Poetry is not just written pieces with a certain numbers of syllables following a strict scheme. It can also be about making yourself heard in other ways, whether about love, politics, the environment or working class struggle. Hip-hop is this kind of poetry. Fareeq el Atrash is one of many Lebanese active hip-hop crews in the scene, but what sets them apart from others is the fact that they are a live band. The hip-hop tunes and lyrics are mixed with groovy and funky bass lines, for an innovative touch. They deal with issues as diverse as love, war, social and political matters, change, racism, dreams, corruption or stereotypes about hip hop.
Current members are Edouard ‘Edd’ Abbas and Nasser ‘Chyno’ Shorbaji as The Emcees, Fayez ‘FZ’ Zouheiry is the beat-boxer and John ‘L’Bass’ Nasr as the Bass Player. Fareeq el Atrash include extra session musicians in their live Performances, such as Fouad Afra on the Drums, Raffi Mandalian on electric guitar and Arthur Sathyan on the Keys and Synth. Mashallah News had the chance to meet Edd to talk about the band and its relation to poetry.How did it all start?
Before us, John had a collective band called Fareeq el Atrash. They were friends who used to jam together, until some of them traveled and others went separate ways. I met John early 2006, whom he continued to produce beats, so we started working on a project. In the meantime, FZ and I went to the same university, after hearing him beat-boxing in one of the classrooms, I asked him to join us in the process. The project took us almost a year to finish and another year trying to put it out on the shelf. It was released in the “pre-album launch party” at basement and ended up online for free to download after the launch of our official Fareeq el Atrash album with the current formation through forward music. Nasser also joined after. We were in the same play with director Nidal Ashkar. In other words, we are used to working with each other on stage.
We’ve been working on our set list since 2008, when Nasser and I started writing new songs with the ‘modern’ Fareeq el Atrash, if I dare say. We signed our first deal with Forward Music in January 2010. The album was released at La fête de la Musique at the Roman Baths in Downtown Beirut on June 21st 2010.
Do you see yourself as being the new type of Arab poets, with just a different style of saying things?
Yes. Hip hop is modern time poetry. Before, there was classical poetry like zajal , which had rules, basics and the certain type of flow it had to follow. The beauty of the old was the rules. With the evolution of time, poetry didn’t become easier, but it came closer to people and got more straightforward. The wording now is simpler, using the spoken language rather than the written one. Also, even though there are different dialects in the region, Arab emcees, as well as the public, can relate to each other because of the common causes and problems we face.
What do you think of when you hear the word poetry?
I think about 7keeleh . Journalist and photographer Simba Russeau created “Taste Culture” in 2009. This was made to fight racism and to encourage the mix and understanding of the African, European and Arab cultures. We both launched 7keeleh, which is part of Taste Culture. It is a poetry night with different genres, let it be classical poetry, rap or experimental music. Most of the poets who come are rappers. The participants are those who had something to say. At the end of each evening, there is an open mic, in which any member of the audience who feels like reading poetry can do so.
How do you see the future for Fareeq el Atrash?
Things are going pretty well for us these days. We are offered several opportunities to increase our exposure, not only on the local scene but also in the Arab world and internationally. For example, we had the chance to participate in the program Arabs Got Talent last month, which was a great way advertise our music. We performed songs that truly represent us, without thinking about censorship or wondering whether it would bother some people or not. This is usually how we work. Our second piece criticized the rusted and corrupted regimes of the region. We believe in never refusing anything or any opportunity. You never know what’s behind that door. In addition to that, our fans are our priority. We do the music because we love it, but also to keep pleasing and never disappointing them.
After 7keeleh, I created Sha3beh , event to expose emcees, DJs, VJs and new local talents. I know that it’s very hard to break through here, with the grip that media outlets and clubs have on music. The hip hop scene is very small in Lebanon and there are pure young talents. We hear mainstream songs everywhere whereas underground music is not getting the publicity it deserves. Radio and TV stations are still afraid of it. But this music is the only one that truly criticizes what is wrong, says what is happening and points out the truth. This is why Sha3beh is organized every month, with the fourth event only yesterday at t-marbouta in Hamra. I aim at pushing the hip hop scene.
How do you think that your message makes people think?
