Buscar:lebanon

Jawad Nawfal and Mazen El Sayed, better known by their stage names of MUNMA and EL RASS, met for the first time in Beirut, during the summer of 2011. A common friend told Jawad wonders about an MC who rapped and slammed in the classical Arabic language, as opposed to the vernacular Lebanese dialect. The two musicians met in a small café in Beirut’s Hamra neighborhood, spoke of music, argued about politics, and decided to collaborate at once. They began working on tracks the following day. A month later, they had already produced a dozen sketches, instrumental beds and accapella vocal tracks. These demos eventually landed in the hands of Ziad Nawfal and Fadi Tabbal, who set out to bring to life the duo’s first recorded album. “Kachf el Mahjoub” (the title is from a Sufi master-work penned some 900 years ago) was eventually released as a limited edition of 500 CD’s, during a launch event at then-budding alternative venue Metro al Madina in Hamra, on the 22nd of February 2012. These CDs went out of print in record time, as can be expected, and the album’s mythical status became reinforced over time – El Rass & Munma collaborated sporadically during the next ten years, but never fully grasped the level of musical intensity and explosive tension attained on this first outing. It has been a longstanding dream of ours, here at Ruptured, to produce a vinyl version of this album, and we are thrilled to say this moment has finally come. Artist ALI RAFEI’s original artworks have been painstakingly reproduced, the music has been dutifully remastered for vinyl by CEDRIK FERMONT, and the records were pressed by our friends at Mother Tongue in Verona. We added bonus track "Fi Kala'at Tarablus" to this 10th anniversary reissue for good measure – recorded during the same sessions that yielded “Kachf el Mahjoub”, it appears on the digital version of the album. “Kachf el Mahjoub” is a landmark album in Lebanon’s alternative music scene, and the MENA region’s hiphop and indie scenes writ large. At the time of their collaboration, El Sayed was a prolific writer and musician, at ease with a variety of instruments, notorious for his masterful flow in the classical Arabic language, with lyrics tackling both social and political sensitive subjects; Nawfal has previously released an impressive number of albums and EPs, exploring downtempo electronica and ambient dubstep, for a number of Lebanese and international labels. The collision of the former’s brazen, slammed vocals and the latter’s harsh beats works wonders on “Kachf el Mahjoub”, Munma’s sound-world perfectly fitting El Rass’s agitated discourse, alternating between broken beats, elaborate percussion, and ambient layers of synths. At times reminiscent of mutant hiphop outfit Shabazz Palaces, at others of the collaboration between dubstep producer Kode9 and the late vocalist The SpaceApe, this album is an uncanny meeting of Arabic hip-hop and electronica, an exceptional event in the realm of contemporary Lebanese alternative music.

A RADICAL HORIZON is comprised of a series of duets between cellist Lori Goldston and pianist Stefan Christoff, recorded on a late Fall afternoon in Brooklyn, NY. A conversation between friends, these improvised excursions reflect a willingness to be open to the spirits in the space and between the notes; a spirit of communion that, as Stefan writes, "guides and dances with our dialogue together".

Stefan Christoff is a Canadian musician, community organizer, and journalist based in Montreal, Quebec. He has collaborated with artists such as Sam Shalabi and Adriana Camacho, performs with his brother Jordan as a duo in Anarchist Mountains, and has released music on labels such as Moon Villain, Shimmering Moods, and Aural Canyon.

A lifelong community activist, he helped establish the Musicians For Palestine project and has engaged in street-level solidarity work in Lebanon and The Philippines as well as closer to home in Montreal. This is his second appearance on Beacon Sound after 'In Sofia', an album of piano improvisations recorded in Bulgaria, was released on the label in 2023.

Classically trained and rigorously de-trained, possessor of a restless, semi-feral spirit, Lori Goldston is a cellist, composer, improvisor, producer, writer and teacher from Seattle. Her voice as a cellist, amplified or acoustic, is full, textured, committed and original. A relentless inquirer, her work drifts freely across borders that separate genre, discipline, time and geography.

