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Pop | Cheat Sheet
April 6, 2011
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Gypsy Punk, Pop and Hip-Hop

Cheat Sheet: Gypsy Punk, Pop and Hip-Hop

by Rachel Devitt

What do belching brass lines and thrashing guitar licks have in common? How about jovial Balkan wedding bands and drunken, debauched N.Y.C. punks? Well, actually, quite a lot (and not all of it has to do with Eugene Hutz, Elijah Wood or Borat).

The Gypsy punk movement not only marries all these seemingly disparate, cross-cultural elements, but it also underscores how much they really had in common all along. At its simplest, Gypsy punk is just what it says: punked-up takes on and rock 'n' roll covers of traditional Roma (the culturally appropriate name for Gypsy people and culture) music, ranging from the brass-and-sass of Balkan bands to the sweet, sad fiddles of Klezmer. The reason the hybrid works so well, however, is that Roma music has been pretty punk since long before that term even existed. Traveling migratory paths that most likely began in South Asia, Roma peoples and cultures have dispersed throughout Europe and the world and yet rarely found a home. Whether they've followed a traditionally nomadic lifestyle or have planted roots, Roma people have been subject to, at best, terrible racism and, at worst, cultural and political persecution.

Like punk, Roma music is the music of a people dispossessed, misunderstood and, thus, often fierce and insular. Like punk, then, it is scrappy, at times angry and bitter, and at other times plaintive and passionate. While much of Roma music is more virtuosic and musically complex than punk was originally supposed to be, both genres share a penchant for wild, raucous and, well, rock 'n' roll aesthetics and attitudes. Gypsy punk today is itself both a musical and cultural-geographical diaspora: it extends throughout Europe and the United States. And the term, while referring to a good deal of actual punk-influenced music, also encompasses hybridized styles that are more philosophically punk, including Roma and Roma-influenced dance pop, hip-hop and rock.

April 8 is International Roma Day, a worldwide celebration of Roma culture, history and people. In honor of this auspicious occasion, we've compiled this little guide to just one small aspect of the incredibly rich Roma culture. Get to know the wide, wild spectrum of Gypsy punk.

