mercoledì 23 ottobre 2013

Yehya Khalil يحيى خليل

Yehya Khalil was born in Cairo, Egypt and from his early childhood experienced a natural rhythm pulsating through his day-to-day life. He literally began drumming as a toddler using any utensils he found readily available, and any surface that could withstand his passionate hands.Unlike most children, Yehya was in no way uncertain about what he wanted to be when he grew up - "a percussionist".It was not until his father brought home the family's first radio that Yehya discovered his Jazz music was his true calling. At the time, Jazz was literally unheard of in Egypt, let alone the alternative musical genre that it was in the West. But for the avant-garde Yehya, it was the perfect vessel for his passion for music and his untamed rhythmic energy.
All the way across the Atlantic from the United States and into his dimly lit bed room in the chic suburb of Heliopolis, the airwaves of the Voice of America introduced the young Yehya to a musical form that would guide the outcome of the rest of his life.Intent on introducing Jazz in Egypt, Yehya began a musical crusade that would continue through out his life, pitting him against mainstream and established pop cultures. As a mere adolescent, Yehya Khalil could be accredited for single handedly founding the Egyptian jazz scene in 1957 when he formed the Cairo Jazz Quartet. Playing in any venue that would have them, often for free, Yehya and his disciples were not only competing against Arabic music and culture, but other more commercial forms of Western music such as Rock and Roll, and the impending onslaught of Beatle mania that were already making a strong headway in Egypt.
Frustrated with his own limitations and his homelands impermeable cultural wall, Yehya began to dream of the American jazz scene to which he was privy to through his radio and an expansive record collection that consumed most of his income. From Miles Davis to Duke Ellington, American jazz had flared up Yehya's imagination and creative juices to the extent that he was convinced that experiencing Jazz at its source was the only way toward his own artistic maturity.
By 1965, Egypt was under the socialist rule of President Nasser and only two years away from a defining war with Israel. Travel per se was restricted, and his dream to make his journey to America, the Mecca of Jazz, was fraught with financial and political obstacles. Through fortune and his numerous social contacts, Yehya Khalil hooked up with a Lebanese musical promoter and producer who promised to assist him to immigrate to the United States on the condition that Yehya travel first to Lebanon to perform while he waited for his paper work to go through. Desperate for his move West, Yehya would have to travel East to Beirut for his ultimate destination.
For almost a year, Yehya fused effortlessly with Beirut's lively musical scene that was at the time far more advanced than Cairo. Nevertheless, when almost one year later his paperwork came through, Yehya Khalil did not think twice about making his move to the United States, New York to be precise.Armed only with his passport, $600, and an address of an old acquaintance he knew in Cairo who had since moved to New York, Yehya Khalil landed in America in 1966 on a cold, rainy night.
New York's breath taking skyline was almost enough to overshadow the brutal reality of America's busy urban life when he discovered his friend was not at his apartment contrary to a pre-agreed appointment. His first night in American was spent with his luggage on the streets of Manhattan waiting for his friend who would only come back in the early morning hours of the next day.Cultural shock aside, Yehya was on a mission to suck up like a sponge all that America had to offer in the way of Jazz. Soon after his arrival, Yehya managed to land himself a number of small gigs in jazz clubs in Brooklyn catering predominantly to African Americans.
To his surprise, Yehyha discovered that what he thought were his limited musical skills were already ripe for America, let alone a discerning black audience.But it took a woman Yehya was seeing at the time to convince him that the real jazz scene was in Chicago rather than New York. Almost a year after his maiden landing, Yehya packed the drum set he had purchased in New York and headed to Chicago, even after breaking up with the woman who had first planted the idea in his head. Luck would have it that Yehya's first apartment in Chicago was a couple of blocks away from the Mother's Blues club where for the first time he saw the great musicians he had previously heard on radio perform in the flesh. The list included Miles Davis, Elvin Jones, Gabor Zabo, and West Montgomery.After landing a few small gigs here and there that paid the bills, Yehya's first serious musical engagement came one day with an aggressive knock on his door.
