Arabic Poetry cd

The ARABIC COURSE for English-Speaking students is a comprehensive and popular course for the teaching of the Qura'anic and Traditional Arabic, originally devised and taught at the renowned Madinah Islamic University catering for the non-Arabic speaking students from all over the world. Over the years, this course has enabled students to become competent in their use of the Arabic language and to participate and benefit from scholarly pursuits such as Qur'anic exegesis, hadith, fiqh, serah, history, and classical and modern Arabic literature.

Charming Hostess is a whirl of eerie harmony, hot rhythm and radical braininess. Our music explores the intersection of text and the sounding body– complex ideas expressed physically, based on voice and vocal percussion, handclaps and heartbeats, sex-breath and silence. We live where diasporas collide, incorporating piyyutim and Pygmy counterpoint, doo-wop and niggunim, work songs and Torah chanting. The texts speak of mysticism and sex; angels and demons; and the trials and joys of love and sex…

Through an arched gateway into the medina, inside a labyrinth of alleyways lined with shops selling spices and perfumed oils, rare vinyl and handmade instruments, comes the sound of the blues. Ancient and current, funky and rhythmic, buoyed by Arabic lyrics, soaring vocals and bass-heavy grooves, it seems to pulse from the heart of the Maghreb.

Chora(s)san Time-Court Mirage - Blues Alif Lam Mim (2021) {Blank Forms Editions}
FLAC (tracks) - 16bit/44.1kHz - Digital Download -> 477 Mb | MP3 @320 -> 191 Mb | Cover | 5% repair rar
© 2021 Important Records / Blank Forms Editions
Experimental / Modern Classical / Raga / Electronic / Avant-Garde

Fathoms deep, kaleidoscopic devotional drone that channels Catherine Christer Hennix's passion for Arabic poetry and her studies alongside Hindustani raga master Pandit Pran Nath. Originally released in 2016, "Blues Alif Lam Mim" is the recording of a 2014 performance of Swedish composer Catherine Christer Hennix's just-intonation ensemble, featuring brass, electronics and voices.

It would have been groundbreaking enough for the Israeli Ofra Haza to have performed an album of Yemeni Jewish songs. But when she and producer Bezalel Aloni added synthesizers, drum machines, and a generous helping of dance beats, they ended up creating one of the seminal records of world music–one of the very first ethno-techno releases whose reverberations extended into dance clubs around the globe, most especially with "Galbi." While its contemporary sound might make it seem shallow, there really is a lot of depth here, the lyrics coming from the poetry of 16th-century rabbi Shalom Shabazi. Along with fellow spirits like Dissidenten, Haza helped pave the way for Transglobal Underground, Natacha Atlas, and Banco de Gaia.

A revelatory discovery in the Tinariwen archives, Kel Tinariwen is an early cassette tape recorded in the early 90s that never received a wider release, and sheds new light on the band's already rich history. Not having yet developed the fuller band sound that they became internationally established with, Kel Tinariwen features their trademark hypnotic guitar lines and call-and-response vocals weaving in between raw drum machine rhythms and keyboard melodies that almost evoke an Arabic take on 80s synth-pop. There's distinct parallels with the sounds found on this tape and the work uncovered in recent years by cratedigger labels such as Awesome Tapes From Africa, Sahel Sounds and Sublime Frequencies.