Ziad Nawfal Mix for Stegi Radio with guest JULIA SABRA // 06 January 2024

February 1, 2024January 27, 2024Music ShowsLeave a Comment

A monthly selection of alternative, ambient and experimental music from Lebanon and the MENA region, selected by music promoter and label owner Ziad Nawfal – this broadcast features a guest mix by Lebanese musician JULIA SABRA, from dreampop trio Postcards and ambient duo Snakeskin. This broadcast was commissioned and produced by Onassis Cultural Center, and presented for the first time in the frame of Stegi Radio.

Julia Sabra is a Lebanese musician, songwriter, composer and sound engineer. She co-founded Postcards in 2013, a dream pop/shoegaze trio, and is the band’s lead singer, lyricist, co-composer and multi-instrumentalist. Postcards have released two EPs and four albums and their fifth is set for release in the fall of 2024. The trio has been regularly touring Europe and the Middle East since 2015.

Sabra is one half of Snakeskin, an ambient/electronic duo with long-time collaborator Fadi Tabbal. They released their debut self-titled album in October 2022. She is also the manager of Tunefork Studios since 2017, where she works as composer, VO artist and live sound engineer.

Charbel Haber & Fadi Tabbal- Enfin La Nuit
Postcards- Fall From Grace (unreleased)
Marc Codsi – The Wait
Interbellum – Flotsam
Mayssa Jallad – Kharita
Marwan Tohme – To Begin Again (unreleased)
Yara Asmar – Come Back Later
Fadi Tabbal – You Were Right (unreleased)
Anthony Sahyoun – Untitled (unreleased)
Snakeskin – In Our Garden
Farah Kaddour – Khuzama (unreleased)
Youmna Saba – Akaleel
Charif Megarbane – Souk el Ahad
Sary Moussa & Charbel Haber – An Atom of Your Love
Sanam – Ya Nass
Sam The Dog – Pulling It Off (unreleased)

Press Review // Youmna Saba // Wishah

December 23, 2023October 8, 2024Press ArchiveLeave a Comment

Acclaim for Youmna Saba’s album Wishah, released by Touch UK In October 2023 (CD/digital) and by Ruptured in December 2023 (vinyl/digital).

“Structured into five discernible stages, Wishah guides us through a gradual process of revelation, deconstructing memories and barriers that have built up through the ages. Saba carefully peels back those layers, finding an empty shell at the center, the place where home once existed. Each word stings. Caustic, atmospheric drones hollow out the last remnants, leaving our thoughts trailing into the endless night. A stunning album.” – Brad Rose, Foxy Digitalis
https://foxydigitalis.zone/2023/12/13/the-capsule-garden-vol-2-42-december-13-2023/

“Nestled in the interval between the urgency of speaking, and that of remaining silent or speaking out of turn, Youmna Saba engages in a relentless yet passionate and loving heart-to-heart with her instrument.” – Nasri N. Sayegh, L’Orient-le-Jour
https://www.lorientlejour.com/article/1350564/youmna-saba-electronise-son-oud.html

“The five-song composition feels like going in circles on the edge of an epiphany; a spiral in synthesized oud.” – Layla Raik, SceneNoise
https://scenenoise.com/New-Music/Youmna-Saba-s-Wishah-is-an-Obscure-Tapestry-of-Oud-Soundscapes

Also included in Scene Noise’s Best Albums of 2023 (Middle East & North Africa):
https://scenenoise.com/Reviews/Best-Albums-Of-2023-Middle-East-North-Africa

“Lebanese musician, composer and musicologist Youmna Saba positions her voice at the center of her latest solo album (…) Very strong material indeed.” – Boomkat
https://boomkat.com/products/wishah

“A remarkable new work from Beirut’s Youmna Saba, now based in Paris. Saba is an accomplished oud player (…) On Wishah وِشاح her oud’s sound is technologically extended, to amplify every string squeak and body tap, and further integrated with sympathetic electronics. The works range from abstract processed sound to delicate oud fingerpicking, and most tracks patiently reach a place where Saba brings in her emotive vocals. It’s an immersive, moving listening experience.” – Peter Hollo, Utility Fog (FBi Radio)
https://www.frogworth.com/utilityfog/archives/2023/10/08/playlist-08-10-23/

