Tag: ATP Nightmare Before Christmas

New Video: JOVM Mainstay Washed Out Teams Up with Caroline Koning for an Intimate Meditation on Longing and Touch in the Age of COVID-19

Throughout the course of this site’s ten year history, I’ve spilled quite a bit of ink covering Ernest Greene, a Perry, GA-born, Athens, GA-based singer/songwriter, multi-instrumentalist and producer, best known as the creative mastermind behind the acclaimed synth pop/chillwave act Washed Out.  The project can trace it origins back to around 2009: After earning an undergraduate degree and a Master of Library and Information Sciences degree from the University of Georgia, Greene was unable to find a job as a librarian. Greene moved back in his parents and began writing and producing material in his bedroom studio as well as with a local electro pop act Bedroom.

Shortly after posting Washed Out material on his MySpace page, the Perry-born, Athens-based singer/songwriter, multi-instrumentalist and producer was discovered and championed by a number of influential blogs, who compared his sound to Neon Indian and Memory Tapes. He released his first two Washed Out EPs in rapid-fire fashion in August and September of that year. Building upon a growing profile, 2010 saw Greene continue the amazing momentum of the previous year: he played that year’s Pitchfork Music Festival and “Feel It All Around” became the opening theme song for the acclaimed TV series Portlanadia.

In early 2011, Greene signed with Sub Pop Records, who released his his full-length debut Within and Without, an album of icy yet plaintive synth pop to critical applause and commercial success: the album peaked at #26 on the Billboard 200 and #89 on the UK Albums Chart. He ended a breakthrough 2011 by co-curating that year’s ATP Nightmare Before Christmas in Minehead, UK with Battles. 

Greene’s sophomore Washed Out album 2013’s Paracosm was a decided change in sonic direction, as it featured a warmer, tropical-inspired sound that paired organic instrumentation with electronic production — all while retaining the ethereal quality of his previously released material.  

2017’s Cole M.G.N. co-produced Mister Mellow was released through renowned hip-hop label Stones Throw Records, and the album took on a bit of a J. Dilla-esque beatmaking feel. Since the release of Mister Mellow, Greene released a handful of singles including “Face Up” as part of Adult Swim’s applauded Singles Series. Earlier this year, the Perry-born, Athens-based artist released “Too Late,”  a swooning yet bittersweet bit of synth pop centered around layers of arpeggiated synths, stuttering beats, Greene’s ethereal and plaintive vocals and a soaring hook — but with a subtly Mediterranean feel.

As it turns out, “Too Late” was unofficially the first single off Greene’s highly-anticipated and long-awaited fourth album Purple Noon. Written, recorded by Greene with mixing handled by frequent collaborator Ben H. Allen, the album’s production followed a brief stint of writing with other artists — most notably writing with Sudan Archives on her debut Athena. Those collaborations allowed Green to explore R&B and modern pop and those sounds have made their way into Purple Noon‘s material. Not only is the material reportedly the brightest and more robust sounds he’s ever worked out; it’s also a decided step forward: unlike his previous released work, the vocals are placed front and center at the mix, with slower tempos, bolder, harder-hitting beats and a more comprehensive dynamic depth.

Deriving its name from Rene Clement’s 1960 film Purple Noon, which was based on Patricia Highsmith’s novel The Talented Mister Ripley, the album’s material is deeply inspired by the coastlines of the Mediterranean — with Greene paying tribute to region’s island-based culture, elegance and old-world charm. But the surroundings serve as the backdrop to stories of passion love and loss — with a deeper, perhaps more urgent emotional intensity: the album’s first single “Too Late” is a tale of a first meet, with all the confused and swooning emotions that come about. Continuing in that same vein, Purple Noon‘s second single “Time To Walk Away” told the story of a the disintegration of  relationship with an aching sense of loss, confusion and longing. 

“Paralyzed” Purple Noon’s third and latest single continues in a a similar vein — brooding, shimmering yet ethereal synth pop with twinkling keys, thumping beats and subtle Mediterranean flavor through the addition of fluttering flute. Greene’s plaintive vocals sing lyrics detailing the power of love and lust with an ache and longing that should feel familiar to all who have been there before. 

