Hovig Nassanian – Tributes
Hovig Nassanian – Tributes – Album Review
This dude seems like a genuinely nice guy. As I was reading the stories behind the songs he’s written on his third solo-piano album, Tributes, I kept coming back to how much personality it seems like Hovig Nassanian has in behind the music. He’s put a lot of heart into the making of this record, and from what I can tell, into everything he does in life really…it’s always fun trying to figure out who people are when they’re half a world away. As far as I know, Hovig’s based out of Cyprus, way the heck out there in the Mediterranean Sea…which is, to say the least, a heck of a long way away from where we are in Canada!
Tributes has got itself a playful beginning with “8998,” which actually has a remarkable story behind it that I doubt many of us outside of Cyprus would even be aware of. From what I’ve gathered, the citizens of their republic had to send text messages to “8998” during the COVID era in order to receive permission to leave their homes…which is really something quite incredible if you ask me. For one thing, it’s a system that certainly assumes everyone has a cell phone…which…I mean, don’t get me wrong, MOST of everyone does now – but everyone? What happened to the few remaining holdouts that didn’t have one yet? It’s interesting just to think about it…I’m sure it was strange to live through as well. We all had something bizarre to deal with in some way during that time, and we’ll all be bonded by going through it together no matter how apart we were – but it sure is interesting to hear what each place went through on a regional level. I’m off on a tangent here already – “8998” is less than ninety seconds long & it makes for a good intro to establish the kind of vibe you’ll find on this record to follow.
While non-COVID related overall, what’s surprising about Tributes is how much it actually deals with death in a variety of ways, especially considering the upbeat sound to so much of what you’ll hear. I think we tend to associate songs about those no longer with us as almost needing to be sad somehow – but that’s not what a real tribute is about now is it? A real tribute is always about a testament to a life lived…a toast to the fallen and a promise to remember…and in many ways, that should sound happier. “Heaven’s Reception (Grandma Maida’s Tribute)” is a perfect example of how to create the right kind of tributary song if you ask me…it’s upbeat for the most part, yet also has layers of emotion to it as well. All-in-all, it’s a beautiful song and wonderfully well-played by Hovig. At the peak of its complexities, there are intense demands being made on his musicianship, and you can hear exactly how skilled a player like Nassanian is through the seamless flow he has as he moves so flawlessly through this song.
“April 24” is the first track where you really feel the weight of a sadness creep into Tributes for the first time, and justifiably so. If you’re familiar with your world history, you know this as the day of the Armenian genocide, where something around 1.5 million Armenians were killed by the Ottoman Empire. So…no…there’s no happiness to be found in something so horrific and atrocious, and “April 24” reflects that through its slow, contemplative sound. It’s as if you can hear Hovig considering the many souls lost and the ramifications of history that stemmed from such a catastrophic event. It’s horrifying to think about even now, some hundred-plus years after the actual time of the Armenian Genocide. Suffice it to say, I tend to be more about the melancholy melodies like “April 24” than I am about the upbeat tracks in this world, so for myself personally, I felt like the seriousness of this song was a lot more suited to my own personal taste. I love the passion and purpose that Hovig plays with, and when there’s real context like the weight of history behind each and every note he plays like there is on this, you genuinely feel it.
It’s always interesting to me how much we can have in common with people we’ve yet to really meet. As it turns out, “Pappsen Lasse” was written as a tribute to Hovig’s father in-law, who unfortunately passed away from cancer approximately three years after Nassanian married his wife Anna. For those of you that know my own personal history, my story very much mirrors what they went through in that regard, give or take a year. It wasn’t at all that long after I married my own wife Becky that my father in-law was diagnosed with esophageal cancer, and passed away from it all too quickly. So I’ve got a whole lot of love for “Pappsen Lasse” and the sweetness you can hear in this tune…it’s stoic, respectful, and filled with dignity & grace…the kind of song with a sound that bears the real strength of its sentiment. As with everything that Hovig seems to play, he adds in precision, professionalism, and passion into every note we hear…it’s quite clear that he fully understands how Tributes are truly supposed to sound.