“Saba s’attaque au logiciel historique du oud en tant qu’instrument : (elle) utilise ce qui est souvent perçu comme une série de défauts pour le transformer en instrument électro-acoustique, en jouant notamment sur des dispositifs de larsen maîtrisé, comme lorsqu’elle a placé le oud face à 6 voix et travaillé sur leurs résonances dans l’instrument. À le faire sonner ainsi, elle s’affranchit de la vision essentialiste s’étant largement diffusée ces cinquante dernières années en Europe ; un oud justement dénué de bruits, suspendu dans une logique de pureté proche de la musique baroque, où chaque note résonne et doit rencontrer le silence du public.” – Musique Journal
https://musique-journal.fr/2023/10/19/youmna-saba-a-plus-dune-corde-a-son-oud/

Order LP (Ruptured)

Ruptured Album Release // YOUMNA SABA // Wishah [VINYL EDITION]

December 1, 2023December 25, 2023NewsLeave a Comment

Releasing December 15th, 2023 on Ruptured Records:
Although these are terrible times we are living in, it pleases us to finally announce the vinyl release of “WISHAH”, by Lebanese musician, composer and musicologist Youmna Saba.

“Wishah” (meaning veil in Arabic) is a composition for voice, oud and electronics, composed and performed between 2021 and 2022.

Following her previous solo works “Njoum” (2014) and “Arb’een” (2017), this album marks a significant turning point in Saba’s journey. Created after leaving Beirut and settling in Paris, “Wishah” reveals a profound shift in her musical expression, informed by rigorous research in the sonic properties of sung Arabic phonemes and their role in shaping synthesized electronic sounds.

The composition is organized into five distinct stages, each contributing to a process of gradual revelation. As the tracks unfold, they strip away layers of constructed emotions and perceptions that have been intricately woven over time, to expose a space that no longer exists. “Wishah” is in many ways a farewell to home.

Youmna Saba is a musician, composer and musicologist. Her current research focuses on instrument and space resonances in different sonic and musical contexts. With four albums to date, she has collaborated with artists from different countries and backgrounds, further enriching her repertoire and expanding her reach. These include Kamilya Jubran, Floy Krouchi, Mike Cooper and the Neue Vocalsolisten ensemble, among others. She is the laureate of the first sound residency at Quai Branly Museum, Paris (2022-2023) with her research project and installation “La Réserve des Non-Dits”, now on view at the museum; and a laureate of the music residency program at the Cité Internationale des Arts, Paris (2020-2021).

“Wishah” was first released by UK label Touch back in October 2023, as a CD and digital album. Ruptured will release the vinyl version in December 2023.

“A remarkable new work from Beirut’s Youmna Saba, now based in Paris. Saba is an accomplished oud player, found on many other artists’ releases (such as Oiseaux-Tempête). On Wishah وِشاح her oud’s sound is technologically extended, to amplify every string squeak and body tap, and further integrated with sympathetic electronics. The works range from abstract processed sound to delicate oud fingerpicking, and most tracks patiently reach a place where Saba brings in her emotive vocals. It’s an immersive, moving listening experience.” – Peter Hollo, Utility Fog (FBi Radio)

Wishah
Written and performed by Youmna Saba.
Recorded and mixed by Fadi Tabbal at Tunefork Studios, Beirut.
Produced by Youmna Saba and Fadi Tabbal.
Mastered by Stephan Mathieu.

Vinyl version produced by Ruptured in Montréal, Canada in Fall 2023.
Limited edition of 200 copies pressed at Microforum, Toronto.
Design and photography by Jon Wozencroft (courtesy of Touch UK).

Starts shipping on December 15, 2023.
Listen/Preorder here

Press Review // Mayssa Jallad // Marjaa: The Battle Of The Hotels

November 2, 2023November 14, 2024Press ArchiveLeave a Comment

Acclaim for Mayssa Jallad’s album Marjaa: The Battle Of The Hotels, released by Ruptured in March 2023 (digital) and by Ruptured & Six of Swords in October 2023 (vinyl).

