🛒: amphibianrecords.bandcamp.com/album/tran…-palestine

Instagram: 
https://www.instagram.com/elsadekomar/
www.instagram.com/amphibian_rec/

Soundcloud: 
QOW:https://on.soundcloud.com/NpPcy

For months we have been witnessing genocide and violence against Palestinians in Gaza and the West Bank. Our community is based on values of solidarity and empathy and we cannot and won’t stay silent. Thus we are releasing under the ‘Transmission for Palestine’ project, native to our home club - Ankali. Our effort is to raise awareness of the struggle and suffering of the Palestinian people. We believe in anti-colonialism and freedom of the Global South from Western imperialism.
Free Palestine 🇵🇸

All proceedings from this album will be donated to the Palestine Children's Relief Fund and Middle East Children's Alliance.

www.pcrf.net
www.mecaforpeace.org

IMPORTANT!
If you donate - not 100% of your donation will proceed to the PCRF because PayPal and Bandcamp take a decent amount of the earnings.
credits
released January 13, 2024

Artwork by Omar El-Sadek

Mastered by Ladislav Sterba

Amphibian Records 2024

Support

QOW - -2026

@SaintAbdullah & @Eomac rekindle their longstanding collaboration in this fiery new release sourced from the multiple cultural references and personal stories of its producers.

In their third installment entitled “Light meteors crashing around you will not confuse you”, the New York-based Iranian-Canadian siblings Mohammad and Mehdi Mehrabani-Yeganeh aka Saint Abdullah & Wicklow-based Irish producer Ian McDonnell aka Eomac continue their exploration of sounds and rhythms through an expansive use of sampling and heavy distorted beats. Passionately curious about diverse vocal and musical cultures as well as their own, the trio began their long-distance collaboration in 2019, releasing their first two albums, “Patience of a Traitor ” (Other People) and “Chasing Stateless” (Planet Mu) in 2022 and 2023 respectively.

The trio recorded the album as the world witnessed the genocide on Gaza, Mohammad notes that all tracks were “recorded within a few weeks in October after the war broke out as we tried to keep our heads above water.” The sound of Saint Abdullah is characterized by a keen interest to challenge cultural perceptions and expectations of diasporic narratives, by foregrounding sounds, field recordings, and sacred and profane music from the multiple worlds they belong to. They pay homage to the distinct influences, however sonically and culturally disparate, that have permeated their records and musical process so far. Together with Eomac, they continue a conversation shaped by their ever-growing sonic heritage and shared musical affinities. The inclusion of field recordings for example, often personal ones, are not ornamental but are integral parts of the whole album in which vocal samples are both used in moments of release or through thrusts of heavy beats, continually mirroring a state of unease.…

Reflecting on the recording process, Eomac notes that: “There is a strong influence and inspiration from hip-hop culture here. The beat-tape in particular. It’s rough, raw; rhythms are direct and not overthought. The beats are heavy and distorted for the most part, often shifting and changing throughout a single track. This brings an intentional “ungroundedness” to the record and a sense of tension.” Echoing this state of unsteadiness, Mohammad writes in a poem during the recording: “Those in the diaspora, are those that have left their home, by force, by will, somewhere in between. Are we the connective tissue that makes things more interesting?” Tracks like 'Bitch, I am Islam’ and ‘Rocknrallah’ relieve some of the sense of disorientation but are no less poignant. In the former, 'Bitch, I am Islam', Mohammad uses old personal recordings of his sisters reciting the Quran or repeating Iranian revolutionary chants like “War war, until victory”, an acknowledgment of the worlds they left behind and the ones that need building. In ‘Rocknrallah’ Abdel Ja7eem Hafeth sings a rendition of the 1933 American standard tune ‘Smoke gets in your eyes’ only to evoke the smoke coming out of Gaza.

The record also features fellow Iranian artists in the diaspora, musician and sound artist based in Paris Cinna Peyghamy and club experimentalist Aria Rostami. Ian Bruner, who worked on the album’s artwork, created a composite of the different elements and motifs that form the album, an image of arduous travel towards the mirage of Americana. In this historic period of grief and anger, ‘Light meteors crashing around you will not confuse you’ musically and conceptually engages world systems and beliefs through the experiences and stories of its producers.

