Show Review: Fundraising Concert for Artists Vol.1: I-Voice @ Zico House (April 17, 2010)

Yaseen of the Palestinian-Lebanese rap duo I-Voice was accepted at the London University in Ontario, Canada to complete his studies in sound engineering. The visa was in the bag, but some cash was still required. So, since the scene here is so supportive, some friends and artists, led by Serge Yared, decided to pitch in and throw a fundraiser concert at Zico House. The lineup included: Zeid and the Wings (Zeid Hamdan’s latest project), I-Voice (themselves…), Malikah, OkyDoky, Double A the Preacherman, Ram6, and the most prestigious guest in my opinion, Rayess Bek.

 -Before the Show: I’d like to dedicate this segment of the review to Ghalas Charara, expecting a swift glasses-shattering punch to the face afterwards.

 They said it would start at 8:00 PM. Then to be ultra-specific, they said that it’s the DJing that would start at 8:00 PM, and the actual performances an hour later, 9:00 PM… on the dot? Doing this is like telling people: “If you don’t have anyone to mingle with, instead of showing up at 8:00 PM and wasting an hour staring at a wall, come at 9:00 PM, because that’s when the actual show starts”. Excuse me if I somehow misinterpreted this message.

 8:45-ish: Arrive at Zico House. Pay fee of 20,000 L.L, which isn’t that bad, since it is a fundraiser after all. Expecting an eager crowd that has been busy socializing/ mingling/ chatting/ dancing for an hour now, I found a slightly less dense crowd. Ok, so low turnout is a big deal in this case. I mean, every person (and his/ her money) counts. But it was delayed by about… an hour. I have a statement to make later concerning this. Throughout this hour, I made up for my lack of mingling and socializing with whoever I knew…

 A little debate was started on the infamous PirateBeirut, which is actually starting to dry up on material to upload for the moment (that’s right, beotch). Rayess Bek is definitely against. And also, I do not aim to promote it, only raise awareness of its despicable deeds.

 There was also a strong media presence. Yaseen himself was interviewed as well as Kinda Hassan of Eka3, who had a table of their CDs available for purchase set up outside.

 EVENTUALLY, the performances started.

 -The Show: I liked the space this time. Usually, Zico House has had a either stage set up or a table for the turntables and CDJ decks.This time however, nothing, just beautiful empty space. First up was Zeid and his new band, The Wings, which consisted of himself on lead guitar, Marc Codsi (of Lumi) on rhythm guitar, Bachir Saade on nay, flute, and bass clarinet, Yasmine Ayyashi and Gihan El Hage on backing vocals, and Rita Okais on keyboard. The drums and bass were provided by a CD being played on one of the CDJ decks. They started out with a song called “Hkini” which has a very “deserty”-type sound. That of course, coupled with Zeid’s electro-dub style. It was actually their only song in Arabic. Zeid’s voice melted together with the voices of Yasmine and Gihan. Bachir’s flute playing was kinda neat, because I don’t think I’ve seen flute playing live that many times. Rita added minimal tunes on the little keyboard before her. Marc just supported Zeid on guitar. Not Lumi, I still want to see them someday. Following it was a song called “Cowards”. This one was in fact written for one of his previous bands, 3arab. A very good ska-punk piece originally, now with a hint of electronica. They continued with a more political number called “General Suleyman”. Zeid wanted some audience participation. Yes, there were enough people for it to count as an “audience”. He asked for a clap-along and for them to yell “go home” in response to various undesirable things mentioned in the lyrics of the song (ex. All the militiamen, etc..) They did indeed participate… To wrap up, they played Zeid’s own song “Castles of Sand”, a song about broken dreams. Bachir was on the bass clarinet for this one, which was quite interesting. I’d like to note that there were some technical difficulties with a microphone at one point… Is there never anything that goes off without a hitch in this city? 😛

 Following them was the guest of honor, Rayess Bek, who is playing several shows this week in three different locations in Hamra. Tonight, he would not have with him his flutist Nayssam Jalal from his band the Rayess Bek Orchestra and his groovebox, instead, a CD of instrumentals. He opened his set with a blast from the past, “Am Behki Bil Soukout”, the title track from his debut album. It was nice, especially because it gave us something to compare what was about to come next to; Before/after. He continued with a new one: “La Min?” As I’ve said once before, the beats on the new album are some of Rayess Bek’s best work yet, and back to the live show, a very nice delivery as well. He continued with another new one, and a personal favorite of mine, which would be “Samm”. Again, very powerful delivery. Finally came “Schizophrenia”, another oldie, but not as old as “Am Behki Bil Soukout”. This one is a more emotional and intimate one. For a portion of it, he sat down on the floor, becoming level with some of the audience members, making his storytelling more personal. With that, he concluded his set… or did he? RGB grabbed a mic and began beatboxing while Rayess Bek rapped the lyrics to his song “Amercaineh”. That doesn’t happen daily; very neat. I was glad to finally see Rayess Bek rapping live, but wasn’t too thrilled about the fact that the music was pre-recorded. Good news though, you and I may see him and his full band, the Rayess Bek Orchestra perform live for the official physical release of his album, on June 6th.