Directed by acclaimed fashion film director Caroline Koning and shot in her native Holland, the recently released video follows a real-life couple Shay and Dories in their most unguarded and intimate moments, conveying love, lust and longing with a simple look, a smile, a touch of the hand. Considering how dangerous human touch is during an age of pandemic, the video will bring back memories of far simpler times — of intimate moments we all may have had with lovers and even with random hookups. 

“Human contact, and something as simple as a touch, has new meaning in the context of today,” Caroline Koning explains in press notes. “These special times make the viewing experience of physical togetherness a different one, and I wanted to tap into that sentiment in a pure way. The couple we follow in the film capture this simplicity beautifully, and what we see on screen all happened very organically. Encapsulating a perhaps general longing for closeness through a very unpretentious narrative gives this spot a natural honesty that I think visualizes the track in a strong manner.”
 
Washed Out has also announced Purple Noon Nights, a culmination of four months of new tracks and visuals leading up to the new album’s release over four nights this weekend. Beginning this Thursday, August 6th and ending on Sunday, August 9th at 8:30 pm ET/5:30 pm PT each night, Washed Out’s Ernest Greene will be hosting a different Purple Noon-related event each night:
 

Thursday, 8/6: Purple Noon listening party
Friday, 8/7: the Washed Out live band’s first live-streamed concert, performing selected tracks from Purple Noon along with highlights from his catalog
Saturday, 8/8: Q&A with fans via @realwashedout’s Instagram Live account
Sunday, 8/9: Greene will host the sixth in his popular Magic Hour Mix DJ sets, with this set focusing on the Washed Outcatalog
 
The listening party, full band set, and Magic Hour DJ set will be broadcast live from Washed Out’s YouTube, Facebook, Instagram TV, and Twitch accounts.
 

Live Footage: Washed Out Performs “Too Late” on “Late Show with Stephen Colbert”

Ernest Greene is a Perry, GA-born, Athens, GA-based singer/songwriter, multi-instrumentalist and producer, best known as the creative mastermind behind the acclaimed synth pop/chillwave act Washed Out.  Washed Out can trace its origins back to around 2009: After earning an undergraduate degree and a Master of Library and Information Sciences degree from the University of Georgia, Greene was unable to find a job as a librarian. As the story goes, Greene moved back in with his parents and began writing and producing material in his bedroom studio, as well as with local electro pop act Bedroom. 

Shortly after posting Washed Out material on his MySpace page, the Perry-born, Athens-based singer/songwriter, multi-instrumentalist and producer was discovered and championed by a number of influential blogs, who compared his sound to Neon Indian and Memory Tapes. Greene released his first two Washed Out EPs in rapid-fie fashion that August and September. And building upon a growing profile, Greene played his New York City debut — which interestingly enough, was only his second live show ever — at the now, long-shuttered Santos Party House.

2010 saw Greene continue the amazing momentum of the previous year: he played that year’s Pitchfork Music Festival and “Feel It All Around” became the opening theme song for the acclaimed TV series Portlanadia.

In early 2011, Greene signed with Sub Pop Records, who released his his full-length debut Within and Without, an album of icy yet plaintive synth pop to critical applause and commercial success: the album peaked at #26 on the Billboard 200 and #89 on the UK Albums Chart. He ended a breakthrough 2011 by co-curating that year’s ATP Nightmare Before Christmas in Minehead, UK with Battles. 

Greene’s sophomore Washed Out album 2013’s Paracosm was a decided change in sonic direction, as it featured a warmer, tropical-inspired sound that paired organic instrumentation with electronic production — while retaining the ethereal quality of his previously released material,. The year ended with Life of Leisure EP track “New Theory” being featured as background music in a scene of the rom-com The Spectacular Now.

The Perry-born, Athens-based singer/songwriter, multi-instrumentalist and producer’s third album, 2017’s Cole M.G.N. co-produced Mister Mellow was released through renowned hip-hop label Stones Throw Records, and the album found the acclaimed artist’s work seemingly taking on a bit of a J. Dilla-esque beatmaking feel. 

