Cera Khin is a Tunisian DJ based in Berlin who has gone on to establish her own label, The Lazy Tapes. She is also a mental health activist who started the initiative Techno Mental Health after recognizing the need for a conversation on mental health issues in the scene. With Cera, techno is cool, but dispelling the stigma surrounding mental health is cooler.
This is a DJ collective based in Beirut and Melbourne creating some hardcore music paired with thought-provoking visuals and incredible merch. Al Gharib have used their platform to support the Lebanese and Palestinian cause alike.
Arabic Techno Music Mp3 Free Download
Download 🔥 https://tiurll.com/2yGbLn 🔥
Originating from Syria, Yazan Al Sabbagh and Saleh Katbeh are the driving forces behind Sharake, a techno duo that aspires to transcend cultural boundaries through their vibrant fusion of techno beats and oriental music, integrating traditional instruments like the oud and the clarinet into cutting-edge tracks.
Immersed in the classical music traditions of the Damascus conservatory and now based in Berlin, the global capital of techno, the dynamic duo seamlessly intertwines their diverse influences. Their soulful compositions, enhanced by multilingual vocals, not only captivate but also bring a unique layer of cultural richness to each track.
Sharake's music is influenced by various genres we heard and grew up with in Syria, along with the music of Berlin, our current place of residence. We aimed to bridge traditional Arab and Syrian folk music with global techno, blending elements from both worlds to create a unique sound.
Growing up in Syria, our music was influenced by the diverse musical scene, and studying classical music at the conservatory in Damascus added depth to our experience. We blended classical principles with folk inspiration, shaping our unique musical journey.
Berlin was the starting point for Sharake. There, we discovered electronic music and decided to leverage the tools and power of electronic music to create Arab content by blending Eastern and electronic music genres.
Between me and Saleh, our work method is simple, based on experimentation and learning from our own experiences or the experiences of other artists whose music we admire. We never stop learning and experimenting every day because continuity is the key to our collaboration. Embracing even the strangest ideas helps us evolve and better understand each other.
Collaborating with AXL and DJ Phellix was extremely enjoyable. Through these experiences, we learned new ideas and work methods that influenced us. Collaboration is a central goal of our project, reflected in the band's name, sharake, meaning collaboration. We aim to continue creating joint content with various artists, and upcoming collaborations include a new project with Obeidmusic and other artists.
Our primary goal is for people to enjoy the content we create, while also exploring various musical styles within electronic music. Our vision for Sharake performance is a musical journey incorporating diverse genres like Deep House, Oriental Melodic House, and even elements of traditional dance like Dabke. However, we aim to craft our unique musical atmosphere and develop a special musical identity.
After touring Germany, we're back in the studio working on new tracks and aiming for a 2024 release. We're excited about collaborating with Obeidmusic and other artists, with more details coming soon. Plus, get ready for our upcoming shows and concerts, starting in Hamburg at the Thalia Theater in February!
The audience of Roots and Hybrid festival had a couple of days to listen to diverse genres of music, but when the clock stroked midnight, more crowds lined up in front of the Ra Hall in Godsbanen to see Acid Arab.
The Roots and Hybrid stage witnessed different types of music in different languages and from different countries throughout the festival, in the case of Acid Arab, the music is techno, the language is Arabic and the country is France.
Once the duo walked in to the stage, crowds instantly started dancing to the Arabic-techno music, which started off with some Syrian beats, the kind of music you would hear in Syrian weddings. Although the artists, Guido Minisky and Herv Carvalho, do not speak Arabic, neither do they have Arabic roots, they believe the language barrier is not much of a barrier for them.
Sara Dziri is a 30-years-old multifaceted artist, a resident DJ at Fuse and Kiosk Radio and the founder of feminist, POC and queer underground party Not Your Techno, born to a Belgian mother and Tunisian father. We have a chat looking forward to the NYT night she will be hosting at Listen in April and the latest (big) news she has to share.