Convinced it was the police responding to a complaint against his loud rehearsals, Yehya was instead met with his equally loud neighbor, a black saxophone player who came to recruit Yehya as his drummer. Within weeks, Yehya and the saxophonist were playing in an "all-black" line up. The band toured some of Chicago's biggest jazz and blues clubs. Although technically Caucasian, Yehya feels he was lucky not to be stereotyped according to his race by either blacks or whites as both groups did not include him in the volatile race equation.
Instead they saw him as a brilliant musician, regardless of his color.After a stint with the Four Tops, and a couple of performances as a drummer with James Brown, fortune would have it that Yehya Khalil met up with Jim Post, the front man of a band on the verge of commercial success. Yehya signed on and traveled with the band to Atlanta where they would record their first album. Months later, Friend and Lover broke into the charts with the top ten single Reach Out Of The Darkness.
The rapid success of Friend and Lover catapulted them into a vigorous touring regimen that had them sharing bills with Eric Clapton and Jimi Hendrix. Perhaps the apex of Friend and Lover's glory was performing on the Ed Sullivan show. This quick rise to fame was short-lived however when Jim Post and his wife, the leading lady of Friend and Lover separated. While fascinated with his brush with commercial music industry, Yehya believed he had diverted from his passion for jazz and chose to return to Chicago to pursue that dream despite numerous offers from other bands and record companies.In Chicago, Yehya enrolled in the American Music Conservatory for two years and continued to enrich his musical experiences. Perhaps the most defining moment in his career was when he was accepted as the last student of the legendary Roy C. Knapp, known as the 'Dean of Percussion' by his many students. Roy Knapp had an illustrious career as a performer and teacher in the Chicago area. His students included Gene Krupa, Dave Tough, George Wettling, Baby Dodds, Sid Catlett, and Louie Bellson. Knapp's performing career spanned 1910 to 1961. In addition to performing in theaters, television, and with the Minneapolis Symphony, Knapp spent much of his career performing on WLS radio in Chicago.
Yehya Khalil believes that in addition to maturing his musical skills as a drummer and a percussionist, Roy Knapp provided him with life-long wisdom, discipline and perspective as a unique mentor and father figure. Roy always instilled a sense of mission in Yehya by reminding him to "chase the music rather than the glory". Yehya became Roy's friend and companion in his last days and believes that he was fortunate to be exposed to the distilled knowledge of a great percussionist and an amazing human being.Graduating from the Roy Knapp School, Yehya Khalil continued to tour the United States as a jazz percussionist. During his fifteen years in the United States, Yehya Khalil played with the likes of Dizzie Gillespie, Duke Ellington, and Herbie Hancock. On a tour of Egypt in 1985, Dizzie Gillespie introduced Yehya Khalil as quite possibly "the greatest percussionist alive".A death in the family forced Yehya to return to Egypt in 1979, leaving behind everything he had built over the past fifteen years. Continued family issues meant that Yehya had to remain in Egypt against his wishes. His homeland however was markedly different from what he had left in the 1960s. The Open Door economic policies of President Sadat had set in motion an irreversible cultural revolution that created a thirst for everything new.
Rather than view his residence in Egypt as a predicament, he began to view it as an opportunity to shape the entire Egyptian musical scene.Yehya's prediction could not have been more accurate. Over the last twenty years, he has single handedly created the contemporary Egyptian popular and jazz music scene and put himself at the helm of the Jazz movement in the Middle East. He has a huge and growing fan base that attends his regular concerts and consumes his music with passion. Today Yehya Khalil is doing what he does best, reinventing his musical identity and pushing his creative limits to new and undiscovered dimensions.
His sound is a blend of authentic Arabic music cast in a raw Jazz instrumentation with Yehya's powerful drumming at the center of it all. Khalil captured the imagination of Egypt's youth, serious jazz and rock fans, and patrons of modern music in Cairo.Yehya Khalil has played in more than twenty countries, 100 cities, and performed in over 5,000 concerts and events over the last forty years. He is the host of Jazz World on the Egyptian national television. Yehya Khalil continues to play regularly all year round at the Cairo Opera House and has recently released his latest album, Rhythm of the Soul.