Current and former collaborators and/or bosses include Earth, Nirvana, Mirah, Jessika Kenney, Ilan Volkov, Eyvind Kang, Stuart Dempster, David Byrne, Terry Riley, Jherek Bischoff, Malcom Goldstein, Steve Von Till, Lonnie Holley, Cat Power, Ellen Fullman, Maya Dunietz, Mik Quantius, Embryo, O Paon, Tara Jane O’Neil, Natacha Atlas, Broken Water, Ed Pias, Christian Rizzo and Sophie Laly, Threnody Ensemble, Cynthia Hopkins, 33 Fainting Spells, Vanessa Renwick, Mark Mitchell, Lynn Shelton, and many more.

Her work has been commissioned by and/or performed at the Kennedy Center, Sydney Festival, Cineteca Nacional de México, Tectonics Festival, Frye Art Museum, Time Based Art Festival (TBA), WNYC, The New Foundation, Paris Fashion Week, Northwest Film Forum, On the Boards, Seattle International Film Festival, Seattle Jewish Film Festival, Bumbershoot, Crossing Border Festival, Boston’s Museum of Fine Arts, Joe’s Pub, the Stone, University of Chicago, and venues large and small throughout North America, Mexico, Australia, and Europe.

"Locust Abortion Technician" was relased for the first time in 1987. Without anyone looking over their shoulders, the band really rose to the occasion with "Locust Abortion Technician." From the opening track, "Sweat Loaf," which quotes Black Sabbath with results both hilarious and bowel-stomping, to the scuzz-guitar riven "found" vocals of "22 Going on 23," "Locust" is a non-stop face-full of hallucinogenic gas. Maniacal sludge guitar figures and Gibbytronix vocals are smeared everywhere, with most "Locust..." LP OLE-2058-LP 191401205818 excellent results. For many folks. "Locust" represents the album with which the Buttholes fully fulfilled their insane potential.

Längst überfällige LP-Neuauflage (Silver Vinyl) von Mortal Sins klassischem Debüt 'Mayhemic Destruction', ursprünglich 1987 veröffentlicht. Mortal Sin, die 1985 aus dem australischen Metal-Underground hervorgingen, erlangten schnell globalen Ruhm als ihre Debüt-LP vom Major-Label Vertigo 1987 weltweit aufgelegt wurde, nachdem sie erst im Eigenvertrieb lief. Mit frühen Klassikern wie 'Lebanon' und 'Blood, Death, Hatred' erwies sich das Album als eine Schlüsselveröffentlichung in der damals aufkeimenden Thrash-Metal-Szene.

Composer and musician Daniel Rafet Grima, offers a thematic release via Research Records titled 'You Are In the Embrace of The History'.

The double A side nods to ambient music, jazz and devotional musics in its arrangement and lyricism; penned as an act of faith in something other.

Research Records' 12" vinyl release of 'You Are In the Embrace of The History' will feature B side reworks by Iti (UK) and Kuniyuki Takahashi (Japan).

Rafet studied music from a young age. Tertiary education brought about further teachings in jazz. Growing up in the family village of Miniara (North Lebanon) saw to an inquiry into maqamat and traditional arabic musics post study. After composing for multiple ensembles and performing in various projects over the years, Rafet settles into his own artistry with this debut.

Lebanon oud master Rabih Abou-Khalil's stunning 1996 album 'Arabian
Waltz' is appearing here on vinyl for the first time."Arabian Waltz is the
pinnacle of Rabih Abou-Khalil's achievement as a composer and arranger
It is a sublime fusion of jazz, Middle Eastern traditional music, and Western
classical. In addition to Abou-Khalil on oud (the Arabic lute), Michel Godard on the
tuba and the serpent (the tuba's antique kinsman), and Nabil Khaiat on frame
drums, the album also features the Balanescu String Quartet instead of the usual
trumpet or sax. The presence of the Balanescu might seem to pose a dilemma
for the composer: traditional Middle Eastern music uses no harmony but a string
quartet is all about harmony. Abou- Khalil achieves a compromise by generally
writing the string parts in unison (or in octaves), in effect using the quartet as a
single voice, but also letting the quartet split up to play parts in unison with the
other instruments or to provide ornamentation. Without surrendering jazziness at
all, the presence of the strings makes possible a wondrous atmosphere, almost
as if one is listening to the soundtrack of a classy movie set in Beirut or
Damascus during the '40s. This feeling is greatest on "Dreams of a Dying City"
with its brooding tuba and cello motifs and grave, repeated rhythms. "The Pain
After" starts with an impressive tuba solo that turns into a long interlude for tuba
and string quartet; sad, slow music that sounds like one of Beethoven 's late
quartets. Then Abou- Khalil finally enters on oud, bringing a sustained note of
wistfulness. Fortunately, beside the darker numbers lie the propulsive drama of
"Arabian Waltz" and the bobbing and weaving quirkiness of "Ornette Never
Sleeps." Abou- Khalil is known for experimenting with the possibilities his guest
musicians bring to his style. In this case, the guests have inspired the host to
reach a new height and maybe even a new style. This recording suits every fan of
world music, jazz, classical, or just good music." - Kurt Keefner

