Clocking in at a generous one hour and 37 minutes, MNJM‘s EXCAVATIONS I is a generous compilation, a window into the work of the two-year-old imprint. As this is only MNJMs sixth release, it includes entries from three of the four previously released artists ~ Saleem, tedzi and the recently reviewed Yara Mekawei (recording here without Amir Rezk) along with “an expansive roster of carefully curated multi-hyphenates,” including familiar names such as Yara Asmar and Muqata’a. Geographical, political and tonal ties abound, uniting the diverse voices on this 19-track collection.
We’ll start with the work of the three flagship artists, the only one missing being techno artist Elayn, who recorded the label’s first and fourth albums. Saleem‘s “Fossil Choir” (not found on Taboot) is simultaneously crunchy and acoustic, like the clash between ancient and new. The piece has an air of the mysterious, even monstrous, like much of the set pure October music. TEDZI (now capitalized)’s “Shedd” reminds us of why we liked Mn Dehab so much; it was one of our top ten electronic albums of last year. This new track is upbeat and percussive, a late night club dream. And hearing Yara Mekawei solo enables us to appreciate which parts of 33 may have been contributed by which artist; “Sahara” begins with organ tones befitting the former project before settling into a percussive Mideastern groove. Toward the end, the piece nearly stops before regaining its strength, like a person crossing the desert who has just spotted an oasis.
Now let’s wrap back around to the beginning, as Milad Samara launches the album with gentle waves and ceremonial voice. Wisely sequenced, this selection operates as the start of an exciting journey. “The Easiest Way to Carry a Shoe Is By Wearing It” comes across as a lament, beginning with the a cappella voice of Bint Mbareh and treading lightly across a harrowing emotional field. By the end, her voice is stuttered and looped, creating a cumulative anguish. The artist recently appeared on Beacon Sound’s Flowers Not Bombs, a fundraiser for Palestinian causes. Lebanon’s Jad Atoui follows summer’s evocative It Will Take Forever with “State of Stillness,” marked by foreground percussion and background drone.
Crin Aeris‘ “Celestial Pluma” sounds as if it is recorded in an air tunnel, with the air being sucked out. This is certainly the state of affairs across the region. Multiple voices overlap as if buried in rubble, while noises twist and turn like girders. Sandy Chamoun follows with the dark and dusty “INI,” a hard stomper of a track, relentless in its momentum, save for a single segment late in the track when the drums relent. QOW contributes “Youssef Motus,” a left turn into hauntology, with looped piano and strings, descending density and a lingering sense of ghosts. Muqata’a’s “Istiqsa’ إستقصاء” is similarly hollow at the start, but changes gears as it transitions to electronic beats. The artist appears on many ACL mixes, as well as last year’s Only Sounds That Tremble Through Us.
“Cursed Are the Arabs,” state A Homsi & Edwin Nasr with world-weary voiceovers and beats. The percussion at times seems like a clock, while Merma Suelo‘s “Warmth Raise, Cold Stop” sounds like a persistent alarm countered first by soft accompanying words, then challenging echoes. Alif Hilal & Basyma Saad team up for the melodic “Loai (after Al-Hallaj),” its vocals making it seem close to crossover while far from the mainstream. Heatsick brings the beats to “Grand Hyatti,” a sparse and hypnotic track, while Souci heads right to the club on “Dancing All Night With You,” bringing a bit of levity that continues with the techno trance of Oldyungmayn‘s “Master Willem.” Once again the question is asked: is it okay to dance in times of war? The answer remains the same: if not, what is the alternative? Dauwd & DJ Saliva extend the invitation on “Makkina,” although one can sense the beats growing darker again, nudging toward the industrial, a reminder of the storm.
FREIVOGEL/SINCLAIR‘s “Acid Flutes” is deep techno, enhanced by a continuous sound like an air raid alarm, a reminder of the danger that waits outside the club. By the time Yara Asmar closes the set with “The Physicians Have Adopted You,” the sober nature of reality has returned. Music can be a distraction, but it is not a solution; it can be an encouragement, but it is not a victory. Yet without it, we lose all hope. (Richard Allen)