Since the release of Mister Mellow, Greene released a handful of singles including “Face Up” as part of Adult Swim’s applauded Singles Series. Earlier this year, the Perry-born, Athens-based artist released “Too Late,”  a track that sonically was a return to form: a swooning yet bittersweet bit of synth pop centered around layers of arpeggiated synths, stuttering beats, Greene’s ethereal and plaintive vocals and a soaring hook — but with a subtly Mediterranean feel.

As it turns out, “Too Late” was unofficially the first single off Greene’s highly-anticipated and long-awaited fourth album Purple Noon. Written, recorded by Greene with mixing handled by frequent collaborator Ben H. Allen, the album’s production followed a brief stint of writing with other artists — most notably writing with Sudan Archives on her debut Athena. Those collaborations allowed Green to explore R&B and modern pop and those sounds have made there way into Purple Noon‘s material. Not only is the material reportedly the brightest and more robust sounds he’s ever worked out; it’s also a decided step forward: unlike his previous released work, the vocals are placed front and center at the mix, with slower tempos, bolder, harder-hitting beats and a more comprehensive dynamic depth.

Deriving its name from Rene Clement’s 1960 film Purple Noon, which was based on Patricia Highsmith’s novel The Talented Mister Ripley, the album’s material is deeply inspired by the coastlines of the Mediterranean — with Greene paying tribute to region’s island-based culture, elegance and old-world charm. But the surroundings serve as the backdrop to stories of passion love and loss — with a deeper, perhaps more urgent emotional intensity: the album’s first single “Too Late” is a tale of a first meet, with all the confused and swooning emotions that come about. 

Recently Greene was on Late Show with Stephen Colbert, where he performed “Too Late” with a gorgeous split camera perspective that offered and extreme close up on Greene performing the song: we see his fingers as they tap various functions on his drum machine and synths — and Greene singing through a two microphone set up. Behind him, a gorgeous sunset on the beach. 

Purple Noon is slated for an August 7, 2020 release through Sub Pop Records. 

New Video: Washed Out Releases an Cinematic Yet Intimate Meditation on Loss

Ernest Greene is a Perry, GA-born, Athens, GA-based singer/songwriter, multi-instrumentalist and producer, best known as the creative mastermind behind the acclaimed synth pop/chillwave act Washed Out.  Interestingly, the project can trace its origins back to around 2009: After earning an undergraduate degree and a Master of Library and Information Sciences degree from the University of Georgia, Greene was unable to find a job as a librarian. Greene moved back in his parents and began writing and producing material in his bedroom studio as well as with a local electro pop act Bedroom.

Shortly after posting Washed Out material on his MySpace page, the Perry-born, Athens-based singer/songwriter, multi-instrumentalist and producer was discovered and championed by a number of influential blogs, who compared his sound to Neon Indian and Memory Tapes.

He released his first two Washed Out EPs in rapid-fire fashion in August and September of that year. Building upon a growing profile, Greene played his New York City debut — which interestingly enough, was only his second live show ever — at the now, long-shuttered Santos Party House. 2010 saw Greene continue the amazing momentum of the previous year: he played that year’s Pitchfork Music Festival and “Feel It All Around” became the opening theme song for the acclaimed TV series Portlanadia.

In early 2011, Greene signed with Sub Pop Records, who released his his full-length debut Within and Without, an album of icy yet plaintive synth pop to critical applause and commercial success: the album peaked at #26 on the Billboard 200 and #89 on the UK Albums Chart. He ended a breakthrough 2011 by co-curating that year’s ATP Nightmare Before Christmas in Minehead, UK with Battles. 

Greene’s sophomore Washed Out album 2013’s Paracosm was a decided change in sonic direction, as it featured a warmer, tropical-inspired sound that paired organic instrumentation with electronic production — all while retaining the ethereal quality of his previously released material, as you’d hear on album singles “It All Feels Right” and “Don’t Give Up.” The year ended with Life of Leisure EP track “New Theory” being featured as background music in a scene of the rom-com The Spectacular Now.

The Perry-born, Athens-based singer/songwriter, multi-instrumentalist and producers third album, 2017’s Cole M.G.N. co-produced Mister Mellow was released through renowned hip-hop label Stone’s Throw Records, and the album took on a bit of a J. Dilla-esque beatmaking feel. 