“Singer/songwriter and urban researcher Mayssa Jallad (draws) a map of the battle with her music, vocals and acoustic guitar, accompanied by Fadi Tabbal’s synths, percussion and field recordings.” – The Wire, #41 Best Albums of 2023
www.thewire.co.uk/audio/tracks/the-wire-s-releases-of-the-year-2023

Lars Gotrich, All Songs Considered (NPR Radio), The Best Experimental Music of 2023:
https://www.npr.org/2024/01/02/1197958329/vikings-choice-2023

“It’s a remarkable conceit for an album, and though the magic realist lyrics may be lost on non-Arabic speakers, her incredibly nuanced voice and arrangements—a beautiful mixture of goth-tinged dream pop, drone, ambient—convey both the gravitas and surrealism of the subject matter. For fans of Grouper, Lucrecia Dalt, Martyna Basta, Mabe Fratti, et al.” – Philip Sherburne, Futurism Restated Substack, Overlooked Albums of 2023
https://futurismrestated.substack.com/p/futurism-restated-44-records-i-missed

“With the help of Fadi Tabbal and a selection of Ruptured-affiliated musicians, we’re treated to a highly evocative & moving collection of narrative songs (even for those of us who don’t speak Arabic), which musically inhabit a space on the corner of 1970s US folk, Arabic melisma and sound-art. A haunting, engrossing work.” – Peter Hollo, Utility Fog (FBi Radio), Best Albums of 2023
https://www.frogworth.com/utilityfog/archives/2023/12/17/playlist-17th-dec-2023-best-of-2023-part-1/

“There’s a stoic determination in the purposeful acoustic guitar strums that hold the fractured sonic architecture of Mayssa Jallad’s “Markaz Azraq (December 6)” together. Her words carry the weight of a thousand suns. Still, her delivery is plaintive and unafraid as she tells the story of a nameless man who lost both sons during the Battle of the Hotels. Once the instrumental palette expands, the warm glow from Fadi Tabbal’s synth personifies the steely perseverance needed in the face of such destruction.” – Brad Rose, Foxy Digitalis
https://foxydigitalis.zone/2023/04/18/lingering-scars-an-interview-with-mayssa-jallad/

Also included in Foxy Digitalis’s Best Albums of 2023:
https://foxydigitalis.zone/2023/12/21/2023-favorites-songs-of-our-lives-style/

“In the end, the album, like the city on which it is based, feels like an infinite loop of history, relayed through the brave yet saintly voice of an artist who has taken the task of documenting the past through music.” – Christina Hazboun, Bandcamp
https://daily.bandcamp.com/features/mayssa-jallad-marjaa-battle-of-the-hotels-interview

“The 12-track record blends Arabic blues with folk, synth, oud and electronic elements with field-recorded soundbites of traffic or thuds that sound like distant gunfire. Jallad’s incredible vocals chronicle what storied buildings such the Holiday Inn, Burj El Murr and Haigazian University witnessed during the war.” – Maghie Ghali, The National News
https://www.thenationalnews.com/weekend/2023/11/24/mayssa-jallad-music-album-beirut-civil-war-buildings/

“The result is a starkly beautiful soundscape. There is a somber, atmospheric dreaminess to the album, which is powered by the ethereal wonder of Jallad’s vocals. Largely acoustic, it nevertheless delves into the realm of dark ambience, creating an occasional sense of militarism or otherworldliness.” – Iain Akerman, Arab News
https://www.arabnews.pk/node/2345016/lifestyle

“In an overwhelmingly creative and critical act, Mayssa Jallad turns the destruction of the Lebanese Civil War into a stunning, two-sided album driven by poetic songwriting mixed with historical narration, lush strings and synths, gentle drones, and her incredible vocal prowess.” – Maha ElNabawi, SceneNoise
https://scenenoise.com/Reviews/Mayssa-Jallad-Drops-Emotive-Debut-Solo-Album-Marjaa

Also included in SceneNoise’s Best Albums of 2023 (Middle East & North Africa):
https://scenenoise.com/Reviews/Best-Albums-Of-2023-Middle-East-North-Africa