On each topic, everyone has a different perspective. So each song on any given theme might teach people a new angle. Emcees and us in Fareeq el Atrash deal with diverse topics: sometimes by going into details and sometimes keeping it general. We talk about personal things to explain emotions we might be going through, as well as more abstract issues like dreams. The real artist shows his character through his music and lyrics. I believe that songs can be powerful and change someone’s point of view and opinion. They can trigger something strong.
How do you see the future of Arabic hip-hop?
The Arab hip-hop scene has been very active, especially those past 2 years. Artists are working more because they see that people are evolving, and there are more and better ways of communication. It’s much simpler to reach out to other people now, with the internet, YouTube and facebook. Also, recording equipment is more accessible and less expensive. This means that we can record draft versions at home and know how to improve. But, until the issue of mainstream media’s single-minded focus is resolved, there will always be this barrier keeping hip-hop from evolving the way it deserves.
(Source : http://mashallahnews.com)
We’ve been working on our set list since 2008, when Nasser and I started writing new songs with the ‘modern’ Fareeq el Atrash, if I dare say. We signed our first deal with Forward Music in January 2010. The album was released at La fête de la Musique at the Roman Baths in Downtown Beirut on June 21st 2010.
Do you see yourself as being the new type of Arab poets, with just a different style of saying things?
Yes. Hip hop is modern time poetry. Before, there was classical poetry like zajal , which had rules, basics and the certain type of flow it had to follow. The beauty of the old was the rules. With the evolution of time, poetry didn’t become easier, but it came closer to people and got more straightforward. The wording now is simpler, using the spoken language rather than the written one. Also, even though there are different dialects in the region, Arab emcees, as well as the public, can relate to each other because of the common causes and problems we face.
What do you think of when you hear the word poetry?
I think about 7keeleh . Journalist and photographer Simba Russeau created “Taste Culture” in 2009. This was made to fight racism and to encourage the mix and understanding of the African, European and Arab cultures. We both launched 7keeleh, which is part of Taste Culture. It is a poetry night with different genres, let it be classical poetry, rap or experimental music. Most of the poets who come are rappers. The participants are those who had something to say. At the end of each evening, there is an open mic, in which any member of the audience who feels like reading poetry can do so.
How do you see the future for Fareeq el Atrash?
Things are going pretty well for us these days. We are offered several opportunities to increase our exposure, not only on the local scene but also in the Arab world and internationally. For example, we had the chance to participate in the program Arabs Got Talent last month, which was a great way advertise our music. We performed songs that truly represent us, without thinking about censorship or wondering whether it would bother some people or not. This is usually how we work. Our second piece criticized the rusted and corrupted regimes of the region. We believe in never refusing anything or any opportunity. You never know what’s behind that door. In addition to that, our fans are our priority. We do the music because we love it, but also to keep pleasing and never disappointing them.
After 7keeleh, I created Sha3beh , event to expose emcees, DJs, VJs and new local talents. I know that it’s very hard to break through here, with the grip that media outlets and clubs have on music. The hip hop scene is very small in Lebanon and there are pure young talents. We hear mainstream songs everywhere whereas underground music is not getting the publicity it deserves. Radio and TV stations are still afraid of it. But this music is the only one that truly criticizes what is wrong, says what is happening and points out the truth. This is why Sha3beh is organized every month, with the fourth event only yesterday at t-marbouta in Hamra. I aim at pushing the hip hop scene.
How do you think that your message makes people think?
On each topic, everyone has a different perspective. So each song on any given theme might teach people a new angle. Emcees and us in Fareeq el Atrash deal with diverse topics: sometimes by going into details and sometimes keeping it general. We talk about personal things to explain emotions we might be going through, as well as more abstract issues like dreams. The real artist shows his character through his music and lyrics. I believe that songs can be powerful and change someone’s point of view and opinion. They can trigger something strong.
How do you see the future of Arabic hip-hop?
The Arab hip-hop scene has been very active, especially those past 2 years. Artists are working more because they see that people are evolving, and there are more and better ways of communication. It’s much simpler to reach out to other people now, with the internet, YouTube and facebook. Also, recording equipment is more accessible and less expensive. This means that we can record draft versions at home and know how to improve. But, until the issue of mainstream media’s single-minded focus is resolved, there will always be this barrier keeping hip-hop from evolving the way it deserves.
