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SOUAD MASSI
Deb Wrasse 096
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In essence, Deb remains close to its predecessor: Souad's haunting voice still shines through it like a beam of light, singing personal poems of unrequited love, loneliness, anguish and injustice. Yet this time, Souad's emotional vocals are not just carried by the instrumental backing of a small ensemble, but enveloped in ambitiously orchestrated productions. Spanish guitars, Brazilian and Arabic percussion, Middle Eastern violin and oud, African flute, Indian tabla and even a Congolese-style arrangement all make appearances, replacing Raoui's intimacy with Parisian worldliness. At times, as on the fiery flamenco Ech Edani, this daring combination works to surprising effect. At others, the rich musical tapestry takes something away from Souad's poignant song writing and delivery. Personally, my preference lies with the album's quieter moments, such as the moving Yemma, which tells of the stranger's loneliness in a cold northern city, or the simple guitar-voice piece Le Bien et le Mal, a sad fable about human suffering.
Overall, Deb is an accomplished album that confirms Souad Massi as an outstanding young artist, if one who is still looking for her personal musical path. - Katharina Lobeck
Article is copright 2003 Southern Rag/fROOTS, and is used by permission
No reproduction is allowed wiothout the specific permission of the publishers.
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