In August and September of last year we hosted two events in two weeks time. First an intimate party for about 100 people in Decor Atelier in Molenbeek, then a huge open air rave in collaboration with Catclub in the center of Brussels. Both events were great and left us behind fully energized, especially the familiar context at the former was exactly what we intended to offer: a feeling of freedom and open mindedness. Such freedom for everyone is still utopian, looking back at what happened when the Instagram account Balance Ton Bar was created.
I was obviously shocked and immediately contacted the staff, realising that their reaction would be crucial for the continuation of my residency at the club. But I was relieved to notice that they reacted well and immediately addressed the case seriously. Unfortunately, despite the goodwill of the staff, there is still a long way to go when it comes to changing a certain mentality among a part of the clubbers.
Mostly through Catclub. I started going to their parties about 10 years ago, it was one of those places where I felt comfortable and free. The host Lady Jane first started to do parties for her girlfriends, but soon it became a quite popular queer night open to all kinds of people. Their talent was to find special locations for each event. I have fond memories of a Catclub party during Pride in an abandoned Fortis building, the same space where food market Wolf is located today. The whole premise was open to wander around, such an amazing vibe.
Your layered identity as a Belgian with Tunisian roots has for a while been explicitly part of your identity as a musician and DJ, using Arabtechno often as a hashtag or hosting the Souk Sessions. But over the years I noticed an evolution where you dropped the hashtag. How do you see this?
Less and less hedonistic since I turned thirty, but I definitely still enjoy it. Partying was very important in my twenties though, as an important road to self discovery. Not the hedonistic part per se, but the idea of letting go, of finding more open-mindedness. I grew up in a rather closed environment in Antwerp, where everyone went to the same clubs and dressed matching. Moving to Brussels when I was 19 years old and discovering the rave scene meant the world to me.
THORBEN DIEKMANN: Shkoon is basically the first Arabic word that I learned from Ameen back in 2015, and it means what.EMILY FENG, HOST: What? Why what?DIEKMANN: It's kind of like the first impression that we get when people hear our music and when they knew what we were doing.FENG: That's German musician Thorben Diekmann talking about his friend Ameen Khayer from Syria. Together, they make up Shkoon, a two-man band that is taking everything we think we know about German music and Arabic music, combining the two and then flipping it on its head.(SOUNDBITE OF SONG, "LALA")SHKOON: (Singing in non-English language).FENG: Shkoon's latest album, "FIRAQ," has this German techno vibe, which I love, but it also maintains a really strong Arabic folkloric color, whether it's the melodies or the lyrics. I asked Thorben and Ameen how they came up with this unique fusion.AMEEN KHAYER: After hangover night we did it (laughter).FENG: I want to hear the story. I want to hear the hangover story.DIEKMANN: Yeah. I mean (laughter) - there was a few friends who did, like, a funding event for people who got, like, in trouble with law because of, like, helping refugees coming and stuff like this. So they asked me if I could imagine doing some music there. And the day before the event, I basically asked, I mean, like, you want to join? So we had, like, 24 hours before the party where we just, like, wrote our first songs and tried our first things. And we literally didn't really know what we were doing.(SOUNDBITE OF SHKOON'S "LETTERS")DIEKMANN: And I remember when we went to the venue, we literally didn't even know how to do a proper soundcheck.(SOUNDBITE OF SHKOON'S "LETTERS")DIEKMANN: And Ameen was hiding behind a palm tree inside the venue so nobody could see him.KHAYER: I was afraid because the first place I did it, like, after singing in the bathroom, it was this place. And it was really nice.