The new album from Lebanese-American musician Solpara, Melancholy Sabotage, marks his full length debut and return to Nicolas Jaar's Other People label. While it was recorded over Covid lockdowns, Jaar had been talking about wanting to back a Solpara full-length since he put out Swing. The album came to life while Solpara was living alone in a Brooklyn loft, collecting unemployment checks and viewing ample free time as the artist residency he'd dreamed of; he'd previously been forced to make music in odd windows between numerous jobs and the unmerciful pace of city life. Free from obligations, he would wake up early to take Arabic lessons online, read Tracey Thorn's autobiography, and skateboard the deserted streets, then come home and design sounds until he had a track that felt like it needed to be released. While this easy going lifestyle was peaceful in many ways, Solpara found more complex inspiration in the emotion that stemmed from participation in Black Lives Matter protests and the 2020 Beirut Port explosion, which rocked all of his extended family members in Lebanon.

Melancholy Sabotage explores the theme of sabotaging melancholy. Echoing sounds from the post-punk, trip-hop, and ambient genres, it is about sabotaging the cycle of melancholy and looking at this process without ignoring the sources that put it into motion. It may be compared to a rattling breaking free from retention, reaching states of dreamy euphoria while simultaneously acknowledging the sources of retention, viewed from above. The sources can be personal, political, or socio-economic. They are to be apprehended post-melancholy, after the sabotaging of the initial cycle of melancholy. In other words, it is about transcending melancholy and understanding where it came from with some distance. It may be beautiful and healthy to feel for a while, but how may one sabotage this cycle when it becomes paralyzing? Ultimately, this album is about feeling melancholy but also resisting it and naming the sources that initiated it.

"Time To Hold Better" points to neglect on both personal and group levels. "This Time Last Year" is a personal time capsule. "We Keep Us Safe" is about solidarity, autonomy, and care witnessed within protest groups. "Melancholy Sabotage" is a sonic exploration of the album concept illustrating anger and sadness, but finally, resistance and liberation from these feelings. "Measures" is a more fluid exploration of the latter after the initial storm has passed. "We Don't Owe" points to bigger bodies inflicting harm on populations that we owe nothing to. "Breaking Points" harkens the times that we may lose focus while pushing to transcend melancholy. "Eviction" is about being pushed out of a space unwillingly while simultaneously being forced to move forward.

Melancholy Sabotage pulls from a range of genres, uniting electronic sounds under the same post-punky glow. It pulls from complex, heavy themes including damage and injustice, presenting Solpara's most moving body of work to date. It highlights the poignance that has always been at the heart of his fluid sound, which caters to dancefloors and avant-garde spaces in equal measure. Working with a mix of dissonant guitars, distorted drum machines, and distant, reverb-washed vocals, Melancholy Sabotage is Solpara's uneasiest outing to date. The record pinpoints the duality at the heart of Solpara's sound, which is as plaintive as it is searing.

In an inspiring collaboration uniting artists from different corners of Europe and the Middle East, Palestine's Muqata'a, French-Irish Zoë McPherson, and Lebanon's Rabih Beaini have merged their creative forces to remix the Belgian/Iraqi band Use Knife's influential album 'The Shedding Of Skin'.

'Peace Carnival', released on Berlin’s Morphine Records, challenges the narrative around peace through its percussion, glitches, distortions, and Muslimgauze-esque minimalism to critique and rethink perceptions of justice and freedom.

This year, Carnival's usual satire and mockery should be directed towards the so-called and one-sided definition of 'peace'.

