DRISSI EL-ABBASSI Rai Sidi Bel Abbes
- LP 3990 yen (税込)
東南アジア、中東を渡り歩き民族音楽、テープ、SP盤、フィールド・レコーディング、エアチェックまでありとあらゆる音源からサイケデリック感覚を抽出してきたSUBLIME FREQUENCIESの首謀者の一人、Omar Souleymanなんかも見出したMARK GERBISも背後に、カイロのエレクトロ・シャービ・シーンを送り出し、アルジェリア関連の音源をSUBLIME FREQUENCIESに提供したカイロのHicham Chadly主宰の〈NASHAZPHONE〉からバイナルリリース。シンセサイザー、リズムマシーンのDIY、街角感でまくりのRAWサウンド。独特の魅力。ライに関するWIKIPEDIAにはこんな言葉が。
「ライはアルジェリアのパンクだと思う。宗教的にものすごく抑圧された社会、それに対する反抗...」 — ラシッド・タハ
|A1.||Zedti Laadab Aliya||sample|
|B1.||Manetzouedj Manebni Dar||sample|
|B3.||Khayef Telki Ouahda Mourak||sample|
‘Rai Sidi Bel Abbes’ plays deeply into one of the core influences of borderless Algerian/Egyptian label Nashazphone, highlighting a figure relatively unsung beyond the North African Arabic diaspora, introducing his unusually balmy, soft-voiced take on a genre that came to be known for its harder edges. Set to a mix of microtonal Roland synthesiser leads and swaying drum machines, El-Abbassi’s vocals emote with particular clarity and sensuality, carrying the jazz and psych rock-inspired early sound into a prototype of its current form across eight songs that chart his transition from working with principal group Les Freres Zergui, to selections from recordings by his own band’s influential releases during the mid-late ‘80s.
Drissi El-Abbassi was 17 in 1978, when he joined one of the main groups in Oran region, Les Aigles Noir, working as “stage animator” - a sort of hypeman, also responsible for relaying lyrics to the lead singer, at weddings and parties - and by 1979 he was a member of Les Freres Zergui, who pioneered the use of wah wah pedals and drums in the style of Rai; a new sound established by Messaoud Bellemou and his troupe, that incorporated trumpets and sax into a distinctive new Algerian genre. He cut his teeth playing two shows a night at the weekends with Les Freres Zergui, and his first solo tape came out that year with Zergui on guitar. Following Zergui’s passing in 1983, and the dissolution of the band, El-Abbassi set up his own group, embracing new technology and helping progress the style alongside legendary producer Meghni Mohamed for labels such as Editions Anwar, Editions Maghreb, and Editions Saint Crepain.
The eight songs on ‘Rai Sidi Bel Abbes’ cover a spectrum of El-Abassi’s work during 1979-1989, from the mouth watering microtonal psych licks and nagging machine grooves of ‘Zedti laadab aliya’ to the lissom guitars and accordions of ‘Khalouni neck’, showcasing his smoothly contoured vocal cadence in finest style on cuts that resemble melodic Lovers Rock vibes in ’Trig maaskar’ and intoxicatingly sensual highlights ‘Jat jat’, plus the passionate, psychedelic ache of ‘Manetzouedj manebni dar’, or ‘Djibek liyam’, which should appeal to fans of Omar Khorshid as much as Omar Souleyman.