eih ya mistar.. e7na hanbadel amaken walla eih?

Tamikrest is a group of musicians who belong to the Tuareg people. The band was founded in 2006. They mix traditional African music with Western rock, blues and pop influences and sing in Tamashek (Tuareg People Language)

Aratane N'Adagh - Tamikrest


‎علّمني

‎علّمني نحبّك
‎الزنوس نساوني
‎دفنوني بدموعي
‎و ردمولي احساسي

‎الزنوس ڤالو الفلوس يجيبو الغالي
‎تشدّيت بين حيط و صور أصحابي
‎الزنوس ڤالو الحب راو صرفه غالي
‎يعرّيك يفنيك راو ريڤ أناثي

‎علّمني نحبّك
‎الزنوس نساوني
‎دفنوني بدموعي
‎و ردمولي احساسي

‎كي صحيت لڤيت الحب الحب كلاني آه
‎و ما بغيت انبوح بيه لحبابي آه
‎"شبي اللّوز منبوز" و آنا ندادي آه
‎أحّيت تكويت أعطيني نداوي آه

‎علّمني نحبّك آه
‎الزنوس نساوني آه
‎دفنوني بدموعي آه
‎و ردمولي احساسي آه
‎احساسي آه
‎احساسي آه...


Allemni

A dub version of  lebanese traditional lullaby 
with Hiba Mansouri on voice 
produced by Zeid Hamdan at home on a Yamaha RS7000 in 2010
Remixed by amazing Francois Cunin.

RIMA

Touria (flamenco version)

Bénarès - Bledi Live

Taken from: Targ (CD/LP/DL)
Release Date: 17.02.2017
Glitterbeat Records

It’s the forgotten place. Lying between the mountains of northwest Tunisia and the Algerian border, the Bargou valley and the village named after it lie isolated, away from the world. It’s poor, barren country, but standing apart, Bargou has developed its own culture that had never been documented until Nidhal Yahyaoui began the task. Born in the valley, he grew up hearing his parents and family sing the songs that belong to the region, and he was determined that the music and traditions shouldn’t slip away into obscurity. With Targ, the album he’s made with his band Bargou 08, Yahyaoui has perfectly fused the past and the present to place Bargou on the map.

“Nidhal began collecting songs from all over the valley more than ten years ago,” explains producer and keyboard player Sofyann Ben Youssef, who’s known Yahyaoui since they were both ten years old. “No one had ever done that before. He listened to the women, to the village elders, and he learned all the variations on the songs. This is his passion, and he asked me to join him.”

Together, they assembled a collective of both local and European musicians who spent three weeks playing in the Yahyaoui family home in Bargou village. They worked on the material, shaping a sound that harnessed the power of the tradition and connected it to something the young would understand.

“It was important for us to record there and to use some local musicians on the record. But we also wanted the young people in the village to see that something could be created right there and that they didn’t need a lot of money to do it, to inspire them.’

At the heart are the songs themselves, and the insights they offer into the life of the Bargou valley through time. “We didn’t choose the material on Targ,” Ben Yousef says. “The songs chose us. The place made the selection for us. They brought it all alive"

With Targ, Bargou 08 make sure that the valley and its people will never be forgotten.

Targ

Mamchout

Bargou 08 - Mamchout

A fantastic song by Asmahan !
well i just felt that this song suits marvelously well dub and reggae , so i proposed this remixed  , i performed it live with singers Daniel Baladi  and  Geena Ghandour , it works so well !! 
enjoy...

Askiniha ( Asmahan remixed )

TootArd: Laissez Passer
Order here: https://goo.gl/JUD97v
www.glitterbeat.com

I do not exist on an ID card
A string and a piece of wood are my gunpowder

A Laissez Passer. Let him pass. That’s the document the stateless carry. It’s all that those from the occupied Golan Heights possess. Since 1967 the area has been part of Israel, but the inhabitants aren’t Israelis. They don’t have any citizenship. They don’t have passports. Just a Laissez Passer. And for the members of TootArd who all grew up in the village of Majdal Shams in the Golan, it’s a very apt name for their new album.

