One of the most annoying things lately is the disgusting and groundbreaking combination of techno and what is called “Oriental” music (Tachles, curly Israeli music): Regev Hod did it with “Techno and Oriental”, Itai Levy did it with “Barka”, Lior Narkis with “Leave me out of techno” and Eden Ben Zaken did it with “‘WTF”.
One who could not sit on the sidelines and watch colleagues humiliate themselves musically and go down to the trash is Maor Edri, who had to put out a techno trash song himself and launched these days “Techno and Neighborhood”, which is based on rhythm rather than text, melody or performance that is mediocre. Edri is an excellent singer and a talented creator, but shooting himself in the foot with such a bad song shames not only him but also us, the listeners to this thing.
And if we are talking about techno, then again with me Levy is connected to Ido Shoham (with whom he collaborated on the song “Barka”) and Stefan Lager for two songs at the same time: “After Amale” and “Umm Kulthum”. Just by reading the names of the songs one can assume that it is an artistic horror, even before pressing PLAY.
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But I clicked PLAY for you, and if we ignore the very invested and good clips, musically there is not too much in these songs: “After Amale” is mostly a gibberish pile from “Perm Pam Pam” to “Tendons Dim Dim” and a narcissistic chorus in which the two Singing about themselves. It may be appropriate for the pace and atmosphere but interesting, intriguing, quality – it is not. Not even at the level of being called “banal”.
“Umm Kulthum”, on the other hand, sells the same techno stanza, this time with lyrics that culminate when Stefan is left with a vowel, and unlike “After Amale” here one can somehow connect to the melody, to the blah blah text (but the use of the holy name of Umm Kulthum is unnecessary here, in my opinion) and the chemistry between the two, but still repeating the same musical mantra is quite tiring and tedious that brings to the abyss of oblivion another trivial song similar to a billion more songs that will probably be forgotten next week. I expected more from these talented two – and I was disappointed.
Moshiko Moore and the Shadow team up for a new song – “Pappy”, which really surprised me a lot. I was expecting another boring song that combines rap and ripples and pretends to ride on some goofy trend like techno or waterbar, but the two actually went for the old school of catchy and simple chorus on Moore’s part, and a great hip hop section of the shadow, without too many devines and without trying to track anything Not them.
“Pappy” manages to put the listener in the fun atmosphere that the song is trying to convey to him, using the well-known and not new story of a man who tries to bring his beloved back to him and convince her that money does not buy true love.
Whoever played her is Maya Dadon with “Come on bye”, a song that comes after two ballads and this time brands her as a talented, charismatic and fun Mediterranean pop singer who knows how to hold a song properly. The song is very catchy, fun and light-hearted, similar to the mood recently instilled by Anna Zack with “Go to Sleep”, in which the singer also ostensibly conducts a dialogue in a song with a man, and shows strong feminine power while waving at those who play with her.
What’s quite annoying to me, I must admit, is Dadon’s proofreading, she sings in the song “If anyone lowers confidence, I’m the one who will give you the back”, even though the text reads, properly of course, “I’ll give you the back”. I would expect those who work with the singer to pay attention to such embarrassing subtleties because it would be a shame to spoil it and pass it on to the singer at the beginning of her journey, which in a sense reminds me of Lake Bohbot from the days “like in Rio”. Anyway – I loved it.