“Marjaa: The Battle Of The Hotels is a record that sidesteps the pitfalls that other works concerned with atmosphere or memory fall into. Jallad’s record acts as a slow burning process of revelation.” – Richard Foster, The Quietus
https://thequietus.com/articles/33629-mayssa-jallad-interview-marjaa-the-battle-of-the-hotels

“Singer/songwriter and architectural historian Mayssa Jallad and a host of Lebanese musicians have made a rich, sometimes transcendiary sonic mapping of a memory of war. This is an extraordinary record and one that you should approach with no qualms… like Matana Roberts’ work, this is a soundtrack that directly deals with traumatic memories that have ceased to inhabit their original form and need to be conjured up in ways that both lure the listener in, and allow the information to be imparted in a way history is not normally taught… utterly hypnotic… a record that can leave you initially wondering what is going on whilst realising you are listening to something really special… you really should listen to this record, it’s quite brilliant.“ – Richard Foster, Louder Than War
https://louderthanwar.com/mayssa-jallad-marjaa-the-battle-of-the-hotels-review/

“Lebanese singer Mayssa Jallad showcases her incredible voice on debut album Marjaa: The Battle of the Hotels. Her breathy intimacy creates an atmospheric Arabic blues, yearning on album highlight Mudun.” – Ammar Kelia, The Guardian

“Historical trauma, strings, drones, metallophones and buzuks wrap around powerful stories and gossamer vocals on Lebanese singer’s tender, intimate debut. With shades of Nico, Jarboe and Elizabeth Fraser, ’80s’ 4AD fans will rejoice.” – Andy Cowan, MOJO

As it progresses, Marjaa seamlessly fuses folky introspection, orchestrated drama, crackling electronica and field recordings. Sometimes – again, without any incongruity – within the same song… This bold, multi-layered album is utterly accessible. A triumph.” – Kieron Tyler, The Arts Desk
https://theartsdesk.com/new-music/album-mayssa-jallad-marjaa-battle-hotels

“Mayssa’s voice is holy, haunting, throughout, as the music moves from the heavily processed – Kharita, where code crackles like furiously fanned flame – to the “organic” – the prettily picked, prancing, pirouetting, near medieval Baynana, whose dancing lyric recalls the Cocteau Twins’ Liz Frazer’s giddy glossolalia.” – BanBanTonTon
https://banbantonton.com/2023/11/09/mayssa-jallad-marjaa-the-battle-of-the-hotels-six-of-swords/

“The album is a touching homage to a dissociated home full of ghostly places.” – Uwe Schneider, African Paper
http://africanpaper.com/2023/04/29/i-felt-that-the-city-had-witnessed-a-violence-that-nobody-wanted-to-mention-interview-with-mayssa-jallad/

“Marjaa is, as one might expect, a sombre affair largely comprised of Jallad’s delicate vocals backed by acoustic guitar and ethereal synthesizer. Elsewhere, co-composer and producer Fadi Tabbal adds the crackle of distant artillery and a ghostly wind between the high-rise blocks.” – Daniel Spicer, Songlines

“As a lyricist, Jallad is poetically laconic. One track, “Kharita”, from the Dahaliz section, has two just lines: ‘I walk the streets alone, in my hand a map/ That I don’t understand. It’s this precise, minimal weightiness that helps make Marjaa such an accomplished and unusual album.” – Louise Gray, New Internationalist

Featured on Shane Woolman’s broadcast Adventures In Sound And Music for Resonance FM (UK) in July 2023:
https://www.thewire.co.uk/audio/on-air/shane-woolman-presents-adventures-in-sound-and-music-mayssa-jallad-special

Featured on Steve Barker’s broadcast On The Wire for Totally Radio (UK) in October 2023:
https://www.totallyradio.com/shows/on-the-wire/episodes/on-the-wire-22-oct-2023#_

Featured on Bobby Jewell’s broadcast Earth Tones for Resonance FM (UK) in November 2023:
https://extra.resonance.fm/episodes/earth-tones-2023-11-03

Featured on The New Noise’s broadcast Pangea (Italy) in November 2023:
https://www.thenewnoise.it/pangea-250/

Listen/Order on Bandcamp

Ruptured Album Release // MAYSSA JALLAD // Marjaa: The Battle Of The Hotels [VINYL EDITION]

October 5, 2023October 9, 2023NewsLeave a Comment

Releasing November 3rd, 2023 – a joint release by Ruptured and Six of Swords

Lebanese singer/songwriter Mayssa Jallad’s first solo album. A poetic reflection on Beirut’s War of the Hotels, one of the bloodiest events of Lebanon’s Civil War.