 Afterwards was someone I had wanted to see but had never got the chance before. It was electronic musician Faysal Bibi, who performs under the alias, OkyDoky. I wanted to see him because I heard some of his work on the CD distributed at 7keeleh Vol.1, and thought it was pretty remarkable. I was also curious to see how the “pros” did electronic music. His setup consisted of a laptop, a program running on it, and to interact with that program, various MIDI controllers. He started out with a very techno-y bit. Noteworthy was his use of voice alteration software to “robotize” his own voice (vocoder?) Following that was a piece that sounded like a fusion of drum n’bass and noise, and featured a memorable looped sample of a man yelling “shou ya’akho l’sharmouta?”. He wrapped up with a piece that sounded like “electronic death metal”, with distorted guitar samples and death growls and everything. The guy was very lively too. Overall, it was certainly something special and he’s been added to my list of “newcomers to the scene who are awesome”.

 I only managed to catch a bit of Ram6’s performance, but I had to leave because SOMEONE didn’t show up on time. By “someone” I mean “everyone”… well 70% of everyone.

 Let me tell you exactly what happened that night. It’s a phenomenon I will call “Confitardiness”. Confitardiness, a portmanteau   of the words “confidence” and “tardiness”, is when one is deliberately late, or tardy, with the knowledge, and confidence, in the fact that no activity whatsoever will go on while he/she is absent. Somehow, on this night, everyone got together before the show and agreed to display some confitardiness, by not arriving on time. Unfortunately, they usually get their way, but if I ever work on some musical project and have to do a live show, I will make them like bullets. You blink you miss it. It might be an utter crap performance, but by God, you would not have caught that utter crap of a performance from the start.

One time someone said concerning this issue: “Hey, it’s Lebanon”. Well… why can’t we take an initiative and change Lebanon for the best? Late-ic Pride! Go!

 -After the Show: I dunno what happened with the rest of the acts that were supposed to perform afterwards. The acts were diverse, the sound was good, but the time management could have been better, and that was a direct effect of low turnout for some inexplicable reason. Actually it is explicable: confitardiness.

 The whole thing made 3,509$ and hopefully the future fundraiser event to come will work out better.

Show Review: “Untitled Tracks” Book Launch

FI-NAL-LY! I’m back in the saddle! What can I say? Things had slowed down for everyone at the beginning of this year. Sure there has been activity on and off, and of course the still-getting-warmed-up Greedy Ears Sessions, but I’ve been busy with my own affairs and whenever I’m not, it happens that the event is going down too late into the night, for my schedule at least. But as luck would have it, along comes this perfect package of an event! The launching of local photographer Tanya Traboulsi’s photo-book “Untitled Tracks” with live music by some of the artists featured in the book itself, who would be Fareeq el Atrash, Youmna Saba, Scrambled Eggs, The Incompetents and a warm-up DJ set by DJ Lethal Skillz. The book features Traboulsi’s own photos of local musicians, along with text by several contributors among which is Ziad Nawfal, so you know this’ll be worth it. Why was it so convenient though? You don’t really need to know this at all, but I do like to add an autobiographical touch to these posts, so sue me. The starting time was 7:00 PM (though the live music portion didn’t come in until later), and the conclusion was set for 10:00 PM. Just to put things into perspective, the performances at The Greedy Ears Sessions START at 10:30 PM… Also, it was a book release, not a party per-se (fi sa2afe’ bil ossa).

 -Before the Show: The location was Gruen Eatery in the Gefinor center. Initially, there was some confusion concerning the exact location, but eventually I managed to locate it.

 One of the other allures of this particular shindig was that it was a “family reunion” of sorts. I attribute this aspect to Tanya. If she were to only photograph rappers, you’d find the place packed with MCs and b-boys, but no, with her photos she slices off a thick chunky piece of this cake we call Beirut’s alternative music scene, including many of the different layers that constitute it, icing, sprinkles, chocolate syrup… yes, the scene is certainly quite delectable, and that night everyone, both seasoned undergrounders and curious newbies, was about to get a taste of it. In non-culinary terms, Tanya’s photography spans a wide area of the scene from rock to electronic and it’s rare for the players of each specific genre to come together like this, but then again, it’s not everyday that a book on the music scene is released, let alone a photo-book.

 I kicked off the night by greeting familiar faces here and there. Some of these people I hadn’t seen in months… I eventually made my way to the back of the room where the photographer herself was seated at a table busily signing copies of the book to eager purchasers. Ziad Nawfal, seated besides her, suggested I browse the book first before I buy, so I did and I was quite pleased with it for a first glance. I coughed up the price of $30, which was fair taking into account that it’s a photo-book, not an issue of Samandal… (which costs around 5,000 L.L).

