SceneNoise curates a selection of recent releases and unheard gems from the country's blossoming and established music makers.
Abd-El-Rahman Abou-Shelou AKA The Chikatura is a mecurial Experimental Electronic music producer and bassist from Alexandria. Have a listen to the dark, ethereal Neswan featuring a never ending trudging bass-line that builds to frantic orgasm through loosely spread drums and his own vocal chants.
The prodigious proliferator of Hip Hop noise, Smash Beats comes out with his latest release The Eye Is Gonna Protect You. Kicking off with some peculiar film dialogue and ominous crackling pads, the track flows impressively into an old school beat and deep, funky bass-line whilst continuing its enigmatic vibes.
Chime Love is a brilliantly quirky effort from current Student DJ contestant and producer Bashar Galal AKA ühm. With its systematic progression, metallic drone and fluttering, floating synth, Chime Love is a strange kind of romance, most likely felt by an androgynous robot coming to terms with human emotion.
Slaughter House was the first single off highly lauded Psych-Rock group The Invisible Hands' sophmore album Teslam which was released last month. Led by Sun City Girls' Alan Bishop, the outfit seem to be heading down a more accessible straightforward Rock route compared to previous left-field Eastern influenced Psych-Folk releases. Slaughter House, despite the title, actually works out as quite a strangely uplifting trip with Bishop and Aya Hemada's vocals harmonising delicately on top of the swaying riffs and typically unconventional song structure.
Chiati, a multi-talanted instrumentalist and also a current Student DJ contestant, seems hell-bent on dominating Cairo's after-hours Techno and Deep House scene. The young producer's latest release Conversions is a hard-edged after-hours banger. Broody, intensely rhythmic and oh-so-good.
20 seconds in to Aya Metwalli's latest release Wana Ethadiet your heart will melt a bit. Her mellifluous voice coming in off the addictive tick-tock beat and keys. The track continues in much the same direction; an unchanging sonic representation of disheartened emotion occasionally interrupted with Metwalli's knack for putting square pegs in round holes, sonically speaking.