SIHR: sonic manifesto by a post-anything quartet feat. multi-instrumentalists from the Mediterranean inland Sea. New folklore for a devastated planet, including Frédéric D. Oberland (Oiseaux-Tempête), Grégory Dargent (H), Tony Elieh (Karkhana) & Wassim Halal (Polyphème).

After a few concerts/screenings improvised as a duo in Cairo and Beirut, as well as for the Rencontres d’Arles, the Lille photography center and the Belgian magazine Halogénure, Dargent and Oberland have teamed up with mavericks Elieh and Halal for a puzzling cross-border manifesto. The first sonic moves of this eclectic quartet, made in a bunker studio somewhere between Paris and Berlin, urgently took the form of a quest, that of a neo-folklore for troubled times, a music seeping with many kinds of atavism and experimenting in all directions. A fertile no-man’s-land where trance and contem- plation, jazz and electronica, acoustics and electricity would merge in a stimulating mystical magma.

From the possible emergence of a Babelian language to the shared desire to rediscover music as a ceremonial act, this encounter took place over three days of improvised sound bacchanalia, the phases of which were all recorded by Benoit Bel (Zombie Zombie, Thurston Moore Group, Oi- seaux-Tempête). A hallucinated and generous testimony, SIHR is a synergy of many different worlds and many different possibilities, the sonic vision of a present conjugated in a hybrid tense and exalted by too many tangos danced on the glowing ashes of our days.

Multi-instrumentalist & photographer, Frédéric D. Oberland has been leading the Oiseaux-Tempête collective for over ten years, lying somewhere between avant-rock and free jazz, repetitive music and electronics. Founding member of the bands FOUDRE! and Le Réveil des Tropiques, he’s also perfor- ming solo and composing soundtracks for cinema and installation art. Since 2018, Oberland co-cu- rates the NAHAL Recordings imprint alongside producer Mondkopf.

Electric guitarist, oud player, composer and photographer, Grégory Dargent cultivates his musical schizophrenia and identity through improvised music, trance music, jazz, hijacked maqam, repeti- tive music, pop, electro-acoustic installations and French chanson. From L’Hijâz’Car to Babx, from Berber singer Houria Aïchi to Rachid Taha, from Trio H to Sirventés enragés, from music for images to contemporary choreography, from the most acoustic of ouds to the most nuclear of guitars, he conducts, accompanies, composes, deciphers, questions, delves, makes mistakes, bounces back, ar- ranges, orchestrates and tirelessly shares his creative passions.

Tony Elieh is one of the pioneers of experimental music in Lebanon. A founding member of the first post-rock group of post-war Lebanon, The Scrambled Eggs, he has since developed his unique elec- tric bass skills in various groups and styles of music including collaborating with in groups such as Karkhana, Calamita and Wormholes Electric. Relocated in Berlin in recent years, he has performed a solo set of heavily processed bass generated sounds.

Is Wassim Halal only a darbuka player? Maybe !? But what about his music, compositions, ideas. You can find him with Polyphème playing and co-composing popular-contemporary music with Gamelan Puspawarna, or next to the french bagpiper Erwan Keravec, with the Bey.Ler.Bey trio (w/ Laurent Clouet & Florian Demonsant) working on an improvised-balkan-already-improvised-music, with per- formers and drawers Benjamin Efrati and Diego Verastegui, with Gregory Dargent and Anil Eraslan in H, creating a new pedal generating »Random taksim«, composing his own »Poème Symphonique pour 100 youyou« or composing pieces for ensembles.

Born in Beirut, Lebanon, Rami Gabriel has been a motive force in rock n' roll, jazz, Arabic, and experimental music communities across North America for over twenty years. In that time, he has released numerous projects across genres and under many names. On his debut LP for Sooper Records, Rami trips all the breakers. In his own name and voice for the first time, That's what I been sayin' is not so much a debut as a conflagration in Rami Gabriel's worldly underground. Drawing on Punk, Krautrock, Dub, No Wave, and lo- fi, the territory occupied by That's what I been sayin' is astringent, minimal, and buzzing with the sound of machines dancing in the wind. "I'm used to putting out records based on genre," says Rami of his multiple endeavors. "I was listening to one of the `70s Brian Eno records where he took his experimental work and his songs and put it all together, and I was thinking, `Why don't I try to put all the different ways I've been working for the last couple years onto one record?'" That's what I been sayin' ignites this vision with an album that ranges from the motorik-driven krautrock of "Like a monk" to the unexpected trance-like pairing of "Buzuq synth." That's what I been sayin' is a furnace of Rami's insuppressible impulses, where he undertakes to ask and answer: what is left of punk but making do with what is at hand? At times direct and scorching, at others meditative and wandering, That's what I been sayin' compresses Rami's understanding as a composer, musician, and singer into a restless, 11-track love letter to the underground. For Fans of The Fall, Haruomi Hosono, Brian Eno, and Scientist.