(Source :

Yehya Khalil يحيى خليل  - 
Rythem Of Soul   إيقاع الروح     

02.Om Kolthom
07.Men Gher Enwan
09.Hakawy Elahawy


domenica 20 ottobre 2013

Chants palestiniens de l' interieur par Mustafa Al Kurd et la troupe El Balaline اغاني دخال فاسطين لمصطفى الكرد و فرقة البلااين - Terre de ma patrie ارض وطنى

Vinyle imprimé en 1976 par L'Association Médicale Franco / Palestienne

Presse écrite sur la couverture arrière :

" Le troupe  d'el Baladine s'est crèè après l'agression de juin 1967 et l'occupation du reste de la Palestine. Elle regroupe des poètes, compositeurs et acteurs palestiniens. depuis elle livre un combat determine pour que vive la culture palestinienne, que l'occupant s'acharne à museler. El Baladine est non seulement l'expression des traditions populaires palestiniennes , mais ègalement l'explosion de cette nouvelle gèneration de poètes populaires de la terre et de la rèsistance.
Cette terre, ils la chantent dans les champs avec les paysans, les ècoliers dans la rue, l'ouvrier sous le jonc du colon et les patriotes dans les geoles de l'occupant.
La musique est faite de battements de coeur ,de crèpitements de fusils et de sanglots de mères affligèes.
Les paroles sont un cri d'amour à leur terre ,à son soleil brùlants,à son blè jaune ,à ses pruniers, à l'odeur de son jasmine, à sa jeunesse meurtrie et revoltèe.
Leur thèàtre est une fresque vivante de la vie de leur peuple sous l'occupation ,son enfer quotidien ,ses actes hèroiques,ses faiblesses,son espoir...

Mustafa El Kurd et ses jeunes compagnons sont parmi les prècurseurs d'une nouvelle culture qui puise son authenticitè et sa force dans l'histoire et la lutte de leur peuple.
Pour l' AMFP , la publication de ce premiere recueil de chansons palestiniennes de l'intèrieur, constitue un acte de solidaritè.

- A Mustafa El Kurd ,arrètè par le autoritès israeliennes,et maintenu en detention administrative pour une pèriode indèterminèe.

- A la Troupe d'El Balaline , soumise à toute  sorte de mesures  rèpressives pour la museler, car sa voix géne l'occupant, le dèsigne et la dèfie.

- Au peuple palestinien ,et à sa lutte courageuse et quotidienne contre l'occupation ; car dèfendre sa  culture  est un acte fondamentalement  vital ,un acte de rèstistance ,pour que vive et s'èpanouisse l'identitè collective d'un peuple.

- en Palestine ,l'occupant sioniste ne s'est pas seulement appropriè la terre ,dètruit ses villages et opprimè ses hommes.
il s'acharne à vouloir effacer son passè et s'approprier ses traditions ! : car raser un village ,detruire les vieux quartiers arabe de  Jerusalem n'est pas un simple acte de colon ,c'est une rage  effrènèe d'effacer tout ce qui tèmoigne de l'existance d'un peuple. Lui voler ses danses; ses costumes traditionnels (vendus aux Etats - Unis sous la dèsignation de : Tenues de paysans  israeliens !) ; interdire toute forme d'expressions orale ; aculturer ses enfants par une scolaritè batarde et raciste ...... Tels sont les actes quotidiens de  l'occupant Des actes qui costituent une atteinte aux droits de l'homme les plus èlèmentaires.

