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RPT 077LP
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$31.50
PREORDER
RELEASE DATE: 9/4/2026
Emerging from Beirut's underground music community in the early 2000s, Scrambled Eggs developed a singular voice that combined punk urgency, post-punk tension, noise experimentation and a distinctly local sense of dislocation. Their music reflected neither straightforward protest nor detached abstraction, but rather the contradictions of life in a city marked by instability and constant reinvention. This reissue brings together Happy Together, Filthy Forever (2006) and Peace Is Overrated & War Misunderstood (2009), two releases that document a crucial chapter in the band's history. Recorded during and in the aftermath of the July 2006 war, Happy Together, Filthy Forever marked a shift toward a sharper, more immediate songwriting approach while retaining the exploratory spirit that defined the group's earlier work. Its centerpiece, "1984," was recorded live in Beirut during the conflict itself and remains one of the most striking documents of that period. Originally released three years later, Peace Is Overrated & War Misunderstood collected demos, soundtrack contributions and unreleased recordings made between 2006 and 2009. Together, the tracks reveal the breadth of Scrambled Eggs' creative approach, moving from abrasive punk and noise-driven excursions to more expansive and reflective compositions. Presented together for the first time and newly remastered, these recordings offer a portrait of a band at its most vital, while preserving an important chapter in the history of Lebanon's independent music culture.
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RPT 078LP
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$31.50
PREORDER
RELEASE DATE: 9/4/2026
The Incompetents emerged from Beirut's independent music scene in 2007 as a collaboration between songwriter Serge Yared and producer, engineer and multi-instrumentalist Fadi Tabbal. Over the next thirteen years, the project evolved through multiple lineups and musical directions, drawing in a wide circle of collaborators while maintaining its distinctive voice. A Temporary Convergence Of Interests (The Disgruntled Best Of) is the first anthology to span the band's entire recorded output, gathering nineteen tracks originally released between 2008 and 2020. Drawn from five releases and supplemented with bonus material, the collection traces the many forms The Incompetents took over the course of their existence, from post-punk and art rock to folk-inflected songwriting and more exploratory excursions. Recorded primarily at Tunefork Studios in Beirut, the anthology also offers a glimpse into a fertile period for Lebanon's independent music community. Alongside Yared and Tabbal, the recordings feature contributions from Abed Kobeissy, Stéphane Rives, Paed Conca, Maya Aghniadis, Amine Daher, Malek Rizkallah and, on later recordings, Julia Sabra, Pascal Semerdjian and Marwan Tohme of Postcards. Available on vinyl for the first time, A Temporary Convergence Of Interests gathers the story of The Incompetents in a single collection while offering a window onto the community of musicians that surrounded the band throughout its existence.
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RPTD 079LP
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$32.00
PREORDER
RELEASE DATE: 8/14/2026
On It Will Take Forever, Beirut-based sound artist Jad Atoui constructs six immersive modular synthesis pieces shaped by instability, suspended time, and physical endurance. Developed through live performance between 2023 and 2025, the album stretches the force and physicality of club sound into abstract electronic environments built from distortion, feedback, saturation, and drifting tonal fragments. Drawing from ambient noise, power electronics, electro-acoustic composition, and free improvisation, the record explores release and collapse not as musical gestures but as bodily states. Loud, dense, and emotionally disorienting, these pieces move through pressure and fragmentation while maintaining a tactile sense of presence. Mixed by Anthony Sahyoun and mastered by Jesse Osborne-Lanthier, It Will Take Forever continues Atoui's singular trajectory within Beirut's experimental music landscape.