 The mainstream media made its presence evident. Here and there cameramen were snapping away, shooting footage.

 The next hour or so was spent mingling, greeting, and mingling… I got to meet DJ Lethal Skillz for the first time. He’s the only locally operating turntablist I know of. There’s a difference between a DJ and a turntablist; A DJ plays music on the turntables. A turntablist makes music with the turntables. I’ll try elaborating on this obsession someday, but for now: it is, when a sound’s pitch is in rapid arbitrary fluctuation, being silenced at irregular intervals; it is, beauty.

 -The Show: Skillz packed up and Fareeq el Atrash were the ones who’d get the ball rolling. The performance area was almost perfect. Just an open space, no pillars or anything like the last show I had been to (Last Crate Session at Walimat Warde’) Fun fact: Fareeq el Atrash are the band I have seen live the most times up till this day, so I’ve come to get accustomed to their shows. As “Atrash Tradition” decrees, they must start off every gig with a bit I’ve dubbed “Introduction Song” (this one). It’s a nice little opener that features FZ doing his solo beatboxing and comical commentary skits that range from a soccer match to a formula 1 race, not to mention Edd explaining the circumstances under which they are here tonight (they change the location mentioned in the song and who invited them to play accordingly). The people were digging it. Following that was a song I believe I’ve heard before but am not exactly sure of its title. You see, l’Fareeq have yet to release any sort of track list, and the tracks on their pre-album (available for download right here) are rarely played, so we’re all really in the dark concerning their set lists at this point, but hopefully that will be cleared up when they release their album (for real) this summer. The crowd was into it and responded well to Edd and Chyno’s cues to repeat after him and clap to the tempo. The next song was one I actually did recognize and knew the name of. It was “L’Njoum 3am Te2rab” and it was played very well as usual. I’ve seen all of these played before, so there wasn’t much that was new to me to take notice of, however, they did extend the “Rapper’s Delight” part of that song and I had never heard that before (the song features a breakdown sampling the bassline from “Rapper’s Delight” by rap crew The Sugarhill Gang, a nod to the old-school hip hop that has a great influence in the band’s sound). Legend has it/ FZ told me, that they once extended that breakdown for about 15 minutes when they were playing at The Basement (either their own gig that went down last November or opening for Termanology), and at that show there was their trombonist and other musicians who joined in. For me, it was another great Fareeq el Atrash performance, for people who had never seen them before, it was hopefully their gateway into the funky world of l’Fareeq…

 Some music was put on while the next act got ready. I was getting thirsty. There was literally nothing but beer…

 Youmna Saba was getting started, playing acoustic guitar, accompanied by Fadi Tabbal on electric guitar. Unfortunately, I was at the far end of the room. As I made my way back to the performance area I managed to pick up on Youmna’s Arabic lyrics, layered over a moody blues tune. Then as soon as it began, it was over. Supposedly they were two pieces, but I only managed to catch three-fourths of a song… oh well.

 More transitional music followed… Still thirsty.

 Following Youmna were Scrambled Eggs. I was surprised by the lack of drum kit. That along with the setup that was slowly taking form before me led me to the conclusion that they will be playing some free improvised music, probably in order to get people psyched about the performance they will be giving as part of the “Prelude to Irtijal” this coming Tuesday at Masrah el Madina with fellow improv all-stars Mazen Kerbaj, Sharif Sehnaoui, and Raed Yassin. Malek Rizkakallah sat before a hi-hat with a snare drum on the floor. Tony Elieh laid his electric bass on a seat in front of him, its strings slackened, two metal plates/ bowls placed under them on different parts of the neck, a stick in each hand. Charbel Haber held his guitar in the traditional fashion, on a seat within reach he had a screwdriver, steel wool, and somekind of screwdriver-like tool with ridges along it, like a screw, and of course his plethora of pedals, blinking and flashing around his feet. Haber rapidly strummed his guitar, making one extended high pitched “birrrrr”. That was the first sound. I can’t recall the exact order of each bit played, but Haber went on to play his guitar with that screwdriver-like utensil mentioned earlier producing a spine scraping squealing sound reminiscent of some wounded animal. Elieh tapped the strings, then the plates, then alternating between the two creating a percussive rythm. I was very amazed by his ability to hold a tempo for that long, that gave the sound a mechanical feel. Later on he would pick up the bass, removing the bowls, and play it by swiftly slapping it. Rizkallah tapped on his hi-hat, he banged on his snare with big fuzzy drumsticks, and he slid the top half of his hi-hat up and down the steel rod between it to make a creaking scrapoing sound. And gradually it all came to a halt. It was the second time I ever saw improvised music live, and personally I prefer seeing it live over listening to it prerecorded. I’d like to further discuss this issue in the future.

 Music was played while the final act set up… Should I stop nagging about the thirst and how secluded the location was from any supermarket, mini-market, or dekkaneh? I met Mazen Kerbaj for the first time during this break. He means a lot to me both musically and visually.

