Show Review: The Last Crate Session @ Walimat Wardeh (December 29, 2009)

Visual by Youmna Saba

It all started on August the 25th with Zeid Hamdan, bringing with him his latest collaborative partner, vocalist Hiba el Mansouri, and Arabic rapper RGB. It was the first concept of its kind in Beirut. It went on for about 4 months. It had a variety of artists spanning numerous genres from rock to classical to hip hop to free-improvisation. It had one single 12 watt amplifier that everyone, no exceptions, used for their performance, no matter what instrument, from guitar to laptop to microphone capturing the sound of a trumpet being blown into with a hookah hose, no matter what genre. Yes, it must be: The Crate Sessions.

 The Crate Sessions is the brainchild of Serge Yared, Incompetents frontman and DJ at the restaurant Walimat Wardeh. It is basically a more productive (not to mention culturally enriching and entertaining) way of passing the time until the restaurant is scheduled to be demolished and move to a new location. Quite simply, there is this amp, the Crate, a CA15. It has certain specifications (12 watts power, 2 inputs, etc…). So the catch is: Each week, a local artist will be invited to play a set, but he/she can only use the amp at hand, which as you may have deduced has its limitations (two inputs allow for a limited number of individuals for example). They can bring their own instruments though. I attended the first three, then came a long absence due to school (some I was really tearing myself up to see mind you), but I managed to make a comeback for the second-to-last one and of course, this one, the very last one.

 They had really gone all-out for this one. First of all, the lineup looked very promising. They had familiar faces making comebacks (Zeid Hamdan, Youmna Saba, The Incompetents, etc…), as well as newcomers to the Crate Sessions (Abdallah el Mashnouk & Rayya Badran, Fareeq el Atrash, White Trees, etc…). But wait, there’s a catch tonight too. No, they weren’t forced to abide by the usual rules of the Crate. It would be electric, though acoustic was still an option. The catch is: they have to play covers. Fadi Tabbal had brought instruments from his studio, Tunefork, and set up the sound system and everything. In conclusion, it would be a three to four hour non-stop ear-orgy… Well actually, there’s supposed to be a break, so it’s not exactly non-stop… wait no, there would be DJ’ing by The Playmobiles (Basile Ghosn and Margot Hivernel). Shit, guess it was non-stop then… Oh and, all proceeds would go to “Oumnia”, an association that aims to provide children suffering from serious illnesses with psychological and medical care.

 -Before the Show: They said they would start at 7:30 sharp; They SO did not start 7:30 sharp. I paid the ticket price of 20,000 L.L which was quite reasonable, since you’d get to see more than 10 artists perform in one night, plus it’s for charity.

 Most of the artists from the first half were there already. I was glad to find Zeid Hamdan there, who had been abroad in Europe for a long time now, as well as the Fareeq el Atrash crew (sans FZ) who were one of the acts I was really looking forward to seeing, and of course Serge Yared, the man behind it all.

 I noticed something I wasn’t happy with. On Halloween, the restaurant played host to a big costume party, and one of the things that I didn’t like was the “performance-area”. It was this room where tables and chairs would usually be found, but those were cleared out and replaced with a drum set, amplifiers, and other musical equipment. But the thing is, the room is open and everything, but only through a door and a huge gaping window thing. This: http://photos-h.ak.fbcdn.net/hphotos-ak-snc3/hs197.snc3/20435_371095310004_614085004_10181244_2442568_n.jpg. The point is, as I’ve personally experienced it on October 31st, you can either see what’s going on from the doorway, or the big opening. The pillar in the middle obstructs the perfect viewpoint, the literal middle, where you could switch from left to right by rotating your head. But I see they had nothing else they could do, since it’s the only sectioned off room in the place. If they did it where the previous performances took place, you’d have the crowd blocking entry to diners to that particular room that they used. But you have to keep in mind that the place wasn’t built with live music in mind, however, the new location will be. I came up with a practical solution later on, but it depended on that beam not serving any particular purpose apart from an aesthetic one. Since the place is going to be torn down in a couple of days, why not just start early… with that pillar as the first casualty. But if it wasn’t just a decorative pillar, let’s just say there would have been more than one casualty…

 There was a fairly large crowd. Not THAT large, but it was good nonetheless. Ziad Nawfal would be the announcer for this night. He introduced the head of Oumnia who gave a speech before the performances began. She basically talked about the organization and its goals. She finished off by thanking Walimat Wardeh, Ziad Nawfal, Serge Yared, and all the musicians involved.