Nous espèrons  quant à nous , que ce disque tèmoin de la lutte acharnèe que mène le peuple palestinen sur un front jusque là mèconnu , contribuera ,à faire connaitre son combat et à rassembler plus d'amis autour de sa cause ".

L'association Mèdicale Franco/Palestienne  Paris le 15 Juin 1976

Questo è decisamente un disco di altri tempi. Sia per quanto riguarda la musica qui incisa che per ciò che concerne il progetto in sè. L'associazione medica Franco / Palestinese nel 1976 ha voluto realizzare questo album per sostenere il popolo palestinese e per chiedere (anzi ESIGERE) la liberazione di Mustafa Al Kurd, uno dei menestrelli palestinesi odiati dallo stato sionista, imprigionato unicamente per la forza delle sue parole.
La lotta palestinese non è ancora finita, Israele continua ad occupare la Cisgiordania , il mondo,intorpidito da pornografia usa e getta e feticci tecnologici ,non fa più  caso a nulla .
Questo disco, materiale musicale di notevole importanza storica ( e qui mi ripeto) , forse potrà ricordare a qualcuno che alcune cose non sono mai cambiate e che esiste  un popolo (tradito, ingiuriato, offeso )  che lotta unicamente per il diritto all'esistenza e per la propria terra .

Note dal retro copertina :

" La troupe E l Baladine è stata creata dopo l'aggressione  nel giugno 1967 , e l'occupazione del resto della Palestina . Essa comprende poeti , compositori e attori palestinesi . In quanto fornisce una lotta decisa per una forte cultura palestinese , l'occupante è intenzionato a metterla a tacere . El Baladine non è solo espressione del folklore palestinese , ma l'esplosione di una nuova generazione di poeti popolari della terra e della resistenza .Questa terra , la cantano nei campi con i contadini , con gli studenti in strada , gli operai  ed i Patrioti nelle carceri dell'occupante .La musica è fatta di battiti cardiaci , fucili scoppiettanti e singhiozzi di madri in difficoltà .I testi sono un grido d'amore per la propria terra , per il sole cocente , per il giallo del grano , per le sue  prugne, per l'odore del suo gelsomino, per la sua giovinezza contusa e ribelle .Il loro teatro è un murales vivente della vita del loro popolo sotto occupazione , l' inferno quotidiano , i suoi atti eroici, le sue debolezze , la sua speranza ...Mustafa Al Krd e i  suoi giovani compagni sono tra i precursori di una nuova cultura che trae la sua autenticità e sua la forza dalla storia e dalla lotta del suo popolo .per l'AMFP , la pubblicazione di questo primo album di canzoni palestinesi costituisce un atto di solidarietà .- a Mustafa Al Kurd  , arrestato dalle autorità israeliane e tenuto in detenzione amministrativa per un periodo indeterminato .- a la  troupe  di El Balaline , soggetta ad ogni  tipo di misure repressive per metterla in silenzio .- al   popolo palestinese e alla sua lotta coraggiosa e quotidiana contro l'occupazione ;  difendere la sua cultura è un atto fondamentalmente vitale , un atto di restistenza , per la  vivace e rigogliosa  identità collettiva di un popolo .- alla  Palestina , l' occupante sionista non si è solo appropriato della terra  , distrutto i suoi villaggi e oppresso il suo popolo.Egli persiste nel voler cancellare le sue tradizioni ed il suo passato ! : Radere al suolo un villaggio  , distruggere i vecchi quartieri arabi di Gerusalemme non è un semplice atto di colonialismo ,  è una rabbia frenetica per cancellare tutto ciò che dimostra l' esistenza di un popolo . Ruba le sue danze , i suoi costumi (venduti negli Stati Uniti con la denominazione: Costumi degli agricoltori israeliani ) vieta  tutte le forme di espressione orale; educa i suoi figli con una scolarità  bastarda e  razzista  ...... Tali sono  gli atti quotidiani dell'occupante . Degli atti che costitutiscono  una violazione dei più elementari diritti umani.
Da parte nostra speriamo , che questo disco , testimone della lotta   della popolazione palestinese su un  fronte finora sconosciuto , contribuisca a far conoscere la sua lotta e a raccogliere altri amici
intorno alla  sua causa " .

