Abdelli
"There are two things you don't want to see being made - sausage and law." (attributed, probably apocryphally, to German chancellor Otto von Bismarck, 1815-1898)
In the introduction to "Amazine (The Wind)," Abdelli's oud-like mandola alone in a free rhythmic environment leads into his intimate vocal, itself free to quest between half-tones in search of the perfect effect. On the main track, mandola sets a repeated theme, followed by lilting violin and Abdelli's own liquid, gurgling vocal. The repeated figure gains power as drums and ney enter, leading into a mid-track fugue with percussion and ney, returning to the vocal line with a Moorish flare provided by Spanish guitar. A flute introduction, warbling in the center of a suspended rhythmic space, leads into "Itij (The Soul)," its swinging melody oddly but compellingly prosecuted by both flute and accordion, Abdelli's vocal at its best in a haunting melody, with accordion almost succeeding in transforming the beat to a skipping waltz, but settling for a strutting polyrhythm. Perhaps the most striking track is "Asiram (Hope)," on which cavaquinho and accordion shuffle merrily behind a happy flute and Abdelli vocal, dramatically interrupted by an incursion of percussion and violin on a complementary melody line, a chilling example of Promethean editing, but convincingly interpretable as a coherent if experimental tradition.
Among Brothers entrances on many levels, not the least being its often eerie beauty, especially Abdelli's vocal, which comes to seem a comfortable old friend amidst the stylistic mixing. Bismarck may have known legislation and bangers, but knowledge of the making of Among Brothers only enhances my appreciation for its accomplishment. - - Jim Foley
Visit the artist's web site: www.abdelli.com
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