 Now onwards to the performances…

 -The Show: Sima Itayim was to start. She had been featured before as part of the Crate Sessions and is now making her comeback. She covered “Everybody Wants to Be a Cat” from the Disney movie “The Aristocats” as covered by the band Psapp (This would be the first appearance of a song from a Disney movie). Good that it wasn’t just the same old songs we’re used to hear covered. It was just her on acoustic guitar. The piece was quite jazzy and she performed it quite well though if I remember right it was here where the cracks in the sound setup began to appear. The noisy diners and crowd members didn’t help either. I was briefly one of them… (My apologies, Mr. Nawfal).

 Between each act, a couple of minutes of DJing while the artists got ready.

 Following her was Elyas, who first made his debut on the 96.2 FM “Modern Music Contest” CD and appeared as part of the Crate Sessions as well. He sings in French, and I’m not biased against the French language or anything, but it rarely does it for me. He was on acoustic guitar and was joined by Phillipe (I think) from Intensive Care on keyboard. They covered a French song (which didn’t surprise me) and there were some technical difficulties that didn’t help it appeal to me. Then he covered another French song on his own. I don’t know how much I have to keep saying that I’m not prejudiced against French, but I really don’t find pleasure in listening to it, because I have a mediocre grasp on it, yes, I openly admit it; Sue me, but do it in English please. In some cases, no matter what language the song is in, the music would make up for the unfamiliarity of the tongue. For example, I can’t tolerate Rayess Bek for a while when he raps in French. Now back to Elyas, his style isn’t really my cup of tea. It’s too… soft? I dunno.

 After that was a new act, the duo of Eva Madsen, which consisted of Basile Ghosn and Tad Catranis, joined by Vladimir Kurumilian and Serge Yared. Eva Madsen covered a song by the Violent Femmes. Basile was on vocals and Tad on acoustic guitar and backing vocals. They were quite confident, and though Basile didn’t have that spectacular a voice, it was good enough. Afterwards, they were joined by Vladimir and Serge, with Vladimir on keyboard and Serge providing vocals. I don’t know what they covered honestly, but I was glad to hear Serge take the mic for a while. He has the voice for it.

 Ramzi Hibri cancelled…

 I had heard cristobal’s music before and met him many times but never actually saw the man perform. Now I would get my chance. The people had gotten quite noisy again. Chyno of Fareeq el Atrash did his part by unleashing some epic “shush”s on the crowd, leading a “shush” revolution that was to an extent quite effective. Cristobal, not one to ignore such favors, showed his gratitude with a “shhhhukran”. He had some special guests too. He was on acoustic guitar and vocals, Sima made a comeback on backing vocals, Fareeq’s own Goo and Edd, Goo on guitar, and Edd making his musical debut playing keyboard (“playin’ da keys!”  *grins*).  John Imad Nasr joined in too on bass for this one if I remember right. They performed a cover I am not familiar with. The more obscure the better I say. Following that was another cover, this one without Sima. It was a slower more soulful acoustic rendition of Fareeq el Atrash’s “Shou Kamish?. Is it still a cover if the original artist partakes in it? Eh who cares, this is one fine collaboration right here, cheating or not.

 Following that, the new-to-me (and to others as well I believe), Abdallah el Machnouk and Rayya Badran. I had no prior expectations and was surprised with Abdallah’s instrument of choice: The underrated, underestimated, undersized… ukulele! They covered a song, with Abdallah on ukulele as previously mentioned, and Rayya providing vocals. She was quite good. I didn’t mention this for the previous artists, but it still applies to them: I’m not a big fan of covers, because I see no original input in them. However, when you cover something with an instrument that it was not originally meant for, or with any kind of twist or alteration, that is where the creativity is showcased. There were definitely some twists present in what had been presented. For their second cover, they covered The Incompetents’ own “Bullets Gently Flying Over My Head”. Yared was quite pleased. They did pull it off very well. Bravo on your peculiar instrumentation, vocal delivery, and song choice you two.