 L'associazione Franco/Palestinese  Parigi  15 giugno 1976

Numérisés à partir du vinyle originale

Digitalizzato dal supporto originale in vinile

01 Le bourreau -  Il boia -  الجلاد *
02 L'espoir  - La speranza -  الامل 
03 Les marins -I marinai -  البحار

04 Le soc - L'aratro -  المحراث
05  La terre - La terra -  الارض
06 Beit eskaria بىت اسكارىا

* Remarque / Nota :

Le bourreau الجلاد

Paroles de Kamal Nasser ( un de trois dirigeants palestiniens assassinès , lors d'un raid israelien a Beyrouth le 09/04/1976)

Il boia الجلاد

Testo di Kamal Nasser (uno dei tre leader palestinesi assassinati durante un raid israeliano a Beirut il 09/04/1976)


giovedì 17 ottobre 2013

JadaL جدل‎

JadaL (English: Controversy) is a Jordanian Arabic Rock band from Amman, Jordan, formed in 2003 by Composer/Music Producer/Guitarist Mahmoud Radaideh, which has held various members over the years.

When the band released their first single ‘El Tobah’ (Repentance), a cover of Abdel Halim Hafez’s legendary love song, their musical style, coined as Arabic Rock, was described as ‘groundbreaking’ due to its unique blend of rock and Arabic, or more specifically Jordanian, lyrics.

JadaL then released their first original single, Salma that Mahmoud Radaideh wrote and composed for his niece, which quickly became a radio hit and gained many followers, thus cementing JadaL ‘as one of the premier arabic rock bands in the country and the region’. Shortly after, JadaL’s debut album 'Arabic Rocks' was released in 2009, the members back then consisted of Mahmoud Radaideh (Guitars, Compositions), Kamel Almani (Bass, Compositions), Rami Delshad (Vocals) and Laith Nimri (Drums). The album was well-received, staying true to their principles and ‘polished’ rock sound. Produced by Mahmoud Radaideh & Hanna Gargour, the album also featured Palestinian Hip-hop artist DAM on the track ‘Ya Bani Adam’ (You Human Being) .

In 2011 a new single was released, 'Bye Bye 3azizi' ( باي باي عزيزي‎) (Bye Bye My Dear), written and composed by Mahmoud Radaideh and main vocals performed by Ahmad Zoubi.

The second album 'El Makina' ( الماكينه‎) was released Dec 2012, composed written and produced by Mahmoud Radaideh, performed by: Vocals:Ahmad Zoubi, Mahmoud Radaideh. Acoustic Drums: Ammar Urabi. Bass: Amjad Shahrour, Mahmoud Radaideh. Keyboards and Synthesisers: Bader Helalat, Mahmoud Radaideh, Hani Mezian. Guitars: Mahmoud Radaideh. Mixed by: David Scott. Recorded at Sweetspot Sound works studios in Amman.

In local and international concerts and festivals, JadaL often performs with local and regional artists, such as Canteca de Maco, Jericho, Rim Banna, DAM , Omar Al-Abdallat, Mashrou' Leila and others.

Jadal are known for their lively performances. Jadal’s music breaks boundaries, challenges the music scene. Their diverse fans, both rock and Arabic music fans, prove that music isn’t biased to language or background.

(Source : Wikipedia &


 JadaL جدل‎ - Arabic Rocks

 Arabic Rocks is Jadal's debut album, released 2009 and consists of the tracks that they've played all along; the tracks that made their audience double & triple throughout the past couple of years.

The album also features a track featuring the hip-hop crew DAM, named "Ya Bani Adam".

