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مروان موسى في المرايا

حل الرابر الشاب مروان موسى ضيفًا على برنامج “مرايا” المذاع عبر قناة فريدوم ميوزك على موقع يوتيوب، في لقاء لم يتجاوز عشر دقائق أظهر جانبين مختلفين في شخصية موسى أولهما محلي وثانيهما ألماني.

أدار مارو ألمانيا الحوار، لم يخفِ امتعاضه من ضيفه مارو اللوكال، الذي حضر متأخرًا كعادته ولا يرى في الأمر ما يعيبه، الجانب المصري يعي جيدًا أن “كله بيمشي بالحب” على عكس الألماني الذي يؤمن بالدقة والالتزام، مع توالي الأسئلة نكتشف صراع الهوية والثقافات بداخل مروان موسى.

صدق مروان يجعله يكشف عن آرائه دون مواربة، لا ينوي خداع جمهوره، يدرك أنه فنان لكنه في نفس الوقت إنسان له الحق في عيش حياته بالطريقة التي يختارها لا التي يفرضها عليه السين كونه أحد نجومه، وجوده على السوشيال لا بد أن يكون صادقًا ومعبرًا عما يمر به لا ما يُمليه عليه الترند وأهمية التواجد طوال الوقت حتى لا يختفي عن الأنظار.

لا يندم مروان على قرارته، يُفضل أن يراها من منظور إيجابي، البعض يرى في دراسة الإخراج لأربع سنوات ثم الاتجاه للمزيكا مضيعة للوقت لكنه يعد الأمر إضافة لثقافته وخبرته بالمجال، بإمكانه الاتجاه للعالمية فهو يتقن الحديث بـ٥ لغات (العربية، الإنجليزية، الإسبانية، الألمانية، الإيطالية)، لكنه مع ذلك يفضل المحلية لأنه يؤمن أن الفن ذو علاقة وثيقة بالمنشأ.

يبرز اللقاء الصراع بين عفوية مروان وتلقائيته وبين ضرورة احترافه، شكله الأجنبي نظرًا لأن نصفه الثاني (والدته) ألماني، لا يتماشى مع دخوله في صراعات واشتباكات مع نجوم آخرين بالسين، يدس بعضهم ويرد على آخرين، مارو المحلي هو الذي يدخل الصراع لكن مارو الألماني هو من يتعرض للنقد لأنه مختلف، خياره الأول هو أن يعيش حقيقته دون إدعاء لذا لا ينسى التلميح للفيديو الشهير الذي تحول لترند وظهرت فيه ثقافته الواسعة وتحدثه بالإنجليزية عن الاستحواذ الثقافي وتقليد بعض الرابرز المصريين حياة الرابرز المنتمين لعصابات في أمريكا.

لا يتحرج في الاعتراف بخطئه، يتحدث عن سوء التفاهم الذي حدث مع أبيوسف الذي ساعده في بداية مشواره، يتمنى أن ينتهي الخلاف على أرض الواقع بدلًا من الحديث عنه عبر الديسات أو السوشيال ميديا.

خلفية مروان موسى المتنوعة والظاهرة للعيان بشكله المختلف عن باقي الموجودين في السين لعبت دورًا كبيرًا في نجاح الحلقة التي تعتمد على مواجهة بين جوانب متناقضة من شخصيات الفنانين، لذا ربما كان مروان موسى هو أكثر من استفاد من فرومات البرنامج ووظفه لصالحه.

Wings by Ourida

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From Algeria, France, and Brooklyn, Ourida boasts quite a varied background of cultures and tastes, and it shows in her music. Oriental Oud meets Broadway Musicals meet French Chanson. 

In this tasty offering, Ourida presents a very healthy dish full of musical variety. Quick, light-hearted, intimate, and accessible. Full of fresh ideas and blends that are executed with flawless expertise from a cast of capable musicians, led by Ourida herself on the occasional Ukulele and the vocals of course.

Starting off with the jazz club influenced ‘Blues’. Lilting and satisfying and the ideal way to set the mood for the songs to come. The mixes on the entire album are very warm and tight, with minimal room ambiance, conjuring the image of a narrow, dim-lit ballroom with the band grooving away to a small audience of friends.