 Wrapping up the night were The Incompetents! Some people had seen enough and left with their books (including the camera crews), so the place became less dense. They were with their current “full” lineup, which now consists of Serge Yared, Fadi Tabbal, and Abed Kobeissy. To start off the set they played “Bullets Gently Flying Over My Head” with Abed Kobeissy on melodica, Fadi Tabbal on acoustic guitar and harmonica, and Serge Yared on vocals. Following that was “Disposable Valentine”, infamously quite on the album, but energetic in live performances. Yared was on cowbell and vocals, Tabbal still on acoustic guitar and harmonica, and Kobeissy on electric guitar (slide guitar even!) After that came one of their more recent songs, a song which I refer to as “Footnotes”. Kobeissy borrowed Fareeq el Atrash bassist John Imad Nasr’s headstock-less bass guitar and set it to an effect making it sound like more of a retro synth, very quirky. Concluding the set was a cover of Lou Reed’s “Walk on the Wild Side” with Kobeissy now playing buzuk. Fun fact: The first time I heard this song was on the way to the venue in the cab that night. I kid you not. Overall, every single song I’d heard prior had something new added to it, which was good of course.

 -After the Show: The book had been more than a year in the making and it couldn’t have been released a moment too soon and under such convenient circumstances too. Also noteworthy is how it was one of the few events I have been to that actually ended on the agreed-upon time. I’ll be posting some brief thoughts on the book soon.

-Photos:

*Personal: http://www.facebook.com/album.php?aid=402002&id=842365214&saved

 

Check out Tanya’s work here: http://www.tanyatraboulsi.com/

See Scrambled Eggs make this kind of noise again (with some extra friends too) here: http://www.facebook.com/home.php?ref=home#!/event.php?eid=332661693033&ref=ts

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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Show Review: The Crate Sessions: I-Voice – Live @ Walimat Wardeh (December 22, 2009)

This was it. The penultimate Crate Session! It just happened that I was free that night, and since Walimat Wardeh was not going to be around for long, I decided to make the most of it while I still could.

 It was supposed to be White Trees tonight, the duo of Carl Gerges (Mashrou3 Leila drummer) and Paul Tyan, but for some reason they pulled out. So instead they managed to book the Lebanese-Palestinian rap duo I-Voice (I for Invincible). It would be the first purely hip hop act to take part in the Crate Sessions, because when RGB came with

Zeid Hamdan and Hiba El Mansouri on the very first of the sessions, it was a mix of acoustic-rock-ska-reggae and hip hop.

 But just so I get this out early on, I am not really a huge fan of I-Voice to begin with, so I wasn’t really expecting a certain quality of performance from them that they may or may not have delivered. I was just an unbiased spectator.

 -Before the Show: I got there a bit early, 9:15-ish, and I was surprised to find the place quite empty save for a couple people, among them were Serge Yared (The Incompetents) and the previous night’s guest on Ziad Nawfal’s radio show “Ruptures”, the Canadian producer of Lebanese heritage, Radwan Moumneh (both of whom will be playing at The Basement this Sunday).

 Yassine and TNT (I-Voice) were both there, but there wasn’t much of a crowd, so they didn’t go on until about half an hour later.

 -The Show: Eventually they started. The setup was a mixer connected to the Crate, and connected to the mixer itself, two microphones and a laptop.

 I’m not familiar with all their songs, but I happened to know that the first one was called “Malnash”. They were very energetic, and in general, I feel like they have “rap-voices”. What I mean by that is, usually a rapper has good rhymes and all, but doesn’t have the voice and personality. They however have good voices, each with their own unique one.

 Most of the beats were pretty good. Yassine makes his own beats himself and I like how he uses middle-eastern samples, though that’s not really so innovative anymore these days.

 The crowd was not a hip hop crowd per-se. In the past, when RGB took the floor, he tried to treat the people like a hip hop crowd, but the reaction too wasn’t that strong. The people that go to Walimat are there for mellowness usually. Some don’t feel the need to get involved with the music and just continue eating their meals, hip hop or otherwise. But it just happens that hip hop relies heavily on rapper-audience interaction, so that could be affected in this particular setting. Well, this applied that night. Though there was plenty of head-nodding and foot-tapping and they did get the audience to participate by yelling “ta7iyyati” whenever they were instructed to in the song of the same name.

 I know the reason for this next thing I’m going to comment on, but I should bring it up nonetheless: Every song was ended quite abruptly by Yassine having to stop the music manually. I later found out that they weren’t the final tracks and stuff like that, but it really didn’t help set a mood.

 -After the Show: It was far from terrible, yet short of spectacular. At least hip hop was finally represented at the Crate Sessions, but if you ask me, I would have preferred handing that duty over to someone like Fareeq el Atrash, because I feel like the fact that they play their music live would have gotten at least a handful of the patrons curious (like RGB did when he was rapping to Zeid’s guitar playing). They were actually offered to play a Crate Session way back, but were busy preparing for other things. They’re one of the many acts playing in the final Crate Session, so I would definitely advise you to stop by and check them and some of the other great artists out next Tuesday (December 29th) as each will cover 2-3 songs of their choice (it’s for charity too!).

