这是绝对经典的一张世界音乐
属于最早的一批世界音乐录音作品
演奏者Hamza El Din是举世公认的阿拉伯土着音乐大师 乌德演奏大师
（乌德 ‘ud 阿拉伯拨弦乐器 通常五弦 也有六弦的
一般认为 乌德传入伊比利亚半岛以后 逐渐发展成为西班牙吉他）
早在60年代就已经蜚声西方世界
他也是当时的newport民谣音乐节和woodstock音乐节的受瞩目人物
Hamza El Din是埃及南部的努比亚人
努比亚是埃及通往黑非洲的要道
历史上一直备受北面的埃及和南面的苏丹的双重压迫
但Hamza El Din用他的'ud和tar(努比亚鼓)
在世界舞台上展现了努比亚的魅力
他的歌声和音乐 被誉为“努比亚之魂”
本专辑第一首是Hamza El Din原创作品
后两首均是努比亚传统音乐
区区三首曲目 简简单单的乌德音色
确始终被西方世界尊为最伟大的世界音乐作品之一
这其中 恐怕既有Hamza El Din强大的个人魅力
也是因为这种本真、毫不造作的音乐 深深体现了世界文明的一个历史真实

‘Terminal’ features prominent Egyptian rapper Abyusif, newcomers Abanoub, Mado $am and R-Rhyme, and the mysterious Mecca-based vocalist MSYLMA.
It sees him broaden out his work on previous UIQ EPs 2016’s ‘Bionic Ahmed’ and the 2017 follow up ‘Numbers’ and into something more localized and personal. The project features photography from his local zones in Cairo. Musically with ‘Terminal’ ZULI's focus moves away from the dancefloor and towards more melodic/ambient/listening/vocal territories.
“In a world that feels like it’s regressing into tribalism, many of us who don't fit into any one specific group identity feel sidelined at best. When people talk to me, whether it be the press or peers in the scene I operate in, I am often approached with a preconceived notion of pretty much everything from my influences and taste to my politics and lifestyle, solely based on my nationality. It is a caricature that has proven very marketable, one that makes for a more interesting read/conversation/booking, apparently, than a multi-faceted (hence unique) human personality just like each and every one of us. Ever since this came to my attention I have been making a point to be as vocal as possible about how unfair that is.
This is an album inspired by my own personal experience in the city I live in. I just happen to be an Egyptian musician and the city just happens to be Cairo; my experience in Cairo may very well have more in common with that of an Indian accountant in New Delhi than of another Egyptian musician in Cairo.
Terminal draws from an abstract narrative of increasingly frequent cycles of ego-death and rebirth; its effect on everything from self-image and worldview, to the creative process, its fruits and the various masks/identities assumed in the process. The rap verses that feature are all either autobiographical or come from a place that is unique to each individual rapper; some of whom happen to be Cairean, and some who are not; the point is that it doesn’t really matter that much in the end.” - ZULI

The Green Dogs of Dahshur by The Dwarfs Of East Agouza, released 30 January 2020
The Dwarfs of East Agouza are back with « The Green Dogs of Dashur » ! Once again, the prolific American-Egyptian trio composed of Alan Bishop (Acoustic Guitar-Bass/Alto Sax), Sam Shalabi (Electric Guitar) and Maurice Louca (Organ/Synthesizers/Beats) breaks off all constraints and reveals a resolutely free album offering the listener variations of seductive melodies and unhinged improvised trance. The hot embossed metallic double-headed dog designed by the Lebanese artist Lynne Zakhour perfectly illustrates this album that blurs the boundaries of rock and jazz. A new album that will certainly delight fans of Sun City Girls or Land Of Kush.

Souk is delighted to present the sophomore album from a true fixture in Cairo seething electronic scene who should, by now at least, remain anonymously famous behind the 3Phaz moniker. Both as a way to make focus on the music itself regardless of identity and to sever ties with past projects, 3Phaz acts like an entity in itself, a most suitable conjuration of sounds past and future gravitating on their own dimension. Though connections are inevitable and welcoming with home turf artists such as ZULI or Rozzma, the Souk catalogue or percussion obsessed travellers like DJ Plead or errorsmith, 3Phaz's dalliance with the traditional sounds of Shaabi and Mahraganat and possible intersections with Grime, Techno and Bass-heavy subcultures feel very much their own.
Stripping away some of the dankest & darkest layers that made his debut album - Three Phase - such a dystopic proposition, Ends Meet envisions a different kind of future, that while not necessarily utopian, feels less tense and more celebratory in the capture and release mastery of its syncopations. Through seven percussion workouts summoned from hard hitting kicks, flinty hand drums, darting rhythmic excursions and traditional flute-like synth melodies, 3Phaz creates a set of raw and ever-intriguing dj tools for adventurous dancefloors that escape the mere functionality associated with the term to bristle with a life of their own.