(Source : http://mashallahnews.com)
Purtroppo nel 2004 Issam perì tragicamente in un incidente stradale . Nello stesso anno DJ Stickfiggr si dovette assentare per impegni che lo avrebbero portato fuori dal Libano. Venne sostituito da DJ Lethal Skillz ( famoso rapper libanese) il quale nutriva da tempo un forte interesse nei confronti della band. É con questa formazione che Fareeq al Atrach si esibiscono nel 2005 presso The Basement , famoso club di Beirut . Subito dopo questa esibizione la band si sciolse . John Imad Nasr tentò di riformarla insieme a Goo e a Stickfiggr tornato in patria, aggiungendo Rabih Sakr alla batteria e Wissam Karam alla tronba . Riuscirono ad esibirsi una volta sola e la cosa non ebbe un seguito anche a causa del conflitto con Israele cominciato nel 2006.
Le cose cambiarono in meglio con L'arrivo di Edd (Eddourd Abbas). Edd, attivo dal 2001, aveva lavorato come solista e collaborava con vari gruppi. Dopo un primo periodo nel quale rappava in inglese era tornato da poco alla lingua araba. Fu presentato a John da un amico comune . John, molto colpito dallo stile vocale di Edd, rilassato, caldo , intellettuale,decise di collaborare come beatmaker alla creazione del suo disco solista. Durante la lavorazione del disco Edd ritrovò un suo vecchio compagno di università Fayez Zouheiry (FZ) , bravo Beatboxer , che fu subito entusiasta del lavoro creato . Quello nato come progetto solista si trasformò , come dicono loro, in un improbabile banda. A fronte del primo ingaggio come gruppo John decise di resuscitare il vecchio marchio .
Nel 2008 la famiglia cresce e si aggiungono alla band i vecchi padri fondatori : Goo e DJ Stickfiggr e una new entry , Chyno (Nasser Al Shorbaji) che affianca Edd al canto .
La musica espressa dalla band potrebbe essere classificata come hip hop alternativo poiché il gruppo è molto di più di una crew rap, la loro musica è completamente suonata e questo aggiunge un calore umano che non si trova nei suoni generati dalle macchine. I Fareeq el Atrash dispongono inoltre di uno strumento molto speciale che non si vede spesso in altri gruppi . Hanno un beatboxer! un essere umano che diventa strumento . FZ ha una voce molto versatile, capace di grandi prodezze .Sempre molto affidabile nella creazione di un colpo di tamburo costante e di effetti sonori adeguati aggiunge anche un tocco di umorismo. John, tornato a suonare il basso, è molto vecchia scuola . Ha un sapore funk granitico e potente. Lo stesso può dirsi per Goo alla chitarra. Edd ha una voce profonda e uno stile molto particolare . Il suo canto trasuda "saggezza", raccontando la sua storia con una serie di allitterazioni, giochi di parole e metafore. Non sta disperatamente cercando di convincerti che ogni singola parola pronunciata è al 100% verità innegabile. Semplicemente si accontenta di esprimere la sua opinione su tutto.
Chyno invece ha una voce più morbida rispetto a quella di Edd. Rappa in modo più tradizionale, le sue rime sono più spiritose ed elaborate . Il contrasto creato dalle due voci genera un risultato molto d'effetto.
Il processo creativo funziona come una catena di montaggio ben oliata: Edd lavora su parole e ritmi al computer e poi va in studio dove John, che suona basso ,pianoforte e la chitarra, ricerca le note; il resto del gruppo aggiunge effetti , ritmi e percussioni.In varie occasioni vengono affiancati da Fuad Zakka al sax tenore. I loro testi cercano di riflettere il mondo in cui vivono. Mostrano la loro identità, il loro punto di vista, che piaccia o no. Fareeq el Atrash resta “lontano dai politici”, senza mai rinunciare a dare la sua versione dei fatti, anche se può essere dura , affrontano sempre temi che colpiscono, temi che devono essere affrontati .
