The term Mediterranean Minimalism describes Kenthmata quite literally, as this record by Cypriot composer Evagoras Karageorgis applies the minimalist tropes of loops and repetition to traditional Greek melodies and rhythms.
This simple but very effective formula is inscribed in the very genesis of the release. Born in Paphos in 1957 in a family of musicians, Karageorgis set out for New York in the mid 80s to study composition at the City University of New York. Learning classical music theory and ethnomusicology during the day, at night he was making a living by playing Cypriot folk songs in Astoria, Queens’ Greek diaspora neighbourhood. This duality informs the 10 tracks of Kenthmata, recorded and composed in NYC between 1987-88 and published by Cypriot imprint Moneda only in 2019.
Minimalist with pathos, Evagoras Karageorgis reinterpreted the composition techniques of the minimalists by adding his folklore touch and Mediterranean timbers. The roaring “Hellispontos”, my personal favourite, exemplifies his approach perfectly with its exuberant mix of 7/8 rhythm, loops, counterpoint and unbridled energy. Echoes of Riley’s A Rainbow in Curved Air can be heard in the airy “Wind Mill” and in the intense “Moiroloya”, the latter inspired by a Cypriot folk tune.
“Syrmos” keeps the tempo high in layers of ostinati circling into melodic patterns with a Middle-Eastern flair. The rhythm slows down in “Fantasia”, which reminds Morricone’s memorable incursions in Spaghetti Westerns before turning into a very catchy tune that would work well as a theme song for a kids’ TV show. A certain cinematic quality surfaces in the closing “Tik Variations” as well, perhaps prefiguring Karageorgis’ work as a soundtrack composer, while “Beehive Dance” and “Vibraphonia” are the most conventionally minimalist of the lot.
At times Kenthmata’s sound quality is rudimentary, given the fact it was recorded with simple digital presets and keyboards. Some tracks, such as “Byzantino Rembetiko” and “Beehive Dance”, could have probably benefited from better technical equipment, but that doesn’t offuscate the beauty of the record.
As the musician himself recalls in the linear notes, he decided to name the record Kenthmata [Embroideries] because its pattern repetitions reminded him of his mother’s embroideries, which grace the LP cover as the ideal visual companion for the music. Kenthmata is a personal blend of folklore and avant-garde, striking the perfect balance between traditional Cypriot music and American minimalism. It’s a pity that it went unheard for more than thirty years, but all the more reason to listen to the record today.
