The Last Invasion | 14:00 |
Doomsday Survival Kit | 18:59 |
Mirage 72 | 15:18 |
Embassy of Embarrassment | 11:46 |
The Micro Dwarf Wave | 10:14 |
The Spy Who Spoke Too Much | 15:45 |
Il A3sab | 12:42 |
Musicians
Paed Conca: Clarinet, Electric Bass, Electronics
Raed Yassin: Synthesizers, Vocals, Electronics
Alan Bishop: Alto Saxophone, Vocals
Nadah El Shazly: Vocals, keyboard, Electronics
Christine Kazarian: Electric Harp
Hans Koch: Bass Clarinet, Soprano Sax
Martin Kuchen: Tenor Saxophone, Baritone Sax
Maurice Louca: Keyboard, Organ
Radwan Ghazi Moumneh: Buzuk, Vocals, Modular Synthesizer
Sam Shalabi: Electric Guitar, Oud
Ute Wassermann: Vocals, Mouth Harp, Whistles
Khaled Yassine: Drums, Percussion, Darbuka
Michael Zerang: Drums, Percussion
Recorded live at Calligraphy Square on November 3rd, 2018 in Sharjah, UAE by: Sudish Suman & Shuaib Ahmad Poonthala
Edited by: Rabih Beaini at Morphine Studio, Berlin, Germany
Mixed by: Radwan Ghazi Moumneh at Hotel2Tango Studio, Montreal, Canada. Mastered by: Harris Newman at Grey Market Studio, Montreal, Canada.
Artwork by Lorenzo Mason Studio.
Project manager : Simsara Music
If you’ve ever travelled to Egypt and wandered through its crowded streets, you probably ended up buying a cassette or a CDR of popular synth based music heard in most cabs, cabarets, or alleys around town: the almighty Shaabi.
Raed Yassin and Paed Conca based their project PRAED on research between Shaabi and Mouled (traditional trance music from Egypt) and the hypnotic structures of both these genres. Repetitive beats, loud Mizmar and loads of energy, with a strong influence from psychedelic rock, free jazz and electronica.
During the years in which the duo produced 4 albums and performed on an endless number of stages around the globe, PRAED started working on an ambitious expansive project: an orchestra that could transpose this study of rural and popular culture into an immense, iconic work. In autumn 2018, supported by the Sharjah Art Foundation, PRAED Orchestra! premiered “Live in Sharjah”, interpreting new material merged with some of the band’s iconic pieces.
The composition process started with the choice of musicians: the line-up consisted of some of the most innovative artists coming from a wide spectrum of musical practices. Each musician was chosen... more
"PRAED Orchestra! are a big band, and they promise what the cream of big bands have promised since (and before) Duke Ellington: a raging swirl of sound, inviting us to get lost, get drunk and dance our masks off. And even more: moments of delicacy, a harp caressing battered ears; laught out loud moments of sheer craziness, as banshee wails hit the ceiling; and classy instrumental solos, pushing at the envelope as Tricky Sam Nanton’s experimental trombon did for Ellington’s audiences in the 1930s."
Clive Bell, The WIRE
Photo by Frank Schmitt
Founded in 2006 by Raed Yassin and Paed Conca, Praed is a band whose musical oeuvre can be described as a mixture of Arabic popular music, free jazz, and electronics. In the same year, the band made its first public appearance in Al Maslakh festival in Switzerland, immediately followed by a concert at the Irtijal festival in Beirut. Since then, the band has frequented numerous international music festivals and toured intensively world-wide, spanning the Arab world, Japan, Europe and Canada. Through these endeavors, they have created a large global network with other renowned musicians as musical collaborators. Their music is essentially multi-instrumental: Raed Yassin plays keyboards, electronics and vocals; and Paed Conca plays clarinet, electric bass and electronics.
The band’s main body of work explores the terrain of Arabic popular music (“Shaabi”) and its interconnectedness with other psychedelic and hypnotic musical genres in the world, such as free jazz, space jazz, and psychedelic rock among others. Since its inception, Praed has shown a very keen interest in Shaabi music as a medium that reflects Egyptian society’s complicated fabric. Through their research, they began to discover a strong cultural connection between these sounds and the “Mouled” music used in religious trance ceremonies. The hypnotizing psychedelic effect embedded in this genre presents similarities to other forms of popular music in the world that stimulate an atmosphere of sonic delirium.
Back to Top