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Soapkills
The Best Of Soapkills

avant-pop/ folk/etno
Crammed Discs, 2017

Średnia ocena klientów: -    oceń

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CD : 62,90 zł
dostępność:
Tydzień
Nr kat.: CRAM260
EAN: 876623007319
format : CD
liczba nośników : 1
Opakowanie : digipack


nr tytuł długość cena play mp3
1 Leh Zaalen
2 Yahoo!
3 Cheftak (Paris Version)
4 Tango
5 Marco Slow
6 Aranis & Koullou Ndif
7 Herzan
8 Galbi
9 Enta Fen
10 Wadih
11 Manni 2elak
12 Souleyma
13 Kasdoura
14 Marra Fi Ghnina
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Crammed Discs are delighted to re-issue the catalogue of Soapkills, Yasmine Hamdan’s former band, whose cult status has kept growing in the Arab world ever since the group’s demise in 2005.

One of the very first indie bands to emerge in the Middle East, Soapkills was founded at the end of the '90s by Yasmine Hamdan and Zeid Hamdan, both born in Beirut, Lebanon, but not related. They drew their inspiration from Arab music (both classical and folk) and from electronic music, dub and trip hop. The group's sound, influenced by the production style of Massive Attack and Portishead, featuring Yasmine’s contemporary, personal interpretations of classic Arab songs, was initially dominated by a Roland MC-303 Groovebox, which Zeid Hamdan had acquired to replace musicians after the dissolution of Lombrix, a rock band that he had founded in the mid-1990s. Later on the band included trumpet, flute, saxophone, bass and drums. The result was a bold new approach that took more from the classical Arabic repertoire of their parents’ generation than the nominally popular Lebanese rock acts of the 1990s and early 2000s did.

The band's name was initially that of a song written by Zeid Hamdan, and according to him referred to the reconstruction of Beirut after the Lebanese Civil War: "We thought that at the time, in the context of Beirut being ... you know, reborn, and all the war being wiped clean, we thought, wow, it's shiny and it's awful and it's soap kills. We thought it would be a nice name for a band."

Soapkills recorded three albums, respectively entitled Bater (2001), Cheftak (2002) and Enta Fen (2005), which were all self-released. Their music quickly became the soundtrack to the vibrant, young arts scene which developed in postwar Lebanon, and the band gradually acquired an emblematic status. The band's music appeared on several compilations and was featured in many movies, theatre and dance productions as w
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