Since the release of Mister Mellow, Greene released a handful of singles including “Face Up” as part of Adult Swim’s applauded Singles Series. Earlier this year, the Perry-born, Athens-based artist released “Too Late,”  a track that sonically was a return to form: a swooning yet bittersweet bit of synth pop centered around layers of arpeggiated synths, stuttering beats, Greene’s ethereal and plaintive vocals and a soaring hook — but with a subtly Mediterranean feel. 

As it turns out, “Too Late” was unofficially the first single off Greene’s highly-anticipated and long-awaited fourth album Purple Noon. Written, recorded by Greene with mixing handled by frequent collaborator Ben H. Allen, the album’s production followed a brief stint of writing with other artists — most notably writing with Sudan Archives on her debut Athena. Those collaborations allowed Green to explore R&B and modern pop and those sounds have made there way into Purple Noon’s material. Not only is the material reportedly the brightest and more robust sounds he’s ever worked out; it’s also a decided step forward: unlike his previous released work, the vocals are placed front and center at the mix, with slower tempos, bolder, harder-hitting beats and a more comprehensive dynamic depth. 

Deriving its name from Rene Clement’s 1960 film Purple Noon, which was based on Patricia Highsmith’s novel The Talented Mister Ripley, the album’s material is deeply inspired by the coastlines of the Mediterranean — with Greene paying tribute to region’s island-based culture, elegance and old-world charm. But the surroundings serve as the backdrop to stories of passion love and loss — with a deeper, perhaps more urgent emotional intensity: the album’s first single “Too Late” is a tale of a first meet, with all the confused and swooning emotions that come about. Continuing in that same vein, Purple Noon’s second single “Time To Walk Away” is a gorgeous yet haunting song centered around shimmering synth arpeggios, shuffling beats, Greene’s plaintive vocals, an enormous hook and Mediterranean/Caribbean vibes. The track is as infectious as any of his previously released work, but the track tells the story of a disintegration of a relationship with an aching sense of loss and confusion. Ghosts linger. 

Directed by Aussie director Riley Blakeway, the recently released video is a reinterpretation of a personal short film Blakeway shot years ago, presented in music video form. The video presents its central tale of two passionate, young lovers and their relationship in a beautiful and cinematic fashion — but at its core is a familiar ache that we’ve all known at some point. 

New Video: JOVM Mainstay Omar Souleyman Releases a Playful, Animated Visual for Club Banging Album Title Track “Shlon”

JOVM mainstay Omar Souleyman is a Tell Tamer, Syria-born, Istanbul, Turkey-based Sunni Arab vocalist, whose music career started in earnest back in 1994 when he began as a part-time wedding singer. His overall sound has largely been influenced by  the incredibly diverse milieu of Northeastern Syria — and as a result, Souleyman and a rotating cast of musicians and producers he has worked with since his early days have found a way to draw from and mesh the sounds and themes of the Kurdish, the Ashuris, the Turks, the Iraqis and the larger Arabic world in a way that’s both familiar and novel. Since then, Souleyman has become the region’s pioneer of dance floor friendly wedding music.

Amazingly since 1994, Souleyman has managed to be wildly prolific, releasing well over 500 studio and live albums with about 80% of those releases made at weddings. Most of those recordings were first presented to the newlywed couple, and then later copied and sold at local kiosks.  Souleyman has released four compilation albums and three full-length albums of original material: 2006’s Highway to Hassake, 2009’s Dabke 2020, 2010’s Jazeera Nights, 2011’s Haflat Gharbia: The Western Concerts and 2011’s Leh Jani,  2013’s Wenu Wenu, 2015’s Bahdeni Nami and 2017’s To Syria, with Love — and all of those albums have not only brought the sounds and grooves of the Middle East to the West, his recorded output has helped to expand the Tell Tamer-born, Istanbul-based vocalist’s profile internationally.

Adding to a rapidly rising international profile, Souleyman has played sets at some of the world’s biggest festivals, including Paredes de Coura, a Caribou co-curated ATP Festival, ATP Nightmare Before Christmas, Bonnaroo, Roskilde Festival, Mostly Jazz, Funk and Soul Festival, Pukkelpop Festival, Electric Picnic,  Treefort Music Festival — and oddly enough, one of the strangest House of Vans bills I’ve ever seen, in which he opened for Future Islands. And before I forget, he’s also collaborated with Bjork, contributing vocals for three remixes, which appear on an Biophilia.

