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Hanni El Khatib: Moonlight

 A l b u m   D e t a i l s


Label: Innovative Leisure
Released: 2015.01.13
Time:
 41:32
Category: Dark Rock
Producer(s): Hanni El Khatib
Rating:
Media type: CD
Web address: www.hannielkhatib.com
Appears with:
Purchase date: 2015
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Moonlight (H.E.Khatib) - 3:33
[2] Melt Me (H.E.Khatib) - 3:40
[3] The Teeth (H.E.Khatib) - 3:11
[4] Chasin' (H.E.Khatib) - 2:49
[5] Worship Song [No.2] (H.E.Khatib) - 4:01
[6] Mexico (H.E.Khatib) - 4:56
[7] Servant (H.E.Khatib) - 4:16
[8] All Black (H.E.Khatib) - 2:39
[9] Home (H.E.Khatib) - 3:10
[10] Dance Hall (H.E.Khatib) - 3:29
[11] Two Brothers (H.E.Khatib) - 5:47

 A r t i s t s ,   P e r s o n n e l


Hanni El Khatib - Guitar, Vocals, Producer

 C o m m e n t s ,   N o t e s


On his 2011 debut Will The Guns Come Out, Hanni El Khatib tried something he’d never tried before—making a bedroom-style recording of his then stripped-to-the-skeleton guitar-and-drums rock ‘n’ roll mostly for the sheer joy of making it. For his ferocious 2013 follow-up Head In The Dirt, he tried something new again, showing up at producer Dan Auerbach’s analog-dreamland Nashville studio with nothing but the clothes on his back and an open mind.

But after Head In The Dirt’s release and almost a year of relentless
touring, Hanni knew he needed to go past ‘unpredictable’ all the way to ‘unprecedented.’ He needed isolation, time and the chance to experiment. So after 30 days locked in hand-picked L.A. studio The Lair, the result is the album Moonlight—the rarest and most welcome kind of album, made at that perfect point in life where confidence, experience, and technique unite to help an artist do anything they want.

That’s why it starts with a song that sounds like a Mobb Deep beat under a Suicide-style synth drone and ends with an ESG-meets-LCD Soundsystem gone italo-disco song about life and death. That’s why it collides crushing crate-digger drumbeats that’d be right at home on a Can LP or an Eddie Bo 45 with bleeding distorto guitar, bent and broken barroom piano and hallucinatory analog flourishes. (In fact, some smart producer is going to sample the drums from this album and complete the circle of life.) And that’s also why Moonlight feels like the album he’s always wanted to make: “What would it sound like if RZA got in the studio with Iggy Pop and Tom Waits?” he asks. “I don’t know! That was my approach on everything.”

It’s a personal album in the most primal sense, put together in any way that worked. Iggy Pop and David Bowie did this kind of thing on The Idiot, the Wu-Tang Clan did it on 36 Chambers and the Clash did it three times over on Sandinista. And now it’s Hanni’s turn, across 11 new lightning-struck songs, each written and recorded in its own flash of inspiration. It sounds like an album made by an endless list of collaborators, but really Moonlight was more like the first do-it-almost-all-yourself music Hanni ever made, except after six years recording and touring, he’d learned to do so much more.

Innovative Leisure Records



When it came time to record his 2013 sophomore album Head in the Dirt, Hanni El Khatib made a trip down to Dan Auerbach’s personal studio in Nashville. Working alongside The Black Keys frontman, the Los Angeles-based garage rocker found a way to flesh out his brand of “rebel rock,” honing and tightening a kinetic mix that references everyone from Black Sabbath to The Clash.

For his latest LP, Khatib holed up on his own, exploring a new set of influences from the comfort of his home studio. The resulting album’s sonic diversity is best represented by its title track, “Moonlight”. Described as “equal parts RZA, Iggy Pop, and Tom Waits,” Khatib’s crafted a beguiling little ditty, one that skirts the lines between hazy psych pop, sleazy desert rock, vintage R&B/soul, and early, swagger-drenched hip-hop. It’s aesthetically similar to much of Head in the Dirt, but definitely blazes its own trail in regards to attitude and outright surrealism.

Chris Coplan - October 16, 2014
SoundCloud.com



Stripping his sound right down to the bone on 2011’s solo debut ‘Will The Guns Come Out’, Hanni El Khatib’s brand of blues-soaked minimalism is far more complex than meets the eye. Sure, its Dan Auerbach-directed follow-up ‘Head In The Dirt’ may have walked a similar path, but the guitar is an instrument forever attempting to shake off the shackles placed upon it.

