Qow - ElMosameh Serine 
@hiqow

Every question is a track & all the tracks are samples of Sherine

"El Mosameh Sherine is built on unanswered immersive loops that repeat until they collapse and vanish in silence. It is entirely composed of samples and rearrangements of musical phrases taken from Sherine Abdel-Wahab. Sherine’s ability to musically and lyrically translate heartbreak was utilised on this album to emotionally investigate a specific state of strength that one gains from (un)forgiving a loved one.
This album is dedicated to my mom and I perceive it as a second-hand heartbreak experience."


Produced by Omar El Sadek
Harp on Track #8 by Mariana Jouzová
Mastering by Oliver Torr
Typography by Germine Walid
Artwork by Omar El Sadek

Limited Edition of 52 tapes.

ElMosameh Sherine

Qow - Menak Lelah

Fresh Soundcloud sounds from the middle east.

Shabab El Soundcloud pt.2 w/ Karim Serry - 26/03/2024

Fak Agza2 (disassembled parts)
Dissecting various corners of Cairo’s underground, that make up the sound of the city. Presented by Cairo-based music producer/DJ. Postdrone 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/postdrone/episodes/postdrone-31st-august-2024

FAK AGZA2 W/ QOW 310824

عني وعنك بسيطه
مش من عالسطح انا 
من حته .. غويطه
اوقات بمد جامد 
بس بردو صديقك
بطير واعوم فوق وتحت 
اوقات بقف واجيبك 
واما اسمع صوت الشجر 
واما اسمع صوت البحر 
ويجيني ف كل لحظه حال
بسيبك 
من جوا لبرا مش العكس
مش بعيبك 
تخيل شمس حاره جدا 
بتفيدك
انا وانت نفس الحاجه 
متقولش عبد وسيدك 
الفكره هي هي 
اللي بتتغير نظره.. بكيفك 
عارفاك وعارفها من زمان 
وبتفتكرها جديدة
دايره بتعيد نفسها 
بس المره دي 
النظره جريئه
جوا وبرا مش نفس الحاجه 
في فرق والخلاصه في التركيبه

baseta

Jana (16.03.2025)

I'm scared
So afraid to show I care
Will he think me weak
If I tremble when I speak?

So Afraid to Show I Care sees Theo Alexander & Qow assume the role of gleaners and foragers, collecting fragments from over a year of collaboration to produce a palimpsest of sonic layers. Their 30-minute micro-epic is built on an ethic of bricolage, covering tape-recorded ambience, voice note instrumentals, warped acapellas and growling double basses, all of which play out in an uninterrupted narrative.

As unabashedly experimental as it is emotional, the album’s diverse landscape features Egyptian spoken word artist otteswed (formerly known as Aly Talibab) and improvising contrabassist Klára Pudláková. On the leading single, Addictive, Pudláková’s double bass, enters into a melodic dialogue with yearning vocal samples. Towards the end of the album, otteswed delivers an existential soliloquy above waves of organ chords performed by Theo Alexander who sampled church organs from Prague, London and Orford. This album brings together material from a string of high-profile premieres across Europe and the UK featuring a rotating cast of collaborators.

Along with the digital release of the album, comes a limited-edition double cassette tape that includes both the album and selected Live performances from CTM festival ‘25, and PAF festival ‘24 featuring George Cremaschi on Contrabass.

Theo Alexander (London, UK) and Qow (Cairo, Egypt) began working together in 2023, and have respectively been featured in NPR, The Quietus, The Wire, and supported by Shape+, Britten-Pears Arts, and others. 
crédits

Music written and composed by Theo Alexander & Omar El Sadek
Double bass on Tracks 3, 5, and 9 by Klára Pudláková
Double bass on Live Recording tape by George Cremaschi
Vocals on Track 7 by otteswed
Mixed & Mastered by Oliver Torr
Live recording mixed by George Cremaschi
Artwork by Omar El Sadek, design by Niels Wehrspann

Theo Alexander & Qow - So Afraid To Show I Care (Continuous)

03 3al bayez ft. Elnashmy

feel a lot is a diary of moments, written on a journey and translated into sound. The shape lives from memories, new realities, movements, places, the present and the space which connects them all. An ode to a life in hyper sensitivity and a big ocean. The analog source for all tracks comes from an Irmler piano.