Last November, the Tell Tamer-born JOVM mainstay released his fourth album Shlon, through Mad Decent/Because Music. Deriving its title from the Arabic word “how” or more literally “which color,” the album featured double keyboard work from Hasan Alo, a fellow native of the Hasaka region of Northeastern Syria, who has recently been active in Dubai’s vibrant nightlife scene, a well as saz work from Azad Salih, a fellow Syrian, who currently resides in Mardin, Turkey. The album also finds the Tell Tamer-born, Istanbul-based vocalist continuing his longtime collaboration with Syrian-born, Turkish-based lyricst Moussa Al Mardood, who the wrote most of the album’s lyrics spontaneously during the recording sessions.

Shlon is vintage Souleyman: 6 songs which mesh the dabke and baladi music beloved by the Lebanese, Jordanians, Syrians, the Kurdish and Iraqis with thumping, synth-led techno, and as always, the material thematically is comprised of swooning tales of devotion, adoration and love. So far I’ve written about two album singles — the club banging “Layle,” a slick and seamless synthesis of classically inspired poetry and modern electronic music production and “Shi Tirdin” a swooning declaration of love, centered around a club thumping production. Interestingly, the album’s latest single, album title track “Shlon” continues an incredible run of swooning, dance floor bangers: this time Souleyman sings of a woman, who has intrigued him from afar, whose kiss would be worth 10 million other kisses over a slick production that meshes Kurdish and Arabic dabke and baladi styles with contemporary electronic dance music production featuring layers of shimmering synth arpeggios, tweeter and woofer rocking beats. Interestingly, the material may be the most ambitious and accessible of Souleyman’s career. 

Directed and animated by Sound Visuals Club, the recently released video for “Shlon” depicts an animated Omar Souleyman set in which the acclaimed Syrian wedding singer turned global dance music star plays his pan Arabic take on dance music in front of a energetic crowd, who at one point dances hand-in-hand. It’s a delightful and playful video that should remind the viewer that on the dance floor, we’re all the same. 

New Audio: Omar Souleyman Releases a Mesmerizing, Club Banging, Love Song

Omar Souleyman is a Tell Tamer, Syria-born, Istanbul, Turkey-based Sunni Arab vocalist, whose music career started in earnest back in 1994 when began as a part-time wedding singer. His overall sound has largely been influenced by  the incredibly diverse milieu of Northeastern Syria — and as a result, Souleyman and a rotating cast of musicians and producers he has worked with since his early days have found a way to draw from and mesh the sounds and themes of the Kurdish, the Ashuris, the Turks, the Iraqis and the larger Arabic world in a way that’s both familiar and novel. Since then, Souleyman has become the region’s pioneer of dance floor friendly wedding music. 

Amazingly since 1994, Souleyman has managed to be wildly prolific, releasing well over 500 studio and live albums with about 80% of those releases made at weddings. Most of those recordings were first presented to the newlywed couple, and then later copied and sold at local kiosks. Now, as you may recall Souleyman has released four compilation albums and three full-length albums of original material: 2006’s Highway to Hassake, 2009’s Dabke 2020, 2010’s Jazeera Nights, 2011’s Haflat Gharbia: The Western Concerts and 2011’s Leh Jani,  2013’s Wenu Wenu, 2015’s Bahdeni Nami and 2017’s To Syria, with Love — and all of those albums have not only brought the sounds and grooves of the Middle East to the West, his recorded output has helped to expand the Tell Tamer-born, Istanbul-based vocalist’s profile internationally. 

Adding to a rapidly rising international profile, Souleyman has played sets at some of the world’s biggest festivals, including Paredes de Coura, a Caribou co-curated ATP Festival, ATP Nightmare Before Christmas, Bonnaroo, Roskilde Festival, Mostly Jazz, Funk and Soul Festival, Pukkelpop Festival, Electric Picnic,  Treefort Music Festival — and oddly enough, one of the strangest House of Vans bills I’ve ever seen, in which he opened for Future Islands. And before I forget, he’s also collaborated with Bjork, contributing vocals for three remixes, which appear on an Biophilia.