-Photos: 

*By Tanya Traboulsi:

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-For more on I-Voice: http://www.myspace.com/theivoicee

 -For more info on The Crate Sessions: http://www.facebook.com/group.php?gid=118734329783&ref=ts

 -For more info on the final Crate Session: http://www.facebook.com/group.php?gid=118734329783&ref=ts#/event.php?eid=243254402323&ref=ts

The Road to Kfifan: The Return! (September 24, 2009)

This was the second incarnation of Road to Kfifan, which was due to take place September 19 in Sporting Club, but was delayed due to rain. Rayess Bek, who has not performed here quite the long time, was to make a spectacular comeback, but the weather made that impossible. It was still taking place in Sporting club, but to make up for his absence, three, not one, but three new acts were brought in. There was Ziad Nawfal, A.K.A DJ Panic, DJing, Serge Yared of The Incompetents and the pianist Vladimir Kurumilian performing reworked versions of Incompetents songs for guitar and piano, and the hip hop band, Fareeq el Atrash, who I was supposed to see at an event earlier that Monday which was also delayed by the rain, so I was glad I would be seeing them twice in one week. Though in the end, no amount of artists could replace Rayess Bek.

 -Before the Show: The weather was great, not a cloud in the sky. I did some socializing while Ziad Nawfal DJed. There were a lot of photographers and cameramen, the most I have ever seen at a show actually.

 -The Show: After a while, Serge Yared and Vladimir Kurumilian took to the stage. They played versions of Incompetents songs reworked for guitar and piano. They played some songs from “More Songs from the Victorious City” and also a couple new ones. Ziad Nawfal was there to do his spoken word bit himself this time for “The Damned Don’t Cry”. One song that stood out was “Monster Song” which I was seeing live for the first time. It was played on guitar, piano, and a toy piano with a crappy little microphone, so that was something unexpected.

 More DJing by Ziad followed. Later on, it was time for the Baalbak Project or Mashrou3 Baalbak to go on which is a group consisting of Zeid Hamdan, Hiba El Mansouri, RGB, and Miles Jay. Miles Jay could not make it, since he had prior plans to play with another mashrou3. Mashrou3 Leila, in Saida. So Zeid and Hiba took the stage at performed their own songs, no SoapKills covers. Zeid was operating his machines and playing guitar. As I mentioned, there was many a cameraman and photographer. People were mostly watching from a distance. After that, RGB joined in but before he started performing, he called for people to gather in front of the stage, and so they did, that little area soon became quite crowded, and I swear, it stayed that way till I left. RGB needs an active audience. He performed two of his songs with Zeid, “Ma3na L’Rap” and “Awwast Il Sherif”. Beats were played on the laptop while Zeid played guitar along to them. Hiba joined on “Awwast Il Sherif”. The special thing about this performance was that the first time I heard these songs live they were played acoustic (Crate Sessions), then they were played electric, but just with guitar, bass, and drums (Three Little Pigs), and now this was electric with sound effects and everything. I heard these songs performed in ascending fidelity.

 DJ Panic gave us all an interlude while Katibe 5 prepped themselves. Katibe 5 was not one of the groups I wasn’t looking forward to seeing, but still I wanted to check them out. They were very energetic, I’ll give them that, but I didn’t really find that “hook”. The fact that they rapped to prerecorded tracks was a bit of a turn off for me.

 Ziad bridged the gap between them and the next act, Fareeq el Atrash. This show marked the debut/ return of their guitarist Ghassan Khayyat. The set they played was similar to that they played in Zico House, nothing new, though the presence of guitar this time around did mix things up a bit (in a good way). As usual, all the members were very energetic and lively, though Ghassan could have loosened up a little.

 -After the Show: That was it. There was Trash Inc., Underdolls, and Jade after that but was not interested in them. I said my goodbyes, knowing that I would see Fareeq el Atrash once again that Sunday, and made haste.

 -Photos:

*Personal: http://www.facebook.com/home.php#/album.php?aid=323946&id=842365214

 *Other: Tanya Traboulsi:

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http://www.facebook.com/photo.php?pid=8907495&id=602430108#/photo.php?pid=8921487&id=602430108

 -Videos:

*Personal: I have a video of Fareeq el Utrush that I will edit in when I get to upload it.

*Other:  Fareeq el Atrash: http://www.youtube.com/watch?v=bx5Bi8-4tOU

Show Review: Halloween Horror Disco Extravaganza @ Walimat Wardeh

I know I know, I’m breaking the chronological order, but this show is still fresh and sizzling!

 This was a Halloween party where there would be DJing by DJ Basile and DJ Margot and live music by The Incompetents and Scrambled Eggs. There would also be some VJ’ing done during the musical performances by Rachel Tabet and Ramzi Hibri.