Wewantsounds is delighted to announce the reissue of Ziad Rahbani's cult album "Amrak Seedna & Abtal Wa Harameyah," one of his praised albums from the 80s, released on the sought-after Lebanese label Relax-in in 1987. This release is an event as the album, recorded at Rahbani's By-Pass studio, was only released in Lebanon at the time. Mixing Arabic music with Funk and Fusion Jazz and hints of Boogie, it's a bonified Rahbani classic, sought after by Arabic groove DJs and collectors around the world. The reissue features audio remastered by Colorsound Studio in Paris and a 2 page insert with a new introduction by Mario Choueiry from Institut du Monde Arabe in Paris (English/French).

Singer, actor and musician Farid El Atrache, born on October 19, 1910 in Soueïda, Syria, and died on December 26, 1974 in Beirut, Lebanon, is considered the greatest singer of the Arab world. A virtuoso of the oud, his timeless work, rich in hundreds of compositions, is recognized the world over. The present selection is devoted to the master's early works recorded in the 1930s-1940s.

In the ever-evolving landscape of the underground music scene, few bands have made an impact quite like Selofan, an immensely talented duo of Joanna Pavlidou and Dimitris Pavlidis, has carved a niche for themselves within the international pantheon of darkwave, post-punk, and '80s synthpop, blending these influences to create a sound uniquely their own. Their journey, marked by a commitment to artistic integrity and evolution, has taken them from the cozy confines of local venues to the grand stages of international festivals, earning them a dedicated following and critical acclaim along the way. Their sixth album, Partners in Hell, released in October 2020, navigated the band through unprecedented times, testing their adaptability and resilience. Despite the hurdles to performing live and the global pandemic's challenges, Selofan emerged stronger, embarking on international tours with a newfound appreciation and connection with their global audience, during this period of introspection and isolation, Joanna Pavlidou embarked on a new venture, GIOVANNA, released under Selofan’s house label, Fabrika Records. GIOVANNA, which places Pavlidou at the helm of vocal and lyrical composition, represents a full on foray into synth-pop. showcasing a different facet of her artistic identity, with lyrics entirely in Greek. In 2023, Selofan hit the circuit hard, lighting up revered festivals with their presence. They stood shoulder to shoulder with heavy hitters like Molchat Doma and Lebanon Hanover at Grey Scale and performed with with the likes of The Sisters of Mercy, VNV Nation, and She Past Away at the Death Disco fest in their hometown of Athens. With each album they have released Selofan made significant strides in their evolution, deepening their engagement with their art. And their forthcoming seventh full length studio release, Animal Mentality, is poised to be their most compelling work yet. Animal Mentality unfolds as a labyrinthine journey through the elemental aspects of human emotion and experience, set against the backdrop of Selofan's signature darkwave sound. Each track on the album delves into different facets of the human condition, from the depths of desire to the pangs of isolation, encapsulating the duo's profound understanding of the intricate spectrum of human emotion and subjective experiences. The album kicks off with "Sticky Fingers," a track that melds cinematic scope with a haunting storyline, reminiscent of Jean-Michel Jarre's icy synths and a lyrical nod to Joy Division. This opening salvo revisits the tragic allure of classic car accident songs, weaving a tale of joy turned to sorrow amidst the snowy Alps. "Love's Secret Game" delves into the depths of forbidden desire, with vocals that echo the melancholy timbre of Xmal Deutschland, Lebanon Hanover, and Nico. It's a tale of passion and ephemeral connection, promising an enduring presence despite the inevitable fracture of time and distance. In "Lucille," sung by Dimitris Pavlidis, the plot is ensnared in the machinations of a tempestuous affair, with gothic undertones evoking the dramatic soundscapes of Ultravox and Clan of Xymox. The lyrics are steeped in danger and desire - a dance with the shadows. "Sacrifice Me" plunges into the abyss of despair, driven by a Bauhaus-esque bassline. It's a plea for release from the chains of alienation, a yearning for a final gesture of solace in the face of overwhelming darkness. "Bluebirds" offers a poignant reflection on solitude, with the fleeting imagery of bluebirds symbolizing the elusive quest for happiness. The song serves as a meditation on the internal struggle to maintain hope in a world shaded by sorrow. The narrative shifts with "Glassplitter," where German lyrics paint a portrait of deceptive allure and toxic entanglement. We are confronted with irresistible danger, masked by a veneer of beauty. "Ignoranz" continues the exploration in German, pondering the universality of misunderstanding. It's a reflection on the subjective nature of truth and the shared human experience of ignorance. "Behind My Eyelids" closes the odyssey, a contemplation on melancholy and metamorphosis. The phoenix rises from the ashes of betrayal to the brighter realm of renewal - a beautiful homage to the resilience of the human spirit amidst the often harrowing cycles of life. More than just an album, Animal Mentality is a milestone in Selofan's career, marking a decade of musical innovation and growth. It's a testament to their enduring spirit and a bold step into new realms of artistic expression. As Selofan continues to evolve, they remain at the forefront of their genre, pushing boundaries and exploring the depths of the human psyche through their haunting melodies and poignant lyrics.

