Description
#sanam #vinyl #vinylrecords
SANAM, a freeform psych troupe based in Beirut, delivers a compelling and uproarious debut album that effortlessly blends Egyptian traditional songs with a mesmerizing fusion of free jazz, acid rock, and DIY noise. This seriously euphoric offering stands out with its RIYL (Recommended If You Like) associations, including Jerusalem in my Heart, Senyawa, and A Silver Mt. Zion.
From the very first listen, it becomes evident that Sandy Chamoun’s enchanting vocal performance on the title track “Aykathani Malakon” commands immediate attention. Her vocals intertwine harmoniously with Farah Kaddour’s resonating buzuk and Pascal Semerdjian’s resounding percussion, forming the foundation of the music. While the band remains firmly rooted in folk, they masterfully introduce elements from a wide range of genres, embracing their traditional origins while delving fearlessly into unbridled musical expression. Anthony Sahyoun’s piercing synths gradually intensify, creating a sense of simmering anticipation. Additionally, Antonio Hajj and Marwan Tohme contribute with their bass and guitar respectively, generating ethereal waves of mind-altering noise. A track like “Bell” offers a slight departure, with Tohme leading the way with an invigorating Krautrock-inspired bassline, punctuated by Kaddour’s impulsive buzuk plucks, and eventually, Chamoun’s gravity-defying vocal acrobatics. It goes without saying that this unique sonic concoction is a rare find.
The band boasts a wealth of experience, with each member deeply ingrained in Beirut’s relentlessly inventive avant-garde scene. They have played in renowned groups such as Ovid, Kinematik, Postcards, and the satirical musical collective Al Rahel al Kabir. Their collective journey began when they responded to a call from Faust’s Hans Joachim Irmler, who invited them to perform at the Irtijal festival in 2021. After this transformative experience, they embarked on an artist’s residency in the village of Saqi Reshmaya, disconnecting from the bustling city of Beirut for just over a week. Their initial improvisational sessions with Irmler provided the catalyst for their creative process. Without hesitation, they recorded the album swiftly and without overdubs, allowing each member to draw from their unique sonic palette. The result is music that boldly defies genre boundaries, offering an uncanny blend of tarab and psychedelic avant-rock that eludes classification while leaving an indelible mark on its listeners.
Drawing inspiration from various contemporary Lebanese writers, Chamoun skillfully incorporates the works of poets such as Bassem Hajjar, whose text “Aykathani Malakon” sets the tone for the opening and closing tracks. On the captivating “Ayouha Al-Taiin Fi Al-Mawt,” the band expertly overlays Chamoun’s resplendent Arabic lyrics onto their frilly Montreal post-rock vibrations, gradually intensifying the energy until Chamoun’s vocals reach a frenzied crescendo. “Ya Nass” captivates as Chamoun weaves in a piece from Egyptian composer Sayyid Darwish, her emotive delivery seamlessly blending with the tense, slowcore drums and Kaddour’s animated performance. “94” veers closest to tarab, momentarily interrupting the proceedings with lysergic distorted guitars. On “Mouathibatti,” the band experiments with electronic elements, integrating glassy FM plucks into a slowcore rhythm while Chamoun’s devotional coos add a divine touch. Finally, closing track “Rings” embarks on an ambient jazz odyssey, characterized by muted synths, evocative bass punctuations, and precise percussion, leaving us utterly transfixed and captivated.
In conclusion, SANAM’s inaugural album is an exhilarating and boundary-pushing affair. By fearlessly blending disparate genres and drawing upon traditional influences, they have crafted a distinctive sound that defies categorization. With their exceptional musicianship, evident passion, and innovative approach, SANAM has created a truly compelling musical experience that is sure to leave a lasting impression on any listener.