—Rayya Badran

All proceeds UNRWA

Produced by Saint Abdullah & Eomac Featured Artists: Cinna Peyghamy, Aria Rostami, Abdel Ja7eem Hafeth Mastered by Rashad Becker Art by Ian Bruner

DBL24DL

Light meteors crashing around you will not confuse you

Saint Abdullah & Eomac - The people who initiate a new world

Saint Abdullah & Eomac - Bitch, I am Islam feat. Aria Rostami

To Be Is Palestine - Noise Diva ft Krampfhaft

Pollution Opera - s/t
Cat. Nr: DN027
Format: DL / LP 
Release Date: April 24, 2024
Buy / stream: dansenoire.ffm.to/PollutionOpera 

Elvin Brandhi and Nadah El Shazly refuse to turn away from the horror. The intercontinental duo’s Pollution Opera album is an uncompromising futurist depiction of our disfigured, dystopian, and dying reality. Facing hell in full defiance, the experimental noise album catapults itself through a volatile compound of breathless shouts, screams, and screeches, in collision with vocal samples, environmental recordings, and acousmatic sounds. Ten tracks cover the spectrum of electroacoustic fragments and vocalizations, treacherously suspended between the roar of engines and synth distortion, of evocative intonations or guttural retching.

First conceived in 2020, Pollution Opera bubbled up organically from a first tandem motorbike ride through El Shazly’s hometown of Cairo. Singing and screaming through the second-loudest city in the world, Brandhi and Shazly found the extreme noise pollution served as catharsis from the suffocating smog that surrounded them. They then took these sonic specimens into studios across years and countries—from the initial recording and sessions in Egypt to Uganda, where their so-called “cacophony carbon orchestra” would carry into simultaneous but separate residencies at Nyege Nyege in Kampala. There, Brandhi and Shazly reprised the role of the motorbike as their “stage,” in a city where motorbikes are the main mode of public transport. They then developed a live A/V performance from video material captured by Arno Mery, collected from their travels, and reworked by Egyptian artist Omar El Sadek during Banlieues Bleues Festival 2023 in France.

The result is what the artists themselves describe as “an uncompromising world-spew, a shameless alloy of love and hate.” Haptic knocking, barking dogs, and human growls trample El Shazly’s famously evocative Egyptian singing style on “CRÎi Me A River.” Breathless vocal cut-ups and samples are bulldozed by arrhythmic acoustic percussion on “Danse Le Flou.” There are moments of respite within all the chaos, however, whether in the heavily pitched, Auto-Tuned opening of “Pollute Bold” or the wonderfully melodic closer of “Crisp Heart”—its derelict rhythmic thrust giving a listener something to dance about.


Both artists lend their unique positioning and idiosyncrasies to Pollution Opera, whether it’s in artist, vocalist, and musician Brandhi’s avant-garde noise music pedigree as both a solo artist and member of father-daughter duo Yeah You, or
singer, composer, and producer El Shazly’s hybrid catalogue combining electronic music with contemporary classical. Together, in asking the question of what a postmodern opera might sound like, the duo offer their existential answer in the true spirit of the often playful and ironic philosophical position by offering no answer at all. 

Voice & electronics: Elvin Brandhi & Nadah El Shazly
Violin on ‘Crisp Heart’: Ocen James
Soprano on ‘Attention’: Marie Requa Gailey

Artwork by Omar El Sadek & Niels Wehrspann 
Mastering by Rashad Becker

Pollution Opera

buy / stream

Pollution Opera - Cairo ???

Bodia by @muskilacph & @hedohydr8. Taken from Muskila new EP Ok, Fatma, out March 20, 2024.

Pre-order: https://bitly.ws/3g7NK
Read: https://bitly.ws/3gd9t

The Copenhagen-based artist Muskila is set to release his new EP, "OK, Fatma," on the 4th of March. The EP takes the listener through emotive club music, incorporating North Kurdish timbres and delving into the realms of bassy dubs. Muskila originally had an EP ready in October last year but decided to delete all tracks and write something completely different that was relevant to the world as he experienced it. The EP was written between October and December 2023 and is a product of how the artist sees the world changing. The visuals for the music portray a contemporary dancer, embodying the concept of being stuck, either physically or mentally.