In the ever-evolving landscape of the underground music scene, few bands have made an impact quite like Selofan, an immensely talented duo of Joanna Pavlidou and Dimitris Pavlidis, has carved a niche for themselves within the international pantheon of darkwave, post-punk, and '80s synthpop, blending these influences to create a sound uniquely their own. Their journey, marked by a commitment to artistic integrity and evolution, has taken them from the cozy confines of local venues to the grand stages of international festivals, earning them a dedicated following and critical acclaim along the way. Their sixth album, Partners in Hell, released in October 2020, navigated the band through unprecedented times, testing their adaptability and resilience. Despite the hurdles to performing live and the global pandemic's challenges, Selofan emerged stronger, embarking on international tours with a newfound appreciation and connection with their global audience, during this period of introspection and isolation, Joanna Pavlidou embarked on a new venture, GIOVANNA, released under Selofan’s house label, Fabrika Records. GIOVANNA, which places Pavlidou at the helm of vocal and lyrical composition, represents a full on foray into synth-pop. showcasing a different facet of her artistic identity, with lyrics entirely in Greek. In 2023, Selofan hit the circuit hard, lighting up revered festivals with their presence. They stood shoulder to shoulder with heavy hitters like Molchat Doma and Lebanon Hanover at Grey Scale and performed with with the likes of The Sisters of Mercy, VNV Nation, and She Past Away at the Death Disco fest in their hometown of Athens. With each album they have released Selofan made significant strides in their evolution, deepening their engagement with their art. And their forthcoming seventh full length studio release, Animal Mentality, is poised to be their most compelling work yet. Animal Mentality unfolds as a labyrinthine journey through the elemental aspects of human emotion and experience, set against the backdrop of Selofan's signature darkwave sound. Each track on the album delves into different facets of the human condition, from the depths of desire to the pangs of isolation, encapsulating the duo's profound understanding of the intricate spectrum of human emotion and subjective experiences. The album kicks off with "Sticky Fingers," a track that melds cinematic scope with a haunting storyline, reminiscent of Jean-Michel Jarre's icy synths and a lyrical nod to Joy Division. This opening salvo revisits the tragic allure of classic car accident songs, weaving a tale of joy turned to sorrow amidst the snowy Alps. "Love's Secret Game" delves into the depths of forbidden desire, with vocals that echo the melancholy timbre of Xmal Deutschland, Lebanon Hanover, and Nico. It's a tale of passion and ephemeral connection, promising an enduring presence despite the inevitable fracture of time and distance. In "Lucille," sung by Dimitris Pavlidis, the plot is ensnared in the machinations of a tempestuous affair, with gothic undertones evoking the dramatic soundscapes of Ultravox and Clan of Xymox. The lyrics are steeped in danger and desire - a dance with the shadows. "Sacrifice Me" plunges into the abyss of despair, driven by a Bauhaus-esque bassline. It's a plea for release from the chains of alienation, a yearning for a final gesture of solace in the face of overwhelming darkness. "Bluebirds" offers a poignant reflection on solitude, with the fleeting imagery of bluebirds symbolizing the elusive quest for happiness. The song serves as a meditation on the internal struggle to maintain hope in a world shaded by sorrow. The narrative shifts with "Glassplitter," where German lyrics paint a portrait of deceptive allure and toxic entanglement. We are confronted with irresistible danger, masked by a veneer of beauty. "Ignoranz" continues the exploration in German, pondering the universality of misunderstanding. It's a reflection on the subjective nature of truth and the shared human experience of ignorance. "Behind My Eyelids" closes the odyssey, a contemplation on melancholy and metamorphosis. The phoenix rises from the ashes of betrayal to the brighter realm of renewal - a beautiful homage to the resilience of the human spirit amidst the often harrowing cycles of life. More than just an album, Animal Mentality is a milestone in Selofan's career, marking a decade of musical innovation and growth. It's a testament to their enduring spirit and a bold step into new realms of artistic expression. As Selofan continues to evolve, they remain at the forefront of their genre, pushing boundaries and exploring the depths of the human psyche through their haunting melodies and poignant lyrics.

