DOWNLOAD: With permission from Fareeq el Atrash, here is “Fareeq el Atrash (Pre-album)” for your listening pleasure. But when the official one comes out, you’re on your own dudes: http://www.mediafire.com/file/hyqtmmbvyxt/Fareeq el Atrash – Pre-Album.zip
This was supposed to be the official Fareeq el Atrash self-titled album, but since this was recorded before Chyno joined the group, it would not have presented the band as they are today. So, currently, they are rerecording with Chyno. But instead of trashing this, they decided to share it with fans by giving it away at a couple events, giving us all a generous insight into their history, instead of just sweeping this under the carpet like some fluke of an outtake.
-The Look: Though not professionally distributed, this did come with a cover and an image on the disk. Omar Khoury is responsible for all the artwork here. The front cover is a drawing of Edd and John Imad Nasr with sort of faded images of themselves on top, along with the group’s logo which is a beautiful piece of Arabic typography if I do say so myself.
The interior is a drawing of a Beirut skyline with the album credits and track list. This was mixed and mastered by Fadi Tabbal by the way…
The back cover has the track list in that lovely Arabic typography used for the band’s name on the front.
The CD itself has part of that skyline picture on it in black and white.
-The Sound: This took Lebanese hip hop to places I hadn’t seen it go before. It’s an album that cherishes actual playing and using basic instruments (bass, piano, drums) as opposed to just sampling synthesized beats, but also isn’t afraid to show off with some fancy effects and noises, and to use some more uncommon instruments (saxophone, cello, pots and pans). Furthermore, what they have up on their myspace is very basic, it only shows you the more “natural” side of them, but here you get to see a more experimental side of them, playing with effects, noises, and samples.
1-“Moqaddima”: This is an acapella track with the noise of the Beirut streets as its background music. Edd sets out his plan of infiltrating all ears, making even the deaf hear what he has to say. He comes bearing a message that he feels the need to deliver. So he asks of you simply to listen. All of this set to the sounds of a bustling Beirut street.
2- “Demoqrati”: This track is the listener’s first introduction to L’Fareeq’s musical style. It features John’s funk-influenced bass playing, a sampled drumbeat, FZ’s beatboxed drums, which might make you think “ok, so they got a guy to beatbox for one song”, but listen on and you’ll see much more of him, Goo’s equally funky effected guitar playing, Fouad Zakka’s saxophone additions that succeed in jazzing things up a bit, and of course Edd’s expertly crafted lyrical arrows that never fail to hit their assigned targets, be they politicians, society, or anything else he feels like shedding some light of truth on. This track samples part of a speech by the politician Smair Gaegae where he is trying to identify a certain mysterious concept that can be found here, unable to name it. It’s called “democracy”, and what they’re implying is that the presence of this so-called “democracy” can hardly be felt here.
3- “Lawen”: This is one of my more favorite tracks. Edd raps of society and politics while Goo provides some faint guitar strumming. A percussive drumbeat comes in, and then disappears, leaving the very funky guitar and bass to do their thing, but a new beat comes in to join them, only to be briefly replaced by FZ’s vocal percussion and then return to join the bass and guitar, which is now at maximum funk levels, with the appropriate effects and everything. The track ends with the guitar playing off.