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RPTD 076LP
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On her second album, Sawt El Doumouh ("The Sound of Tears"), Beirut-based Sandy Chamoun summons flickers of light from sadness. Influences from the Arabic tradition of Tarab -- one of the first styles Chamoun learnt to sing -- and polyphonic Cantu are reinterpreted and reimagined through her voice and electronics, synths from her SANAM and Ghadr bandmate Anthony Sayhoun, and live percussion from Ali Hout. Sawt El Doumouh is a gorgeous refusal to be silent. It opens with a booming drum. Over keening autotune Chamoun's pure voice cuts through, burying the despair to illuminate rays of hope. On "Ward W Shok" a shuffling swing gives way to a righteous organ interlude. The title track sees a choir of Chamoun's vocals lull and lap. Drums arrive and indignation stirs, what's mournful begins to stride. Chamoun's tracks are as beautiful as they are defiant. Why write songs in the face of horror? Perhaps because music can hold onto something better. By turning to song, Chamoun catches the hopeful glints and sparks that persist and strive outside the terror. In SANAM and Ghadr she often borrows lyrics from Arabic writers through the centuries, listening to what their words say in the present while reminding us the world can and has been different to how it is now. Solo she writes her own words, and the way her songs alternately soar and sigh evokes hopeful pluralities and suggestions of other, kinder realities. Even hearing someone cry is a connection to humanity. It's a possibility conveyed in the album's most jubilant moments. "Shahed" is an incandescent dance of percussion and levitating synths. Although it comes from darkness, in Chamoun's music listeners can hear faith in something beyond it.
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RPTD 054LP
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"This album is a collection of songs written between 2020 and 2024 in Beirut. I wanted to capture them the way they were written by keeping the rawness and fragility intact, like the late-night voice memos I send to my bandmates as soon as I have a first draft of a song. Fadi and I decided to record them live on tape, with no overdubs, barely any effect -- with all the imperfections. Most of the tracks were done in one take only. Some were recorded in the studio, and some in the church I grew up going to every summer in Dhour Shweir. This is a collection of songs that slipped through the cracks, and some of the most personal ones I ever wrote. Songs about the port explosion, its aftermath, picking up the pieces and trying to move on, coming to terms with the past, regret and nostalgia for a childhood that lives only in memory, the uncertain future, learning to love, getting married, watching a genocide unfold on my phone screen, having it fill my every waking moment, imagining a better send off for all the dead, processing the violence and terror, and finding solace in community. These songs would've probably stayed in my 'songs in limbo' folder on my laptop had it not been for Pascal and Fadi, who pushed me to release them. And for this I'm eternally grateful." --Julia Sabra, September 2024
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RPTD 063LP
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Recorded in the Oscar Niemeyer Dome in Tripoli, Lebanon, The Dome Sessions captures the distinctive acoustics of this iconic masterpiece. Designed in 1962, the dome's architectural and acoustic qualities provide a distinctive reverb and resonance, shaping a project that dissolves the boundaries between sound, space, and memory. Featuring performances by notable musicians from Lebanon's contemporary experimental scene, the album invites listeners to engage in an immersive auditory journey, exploring the interplay of sound, memory, and space. Featuring Sandy Chamoun, Abed Kobeissy, Pascal Semerdjian, Makram Aboul Hosn, Abdo Sawma, Anthony Tawil, Ghassan Sahhab, Wassim Tanios, Julia Sabra, Farah Kaddour, Marc Ernest, Makram Aboul Hosn, Fayha Choir, Charbel Haber, Anthony Sahyoun, Fadi Tabbal, and Marwan Tohme.
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RPTD 055LP
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On Ghadr, Sandy Chamoun, Anthony Sahyoun and Jad Atoui play with chaos. Built on group improvisation, surges of coruscating electronics and distortion meld with vocals that, while stemming from a background in classical Arabic singing, seek to reroute tradition. The album, whose title imperfectly translates to "Treachery," began on a residency in Switzerland while the trio were touring Europe (Chamoun solo, Atoui and Sahyoun as their duo NP). It was later finished in their home city of Beirut. The five tracks are built on vibrant circuits of guitar and modular synthesis, the former often acting as a trigger for the latter's volatile output. Chamoun's vocals blend her background in classical Arabic music with free-singing, using tradition as a foundation for exploration rather than standards to follow. Apart from "Hayawanon Ghader (treacherous animal)," all the songs' lyrics pull from the archive. About the album's title, Chamoun explains: "On this planet, the only thing that's happening now is treachery. It's the headline of our days." Terror in Gaza, its shockwaves through the Middle-East and its place in longer histories loom over the record. However, while Ghadr reflects the present moment, it isn't consumed by it. The trio agree the album reflects tenderness as much as anger. It's audible in the effortless swings between abstract and soaring. The way Chamoun's lyrics put ninth century odes to a bird and ancient Bedouin love songs next to personal reflections by Al-Domouky or Chaoul on real world tragedies. Sonically and lyrically Ghadr is music of possibility and potential. The five tracks travel through unbounded terrain rather than along fixed paths. While the record reflects their state of mind as residents of Lebanon, and the uncertainty that entails, Sahyoun suggests they're striving to reach beyond it. Ghadr is the first release under the name Chamoun/Sahyoun/Atoui, but the trio's connection is deeply rooted. Sahyoun and Chamoun are members of ecstatic rock collective Sanam. Atoui and Sahyoun's explorations of synthesis, solo and as NP, are long-running. On Ghadr these histories form something new. A charged record which faces the world as it is while offering glimpses of something else.
