Le Cri du Caire, by Le Cri du Caire

Le Cri du Caire

by Le Cri du Caire

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staxmotown Plongée en soi et au monde, dans des profondeurs minimalistes où des incantations d'espoir et d'insoumission subsistent au tragique.

Eugen F. This intensity, purely cathartic. Favorite track: Pearls for orphans.

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Mini Gatefold, including an 8 pages booklet

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Record/Vinyl + Digital Album
12'' 180g Vinyl. Includes a printed insert

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€25 EUR or more

1.	Jarda Al Wadi 03:34	buy track
2.	Pearls for orphans 05:14 video	buy track
3.	Splendid tales 07:09	buy track
4.	Balaya 07:00	buy track
5.	Le cri du poète 02:08	buy track
6.	Sadiya (Purple feather) 04:48	buy track
7.	Le Marcheur 04:09	buy track
8.	Kama Kano 03:51	buy track
9.	Haqeq Al Jannah 04:49	buy track

about

Le Caire, fin 2013. Dans une ville en ébullition où le couvre-feu vient d’être levé après un deuxième coup d’État, où le rêve et la révolte s’affichent en grand sur les murs, où les slogans hostiles aux islamistes et à l’armée résonnent jusque dans les clubs du centre-ville, je me retrouve saisi par la voix d’Abdullah Miniawy au Studio 100Copies, à deux pas de la Place Tahrir. Chanteur, écrivain, poète, slameur et étudiant venu de la ville-oasis d’El-Fayoum, Abdullah agite la scène et les réseaux sociaux par sa voix hypnotique, son mélange unique d’électro, de jazz et de soufisme, à la fois punk, psychédélique, séculaire et avant-gardiste. Trois mois plus tard, premières rencontres et premiers chocs scéniques ourdis par le festival La Voix est Libre au Caire et à Alexandrie avec le “Jimi Hendrix du oud”, Mehdi Haddab, et avec le compositeur et saxophoniste Peter Corser au festival D-CAF (Downtown Contemporary Art Festival), créé au lendemain de la révolution par l’homme de théâtre Ahmed El-Attar. Après trois ans de batailles administratives, alors que la censure fait son retour dans les milieux artistiques égyptiens, Abdullah débarque enfin à Paris où il enregistre avec Peter Corser une première version de Purple Feathers diffusée sur Soundcloud.

En 2017, saisi dès les premières secondes par ces envolées vocales et instrumentales, Erik Truffaz accepte notre invitation à se hisser sur les boucles hypnotiques de Peter et les chants électriques d’Abdullah, bientôt rejoints par les cordes incarnées du violoncelliste Karsten Hochapfel. Cinq ans plus tard, le Cri du Caire n’en finit plus de faire tourner les têtes, devant un public souvent ému aux larmes. À la fois libre et spirituel, sensible et insaisissable, leur musique touche au vertige de l’âme, volant vers ce qui pourrait bien être l’un des plus courts chemins entre zéro et l’infini.

Blaise Merlin

—------------------------------------------------

Double page intérieure, page 1 : Anglais

Cairo, late 2013. In a city in turmoil, where the curfew had just been lifted after a second coup d'état, where the walls were still covered in dreams and revolt, where even the clubs of the city-centre echoed with anti-Islamist and anti-army slogans, I was deeply touched by the voice of Abdullah Miniawy at the 100Copies music studio, a stone's throw from Tahrir Square. A singer, writer, poet, poetry-slammer and student from the El-Fayoum oasis, this spokesman for Egyptian youth was shaking up the music scene and social networks with his hypnotic voice and unique blend of electro, sufism and jazz music, both punk and psychedelic, secular and avant-garde. Three months later, Abdullah's first on-stage revelations took place at the La Voix est Libre festival in Cairo with the "Jimi Hendrix of oud", Mehdi Haddab, followed by his first meeting with composer and saxophonist Peter Corser at the D-CAF festival (Downtown Contemporary Art Festival), created in the aftermath of the revolution by leading figure in theater Ahmed El-Attar. After three years of administrative battles, while censorship was making a comeback in Egyptian artistic circles, Abdullah finally arrived in Paris where he recorded an initial version of Purple Feathers with Peter Corser, which was broadcast on Soundcloud.

In 2017, gripped from the very first seconds by these soaring vocal and instrumental performances, Erik Truffaz accepted our invitation to become involved with Peter's hypnotic loops and Abdullah's electric vocals, and was soon joined by the visceral strings of cellist Karsten Hochapfel. Five years later, Le Cri du Caire is still turning heads, and often moving audiences to tears. Both free and spiritual, sensitive and elusive, their music elevates the soul to giddy heights and flies towards what may well be one of the shortest paths from zero to infinity.

Blaise Merlin

credits

released January 27, 2023

Tous les textes sont écrits et interprétés par Abdullah Miniawy.
Peter Corser est au saxophone ténor sur tous les morceaux sauf “Le Cri du Poète”.
Karsten Hochapfel est au violoncelle sur tous les morceaux sauf “Le Cri du Poète” & “Le Marcheur”.
Erik Truffaz est à la trompette sur “Jarda Al Wadi”, “Pearls For Orphans”, “Le Cri du Poète”, “Sadiya (Purple Feathers)”& “Kon Kama Kano”.

Remerciements : Paul Fournier et toute l’équipe de l’Abbaye de Noirlac, Mahmoud Refat, Ahmed El-Attar, l’Institut Français, l’Institut du Monde Arabe, Fanny Riotte-Kempf, Yasmina Rakovsky, Giusi Tinella, Jacky Ohayon, Marc Chonier, Paul Rondin, Emmanuel Magis, Sarah Kadoury, Rebecca James, Claude Buchvald, Claude Merlin, Anne Laurin, Marie-Suzanne de Loye, Pierre Le Bourgeois, Yom et Médéric Collignon.

license

about

Le Cri du Caire Paris, France

« À fleur de peau, la voix d'Abdullah Miniawy met notre cœur en transe, accompagné par les modulations continues du saxophoniste Peter Corser, l’archet baroque du violoncelliste Karsten Hochapfel et les volutes aériennes du trompettiste Érik Truffaz »
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