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Souad's background explains a lot: her musical education was classical, but she joined a flamenco band at 17; she loves both Western rock and traditional Arab instruments. You'd think all this would lead to a terrible mish-mash, but it's actually a winning combination. Sometimes the spotlight falls on Daniel Manzanas's cracked flamenco tones, sometimes on a quartet of violins and sometimes on the tambourine and tabla. But pervading everything is Souad Massi's irresistible voice, uniting East and West with wit and style. Heartbroken? Well, only up to a point... --Michael Church
Review The French and Algerian predilection for flamenco is well-served by two very different compositions. 'Ech Edani' isa rousing flamenco-rumba along the lines of 'Alabina' (this reviewer can vouch for its effectiveness on the dancefloor, having played it twice to a latin dance crowd to much acclaim).'Houria' isa more reflective piece along the lines of a traditional Cadiz buleria or tangos.
Yet another tune that makes this album unmistakably Parisian is the Congolese soukous-flavoured 'Yawlidi'.This is by no means the first time the Paris scene has made the Afro-Caribbean-Algerian connection (there was even a band in the 80s called 'Zouk-Rai'). However it's done with so much taste andu se of vocal hooklines - including the sudden appearance towards the end of what sounds like a Lingala 'animateur' -it actually soundstotally fresh.
'Ghir Enta' brings us deep into oud territory, only to shift seamlessly into an introspective tango-waltz. Again with the lovely string-quartet flavours and a darkness that reminds one of Monsieur Chanson-Noir himself, Paolo Monte. 'Thegri' has fine acoustic guitar accompanying Arabic flute, played almost like an old-fashioned slide-flute. And of course, every album has to have the natural radio-friendly track. In Souad's case, this is the opener, 'Deb', a unique song that needs to be heard rather than described
All in all, more of a "French" record than an Algerian one, but none the worse for that.In fact, much the better for it,bearing in mind the comparative freedomParis' melting-pot style gives to a young singer whom we'll be hearing much more of in the future. --John Armstrong
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