Deriving its title for the Arabic word “how” or more literally “which color,” Shlon, which is slated for a November 22, 2019 release through Mad Decent/Because Music is the first batch of new material from Souleyman in a couple of years. The forthcoming album featres double keyboard work from Hasan Alo, a fellow native of the Hasaka region of Northeastern Syria, who has recently been active in Dubai’s vibrant nightlife scene, a well as saz work from Azad Salih, a fellow Syrian, who currently resides in Mardin, Turkey. The album also finds the Tell Tamer-born, Istanbul-based vocalist continuing his longtime collaboration with Syrian-born, Turkish-based lyricst Moussa Al Mardood, who the wrote most of the album’s lyrics spontaneously during the recording sessions.

Unsurprisingly, his fourth album is vintage Omar Souleyman — 6 songs which mesh the dabke and baladi music of music beloved by the Lebanese, Jordanians, Syrians, the Kurdish and Iraqis with thumping, synth-led techno — but at its core, the material is comprised of swooning tales of devotion, adoration and love. Now, as you may recall Shlon’s first single was the propulsive, club banging “Layle,” which was centered around Alo’s dexterous and dense layers of synth arpeggios, tweeter and woofer rocking polyrhythmic beats and Souleyman’s imitable vocals. But at its core, the song is a slick synthesis of classically-inspired poetry and modern production.  The album’s second and latest single “Shi Tirdin,” which translates into English as “What Do You Wish For?” is a high energy, club banger featuring mesmerizing layers of synth arpeggios and thumping beats and fluttering synths. And while continuing the album’s overall vibe of meshing techno and dabke music, the track is a swooning declaration of devotion, in which the song’s narrator readily offers his love anything she wishes for. 

New Audio: Internationally Acclaimed Omar Souleyman Returns with a Swooning, Club Banger

Omar Souleyman is a Tell Tamer, Syria-born, Istanbul, Turkey-based Sunni Arab vocalist, whose music career started in earnest back in 1994 when he was a part-time wedding singer. His overall sound has largely been influenced by  the incredibly diverse milieu of Northeastern Syria — and as a result, Souleyman and a rotating cast of musicians and producers he has worked with since his early days have found a way to draw from and mesh the sounds and themes of the Kurdish, the Ashuris, the Turks, the Iraqis and the larger Arabic world in a way that’s familiar and novel. In fact, Souleyman is considered the region’s pioneer of dance music/wedding music. 

Amazingly Souleyman has managed to be wildly prolific, releasing well over 500 stdio and live albums with about 80% of those releases made at weddings. Those recordings are first presented to the newlywed couple and then copied and sold at local kiosks. Over the better part of the last decade, Souleyman has released four compilations 2006’s Highway to Hassake, 2009’s Dabke 2020, 2010’s Jazeera Nights, 2011’s Haflat Gharbia: The Western Concerts and 2011’s Leh Jani and three full-length albums to the West, 2013’s incredible Wenu Wenu, 2015’s Bahdeni Nami and 2017’s To Syria, with Love –and all of those efforts have brought the sounds and grooves of the Middle East to the West, while expanding the Tell Tamer-born, Istanbul-based vocalist’s profile internationally. Adding to a rapidly rising international profile, Souleyman has played sets at some of the world’s biggest festivals, including Paredes de Coura, a Caribou co-curated ATP Festival, ATP Nightmare Before Christmas, Bonnaroo, Roskilde Festival, Mostly Jazz, Funk and Soul Festival, Pukkelpop Festival, Electric Picnic,  Treefort Music Festival — and oddly enough, one of the strangest House of Vans bills I’ve ever seen, in which he opened for Future Islands. And before I forget, he’s also collaborated with Bjork, contributing vocals for three remixes, which appear on an Biophilia.

