#electric sufi

[burlveneer-music]

Electric Sufi - O Ignis Spiritus - an electronic & Middle Eastern interpretation of Hildegard von Bingen

Electric Sufi are Sheffield based Professor of Music and Sound Archaeologist at Huddersfield University Rupert Till, Manchester based singer-songwriter and environmental activist Sarah Yaseen and Nottingham based multi-instrumentalist / University lecturer Mina Mikhael Salama.

With its bed of electronic drones and ebow guitar setting the scene, Electric Sufi’s interpretation of O Ignis Spiritus, a mediaeval chant by St. Hildegarde, is a mesmeric performance that sees a Muslim Sufi woman singing ancient Christian music written by a Christian woman. This embodies their mission of bringing traditions and ideologies together in a harmonious and creative way to precipitate solving the biggest issues of the day like climate change and societal division.

Utilising tuning based on the Solfeggio Frequencies, an ancient six-tone scale said by some to be incorporated in Gregorian chants and other sacred music, some research suggests that the pitch 528Hz on which the song is centred has healing properties and can help with relaxation.

[mariamnamah]

ريحانة الوالهة

Poem by Rayhana al-Waliha, a Sufi mystic from Basra

[fantodsdhrit]

i don't require you god stop harassing me with resplendent messengers with electric

sounds of

russian cossak or german roundabout of saintstreams that pool into a petty ocean what of the light you ask: you who strangle

sunsets in

majestic purple the washing machine women covet you more than you claim my faith: float to them and unfurl inside their

clay pitchers

go embrace

that humble

sufi shepherd

ripping his robes for a simple union with you: in the ghettos slums children are too pure then there are

financial giants

in a snow globe

sisyphusarbeit

reindeers observe the world in ultraviolet light which is merely light for you resolved by bewitching fever

limitations

red anklebell

spiritfoams

evanescent

[kccinstitutes]

Alumni Meet 2023

Time and time again, we come together to relive cherished moments and create new ones! 🎉🎉🎉🎉🎉

KCC Institute of Legal and Higher Education Alumni Meet 2023 was an incredible event of reconnecting with old friends and celebrating their remarkable achievements. The event kicked off at 5:00 PM and carried on for hours as students and faculty got lost in the joy of reminiscing and forging new connections.

The Alumni Meet 2023 was a true reflection of a student's path:

Remembering the past

Embracing the present

Envisioning the future

The environment was electric when the renowned Sufi Band, DAM SAAZ, took the stage. Their performance left the audience speechless and overflowing with emotions.

The energy was infectious as students danced the night away after dinner creating memories that will last a lifetime.

Here's a sneak peek into the event as we continue to nurture a culture of growth, learning, and connection. Join us in celebrating this amazing journey! 🎊🎓 #KCCAlumniMeet2023 #JourneyOfConnections

[dreaminginthedeepsouth]

A comment by Hafizullah Sufi on a Gurdjieff quote I posted yesterday, drawn from the discourses of Hazrat Inayat Khan: “As the books, precepts, and doctrines of his religion are important to the follower of a religion, so the study of the breath is important to the mystic. We ordinarily think of the breath as that little air that we feel coming and going through our nostrils; but we do not think of it as that vast current that goes through everything, that current which comes from the Consciousness and goes as far as the external being, the physi-cal world. In the Bible it is written that first the Word was, and from the Word all things came. And before the Word was the breath, which made the Word. Behind the word is the much greater power, the breath. If a person wishes to study the self, to know the self, what is important is not the study of the mind, of the thought, the imagination, nor of the body, but the study of the breath. The breath has made the mind and the body for its expression. It has made all from the vibration to the physical atom, from the finest to the grossest. The breath, the change of the breath can make us sad in the midst of happiness, it can make us joyful in the saddest, the most miserable surroundings. That is why, without reason, in some places we feel glad, in other places a melancholy comes over us. It is the air that makes us so. You may say, “How can the breath make all this? How could it make the body?” I have seen people become in the course of years as their breath is. What exists in the breath is expressed in the form. As the breath is, so the child becomes. There has been so much said about the breath, and enough could never be said about it. The mystic is at a loss to explain what breath is, as a scientist is helpless to give the explanation of electricity, though both will try their best to make it intelligible to their students. And, as electricity when controlled can be utilized for a great many useful purposes, so still greater purposes and important purposes can be accomplished by the control of the breath. “The importance of breath is only now becoming known to the scientific world, and there is much of this mystical subject which is unexplored. But mysticism has been founded on the science of breath. There is no mystic, whether Buddhist, Vedantist, or Sufi, who makes use of another process than that of the breath. Breath is the first lesson and it is also the last." —The Unknown Dimension— “Breath is a light in itself, and it becomes projected like the beam from a searchlight thrown upon an object. When the breath is coarse, undeveloped, it is full of material atoms which dim its light, but a developed breath is sometimes not different from the light of the sun but even brighter than that. Breath being a light from another dimension, which is unknown to science today, it cannot be visible to the ordinary physical eyes. The glands of the physical eyes must be cleansed and purified first by Pas-i Anfas before the eyes can see the light of breath. What people call the aura is the light of breath, but it is not everyone one sees it. A radiant countenance is a proof of an aura which illumi-nates it, and the lack of it is the lack of light in the breath. A seer sees the sign of a death more clearly and longer beforehand than a physician can. The reason is that the seer sees in the aura of a person whereas the physician sees only the condition of the body. Many experience the phenomena of the light of breath, and yet doubt if it can be true, for they think it is perhaps an imagination. Others, who are incapable of seeing that light, confirm their doubt. The Sufi, by the development of breath, experiences this light, which becomes for him a proof of the existence of that dimension which is unknown to the ordinary world.”

