Tony Jeitani: Glow Review – Radiant New Horizons in the Arab Electronic Experience | music

AArabic electronic experimentalism is thriving. In recent years, expatriate artists, such as Egyptian producer Abdullah El-Minyawi, singer Nada El-Shazly, and Lebanese singer-songwriter Maysa Jallad, have released recordings that combine the Arabic musical tradition of the maqam and its slippery melodies with grainy electronic sound design, rumbling bass, and metal drum programming to create a new dramatic presentation.

Beirut-born, Amsterdam-based composer Tony Jeitani is the latest to contribute to this growing scene with his brilliantly produced sophomore album “Wajh.” Working as a visual artist and sound designer, Jeitani is well-versed in creating imaginative soundtracks for films like the 2024 sci-fi thriller Radius Collapse, as well as referencing the mysterious nocturnal hiss of producers like Burial on his 2018 dabke-sampled debut album, “Rojo Eilal Qamar.” On “Face,” he uses the nights’ soaring vocals, reverb-laden drums and analogue synths to leave a cinematic impression.

Opener Hal sets a melancholic tone with a cello solo from Nia Rallinova and Gitani’s sinuous vocals meandering over the slow, sultry tones of the synthesizer. However, its pleasant mood is soon shattered by the thundering drums and ominous synths of the following numbers, Ya Sah Wa La, and the blast beats cacophony of birds and the techno-industrial distortions of Foqa Al-Ghaim. With its rumbling vocals and sparse percussive embellishments, “Ya Aman” and some similar songs can veer into soaring melodrama in the style of Hans Zimmer. But Gittani retains skill in his world-building, ensuring that threads of unease keep listeners guessing. Ruwaidan highlights a gentle swinging jazz riff with an unexpected rhythm key and a piercing flute line, while closing track “Material of Affection” builds from a serene atmosphere to an overwhelming chaos of static and whispering melody. Gittani revels in this state of dark tension, creating an album that challenges us to find the beauty in a devastating sound.

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Tuareg group Aymarhan They released their latest album Essam (City Slang). Moving beyond the psychedelic guitars and yearning vocals of Tuareg assouf (desert blues) pioneers Tinariwen, Issam sees Imarhan incorporating electronic percussion on tracks like Dirhan Nolen and dancefloor-focused drum programming on Okshor. Palestinian rapper Tamer NafarThe first English-language album In the Name of the Father, Imam and John Lennon (Music of the Orient) infuse everything from James Brown’s funk swagger on Rock It Like a Palestinian to the 808 trap bass on Nana, offering a collection of tracks that are loud but tonally uneven. Brazilian jazz band Umm groupNineteen Seventy Seven (Distant Recordings) is a rare gem to rediscover. Comprised of members of São Paulo’s mid-’70s band Hermeto Pascual, the quintet’s second album is a diggers’ delight of propulsive funk and jazz fusion, analogue synths and soaring horns.