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RPTD 008LP
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Jawad Nawfal and Mazen El Sayed, better known by their stage names of Munma and El Rass, met for the first time in Beirut, during the summer of 2011. A common friend told Jawad wonders about an MC who rapped and slammed in the classical Arabic language, as opposed to the vernacular Lebanese dialect. The two musicians met in a small café in Beirut's Hamra neighborhood, spoke of music, argued about politics, and decided to collaborate at once. They began working on tracks the following day. A month later, they had already produced a dozen sketches, instrumental beds and acapella vocal tracks. These demos eventually landed in the hands of Ziad Nawfal and Fadi Tabbal, who set out to bring to life the duo's first recorded album. Kachf el Mahjoub (the title is from a Sufi master-work penned some 900 years ago) was eventually released as a limited edition of 500 CDs, during a launch event at then-budding alternative venue Metro al Madina in Hamra in 2012. These CDs went out of print in record time, as can be expected. El Rass & Munma collaborated sporadically during the next ten years, but never fully grasped the level of musical intensity and explosive tension attained on this first outing. It has been a longstanding dream of Ruptured's to produce a vinyl version of this album.
Kachf el Mahjoub is a landmark album in Lebanon's alternative music scene, and the Mena region's hip-hop and indie scenes writ large. At the time of their collaboration, El Sayed was a prolific writer and musician, at ease with a variety of instruments, notorious for his masterful flow in the classical Arabic language, with lyrics tackling both social and political sensitive subjects; Nawfal has previously released an impressive number of albums and EPs, exploring downtempo electronica and ambient dubstep, for a number of Lebanese and international labels. The collision of the former's brazen, slammed vocals and the latter's harsh beats works wonders on Kachf el Mahjoub, Munma's sound-world perfectly fitting El Rass's agitated discourse, alternating between broken beats, elaborate percussion, and ambient layers of synths. At times reminiscent of mutant hip-hop outfit Shabazz Palaces, at others of the collaboration between dubstep producer Kode9 and the late vocalist The Space Ape, this album is an uncanny meeting of Arabic hip-hop and electronica, an exceptional event in the realm of contemporary Lebanese alternative music. Includes remix by Sary Moussa and a bonus track. Remastered for vinyl by Cedrik Fermont. Pressed by Mother Tongue in Verona.
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RPTD 036LP
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Kinematik is a Lebanese post-rock ensemble hailing from the village of Reyfoun in the Lebanese mountains. Formed in the summer of 2014, Kinematik recorded its debut album Ala' in the spring of 2017, and released it later that same year with Lebanese indie label Ruptured (RPTD 017CD/LP). This was followed later that year by a string of performances in Lebanon, as well as a number of European dates as part of a tour organized by Beirut & Beyond International Music Festival. Both Ala' and its follow-up Murur al Kiram (BNSD 046LP) were recorded and co-produced by Fadi Tabbal from renowned Lebanese recording studio Tunefork. Murur Al-Kiram was released by Ruptured in the winter of 2020, in the early days of the bloody Lebanese uprising and the Covid-19 pandemic. Kinematik spent the best part of 2020 under lockdown, trying to come to grips with Lebanon's and the world's new realities, battling societal, economical and sanitary hurdles and obstacles. In November 2020, upon receiving an invitation from Irtijal Festival in Beirut to perform in its 20th edition, the former trio evolved into a full-blown ensemble, comprising a total of six musicians -- the core line-up of Anthony Sahyoun, Rudy Ghafari and Akram Hajj was joined by modular synth players Jad Atoui and Ziad Moukarzel, as well as drummer Teddy Tawil. The Irtijal performance laid the roots for a series of recording sessions, that coalesced a few months later into the long-form, elaborate compositions that make up Al Jadi, the band's third album -- four slabs of brooding, elegiac post-rock. Recorded and mixed by Fadi Tabbal, mastered by Harris Newman of Grey Market Mastering fame, and packaged in a superb sleeve courtesy of Studio Safar's head of design Hatem Imam.
