Monday, 6 October 2014


Praed is not just the team of switzerland's Paed Conca & Lebanon's Raed Yassin, it is the opening of element space where both musical performers fill in distinctive parts now and again all the while with Yassin's utilization of twofold bass, hardware, tape & radio material too making the feature that gives the visual material to their exhibitions, and Conca's multi-instrumentalist methodology playing electric bass, arranged and un-arranged, clarinet and gadgets. This multitude serves the center of this current team's creativity, displaying a few levels of translation and making them coincide, never attempting to settle on any given climate or creating on a particular mixture of sound and picture. The result is a steady development and deconstruction methodology, everything that develops is situated to vanish or be recovered or adjusted by method for expansion or subtraction. 

We could expect a quick pace and the era of a thick soundfield, yet shockingly it is all the inverse, the music develops around sequential thoughts tossed with most extreme exactness and the variation of parts, textural, background noise, and pieces of more ordinary music played both by the instruments and examples of previous music. No measurement could be forgotten making a strained multi-layered world where the visual quiet of the performers can stand out from the brutality of the onscreen pictures and the other way around. 

It is hard to further portray Praed, as both their music and exhibitions are the exceptional aftereffect of both Conca & Yassin exponential combinatory conceivable outcomes of their different aesthetic measurements. 

Swiss/Lebanese couple of Raed Yassin and Paed Conca - investigating music and aggregate memory through separated sound pieces - perform nearby extemporizing trio of Stephane Rives, Sharif Sehnaoui and Roger Turner. 

Praed is the twosome of Swiss musical artist Paed Conca and Lebanese craftsman/performer Raed Yassin. With three discharges to date and six years of musical and masterful cooperation, the pair explores different avenues regarding an unpredictable and boundless territory of sonic/musical impacts and topographies. Through a discriminating examination of the relationship in the middle of music and aggregate memory, Conca and Yassin manufacture a soundscape made out of disengaged sound parts: vocal specimens stripped of their comparing bodies, sounds liberated of their pictures, musical deliberations here and there…  

Their third CD sounds like a neo-noir soundtrack set some place in the middle of Cairo and Tokyo. Punches, shouts, and odds and ends of discussions conflict with blasting extends of clarinet and twofold bass thunders. Intensely put resources into drawing out the possibilities of inspecting, the couple's recordings are regularly branches of live exhibitions in which radio transmissions, film soundtracks, and vinyl make an engineered musical pressure loaded with unconventional circles and despairing tones. 

Sharif Sehnaoui is a free ad libbing guitarist. He plays both electric & acoustic guitars, with (or without) broadened and arranged methods, concentrating on extending the inborn potential outcomes of these instruments without the utilization of impacts or gadgets. He now dwells in Beirut, the place where he grew up, after more than 10 years in Paris, where he began his profession as an improviser in 1998, playing at Instants Chavirés where he was a part of a few symphonies. He has since performed his music overall and played in numerous clubs & celebrations, for example, Soundfield (Chicago), Moers, Konfrontationen (Nickelsdorf), Météo Music Festival (Mulhouse), Club Transmediale (Berlin), Skanu Mesz (Riga) or Musikprotokoll

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