Dalal (دلال) is Arabic for fondness, passion. I started writing this song late into the pandemic. The process is very near to me because I had started taking piano lessons a few months earlier to be able to read and write music for orchestra / film one day. This is the first song that I write by hand, sitting at a piano playing chords and working out melodies / arrangements and then sharing the song with highly talented musicians to take it a step further. Releasing the song has been a struggle. It was originally just vocals and piano. I went around in circles until I realized what was missing. Adding orchestral arrangements gave the song a cinematic feel. It was able to rise and fall now, like taking in and letting out deep breaths and feeling grounded.

Dalal is a reimagined version of ‘Asho,’ an iconic 90’s party song from Kuwait by Miami Band. In the song, I reframe the lyrics and melody of ‘Asho’ into an intimate piano / orchestral ballad that explores themes of loss and separation from loved ones.

Dalal is available on all digital music platforms (Link in bio).

Zahed Sultan - Vocals, Producer, Mixing, Arranger
Sanaz Sotoudeh - Piano, Arranger
Martin Ash - Violin, Viola, Arranger
Natalie Morgan - Cello
Tristan Butler - Timpani, Percussion
Neil Pickles - Mastering

Dalal (Instrumental)

Dalal

* ANX is crying.

* THANK YOU SORRY THANK YOU SORRY THANK YOU SORRY THANK
* GO. TO TOWN AND MEET THE BIGGEST PLANET IN THE SOLAR SYSTEM IS JUPITER
* HELP THE OTHERS. THAT ARE ALWAYS SEEKING THE DARKEST BRIGHTNESS SETTING ON YOUR COMPUTERS ARE

* You won. Got 0 EXP.

MINDSCAPE is a self-insert undertale au consisting of my system members. the roles aren't particularly strict however, and may be original in some cases. still WIP.

roles at the moment:
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS
DARKNESS

[MINDSCAPE] ??? - AND IT HEALS

Music: Khaled Nadim
Vocal: Yasmine El Bakly
https://soundcloud.com/yasminelbakly
Lyrics: المقامة السكندرية للحريري
http://www.omifacsimiles.com/brochures/maq.html


Maqam 91 (feat. Yasmine El Bakly)

Maqam 9 (1)  مقام ٩ (١)ـ ft. Yasmine El Bakly

The boiling point , plenty of activity ...
Here is my third release , feedbacks are welcome . Cheers ! 

The Boiling Point

Arranged and Mixed by Dilaw ..  Warm tribute to our departing friend , Khaled ..

Live life to the fullest and don't get too mad , " Life is like a library owned by the author. In it are a few books which he wrote himself, but most of them were written for him. " 

Belonging To Nature: Eternality

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

16 artistes d’aujourd’hui, venus du monde entier, revisitent, en versions inédites et
dans leur langue natale, l'oeuvre intemporelle et sans frontière du maitre à
moustache !

Suite au superbe accueil, public et critique, de la compilation "Brassens, échos du monde" (parue en avril 2011), et dans laquelle on retrouvait trois inédits (dont celui de Danyel Waro), le label Fanon poursuit son travail de défrichage créatif autour de l’oeuvre de cet artiste français majeur du 20ème siècle. Dans le premier tome, Fanfare cubaine, jazz polonais, maloya réunionnais, swing new orleans, folk russe, musique 8 bit montraient l'universalité des thèmes et des mélodies de Brassens.
"Brassens Echos d’aujourd’hui" n’est pas un simple volume 2. Pour Emile Omar co-programmateur de Radio Nova et concepteur du projet), l'idée était de souligner encore un peu plus le caractère intemporel de cette oeuvre en proposant à des artistes étrangers contemporains qui ne connaissaient pas forcement Georges Brassens de revisiter une chanson du répertoire à leur manière, tout en les accompagnant dans la direction
artistique. De l’Argentine au Liban, en passant par Haïti, la Mongolie, la Colombie, l’Angleterre, le Brésil, la Suède, les États-Unis, Trinidad… chaque artiste chante dans sa langue et sa musique ce qui donne à certaines interprétations un côté surprenant et totalement inédit.
Au total, seize morceaux, créés exclusivement pour cette compilation, qui mettent en évidence la modernité et l’intemporalité de cette oeuvre unique. "Brassens, échos d'aujourd'hui" s'inscrit dans la dynamique du jeune label explorateur Fanon records.

Aux commandes, Emile Omar (encore lui !), avec la minutie d’un artisan passionné, mène des projets sonores à l’esthétique pure et aboutie. Roseaux feat. Aloe Blacc, projet en licence chez Tôt ou Tard sorti en novembre dernier en est le parfait exemple. Ces chansons/reprises sont des trésors qui ont atteint les sommets de vente, preuve que les oreilles du public ont toujours besoin de beauté. 

Yasmine Hamdan - 16 Gamar (Charlie Murdoch remix) - Ballade A La Lune

Recorded during the Covid-19 lockdown in London, ‘Layl’ is a reimagination of a famous Lebanese disco song from the 70’s by the Bendaly Family ‘Do You Love Me.’ In this song, I reframe the original version as a contemporary classical piece; placing it in a more melancholic and sad space. With spiraling vocals, deep synths, and rich violin textures, I give greater meaning to the song by expanding on its themes of love and loss; particularly fitting in light of the tragic explosion in Beirut and the crippling of its creative community.

I found a personal connection in ‘Layl’ through the original version’s music video which was shot in Kuwait on the Waterfront, a project designed by my late father Ghazi Sultan. The release of ‘Layl’ marks a new path for me as I dedicate myself to rethinking Arab culture through music and multimedia performance.

CREDITS

Composing, Arranging: Zahed Sultan
Vocals: Zahed Sultan
Violins: Martin Ash
Keys: Al MacSween
Mixing: Toni Economides, Zahed Sultan
Mastering: Neil Pickles

Layl

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In a follow up to Ana, a folk-pop song taken from the protest tune Arrabi al Arabe by Mariem Hassan, I'm releasing Hindi Majnoon, a pop-nostalgia song about being bullied for being half-Indian while growing up in Kuwait and how it became my superpower!

Sung in Arablish (Arabic and English) with hints of Hindi, I introduce a new sound I call Pop Nostalgia which reshapes the past in a contemporary way. Hindi Majnoon features chunky rhythms and playful retro synths driven by textured vocals. Through tactful wordplay, I reclaim my power by taking ownership of all the tropes that I and my family have been mocked for. Through the release of Hindi Majnoon, I continue to shape a crossover sound of my own.

Hindi Majnoon is available on all digital music platforms.

CREDITS:
Composing, Arranging: Zahed Sultan
Vocals: Zahed Sultan
Additional Keys: Al MacSween, Mike Patto
Mixing: Toni Economides, Zahed Sultan
Mastering: Neil Pickles

Hindi Majnoon

Artist: Music/Live, Film, Digital Art
Entrepreneur: www.commun.space, www.envearth.com
Author: Haramacy www.unbound.com

Dalal (Instrumental)

Zahed Sultan

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