“Mè Mèmè – 4 Variations (Grandma Vehanoush’s Tribute)” probably has the most tangible history to it overall in this particular set. From what I’ve read, it’s a song that’s loosely based on Hovig’s grandma singing “about a shepherd taking care of his sheep” back in the day when he was likely still just a kid, which gives this song a unique glimpse into the past while we hear it here in the present. At seven-plus minutes in length, it’s the longest track in the set by a fair margin, but is also broken up into different pieces along the way. In that respect, it becomes a bit more of a progressive listening experience if you’re looking at it like one track…and anything in that regard usually trades a little accessibility as a result…but shhhhh…don’t tell your friends listening that it’s one big tune and they’ll think it’s four small ones instead and love’em all for different reasons. Each part really has its own personality and mood to it…and I’m sure that I was promised some sheep bleating in here somewhere, but I didn’t hear that. In any event, “Mè Mèmè – 4 Variations (Grandma Vehanoush’s Tribute)” almost plays like a complete summation of what we’ve heard so far throughout this record with its variety of diversity on display. It’ll still prove to be the most challenging to listeners of the set when viewed as one entire composition, but Hovig makes the experience easier to absorb by having its most beautiful part at the front before cycling through the versatility of this song that comes to life through the several components of its structure.
On “Peter’s Tribute,” you’ll again experience the weight of loss combined with the uplifting sound of joy that comes through on this song. From what I’ve read, this is actually a rearranged version of what was Peter’s wedding song, when he married Hovig’s sister. He sounds like he was quite the incredible person – “he spent most of his life in service for others, especially the poor, the marginalized and the ones who could not pay him back.” I’ve got a lot of love and respect for people like Peter. As with many of these tributary tunes, they’re created in retrospect…Peter has unfortunately passed on from cancer, but like so many of the people that Hovig has dedicated this material to, he now lives on forever through the music and the memories those that knew him best will always continue to share. I really enjoyed the range of sound that this particular song has…it’s super serious at times, beautiful and serene at others…you get a good mix that likely reflects on the open-hearted way Peter connected with so many people from all walks of life. Definitely one of my favorites to be found in the lineup of Tributes, I really felt like we can all feel the love and respect within this song…it’s quite a moving tune from start to finish.
“For A Time Like This” was another song I felt was nothing short of amazing really. Apparently this is the theme song that comes from a musical called Esther, that was originally written back in 2000. Clearly, time and experience with this song has treated Hovig very well…familiarity with material generally makes for the best listening, and you can hear how that plays a significant role here on “For A Time Like This.” Not that the other tracks on this album haven’t come out great so far, because they certainly have – but songs like “For A Time Like This” that Nassanian clearly knows inside & out, backwards and forwards…that always makes a massive difference. It’s a genuinely beautiful song, and even though it’s now one of the oldest cuts in the set, it’s really getting its moment to shine at its brightest. The more we know every aspect of the mood, emotion, tone, and melody we’re playing as artists, the stronger the connection becomes & the more the audience can feel its presence…that’s exactly what we’ve got here.
“I don’t recall any other time when people were more confused or divided collectively about reality” is one of the strongest sentences that I’ve read in the past decade, and really does sum up the state of the world at-large right now. While it’s written in reference to “Wanted – The Truth” that was more or less designed to reflect the back & forth of the COVID debates out there, in my opinion, that insightful quote you see up top there is equally accurate as to the way things have simply become – on EVERYTHING. I sit here on the other side of the screen and speakers and ponder this kind of stuff all day long, every day – how the heck did we get here? More importantly, how do we get BACK if we can’t even agree on what is actually REAL anymore? We are officially in the disinformation-age…we’re constantly misled & gaslit by our leadership, and pretty much every system out there has been corrupted in some way, shape, or form. It’s beyond scary, and from what I can personally see, it’s beyond repairable. I don’t think we can put the toothpaste back in the tube, as they say. The disinformation-age comes before the crumbling of the foundation that holds this whole world together…so believe me when I tell ya, as bizarre as it may seem to be alive right now, we’re actually in the calm before the storm. This whole planet only gets weirder and more discontent from here on in…so buckle up folks, it’s gonna make for a bumpy ride to say the very least. I think for those of us paying attention, we’ve watched this decline and erosion of society slowly creeping in for years and years…which is why the only thing I really give any energy to is music. That’s the truth – music. More specifically, anything outside of the mainstream and those out there looking for fame & fortune blah, blah, blah…humble artists, doing what they do, purely because they love it and nothing more – that’s the last source of truth on this planet we’re living in. If that sounds cynical, that’s simply because it IS…but it’s also objective reality as far as I can tell as well. So if it’s the truth you’re wanting Hovig, congratulations – you’ve found it in songs like “Wanted – The Truth” and playing your part in the documentation of the beauty of who we are that has been buried too far underneath all the bureaucratic BS. Art is still thriving if you know where to find it – and always will be.
