#praed

[garadinervi]

PRAED Orchestra!, The Dictionary of Lost Meanings, (2 x Vinyl/LP, Digital album), CREP112, Discrepant, 2025

Raed Yassin: synthesisers, vocals, beats Paed Conca: clarinet, electric bass Alan Bishop: alto saxophone, electric bass, vocals Andreas Bral: harmonium, electronics Elisabeth Klinck: violin Christian Kobi: soprano and tenor saxophones Hans Koch: bass clarinet Martin Küchen: alto and sopranino saxophones Maurice Louca: synthesizer, electronics Stan Maris: accordion Radwan Ghazi Moumneh: buzuk, vocals, modular synth Youmna Saba: electric oud, vocals Sam Shalabi: oud, electric guitar Els Vandeweyer: vibraphone Khaled Yassine: drums, percussion Michael Zerang: drums, percussion

Recorded by Jasper Jan Peeters at the Summer Bummer Festival, DE Studio, Antwerp August 26, 2022 Mixed by Adham Zidan Mastered by Mark Gergis Produced by PRAED

Design: Hussein Nassereddine Photos: Geert Vandepoele

[burlveneer-music]

Praed Orchestra! - Live In Sharjah - Lebanese electronica duo adds eleven musicians (including  Nadah El Shazly, Sam Shalabi, and Michael Zerang) to perform their takes on Egyptian trance 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 for a defined role, and the common denominator was their capacity to interpret written material, and their ability to improvise effortlessly. Each role was clearly set to work in unison with the rest of the group, while simultaneously sustaining a centrality in the choir. Solo parts masterfully drawn over the structure as a fil rouge connecting every piece of the entire concert; massive and powerful orchestral sections leading to a breathtaking trance-like state of mind; all of this material ultimately coalescing into an Egyptian Operette that narrates the sorrow, love, and deeply rooted culture of this urban music called Shaabi. creditsreleased November 9, 2020 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

[coffereadsasoiaf]

Arya noticed the first grave that same day; a small mound beside the road, dug for a child. A crystal had been set in the soft earth, and Lommy wanted to take it until the Bull told him he’d better leave the dead alone. A few leagues farther on, Praed pointed out more graves, a whole row freshly dug. After that, a day hardly passed without one. One time Arya woke in the dark, frightened for no reason she could name. Above, the Red Sword shared the sky with half a thousand stars. The night seemed oddly quiet to her, though she could hear Yoren’s muttered snores, the crackle of the fire, even the muffled stirrings of the donkeys. Yet somehow it felt as though the world were holding its breath, and the silence made her shiver. She went back to sleep clutching Needle. Come morning, when Praed did not awaken, Arya realized that it had been his coughing she had missed. They dug a grave of their own then, burying the sellsword where he’d slept. Yoren stripped him of his valuables before they threw the dirt on him. One man claimed his boots, another his dagger. His mail shirt and helm were parceled out. His longsword Yoren handed to the Bull. “Arms like yours, might be you can learn to use this,” he told him. A boy called Tarber tossed a handful of acorns on top of Praed’s body, so an oak might grow to mark his place.

George R R Martin, A Clash of Kings, Arya II

[cliggomusic]

Listen to Praed for free: https://music.cliggo.com/artist/1899357-Praed

[muzicpromotionclubworld]

Praed approaches to satisfy listeners with their high energy and hypnotic Egyptian Musicality

[muzicpromotionclubworld]

PRAED continues to construct music with hypnotic instrumentals that mines the rich Arabic culture

PRAED creates music which reflects Egyptian pop culture and consumes the listener with its engaging and groovy musicality forcing them to swing on its tunes.

[muzicpromotionclubworld]

PRAED offers tracks soaked in heavy instrumentals taking inspiration from the Egyptian culture

PRAED explores Arabic popular music to construct tracks that are both energetic and entrancing, about the Egyptian music culture. The tracks are overwhelming!