+

[original quote]

"Important of being conscious of breath, particularly while talking, because force of speech has to do with with ability to breathe correctly. Breath is related to bodily rhythms like pulses. Self-conscious breathing concentrates thought and, more importantly, the absence of thought. It is important to know how to know of knowing, so that the body's centers can function independently. 

As for the breath in speech, listen to yourself when speak. What you hear and what others hear are not the same. Spoken word have two powers, interior and exterior. A person can move things with power of voice, and power of voice depend upon breath. Observe breath, but do not alter it artificially.

The All is essence, and Everything is personality. The All is, on another level of thought, the Absolute and Everything is what lies along the track of its Ray of Creation towards Nothing."

~ Gurdjieff (From an essay entitled 'Gurdjieff and the Children' by Paul Beekman Taylor.)

[Ian Sanders]

[b-sai-des]

A New Frontier: South Asian Fusion

In terms of any actual formal music knowledge, I come from the side of Carnatic music, the Indian classical music style, having been learning the mridangam for around ten years under my guru, Sri T.S Nandakumar. I am always eternally grateful for all that he has done for all of us students, and one of the many things I admire about sir is his willingness to explore unconventional avenues with the mridangam. The mridangam is a two-sided barrel drum usually played as an accompanying instrument in a Carnatic piece that may feature vocals or violin, and veena as well. Nandakumar sir is a renowned accompanying artist, but he’s also given his students many opportunities to perform like chamber concerts and arangetrams. One really unique thing he’s done is a large orchestra of mridangams and other Carnatic percussion instruments at the Cleveland Thyagaraja Festival, which he’s done for multiple years and encouraged even younger students to practice and perform there. It’s unusual for the mridangam to take such a center stage like that, where you have around 100 players playing together in an epic display alongside veena and violin. It was also cool to see Nandakumar sir bringing in western drums into those performances as well, along with drum pads there and in other performances. Having that exposure from a young age really opened my eyes to the potential of Carnatic music elements in contexts that you don’t normally see, and I got curious about what else is capable. Carnatic music for example utilizes many, many different talams (time signatures) apart from just 4:4 (Adi in Carnatic music), and it would be really interesting to see how that could be utilized more generally.

South Asian fusion is a huge, diverse space that’s hard to really pigeon-hole because of how many types of South Asian music there are (Carnatic is just one, there’s also Hindustani, Sufi music, folk music, Bhangra, etc.), along with different genres that they are mixed with like jazz, rock, pop, etc. You had mingling in the past, like Ravi Shankar and The Beatles. Later on it grew, definitely a more recent phenomenon and likely accelerated due to immigration and assimilation in the west. Younger generations are really at the forefront on it  – you see a ton of high school and college clubs doing Indian music or dance fusion. Rutgers has many, including RU Dhol for example. Some of these student clubs lean more on the side of Bollywood-oriented stuff, and there are times that can overshadow other ways to explore the genres – my sister sometimes talks about how the South Asian fusion club she’s part of really neglects classical dance forms like Bharatanatyam or Kathak. In that club it’s seen as the less hip thing, and people will say “it’s cool that you’re so confident to perform that” rather than actually having an interest in it and the people who want to share it. Then again, I'm talking about high-school pettiness here – it's not like this everywhere. RU Dhol combines South Asian instruments and styles of playing with western equivalents. This performance places electric guitars next to the Indian classical violin style in a really fun way.

