It’s eight years since Nadah El Shazly’s debut, but her works since – particularly the astounding Pollution Opera with Elvin Brandhi – point to an artist still open to bringing in new sounds, one with a freeform approach to influence, intent on channelling as much as possible through her blend of experimental electronics and traditional Arabic influences.
This instinct remains on Laini Tani, songs clearly bearing the influence of myriad sonic worlds, but it’s strange that they manage – at least early doors – to coalesce into music quite so characterless. Her voice remains gorgeous, but tracks like ‘Banit’ and ‘Elnadaha’ never lift beyond a plod; never seizing in the way you know her work can.
Then, from the throbbing opening of…

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