Album produced by Mahmoud Radaideh & Hanna Gargour, all tracks edited & mixed by Hanna Gargour, album photography by Hiba Judeh, and artwork by Rami Delshad.



01 Iss
02 Salma
03 Ya Bani Adam (feat. DAM) (You Human being)
04 Omr Jdeed (New life)
05 Ya Ahla Oyoun (Prettiest Eyes)
06 Al Tobah (Abd Al Haleem Hafiz Cover)
07 Meen Shaf Habibi (Who Has Seen My Love)
08 Niyalak (Lucky You)
09 El Daraweesh
10 La Tloum (Don't Blame)
11 Galbi Mithel ElWard (My Heart is Like The Rose)
12 Nseet Ahla Thekra (I Forgot The Sweetest Memory)
13 Bayya' ElKastana (The Chestnut Seller)
14 Rah Bakkeer (Gone Too Soon)


JadaL جدل‎ - El Makina   الماكينه‎

This is the highly anticipated second album by the Jordanian rock group Jadal—the follow up to their classic first album ‘Arabic Rocks.’ "El Makina" contains 10 tracks that address social and personal issues pertinent to youth in the Middle East. Jadal sounds like a mix between Suystem of a Down and Jason Mraz. Composed and written by Mahmoud Radaideh. Vocals: Ahmad Zou’bi, Drums: Ammar Urabi, Bass: Amjad Shahrour, Guitars: Mahmoud Radaideh, Accordion: Hani Mezyan, Backing Vocals: Mahmoud Radaideh, Synthesizers:Bader Helalat. Mixing Engineer: David Scott.


01 Ghabeh B'eed
02 Ana Bakhaf Min El Commitment
03 Fe Nabd Ana Has
04 El Makina
05 I'm in Love With Wala Bint
06 Yum El Jum'a Dayman Ashwab
07 Zad El Sheib
08 Bye Bye Azizi
09 Ma Raddatish
10 Hada Yakhud Makani


mercoledì 16 ottobre 2013

AA.VV. - Qat, Coffee And Qambus قــات وفــهــوة وقـنــبــوس

Qat, Coffee & Qambus: Raw 45s from Yemen is a compilation of rare, Yemeni vinyl singles, showcasing the little-documented, evolving local music styles in the 1960s and 70s. Vintage oud and vocal music inspired by the qat-chewing, coffee-sipping, qambus-playing culture of Yemen! Although part of the classical Arabic musical tradition, the music of Yemen takes its rhythmic lead as much from the East African coast (a mere 20 miles across the Red Sea) as the surrounding Arab Peninsula. Little has been written about the music and culture of one of the world's oldest civilizations, and each 45rpm disc gives a small glimpse of the poetic tradition, the unique local oud styles as well as an insight into people's day to day lives, or the highs and lows of human relationships. Overall, the compilation gives a flavor of the sights and sounds of Yemen, with detailed notes that tell the story of the hunt for music that has mostly lain forgotten in the antique markets of the capital, until now

(Source :

01 Ya Mun Dakhal Bahr Al-Hawa (Hey, Who Enters The Sea of Passion?) - Fatimah Al-Zaelaeyah 
02 Raee Al-Gamel (The Owner Of Beauty) - Ahmed Al Sonaidar 
03 Mushtaq (I'm Yearning) - Bolbol Al-Hejaz and Soni Ahmad 
04 Bellah Alek Wa Mosafer (Hey You, Passenger!) - Ayob Absi
05 Marhaban Ahlan (Hello, Welcome) - Mohammed Ben Mohammed Ba-Soweid 
06 Haya Abu- Saif (Welcome Saif's Father) - Amna Hizam 
07 Hom Bel Hawa Ya Nas Walaoni (They Made Me Fond Of Love)  -  Reja Ali 
08 Wahed Mozawag (A Married Person)  - Mohammed Hamood Al-Awami
09 Amsi Sameer Al-Nojoom (Night Stars Watcher)  - Ahmad Al-Haraz


domenica 6 ottobre 2013

Oky Doky اوكي دوكي

From Beirut, Lebanon, OkyDoky is a producer and performer of electronic music. Known for catchy beats, eccentric sampling, and energetic performances, OkyDoky‘s music consists of live instrumentation, sampling, effects modulation, and vocoding using laptops, synthesizers, midi-controllers, and other audiogenic toys. A breaks-based style with influences from 80s electro to drum n bass and metal.