One of my biggest experiences with South Asian fusion is with Brooklyn Raga Massive. My aunt is a Bharatanatyam teacher, and in 2018 or so she had collaborated with a theater director for a production of Jungle Book, where her students performed Bharatanatyam in a song. After the show, we had met some of the other musicians involved in the show, since my cousin learns Carnatic singing, my sister Bharatanatyam, and I mridangam, and we talked to a percussionist who was part of Brooklyn Raga Massive. He had told us about them – they do daily events at a Prospect Heights venue along with bigger events and performances, and he encouraged us to come on a Thursday where they hold an open mic jam session. We definitely got excited about this, and we went one evening.

The venue was a real hole in the wall type bar with a small stage and seating area in the back, and there was a decent and rather diverse crowd of people. Dim lights and creaky wooden floors, very aesthetic. It’s interesting because now they’ve grown immensely as an organization, and I don’t believe they still have events at this place. It was really cool to see the really different talents displayed there – one woman performed a really interesting singing performance which now I can’t pinpoint what style it was. You also had more traditional classical instruments like tabla and sitar. What’s really cool is that even though I was only in eight grade and my cousin was only in ninth grade, they gave both of us the opportunity to play with them, and they were super friendly and inviting, even despite any mistakes or hesitation I had. There were no judgments, just the spirit of experimenting and playing. I still look at that night with a lot of fondness. 

What I played that day, it was really incredible to get that opportunity and for it to be so low-key and welcoming. My cousin is also there on the stage (dressed in white), he’s an incredibly skilled Carnatic vocalist.

Recently I was inspired by all this and for my midterm assignment for the class I’m writing this for, I made a music track with mridangam and electronic effects in Ableton (free trial came clutch). I initially spent a lot of time worrying about doing it right and perfectly planning everything, but it only came together when I just let go of that and just messed around, re-arranging recordings of me playing and layering effects. Just doing it was fun, and I learned a lot from it.

shameless plug to my video

There’s a free-ness with something like this that’s a really different experience from traditional Carnatic music. At the same time, there’s a level of playfulness with Carnatic music too, as when you’re playing on stage you don’t practice with the other artist beforehand, and what happens there is often unexpected and exciting, and I’m reminded of that when I see jazz music too. To me says a lot about the inherent commonalities in what makes music so rewarding to make and experience.

[wisdomrays]

FAYD and TAJALLI (Effusion and Manifestation): Part 2

All such assertions by philosophers imply a random guessing at the Unseen, and they are impossible to reconcile with the essence of the Religion. Furthermore, they are of no practical use for true or sound knowledge and faith, knowledge of God, or spiritual pleasures.

Even though some Muslim thinkers have, now and then, busied themselves with such matters, neither these philosophies nor similar trends of thought have made any contribution to Sufi life or experience, which is another way of expressing the Islamic life of the heart and spirit. More than that, they have muddied some simple minds, damaged the spirit of some principles of faith, and caused several trends of falsehood to emerge.

We also come across some Sufi guides who are reported to have written or talked about emanations from God and His self manifestation as a visible Being. I think that either such contorted ideas have been inserted into their works by others, or they themselves have approached the matter from a different viewpoint in relation to the Divine Oneness and Will and have lapsed into seeing such approaches as harmless. For neither the Qur'an nor the Sunna contain such considerations, nor did the scholars of the earliest times make any mention of them. For this reason, such philosophical approaches to creation can only represent some contaminated information that has found its way into our religious heritage from the legacies of earlier traditions.

The false doctrine of "only one entity emanates from one entity" lies in the essence of such trends of thought. They regard the All-Independent, absolutely Powerful Lord of the worlds to be in need of some powerless means or intermediaries, and present material or immaterial causes, which are in fact veils before the acts of His Lordship, as if His partners. To explain further, these approaches accept the existence of an Intellect besides God, an Intellect which emanated from Him, and they consider God to be inactive—God forbid such conceptions!—ascribing His dominion over all parts and dimensions of existence and all His acts to different means and causes. This is impossible for any believer in God to accept.

As the explanations of the Qur'an and the Sunna concerning creation are so clear as to cause no misunderstandings, so too are the views and conclusions of true Muslim thinkers and scholars regarding this matter so obvious that they make no way for such misconceptions. According to the Qur'anic way of thinking, or the Islamic viewpoint, whatever exists—with all its punctuation, letters, words, sentences, paragraphs, and parts—has been created by the All-Sublime Creator, and receives from Him whatever it needs to subsist; and all that exists is under the control, direction and disposal of His Will and Power at every second of its life, without excluding the partial, free will of conscious, responsible beings. The creation and direction of all the visible and invisible realms of existence belong to God, Who is the sole Source of all gifts and blessings that reach every existent thing and being. With the exception of some misunderstandings that arise from certain ambiguous expressions, all the explanations concerning this matter agree upon this cardinal truth. Sound minds have thought so, sound senses have received the same sensations, and the order, harmony, and instances of wisdom in existence have always expressed it.