Dice Edd : “Ho scritto Demoqrati dopo la guerra del luglio 2006, ricordando reazioni e battaglie, dove nessuno cercava veramente una soluzione ai problemi. Ho parlato di errori delle due parti contrapposte in modo tale che chi ascolta finisce per chiedersi da che parte stia! Durante i concerti, tengo sempre d’occhio le persone un po’ più vecchie che non ballano e, a braccia conserte, ascoltano le cose che dico, perché capiscono l’arabo. Quando li vedo sorridere e poi improvvisamente fermarsi e sollevare un sopracciglio so che non gli è piaciuto quel che ho rappato. Sono loro che mi interessano. Alla fine dello spettacolo, alcuni vengono da me per incoraggiarmi”.
Edd continua a descrivere ciò che fa il gruppo libanese : “Con Simba Shani Kamaria Russeau, Nisreen Kaj e Hayeon Lee, abbiamo fondato ' Taste Culture ', un progetto che mira a riunire diversi generi musicali dando grande risalto al rap e allo slam. È con questo spirito che nel 2009 sono nate le serate di poesia rap Hkileh (parla con me). Hanno avuto un tale successo che siamo già alla sesta edizione. Alla fine di ogni serata, distribuiamo gratuitamente un CD con un pezzo nuovo o inedito di ogni partecipante che si è esibito sul palco”. Molti degli artisti invitati oggi sono noti e fanno serate come solisti. Ma la cosa importante è un’altra: “Bisogna ascoltare tutto. Quelli che vengono per il rap diventano un po’ impazienti, ma a volte scoprono uno stile nuovo che poi cominciano ad apprezzare”.
Il gruppo non è mai stato oggetto di tagli da parte della censura: “Non irritiamo nessuno perché usiamo spesso metafore e umorismo. Non seguiamo lo stile del gangsta rap. Siamo persone comuni con un lavoro, l’università… I nostri testi sono un po’ il nostro diario giornaliero”.
Queste sono le qualità che hanno permesso a Fareeq al Atrash di divenire uno dei migliori gruppi libanesi in circolazione. Tutti i componenti della band collaborano con varie realtà musicali .Edd e Chyno sono apparsi sull' album di debutto di DJ Lethal Skillz intitolato "New World Disorder": Edd nel pezzo"Byin7aka" e Chyno nella traccia "Scratching Skillz".
Il centro di lingua araba con sede a Beirut “Iqra” , che insegna a parlare, leggere e scrivere in arabo, ha commissionato loro un pezzo per Beirut Capitale Mondiale del Libro 2009. Il risultato è stata una canzone chiamata "Nammi Fekrak".
Sono apparsi in un film di Siska (6K) (ex membro del Kita3 Beirut) sull' hip hop libanese e hanno contribuito alla colonna sonora.
Prima di reclutare Chyno il gruppo aveva lavorato assiduamente alla produzione dell' album di esordio ma con l'arrivo del nuovo cantante i giochi sono cambiati ed i ragazzi hanno deciso di riscrivere tutto da capo. Invece di gettare alle ortiche le registrazioni fatte hanno deciso di farle uscire come progetto intitolato “Pre album” . Questo prodotto rappresenta il loro lato più astratto e sperimentale. Nei brani viene fatto largo uso di rumori, effetti e campioni creando un atmosfera , ricca di tinte jazz, che risulta essere più vicina al trip hop che al rap.
Dopo la firma di un contratto con la casa discografica FWD - forward music, hanno realizzato il loro vero primo album . Lo hanno presentato il 21 giugno 2010
nell'ambito de la " Fete de la Musique " presso le terme romane nel centro di Beirut .
Le sonorità del gruppo in questo lavoro si sono spostate decisamente verso il funk. I testi si occupano di tematiche che non rappresentano una priorità per altri rappers e vanno dall'importanza della perseveranza al concetto di amore profondo. Con questo disco Fareeq el Atrash ha innescato un movimento di esplorazione delle radici del hip hop , del funk, del soul e del blues facendo fare un grosso passo in avanti alla musica contemporanea medio orientale.
FAREEQ AL ATRASH PRE-ALBUM
2-Demoqrati
3-Lawen
4-Byin7aka
5-Qatshe
6-Terikhna Bi Libnen
7-Khabriyten
8-Shou Kamish?
9-Lawen (Marra Tenye’)
10-Qatshe’ 2
11-Sadis
12-Sabe3 Nawme
13-Qatshe’ Ma3 Kamal
14-Tzakkar Hal Iyyem
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