Mashrouʼ Leila is not a bandʼs name. It is not a proper noun per se; Mashrouʼ Leila is Arabic for ʻan overnight projectʼ lusting out a microphone, a violin, a bass, two guitars, drums and keyboards. It started out as a music workshop at the American University of Beirut in 2008, an open platform for students of architecture and design, somewhere to experiment with sounds and make things audible. Haig Papazian, Carl Gerges, Hamed Sinno, Omaya Malaeb, Andre Chedid, Firas Abou Fakher and Ibrahim Badr have enjoyed this sound fetish savoring its façade of nonchalance and feeding on its lack of genre – sustaining their collective as Mashrouʼ Leila, an experiment. 

You can hear Leila, cascading melts of masculine vocals only suspended with thrusts of violin, beats and bass – attacked by neurotic melody that means no harm – sometimes tender, even sometimes on pause. Through the music, you can smell where Leila has been, in bed sheets, on sidewalks, jasmines in riﬂes and spilled coffee on dresses as she made you play with aubergines, dancing her dance. Music has constantly been their place to play with things, to match and mis-match, a project. 

In the various performances, Mashrouʼ Leila is a constant attempt to taste and produce, more than happy to harvest anyone from the audience as a guest in their encores. They have performed around Lebanon since 2008, playing in various venues in Beirut, taking over supposed public piazzas as well as clubs, pubs, hybrids and the such – they also played in Zahle, Sour, Jounieh, Saida and Deir el Qamar, each of which pushed forward their thinking about how to go about their music, lyrics and performance. It is only when Mashrouʼ Leila goes live, that you can actually catch a glimpse of Leila. As it talks to you of Beirut, the city that tastes of the absurd, the product of its day-to-day experiences, its stubborn security and lack of the latter, its musical bombshells, incoherent sexuality and thrusting pleasure…narcotic pain – as it brings forward hints of Arabic Tarab, rock, to folk pop, electro, you can see Leila in every man and woman in the silent- come-raving audience. In this trajectory, they participated in music workshops and concerts in Amman and Cairo to maneuver their way into a pan-Arab music scene, to know and to announce, more importantly to grow, musically. 

In March 2009, Mashrouʼ Leila won the Lebanese Modern Music Contest jury prize and public vote organized by Radio Liban in partnership with CCF, Incognito and the Basement. They recorded their debut album with B-root Productions, released in December 2009. The music in the album is a reclamation of the aftertaste; sequel-ing a dose of Beirut.

written by Raafat Majzoub

♥ Das schönste an der Musik ist sie zu teilen ♥

Herzensmusik mit tiefen Bässen, melodisch, von down-tempo bis progressive-house.

 "Mit seinen Beats fliegt man wortwörtlich über die Tanzfläche und erlebt grandiose Höhenflüge der besonderen Art! " - Carol

….. .ı.llılı.ıl.lı. .ı.llılı.ıl.lı. .ı.llılı.ıl.lı. .ı.llılı.ıl.lı.  ….

Upcoming:

tba

Past:
- 17.2.2018 Bern, Drü-Ab-Drü Party
- 1.1.18 - 2.1.18 Zürich, Photobastei, VAK Neujahrsparty
- 11.11.17 Zürich, Am Damm
- 21.10.17 Olten, VarioBar
- 9.9.17 Bern, Dachstock, Save the Rave Party
- 12.8.17 Wilde Möhre, AvantGarden w/ Pan B
- 22.4.17 Thun, Waldklang, u.a. w/ Bernstein, Geplantes Nichtstun.
- 9.4.2017. Münsingen, Burning Man, SDS-Party
- 18.2.2017 Bern, Drü-Ab-Drü Party
- 11.2.2017, Bern, RAKETE Closing-Party
- 27.1.2017, Zürich, Am Damm.
- 1.1.2017 Zürich, Frau Gerolds Garten
- 12.11.16 Zürich, Kauz, Sonntagstanz

☜✿☞☜✿☞☜✿☞ BOOKING ☜✿☞☜✿☞☜✿☞

. .  . . .  . . MESSAGE ON SOUNDCLOUD . . . . . . . . 

☜✿☞☜✿☞☜✿☞ BOOKING ☜✿☞☜✿☞☜✿☞

Nach seiner Rückkehr aus England entdeckte er an liebevollen Privatpartys seine Leidenschaft für die elektronische Musik.  Kurze Zeit später war er Mitbegründer des Kollektivs „Waldklang“ und veranstaltet seither herzerwärmende Partys die lange in Erinnerung bleiben. 
Seit seinem überraschenden, spontanen DJ-Debüt im WC-Floor der Schatzalp spielt er immer wieder mal in Zürich und Bern und erfreut sich einer stetig wachsenden Beliebtheit.

Das Bums vom B2B Duo "Dings & Bums"

The Avener
For bookings, please contact :
pierre.delorme@miala.fr

All other requests:
Management : contact@96musique.com

Biography :

It came as quite a shock when The Avener’s Fade Out Lines rocketed to number 1 in the German iTunes charts. It had been a long time indeed since a French artist had achieved that kind of success in Germany, especially with such a startling single. The triumph of Fade Out Lines opened a door onto a unique and yet instantly familiar world. Its irresistible, sophisticated rhythms conjured up a dual image of lovers ending up on the quays of the Seine at daybreak, and of an urban club funk beat.
Since then, the single’s phenomenal success has proved contagious, confirming The Avener’s prime intention: to travel the frontiers between genres, periods and styles; between the music we listen to and the music we dance to; between underground and high-end pop. As The Avener says himself: “Fade Out Lines is hard to define. It’s blues with jazz, folk and funk influences, and electronic instruments. It has feelings, emotion and nostalgia, but a lot of energy, too.”
It perfectly reflects his upcoming album, The Wanderings Of The Avener, a sophisticated electro manifesto in the spirit of St Germain and his Boulevard’s nu-jazz sampling, reconciling the styles of Moby and Wankelmut, King Britt and Cassius...
The ghost producer of many club hits, Tristan became The Avener when he decided to re-embrace the pleasure of music for its own sake, his early love of piano and melodies, his rich, eclectic, multilayered musical culture and deep house – an antidote to the mechanical chill that has crept into electro over the last few years.
Tristan shut himself away in the studio for months. “I began to rework old tracks that went unnoticed at the time, giving them a more modern feel...” He was determined to achieve a perfect balance: a mixture of acoustic and electro combining songwriting science with the intuition of a dance-floor specialist. And while The Avener wrote his own music, The Avener also covered Sixto Rodriguez, John Lee Hooker, Mazzy Star, The Be Good Tanyas, Andy Bey and Adam Cohen in a mosaic of seminal blues, underground folk, nocturnal pop, ironic rock and the work of forgotten artists from the 70s and 80s, exploring secret paths of memory. His sampling of Phoebe Killdeer & the Short Straws’ The Fade Out Line, a foretaste of the album, was quietly uploaded in summer 2013. It steadily gathered momentum by word of mouth in France before going massive in Germany and then all around the world.
The Avener’s delicate, radiant style has been welcomed as a So French Touch of Elegance and acclaimed as the missing link between harmonic emotion and the urge to dance worldwide. Confirmation of this triumph looks certain with the release of his first album, The Wanderings of the Avener, out on January 19, 2015.

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