THE EDITED PRESS RELEASE: “Cover albums are a tricky business. They say nothing beats the original. But when international psychedelic collective Al-Qasar tackle songs from the Western pop to the Arab folk repertoires, you know you’re in for a brain-melting, transcontinental trip. Cultures collide, and the result of this fission is Depeche Mode sung in Turkish, Sean Paul in Arabic, Nubian legend Hamza El Din with fuzz guitars and iconic Lebanese composer Wadih El Safi through space echo.
Produced between Tunis, Lisbon, Los Angeles, London, and Paris, Uncovered contains seven tracks (four covers and a trio of originals) which tell the story of a world in flux, with its ancestors deep in the past but its eyes set on the zeitgeist. It’s retro-futurist Arab psychedelia with a foot in the Mojave and the other in the Sahara.
The cast is stunning, with innovators, breakthroughs and legends from nine nationalities represented. All joined forces with studio wizard and composer Thomas Attar, his vibrant, thick production style enhanced by Grammy winner Matt Hyde’s mix (Slayer, Deftones) and by a mastering from repeated Grammy nominee Frank Merritt (Madlib, Aphex Twin).
Sudanese-American vocalist (and frequent Al-Qasar collaborator) Alsarah tackles Desse Barama, a peace song by Nubian oud player and singer El Din, her hypnotic, soulful voice solidly anchored in a retro, almost dubby instrumental. Promises is an Afro-futurist heavy-psych track in Bambara which features Malian singer Mamani Keita (Salif Keita) on lead vocals and the renowned “Black Buddah” Cheick Tidiane Seck (Gorillaz, Black Eyed Peas, Santana) on keys and backing vocals.
Mamani tackles the subject of commitment, taking a stab at corrupt political leaders who do not hold their word, while Cheick lets loose brain-melting keyboard lines and deep, spell-binding vocals. On drums, it’s Souleymane Ibrahim (from Touareg sensation Mdou Moctar) unleashing a fury of grooves.
With this second full length, Al-Qasar consolidate their brand of “Arabian fuzz,” an explosive mix of Middle Eastern grooves, American heavy psychedelia and North African trance music. Producer Attar’s brazenly electric and deeply connected approach to global sounds takes it a step further, setting the bar for what a rock project can accomplish on an artistic, cultural, and social level in the 21st century. The multiculturalism that emanates from Al-Qasar’s grooves and lyrics feels genuine, because it is just like the world we inhabit, poetically putting forth notions of social justice, equality, and empowerment.
Oud genius Nada Mahmoud (of the National Tunisian Orchestra) appears on two tracks: Blue Tataouine is a Alejandro Jodorowsky-esque sci-fi trip through the Sahara, showcasing Nada’s deep musicality and oud virtuosity. The second, Ssir W Ztam is a cover of Paul’s Get Busy, Moroccan singer Sami Galbi letting loose his 3.0 take on raï and chaabi music.
Depeche Mode also get the Attar treatment on Kişişel İsa (Personal Jesus). The iconic riffs are performed on electric saz and the lyrics are in Turkish, sensually but decisively delivered by breakthrough Turkish vocalist Sibel (who also tours live with Al-Qasar). Conversely, the classic Lebanese song Bissaha Tlaqayna, by legendary composer Wadih El Safi, becomes a psych-rock anthem featuring the deep, essential voice of Tunisian sufi singer Mariam Hamrouni. The track is complemented by the mastery of Algerian oud hero Mehdi Haddab (Damon Albarn, Rachid Taha), also a member of the Al-Qasar extended family.”
