From Maha’s 80s Egyptian orchestral pop to Fadoul’s 70s Moroccan psych-funk, independent label Habibi Funk has spent the best part of the last decade platforming fascinating, cross-cultural music from the Arab world. Their latest niche is Libyan reggae, a popular genre in the country since Bob Marley’s music arrived in the 70s and local acts honed their own takes on the sound. The label previously released 2021’s dub-laden single Tendme by Tripoli-born Ibrahim Hesnawi; their latest record, singer Ahmed Ben Ali’s Subhana, showcases the full breadth of the music’s ingenuity.
Ali draws on rhythmic similarities between Libyan folk and reggae’s offbeat, and its call-and-response vocal, and then uses synths to create his yearning melodies. Yarait and Subhana are the clearest examples of his fusion, replacing dub’s dilatory echoes with a slightly faster tempo, mirroring the bounce and pace of Libya’s zokra music, while adding a punchy combination of synth horns and clavinet bass: a funky and propulsive foundation that allows Ali’s melismatic vocal to soar.
Ali self-produced the record at his home studio and his trademark sound is bright and melodic. Rather than sinking deep into the bass tones of reggae, he prioritises the shrill sounds of synth horns and rhythm guitar, resulting in the uplifting, euphoric feel of tracks such as Aziz w Adda. He also adds playful instrumental flourishes. On Damek Majeb he pairs the Libyan mizwad bagpipes with samples of kitsch wah pedal guitar, while Ya Ghayab channels a dancehall rhythm alongside flutes and finger-picked Spanish guitar. It’s a strange yet engaging mix: Ali’s rooted reggae swing and crisp vocal performance lends it consistency, although Ghali’s opening vocoder is perhaps a jarring step too far.
It’s a striking effort that brings together disparate genres into a largely cohesive and joyous album. Ali’s confidence is palpable, and Subhana puts him on his way to becoming a Libyan reggae great.
Also out this month
Snarky Puppy bassist Michael League’s global blues outfit, Bokanté, release their third record, History (Real World). Singer Malika Tirolien’s falsetto soars over the heavy rhythmic foundations of the group’s four percussionists, producing an energetic blend that peaks on Adjoni’s hand-clapped beat and group melodies. Beirut group Sanam’s debut record Aykathani Malakon (Mais Um) blasts to life with its mix of low-tuned guitar jams, industrial drums, and earthy vocals – an immersive collection of dark and spacious textures. Guitarist John McLaughlin’s Indo-jazz fusion group Shakti presents their first studio record in more than 45 years, This Moment (Abstract Logix). McLaughlin’s lines are as intricate as ever, blending seamlessly with the group’s konnakol rhythms and Zakir Hussain’s fast-paced tabla. Eight tracks that are well worth the wait.