(SOUNDBITE OF SONG, "LETTERS")SHKOON: (Singing in non-English language).FENG: How did you two first meet?DIEKMANN: I was living back then in a shared flat with eight other people. It was the time when a lot of migrants came to Europe. So we were, like, all kind of volunteering in different organizations to try to help. And there was one of our flatmates who was helping in an institution that collected, like, everything that people could eat. And he was always leaving the house super early, came back super late. And at a certain point, I figured out he's bringing someone with him to sleep over. But we never saw that person, was a ghost. So one da - I don't remember - was it in the morning or in the evening?KHAYER: In the evening.DIEKMANN: In the evening - I stayed up, so I catch this person, and that was Ameen.FENG: Ameen, so you had just gotten to Thorben's shared flat, but you had come from a long way off. You had started from Deir ez-Zor, your hometown in Syria, and then gotten all the way to Hamburg in Germany.KHAYER: That's - there was some stops in-between. I was not living in the resort. I was studying in Latakia for a long time. I stayed there. And I had some issues with the government. And I was in jail because I was doing demonstrations with my friends.FENG: Oh, wow.KHAYER: And after that, I decided to go out and live and continue my studies in Turkey. And it didn't work out. And I stayed for a little bit in Turkey. And from Turkey, I decided to go to Europe.FENG: Most of us have never gone through an experience like that. Do you mind sharing what that process, that journey was like?KHAYER: We went from Turkey to Greece with a boat. So it was a rubber boat. We were about 40 people in the boat. And then from this island in Greece, we moved to Athens. And from Athens, we went with cars to the borders of Macedonia. And it's like some places we walked, some places we took cars. It's a hard experience, but if you are in a big group, you're going to go through it. We were in groups, and we were collecting each other as groups. You have to stay as a group.FENG: And why Germany? How did you end up there?KHAYER: I didn't want to stay in Germany, to be honest. I wanted to go to Sweden. But when I arrived in Hamburg, I saw the harbor. And I study marine engineering. I fell in love with the place. It was just nice.(SOUNDBITE OF SHKOON'S "33.9 MILLION MILES")FENG: I've noticed with "FIRAQ," your new album, you both are leaning more towards original songwriting rather than the first couple of albums where you were singing Arabic folk songs over beats. Why this transition?KHAYER: We develop, you know. With time, we developed.(SOUNDBITE OF SONG, "33.9 MILLON MILES")SHKOON: (Singing in non-English language).KHAYER: And we learned. And it's part of learning to develop and not stay just singing cover songs.(SOUNDBITE OF SONG, "33.9 MILLION MILES")SHKOON: (Singing in non-English language).KHAYER: So we don't labelize (ph) Shkoon as a cover song band.FENG: You've called your new album "FIRAQ," which I've read somewhere means separation. How did that name come about? Was it related to this journey that you've just described?KHAYER: Yeah, of course, it's part of it. And last year, I lost a close member of my family, and it was two days before recording the live set.FENG: I'm sorry.KHAYER: Thank you. Yeah. And that was also a big part of naming the track as "FIRAQ."DIEKMANN: Back then, in the time when we recorded, it was just like - was such an intense time and so hard to see what was happening to Ameen. I mean, especially when you can't be close to somebody.(SOUNDBITE OF SHKOON'S "FIRAQ")FENG: The title track, "FIRAQ," is beautiful. It's mostly instrumental. But then you hear women come in singing. Can you explain what some of those lyrics are that you're singing, Ameen, and what they mean to you?KHAYER: Well, to be honest, the lyrics that I wanted to sing, I forgot them that day. And I started just improvise.(SOUNDBITE OF SONG, "FIRAQ")SHKOON: (Singing in non-English language).KHAYER: (Non-English language spoken) - it's a way of expression, a pain or something like this. And then I say, or my father, something like this. I don't say a lot of words inside it.(SOUNDBITE OF SONG, "FIRAQ")SHKOON: (Singing in non-English language).DIEKMANN: We planned the recording before the incident with Ameen's family member happened. And then, like, two days before, we - like, everything went out of what we could have imagined. So we're literally - we didn't know if we should do the recording, if we shouldn't. And Ameen said, no, I need it. I want to do this. So we were, like, just adapting to what was happening. And somehow, like, the song just, like, emerged on stage while we were playing there. And that's somehow the beauty of it.(SOUNDBITE OF MUSIC)FENG: That's Thorben Diekmann and Ameen Khayer from the band Shkoon. Their latest album is called "FIRAQ." 152ee80cbc
cst microwave studio free download
big data analytics ppt free download