The album then jumps to ‘Don’t Talk’. Fronted by Ourida on the Uke followed with steady bass and a sparse beat, before an upbeat section that ends the song on a more funky note. keeping up with the same attitude, dry, intimate and tight, and lighthearted. ‘Deux Guitares’ is Latin-tinged, decidedly French in feel, with an emotive violic and sweet guitar arpeggios to back up the beautiful, heartfelt vocal delivery. ‘Bees’ is a short, buzzing number. With hot beats and basslines and an explosive crescendo led by the piano in the end. ‘Siren Song’ is easily the album’s jazziest offering. With a riff on the electric bass plus thumping upright bass. A minimal arrangement of 2 basses and a drum kit. A very warm and cozy song with dynamic vocals. 3 minutes in, the song shifts into an ancient record playing on a dusty gramophone. 

‘Porte de la Chapelle’ is a definite highlight on the album. With twangy snazzy guitar riffs, coupled with the same riffs on an Oud, and quickfire vocals that are very capable and display prowess and control. The song is definitely well written and orchestrated and is my personal favorite in terms of music and vocals. ‘L’Emeute’ is a rogue electronica number that detracts more than it adds, struggling to find its ground for the length of its runtime. ‘Dance Me’ is a soft, ambient piece with wailing strings and vast oriental beats. The outro ‘Home’ is light, minimal, and romantic and its end beautifully captures what I imagine making this album was all like… Great fun!

Ourida is certainly a mature songwriter and performer. Capable and truly in tune with her strengths, which she utilizes fully in songs on this beautiful album. Hidden gems adorn it and with a feel that’s this warm and cozy, I’d be more than happy to spend chill autumn evenings enjoying it.

Interview With Deleo

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Formed in 2018 with big ambitions and aspirations, Deleo was founded by Denis Navarro in Montpellier, France. They always had their motive as “The Best is Yet To Be” and it really shows throughout the struggles they had to endure, from confinements to losing band members to the global pandemic. That motive later became the name of the band’s debut album as well. The band began as a duo when guitarist Denis met Eleonore, the singer, and that’s how they named Deleo, by mixing both their names together.

Denis Navarro was already a well-known composer for many alternative rock acts and has managed to evolve and grow to this day. Denis was already experienced in marketing and communication, and through sending demos to many agencies and recording facilities, he managed to land a deal with British producer James Sanger, credited with twenty Grammy Awards and the sale of nearly 70 million records, between U2 and Madonna, Roxy Music and the Pet Shop Boys, Dido and Annie Lennox, Phil Collins and Liam Gallagher.

Amazed by these talented Frenchies, Mr. Sang invited the group, which was by then a five-piece, to his studios in Normandy. Under his endorsement came the recording of several songs, including three impeccable singles: “Unfair”, “Mythomania” and “Going Home,” but then the project was abruptly stopped due to COVID. These circumstances forced Denis and what was left of the band to revert to being a three-piece with Emilie (ex Alone and Me) on vocals and Félicien on bass. Under the independent label My Own Records, the debut album, the giant of eleven tracks, “The Best Is Yet To Be”, is expected to be unveiled to the world sometime in late October. They have so far graced us with the beautiful and dark single “Satellite” from this album, which our team has already reviewed and loved.

Please enjoy our interview with Deleo below.

  1. Hello, thanks for joining us in this interview. First, we would love to tell you how much we love the new song “Satellite,” and we are looking forward to the rest of the album. How are the recordings going so far?

Thanks ! we are delighted that you like Satellite. This album was recorded at Ma Ferme studio in Sérignan in November and December 2021 under the direction of French producer Philippe Uminski and sound engineer Benjamin Bousquet. Philippe has worked with the greatest in France. He is most certainly the most gifted French producer of his generation and who knows English rock and pop the best! We got on really well, he knew how to understand each of the titles, and what we wanted and He brought us the sound and the arrangements that we were hoping for!

  1. Allow me to backtrack a little and tell me about the first couple of years when it was just Denis and the old members. How did the band come together and what was the initial vision that you had for Deleo back then?

    the group was created under the recommendation of the producer James Sanger who after a successful experience with the English group Keane wanted 2019 to reissue the experience. Back from a weekend spent in his studio, I contacted musicians, and then the band was formed. We rehearsed for a long time to prepare for this recording and then went up to his studio in Normandy for almost 3 months. The time to record 11 tracks leaving to James Sanger, arrangements, and programming… everything was ready to schedule an album release in 2020
  2. I read on your website that after the first three singles were released, you scrapped the recordings you had and started anew due to COVID. Did that hinder the album or the band in any way?