Albums
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Gypsy Punks: Underdog World Strike
Gogol Bordello
Roll up, roll up, to a barnstorming circus of gypsy, punk, disco and screaming Eastern Europeans. Frontman Eugene Hatz is so engaging he almost makes you wish all your favorite bands would adopt Russian singers. His opening vocal scat on "Sally" lights the touch-paper on an explosive performance that never takes its foot off the gas.
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The Ponzi Scheme
Firewater
Think of Chicago's Firewater as Gogol Bordello's slightly older, slightly less punk brother — the one who spent a lot more time getting sneaked into strip clubs by cool Uncle Tom (Waits) and sulking to Nirvana when he got home. The Gypsy aspects of their sound are really just that: aspects, nuances, details that enhance the slinky cabaret-rock structure on which they've built their career. The Ponzi Scheme waits a good long time to go Romani 'n' roll, but they start hauling out the big guns (read: horns) 'round about "El Borracho," which retraces the polka dots between Eastern Europe and the Texas-Mexico border.
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Fresh Off Boat
Golem
On the Roma music family tree, Klezmer is a major branch, albeit one that is also attached to other trees. And not all of them have Gypsy roots. OK, the metaphor's getting away from us, but you get the point: the reeds, the fiddles, the mournful melodies and impassioned voices, the frantic beats and head-spinning time signatures. The two have some things in common. The line between Gypsy and Klezmer is particularly fine in the ethnic punk world, and Golem! are a perfect example. Everything about their 2006 release, Fresh Off Boat, screams Klezmer, or at least Klezmer rock, and Klezmer rock screams Gypsy punk. Bandleader and vocalist Annette Kogan virtuosically growls and belts like some kind of mohawked Yentl while the rest of the band shows off just how much rock cred clarinets and fiddles have. Heavy shtetl indeed.
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Disko Partizani
Shantel
Shantel -- Gypsy music's biggest fan and the brains behind the wildly successful Bucovina Club (and, at least partially, the Balkan music revival) -- goes native on Disko Partizani. The German DJ foregoes his usual remixes in favor of a live band and original compositions. The result is at once cutting-edge and authentic, capturing the infectious energy and eclectic aesthetic that has characterized Gypsy music since long before hipster DJs got their hands on it. Highlights include the old-world dub of "Disko Boy" and the tongue-in-chic "Donna Diaspora."
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Queens and Kings
Fanfare Ciocarlia
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Electric Gypsyland 2
Various Artists
Rounding out the Gypsy club scene is this comp from the fabulous Crammed Discs. The first disc pairs classic cuts from old-school Roma outfits remixed and/or reinterpreted by the new school, which includes a few tried-and-true Gypsy-philes (including Shantel) and a whole bunch of indie rockers with penchants for cabarets and circuses. The results are varied but always interesting (we're particularly partially to Nouvelle Vague's shimmering, soft-edged take on Mahala Rai Banda). 'The second disc pays its respects with straight-up songs by the Balkan bands.
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Devla
Boban Markovic Orkestar
What starts out seeming like a rather slick interpretation of Gypsy music -- driven by Boban's forward-looking son Marko -- ends up as startling and vibrant as you'd want it to be. Marko's enamored of hip-hop, and you hear it, deeply bastardized, insinuating itself into several songs. (The flamenco nod, "Benim Gecem," is predictably terrible.) But tradition holds the truest fire: Bulgaria's Sofi Marinova extends her voice like a leafless branch over "Soske Sul Na Avea," and on a song like "Hopa Cupa," the horns move so quickly it feels inhuman. Is this music? Is it birdsong? No matter. It's wonderful.
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Alkohol
Goran Bregovic
This may be his first U.S. release, but Goran Bregovic is one of the Balkans' most famous artists, with a storied career as both a folk-inspired film composer and a rock musician. Alkohol bridges those legacies, homing in on the fruitful intersections between the rollicking brass of Roma bands and rock, pop and hip-hop. Bregovic's take on this hybrid sound feels organic rather than gimmicky, whether he's screaming his guts out on the punkish "Trucker's Song," crooning like a Gypsy Stevie Wonder on the soulful "Ruzica" or wrangling the wild meters of wedding band jams like "Paradehtika."
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Chaje Shukarije
Esma Redzepova
Chaje Shukarije is an exercise in versatility. Macedonian diva Redzepova is comfortable with both the mournful ballads ("Hajri Ma Te Dike") and feverish dances (see "Abre Ramce," featuring the Klezmatics' Frank London) of traditional Roma music. She's also not afraid to take risks, flirting with Afro-pop on the second track and working the soulful swagger of "Nasvali So Uljum" like a Balkan Barry White. And then there's that voice, baby. She keens and belts, croons and cajoles, sasses and seduces -- and that's just the title track. They don't call her the Queen of the Gypsies for nothing.
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Huuro Kolkko
Alamaailman Vasarat
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Balkan Beat Box
Balkan Beat Box
Conceptually, Balkan Beat Box draw from their progenitors, Gypsy punk outfit Gogol Bordello (former Bordello denizen Ori Kaplan heads up BBB), pairing Eastern Europe's dark circus aesthetics and dissonant melodies with Western pop. But Gogol's squalling punk is replaced here with hip hop beats, while the melodic material travels a bit further south on the continent: taut, nasal harmonizing; drunken, slippery reeds; belching brass. It's all expertly remixed into tracks that toy variously with Balkan, Arabic, Hassidic and Rom styles and languages, resulting in some of the sickest dance grooves this side of Zagreb. Complex time signatures never sounded so hot.
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Romano Hip Hop
Gipsy.cz
If hip-hop is the music of the dispossessed, nobody has more right to it than Europe's Gypsies. But who would have expected this Czech band to get it so right? These guys sound like they're having a ball, dusting off their granddad's instruments and imitating their favorite hip-hop artists, playing tough and then collapsing in laughter. And when they think you're not looking, they might throw in a traditional ballad or hint at flamenco. We've never heard accordion, violin and cymbalom make nice with breakbeats, let alone coupled with lyrics in Romani. It borders on exhilarating.
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Opa Hey!
Kottarashky
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FUCC THE I.N.S.
Kultur Shock
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100 Lovers
DeVotchKa