MASHROU3 LEILA - مشروع ليلى: HOW LEILA IS SPENDING HER DAYS LATELY

Tuesday, March 30, 2010

HOW LEILA IS SPENDING HER DAYS LATELY

Practice twice a week, five hours a week; meetings once a week, two hours a week.
Minimum.
Arguments, disagreements, but new material. Always new material.
We miss performing, but we need the time off for us to grow.
Big preparations for Byblos. It's a lot of pressure, a huge challenge for us! DEMCO Steel times 4!
Meanwhile a lot of new music is popping up in Beirut. It's great! And other events, plays (check out Ashphalt), photo exhibitions (check out 'ma baad lahza' in Masra7 el Madina), art exhibitions (check out 'formless' in Furn el Chebbak) Beirut is explosive this year!

So it's work work work...but also fun fun fun. Making music is fun. It's spontaneous. Sometimes we get carried away with making specific sounds, other times the mood dominates and new sounds are born. Both are rich. Sometimes it's hard to let ourselves get carried away with the music instead of structuring it straight away to make 'songs'. It used to be the opposite. But we're learning to chill and to allow some of the practice sessions to really be jam sessions with no goal other than to play.

exciting times..

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Mashrouʼ Leila is not a bandʼs name. It is not a proper noun per se; Mashrouʼ Leila is Arabic for ʻan overnight projectʼ lusting out a microphone, a violin, a bass, two guitars, drums and keyboards. It started out as a music workshop at the American University of Beirut in 2008, an open platform for students of architecture and design, somewhere to experiment with sounds and make things audible. Haig Papazian, Carl Gerges, Hamed Sinno, Omaya Malaeb, Andre Chedid, Firas Abou Fakher and Ibrahim Badr have enjoyed this sound fetish savoring its façade of nonchalance and feeding on its lack of genre – sustaining their collective as Mashrouʼ Leila, an experiment.

You can hear Leila, cascading melts of masculine vocals only suspended with thrusts of violin, beats and bass – attacked by neurotic melody that means no harm – sometimes tender, even sometimes on pause. Through the music, you can smell where Leila has been, in bed sheets, on sidewalks, jasmines in riﬂes and spilled coffee on dresses as she made you play with aubergines, dancing her dance. Music has constantly been their place to play with things, to match and mis-match, a project.

In the various performances, Mashrouʼ Leila is a constant attempt to taste and produce, more than happy to harvest anyone from the audience as a guest in their encores. They have performed around Lebanon since 2008, playing in various venues in Beirut, taking over supposed public piazzas as well as clubs, pubs, hybrids and the such – they also played in Zahle, Sour, Jounieh, Saida and Deir el Qamar, each of which pushed forward their thinking about how to go about their music, lyrics and performance. It is only when Mashrouʼ Leila goes live, that you can actually catch a glimpse of Leila. As it talks to you of Beirut, the city that tastes of the absurd, the product of its day-to-day experiences, its stubborn security and lack of the latter, its musical bombshells, incoherent sexuality and thrusting pleasure…narcotic pain – as it brings forward hints of Arabic Tarab, rock, to folk pop, electro, you can see Leila in every man and woman in the silent- come-raving audience. In this trajectory, they participated in music workshops and concerts in Amman and Cairo to maneuver their way into a pan-Arab music scene, to know and to announce, more importantly to grow, musically.

In March 2009, Mashrouʼ Leila won the Lebanese Modern Music Contest jury prize and public vote organized by Radio Liban in partnership with CCF, Incognito and the Basement. They are currently recording their debut album with B-root Productions, to be released in December 2009. The music in the album is a reclamation of the aftertaste; sequel-ing a dose of Beirut.

written by Raafat Majzoub