    Yes, we had prepared for an album release at the end of 2020, with 3 singles scheduled to launch it. The first was our favorite song Unfair released on March 20, 2020, a few days before the first lockdown. A lot of things then changed… We maintained the 2 singles but wanted to postpone the album because it could not be accompanied by concerts. The crisis lasted 2 years and the morale of the group was well reached… pushing some members including Emy Eris the singer to leave the project in April 2021. The bassist followed a few weeks later. That’s life! Paradoxically, the period was conducive to making new encounters that structured the group and its support. I met a new singer, a new bassist, and a new producer and label, Philippe Uminski, one of the most gifted of his generation! Who despite his experiences in variety carries within his knowledge of rock in all its immense variations! Having talked a lot with him, we found a lot of commonalities and offered to re-record the album with new arrangements and a sound closer to my DNA. And yes, I was raised to the sounds of Cure, Killing Joke, and Cocteau Twins! So we left for 2 months in the studio with the desire to sound more rock and punk without falling into nostalgia for the past.
  3. Can you please tell me more about the album’s sound and what is to be expected from it?

    we wanted a real rock album! with saturated guitars, with chorus & flanger effects. We spent a lot of time listening to the album Pornography des Cure or Violator by Depeche Mode, David Bowie, PJ Harvey, and the Pixies… Philippe did an admirable job on the backing vocals with Emi! The album is really dichotomous, with a hard sound sometimes hermetic that intertwines with a soft and angelic voice. Finally, the album is a synthesis of everything we love!
     
  4. Just for fun, and because I’m personally a fan of Siouxsie Sioux, The Sisters of Mercy, and a lot of these veteran Post-Punk bands, were you at all affected by these bands or any other similar goth bands in your sound or looks?

    Yes of course! as I said, the album is a tribute to the guitars of the Cures, the riffs of Killing Joke, and the lyrical flights of Siouxie! All this is put in a shaker with some pop-disco-groove ingredients and you release titles like Satellite, You Feel, or Mythomania!
  5. It seems like Deleo has many different genres and influences. Would you please tell me which genres, movements, or particular artists you consider to have had a remarkable effect on how your music sounds?

    Our sound is a mix of lots of influences! The bassist is a fan of the Red Hots, me of Placebo, Radiohead, and Depeche Mode, and Emilie, of PJ Harvey or Skunk Anansie! I think it’s reflected in our titles!
  6. If there was a single artist, living or dead, that you would love to embark on a world tour with, who would it be?

    Difficult !! I would say… dead, David Bowie alive Placebo!
     
  7. Do you think the music of Deleo fits only a certain stereotype of music fans? Like only goths or punks, maybe, or do you believe it to be more universal than that?

    You have to imagine the album as a moon with two sides, a dark and tortured side with titles that we love to play: Lonesome Traveler, Cosmic, Unfair, Mythomania… and another brighter limit dancing with You Feel, Back To Hell, Satellite,… so finally it is an album that can be listened to at different times of the day or your moods! It’s not an album for goths or punks it’s more an album for fans of rock, guitars, and sounds that we thought lost!
  8. What skills have you gained now, as musicians, that you did not have at the start of your band’s formation?

    research and work around sounds! Sound is really part of the composition work. A simple chord sequence can really be revealed thanks to a few pedal additions 😉
  9. Is there a particular venue, location, or festival you dream of headlining one day?

    Yessss! Festival de Nîmes aux Arènes !!

  1. Is there a musician that Deleo dreams of collaborating with in the future? And if so, who?

    Thom Yorke !! His new band “The Smile” is so fantastic !!
  2. Lastly, I would like to know how the particular brand of music you play is received in your homeland, France. I know for a fact that the goth sound has its following in the UK (where it originated) and to a lesser extent in North America. How do French fans compare?

    The goth style still has fans here but more generally the French public still loves alternative rock or post-punk. Bands like Placebo, DC Fountains, Archive etc… work very well here. So with an album that does not rank in any style precisely but that draws its inspiration from several currents, we hope that the public will adhere!

Thank you for joining us today, and I hope your debut album sees the light of day and garners the appeal and success that it truly deserves. I already have a feeling that only “The Best Is Yet To Be” for Deleo from now on.

Thanks a lot  !! 


Satellite by Deleo

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It always amazes me how goth/post-punk bands like Deleo are able to warp and mix up the arrangement of the constitutional rock elements into something dancy and catchy to the ears. This song in particular keeps the known genre nuances of being dark and mysterious as well. You won’t envision yourself dancing in a rave to “Satellite,” but rather to a vampire club in a UK suburb in the late 80s.