Everyone who is able to observe carefully will feel and see that everything—from the multicolored faces of flowers, which send smiles to passers-by, to the swaying of trees in the manner of brides, from the frightening roars of thunderbolts to the delicate, penetrating songs of birds and insects echoing in our souls, from light, heat, gravity, electricity, and chemical processes to biological activities, from humans' observable potential and abilities to their feelings and conscious, spiritual activities—all indicate and bear witness to the Existence of God and His absolute dominion over all things and events. Everyone will feel and see this truth and quiver in awe.

If humans can evaluate the sounds and scenes which come to their ears and touch their eyes by passing through the sensitive filters of the conscience—the sounds and scenes from the terrifying roars of the seas to the enchanting howls of the forests, from the contemplative silence of bays and coves to the awe-inspiring stature of mountains, from the flirtatious gestures of multicolored flowers to the loving kindness of birds and insects, from the world that is a book to study, an exhibition to watch, a palace to visit, and a field to sow and harvest, to humans, who are honored with abilities, to numerous subtle purposes for and instances of wisdom in the existence of all these things—then they will be able to feel and understand that all these have originated from the Sacred and Most Sacred Source of effusion through the Knowledge and Will of God, and go into raptures at the knowledge of the love of God and yearn for Him and for the spiritual pleasures that invade their spirits.

In short, whether spiritual or material, animate or inanimate, large or small, every existent thing or being has come into existence through an effusion from God and continues to exist through constant manifestations that originate in Him, thus pursuing a fixed goal. Coming into existence from non-existence depends on a certain effusion and manifestation, and taking care of everything or being that has been sent into existence is dependent upon another, different effusion and manifestation. Furthermore, the opening of ways to belief, knowledge of God, and love by means of the Prophets is the result of another gift of effusion—while it is yet another gift of effusion that the same truths brought by the Prophets are presented by saints, verifying, saintly scholars, and true guides to the level of comprehension of every age according to changing time and conditions. It is also another, particular effusive gift that all the means and possibilities down to the slightest ones are used to form a pool of mysteries and enable everyone to benefit from them.

The Creator has boundless gifts that come in effusion,

And in every effusion is a different manifestation.

Whatever we see is a mystery throughout,

Every mystery is clearer than the other for those who are aware of it.

Our Lord! Grant us mercy from Your Presence and arrange for us in our affairs what is right and good!

Our Lord! Grant us a way out and salvation in our affairs!

Bestow your blessings and peace on our master, Muhammad, and on his Family, and Companions, all of them!

[husbandhannie]

tagged by @neonun-au to post the first 10 songs that come up when shuffling my spotify wrapped

Angostura by Keshi

Trouble by Troye Sivan

Kun Faye Kun by A.R Rehman, Javed Ali, Mohit Chauhan

So Good (stripped) by Halsey

Lost on Me by Eric Nam

March by SEVENTEEN (how did this make it in -)

When You're Gone by Shawn Mendes (ah yes, breakups)

Electric by Alina Baraz ft. Khalid

One Way Lover by Eric Nam

I Got Love by MONSTA X

tagging: @wooahaes @leejungchans (only if you want to, guys) and anyone else who wants to! (its 4 am here and i can't think enough to tag anyone else, sorry!)

livvie's note: quite surprised that there's no ts here, and that there's only one monsta x song. also was expecting some def. (jay b from got7) since i listened to his album LOVE. on repeat for several weeks while reading, but oh well. also nice to see two of eric nam's songs appear, he knocked it out of the park with his album there and back again.

some facts no one asked for:

my top kpop song: to you by SEVENTEEN

my top duet: what a time by Julia Michaels, Niall Horan (yes, breakups)

top sufi song: kun faye kun (see above), closely followed by patakha guddi (not exactly sufi, but eh)

top cover: happier than ever by kelly clarkson

most recurring albums (in no particular order, and not linked): brent i & ii by chelsea cutler and jeremy zucker, one of a kind by monsta x, no limit by monsta x, shape of love by monsta x, there and back again by eric nam, when i close my eyes by chelsea cutler, solar power by lorde, face the sun by seventeen, attacca by seventeen, midnights by taylor swift, love. by def.

[musicverse11]

Inside the Mind of a Genius: The Musical Techniques of AR Rahman

AR Rahman is more than a name in the music industry; he's a phenomenon, a pioneer whose work has continuously pushed the boundaries of what music can achieve. His approach to composition, production, and sound engineering set him apart as an innovator and creative genius. Often described as a "Mozart of Madras," Rahman has not only transformed the Indian music industry but has also introduced the world to an entirely new sound that bridges various musical traditions. This article explores the distinctive techniques and unique approach that Rahman employs to craft his mesmerizing compositions.