 -Before the Show: At first I took the event’s proclamation of “DISGUISE IS A MUST” lightheartedly, but I later discovered that indeed it is quite mandatory. So the Wednesday of that week I got to work on my costume. Since I knew the type of crowd that was supposed to be at this thing, I chose something a bit topical and witty. I would go as the cover of “More Songs from the Victorious City” by The Incompetents. Black cardboard and chalk were all I needed, then with some cutting and scotch taping, there you had it, a costume based on the piece Alfred Tarazi made for the cover and the concept that the band had created where you get to choose between 8 variable covers.

 A friend wanted to come, but she was tired. Early on, there was not that many people there. Sound-check was being conducted by The Incompetents. The costume got their approval. I greeted some people, one of whom was Abdallah Ko, the main character of the collaborative story “Beirut Police”, leader of a double life as a prophet, and member of the improvisational-noise group XEFM. The prophet, whose face was scratched and scarred, predicted that I should do a photo series with the costume. Read on and see if the prophecy was to be fulfilled… Serge Yared and Fadi Tabbal of The Incompetents had gotten into costume by that point. Serge was an 80’s hair metal rockstar, and Fadi was something in that same domain.

 The place had started to fill up, though it was still spacious. I was greeted by a gypsy, a detective, and girl from the future; a friend of a friend, and her friends. Some time passed, and indeed, the prophet’s prediction came true, a skeleton lady wanted to have her picture taken in the costume. She would be the first of many who would do such a thing, including Alfrec Tarazi himself, designer of the original piece, who was dressed as a mish mash of oddities (stripey stockings, tissue paper strips, white face-paint…), or as he said, he was simply dressed as “someone who doesn’t know what he’s dressed as”.

 Haig Papazian, violinist of Mashrou3 Leila, was present. I asked about how recording for their album is going, and he said that it’s almost done, so you should all expect something to be finished for sure by December. I also discovered that those videos/ short movies you see on Youtube that use their song “Raksit Leila” use it without consulting the band. I always had this notion that the band is approached with a request to use any of their songs and they force the film makers to use “Raksit Leila” to endorse it. But that turned out to be incorrect. “Raksit Leila” is the only song available for purchase in stores, so that explains why nobody uses “Zotrine” for example, unless they get it from the band themselves. He too liked the costume. I was glad to see Sharif Sehnaoui was there as well.

 -The Show: After a while, The Incompetents came on, and they were Serge and Fadi accompanied by the pianist Vladimir Kurumilian. They started off with a new song that I like very much. It is a very interesting song, bitter in a way yet cheerful in another. Then some more songs which included “Bullets Gently Flying Over My Head” and “Monster Song”. Serge sang all of the songs, Fadi played guitar, and for some songs, such as “Monster Song”, Vlagimir would join in on keyboard. For some songs, Serge would at points play the guitar while singing, while Fadi would be playing the drums, and sometimes Serge would play the drums while singing. Each also utilized some pretty neat instruments like Serge playing kazoo and somekind of percussion instrument which consisted of a stick with bells on it, and Fadi playing a mini-xylophone. They were briefly joined by Youmna Saba on drums for the last two songs I think. The last was “Urinal Blues (Part 2)”. I liked this performance, because this time they had some more variety in their instruments than the first time I had seen them. For some reason, I did not notice the VJ’ing that much.

 Scrambled Eggs hadn’t shown up yet, but did eventually. At this point there was less room than before. Tony Elieh was a pirate. Malek Rizkallah was a rabbi. Charbel Haber was Charbel Haber. They got the ball rolling with “X to Be”, then “Building A Nest” I think, which I have only heard performed acoustic by Charbel on Ziad Nawfal’s “Ruptured Sessions” CD, so that was nice, hearing it with drums and bass, all electrified like that. Then they played “Russian Roulette”, a crowd favorite and one of their most well-known. A song whose name I am not really familiar with followed, and the performance was wrapped up with “Girls On Fire”, as requested by a girl in the crowd. They were very good and very energetic, but too loud. It was the first time I saw them so I didn’t really know what to expect, how to prepare myself, but it did start getting painful at a certain point, physically painful. It was quite a contrast to The Incompetents’ mellow acoustic guitar-driven sound, but in the end, very raw and gritty. The VJ’ing this time was more noticeable to me. It included such visuals as women doing aerobics and scenes from horror movies, suiting the Halloween occasion.

 -After the Show: The performances did not disappoint, although they were conducted in this room that was cleared of the tables and chairs that would usually be there for the performance that was not fully open, but had a doorway, and a big opening in the wall, kinda like a huge window without glass. Thing is, for The Incompetents, Serge would sing in the doorway, and Fadi would stand behind him, somewhere in the rest of the room, with the drumset being in the back, and the keyboard in a corner, both easily visible from the big opening. This made keeping your focus on all musicians, or perhaps photographing them all in one shot, as it applied in my case, a bit difficult difficult. Same goes for Scrambled Eggs, except it was Tony who was out of view. But still, you have to take into consideration that Walimat Wardeh is more of a restaurant in the end than a place for musical performances and you can’t expect it to be perfectly suited for them, though don’t ask me under what conditions Ziad Sahhab and his band Shehdine Ya Baladna perform there every Thursday.