The song starts with a smooth, clean guitar chord progression that gives the impression that this will be a run-of-the-mill alternative rock track, but then an electronic drumbeat and synth elements pop in to give us that deep, dark feeling that’s infectiously catchy and made me feel a need to get up and dance. These guys have so much energy in the record that it makes me wonder how impactful their concerts would be if I ever got the chance to catch them live someday. From there on, the song alternates between these dark hooks and some calm sections with some occasional synth and backing vocals making undertones.

The song somehow feels fresh and listenable but at the same time extremely nostalgic and pays homage to goth veterans like The Cure and dancy synthpop giants Depeche Mode. If you suggested this track to a friend that likes modern pop music, I’m sure they won’t be able to tell the goth influences this track has, and if you played it at a goth club that exclusively plays EBM and Dark Synthpop, it won’t feel out of place. That’s just how strong the influences shine here. The song then closes the section with a beautiful stripped-down section just like the intro.

But don’t be misled by my words about influence, as there’s no doubt Deleo brings a ton of new and fresh ideas to the table, and it definitely feels like they’re introducing a beautifully reputable and well-established genre to our generation in a modern and likable way rather than just recycling ideas.

Kill You Slowly by Nick Kandler

Nick Kandler, a Los Angeles-based artist, is not only a performer but also a producer and songwriter. Nick’s music is imbued with a tremendous degree of emotion, as is obvious in his songs. He is recognized for his passionate lyricism and melodies. His debut track, “Closure,” was released in 2020 and has had over 80,000 listens on Spotify. His signature style effectively mixes electronic components with beautiful vocals. Through his music, he inspires intense feelings that leave the audience wanting more. Nick’s most recent single, “Kill You Slowly,” is availably accessible on all major streaming platforms.

According to Kandler, the music was influenced by the song “All Your Exes” by Julia Michaels, in particular the way the song evolves from a serene pop melody into something bolder throughout the course of its play, however, he naturally transformed it into something special and unique to his own sound and style.

To start off, the track’s song lyrics are highly pertinent and captivating. The narrative of the song revolves around someone who made a small fib to another individual, which ultimately led to the demise of their relationship. 

Kandler’s vocals, which are both perfectly clear and vibrant, which is rather unique in today’s music, are wonderfully complemented by the arrangement, which is also pretty rare. The fluidity of the percussion, along with the intensity of the lyrics, gently lulls the listener into a wistful state of mind.

 

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Space Dust by Miss Elm

Miss Elm and Life is a Myth Music have combined their ethereal telekinetic superpowers on their new track ‘Space Dust’ to produce a combination of hazy cosmic jazz, folk, and soul. A song with soaring heavenly vocals and groovy sounds that touches on heavy profound questions regarding our place in the world and our journey in life in connection to others. 

If I were to define this song in a single word, I would call it Glam-Jazz. A shimmering, otherworldly reimagining of a traditional musical genre, with angelic voices and cosmic synth. Each artist brings something to the table. Miss Elm provides her trademark vocals to the tune, while Life is a Myth contributes entrancing piano and synth to the production, resulting in something entirely unique.

The magic of the track emanates from the profusion of instruments, the vanity of the synth overstimulates the ears of every listener in the most positive way that is conceivable. However, it is balanced by Miss Elm’s vocals, which pierce through the synth and the piano and fascinate the listener with their ethereal character. This creates a sense of equilibrium in the piece.

Good Kind of Hurt by Charlotte Morris

Charlotte Morris is an Americana, Folk, Pop, and Country singer-songwriter residing in Nashville, Tennessee. As a singer and songwriter with a wide range of skillsets, Charlotte is equally at home in folk and modern rock. There are various artists she admires, like Delta Rae, Brandi Carlile, Sara Bareilles, Liz Longely, and folk legends like Peter and Joni Mitchell, who inspire her work. She recently released her new single “Good Kind of Hurt” available on Spotify. 

The song begins with an optimistic yet sorrowful piano riff. The song sounds like a darker, more mature rendition of an early Taylor Swift composition belonging to her earlier discography (the song “Innocent” comes to mind).

Charlotte is unafraid to boldly convey her innermost thoughts and feelings in her songs, which deal with serious subjects such as addiction, PTSD, and other forms of substance abuse. In it, Charlotte provides the song’s subjects a glance in the mirror while also reassuring them that there is still hope and a second opportunity. 

Infusing the listener with a range of feelings from grief to comfort and hopefulness, the track’s slow-tempo percussion and piano enhance the bittersweet tone of the song.

