Almaazz and x/o
Sot Wa Sada
Boomkat Product Review:
ENDGAME's Precious Metals imprint presents the blazing debut from Egyptian-Canadian vocalist Almaazz, who teams up with producer x/o on five booming fusions of traditional Arabic songwriting and outsider club percussion. One for fans of Fatima Al Qadiri, Eartheater or Aïsha Devi.
'Sot Wa Sada' is Vancouver-based Almaazz's debut release, and smartly focuses on her powerful voice. The songwriter's wiry Arabic vocals hand the EP its emotional weight, leaving x/o to fill in the gaps with their skittering productions, that should be familiar to anyone who caught last year's brilliant (and weirdly underrated) 'Chaos Butterfly'. Brief and economical, each track is perfectly formed, beginning with the jubilant '123', a romantic cry to the heavens that's propelled by x/o's pneumatic kicks and syrup-sweet coos from Almaazz. The subtle secret here is the evocative pizzicato twinkles that can't help but remind us of Vangelis's enduring 'Blade Runner' score, but there's plenty going on to unpack.
'Geneya' is more vivid, chopping Almaazz's ascending wails with militaristic snare runs and distorted 808 booms. Here, the Egyptian-Canadian's interest in traditional Arabic music really froths to the surface, but x/o's production techniques shuttle the music outside the ozone layer onto a drifting space station, all airlock slams and deranged machine bleeps. 'Zayee' is the shortest, sweetest track - just a minute of absorbing chants and harpsichord-esque chimes that leads us into the bass-heavy finale 'Ah'. Dark and sultry, this one's an apt closer, pushing into abstraction with saturated, chaotic drums and fantastical, fairytale vocals. Big recommendation.
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Boomkat Product Review:
ENDGAME's Precious Metals imprint presents the blazing debut from Egyptian-Canadian vocalist Almaazz, who teams up with producer x/o on five booming fusions of traditional Arabic songwriting and outsider club percussion. One for fans of Fatima Al Qadiri, Eartheater or Aïsha Devi.
'Sot Wa Sada' is Vancouver-based Almaazz's debut release, and smartly focuses on her powerful voice. The songwriter's wiry Arabic vocals hand the EP its emotional weight, leaving x/o to fill in the gaps with their skittering productions, that should be familiar to anyone who caught last year's brilliant (and weirdly underrated) 'Chaos Butterfly'. Brief and economical, each track is perfectly formed, beginning with the jubilant '123', a romantic cry to the heavens that's propelled by x/o's pneumatic kicks and syrup-sweet coos from Almaazz. The subtle secret here is the evocative pizzicato twinkles that can't help but remind us of Vangelis's enduring 'Blade Runner' score, but there's plenty going on to unpack.
'Geneya' is more vivid, chopping Almaazz's ascending wails with militaristic snare runs and distorted 808 booms. Here, the Egyptian-Canadian's interest in traditional Arabic music really froths to the surface, but x/o's production techniques shuttle the music outside the ozone layer onto a drifting space station, all airlock slams and deranged machine bleeps. 'Zayee' is the shortest, sweetest track - just a minute of absorbing chants and harpsichord-esque chimes that leads us into the bass-heavy finale 'Ah'. Dark and sultry, this one's an apt closer, pushing into abstraction with saturated, chaotic drums and fantastical, fairytale vocals. Big recommendation.
Boomkat Product Review:
ENDGAME's Precious Metals imprint presents the blazing debut from Egyptian-Canadian vocalist Almaazz, who teams up with producer x/o on five booming fusions of traditional Arabic songwriting and outsider club percussion. One for fans of Fatima Al Qadiri, Eartheater or Aïsha Devi.
'Sot Wa Sada' is Vancouver-based Almaazz's debut release, and smartly focuses on her powerful voice. The songwriter's wiry Arabic vocals hand the EP its emotional weight, leaving x/o to fill in the gaps with their skittering productions, that should be familiar to anyone who caught last year's brilliant (and weirdly underrated) 'Chaos Butterfly'. Brief and economical, each track is perfectly formed, beginning with the jubilant '123', a romantic cry to the heavens that's propelled by x/o's pneumatic kicks and syrup-sweet coos from Almaazz. The subtle secret here is the evocative pizzicato twinkles that can't help but remind us of Vangelis's enduring 'Blade Runner' score, but there's plenty going on to unpack.
'Geneya' is more vivid, chopping Almaazz's ascending wails with militaristic snare runs and distorted 808 booms. Here, the Egyptian-Canadian's interest in traditional Arabic music really froths to the surface, but x/o's production techniques shuttle the music outside the ozone layer onto a drifting space station, all airlock slams and deranged machine bleeps. 'Zayee' is the shortest, sweetest track - just a minute of absorbing chants and harpsichord-esque chimes that leads us into the bass-heavy finale 'Ah'. Dark and sultry, this one's an apt closer, pushing into abstraction with saturated, chaotic drums and fantastical, fairytale vocals. Big recommendation.
Boomkat Product Review:
ENDGAME's Precious Metals imprint presents the blazing debut from Egyptian-Canadian vocalist Almaazz, who teams up with producer x/o on five booming fusions of traditional Arabic songwriting and outsider club percussion. One for fans of Fatima Al Qadiri, Eartheater or Aïsha Devi.
'Sot Wa Sada' is Vancouver-based Almaazz's debut release, and smartly focuses on her powerful voice. The songwriter's wiry Arabic vocals hand the EP its emotional weight, leaving x/o to fill in the gaps with their skittering productions, that should be familiar to anyone who caught last year's brilliant (and weirdly underrated) 'Chaos Butterfly'. Brief and economical, each track is perfectly formed, beginning with the jubilant '123', a romantic cry to the heavens that's propelled by x/o's pneumatic kicks and syrup-sweet coos from Almaazz. The subtle secret here is the evocative pizzicato twinkles that can't help but remind us of Vangelis's enduring 'Blade Runner' score, but there's plenty going on to unpack.
'Geneya' is more vivid, chopping Almaazz's ascending wails with militaristic snare runs and distorted 808 booms. Here, the Egyptian-Canadian's interest in traditional Arabic music really froths to the surface, but x/o's production techniques shuttle the music outside the ozone layer onto a drifting space station, all airlock slams and deranged machine bleeps. 'Zayee' is the shortest, sweetest track - just a minute of absorbing chants and harpsichord-esque chimes that leads us into the bass-heavy finale 'Ah'. Dark and sultry, this one's an apt closer, pushing into abstraction with saturated, chaotic drums and fantastical, fairytale vocals. Big recommendation.
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