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RPTD 035LP
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Calamita is an instrumental power-rock trio composed of Lebanese musicians Sharif Sehnaoui (electric guitar) and Tony Elieh (electric bass) and Italian drummer Davide Zolli. One of the initiators of legendary Lebanese experimental festival Irtijal, Sehnaoui is famous for his numerous improv projects, including "A" Trio, BAO, and Wormholes. A founding member of Lebanese indie rock band Scrambled Eggs, Elieh is one of the most prominent musicians from Beirut's rock scene, and currently a member of various projects including Karkhana and Electric Wormholes. Drummer Zolli is a member of famed Italian psychedelic rock collective Squadra Omega. Calamita released its eponymous first album in 2018, and followed it up with a large-scale European tour the following year. The trio's tour was punctuated by a high-octane performance in Beirut's iconic venue Metro al-Madina, with a number of guests that included experimental French guitarist Jean-Marc Montera. Calamita's album Nemesis consists of tracks that were constructed and played during the 2018 tour -- the music went through a lengthy editing and mixing process during the early months of the pandemic, before reaching its current, abrasive state. Recorded and mixed by Fadi Tabbal, mastered by Harris Newman of Grey Market Mastering fame, and packaged in a superb sleeve courtesy of Studio Safar's head of design Hatem Imam.
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RPTD 025CD
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British guitarist Mike Cooper collaborates with Hifiklub, a French instrumental ensemble from Toulon, for an impressive musical reading of Robert J. Flaherty's 1934 silent film Man of Aran. Since 2007, French quartet Hifiklub has been building a protean work that evolves through an impressive series of collaborations. The band's catalog is wide and far-reaching, and includes more than 130 collaborations with such renowned musicians as Lee Ranaldo, Alain Johannes, Jad Fair, Fatso Jetson, R. Stevie Moore, amongst others. For the past 50 years Mike Cooper has been an international musical explorer, performing and recording, solo and in a number of inspired groupings and a variety of genres. Initially a folk-blues guitarist and singer songwriter, his work has diversified to include improvised and electronic music, live music for silent films, radio art and sound installations. In 2017, Hifiklub got in touch with Mike Cooper to record (and eventually perform) a live soundtrack to controversial filmmaker Robert J. Flaherty's silent movie Man of Aran. Flaherty was an American filmmaker who directed and produced the first commercially successful feature-length documentary film, Nanook of the North, in 1922. Following the success of this film, he continued the development of this new genre of narrative documentary with Moana (1926), set in the South Seas, and Man of Aran (1934), filmed in Ireland's Aran Islands. When devising the lyrics for his performance, Cooper dug into Irish writer John Millington Synge's book The Aran Islands, published in 1907. This book provided the initial inspiration for Flaherty's film. Cooper cut up texts from the book and sang them for the record, while relying on a different set of texts from the same source, for the live performance. It was Cooper who contacted Lebanese indie label Ruptured for the release of the album; no stranger to the Lebanese experimental scene and its various key players, Cooper has already recorded two albums in Beirut. Edition of 400.
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RPTD 024CD
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Interbellum is the musical project of Lebanese singer-songwriter Karl Mattar. Formed in 2015, the project sees him working alongside multi-instrumentalist and producer Fadi Tabbal and other musicians from the Beirut music scene. Prior to the creation of Interbellum, Mattar released folk albums under the moniker Charlie Rayne. 2014's Wider Waters saw him move to Berlin and embark on a 40-date tour in Europe, before returning to Beirut to launch Interbellum. Both projects were showcased at Wickerpark Festival, the leading indie festival in the Middle East. Interbellum's debut Now Try Coughing featured lo-fi guitar-driven songs recorded live to cassette. It was recorded and self-released in 2016. Dead Pets, Old Griefs is the band's second full-length album, and expands the band's palette considerably, adding synthesizers, samples, and electronics to the mix. The album features ten songs that revolve around themes of memory, time, childhood, and loss. Apocalyptic imagery -- real, imagined, and figurative -- permeates the album, and the instrumentation follows suit, warping, distorting and folding in on itself. The record plays like a broken music box, its kaleidoscopic melodic songs disjointed and smeared by noise, dissonance, and processed sounds. Recorded in Tabbal's Tunefork Studios over a period of several months, Dead Pets, Old Griefs features contributions from Marwan Tohme, Julia Sabra, and Pascal Semerdjian from dream-pop quartet Postcards, and Camille Cabbabé from post-rock ensemble KŌZŌ. The album is released by Lebanese indie label Ruptured in a limited edition of 300.