Skydaddy, the moniker of London based musician and bandleader Rachid Fakhre, has announced his debut EP, Pilot, releasing on the 2 February 2024. Alongside this announcement, Skydaddy has shared a new single ‘His Masterpiece’

Having spent the last few years writing and producing as one half of the acclaimed musical duo Spang Sisters, Skydaddy’s debut EP Pilot promises to be a ray of light bursting out from an increasingly busy London indie scene. Combining cello, violin, flute, piano and intricate vocal harmonies, Skydaddy cuts an utterly compelling figure, leading a fluid and interchangeable band, at its largest 7 people strong, they delicately glide through intricate passages of chamber-folk-rock, into swelling orchestral crescendos.

Released today is new single ‘His Masterpiece’ a piano driven track bristling with both a sense of hope and of melancholy. Skydaddy’s vocals sit alongside ear worm hooks from violins and flute. Following on from debut single ‘That Morning’ (also on upcoming EP Pilot) Skydaddy manages to capture a sound of yearning and nostalgia, whilst still sounding completely fresh and incredibly exciting. Offering insight on the inspiration on the track, he offers:

“Inspired by the story of Claude Lantier from Emilie Zola’s L'Œuvre (Commonly translated to ‘His Masterpiece’), the song charts the plight of an early impressionist painter in Paris whose works are unappreciated and gawked at by the Parisian artistic elite who are still tethered to the Romantic trend in painting. Lantier (whose character is based on Paul Cézanne) becomes madly obsessed in a painting which he believes to be his masterpiece and the ultimate demonstration of his talent and genius; an obsession which leads to his eventual, self-inflicted demise. The song is ultimately about alienation, bitterness and the struggle of creativity.”

With her distinct sound treatment and signature improvised performances, Liliane Chlela has been pushing forward the boundaries of ‘Experimental and Electronic Music’ in Lebanon and the Middle East/West Asia and North Africa for over a decade both as a solo artist and via her various local and international collective projects. One of the most versatile female producers/musicians in the Middle East/West Asia and North Africa, Chlela constructs a characteristic sound both as a composer/producer and as a live musician. She further explores the connections between improvisation and sound treatment by approaching numerous musical genres with her signature techniques. Relentless and heavy dark electronic beats mingle with anger and anguish on Liliane Chlela’s album “Safala”. The Lebanese producer and hybrid DJ tapped into her personal memories to bring forth a sonic concoction anchored in the inherited oral epistemologies of her ancestors. Memories intertwine with Beirut, using incantations inherited from Chlela’s grandmother as building blocks to build an eight track album. From warding off the evil eye to protest sounds from the past year of events in Lebanon, the album haunts the listener to invoke a striking elegy on terror and anger, while inducing a rollercoaster of sonic eruptions.