Which is perhaps why ‘Moonlight’ sounds so… weird. Sure, ‘Chasin’’ is reminiscent of The Black Keys in its pared-down boogie, but for every 12-bar workout there’s a true oddity. ‘Melt Me’ is like Ariel Pink fronting ZZ Top, while ‘All Black’ delves into Sabbath-style sludge.

Closer ‘Two Brothers’ perhaps (belatedly) sets the tone for the whole album. Opening with a tinny, almost post-punk guitar line, the growling vocals betray a definite darkness. Almost reminiscent of lost New Yorkers ESG, it twists and turns with a rare abandon. A curious oddity, ‘Moonlight’ indicates that there’s far more to Hanni El Khatib than meets the eye.

7/10

Robin Murray, 08/01/2015
ClashMusic.com



Hanni El KhatibMit “Moonlight” erscheint bereits das dritte Album des kalifornischen Garage-Rockers Hanni El Khatib. Der Titeltrack liefert Breakbeat Percussion, beseelte Gitarrenriffs und bietet auch den Raum, manchmal ein wenig abzudriften und anders zu sein (und kein Geringerer als DJ Harvey wird ihn remixen). Nach seinem 2011 erschienen Debüt “Will The Guns Come Out” – ein Album frei nach ‘stripped-to-the-skeleton guitar-and-drums rock ‘n’ roll” – und “Head In The Dirt” von 2013 (produziert von Dan Auerbach), nahm sich El Khatib 30 Tage Zeit, um sich in einem Studio in L.A. von der Außenwelt abzuschotten und “Moonlight” zu schreiben. Er wollte sich selbst die Chance geben zu experimentieren. Dabei herausgekommen ist ein großartiges, beinahe schon willkommendes Album, das genau an dem Punkt entstanden ist, an dem der Künstler Selbstvertrauen, Erfahrungen und auch eine gewisse Technik miteinander verbinden kann, was ihm dabei hilft, genau das zu tun, was er möchte. Für Fans von: The Black Keys, Tame Impala, The Clash and The Stooges.

“This is desert-burned blues rock boosted by punk, soul and hip-hop” – Rolling Stone

Dirk, 2.1.2015
© 2015 Rough Trade Distribution



On his 2011 debut Will The Guns Come Out, Hanni El Khatib tried something he’d never tried before—making a bedroom-style recording of his then stripped-to-the-skeleton guitar-and-drums rock ‘n’ roll mostly for the sheer joy of making it. For his ferocious 2013 follow-up Head In The Dirt, he tried something new again, showing up at producer Dan Auerbach’s analog-dreamland Nashville studio with nothing but the clothes on his back and an open mind.

But after Head In The Dirt’s release and almost a year of relentless
touring, Hanni knew he needed to go past ‘unpredictable’ all the way to ‘unprecedented.’ He needed isolation, time and the chance to experiment. So after 30 days locked in hand-picked L.A. studio The Lair, the result is the album Moonlight—the rarest and most welcome kind of album, made at that perfect point in life where confidence, experience, and technique unite to help an artist do anything they want.

That’s why it starts with a song that sounds like a Mobb Deep beat under a Suicide-style synth drone and ends with an ESG-meets-LCD Soundsystem gone italo-disco song about life and death. That’s why it collides crushing crate-digger drumbeats that’d be right at home on a Can LP or an Eddie Bo 45 with bleeding distorto guitar, bent and broken barroom piano and hallucinatory analog flourishes. (In fact, some smart producer is going to sample the drums from this album and complete the circle of life.) And that’s also why Moonlight feels like the album he’s always wanted to make: “What would it sound like if RZA got in the studio with Iggy Pop and Tom Waits?” he asks. “I don’t know! That was my approach on everything.”

It’s a personal album in the most primal sense, put together in any way that worked. Iggy Pop and David Bowie did this kind of thing on The Idiot, the Wu-Tang Clan did it on 36 Chambers and the Clash did it three times over on Sandinista. And now it’s Hanni’s turn, across 11 new lightning-struck songs, each written and recorded in its own flash of inspiration. It sounds like an album made by an endless list of collaborators, but really Moonlight was more like the first do-it-almost-all-yourself music Hanni ever made, except after six years recording and touring, he’d learned to do so much more.

hannielkhatib.bandcamp.com
 

 L y r i c s


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