Blending of Genres and Cultural Sounds

One of AR Rahman’s hallmarks is his seamless blend of genres and sounds from across the globe. His compositions often incorporate elements of Indian classical music, jazz, electronic, rock, and Western classical music, creating a fusion that is unmistakably his. This diversity in sound is not just a matter of adding different instruments or tones; Rahman’s technique lies in blending these elements in a way that feels organic and cohesive.

For example, his famous song “Chaiyya Chaiyya” from the movie Dil Se includes Sufi-inspired vocals and percussive beats layered with orchestral strings. By pairing these distinct elements, he crafts a piece that feels both ancient and contemporary, bridging traditional and modern sounds. His music reflects India’s diversity, but its universal appeal transcends geographical boundaries.

Use of Layering and Complex Arrangements

Another essential technique in Rahman’s music is his intricate layering of sounds. He doesn’t merely rely on one melody or a repetitive rhythm; instead, he carefully arranges layers upon layers of sound, creating a rich, immersive auditory experience. In many of his tracks, listeners can hear different instruments and harmonies emerging with each listen, revealing hidden textures and subtleties.

In his song “Taal Se Taal Mila” from Taal, he uses a combination of tabla, electric guitar, and flute, interwoven with choral harmonies and vocals, all arranged with precise attention to detail. Each layer complements the other, resulting in a composition that is almost orchestral in its complexity. The layering is done in such a way that it doesn’t overwhelm but enhances the listening experience, allowing listeners to immerse themselves fully in the world he creates.

Experimentation with Unconventional Instruments

One of Rahman’s distinguishing factors is his willingness to experiment with unconventional instruments and sounds, creating novel auditory experiences. From using electronic sounds to African djembe drums, Rahman doesn’t limit himself to traditional Indian or Western instruments. His song “Jai Ho,” which won an Academy Award for Slumdog Millionaire, features a mix of orchestral elements, electronic sounds, and Indian percussions, creating an uplifting anthem that resonated worldwide.

In Lagaan, for instance, Rahman incorporates instruments like the tambourine and tabla but also uses synthesized beats and sounds to elevate the film’s period feel. He often experiments with obscure or ethnic instruments, making them accessible to a global audience and proving that music, at its core, is a universal language.

Creating Emotionally Resonant Melodies

Rahman’s genius also lies in his ability to create emotionally resonant melodies that connect deeply with listeners. His compositions are often designed to evoke specific emotions, blending technical expertise with an intuitive understanding of human emotions. Whether it’s the haunting sadness in “Lukka Chuppi” from Rang De Basanti or the joyous energy in “Mukkala Mukkabala” from Kadhalan, Rahman’s music has an unmatched emotional depth.

In “Kun Faya Kun” from Rockstar, Rahman employs Sufi-inspired melodies that invoke a sense of devotion and surrender. The repetition of lines and subtle crescendos creates a trance-like effect, immersing the listener in a spiritual journey. Rahman’s ability to convey emotions through melodies alone shows his remarkable talent for connecting music with the soul.

Digital Innovation and Sound Engineering

Rahman has consistently embraced technology, positioning himself as a leader in digital music production in India. He is known for his state-of-the-art recording techniques, and he was one of the first in India to adopt computer-based recording setups. His work with digital audio workstations allows him to layer tracks with pinpoint accuracy and blend electronic sounds with acoustic ones, producing a polished, cinematic quality.

Rahman’s use of electronic tools also allows him to manipulate sounds in ways that create a unique auditory landscape. For instance, his album Connections incorporates electronic beats and digital reverb, adding a futuristic quality to his music. His technical skill, combined with his musical expertise, allows him to produce tracks that sound fresh, even after repeated listening.

Working with Vocal Layers and Harmonies

Rahman’s approach to vocal arrangements is another aspect of his musical technique that deserves attention. He often uses multi-layered harmonies to enhance the emotional impact of his songs. By layering different voices, each with its tone and texture, Rahman adds a depth that amplifies the song’s overall effect. He is known for creating complex harmonies, especially in songs where he works with choirs or multiple vocalists.

In songs like “Vande Mataram,” Rahman combines voices from different ranges, blending them seamlessly to produce a powerful anthem. This layering technique can also be heard in his work with playback singers; he knows precisely when to add backing vocals and harmonies to enhance the lead singer’s voice without overpowering it.

Conclusion

AR Rahman’s musical techniques are as diverse as they are masterful. His approach—combining genres, layering sounds, experimenting with instruments, and using innovative recording methods—has redefined music for generations. Rahman’s work transcends traditional music-making; it is a deep, immersive experience that appeals to listeners worldwide, irrespective of language or culture. His compositions are not only groundbreaking for their technical excellence but also for their emotional impact, making Rahman one of the most influential composers in modern music.