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RPTD 023CD
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The Bunny Tylers is a duo from Lebanon whose core consists of two prominent musicians from the Beirut scene: singer-songwriter and guitarist Charbel Haber and multi-instrumentalist and producer Fadi Tabbal. Their first two releases, Glitches & Drones 2013-2016 (RPTD 016CD, 2017) and Chance Meetings (RPTD 020CD/LP, 2018), were released by Lebanese indie label Ruptured. The music of French free-rock collective Oiseaux-Tempête is bred from places in turmoil. Embracing the freedom of improvisation, theirs is a secular music that crosses boundaries and cultures, embodying an intersection where post-rock, jazz, Arabic music, punk, and experimental electronic music find common ground and refuge. Through their elegiac musical constructions, Oiseaux-Tempête hope to bear witness, to create sense and be a part of the world, obstinately refusing the catastrophe. Rather, they seek to grab hold of the present, cradling it and letting it breathe, breaking through to the obscure "now", creating geographic and temporal bridges. The band's recent album, AL-'AN!, was recorded in Beirut in 2016 with a host of local musicians (SR 440CD/LP). Toward the end of their stay in the Lebanese capital, Oiseaux-Tempête played a concert with Charbel Haber and Fadi Tabbal from The Bunny Tylers. Ruptured now release the result of this collaboration, recorded on May 19, 2016. Edition of 300.
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RPTD 021CD
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Ruptured presents Calamita, the free-rock powerhouse trio of Lebanese musicians Sharif Sehnaoui and Tony Elieh, on electric guitar and bass respectively, and drummer Davide Zolli from Italian psych rock collective Squadra Omega. The music was composed and played by Sehnaoui, Elieh, and Zolli, and recorded in one single take by Matt Bordin at Outside Inside Studios in October 2016. Edition of 300.
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RPTD 022CD
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Postcards is a dream pop/indie rock band formed in Beirut, Lebanon by four friends in the summer of 2012. After a series of well-received EPs through 2013-2017, I'll Be Here In The Morning is their debut full-length, teaming up once again with producer Fadi Tabbal of Tunefork Studios. Defined by hushed, introspective vocals floating over expansive sonic spaces that shift between harsh noise and dreamy soundscapes. The constant oscillation between the opposite states of mind that the band deals with in Lebanon runs deep within the album both musically and lyrically. The music alternates between repeated cycles of calm and unrest, anger and surrender, simplicity and intricacy as Julia Sabra -- the band's singer and lyricist -- tackles this recurrent theme of duality. The songs see her struggle with feelings of sadness, indifference, deception, femininity, and empowerment. The end result is the most sincere and personal project the quartet has produced so far. "The feelings Postcards project live are a true representation of life here, a city of youth, love and life, with an underlying, unspoken sense of dejection and gloom" --Get Out Blog Lebanon.
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RPTD 022LP
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LP version. Postcards is a dream pop/indie rock band formed in Beirut, Lebanon by four friends in the summer of 2012. After a series of well-received EPs through 2013-2017, I'll Be Here In The Morning is their debut full-length, teaming up once again with producer Fadi Tabbal of Tunefork Studios. Defined by hushed, introspective vocals floating over expansive sonic spaces that shift between harsh noise and dreamy soundscapes. The constant oscillation between the opposite states of mind that the band deals with in Lebanon runs deep within the album both musically and lyrically. The music alternates between repeated cycles of calm and unrest, anger and surrender, simplicity and intricacy as Julia Sabra -- the band's singer and lyricist -- tackles this recurrent theme of duality. The songs see her struggle with feelings of sadness, indifference, deception, femininity, and empowerment. The end result is the most sincere and personal project the quartet has produced so far. "The feelings Postcards project live are a true representation of life here, a city of youth, love and life, with an underlying, unspoken sense of dejection and gloom" --Get Out Blog Lebanon.