 By the end of the Scrambled Eggs performance, there was barely enough room left to move. The place was literally packed. I managed to squeeze out of there, bid farewell to whomever I could find in that sea of disguises, and be on my way…

-Photos:

*Personal:

http://www.facebook.com/album.php?aid=340688&id=842365214&saved

-Videos:

*Personal:

I have a video of The Incompetents playing “Bullets Gently Flying Over My Head” which I will edit it whenever I can upload it.

Album Review: The Incompetents – “More Songs from The Victorious City”

For my first album review, I will review the Incompetents’ debut album, “More Songs from The Victorious City”, because it’s the album that started it all with me (I had owned two other local albums before, but this one is what took things to the next level). Since this is the first review, I will briefly explain each category, but next time I’ll just be stating the category and getting straight to the content.

You know what they say, “Don’t judge a book by its cover”, but they never said anything about albums! I do pay attention to the album artwork (both exterior and interior) and logos and other visuals, because I am an artist myself and hopefully a graphic designer-to-be. This segment is directed towards the musicians themselves and the graphic designers that were hired by them.

-The Look: “More Songs” does not have a cover really. Where there should be a cover, there is a gaping “mouth”, the mouth of Roro the Monster, a creation of Alfred Tarazi, and the band’s mascot. At the bottom are teeth, at the top, drippings. Above is the band name, and below is the album title and between that, you can see through the mouth into the interior left-hand sleeve which contains 8 square cards (they appear to be square).

There is one card for each song. This is definitely something I had never seen before, in Lebanon or anywhere else even. Each card has an image on one side and on the other side, lyrics and credits. A brief review of each card:

1-“The Damned Don’t Cry” Cover by Youmna Habbouche: I like this piece. It fuses between nature and the city (i.e. antennas) and has a “rough” feel. It also plays on the “cry” theme by featuring eyes and a single teardrop.

2-“Bullets Gently Flying Over My Head” Cover by Ahmad Gharbieh: This piece is somewhat simple… too simple for me. A hand drawn rat says the lyrics to another, scribblier rat, in front of a plain white background. But they’re not even that well drawn. I’m not a super-duper artist myself, but leaving out so much, it just doesn’t click with me. It could have been better.

3-“Bullets Gently Dancing Over My Head” Cover by Walid Mohanna: This piece here is great. You’d see a pink cat, but a regular head, that has glowing eyes (each a different color), and a rainbow hanging above its head. This creature, against a very classy “wallpaper”-ish background….splattered with blood. Very psychedelic, very surreal, I like!

4-“Disposable Valentine” Cover by Yasmine Yared: Does this look like it was made by a child? That’s because, it was! It was made by Serge Yared’s niece! Well, I can’t really judge this because a child is a child, drawing by raw instinct and emotion, not knowing what’s right or wrong, so I’ll just say it like it is: I see, a very rectangular cat (perhaps a cat-bull hybrid?), with nine throbbing hearts, and it is either floating in mid-air, or the ocean. Perhaps it is the overwhelming love that its nine hearts enable it to experience that cause this gravity-defying phenomena, or enable it to hold its breath for that long underwater (lots of oxygen pumping can be achieved with nine hearts). This girl has potential.

5-“Urinal Blues (Part 1)” Cover by Alfred Tarazi: This is a powerful piece. We have here, 6 beasts (Roro the Monster) with wide-open mouths. They are a thing to fear indeed, but what deliver more power are the colors used, red, white, and black. Jack White has adopted these three colors for his duo, The White Stripes (whom I am a fervent fan of) claiming that they are the three most powerful colors there are. They certainly do strike me in a special way, and they really do add something to the effect.

6-“Prelude to an Abyss” Cover by Josette Khalil: This is an incomplete cover. Serge Yared and Fadi Tabbal are missing their bodies! They are up in the sky amongst the clouds… bodiless! Full cover can be found here: www.theincompetents.com. It’s nice, not mind-blowing, but also not atrocious. The text on the back is cool though!

7-“Urinal Blues” (Part 2) Cover by Rafik Majzoub: I really don’t know what to make of this. There is a bottle, in a crown, with a penis, urinating, and a passed out king, with a duck behind his head? All of this on top of some sort of official typed document, with scratches and circles over and around some words. Seriously, I neither find it magnificent, nor grotesque. I find some things I like in it, and some things that I just can’t tolerate. I am neutral.