 The space-visibility problem was still a factor by the way, and the sound wasn’t holding up too well.

 Next up were one of the acts I was particularly looking forward to seeing, Fareeq el Atrash. They have not appeared before for a Crate Session, so this was their Walimat debut. The lineup this night consisted of Edd and Chyno MC’ing, John Imad Nasr on bass and Goo on guitar. Their beatboxer, FZ, was abroad, so they recruited a drummer, right there on the spot. It just happened that Nadim M of Intensive Care was there for them to lay down some beats on the drums. I’ve learned this long ago, but it was demonstrated once again this night. Rappers are demanding. They thrive off crowd interaction. You don’t a rapper rapping at a café, you see a jazz band or something, because jazz you can just get lost in, but rap is different, rap requires intellectual commitment, an open mind, concentration, attention, etc… So Edd had to get the crowd fired up. He wanted them to cheer. Some cheered. He wanted them to cheer again. Some more cheered, the rest were chatting, eating, or doing nothing at all. Yalla, good enough. They started with “Beat It” I think (the first Micheal Jackson tribute of the night), but it was that song musically, but lyrically, Chyno took it in a completely different direction, substituting his own English raps in the place of the original lyrics. The bass riff was the same, and the impromptu drumming was effective. Following that was a more obscure reworked classic: “Brothers on the Slide” by Cymande. The bass riff was the same also kept intact and the drums were improvised, while the lyrics were altered, but I was familiar with them still. Before they started, Edd asked the crowd to shout “Walimat!” when he asks “Wen ittijehak?” (Where you going?). The lyrics in question were the lyrics of Fareeq’s own song “Lawen”. How do you cover in hip hop? You sample! They sampled… live. They’re as clever as their lyrics… There was an on/off response to that “Wen ittijehak?” thing. Sometimes people went along with it, other times, nada, zip, zilch. They concluded with their song “Bti2wa Ma3 L’Zikra”, which already samples Sugarhill Gang’s “Rapper’s Delight”. Technical difficulties did not hesitate to announce their presence. Edd and Chyno had to swap mics every now and then.

 After them was Zeid Hamdan, who was joined by RGB, but not Hiba (who just got a big record deal from MTV (the local channel, not “Music Television”. If you’re gonna rip off another TV channel, at least steal the name of a less recognizable one…) He had a drum machine with him, and he programmed a drumbeat on-the-spot, grabbed the bass, and proceeded to cover a song by Portishead. I would like to announce that after that night, I became a big fan of Portishead, mostly because I love trip hop, and I hadn’t heard any in a while, so they kind of rekindled that flame, so yeah. The mic was capturing the sound all distorted which was kind of cool actually. Following that, Zeid altered the drumbeat on the drum machine and performed the second Micheal Jackson cover of the night: Billy Jean. Not a big MJ fan myself, but I was happy to see people still paying tribute to him, despite being dead for quite a long time now, his impact can still be felt. Same goes for the other artists, who I assume cover songs by artists that mean a lot to them or have greatly influenced them as musicians. Then, rapper RGB joined him. They performed RGB’s song “Awwast L’Sherif”. Well… it’s not exactly a cover, as Zeid always plays it with RGB, and I don’t think RGB performs it without Zeid, but it does reference Bob Marley’s “I Shot the Sheriff”, and translates it to Arabic. Does that count? Either way, nobody really cared whether or not they would be hearing covers that night or original music. Then another song with RGB: “Ma3na L’Rap”. You know, these are the only two songs they do together, and as I mentioned earlier, Zeid was abroad, so you can’t really expect something different on such short notice. The crowd was very dense now…

 A 20 minute break followed. I stayed a while then stepped out for 5 minutes.

 I came back, and succeeded in losing my spot. I was pretty tired too.

 Part 2 of the night started, with me occupying a slightly worse spot. But is there really a perfect spot? Not with this set-up.

 Youmna Saba covered two Arabic songs. Covering is nothing new to her, as she covered a Sabah song in her own Crate Session. She played acoustic guitar and derbakkeh and was joined by violinist Layale Chaker, who has appeared during a past Crate Session, and her frequent collaborator Fadi Tabbal. The variety in instruments was nice.