Dericing its title for the Arabic word “how” or more literally “which color,” Shlon, which is slated for a November 22, 2019 release through Mad Decent/Because Music is the first batch of new material from Souleyman in a couple of years. The forthcoming album features double keyboard work from Hasan Alo, a fellow native of the Hasaka region of Northeastern Syria, who has recently been active in Dubai’s vibrant nightlife scene, a well as saz work from Azad Salih, a fellow Syrian, who currently resides in Mardin, Turkey. The album also finds the Tell Tamer-born, Istanbul-based vocalist continuing his longtime collaboration with Syrian-born, Turkish-based lyricst Moussa Al Mardood, who the wrote most of the album’s lyrics spontaneously during the recording sessions. 

Unsurprisingly, his fourth album is vintage Omar Souleyman — 6 songs which mesh the dabke and baladi music of music beloved by the Lebanese, Jordanians, Syrians, the Kurdish and Iraqis with thumping, synth-led techno — but at its core, the material is comprised of swooning tales of devotion, adoration and love. “Layle,” Shlon’s propulsive, club banging first single is centered around Alo’s dexterous and arpeggiated synth work, layers of tweeter and woofer rocking polyrhythmic percussion and Souleyman’s imitable vocals. And while the track instantly reminds me of the sounds of my home borough — particularly Astoria and Jackson Heights — the song is centered around some gorgeous poetry,. describing a woman’s lips as sweet as the dates of Hillah, making the song a slick synthesis of the classic and the modern. 

New Video: Omar Souleyman’s Club Banging and Swooning Love Letter to Istanbul

Omar Souleyman is a Tell Tamer, Syria-born, Istanbul, Turkey-based Sunni Arab vocalist, who can trace the origins of his music career back to 1994, when he was a part-time wedding singer, whose sound has been largely influenced from the incredibly diverse milieu of Northeastern Syria — and a result, Souleyman and a rotating cast of musicians and producers, he has worked with since his early days, draws from and meshes the Kurdish, the Ashuris, the Turks, the Iraqis and Arabic sounds and themes in a way that’s both familiar and absolutely novel; in fact, Souleyman is largely considered the region’s pioneer of dance music/wedding music as his sound is primarily based around, keys and enormous beats. 

Amazingly around 500 studio and live albums have been released under his name with about 80% of those releases being made at weddings,  presented to the newlywed couple, and then copied and sold at local kiosks. Within the last few years, Souleyman has received international attention, performing at some of the world’s biggest stages and festivals including Paredes de Coura, a Caribou co-curated ATP Festival, ATP Nightmare Before Christmas, Bonnaroo, Roskilde Festival, Mostly Jazz, Funk and Soul Festival, Pukkelpop Festival, Electric Picnic,  Treefort Music Festival — and oddly enough, one of the strangest House of Vans bills I’ve ever seen, in which he opened for Future Islands. Adding to a growing international profile, Souleyman has collaborated with Bjork, contributing vocals for three remixes, which appear on an Biophilia.

Along with that, Souleyman has released four compilations 2006’s Highway to Hassake, 2009’S Dabke 2020, 2010’s Jazeera Nights, 2011’s Haflat Gharbia: The Western Concerts and 2011’s Leh Jani and three full-length albums to the West, 2013’s incredible Wenu Wenu, 2015’s Bahdeni Nami and this year’s To Syria, with Love, all of which have brought the sounds and grooves of his region to the Western World. Interestingly, To Syria, with Love reportedly finds Souleyman and his collaborators adopting elements of Western techno and electronic production to his sound, as well as much more intricate keyboard work. 

“Es-Samra,” To Syria, with Love’s latest single is a swooning love letter to his new hometown of Istanbul that features Souleyman’s coolly delivered vocals over a slick and swaggering production consisting of enormous, tweeter and woofer rocking beats, dense layers of arpeggiated keyboard chords, razor sharp and infectious hooks and handclaps to create one of most effortlessly straightforward club bangers I’ve heard in several months. 

While furthering his reputation for paring his sounds with DIY-like visuals, the recently released video for “Es-Samra” captures and evokes daily life in and around his adopted hometown’s waterways but with a trippy, mind melting visual effect. And as New Yorker, there’s something warmly familiar in seeing fisherman near a pier, of commuters rushing back and forth by ferry, car, bus and truck; but more important, it shows Istanbul as one of the world’s most glorious sights.