End of the road

This is basically my asset flip of songs. The chimes and percussion were a sample I found off of Bandlab as well as the synth. Still thought it could be in the compilation though.

Chimes

The Birth of Infinity

Back in early 2019, I released a single called Distant Visions. After hearing it, a fan commented:
“Almost sounds like something from a second interstellar suite.”

They were referring to my 2006 album The Maestoso Interstellar Suite—a project I re-released with extended material in 2016 for its 10-year anniversary. That comment stuck with me. Did it feel like a sequel? Could it be?

I toyed with the idea. But having just expanded the suite into a double-disc format in 2016, I wasn’t sure a sequel was the right move—especially given how the original was structured as a continuous, uninterrupted journey. I had also briefly considered a vinyl edition, but the flow of the piece and the 22-minute-per-side vinyl limit made it a poor fit for that format. The experience would have been compromised.

Around that time, I released a “radio edit” version of the suite called Singularities to provide an accessible entry point. But if I returned to the suite with new material, I feared I’d be stuck doing the same thing again: a full continuous version and a separate edited version. Frankly, I didn’t want to go through that process again—and since then, I’ve moved away from long single-track formats entirely.

Even then, I was already thinking about vinyl-friendly runtimes, aiming to keep my future projects under 44 minutes so they could fit comfortably on a single LP. I’ve also significantly upgraded my gear and virtual instrument libraries since that time, giving me access to orchestral and hybrid textures I could only dream of back then. Now I have the tools—but what should I do with them?

I thought: Maybe I don’t need a sequel at all. Maybe it’s not about making The Maestoso Interstellar Suite Part II, or Return to Maestoso, or anything like that. Maybe I just need to reimagine the entire idea as something ongoing—something open.

Looking back, I always felt I had to make compromises when producing the 10-year edition. Some sounds weren’t what I was hearing in my head. Hardware limitations forced me to bounce tracks just to finish mixing. I wanted that big, lush, hybrid orchestral sound—and I couldn’t quite get there.

Now I can.

And I’ve got older projects—like La Famille Du Solénoïde (The Family of Sol)—waiting for a modern update. Thematically, they fit perfectly.

So I’ve made a decision:
I’m not making a sequel to The Maestoso Interstellar Suite.

Instead, I’m creating something bigger.

Introducing Infinity

Infinity is an evolving series. A collection of volumes. A universe of sound that has no end—only pauses between stars. It’s not a sequel. It’s not a remix. It’s a living archive of exploration—part ambient, part orchestral, part space music, and completely me.

And to start, I’ll revisit the music that inspired it all.

I’ll go back and refine The Maestoso Interstellar Suite one final time—polish the edges, rework the structure to be vinyl-compatible, and finally bring it closer to what I always heard in my head.

But I won’t just re-release it.

I’ll rebrand it.

The Journey Begins

The Infinity series begins with:

Infinity Volume I – The Maestoso Interstellar Suite

Infinity Volume II – Singularities

Each will stand on its own—but together, they form the beginning of something open-ended. Something I can return to any time inspiration calls.

Infinity has no final tracklist. No end. Only volumes.

And when I’m ready, I’ll add another.

Maybe it’s a crazy idea. But that’s okay—I’m doing this for me.
And I hope you’ll enjoy the journey too.

🎧 Listen on your favorite platform:
🔗 owtt.lnk.to/infinity1BC  

Theo Alexander & Qow - So Afraid To Show I Care (Continuous)

Danse Noire