The vinyl edition of ‘Marjaa: The Battle of the Hotels’ is co-released by Beirut-based label Ruptured and UK newcomer Six of Swords. It is pressed in a limited edition of 300 copies, with a limited D2C edition containing download coupon and a full-colour, double-sided 34 x 68cm art print on 150gsm wood-free paper with map, 3D diagrams and timeline depicting the historical events of the battle.

Mayssa will play a short European tour in November, including performances at Oslo World in Sweden and Le Guess Who? in The Netherlands.

“In the end, the album, like the city on which it is based, feels like an infinite loop of history, relayed through the brave yet saintly voice of an artist who has taken the task of documenting the past through music.” – Christina Hazboun, Bandcamp
daily.bandcamp.com/features/mayssa-jallad-marjaa-battle-of-the-hotels-interview

“It’s an album with everything; vital history, experimental melodicism, inventive structures, mountains of emotion, and Jallad’s stunning voice. There is so much to learn, so much to hear.” – Brad Rose, Foxy Digitalis

“In an overwhelmingly creative and critical act, Mayssa Jallad turns the destruction of the Lebanese Civil War into a stunning, two-sided album driven by poetic songwriting mixed with historical narration, lush strings and synths, gentle drones, and her incredible vocal prowess.” – Maha El-Nabawy, SceneNoise

releases November 03, 2023

Listen/Order (Ruptured) HERE

Listen/Order (Six of Swords) HERE

Nahal Album Release // CHARBEL HABER & FADI TABBAL // Enfin La Nuit

May 19, 2023September 17, 2023NewsLeave a Comment

Releasing 02 June 2023 on Nahal Recordings:

The text and credits below are taken from the album’s release page on Bandcamp, with permission from NAHAL]

August 4th, 2020. Beirut explodes. The city, already partially shuttered by covid lockdowns and reeling from numerous political and social crises, is submerged by dust and smoke. Destroyed, gutted, at the mercy of a destiny unsparing with its blows, it finds itsels on its knees just when its residents were hoping for a moment of calm.

At Tunefork Studios, in the district of Bourj Hammoud, where Fadi Tabbal assembles the creations of adventurous musicians from all over the world (Field Works, Asil Ensemble, Mike Cooper, Oiseaux-Tempête, Praed, Youmna Saba), work goes on despite the storms raging around a community weary with grief. The recording studio still stands after the collapse, but other places did not survive. Many clubs and social spaces are in ruins. They were made of brick and mortar – no match against explosive ammonium nitrate – but they were first and foremost necessary and unifying refuges, cultural symbols full of a passion that not even the rising dawn could abrade.

Initially the soundtrack to an experimental film by Nadim Tabet, the four tracks of Enfin La Nuit accompanied images of a Beirut youth that was still dancing at euphoric parties, just a few months before the explosion. This time around, the two major players of the Lebanese music scene Charbel Haber (Scrambled Eggs, The Bunny Tylers, Johnny Kafta Anti-Vegetarian Orchestra, Malayeen…) and Fadi Tabbal (The Bunny Tylers, The Incompetents…) are the actors of that film, in which the story unfolds in real time. Amidst the rubble, is it real life or another movie?

Taking the form of an itinerary, the journey begins up high, in the sky, under the partially veiled canopy of yesterday’s tragedies. Drawn-out effects-laden guitar layers and modular synthesiser patches pile up, as if levitating. The submerged vocal loops of singer Julia Sabra (Postcards) haunt the next piece, “Chaque rose porte en elle une petite mort”. A slow cosmic ethereal ascent towards an other place with unquantifiable dimensions. We then plummet down thousands of miles in “Couvre-feu”, a sonic lament where the notes flow under the bow like tears. There’s a synthesizer riddled in ennui, electric nostalgia, voiceless and wordless but still so close in feeling to a real malaise.