 Following her, Mazen and Maher Mardini, formerly of the band Roswell I believe. They covered a song by Porcupine Tree, Archive, and David Gilmour. I believe one was on acoustic guitar and the other on keyboard.

 Afterwards came Nadim M and Phillipe M from the band Intensive Care who operate in Canada. Phillipe was on keyboard, and Nadim, who played drums for Fareeq el Utrush earlier, was on electric guitar. They first covered a song I was not familiar with, but after that, another Disney movie song. That song was “Under The Sea” from “The Little Mermaid”. The people ate it up, and they were very energetic, Nadim was at least, as I couldn’t quite see Phillipe that well, you know, the whole location issue mentioned in the beginning.

 Now it was The Incompetents’ turn. Tonight they consisted of the main duo, Serge Yared and Fadi Tabbal. Serge was handling the vocals and Fadi was playing acoustic guitar and harmonica at one point. They covered a song by the name of “After Hours”, but I am not familiar with its original performer. Following that, their recorded covers, Daniel Johnston’s “Bloody Rainbow” and Tom Waits’ “God’s Away On Business”. Both were presented very well, but I must address this now: Tom Waits’ original version sucks. The rescued that song, trust me on this one. As usual, very energetic. Though they only presented one completely original cover, out of the blue that is, I had never heard them play “Bloody Rainbow” live, and it was acoustic too, and though I had heard them play “God’s Away On Business” live prior to that, this time it was acoustic, so I guess it wasn’t all the same.

 They had performed earlier that Sunday at The Basement accompanying Scrambled Eggs and Canadian producer and musician Radwan Moumneh’s band, Jerusalem In My Heart. Radwan was there.

 Now this was the show-stealer. I know White Trees as the duo of PT and Carl Gerges, who play mellow acoustic melodies that comprise of acoustic guitar and minimalistic drums. They were supposed to play at the second-to-last Crate Session, but were not able to for one reason or another. Their soundcheck would obliterate almost all notions I had of them. Carl Gerges was drumming pretty energetically… P T was testing out his… trumpet… Ibrahim Badr was playing bass… They announced that they would be covering a Radiohead song. Carl drummed energetically indeed, PT played trumpet and delivered the lyrics, while Ibrahim added the bass. Magically, the sound was crystal clear. I don’t know where the song ended exactly, but at one point Ibrahim and Carl were left playing on their own while PT enthusiastically grabbed some drumsticks and lent Carl a helping hand by tapping along to the beat on a cymbal. He grabbed an electric guitar later on and played some very blues-rock-ish tunes. Ibrahim began fiddling with a touchpad-device (not a Mini KP) where he would scratch a vocal sample. They played that cover, but 3/4of what I just described was them randomly jamming. I COULD be all snarky now… but what the hell, it was utterly brilliant! After wrapping up, they distributed one of the two CDs they’ve released (you can find them at La CD-Theque). Unfortunately, they don’t know whether or not to record this sound of theirs. Guys, if you’re reading: DO. IT.

 Finally, concluding the evening, Scrambled Eggs. They played their Abba cover, “Lay All Your Love” from their CD “Dedicated to Foes Celebrating Friends”. Not really new… Then they admitted that they don’t know that many covers, so they just played “Russian Roulette” and had it segue into another song of theirs. They were good, but nothing was different from the last time I saw them. I mean, all the artists that I’ve seen at least once before had something fresh about their performances tonight. Could have been different guys…

 -After the Show: It was very late into the night, something I was not at all happy about. The lack of a solid schedule pisses me off, not just here, everywhere, every single time.

  It was indeed a crate, errr, great farewell to this beloved weekly tradition. They definitely delivered the quantity, and the quality was ok. Not spectacular, as some were just ok, others were great, and a few were awesome. My top three would be: 1- White Trees, 2- Fareeq el Atrash, and 3- I have no number three…

 Hopefully Walimat Wardeh’s new incarnation will play host to future live musical concepts and will be built with musical performances in mind.