8-“Monster Song” Cover by Elie Dagher: To start off, I like the style. There is a nude man with a fig leaf covering his genitals, and it appears that his hands are chained together. A nude elephant-lady with a her bloody trunk between her legs being sniffed by a rat, stands alongside a woman, or man with breasts wearing nothing but a cat mask of some sort, a bell around his/her neck, and a white thong with red hearts on it, behind him/her stands a bewildered chicken. Both these humanoids are standing in front of an oversized bottle of pills that reads “The Pills”. Up in the sky, a man hangs from a noose that seems to be coming out of nowhere and is about to shoot himself in the head. His shirt says “Misunderstood” in a lateral format though. In the background, several people, two men smoking, one lady just staring, one man standing near a table, one lady with her back to the viewer. I like how there’s more than one thing going on at the same time. It’s all very surreal and symbolic, with hints towards sex, drugs, and suicide. But the song lyrics are not written down on this!

Now for the inside, to the left we have Roro superimposed over a map of Beirut, all of this in the mouth of yet another larger Roro. To the right we have a map of Beirut in red on top of which are the album credits and notes (which I found quite charming and funny). They say “And now taht you have purchased this CD, you can be sure that your life is just about to change drastically…”. Indeed it did. How drastic a change? All the topics in this blog I would never have dicovered if not for thic CD. It really pushed me in the right direction.

The CD itself is a variation on Roro, this one having a more circular form.

The back cover is, well, Roro! (as if he hasn’t appeared enough already!) He hovers over the map of Beirut, which is speckled with colored stars, and track names… 

Pssst! Go back inside, because there’s some… hidden artwork! Yes, that’s right, artwork that is not immediately visible unless you remove some things (no, you’re not tearing off bits of the case!). First of all, remove the cards and the CD. Look through the front, you will find Roro in red, in front of a black-star-covered map of Beirut. These are basically the three elements that make up the interior artwork (not the cards). Then, look inside, in the left and right sleeves and you will find two pieces of artwork by Alfred Tarazi (the one in the left is upside down and barely visible due to the hole that is Roro’s mouth) (you can find those images here: www.theincompetents.com). I like! BUT, not really matching the spirit of the album I say. Good move not using them.

Sorry that took so long, but albums don’t usually have as much artwork as this one does! It will be shorter in the future, but that really depends on how many pieces of artwork the release features.

Now for the part you’ve all been waiting for, the music. I wanted to do a song-by-song review (like I once did for this album), but instead I’ve decided on just giving an overall reaction and a couple of comments on each song.

-The Sound: I really liked this record. At first listening to it was “difficult”. I wasn’t repulsed by it, but the thing is, I didn’t immediately think “this is fantastic!” after listening to it. I had to let it grow on me for a while. It has a very fun sound, very expressive even when the song isn’t necessarily joyful. I liked the overall atmosphere of “this is who we are, like it or not”, and the warmth and simplicity (humbleness) of the songs. It has a very acoustic guitar-heavy sound, though I love the variety in instruments that spans everything from jaw harp to duduk. The synthesized pieces and effects showcase Fadi Tabbal’s mastery of audio technology. I enjoy the little sprinkles of humor here and there.

-“The Damned Don’t Cry”: It’s nice. I like the jaw harp, the spoken word segment by Ziad Nawfal, and the background “oohs”. But, it’s a bit too long.

-“Bullets Gently Flying Over My Head”: I love the slide guitar here, it’s relaxing and reminds me of floating or hovering. Unlike “The Damned Don’t Cry”, I wish it were longer!

– “Bullets Gently Dancing Over My Head”: I think the technique that was used on this one (vocal over-dubbing to form an acapella-beatbox tune) was a clever concept.

-“Disposable Valentine”: At first I was not too impressed by this one, but some information came to my attention and I saw it in a new light. I can appreciate the “I give up” feeling. This one is more of a “feel” song than a “groove” song; You’re supposed to be affected by its lyrics more than you are supposed to be affected by its melody.

-“Urinal Blues (Part 1)”: I liked the whimsical and jazzy style.

-“Prelude to An Abyss”: The mix of acoustic and electric guitar is a switch from the dominant acoustic guitar sound.

-“Urinal Blues (Part 2)”: The percussion is nice, and the kazoo adds character.

-“Monster Song”: This is an epic! It consists of 5 portions: “The Deal”, “The Euphoria”, “The Downfall”, “The Guilt” and “The Redemption”. I like the “industrial” feeling of “The Deal”. “The Euphoria” is joyous and simple and psychedelic in a sense. Now for “The Downfasll”, I adore it! It packs a lot of energy, every single element of it! “The Guilt” is two pieces intermingled with one another. One is an ominous organ-driven piece which is nice, and the other is an acoustic guitar driven piece, which I think is too similar to “The Euphoria”. Finally comes, “The Redemption”. This is a very spiritual and heart warming track. There are the echoes, the choir (The Sunken Ship Choir), and the general “uplifting” feeling. To sum it up, this track gets my approval.

Well, that it’s for the first album review. The future ones will hopefully be shorter.

Check out my analysis of The Incompetents here: https://feelnotes.wordpress.com/2009/09/22/artist-analysis-the-incompetents/