We arrive at our destination, where the end doubles as a luminous opening. “La certitude de l’aube” is a sophisticated superposition of several guitar and synth lines – sometimes distant, filtered through a powerful reverb, other times right up close, liquid and undulating. It’s a surprisingly spatial piece that opens new horizons as it progresses, to end up in a scenery larger than life, that finally evaporates in a final murmur.

Haber and Tabbal love cinema. They give the image a second narration and turn a chain of sequences into a story to get lost in. In their language, a few words are enough to build the textures of an entire sonic world. Just a guitar plugged into effect pedals and a few synthesizers behind these long poetic sentences, where the softness and the gradual drowsiness are only there to recall the ever-lurking violence. We’re close in spirit here to the ambient music of Stars of the Lid, or the approach of composers like Terry Riley and Arvo Pärt, backdropped by a certain stifled chaos specific to the changing moods of the city of Beirut. Enfin La Nuit is a requiem for all the fallen bodies, for those who resist, of flesh and rock, of blood and music.

Music composed, performed and recorded by Charbel Haber and Fadi Tabbal at Tunefork Studios, Beirut.
Vocal loops on “Chaque rose porte en elle une petite mort” by Julia Sabra.

Mixed and mastered by Camille Jamain.
Photographs by Myriam Boulos. Design by Thibault Proux.

Released by NAHAL Recordings in June 2023. Distributed in North America by Ruptured.
Available as a digital album and limited edition vinyl LP.

Listen/Order HERE

Ruptured Album Release // MAYSSA JALLAD // Marjaa: The Battle Of The Hotels

April 21, 2023September 17, 2023NewsLeave a Comment

Releasing March 3rd, 2023 on Ruptured Records:
Lebanese singer/songwriter Mayssa Jallad’s first solo album. A poetic reflection on Beirut’s War of the Hotels, one of the bloodiest events of Lebanon’s Civil War.

“Marjaa: The Battle of the Hotels” is a concept album born of the idea of merging singer/songwriter Mayssa Jallad’s two vocations: music and urban research/architectural history. Written in collaboration with producer Fadi Tabbal, the music builds upon Tabbal’s spatial approach to sound and Jallad’s research on Beirut’s Hotel District.
The album is a reference to Jallad’s Historic Preservation master’s thesis, in which she detailed the history of the “Battle of the Hotels”, a 5-months battle that took place in Beirut at the beginning of the Lebanese Civil War, from October 22nd, 1975 to March 29th, 1976.
Jallad saw architecture as a main protagonist of the battle, as she discovered it was the first high rise urban battle in the world. The close of the battle resulted in the 15-year Green Line, an urban rift which split Beirut into “East and West”, restricting movement and communication and creating a violent divide that still resonates today.
“Marjaa” comprises two parts. Part A: Dahaliz, is a stroll in the city, where Jallad tries (and fails) to follow an old map. Musician Youmna Saba is a companion in this journey of remembering the once winding corridors (“Dahaliz”) of the city, destroyed by new developments since the 1960s. Empty skyscrapers propel her onto a past filled with the violence of snipers, and a present filled with the glamorous injustice of empty luxury real estate endorsed by powerful warlords-turned-politicians.
In Part B: Maaraka, Jallad inhabits the building of the Battle of the Hotels, as its events unfold. She calls the fighting militias the Blues and Reds, respectively the Lebanese Front (Christian Nationalists) and the Lebanese National Movement (Pro-Palestinian leftists), leveling the playing field, and drawing a map of the battle through songwriting. Sary Moussa produces the conclusion of the battle in “Holiday Inn (March 21 to 29)”, which ends with the ultimate severance of the city of Beirut.
The music caters to post-war youth who have never been taught this difficult history. Once we consider the “Battle of the Hotels” as our common heritage, it provides an opportunity to teach the value of civil peace. It is also a call to protest for the renewal, rather than the recycling of the political class that has once destroyed the country and holds us, to this day, hostage of its violence.