 

For more information on the Crate Sessions: http://www.facebook.com/home.php?ref=home#/group.php?gid=118734329783&ref=ts

Read Jackson Allers’ article on the Crate Sessions (featuring an interview with Yared): http://jacksonallers.wordpress.com/2010/01/02/bye-bye-crate-sessions-a-talk-with-serge-yared/

 

-Photos:

*Personal: http://www.facebook.com/home.php?ref=home#/album.php?aid=368356&id=842365214

 *by Tanya Traboulsi:

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Album Review: 96.2 FM “Modern Music Contest” – 1st Edition

Well, Mashrou3 Leila are releasing their long awaited debut album in a week, so before it’s too late, I’m reviewing their first ever album appearance: The CD of 96.2 FM’s first edition of the “Modern Music Contest” (or “Concours Musiques Actuelles” 1ere Edition). But wait there’s more! Also making their debuts are 10 other artists, whose contributions to this work I will be taking a close look at, but not too close…

First some background information. This contest was basically a callout for young musical talents in Lebanon. So anyone between the ages of 18 and 35 sent in demos before November 30th, 2008. Following that, a professional jury selected the tracks, whose performers (or some of them at least) would be brought into Tunefork, Fadi Tabbal’s studio, in order to professionally rerecord their tracks, which would go on to be featured in the CD I am about to review. The CD would come with a username and password. Each purchaser of the CD was to listen to all the tracks and then cast his/her vote online.

The finalists that appear on this album would then go on to perform in The Basement where a jury would decide on a winner, and the online vote counts too I guess.

So Mashrou3 Leila won the contest and this CD now serves as the album to purchase for Leila-holics to get their fix, as well as an echo of the other contestants who even though did not win, got the chance to actually have their work released.

-The Look: This is a very minimalistic little package, consisting of a cardboard sleeve, the CD itself, and a paper inside.

The front cover is of a black and white radio sitting on a black, white, and purple shelf with a stack of green CDs to its left and a black and white box of empty CD-Rs to its right, all in front of a blue wall. All are quite relevant as 96.2 FM would be a radio station, artists would have submitted their entries on homemade CD-Rs, and they finalists appear on an officially released record; this very one.

The back is a continuation of the front revealing more of the green CDs. There is the track list as well as a brief description which says: “All contestants were given 5 hours to record and mix their tracks, at Tunefork Studios, Beirut, with Fadi Tabbal, in February 2009. All tracks are the result of these recording sessions, except tracks 2,6 & 9 taken from the original demos.” That was insightful actually, since one would assume that they’ve all been rerecorded… Also, links…

The CD itself is a bullseye constituting (from the center outwards) blue, red, green, and purple. This release has quite the colorful theme. On its peripheries, the track list again.

The paper on the inside, which is hand cut by the looks of it, has a username and password on it, as well as instructions on how to use them, printed in both English and French.

-The Sound: Now, this is the first compilation I review, and I know that each track has a different style due to being performed by different artists, and in this case some tracks have a different producer than others. So I’ll do my best.

1- Sylvain Nassar – “Once”:

I like this one. It’s a very upbeat, very “pure” rock song. Sylvain Nassar sings of the struggles he’s faced in the past, the urges us to live life to its fullest since we only have one chance to do so. “We only live once”. There’s a nice guitar solo too. I like the fact that Mr. Nassar, an unknown musician, gets his big break singing a song about getting a big break and seizing the day. The track is very good, but nothing too radical.

2- A.Boxx – “Into the Night”: Some English rap now. This is one of the three tracks not produced by Fadi Tabbal. The beat features some distorted guitar, piano, and… handclaps. I’m not a huge fan of handclaps…  A lady sings the chorus, and then comes the rap. It’s very typical. He uses swear words unnecessarily. It’s too “gangsta” for me. Some strings are featured in the verses. A lady raps too. Same style of lyrics…  There’s better rap out there. Allow me to promote an international artist for a minute here: I present to you, the one and only, Busdriver: http://www.youtube.com/watch?v=32INdYsV2sU

3- Mashrou3 Leila (or Mashrou’ Leila as they are listed here, but I prefer it with the 3, it’s more Arabized) – “Raksit Leila”: Starts out pretty happy-go-lucky. “This could go either direction from here, but what direction will it be?” I ask myself. A violin joins in. “Aw yeah, this is going places!” I declare. The lead singer (who I’m not supposed to know is Hamed Sinno, but yeah, let’s face it, they won and they’re famous now) sings in Arabic, the only song in Arabic on the entire CD, in a Lebanese dialect too, about how tired he is with the state of the country and of people complaining about it. Hamed Sinno struts his vocal abilities, which are impressive to say the least. A short piano intermission that ends with a zalghouta leads into something that sounds like a blend of Latin and Gypsy music. There’s whistling too! Yes, it definitely did go places, and that’s why it won wasn’t it?

