DATE: Saturday, 01-10-2022
VENUE: Das Werk, Main Floor, 01:00-02:00
Mhamad Safa is a musician, architect and researcher, based between London and Beirut. Safa’s work focuses on multi-scalar spatial conditions and their sonic make-ups. He explores their intersections with aural legacies of traditional and subcultural practices as well as environments of conflict and violence. He conveys these auditory inquiries by assembling sound design, micro-sampling, algorithmic sound technology, psychoacoustics, field recordings, and their graphic interpretations. Culminating with heavily percussive and rhythmically odd interventions, these sonic irregularities are often repurposed as speculative experimentations on the futures of dance culture.
His latest release Ibtihalat is a throbbing, cyclical and boundless summoning of an otherworldly force in the face of geographic calamities and contingencies. These invocations are inherent to musical traditions in North Africa and the Arabian Peninsula. While attending to these styles’ singular and evolving ceremonial dimensions, the compositions that make up the music album introduce processes of musical synthesis and algorithmic design, initiating rhythmic meters, accents and polyrhythms within beat-based compositions, inaccessible through dominant tools in music production. Ibtihalat contemplates musical futures of these practices within geographies morphed by unprecedented migration, logistical and extractive accelerations.
DATE: Saturday, 01-10-2022
VENUE: Das Werk, Main Floor, 01:00-02:00
Mhamad Safa is a musician, architect and researcher, based between London and Beirut. Safa’s work focuses on multi-scalar spatial conditions and their sonic make-ups. He explores their intersections with aural legacies of traditional and subcultural practices as well as environments of conflict and violence. He conveys these auditory inquiries by assembling sound design, micro-sampling, algorithmic sound technology, psychoacoustics, field recordings, and their graphic interpretations. Culminating with heavily percussive and rhythmically odd interventions, these sonic irregularities are often repurposed as speculative experimentations on the futures of dance culture.
His latest release Ibtihalat is a throbbing, cyclical and boundless summoning of an otherworldly force in the face of geographic calamities and contingencies. These invocations are inherent to musical traditions in North Africa and the Arabian Peninsula. While attending to these styles’ singular and evolving ceremonial dimensions, the compositions that make up the music album introduce processes of musical synthesis and algorithmic design, initiating rhythmic meters, accents and polyrhythms within beat-based compositions, inaccessible through dominant tools in music production. Ibtihalat contemplates musical futures of these practices within geographies morphed by unprecedented migration, logistical and extractive accelerations.