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RPTD 020CD
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Drone/ambient group from Beirut, whose core consists of guitarists Charbel Haber (Scrambled Eggs, Malayeen, Johnny Kafta's Anti-Vegetarian Orchestra) and Fadi Tabbal (The Incompetents, Under The Carpet, Safar), often joined on stage by Pascal Semerdjian and Marwan Tohmé from folk band Postcards. Operating firmly outside of any musical trends, at the heart of Bunny Tylers is the desire to tie musical loose ends and threads derived as much from the two men's solo records, as a very tangible teenage dream of remaking My Bloody Valentine's Loveless (1991). The duo initially came together in 2013 to compose and record incidental music for Nadim Tabet and Karine Wehbe's video essay "Summer of 91". They began exploring different guitar bowing techniques, away from rigid compositional stratagems. Preoccupied with texture rather than finite structure, guitar drones and intricate pedal-work set the ambience and mood for Haber's lyrics of self-reflection and existential bleakness. First album Glitches & Drones 2013-2016 (RPTD 016CD), was released by Lebanese indie label Ruptured in 2016. The duo's second album was recorded by Benoit de Villeneuve (from Team Ghost and a collaborator of M83) in 2017.
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RPTD 020LP
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LP version. Drone/ambient group from Beirut, whose core consists of guitarists Charbel Haber (Scrambled Eggs, Malayeen, Johnny Kafta's Anti-Vegetarian Orchestra) and Fadi Tabbal (The Incompetents, Under The Carpet, Safar), often joined on stage by Pascal Semerdjian and Marwan Tohmé from folk band Postcards. Operating firmly outside of any musical trends, at the heart of Bunny Tylers is the desire to tie musical loose ends and threads derived as much from the two men's solo records, as a very tangible teenage dream of remaking My Bloody Valentine's Loveless (1991). The duo initially came together in 2013 to compose and record incidental music for Nadim Tabet and Karine Wehbe's video essay "Summer of 91". They began exploring different guitar bowing techniques, away from rigid compositional stratagems. Preoccupied with texture rather than finite structure, guitar drones and intricate pedal-work set the ambience and mood for Haber's lyrics of self-reflection and existential bleakness. First album Glitches & Drones 2013-2016 (RPTD 016CD), was released by Lebanese indie label Ruptured in 2016. The duo's second album was recorded by Benoit de Villeneuve (from Team Ghost and a collaborator of M83) in 2017.
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RPTD 017CD
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Kinematik is an instrumental rock band from Lebanon, whose music blends elements of '70s psychedelia, progressive rock, and post-rock. Kinematik's rock sound is both diligent and intuitive, ranging from raucous improvisational psychedelic rock to steady and mechanical electronic grooves, with frequent post-rock climaxes. Immediate points of comparison include Explosions In The Sky, Can, Loop, and Tortoise. Kinematik composes instrumental pieces that feature dynamic contrast, strong melodic lines, a heavy use of distortion and effects, and some reliance on electronics and synthesizers. The band collaborated with renowned Lebanese producer Fadi Tabbal from Tunefork Studios, who produced this debut album, Ala'. Recorded on reel-to-reel tape, a recording process that has not occurred in Lebanon for the last decade. Edition of 300.
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RPTD 017LP
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LP version. Hand-numbered edition of 300. Kinematik is an instrumental rock band from Lebanon, whose music blends elements of '70s psychedelia, progressive rock, and post-rock. Kinematik's rock sound is both diligent and intuitive, ranging from raucous improvisational psychedelic rock to steady and mechanical electronic grooves, with frequent post-rock climaxes. Immediate points of comparison include Explosions In The Sky, Can, Loop, and Tortoise. Kinematik composes instrumental pieces that feature dynamic contrast, strong melodic lines, a heavy use of distortion and effects, and some reliance on electronics and synthesizers. The band collaborated with renowned Lebanese producer Fadi Tabbal from Tunefork Studios, who produced this debut album, Ala'. Recorded on reel-to-reel tape, a recording process that has not occurred in Lebanon for the last decade.
