Los Angeles, CA
Bedouine, a gallicized riff on bedouin, the nomad, the wanderer. Anyone can assume such a name, but Azniv Korkejian has an experience of what it means, the type of ground it covers. “Moving around so much caused me at some point to feel displaced, to not really belong anywhere and I thought that was a good title.” Her development was shaped by political landscapes and family opportunities, her adult life patterned by paths of her own. Born in Aleppo, Syria to Armenian parents, Korkejian spent her childhood in Saudi Arabia, moving to America when her family won a Green Card lottery. They settled in Boston, then Houston, but she split for L.A. as soon as she could. A casual offer to stay on a horse farm took her to the rolling hills of Lexington, Kentucky, followed by a year in Austin, and a trip east to Savannah for a degree in sound design. Returning to L.A., she discovered a close-knit community of musicians in Echo Park that started to feel like home. Maybe America is just a highway that leads back to L.A.
Bedouine has a sound. Sixties folk meets seventies country-funk with a glimmer of bossa nova cool. Lithe guitar picking and precise lyrical excursions. That mesmerizing voice and phrasing. Working on around thirty tracks over three years, with contributions from a remarkable cast of players like guitarist Smokey Hormel (Tom Waits, Joe Strummer, Johnny Cash), Seyffert and Korkejian brought a selection of ten songs to Richmond, Virginia. She specifically sought out Spacebomb, approaching Matthew E. White after a show in L.A. He remembers listening to the song she sent over and over, on and off the road, “‘One of These Days’ became our alarm when we woke up for almost all of that tour.” Anticipating this future collaboration, the tracks were created with breathing room for the Spacebomb touch and Trey Pollard’s sinuous symphonic arrangements. Back in California, Thom Monahan (Pernice Brothers, Devendra Banhart, Vetiver) brought all the elements together in a masterful final mix.