[mathildecourt]

Performance CHOCKING for Act Basel

Basel & Bern 2024 (CH)

(FR) ~ Cette performance a été présenté lors du festival ACT Basel et au Prozess Kultur Bar à Berne. Conceptualisée et en collaboration avec Marwan Hemma (Performeur)

" Concept : Le drap noir utilisé est du satin destiné à la literie de luxe. Cette performance le dépouille de ses connotations, pour aborder plutôt l'oppression et la suffocation ressenties par la contrainte du corps. Elle sert également à façonner des formes sans révéler directement le corps, mais plutôt par son influence sur le drap. En effet, en répétant le Zikr, je tomberai dans l'hyperventilation et mon corps devra s'en libérer. Ceci est emblématique de la politique néolibérale suisse, qui cherche souvent à étouffer ses tendances racistes et islamophobes inhérentes. Par exemple, la loi du 29 novembre 2009 « contre la construction de minarets “, ou la loi du 7 mars 2021, ” interdiction de se couvrir le visage », qui vise évidemment le port de la burqa.

Pendant la performance, ma voix scande l'appel à la prière, Al Adhaan, tandis que je m'engage simultanément dans la pratique respiratoire du Zikr, issue de la tradition soufie. Le mouvement répétitif, la mise en forme du drap noir et les clusters de la guitare électrique produisent un effet suffocant tangible.

Libéré de la couverture, le réarrangement de la composition de la Renaissance de John Dowland pour guitare électrique introduit un profond pathos, ravivant un sentiment de ferveur poético-révolutionnaire.

En affrontant les réalités oppressives, le plaidoyer « Let me mourn » cherche la reconnaissance, incitant à saisir la réalité matérielle de ces luttes. " Marwan Hemma

--------------------------------------------------------------------------------------------------------------------------------------------------

(EN) ~ This performance was presented at the ACT Basel festival and at the Prozess Kultur Bar in Bern. Conceptualized and in collaboration with Marwan Hemma (Performer)

"Concept: The black sheet utilized is satin intended for luxury bedding. This performance strips away its connotations, instead addressing the oppression and suffocation experienced by the body’s constraint. It also serves as a way of shaping forms without directly revealing the body, but rather through its influence on the sheet. Indeed, by repeating the Zikr, I will fall into hyperventilation and my body will have to release itself from it.

This is emblematic of Swiss neoliberal policy, which often seeks to choke its inherent racist and Islamophobic tendencies. For example, the law of November 29, 2009 « against the construction of minarets », or the law of March 7, 2021, « ban on face covering », which obviously targets the wearing of the burqa.

During the performance, my voice chants the call to prayer, Al Adhaan, while I simultaneously engage in the breath practice of the Zikr, drawing from Sufi tradition. Through the repetitive motion, shaping the black sheet, and the electric guitar’s clusters, there’s a tangible suffocative effect.

Emerging liberated from the cover, the rearrangement of John Dowland’s Renaissance composition for electric guitar introduces a profound pathos, reigniting a sens of poetic-revolutionary fervor.

In confronting the oppressive realities, the plea « Let me mourn » seeks acknowledgment, urging to grasp the material reality of these struggles. "

Marwan Hemma

[burlveneer-music]

Electric Sufi - Breathe In Love

This is Breathe in Love, the new album by Electric Sufi. A first single 'O Ignis Spiritus' will be released on 1 February 2023, the album will be released later that year.

Electric Sufi are Sheffield based Professor of Music and Sound Archaeologist at Huddersfield University Rupert Till, Manchester based singer-songwriter and environmental activist Sarah Yaseen and Nottingham based multi-instrumentalist / University lecturer Mina Mikhael Salama.

Rupert has produced ambient dance, chillout and electronic music under the the moniker Professor Chill throughout his career, including the album Dub Archaeology released in 2018. He’s also written the book Pop Cult which delves into the mysteries of music and spirituality, participated in the BBC TV series Civilisations as well as numerous other TV and radio shows, plus written articles in The Quietus, Huffington Post and New Scientist. His extensive research projects have been wide and varied, covering a multitude of subjects ranging from ‘The influences of Religion on British Club Culture and Electronic Dance music’ to ‘Sound Archaeology, Acoustics and Cave Art’.

Sarah, whose family roots are in Kashmir, is known in world music circles as a singer in UK Womad favourites Rafiki Jazz and Danish all-woman ensemble Radiant Arcadia. In Electric Sufi she sings in Urdu, Punjabi, Persian, Latin and English – and by doing so, draws upon a wide range of cultural influences. Inspired by Qawwali (Islamic devotional singing from India) and Ghazals (Arabic poetry), she has one foot firmly placed in a contemporary multicultural world and the other in the ancient lyrical and musical traditions on which she draws.