Furthermore, the EP has 2 remixes and 1 collaborative song. The 1st one from Siu Mata, who has made a name for himself on the club scene with his versatility and genre-bending productions. The 2nd remix is from the Nyege Nyege affiliated artist, DJ Travella, who is responsible for the most exhilarating music of recent years, injecting crackling cybernetic energy into singeli in a semi-improvisational style. Lastly the collaborative song is made with, HEDO HYDR8, an artist who emerges from the rave-rich grounds of Denmark to create immersive, transcendental musical experiences.

Artwork by Luke Griffith
https://www.instagram.com/luke_riffiths/

Mastering by: Calyx, Normann

Premiere: Muskila & HEDO HYDR8 - Bodia [Self-released]

Ahmad Al Qassim & Shadi Abazid (Edit)

Taken from paris paris, texas texas by @moreeaze, pardo & @glassglassmusic, out March 29, 2024, via @ooh-sounds.

Pre-order: https://bitly.ws/3gIwe
Read: https://bitly.ws/3gJ94

OOH-sounds family members more eaze, pardo & glass join forces on a celestial album linking ambient neo-folk, fractured electronics and romantic escapism.

Referencing to Wim Wenders' 1984 road-movie drama masterpiece, ‘paris paris, texas texas’ is a strikingly cinematic tapestry of americana, resampled guitars, glistening electronics, subtle field recordings and processed vocals.

The beginnings of this project date back to the summer of 2022 when pardo and glass started recording some improvisations in a small studio with the aim of making an experimental guitar record. Over time, the drafts developed into mesmerizing slabs of guitar textures, simultaneously immense and intimate. No material was better suited for more eaze to add to the recordings her transversal and sensitive approach, linking the past and the present.

Ranging from gentle ambient folk to winding pedal steel passages, from twinkling electronics to distorted drones, ‘paris paris, texas texas’ is an album that’s not just “atmospheric”, it conjures its own unique atmosphere from thin air. Like a snake shedding its skin, the record slowly mutates from track to track - an epiphany, a transformation, a tangible and perceptible moment. Despite its distant trans- Atlantic origins, it evokes a warmth and intimacy that is hard to deny, an emotion that has perhaps been held back for too long. A landmark release in OOH’s catalogue, capturing the magic of its curation and sensibility in one sublime record.

Artwork by incepBOY
https://www.instagram.com/incepboy/

Mastered by Giuseppe Ielasi

Released by OOH-sounds

paris paris, texas texas

Premiere: more eaze, pardo & glass - le grand souffle céleste [OOH-sounds]

Taken from @saintabdullah & @eomac new album Light meteors crashing around you will not confuse you, out April 4, 2024, via @drownedbylocals.

Pre-order: https://bitly.ws/3gRRt
Read: https://bitly.ws/3gWcv

Saint Abdullah & Eomac rekindle their longstanding collaboration in this fiery new release sourced from the multiple cultural references and personal stories of its producers.

In their third installment entitled “Light meteors crashing around you will not confuse you”, the New York-based Iranian-Canadian siblings Mohammad and Mehdi Mehrabani-Yeganeh aka Saint Abdullah & Wicklow-based Irish producer Ian McDonnell aka Eomac continue their exploration of sounds and rhythms through an expansive use of sampling and heavy distorted beats. Passionately curious about diverse vocal and musical cultures as well as their own, the trio began their long-distance collaboration in 2019, releasing their first two albums, “Patience of a Traitor ” (Other People) and “Chasing Stateless” (Planet Mu) in 2022 and 2023 respectively.

