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2LP
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AKU 1027LP
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In a similar vein to an archeologist, Raed Yassin's new album Archeophony takes you on a journey through sounds and voices excavated from collected sonic archives from the past, rearranged and reproduced through electronics, distortion, sampling and assembly. Drum machines, synthesizers, and electronic sounds merge with solo traditional voices and instruments recorded in different parts of the world, coming together to create a contrarian yet magical sound unlike any other. Based on so-called "ethnic" music recordings conducted between the 1950s and '80s by Western ethnomusicologists in true colonial fashion, the album attempts to achieve an archeology of sound that reflects both the course history and its continuous distortion by the powers that be. The result is a dizzying living archive of sonic history as well as the presentation of a unique experimental orchestration. By rereading musical history in this way, Raed Yassin strives to play the role of a conductor. The orchestra is history itself, and he selects, deconstructs, emphasizes, mutes and distorts it through this album. As a musician, Raed Yassin has been a key member in the Lebanese underground music scene for many years. One of the organizers of the Irtijal Festival of Experimental Music from its early beginnings, he founded his concept music label Annihaya in 2009. He is a member of several bands and groups, including "A" Trio, PRAED, among others. As a double bassist, he developed a personal and independent extended technique, by employing different preparations and objects on his instrument. His interest here relies heavily on textures, energies and vibrations, the density of volume and sound, rather than conventional melodic structures. Also an electronic musician and experimental turntablist, his approach to vinyl ranges from deconstructing Arab pop music, to reexamining the traditional music archives of countries from the global south. With his duo band PRAED (along with Paed Conca), he acts as the lead singer and synth player, merging free jazz with psychedelic rock and Egyptian Shaabi music. Gatefold sleeve.
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LP
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CREP 071LP
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"In this 24-minute composition, released here in its original name for the first time, Raed Yassin encapsulates and condenses the aural and sonic landscapes experienced by those who bore witness to the war. In the 1980s, while the Lebanese Civil War, which ravaged the country between 1975 and 1990, was raging, television but particularly transistor radios were the only means through which people heard the news during interminable periods of power cuts or waiting in basement shelters. The audio material was collected by Yassin on his regular trips to the dispersed and neglected archives of militias and political parties, radio, and TV stations, and record shops across Lebanon. Built from over 300 hours of material, Yassin has woven together a composition using political speeches; radio and television commercials; news flashes and jingles; local '80s pop music; dubbed Japanese anime songs; propaganda, resistance, and revolutionary party songs; snippets from Ziad Rahbani plays, and many more. The recordings in CW Tapes are the sonic equivalents of Proust's madeleines to any individual who was old enough to remember the war and its immediate aftermath. Commercials, songs, and speeches collide and intertwine as if Yassin had plugged a radio tuner into his mind, sounding out a deeply personal sonic terrain that echoes the hidden sonic memories of his contemporaries. Beside the diversity of its sounds, what is most striking in this record is the minute attention to the musicality of the different recordings Yassin uses, whether they are propaganda pieces, vocal patterns or news jingles. What you hear in the beginning of the CW Tapes, for example, is Raed Yassin's fascination for the different political and musical figures that populated the Lebanese media landscape across the 1980s. In this bewildering introduction, he highlights the absurdity of the war by lacing together a political speech given by Bachir Gemayel with a frivolous and upbeat pop song by Lebanese pop singer Sammy Clark whose tunes are heard at different moments in the piece. The composition unfurls an array of overlapping tonalities and textures as well as a glossolalia made of processed voices that inhabited the archaic technologies of the time . . . In his continuous efforts to mine and work through the sonic archives of Lebanon's recent past, the CW Tapes is possibly Yassin's most personal output to date." --Rayya Badran, Beirut, January 2019 Mastered and Cut by Rashad Becker
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