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This week, I wrote about angry grapes and books. https://tinyletter.com/Brady_Gerber/letters/7-for-seven-books-books-books-books
Category: Uncategorized
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(via Racha Rizk)
What a voice. Racha Rizk is a singer from Damascus now based in Paris. “Sakru Shababîk” is my current favorite Rizk track for that soulful, powerful voice and bonus electric guitar – something I don’t hear too often in Arabic pop. Check out her interview with Onorient from earlier this year, and check her out via Facebook.
From Onorient (translated):
“Passed far too unnoticed, the first album of the Syrian diva, “Malak” released early 2017, deserves to be widely presented on new scenes.
The compositions of Racha Rizk tell with troubling softness the destructive consequences of the war in Syria. Her past of prima donna at the Opera is guessed in the elegance of her phrasing and the amplitude of her melodies. With the freedom of the great artists, she sings in Arabic on oriental music tunes, tinged with jazz, pop suspicions, or a few rock riffs.
His enveloping voice has already charmed several generations of moviegoers in France. A few years ago, she had lent her voice to the films of the Lebanese director Nadine Labaki Caramel and And now we go where? From now on, its homage to Syria and the Syrians is a tribute to the web, beyond the borders.”
(Source: https://www.youtube.com/)
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(via Black Letters)
I don’t know what “Falter” is trying to do, and that’s a good thing. The latest song by Bengaluru’s Black Letters starts off like it’s going to build into a Portishead groove before stopping and taking a clearer, R&B-like turn. Now I hear romantic Mogwai. Now I see an endless horizon and a blood red sky going on and on and wanting to drive all through it. The song’s music video shares a similar dreamlike haze. It’s all quite lovely.
From Bandcamp:
“Falter is the debut single from upcoming full-length album by Black Letters.
The new release via Overfeed Records is a follow-up to Petrichor, EP (2015) and Shapes On The Wall, LP (2014).”
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(via Sal Dulu)
I love the mystery of Sal Dulu. I know nothing about this musician (except the Ireland connection) and that the music sounds like the back corner of my mind driving along an empty highway at night thinking about nothing and everything. The music is vast and sexy. It’s worth your time. I also love “Duluoz Dream.”
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(via Ghetto Kumbé)
As New York enters October and actual, no-actually-this-is-it Fall, I’m already looking ahead at next summer. Ghetto Kumbé is partly to blame, with its upbeat grooves and its insistence to enjoy life and get up and dance. Soy Selva is out October 16th.
From Galletas Calientes Records:
“Ghetto Kumbé is a three-man Afro-Colombian band fusing the Afro-Caribbean roots of Colombia with the hypnotic power of African house beats.
“Soy Selva” (translated as “I’m Jungle”), produced with London native producer The Busy Twist, is about the ancient people of Colombia, their traditions, their relations with mother nature, universal respect and ritual dancing. With the additional featuring of Ghanaian singer Zongo Abongo on “Dagbani Dance”, things have definitely come full circle for this new EP, involving three continents in this innovative musical adventure.”
7 For Seven: Learning To Fly
This week, I wrote about Tom Petty, Orson Welles’ brilliant ignorance, yellow paint, and more.
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(via Hoodna Orchestra)
Afrobeat from Tel Aviv? When it sounds this good, yes.
Hoodna Orchestra is a 14-piece group that plays all types of Afrobeat styles, and they play them all well. According to their bio, the group’s mission is to study and investigate the African origins of western popular music.
From Bandcamp:
ALEM (world in Amharic) is the 2nd release in a series of collaborations between The Hoodna Orchestra and artist and performers from Ethiopia. The song was written and sung by The singer and poet DEMISU BELETE to a tune by Ilan Smilan. It is an intense love song describing one’s love as a cure to all pains and woes. BELETE’s singing style is heavily influenced by the great singers from the golden age of ethiopian music, especially Mahmoud Ahmed and Tilahun Gesesse. BELETE’s deep voice, alongside the dynamic and groovy performance by the Hoodna orchestra, creates a powerfull composition that sweeps the listeners away to a different time and place.
The Bside is an Ethio-dub version of the song, that features members of ADYABO Ensemble, a group that specializes in traditional Ehiopian music and Folklore. The song titled ALEM-DUB is an attempt at fusing old and new, tradition and Modernity. The result is a hypnotically groovy track, heavily painted in Bright psychedelic colours. The single will be released in a 7″ vinyl format.
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(via My Skin Against Your Skin)
Every time I listen to “生存的城市” (“Life is for Living”), I always expect it to first drone out into some electronic oh you listen to the Drive soundtrack cool mist. Instead, this song by My Skin Against Your Skin unfolds into an effective pop groove that reminds me of Death Cab For Cutie at its most yearning and lovely. Andrea Huang’s voice is especially strong on a deceivingly simple song.
The three-piece, originally just Huang and bassist and synth player Si-Lu Yu and now with drummer Jesse, has been active since 2010 and have a large following around Taiwan – let’s bring them to the states! Learn more about the band via their interview with Hello Asia!
(Source: https://www.youtube.com/)
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(via Travi$ Harvey)
I’m not too well versed in Namibian hip-hop, but if Travi$ Harvey reflects any scene, I’m all in. “Hip-Hop Back” takes me back to Jay-Z’s original Blueprint era with a large, cinematic sound that highlights his wordplay. Harvey calls this “Indigo Golden Soul,” and I like the moody way that music looks. The Walvis Bay artist, poet, songwriter, and producer is also one-half of New Breedz. According to The African Hip Hop Blog, Harvey’s upcoming solo release will be out sometime this month.
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(via The Wanton Bishops)
The Middle East has an established Tuareg blues scene, but American blues-influenced rock ‘n’ roll isn’t as easy to find throughout the Middle East from the states. The Wanton Bishops is one of those rare finds that catches me off guard by how American it sounds and how strong it is; Delta harmonicas, bluesy riffs, and mournful howls are all here, but there’s also a very modern drive and light electronic touch that makes this more than just “American rock.” Listen to the whole album and be prepared to be pleasantly surprised.
From Bandcamp:
“The Wanton Bishops is the vision of one very eclectic man – Nader Mansour. A cultural anomaly, considering the fact that he was born and raised in Beirut, Lebanon, Nader as lead singer is the very epitome of a howling blues man. With a wide range of influences, Nader’s music draws from blues, psychedelic rock, classic rock to the sounds of the Tarab.”