Have You Ever by Anton Commissaris

Anton Commissaris is a US-based pianist and vocalist. Lauryn Hill, Sarah Vaughan, Ray Charles, Etta James, and Frank Sinatra are a few of his main influences. He’s marking their return with a mesmerizing new Latin-Jazz-inspired single, “Have You Ever.”

This Cuban cha cha song, according to Anton, ruminates on the ties that bind young people together and the ardor of love for the safety of the natural world. The lyrics do, in fact, have strong themes revolving around nature and nostalgic amazement. The melody of the song makes you feel as though you are in verdant fields filled with beds of tulips, and it encourages you to take a deep breath and relax.

Along with Anton‘s vocals, the dreamy rhythm that is evocative of a bossa nova tune brings to mind an old Frank Sinatra song. It should not come as a surprise that the title of this song raises a question because Anton’s music, much like Sinatra’s, encourages the listener to let down their guard and express their feelings freely.

Can We Dance To This by Clifford

Can We Dance To This? Yes, you certainly can, when you listen to the latest releases of the American artist Clifford Reeves, you will find your body moving on its own because its name carries many meanings.

Clifford, the accomplished singer-songwriter, returned with his single “Can We Dance To This” released on June 22, 2022, with a lively and upbeat vibe, and after listening to it I found it an invitation filled with love, kisses, and connection that amounts to dancing with someone Clifford has never met before.

“Can We Dance To This” with her catchy words managed to shock my head straight and gradually, taking for the first time a good space in my mind, and it seems that it will remain stuck in it for days to come for sure.

Speaking of dancing, Clifford amazed us with his diversity in the use of his instruments, to put us in the place of his atmosphere filled with the influences of the 80s and INDIE POP music, which certainly makes us feel happy, energetic and the pulse of life, in addition to his voice and singing style that carries a lot of passion from beginning to end.

Clifford Music has tremendous talent and amazing skills, and his track “Can We Dance To This” will make you feel all the romantic and positive feelings like courage to open up your horizons to fantasize, love, and maybe dance too…Listen to it.

Mechanic High by Audri

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After releasing 3 EPs that accumulated over million streams starting 2020, Seattle artist Audri hits again on the 23rd of June, 2022 with her new EP “Mechanic High”. With a more upbeat sound and one of her significantly interesting artworks, Audri addresses the importance of remembering joy and holding on to good memories with three songs EP all written and produced by her and recorded with the help of Elliot Austin (Bass), Giovanni Recchi (Drums), and Sawyer Thompson (Guitar) at the “Crackle & Pop!” studios in Seattle and engineered by Chris Rahm (Audio engineer), Austen Jux-Chandler (Mixing engineer), and Rachel Field (Mastering engineer).

Making sure the mood is set right from the beginning, Audri opens “Mechanic High” with the colorful “Euphoria”. With lyrics all about going to an amusement park and losing yourself there, the music and vocals make a lot of sense.  “Euphoria” offers a fun mood with Audri’s playful fluid vocals, the soft dreamy guitar melodies, and its returning intro melody that sounds like a carousel’s tune. All were produced in an open sound with a room to breathe that it felt like being outdoors. Beautiful thoughts and melodies keep on flowing with “Runaway Rabbit” as Audri takes us back to where we were young having summer adventures around the block. Starting with a mellow piano melody and then adding more layers and melodies, “Runaway Rabbit” gets more interesting as it progresses. The vocal melody is pretty catchy and reminds me of the late Dolores O’Riordan’s work, the drums are energetic and get really intense at some parts, and guitar melodies are uplifting with a rocking super cool solo that I dig A LOT. Audri ends “Mechanical High” with the emotional ballad “Pasture Lullaby”, using piano and her fluid vocals Audri created a soothing stream of feelings that’ll easily flow into your soul. With lyrics about hanging on to those simple memories addressed in the previous songs and our constant fear of missing those memories, “Pasture Lullaby” hangs between some sad and some hopeful moments all led by Audri’s vocals as she skillfully steers the mood with her expressive vocals.

“Mechanical High” is an emotional trip that takes us to some of the best times of our lives. With her smooth songwriting and powerful yet smooth vocals, she succeeded in creating the perfecting mood and music for her lyrical themes to the extent that I wanted this EP to last way longer than that!

“Mechanical High” is a soft flow of melodies with chilling vibes that everyone must give a try, as for me, I’m looking forward to Audri’s next adventure, cheers!