Nashazphone

Finally reuniting all the music Marutti spontaneously created in a short period during the very first Amon recording sessions, and bringing it to vinyl for the first time, Akh is a ticket for a trip back in time, a musical universe rich with impenetrable scenarios, a driving, grey space of ever-increasing numbness resounding all around and inside the listener. In Ancient Egypt, Akh was most often used to mean a complete person, whether living or dead. While living, the Akh was composed of all five elements -- The Body, Ba (the personality: humor, warmth, charm), Ka (the life force unique to every person) which stayed, The Name, and The Shadow. When dead, the Akh referred to the reunion of the Ba and the Ka, which they also believed happened each night. In death and every night too, Akh is the reunion of the self. Mostly lacking any flash of light, the tracks featured on this collection open a subtly esoteric universe, which rises up out of the desert, leading through a profound and introspective path with their sonic stimuli, plumbing the depths of the unconscious with a hypnotic, mystical and arcane flavor. Perfect to listen to during the late hours when distracting factors are few and the music may join forces with the night itself. Will appeal to fans of Roland Kayn, Thomas Köner, Éliane Radigue, deep listening, minimalism, and isolationism alike. Edition of 250.

Hypnotic proto-Raï from Algeria circa 1979-1989 by Drissi El-Abbassi, a pioneer of the style who bridged its early roots with the era of multi-track digital recording during the sound’s rapid evolution, making for an insane set of microtonal synths, psych guitars and drum machines for fans of Cheb Khaled, Omar Khorshid or Omar Souleyman.

‘Rai Sidi Bel Abbes’ plays deeply into one of the core influences of borderless Algerian/Egyptian label Nashazphone, highlighting a figure relatively unsung beyond the North African Arabic diaspora, introducing his unusually balmy, soft-voiced take on a genre that came to be known for its harder edges. Set to a mix of microtonal Roland synthesiser leads and swaying drum machines, El-Abbassi’s vocals emote with particular clarity and sensuality, carrying the jazz and psych rock-inspired early sound into a prototype of its current form across eight songs that chart his transition from working with principal group Les Freres Zergui, to selections from recordings by his own band’s influential releases during the mid-late ‘80s.

Drissi El-Abbassi was 17 in 1978, when he joined one of the main groups in Oran region, Les Aigles Noir, working as “stage animator” - a sort of hypeman, also responsible for relaying lyrics to the lead singer, at weddings and parties - and by 1979 he was a member of Les Freres Zergui, who pioneered the use of wah wah pedals and drums in the style of Rai; a new sound established by Messaoud Bellemou and his troupe, that incorporated trumpets and sax into a distinctive new Algerian genre. He cut his teeth playing two shows a night at the weekends with Les Freres Zergui, and his first solo tape came out that year with Zergui on guitar. Following Zergui’s passing in 1983, and the dissolution of the band, El-Abbassi set up his own group, embracing new technology and helping progress the style alongside legendary producer Meghni Mohamed for labels such as Editions Anwar, Editions Maghreb, and Editions Saint Crepain.

The eight songs on ‘Rai Sidi Bel Abbes’ cover a spectrum of El-Abassi’s work during 1979-1989, from the mouth watering microtonal psych licks and nagging machine grooves of ‘Zedti laadab aliya’ to the lissom guitars and accordions of ‘Khalouni neck’, showcasing his smoothly contoured vocal cadence in finest style on cuts that resemble melodic Lovers Rock vibes in ’Trig maaskar’ and intoxicatingly sensual highlights ‘Jat jat’, plus the passionate, psychedelic ache of ‘Manetzouedj manebni dar’, or ‘Djibek liyam’, which should appeal to fans of Omar Khorshid as much as Omar Souleyman.

Shirk is the new AOR flavored free improvisation solo album by Sam Shalabi featuring Eric Chenaux and Nadah El-Shazly where Synth Pop and Sound Poetry fester. Sam Shalabi is an Egyptian-Canadian composer, improviser and guitarist living between Montreal and Cairo. Starting out during the late 70s punk era, his work has evolved into an experimental synthesis of modern Arabic Music that incorporates free improvisation, traditional Arabic music, noise, classical, text, and jazz. Other than his numerous solo albums, he is a founding member of Shalabi Effect, a free improvisation quartet that bridges western psychedelic music and Arabic Maqam. He has also released four albums with Land Of Kush, the experimental 30-member orchestra which he directs. He has appeared on over 30 albums and toured Europe, North America and North Africa.

A central iconic figure in the ever thickening Cairo underground electronic scene, ZULI has crossed borders years ago with a relentless international touring schedule and releases on Lee Gamble's UIQ as well as Haunter Records, now considered as flagship works. His meticulously crafted sound, located at the crossroads of IDM, Hip-Hop, Jungle and more has never stopped developing. It is characterized by power, precision and very elaborate arrangements. Digla Dive - Live is an additional step further in his extended quest where Studio compositions are constructed in a Live setup spirit.