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RPTD 018CD
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Safar is the Lebanese duo founded in 2013 by Mayssa Jallad (vocals, various percussion) and Elie Abdelnour (acoustic and electric guitars, bass). Safar's music consists of a very personal take on American and British psychedelic folk, infused with modern pop and rock references, as well as subtle references to the Lebanese golden age of '60s surf. The band has a widespread following in Lebanon, gathered over the years thanks to a number of intimate performances marked by singer Jallad's emotional vocal delivery and Abdelnour's intricate guitar work. In Transit is a compilation of their first three EPs: 23 Kilograms (2015), Carry-On (2016), and Gate 03 (2016). Edition of 300.
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RPTD 016CD
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The Bunny Tylers is a collaboration between Charbel Haber (Scrambled Eggs, Malayeen, Johnny Kafta Anti-Vegetarian Orchestra) and Fadi Tabbal (The Incompetents, Under The Carpet, Safar). The Lebanese duo explore different guitar bowing techniques on Glitches And Drones 2013-2016, and they celebrate the smell of cold tobacco, cheap after-shave, eternal sunsets and surfer suicides. RIYL: AMM, Spectrum, Sonic Boom. Edition of 300.
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RPTD 013CD
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Kid Fourteen is the solo project of Khodor Ellaik, a punk musician born and bred in Beirut, and rightly considered as a beautiful anomaly in Lebanon's otherwise stale modern rock scene. Ellaik's range of musical influences includes Joe Strummer from The Clash, Suicide's Alan Vega, and more recently Sleaford Mods and Alex Huang from Dirty Beaches. Between 2010 and 2014, Ellaik was the front-man of punk band Beirut Scum Society and short-lived post-punk/no-wave outfit Friendly Faces. Following these somewhat ill-fated experiences and the split of both bands in acrimonious circumstances, Ellaik adopted a solo aesthetic using a small assortment of synthesizers and drum machines, in order to shape what became Kid Fourteen's trademark sound, an impressive blend of punk sensibilities and noise-pop elements. He has performed in several European festivals, including "Incubate" in Holland and "Waveteef" in Belgium. Back home in Beirut, he has organized successful concerts for prominent international bands such as Xiu Xiu and Dirty Beaches. Kid Fourteen's debut album Dream Kids Never Sleep was self-released digitally in June 2016. All music and lyrics composed, written and performed by Khodor Ellaik with the exception of "It's A Lovely Night" features Karim Chams Eddine on synth bass; The City Ways, The City Weighs features music by Karim Chams Eddine; "I Get Around All Day" features Karim Chams Eddine on guitar. "Whirlwind Blues" is remixed by Jamie Stewart (Xiu Xiu). All tracks mixed by Ziad Moukarzel and Khodor Ellaik. Album mastering by Ziad Moukarzel. Album artwork by Khodor Ellaik. Layout by Maya Chami. Produced by Khodor Ellaik, Ziad Nawfal and Fadi Tabbal. Edition of 250.
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RPTD 014CD
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Mme Chandelier is the alter-ego of Anthony Sahyoun, guitar player with Kinematik, a Lebanese post-rock quartet he founded with keyboard player Rudy Ghafari in the winter of 2014. Sahyoun's first solo record Post-Coital Tristesse was recorded using guitars, pedals and three analog synthesizers. It includes some sample deconstruction, such as slowing down the tempo to the point of sampling errors, reversing. Edition of 250.
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RPTD 015CD
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Third solo album from Fadi Tabbal, lead guitarist with Lebanese psychedelic rock band The Incompetents and various others. How's Annie continues further the work of sound exploration through guitar treatments, which began with On the Rooftop Looking Up (2013) - a finely-devised interaction of ambient soundscapes with John Fahey-inspired acoustic meanderings - and developed further on 2015's Museum of Disappearing Buildings (TFRK 002CD) - an interplay of ambient guitar drones and grainy electronics. For his third album, Tabbal continues further his exploration of electronics, beats and synthetic sounds through his guitar. The single, 32-minute track brings to mind the early work of sonic mavericks Ben Frost, Tim Hecker and Daniel Lopatin. Recorded live in one take without any cuts or overdubs. Edition of 250.
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