Live in Sharjah
Rabih Beanih's Morphine presents another head-mashing set here, this time from Egyptian experimental ensemble PRAED Orchestra!, who cross shaabi and mouled forms with psych rock, free jazz and wyrd world electronics.
Since 2006, Raed Yassin and Paed Conca have been experimenting with a fusion of Arabic popular music, free jazz and experimental electronics. This latest set finds the duo operating with eleven additional players (including Alan Bishop, Nadah El Shazly and Sam Shalabi) as an orchestra, exploring the popular Egyptian genre shaabi and traditional trance music mouled. Each of the set's seven tracks weigh's in at between ten and twenty minutes, giving time to let each sound and phrase breathe life into the waves of repetition and sonic investigation.
Familiar percussive patterns loop into a psychedelic infinity, while washes of synth, sax and organ wobble hypnotically. Occasionally, funk or jazz elements move into the center stage and occasionally we're reset into pure splatter-core synth experimentation. At all times, the PRAED Orchestra! retain a playfulness that distances it from fussy, dull improv and connect it more concretely with the omnipresence and populist thrust of shaabi. We might not be able to travel far very easily right now, but "Live in Sharjah" is a tidy outerzone voyage that should almost make up for it.
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Rabih Beanih's Morphine presents another head-mashing set here, this time from Egyptian experimental ensemble PRAED Orchestra!, who cross shaabi and mouled forms with psych rock, free jazz and wyrd world electronics.
Since 2006, Raed Yassin and Paed Conca have been experimenting with a fusion of Arabic popular music, free jazz and experimental electronics. This latest set finds the duo operating with eleven additional players (including Alan Bishop, Nadah El Shazly and Sam Shalabi) as an orchestra, exploring the popular Egyptian genre shaabi and traditional trance music mouled. Each of the set's seven tracks weigh's in at between ten and twenty minutes, giving time to let each sound and phrase breathe life into the waves of repetition and sonic investigation.
Familiar percussive patterns loop into a psychedelic infinity, while washes of synth, sax and organ wobble hypnotically. Occasionally, funk or jazz elements move into the center stage and occasionally we're reset into pure splatter-core synth experimentation. At all times, the PRAED Orchestra! retain a playfulness that distances it from fussy, dull improv and connect it more concretely with the omnipresence and populist thrust of shaabi. We might not be able to travel far very easily right now, but "Live in Sharjah" is a tidy outerzone voyage that should almost make up for it.
Rabih Beanih's Morphine presents another head-mashing set here, this time from Egyptian experimental ensemble PRAED Orchestra!, who cross shaabi and mouled forms with psych rock, free jazz and wyrd world electronics.
Since 2006, Raed Yassin and Paed Conca have been experimenting with a fusion of Arabic popular music, free jazz and experimental electronics. This latest set finds the duo operating with eleven additional players (including Alan Bishop, Nadah El Shazly and Sam Shalabi) as an orchestra, exploring the popular Egyptian genre shaabi and traditional trance music mouled. Each of the set's seven tracks weigh's in at between ten and twenty minutes, giving time to let each sound and phrase breathe life into the waves of repetition and sonic investigation.
Familiar percussive patterns loop into a psychedelic infinity, while washes of synth, sax and organ wobble hypnotically. Occasionally, funk or jazz elements move into the center stage and occasionally we're reset into pure splatter-core synth experimentation. At all times, the PRAED Orchestra! retain a playfulness that distances it from fussy, dull improv and connect it more concretely with the omnipresence and populist thrust of shaabi. We might not be able to travel far very easily right now, but "Live in Sharjah" is a tidy outerzone voyage that should almost make up for it.
Rabih Beanih's Morphine presents another head-mashing set here, this time from Egyptian experimental ensemble PRAED Orchestra!, who cross shaabi and mouled forms with psych rock, free jazz and wyrd world electronics.
Since 2006, Raed Yassin and Paed Conca have been experimenting with a fusion of Arabic popular music, free jazz and experimental electronics. This latest set finds the duo operating with eleven additional players (including Alan Bishop, Nadah El Shazly and Sam Shalabi) as an orchestra, exploring the popular Egyptian genre shaabi and traditional trance music mouled. Each of the set's seven tracks weigh's in at between ten and twenty minutes, giving time to let each sound and phrase breathe life into the waves of repetition and sonic investigation.
Familiar percussive patterns loop into a psychedelic infinity, while washes of synth, sax and organ wobble hypnotically. Occasionally, funk or jazz elements move into the center stage and occasionally we're reset into pure splatter-core synth experimentation. At all times, the PRAED Orchestra! retain a playfulness that distances it from fussy, dull improv and connect it more concretely with the omnipresence and populist thrust of shaabi. We might not be able to travel far very easily right now, but "Live in Sharjah" is a tidy outerzone voyage that should almost make up for it.
3LP Live in Sharjah Boxset + Booklet. Designed by Lorenzo Mason Studio.
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Rabih Beanih's Morphine presents another head-mashing set here, this time from Egyptian experimental ensemble PRAED Orchestra!, who cross shaabi and mouled forms with psych rock, free jazz and wyrd world electronics.
Since 2006, Raed Yassin and Paed Conca have been experimenting with a fusion of Arabic popular music, free jazz and experimental electronics. This latest set finds the duo operating with eleven additional players (including Alan Bishop, Nadah El Shazly and Sam Shalabi) as an orchestra, exploring the popular Egyptian genre shaabi and traditional trance music mouled. Each of the set's seven tracks weigh's in at between ten and twenty minutes, giving time to let each sound and phrase breathe life into the waves of repetition and sonic investigation.
Familiar percussive patterns loop into a psychedelic infinity, while washes of synth, sax and organ wobble hypnotically. Occasionally, funk or jazz elements move into the center stage and occasionally we're reset into pure splatter-core synth experimentation. At all times, the PRAED Orchestra! retain a playfulness that distances it from fussy, dull improv and connect it more concretely with the omnipresence and populist thrust of shaabi. We might not be able to travel far very easily right now, but "Live in Sharjah" is a tidy outerzone voyage that should almost make up for it.