This Lebanese trio strikes a remarkable tone and overall sound built upon the vibrant guitar interplay of Charif Megarbane and Salim Naffah along with the dexterous drumming of Pascal Semerdjian. An assortment of instruments appear and disappear across their records, but the guitars are the constant presence that drive the songs forward. The interplay of their teeming guitars lead to bright catchy melodies that frequently ring with substantial twang. Further, the trio’s apt use of shadings and contrasts creates depth and dimensionality. Both of their albums are sliding glass doors into the Middle East, filled with moments of overarching Middle Eastern musical influences, while other stretches contain traces of subtle undercurrents.
Their 2021 album, Hippodrome, named after a Beirut horse racing park, sets the pace with their inspired run through a variety of instrumental styles. This adventurous album could be considered one of the best, albeit mostly unknown, instrumental releases of the ‘20s. Their influences immediately flash across their debut starting with Morricone majesty ("Asifat el Midan") before entering the whirlwinds of ‘50s guitar vibrato (“Farah el Zaman”) and sweeping desert surf instrumentals (“Abul Zick” “Marengo”) along with numbers that features the aforementioned influences, but also immersed in the swirling currents of cumbia and chicha (“Embarator”). In addition, the effervescent “new agey” melody of “Ahlam” is not too far removed from Acoustic Alchemy or the California Guitar Trio. The hypnotic “Kaher el Kheil” is a shape-shifting workout of drony funk that could redefine the meaning of trance, as well as evoking the raga-rock era of the Byrds. Going into Joe Meek’s “Valley of the Saroos” with a “Telstar” above is “Mamnounak.” “Hiba” is widescreen Spaghetti Western music that spans a sea-level desert floor before being swept up by prominent Middle Eastern chants. “Zenobia” crackles with surging live energy and an evocative melody somewhat reminiscent of Gábor Szabó. Crossing the Mediterranean, “Fatha” weaves in keyboards and Afrobeat. Bringing things to a fitting ending, “Helwet el Midan” is the sparkling return to triplets galore and vibrato that spiral to the stars.
They adeptly dive into a soothing and lush sound on Acqua Marina. The music carries itself with a quiet assurance along with an uncommon fluidity and molten malleability. This time around, the trio mainly takes its cues from production/KPM library music and Italian soundtracks. The album opens with “Abu Sinn” that has sunrise radiance and a playful melody line not too far removed from those of Eiichi Ohtani. In addition, this glowing number rises and goes off into an airy and ambient realms-near the vicinity of vaporwave. Songs like the plush, yet uncluttered “Lekkos Ramle” sparks the thought that Charif Megarbane could be considered the Sean O’Hagan of Lebanon. Additionally, the prolific Megarbane is currently the only contemporary artist to be featured in the Habibi Funk series. A possible Iberian Baroque influence (e.g., Batiscafo by Gregorio Paniagua) can also be detected-revealing additional facets of the trio and their extensive musical awareness. The fluid “Sultan Brahim” blends in Levantine musical elements that are played with finesse. The setting shifts from the concert hall to the discothèque as “Marmoura” recalls “Love’s Theme” by Barry White's Love Unlimited Orchestra. Gliding guitars cross a stunning sunset on “Jaro” as the day and album fade off on a gentle note.
Both Prefaces albums feature compositions built on layers of guitars, strong melodies and arrangements that take off in some unexpected directions. They also encapsulate Charif Megarbane’s melodic instincts and remarkable synthesis of international and indigenous influences. Along with groups like LA LOM, Resavoir + Matt Gold’s Horizon, Pekka Laine, and Etran De L'Aïr, Prefaces are seemingly part of a worldwide movement of acts taking guitar-driven music into new directions without abandoning its foundations. All in all, Prefaces should appeal to ardent listeners of guitar instrumental music or for those who are not afraid to venture out.
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