Featuring Youmna Saba, Marwan Tohme, Pascal Semerdjian, Julia Sabra, Farah Kaddour, Sary Moussa, Yara Asmar and Fadi Tabbal.

Available as a digital album and limited edition vinyl LP (in collaboration with Six of Swords in the UK).

Listen/Order here

WATCH the video for Markaz Azraq (December 6).

READ Brad Rose’s interview with Mayssa Jallad in Foxy Digitalis.

READ Christina Hazboun’s album review in Bandcamp.

READ Maha El Nabawy’s album review in SceneNoise.

Ziad Nawfal Guest Mix for Movement Radio // 06 December 2022

January 6, 2023February 28, 2023Music ShowsLeave a Comment

Ziad Nawfal’s monthly mix for Movement Radio in Athens, featuring music from Lebanon, Egypt, Belgium and Canada. This mix was commissioned and produced by Onassis Cultural Center, and presented for the first time in the frame of MOVEMENT RADIO.

Jerusalem In My Heart – Ana Lisan Wahad (feat. Farida Amadou & Pierre-Guy Blanchard) [LB/CA/BE]
Abadir – Bass Belly [EG]
TEDTEDTED – Calculators [LB]
Liliane Chlela – Charr [LB]
Rise 1969 – Floating Memory [LB]
Etyen – Goodbye [LB]
Sary Moussa – In Praise of Shadows [LB]
Yara Asmar – it’s always october on sunday [LB]
Elyse Tabet with Pascal Semerdjian & Yara Asmar – Low Toms [LB]
Sandy Chamoun – Nas el Wahel [LB]
Pie Are Squared – Oscillate Thrice [EG]
Maurice Louca – Saet el Hazz (feat. “A” Trio) [EG/LB]
Julia Sabra & Fadi Tabbal – Snakeskin [LB]

Ziad Nawfal Guest Mix for Radio Alhara // Ruptured Showcase // 21 December 2022

January 1, 2023July 30, 2024Music ShowsLeave a Comment

Ziad Nawfal’s monthly broadcast for Radio Alhara in Bethlehem, Palestine – showcasing all of Ruptured’s releases in 2022.
With music by Lebanese artists Fadi Tabbal, El Rass & Munma, Daou, Marc Codsi, Julia Sabra, Elyse Tabet, Pascal Semerdjian, and Yara Asmar.

1. Julia Sabra & Fadi Tabbal – All The Birds (from Snakeskin)
2. Marc Codsi – Back To The Silence (from The Silence Between The New World And The Aftermath)
3. Daou – Beginnings (from Sanctuary)
4. El Rass & Munma – Borkan Beirut (from Kachf El Mahjoub / 10th Anniversary Vinyl Reissue)
5. Elyse Tabet with Pascal Semerdjian & Yara Asmar – Bright Bells (from Low Toms Bright Bells and Darkest Spells)
6. Marc Codsi – Finding Home
7. Fadi Tabbal – Hotel Room
8. Daou – Odd Light
9. Elyse Tabet with Pascal Semerdjian & Yara Asmar – Low Toms
10. Marc Codsi – Hangar #12
11. El Rass & Munma – Min Tha2er
12. Elyse Tabet with Pascal Semerdjian & Yara Asmar – Low Toms Through the Paper Shredder
13. Julia Sabra & Fadi Tabbal – One By One
14. Daou – Sauldre
15. Fadi Tabbal – Snow Scene (with Ghassan Sahhab)
16. Julia Sabra & Fadi Tabbal – Snakeskin

Ruptured Music · A Ruptured Showcase 2022

(2022 end-of-year lists) – FADI TABBAL

December 31, 2022December 30, 2022ChartsLeave a Comment

It is the most wonderful time of the year.
We asked some of Ruptured’s recent contributors and collaborators, to tell us about the records they listened to the most in 2022.
Fadi Tabbal’s solo album Music For The Lonely Vol.2 was released as a limited edition cassette by Ruptured in January. His duo with Julia Sabra, Snakeskin, was released by Ruptured and Beacon Sound as a limited edition vinyl album in October.

FADI TABBAL