The trio recorded the album as the world witnessed the genocide on Gaza, Mohammad notes that all tracks were “recorded within a few weeks in October after the war broke out as we tried to keep our heads above water.” The sound of Saint Abdullah is characterized by a keen interest to challenge cultural perceptions and expectations of diasporic narratives, by foregrounding sounds, field recordings, and sacred and profane music from the multiple worlds they belong to. They pay homage to the distinct influences, however sonically and culturally disparate, that have permeated their records and musical process so far. Together with Eomac, they continue a conversation shaped by their ever-growing sonic heritage and shared musical affinities. The inclusion of field recordings for example, often personal ones, are not ornamental but are integral parts of the whole album in which vocal samples are both used in moments of release or through thrusts of heavy beats, continually mirroring a state of unease.…

Reflecting on the recording process, Eomac notes that: “There is a strong influence and inspiration from hip-hop culture here. The beat-tape in particular. It’s rough, raw; rhythms are direct and not overthought. The beats are heavy and distorted for the most part, often shifting and changing throughout a single track. This brings an intentional “ungroundedness” to the record and a sense of tension.” Echoing this state of unsteadiness, Mohammad writes in a poem during the recording: “Those in the diaspora, are those that have left their home, by force, by will, somewhere in between. Are we the connective tissue that makes things more interesting?” Tracks like 'Bitch, I am Islam’ and ‘Rocknrallah’ relieve some of the sense of disorientation but are no less poignant. In the former, 'Bitch, I am Islam', Mohammad uses old personal recordings of his sisters reciting the Quran or repeating Iranian revolutionary chants like “War war, until victory”, an acknowledgment of the worlds they left behind and the ones that need building. In ‘Rocknrallah’ Abdel Ja7eem Hafeth sings a rendition of the 1933 American standard tune ‘Smoke gets in your eyes’ only to evoke the smoke coming out of Gaza.

The record also features fellow Iranian artists in the diaspora, musician and sound artist based in Paris Cinna Peyghamy and club experimentalist Aria Rostami. Ian Bruner, who worked on the album’s artwork, created a composite of the different elements and motifs that form the album, an image of arduous travel towards the mirage of Americana. In this historic period of grief and anger, ‘Light meteors crashing around you will not confuse you’ musically and conceptually engages world systems and beliefs through the experiences and stories of its producers.

Artwork by Ian Bruner

Mastered by Rashad Becker

Released by Drowned By Locals

Premiere: Saint Abdullah & Eomac - Overexposure will kill a pornstar [Drowned By Locals]

جهّز الشاب روكي مكس العيد المستوحى من موسيقى كان بسمعها مع عائلته في فترة العيد، وعساكم من عواده

من العايدين ومن الفايزين │ الشاب روكي

Taken from @carl-gari & @abdullahmadm new album Shoot The Engine ا​ق​ت​ُ​ل​ْ ا​ل​د​ا​ف​ع, out May 9, 2024, via @amphibian_rec

Pre-order: https://zip.lu/3irur
Read: https://zip.lu/3itxb

Firing upon the engine. It is the commission of a just crime in favor of human skills. It is a revolutionary declaration of the act of walking. The oil stains the killer's arms and puts the car in a state of complete halt, forcing the passengers to walk. The engine is a signal of escape, and restraining the runaway means temporarily binding it. The spark plugs perform a crucial function, generating a spark to ignite the fuel-air mixture inside the combustion chamber. The heart of humanity is the spark plug inside the engine, it must be removed so it can stand still again. Carl Gari & Abdullah Miniawy step out of the way after spilling the engine oil.

The Egyptian-German collective, composed of Abdullah Miniawy, Till Funke, Jonas Yamer, and Jonas Friedlich, has been engaged in intensive collaboration after their initial meeting in Cairo in 2015. Earning critical acclaim from esteemed media outlets such as Pitchfork, NPR, Resident Advisor, and The Wire Magazine for albums like “Darraje,” “The Act of Falling from the 8th Floor,” and “Between the Bullet and The Front Sight, Casting Lots,” among others, they have showcased their unique sound at prestigious festivals and venues including the Institute of Contemporary Art London, Berlin Atonal, Haus der Kunst, Positive Education, and Rewire Festival.

Amphibian Records is teaming up with Carl Gari & Abdullah Miniawy to bring the first full album into the label's catalog.

Artwork by Omar El-Sadek

Mastered by Rashad Becker

Released by Amphibian Records

Premiere: Carl Gari & Abdullah Miniawy - Faqdo El A’aq فقدُ العاق [Amphibian Records]

معازف | مجلة الموسيقى الأولى والأخيرة من نوعها في العالم

Premiere: Carl Gari & Abdullah Miniawy - Faqdo El A’aq فقدُ العاق [Amphibian Records]

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