4- “Byin7aka”: I have heard two versions of this song before. The first is Edd’s solo version with DJ Lethal Skillz which appears on Lethal Skillz’s debut album “New World Disorder”, and the other is the Fareeq el Utrush version that features Chyno, live. The Lethat Skillz version relies heavily on piano, the Fareeq el Utrush with Chyno version is basically just guitar, bass, and beatboxing, live that is, but it could go anywhere on the album really. This version is different than that new live version. This is one of the songs on this record that isn’t afraid to be “abstract” through its use of noise. It starts out with some faint guitar coupled with an eerie reverb which is later joined by bass. While Edd raps, a drumbeat plays, with bass, and saxophone interrupting from time to time. The saxophone plays over the spatial ambience of the guitar. Edd spits his rhymes once again, this time with a more prominent saxophone. Eventually it all fades away…
5- “Qatshe'”: This is a little interlude that is basically Rabih Sakr playing what appears to be buckets and some percussion. This foreshadows the methods to be used on the following track…
6- “Terikhna Bi Libnen”: This is a good one right here. It actually sounds “happy” while still delivering that serious message. It goes to show that even if you’re talking about politics or something grave, you can still sound friendly while doing it. It starts out with one of the most memorable bass riffs on the album, with some metallic percussion, that may in fact be pots or pans, played by Samer Sagheer interrupting here and there. Edd breaks into his rap on the instability of Lebanon with nothing but the bass and the now more complex kitchen percussion. Edd raps of the 2006 Lebanese-Israeli conflict. Some jazzy piano comes into play, played by Samer Sagheer as well. As Edd raps the chorus, the piano accompaniment takes a more ominous turn, and then a drum sample solidifies the percussion already playing. That all dissipates leaving only the piano and bass, which repeats that riff that started it all. Like the first verse, the bass plays the riff along with the percussion, while this time the piano additions appear earlier on and the drum sample of the chorus breaks into the verse this time along with the added percussion of a tambourine. Edd continues his verbal assault on this particular war mentioned earlier. The chorus repeats, now with every single element previously heard playing in unison, plus some jazzy saxophone, or at least it sounds like saxophone. It’s bass! It all ends as the piano’s final notes echo and the hits of the tambourine fade away… Good production work, Mr.Nasr.
7- “Khabriyten”: It is ushered in with some noise, along with FZ’s beatboxing. A guitar tone repeats itself over and over, so does a hi-hat sound, and the bass, with a muffled grunt. All of this looping leads up to the introduction of a drum sample and saxophone tune, setting a very ominous mood, while that hi-hat loop lingers. On top of this audio collage, Edd does some storytelling. He talks of being stopped at a military checkpoint where he is questioned and asked for some papers. An odd looped noise fades in to interrupt this all, only to be interrupted itself by some Arabic samples that came out of nowhere; a man comments on how funny the situation is while another inquires as to what happened next. Edd continues his lyrical onslaught on the system and in the end, sarcastically dismisses the whole thing and suggests nobody even bother walking the streets at night in the first place. It concludes with that guitar tone, repeating on and on, backed by some crunchy noise, that saxophone tune, which then shifts into a brief segment of FZ beatboxing and the guitar improvising with some eerie reverb.
8- “Shou Kamish?”: I have mixed feelings about this one. I like the dissonance aspect in some songs, but I would have preferred it if it were a bit “cleaner”. More prominent drums, less of that background sample thing. Not all tracks have to be “Terikhna Bi Libnen” clones, but I would have liked this one in particular to be more “solid”, but actually it has grown on me (love that clarinet riff…). A man, who it turns out was John himself, yells at Edd, telling him pull himself together. He replies condescendingly saying “Ok baba”. A drumbeat can be heard building up as well some background noise of somekind. A monkey cries out, and the drums bust in along with the bass, as well as that faint background noise which sounds like a voice crying out. Edd raps on rap itself, recounting his early days writing his verses and his dedication to it today. He is joined by Fouad Zakka’s mood-setting clarinet while he raps the chorus, and even after it plays its main tune, it lingers on popping in and out (or is that the sax there?) with his lyrical progression. After he’s said all that needs to be said, it wraps the track up with some short improvisation that concludes with that background noise of a voice singing letting out its very last cry.
9- “Lawen (Marra Tenye’)”: This track is the little brother of the track “Lawen”. In my opinion, doing it “marra tenye'” wasn’t really necessary. It begins with some reverberating oral clicking and slurping with some guitar, and by guitar I mean running the pick on the tightest part of the strings, up on the headstock, to replicate a sort of musicbox sound. Bass joins in with a steady riff. Edd proceeds to rap the chorus from “Lawen”, which is followed by some lyrics exclusive to this track, so this isn’t a reprise, with faint voices hushing in the background and an effected guitar tune. A drumbeat emerges with an odd “forward-reverse-reverse” hi hat, later replicated with the aforementioned hushes. A guitar tune briefly comes into play but doesn’t stay long, returning the track to its previous format of that repetitive bass riff, the hushes, the drums, the musicbox guitar, and the effected guitar. The guitar freestyles once again and finishes off the track. All fades out…
10- “Qatshe’ 2”: The second in the “Qatshe'” trilogy. This one is of Samer Sagheer playing the drums.