Mina, a Coptic Christian from Alexandria, Egypt, came to the UK as a refugee, taking asylum here from persecution in his homeland. He has since contributed much to UK culture through his performances at WOMAD, Edinburgh Festival, The Southbank, London as well as Cardiff, Leicester, Manchester and beyond. Along with Rupert, Mina has also contributed to the BBC TV series Civilisations where he demonstrated a 30,000-year-old Isturitz Vulture bone flute. On an international level, Mina has contributed to the music score on Disney’s Aladdin, directed by Guy Richie and starring Will Smith, Mena Massoud and Naomi Scott.

With a first performance at Bradford’s Kala Sangam Arts Centre, which received much applause from a diverse audience, this trio brings much collectively and individually to the Electric Sufi sound, resulting in a rich tapestry of cultural and musical layers of influence that their album Breathe In Love explores in much detail. Their modern interpretation of O Ignis Spiritus is a wonderful introduction to this enchanted world and their message of hope.

[kannadagothillasir]

New Year Conundrums

₊˚ʚ ᗢ₊˚✧ ﾟ.₊˚ʚ ᗢ₊˚✧ ﾟ.₊˚ʚ ᗢ₊˚₊

₊˚ʚ ᗢ₊˚✧ ﾟ.₊˚ʚ ᗢ₊˚✧ ﾟ.₊˚ʚ ᗢ₊˚✧

The New Year brings with it a lot of need to be new as a person. To find resolutions and stick to them. I'd given up on new years resolutions after just about a week of following them. Theyre deceptively hard to maintain.

New years Eve however, brings with it an air of celebration and love. An air i often used to find myself unable to enjoy in the confines of my room as my parents shoved me in and told me to stay there. New Years Eves to me were always tragically lonely. Just me, my stuffed penguin, a book and a blanket. Its not as sad as it sounds, I swear (hard cope)

This year was different though. This year I was allowed out. This year i could dress up, go out, and celebrate the way I wanted to. This year i would party for once. At a 5 star hotel no less.

If the lights burn your eyes now, imagine the force of the burn in real life. The air was so blue it was almost electric and the music so loud it made your ribs vibrate.

While the party was incredible, the drinks flowing and the gorgeous people dancing, trying to capture the vibe of a party is difficult considering that the details need to be focused on, the mind empty and calm to process the stimuli. I was definitely not in a good enough headspace to document things in quick phrases.

I do however remember the countdown to New Year. The promise the audience made to "LOVE YOURSELF THIS YEAR" and the unevitably drunk uncles who honestly are equally annoying/creepy and entertaining. Kind of like how a child throwing a tantrum is entertaining from a distance.

Also a fireswallower performing on stage as the DJ warned

"People who have hair, dont try this. People who dont have hair, definitely dont try this"

It was honestly one big acid trip of a night that I'm half scared to remember.

So what WAS the new year vibe? If it wasnt fire and noise and rowdy dancing and unlimited junk food, what was it?

Well. New Year felt like this:

˚⊱🪷⊰˚✧˚ ˚⊱🪷⊰˚✧˚ ˚⊱🪷⊰˚✧˚

˚⊱🪷⊰˚✧˚ ˚⊱🪷⊰˚✧˚ ˚⊱🪷⊰˚✧˚

It felt like noon chai, salty and warm. It felt nostalgic. I felt like some part of me was left behind in Kashmir but then brought back through a small restaurant named Sarposh. It felt like the first 6 years of my life. It felt like Sufi music and spicy curry.

It felt like a long forgotten home. New year, feels like a home that i begrudgingly come back to to feed my nostalgia.

[somalilandcurrentnews]

Somaliland: Energy Commission Meets Electricity Utility Companies

The Chairman of the Somaliland Energy Commission Mr. Hassan Sheikh Mohamud Sufi Muhamed received the companies that provide electricity services in his office. The meeting between the chairman and the officials of the companies that provide the electricity service was attended by the deputy chairman of the JSL Energy Commission Mr. Abdirisaq Mohamed Omar and the director general of the Energy…

[4lle4rs]

Dhafer Youssef - Electric Sufi [album]

[nityarawal]

