniwehi's voice is astonishing (take note, Celine Dion, Faith Hill, etc.). The musical arrangement hypnotic. And the blending of Maori and western sounds makes for fascinating listening (listen out for the Haka in track 2: it makes the hairs stand up on the back of your neck). Oceania doesn't take any getting used to, it's as instant as anything I've bought this year. Great work, Mr. Coleman. All I need now is a Killing Joke reunion and you'll have made my millennium.

What a refreshing surprise! There are so few wonderful works, like Aria, some of Vangelis, etc. that literally transport us into the world of the music makers. A tempting shamanic journey into the sounds of the beating hearts of Oceania - enjoy your ride on the waves.

This album sent shivers down my spine. The music is so powerful and so emotionally intense. Especially on "Kotahitanga" Union and "Hautoa" warrior, I was blown a way. The music of Polynesians is a belated arrival to the world music scene and would have remained so. If not for the Jaz Coleman who's position as Composer in Residence at the Auckland Philharmonic brought him into contact with vocalist and poet Hinewehi Mohi. This is in fact the first international Maori album. English translations are provided as well as some information on Maori culture. Maori music is trance like but on this album the electronic production is kept to a minimum. Hinewehi has a clear, poignant which makes hearing "Oceania" truly transcendental experience.

Oceania will appeal to those seeking for the primal moving beat of native music, but the added sophistication of the orchestration and beauty of the voices makes this musical artistry even more alluring. Oceania definitly has the background that intices you to move, but it has the melodies that make listening a pleasure as well. An excellent mix of musical elements to please even the most distinguished palates.