“Laissez passers are special situation papers,” explains singer and guitarist Hasan Nakhleh. “It took us a while to realise the effect. We’re permanent residents in Israel, but not citizens. We have no travel documents. When we travel we need the laissez passer. With no nationality, we’re officially ‘undefined.’”

But in statelessness, the five-piece has discovered musical freedom. TootArd grew up understanding that borders are something imposed by governments, lines that only exist on a map. On a disc, in concert, they can go wherever their imagination carries them. They carry their citizenship inside.

“What we do now is the result of everything we’ve ever done and heard,” Nakhleh says. “We began listening to Tuareg music and we fell in love with it. It resonated with us. North African music is something we’ve heard since we were children. We all grew up with classical Arab music. In finding our own sound, we’ve discovered things from all over.” With Laissez Passer, the past has helped create the future.

On the title cut, Nakhleh notes, “the first verse is the reality, the second is our solution. Our people are stateless. We have no flag, no sense of belonging. It also reflects our emotions. We feel undefined, we don’t know where we belong, when everything in the world tells us we should belong. People always want you to say who you are.”

With its insistent riff that evokes the space of the desert, glorious driving, funky percussion, and an electric guitar that Nakhleh modified with extra frets to sound like an oud, the song builds a manifesto that bonds West Africa and the Maghreb to the Levant. It’s a thrilling opener; more than that, it’s a very catchy one, with the subtle reggae flourishes adding a very organic, international feel. But those were a natural touch for the band, a nod towards their musical beginnings.

Laissez Passer is the sound of a band that’s found its voice. The songs seemed to be pulled from the air, to have found them, whether it’s the catchy optimism that transports “A’sfur,” the biting groove that propels “Oya Marhaba,” or the flickering shadows-and-light shifting guitarscape of “Sahra.”
The album closes with the yearning “Syrian Blues,” a gaze across the Golan Heights into the distance and history of another country.

“It’s something calm to finish, a very emotional quality. Our region used to be a part of Syria. Historically we’re Syrians, but I’ve never been to there. I feel the music has an emotional quality, and sadness in the harmonies. I even wrote it in the Rast scale, the one that’s most used in Arabic music. I thought it would evoke Syria.”

The result is an Arabic blues, the quiet, sad music of people who have a home but no nationality.

With music I become a flying bird
I change my feathers, I change my strings.

TootArd are not ‘undefined’; they’ve fashioned their own identity in their music, creating a bond of the stateless that reaches from the Levant to the Tuareg – another people without a real home - and reaches out far beyond. Let them pass.

Released by:
Glitterbeat Records
P-line:
℗ Glitterbeat Records

TootArd - Laissez Passer

Jamal Nouman : Composition, chant
Hicham Benabderrazik : Arrangements, guitares
Mehdi El Kindi : Direction artistique, percussions
Hamza Bennani Smires : Trompette
Amadou Ba : Basse
Le morceau a été enregistré et mixé au studio BTM à Casablanca. Il à été masterisé à Paris par 
Jean Charles Boutin.

Ethiopique

سم شت

'Ana' is a reimagined version of a famous protest song 'Arrabi al Arabe' by Mariem Hassan, the iconic voice of the Sahrawi people. Sung in Hassaniya, I add beats, percussions, and synths and sing with Mariem in Arabic to build on calls of freedom and unity.

'Ana' is available on all digital music platforms.

LYRICS (Zahed Sultan)
همي يزول آمين آمين
والحلم يفوق فوق المدين
ما لي مردود ما لي ما لي
انا المحظوظ اعفي قلبي

روحي مظلومة تلالي تالي
جسدي مسدود من غياب نفسي
الزين شالو والكوابيس تمضي
انا كاف العيوب عاطفي آدمي 

CREDITS
Composing, Arranging: Zahed Sultan
Vocals: Zahed Sultan, Mariem Hassan
Samples: Mariem Hassan 'Arrabi al Arabe'
Additional Keys: Al MacSween, Mike Patto
Mixing: Toni Economides, Zahed Sultan
Mastering: Neil Pickles

سم شت

NEOBYRD

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