11- “Sadis”: Similar feelings as the ones concerning “Shou Kamish?” It could have been more solid. A kung fu fight starts this off, along with some crunch noise, decimation I believe. A drum sample, which I really like, plays, coupled with a delicate little piano tune. This goes on pretty steadily for a while until all of this is abruptly interrupted by a horn sample I believe and some sudden percussion which is joined by what sounds like a siren which reveals itself to be a saxophone that proceeds to freestyle till the end of the song.
12- “Sabe3 Nawme'”: I love this track. It opens with an Arabic sample of a woman lamenting on someone’s unconscious state, detachment from the outside world, lack of interaction with anything, and absence of that lust for life. As a faint drum sample builds up, a variety of noises from saxophone beeps to static play while Edd can faintly be heard reciting his poetry, overlapping on himself. As the saxophone drones, it happens, the first appearance of an infectious piano tune that only teases by fading in then out, for now. The piano tune bursts back in alongside the drum sample with Edd rapping about escapism and detachment from reality with the saxophone joining in at points. Then the song takes a new direction. The Piano tune is retired and we’re left with the drum sample, a bass riff, and saxophone. As Edd continues to expand on the subject of retreating from this unpleasant reality to a literal dreamland, the saxophone improvises and wraps up the track. You can hear a clip of Edd asking why the sound is cutting. This may just foreshadow the next track…
13- “Qatshe’ Ma3 Kamal”: The third and final installment of the “Qatshe'” trilogy. It is basically a cellphone recording by Edd of a man by the name of Kamal Ghraizi singing some classical Arabic tarab. I’m being serious now, not sarcastic: sound quality could have been better. I know it’s a cellphone, but why not try to get it to be the same quality as “Moqaddima”? Raw, recorded on the streets, but clean and clear. I like to imagine this guy is a “street-person”, what I mean is, he doesn’t spend his days in an office, but instead maybe drives a cab or owns a small shop. If you think about it, this is the original definition of street poetry. They’re putting the traditional poetry of the past that people still recite on the streets today alongside this new poetry inspired by the streets of today to be recited on them, and that is what we refer to as Arabic rap. It’s a nice concept but it could have been executed better.
14- “Tzakkar Hal Iyyem”: This is a real masterpiece. It tackles an issue that not many Arabic rappers have given its significance and Fareeq el Utrush have proven themselves to me as a group that covers a wide variety of subjects. It starts off with a simple guitar tune by Goo with an equally simple bass-snare beat. Edd wants a beat that’s good. It doesn’t have to be perfect, just listenable. Someone laughs in the background. Hi-hat pops in and out along with a cymbal that you can just pick up on its slightest vibration. The mystery laugher hums and delivers a “louloulouloulouloulou”, followed by that cymbal that oh so percussive cymbal which leads into a segment of cello, played by Jana Simaan, reverse percussion, and reverberating voices. The drums start pounding and you can feel the depth. Tagging along with them is some Middle Eastern percussion, derbakke’ to be precise. And providing the main rhythm the bass riff that joins in. Edd raps of infidelity, men’s constant lack of satisfaction with what they have, and their insatiable appetite for something else. Lina Monzir melodiously sings in the background, creating this intoxicated trance effect. I can imagine walking in the streets late at night, my dizzy staggering matching the drumbeat, with the risky anticipation of an alluring prostitute greeting me at every alleyway in order to exploit the aforementioned masculine need for pleasure. Edd urges men to keep their lovers close and not to be led astray from the truth and purity of the love they have already been blessed with in exchange for cheap thrills. He gives his own philosophy on love and relates personal experiences. In the end, as the beat plays on and eventually fades out, the cello hums its way to the end of the record. Personally, those final cello notes gave me a sense of salvation, like the men saw the error of their ways and decided to stay true to their loved ones.
My analysis of Fareeq el Atrash: https://feelnotes.wordpress.com/2009/10/24/artist-analysis-fareeq-el-utrush/