11/12/2023

Cybergals 2

#50ShadesOfGold

Mahalakshmi 2023 Wishes

Morning Songs

A Place Of Love

Are You In A Place

Of Love

I Love You Girl

Like All The Ones

Hurt And Waiting

For Release

Identity Theft

But I Can't Take

Mrs. Jackson's

Calls No More

I Love Her Too

Buy Why On Earth

Would I Want To

Give Another

Minute To Incarceration

Thieves

At Chowchilla

Not Her

But The Offense

Team

All The Trolls

The Google Lice

Verizon Crabs

TMobile Data Scams

What Can We Do

About It

Moms Itch Their Heads

Can't Shave 'Em

Joan Of Arc

Illegal

Even In Ireland

And America

Sinead O' Connor

Tried

#FreeBritney

Almost Died

We

Wonder 

How To Stop

Identity Theft

Suckered

By Attys

Posing As #FreeBritney

Conning

It's A Good Chat

But Is It Real

We Loved Our

Imaginary Boyfriends

But Didn't

Want To Be Caged

Examined

To Be Cloned

For Moms

That Didn't Give

Thanks

You Wanna Nitya

You Wanta Melody

Cybergal

Jyoti

Goldilocks

A Queen Rania

To Shoot To Mars

You Wanna

Cybergal

So Another Biography

Comes Out

Advertises For A

Wife

In The Kingdoms

Podcasts

Comes Out

But Is Elon Musk Real

Or Just A Vision

Simulation

Figment Of Your

Imagination

AI Editing

Conservators

Trickery

You Wanna Cybergal

Then Where's My

Cybertruck

You Wanna Cybergal

A Lakshmi Brand

Raining Gold

That Holds Up

Strong

Not Detaining 

Millions

On Cons

Colleges

Academies

Nitya Capital

Sold To India

Sri Sri

Researchers

On Bribes

Parading The Dying

On The News

No

We Want Our Cybergals

Back

Free

All The Experiments

Even If They Went

South

We Want Our Cybergals

Back

We'll Give Them

Heartbeats

Love

Melody Met An Apple

Robot

Trafficked

In Idaho Dealers

Posh Prison

We Want Our Cybergals

Back

They Let Them Do

Sweat Lodges

Pray

On Carpets

On Their Knees

Children

Emancipated

At 14 Years Old

Only

To Be Sold Back

To Cages

Like Snow

For Thee

Experiments

Tunnels Of Moms

Trafficked

And "Pink"

"All In The

Family"

We Comingled 

With The Worst Of Them

And Mostly Loved

Whole Heartedly

Despite

Cruel

Conditions

Worse Was The Meanies

The Offensive Pigs

Why Would Any Sister

Want Such A Mean

Job

Worse Was The

Offensive Pigs

Trans 6 Feet Tall

Experiments

Hating On Me

Not An "Other"

At All

Worse Was The Offensive

Pigs

Watchin' Me All Day

Long

Some Crushin'

Found Me Entertainin'

Liked My Letters

And Songs

There Very Own

Soap Opera

Droppin' In

Flirtin'

On 50 TV Screens

Black

Dark Web

AI Prototype

Sold

On Bribes

To Russia

Ukraine

China

USA

AI

Deals On Wheels

Suiciding Citizenry

Since Elons Never

Been Caged

Throw Him In An

Elon Bond Movie

Please

You Think Cybergals

Don't Need Cybertrucks

What's Your Priority

Because

Every Day

We're Wondering

How On Earth 

Did Everything

Go So South

Is This Lymes

Disease

50% Got

Something You Could

Release

A Prescription On

Please

Dr. Elon

Malaria Remedies

Not A Scam

For Another Middleman

Malaria Discovery

In Record Time

Not 20+ Years

Of Silencings

Or A Google Guy

That Wants To

Penetrate

Mammas With Insects

War Bribes

Hospitals

Peace On Earth

Is Peace For Mammas

Womb

Peace On Earth

Is When Buddha's

Come Home

Peace On Earth

Is When Mammas

Feel Safe

Nourished

Understood

In Cyberhomes

With Infinite 

Solar Electricity

Back Up Plans

A Woman In Charge

Queen's

Behind The Scenes

Fraternities

Mystery

Mitraism Back

A Woman With A Plan

Sufis Celebrated

Unified Field

Physics

Transcendence

Mother May I

Be Like You

Want My Kids

Protected

From This Zoo

Cyber Elon

Said Something 

Right

He Said "OK" Alot

And Agreed

Because

It Felt Better

And It Was

The "Right Thing To Do"

He said

We All Want

#50ShadesOfGold 

We All Want

#50ShadesOfGold 

We All Want

Solar Trust

Mitra Friends And Her

GrandKids

Daughter

Cousins

Husband

Partners

Returned

We All Want

Peace

On Earth

We All Have A Choice

Please Choose

Light

First

Please Choose

Humanity First

Please Choose

My Baes

Not War

Open Your Hearts

Buddha

And Make Baes

Happy On Earth

First

Peace,

Nitya Nella Davigo Azam Moezzi Huntley Rawal