Following the reissue last year of Fairuz's classic 1979 album "Wahdon", Wewantsounds pursue their exploration of great Lebanese music with the reissue of Fairuz's highly sought-after LP "Maarifti Feek," released in 1987. Recorded in Beirut around 1983-84, the album features the Diva's superb voice combined with Ziad Rahbani's jazz and funk orchestration, making it one of the most in-demand albums on the Arabic funk scene. The release will coincide with "Arab Divas," a major exhibition set in the prestigious Institut du Monde Arabe (IMA) in Paris, celebrating the greatest singers from the Arab World and starting 13 May 2020. One of the greatest singers of the Middle East, Fairuz started her career in Lebanon in the 50s and quickly established herself as the most renowned Diva in the Arabic world, playing the most prestigious venues in the world. At the end of the 70s, Fairuz was at a turning point both professionally and personally. Her Husband Assi Rahbani, who, with his brother Elias, had penned her biggest successes, has suffered a stroke a few years earlier. This setback ultimately led to both the demise of their marriage and the end of their professionnal partnership. Enters Ziad Rahbani, Fairuz and Assi's son, a young musician, playwright and producer who had cut his teeth writing a handful of Fairuz's song - including her 1973 hit "Sa'alouni El Nas" - at just seventeen. Ziad Rahbani swiftly took over from his father and uncle as the singer's musical director and composer and this fruitful association, which started in 1979 with the album "Wahdon," broke many new grounds for Fairuz with funkier rhythms and edgier lyrics. It was recorded at the same time as Rahbani's own 12 inch "Abu Ali" which became a sought-after disco classic in its own right. The association between the two continued with a second album, "Maarifti Feek" ("Our Encounter"), recorded between 1983 and 84 in Beirut but only released in 1987. The album was another groundbreaking mix of influences ranging from the traditional arrangements of "Oudak Rannan" and "Ma Kdirt Nseet" to the brazilan flavour of "Version 1" via the synth funk of "Ouverture 83" and its follow up "Reprise 83". Also featured on the album is a beautiful remake of Joaquin Rodrigo's "Concerto de Aranjuez" in the form of a tribute to the lebanese capital, "Li Beirut." This blend of Oriental grooves with jazz and funk orchestrations by Ziad Rahbani is a unique document of Fairuz's career development in the 80s and explains why "Maarifti Feek" is such a sought after album on the DJ and collector circuits which Wewantsounds is delighted to reissue for the first time since the album first came out.

"East of Any Place,” out December 1st via Habibi Funk, is a treasure trove of songs we came across alongside Rogér Fakhr's acclaimed 2021 album, "Fine Anyway." These tracks, hidden for decades and only passed between a handful of people, offer a glimpse into Rogér’s musical genius and the vibrant scene of Lebanon during a period marked by civil war and social upheaval. This release serves as a companion to "Fine Anyway," feat studio tracks that didn't make it into the previous album.

A hard one to put in a box when it comes to genre, floating somewhere between italo and synth pop, originally released in Switzerland in 1985. Written by German pop group Hongkong Syndikat, both tracks with a very distinct and soothing sound that's hard to forget.

"Underboard" is very cool paced downtempo number that builds up with layers of subtle percussion lusciously adorned by some heavy saxy reedsmanship and mysterious vocal accents with no real message - 100% chill o'clock served on ice.

Cedar Of Lebanon picks up the tempo a notch, once again setting the scene for the reeds to shine as the catchy melody is presented, beautiful 80's instrumentalism from a golden age, clearly not made in Ableton. B side features a respectful DJ tool style remix by Anatolian Weapons. Remastered at Manmade mastering in Berlin.

Die nächste Veröffentlichung in der Reihe der Steve Hackett-Vinyl-Editionen ist sein 18. Studioalbum "Wild Orchids", das zum ersten Mal überhaupt auf Vinyl erhältlich ist. Ursprünglich im Jahr 2006 veröffentlicht, wurde Steve auf diesem Album von bekannten Persönlichkeiten wie Roger King, John Hackett, Rob Townsend, Gary O'Toole sowie dem Underworld Orchestra begleitet, das den Sound mit herrlichen Streicher- und Bläsersätzen bereicherte. Das Album enthält Steves Cover von Bob Dylans "Man In The Long Black Coat" sowie "Reconditioned Nightmare", eine Neuaufnahme des Titels "Air Conditioned Nightmare" von seinem 1981er Album "Cured". Erhältlich als Gatefold 180g 2LP.