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Pyramid of Skulls

by Carlos Casas

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A1 - Avesta 15:22



Inspired by the common task (Fedorov) and the people of Pamir in Tajikistan, filmmaker and sound artist Carlos Casas deconstructs far away sights and sounds to create a unique field recording experiment that equally worships past, present and future traditions.

Music and sounds recorded and mixed under the spell of Nikolai Fedorov and inspired by the teachings of Jomboz Dushanbiev .

Nikolai Fedorov thought the Pamir to be the cradle of humanity, the hidden and forgotten nest, a Pyramid of skulls that holded the secrets of past human kinship. He believed that most of Asian myths of human origin pointed the Pamir region as their inception. For the Chinese, Indian, and Semitic myths that that mountainous region of Central Asia, often referred to as 'the roof of the world' was the key to understand and start his resurrection plan.


released June 2, 2017

LP1 side1

A distant wind, with sounds of howling dogs and wolfs, wind becomes loud, sounds of birds in a distance confuse with wind, distant sounds of wolves, a distant radio sound is becoming clearer, a voice in Farsi is commenting and giving news, while a sound of working the land, earth working, sounds mix with the sounds of dance music pop music from the radio, we move inside and we hear a praying session, a funeral prayer, we hear the sound of a fire mill, and as we move to another space we hear a women singing a lullaby for a child, on a distance room we hear the voice of an old man speaking in Bartangi language,
Sound of a Mill, becomes a music sound of low key and sustain drone sound, melancholic drone, with sound of room with a TV set on, the film The Bear is on, the old man voice comes back, while the film continues, Farsi voice in the film
And the sound of the mill returns, a loop and continues mill sound takes over.

LP1 side2

A water current is rhythmically flowing, while a chorus of female voices singing Dargillik, Lallaik, gets confused with electronic produced sounds, and interruptions or glitches like of digitally archived material, we hear a small river or water flowing, some voices appear, static sounds and a mechanical alarm sound becomes louder, like a mechanical beep, sound of daf or frame drum, a women voice start singing a lullaby, while we hear a rhythmic sound of cradle swinging, electronic sounds and static distortions become present, providing a confusion like a recording machinery, interfering with the voice, a rhythmic pattern of electronic beeps and clicks appear and sound of water flow returns,
Become more intense, an artificial rhythm electronic pattern becomes accelerated and gets interrupted by water flow again, to close again in a crescendo of bursts, a zooming and bursting booming starts, music compose of glissandos like voices weathered from the past, a slow tempo melody of a distorted piano sound and the sound of rain in the background, and storm starts while the melody continues, the storm takes over.

LP2 Side1

Siponj Variations
THE SOUND OF GHIJAK with the voice of Jonboz singing, a background sound flourishes in the back, a classic repertoire, and bells arrive followed by a rubab played simultaneously with a daf, a rappoh, followed by lalaik tanboh, nolai tanbur, Maddoh intertwines with electronic interferences.

LP2 Side2

Dargilik Variations
Jonboz offers a rendition of dargillik classic.


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Discrepant: inconsistent; conflicting; at variance [from Latin discrepāns, from discrepāre to differ in sound, from dis-1 + crepāre to be noisy]

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