OkyDoky اوكي دوكي -Boombox

1. Pocket Knife 02:08
2. No Emperor 02:56
3. Afrit 02:34
4. Manimal 02:00
5. Alien Intelligence 03:29
6. Lake Vostok 02:23
7. Kung Fu 02:22
8. Mandala 03:19
9. Gunmen 01:16
10.Queen of the Locusts 02:18
11. Afrit (The Dvj M Doussare Remix) 02:58
12. Lake Vostok (RadioKVM Remix) 02:40
13. Queen of the Locusts (Osloob Remix) 02:10
14. Queen of the Locusts (Liliane Chlela Remix) 03:20
15. No Emperor (Jad Atoui Remix) 01:52
16. Pocket Knife (Reznyck Remix) 02:51 

This album is the culmination of a year and a half of inspiration from the raw energy of drums and synths. A lot of slicing vinyl samples to make kits, a lot of classic drum machine samples, a lot of analog synths or analog sampled synths, and a rule of keeping to somewhere around a fast hiphop tempo (85-100bpm) and under 3 minutes length, which at first came naturally then had to be consciously enforced. I was most inspired by Quakers, though there are a lot of 'mixtapes' these days, but that one seduced me totally and entirely to an electronic analog space that was new for me and made me aware of an ingredient i already searched for in electronic music - some degree of rawness, imperfection, improv, ie some human core, inherently imperfect and unpredictable even within the cloak of a DAW and a rhythmic beat.

Often i would just start by exploring a new kit with my triggerfinger and the rest would write itself. In a few cases the synth lines led. A few tracks were made that were eventually scrapped, a new vetting process that could only come with months of slow building. The order the tracks are in on the album are exactly the order i wrote them in, except mandala which was last written but fit better elsewhere.

I asked a number of my friends if they'd like to remix a track of their choice. I assumed most would not come through in the end, but i was wrong and ended up with 6 full remixed tracks. Each is totally different from the next, but somehow together they make a perfect 'side B' to my 10 'side A' compositions. There is even a 7th remix which i am assured constantly is 'almost done' so keep an eye out for a hidden bonus track on future downloads.

After all that there came endless mixing, over and over and over again, until i was happy with my tracks, or really until the mastering session i'd booked came up and I had no choice but to stop tweaking things. The mastering process was a whole other story which developed from a test release I did earlier this year with a friend from Berlin. I found an old studio in Brooklyn with an old timer engineer, better known for his work on indie rock than electronic music, short on words and big on brains and vintage equipment, and who added an immense quality to bring everything together. The moral of that story is: Analog Mastering. i cant praise it enough.

The album is released with a Creative Commons license, meaning both I and the remix artists would like to see this music get copied and shared and spread beyond the abilities of any one person or any one label or market.

To anyone who was around in Beirut in 2008-2011, when OkyDoky first started and developed (and for which i owe sary moussa aka RadioKVM a hell of a lot), this album is a departure from my early style of breaks and vocoders (and death metal). I have no idea what my next album next will be but it will certainly be different again. 

credits  :

Released 01 October 2013 .

All tracks composed and produced by OkyDoky except:

#11 by Olivier Sacriste aka The Dvj M Doussare
#12 by Sary Moussa aka RadioKVM
#13 by Osloob
#14 by Liliane Chlela
#15 by Jad Atoui
#16 by Seb Bailly aka Reznyck

Mastered at Salt, Brooklyn

Cover photo: NASA

(Source : Bandcamp)

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