list.co.uk/music WORLD ALIF Aynama-Rtama (Nawa Recordings) ●●●●●
Bringing together some of the most acclaimed and exploratory young musicians in modern Arabic music, Alif offer a tantalising, beautifully balanced mix of the traditional and the experimental. The five players, of Egyptian, Palestinian, Lebanese and Iraqi origin, bring a
range of disciplines with them. Vocalist Tamer Abu Ghazaleh is a renowned songwriter. Maurice Louca is an experimental electronica artist, soon to appear in solo guise at the CCA, Glasgow. Bashar Farran provides low-end for a live, improvised drum’n’bass trio. Percussionist Khaled Yassine performs traditional Arab music and jazz fusion. And celebrated oudist Khyam Allami has had stints as drummer and bassist for the prog and noise-rock bands Knifeworld and Art of Burning Water, respectively.
This diversity imbues Aynama-Rtama (Wherever it Falls) with a great deal of breadth, depth and richness. Superb opener ‘Holako’ sets the tone: an instantly hooky, twanging oud riff crackles at the edges due to electronic manipulation, Ghazaleh soars and flits as he recites Iraqi poet Sargon Boulus’ dreamlike account of the 13th-century Mongol invasion of the Middle East, and the whole thing blossoms into a lithe, irresistible lurch.
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While rooted in various Arabic traditions, Alif’s music is also open-minded and WITH SUPPORT FROM
fiercely contemporary, taking in everything from slinky, dub-infused grooves (‘Yalla Tnam’) to hypnotically circling riffs (‘I Tiraf’). Of particular note are ‘Al-
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Khutba Al-Akhira’, the muscular desert stomp-psych of which is incrementally obliterated by Louca’s gliding cosmic synth; and the climactic closing track ‘Eish Jabkum Hon’, in which Ghazaleh’s elegance and poise give way to a more ecstatic mode. Sensuous, smart and sonically lavish, Aynama-Rtama is a thrilling debut that owes as much to classic poetic forms and traditional instrumentation as it does to new technology and electronic textures. (Matt Evans)
GUITAR POP DARWIN DEEZ DOUBLE DOWN (Lucky Number) ●●●●●
On Songs for Imaginative People, Darwin Deez took risks, eschewing the simple structures of the fantastic Darwin Deez with mixed results. If anything its successor, Double Down, suffers from exactly the opposite condition. It feels overly safe, yet doesn’t deliver the same pop perfection that marked their 2010 eponymous debut.
That’s not to say there aren’t glimpses. ‘Time Machine’ and ‘Kill Your Attitude’ (both earmarked as singles) are skilfully crafted and layered, showing off frontman Deez’s guitar playing at its inventive best, aided by an expanded tonal range, while the stadium rock drums of ‘Rated R’ are a pleasing departure from the drum machine beats that have become something of a trademark.
‘Melange Mining Co.’ is another slight departure, with a meandering riff
reminiscent of John Frusciante. It starts out promisingly, but, despite some deft soloing, continues to meander. This is the story of the album in microcosm: well constructed with an abundance of talent, but seemingly lacking intent. Compare to the outro of ‘The Suicide Song’ for an example of the compelling songwriting that remains the high water mark for Deez. Lyrically, the album covers familiar territory – predominantly ruminations on relationships past and present. Still in evidence are the extended metaphors that marked earlier work, with ‘Last Cigarette’ comparing one relationship to smoking cessation, but it’s not until the penultimate tune, ‘Right When it Rains’,
that Deez’s joy in stream of consciousness rhymes – shown in his self-confessed ‘love letter to Das Racist’ Wonky Beats mixtape – come to light. These elements, combined with
some perfectly serviceable, if slightly b-sidey, songs make for an enjoyable listen with a few great moments. Taking this and Songs . . . together, you can’t help but feel that there’s the potential for something truly special in Darwin Deez: perhaps this is a step along the road that needed to be taken. (Joe McManus)
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