“Behind A Smile” was written for me, so thank-you Hovig. Alright…it’s not written for me specifically by name, but it’s written in tribute to all those people out there that do their level best to keep smiling each and every day, yet are often locked in personal despair behind the scenes. So if that’s YOU – then congratulations, “Behind A Smile” is written for you just as much as it is for me. According to the notes online, this is also the newest song to the set-list overall…and it’s certainly a worthy inclusion as far as my ears are concerned. I find it genuinely mesmerizing, enchanting, heartfelt, and very real. Having words accompany any instrumental record can often dictate how we interpret or feel about what we hear…and I don’t always recommend going that route if you’re looking to learn what people really think about something…but in terms of this particular experience, “Behind A Smile” is perfectly accurate to what Hovig’s vision for this song was. He’s got an incredible grip on how to create powerful emotion in the music he composes, and “Behind A Smile” is a stunning example of him writing his melancholic best.
Awesome that Nassanian has been able to incorporate so much of his own past along with the present in this lineup of songs on Tributes – “Shnorhagalem Der” was originally written by him way the heck back in 1988, yet still feels like it’s a perfect fit onto this new album released in 2023. Make no mistake y’all…that ain’t exactly easy to accomplish, you know what I mean? It’s beyond rare really – but that’s actually the effect of listening to someone that has ALWAYS had an extraordinary connection with music from day one. If this is the kind of song Hovig was able to come up with when he first began to write and express himself through music, then it’s clear he’s always had the gift. Obviously, I’m sure he plays it better now today as a seasoned veteran of music-making & all…but the reality is, this is a tremendous piece of writing that traces all the way back to his own humble beginnings, and it’s seriously impressive. As far as I’ve read, “Shnorhagalem Der” translates to “Thank you, Lord,” which gives this track a religious aspect to its aura and vibe, and that kind of jam resonates with you, chances are you’ll find you have an even stronger attraction to this tune. I was raised religiously…and I can hear that aspect present in a lot of the way that Hovig plays his music overall…I might not be a faith-based person anymore as an adult, but I still respect the musicianship and where it’s coming from sentiment-wise. It’s always from a good place, and there’s nothing wrong with that whatsoever…that’s something we should all appreciate. As far as the extra notes he’s got on this tune referencing the Academy Award-winning song “You’ll Be In My Heart” by Phil Collins…lol…I hear what Hovig is hearing, and I wish him all the best of luck with any court case he decides to bring in the future. The similarities are certainly there, and I get where he’s coming from, and NO he’s not going to SUE PHIL COLLINS, so calm down…the reality is, the same chord progressions, notes, and tones on any instrument are bound to catch our attention in the same way at random, and the more history we get underneath us, the more this will continue to happen in the future. It was only a couple days back in listening to a song called “Girl Behind The Mask” that I wrote about on this very site, that I mentioned it being a lot like Sly And The Family Stone’s “If You Want Me To Stay” – and it turned out, that it was the exact inspiration for that new tune. Probably a bit more deliberate in that regard, but the same principle applies – our ears naturally know what sounds good, and it’s completely because of that, that we’ll always be accidentally plagiarizing each other’s work.
Reserving the last tribute on his new record for his lovely wife “Anna” – Hovig pulled off quite the incredible task of keeping this final song a secret until the album was actually released. What a guy! Well played my friend, well played. Every time I’ve ever written something or done anything significant, I can’t help but show it to my wife, and to be truthful, she could usually care less hahaha. I’m hoping things are different for Hovig way over there in Cyprus in that regard…”Anna” is a beautiful song, written for what I’m sure is a beautiful lady inside & out, and the most important piece of Hovig’s puzzle. Reading about his love for her and how she’s always been his rock for support throughout the years was so moving, sincere, and wonderful to learn about…like I was tellin’ ya from the start of this review, Hovig’s a great guy, and every song on this album has gone on to confirm that. “Anna” is played with heart, purpose, and passion…Nassanian is a genuinely gifted musician and composer, and he’s proven that time & again throughout the course of this record. Perhaps on no tune more-so than this final one though…you can really hear the love shine through on “Anna” and the warm glow of its melody. It’s a song to truly be proud of…it’s an audible celebration of love tried, tested, and true…I think we’re all lucky to be able to share in that by listening. “Anna” isn’t just a great ending to Tributes, but the right one as well…it’s a stunning song that likely reflects more about who Nassanian is more than any other.
Find out more about Tributes and what inspired the music of Hovig Nassanian at this link here: https://necessarykuriosity.com/albums/tributes
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