4- Sandmoon – “Sea of Love”: This is opened by a keyboard tune that is joined by some percussion. I don’t like the vocals too much… Guitar joins in briefly, as well as saxophone. I don’t find it that interesting really.

5- Soul + – “Trust Me”: Starts out with some nice guitar, drums, and bass. It’s soul and funk. Two vocalists sing simultaneously, one with a higher pitch than the other, or maybe that’s just overdubbing; Sounds pretty good. He sings of people not seeing the truth and him just wanting to feel good about himself. I don’t like how it ends with a simple fade out though, it lacks closure.

6- Anthony Touma – “Mendiant”: My French skills are very poor, so I don’t think I’ll be able to actually understand what is being said but more how it is being said, so forgive me for that. This track was not recorded at Tunefork with Fadi Tabbal. A piano tune, strings, and ride cymbal hits. Frankly, too cliché for me. Whatever he’s singing, I don’t like the way he’s singing it… I dunno, it’s all too familiar. There’s a decent drumbeat though. An electric guitar solo plays for a while, it’s not too bad. No, just… no. I let the French thing slide, but the music is the straw that breaks the camel’s back for me… sorry, no.

7- Karimbo Zone Mixity Miracle Genius – “They Wanna Know”: Alrighty! The second rap song on this record! It has both French and English lyrics. It kicks off with a weird “aaaaaahhooh” that I find kinda neat. The beat is nice; guitar and drums, like it was sampled from an old record. I like old school hip hop… Behind that there is kind of some holy chant action going on. Weird, I like. The rapper reminds me of Rayess Bek when he raps in French. The chorus features piano, and the Arabic word for Lebanon, made to rhyme with “god damn”; clever. Then the English portion of the rap. The guy raps of his love and devotion for Beirut and his frustration with the situation in the middle-east. It’s actually pretty witty stuff I must admit. It ends with the same time of scream that started it out. This is THE hip hop song of this record, bravo.

8- Elyas – “Asile de Flux”: I’m not prejudiced against the French language or anything, but it just happens that this song isn’t that original, just like “Mendiant”. The best use of the French language on the CD is in the previous track. Guitar tune, synthy sounds, with the occasional cymbal taps. The guy’s voice isn’t that bad though. Then it’s just your run of the mill rock song for the chorus, plus some piano. I dunno, why did French get pinned with such average sounds?

9- Lara Matar – “Tempest”: This was not recorded in Tunefork.This is just piano and vocals. Not looking like my kind of thing already. The lady’s voice is nice and her lyrics are pretty good, they talk about her devotion to her lover. Overall very nice, but I’d like to hear it played with a band.

10- Stephanie Merchak – “As the Light of Day Slowly Fades Away”: The only instrumental track on the album. It’s electronic from the looks of it. A synth tune, joined by synth percussion and effects. Some of the sounds remind me of Munma, but this is something in a totally different neighborhood from him. There’s an acoustic drumbeat which is nice and percussive. More effects, more synth, yeah… Very original.

11- Cristobal – “Over Song”: Finally, a fitting end to this record, Cristobal, who has gone on to achieve some success, bids us farewell with this song. It starts off with an acoustic guitar tune accompanied by cello. There’s a second guitar too I think. Cristobal sings of things being over, and people being over. There’s some xylophone too. Now he sings of things that are over not being over. There’s some nice vocal chanting too. I feel like it’s Christmas time and the whole family’s having dinner or something, don’t ask me why. It fades out, leaving us with a sense of completion.

Well, this was it. As you may have heard the first 50 times I mentioned it, Mashrou3 Leila won, and indeed they did get the chance to record an album of their own and that will be released December 19th. See you there!