..:: audio-music dot info ::..


Main Page      The Desert Island      Copyright Notice
 Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz


Hanni El Khatib: Will the Guns Come Out

 A l b u m   D e t a i l s


Label: Innovative Leisure
Released: 2011.09.30
Time:
 31:41
Category: Rock
Producer(s): Hanni El Khatib, Marc Bianchi
Rating:
Media type: CD
Web address: www.hannielkhatib.com
Appears with:
Purchase date: 2012
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Will the Guns Come Out (H.E.Khatib) - 1:25
[2] Build. Destroy. Rebuild. (H.E.Khatib) - 2:58
[3] F—k It, You Win (H.E.Khatib) - 3:11
[4] Dead Wrong (H.E.Khatib) - 3:28
[5] Come Alive (H.E.Khatib) - 2:35
[6] Loved One (H.E.Khatib) - 2:37
[7] Heartbreak Hotel (M.B.Axton/T.Durden/E.Presley) - 3:12
[8] Wait Wait Wait (H.E.Khatib) - 3:56
[9] Garbage City (H.E.Khatib) - 3:54
[10] You Rascal You (S.Theard) - 2:21
       Bonus track
[11] I Got a Thing (C.Haskins) - 2:00

 A r t i s t s ,   P e r s o n n e l


Hanni El Khatib - Vocals, Guitars, Mixing, Producer

Marc Bianchi - Additional Production & Drums on [1-5,7,9], Engineer
Nicolas Fleming-Yaryan - Drums & Engineer on [10]
Josh Marcy - Engineer on [11]
Greg Reeves - Guitarron on [4], Mastering

 C o m m e n t s ,   N o t e s


Hanni El Khatib grew up in San Francisco raised on a molotov cocktail of skateboarding, punk rock, and 1950s and 60s classic Americana. Influenced by pioneers of early rock and R&B, the multi-instrumentalist and producer derives his unique sound from a menagerie of inspirations, including 50's and 60's blues, soul, garage rock and doo-wop.



Previously a creative director for a skateboard fashion label and a designer for an advertising agency, Hanni El Khatib, a first-generation American son of Filipino/Palestinian immigrants, states that his raw back-to-basics sound is designed for "anyone who has ever been shot or hit by a train." The multi-instrumentalist sure knows how to sell his music, but his debut album, Will the Guns Come Out, proves that there's more to him than just attention-grabbing soundbites. Those who have seen the recent Nike promo, which features his raucous glam rock interpretation of Funkadelic's "I Got a Thing," will already be aware of his retro rough-and-ready style, but there's plenty more where that came from. The abrasive "Build. Destroy. Rebuild." is a nihilistic call-to-arms that blends vintage garage rock riffs with ramshackle beats and El Khatib's unhinged yelping tones; "Fuck It, You Win" channels the early primal blues of the White Stripes with its scuzzy guitars and relentless crashing percussion; while the sparse one-chord grunge of "Garbage City," the distorted psychedelic cover of Louis Armstrong standard "You Rascal You," and the stomping old-school R&B of "Come Alive" continue to menace and enthrall in equal measure. There are a couple of more melodic offerings such as the Vampire Weekend-esque Afro-beat hooks and doo wop backing vocals of "Dead Wrong," the mournful banjo-led folk rendition of Elvis' "Heartbreak Hotel," and the vulnerable acoustic balladry of "Wait Wait Wait," but Will the Guns Come Out? is much more compelling when wearing its primitive rock & roll pastiche badge with pride. It's certainly not pretty but it's a distinctive first record that, in a bizarre way, appears to live up to his rather unusual claims.

Jon O'Brien - All Music Guide



Wer angesichts des Namens glaubt, hier ginge es um Weltmusik, der liegt komplett daneben. Hanni ist in der ersten Generation amerikanischer Sohn palästinensischer und philippinischer Einwanderer und wuchs in San Francisco mit einem Mix aus Skateboarding, Punk-Rock und dem wilden Garagensound der 50s und 60s auf. Genau diese Einflüsse hört man auch deutlich auf seinem Debut "Will The Guns Come Out" heraus! Eine wahnsinnig kräftige Mischung aus tiefstem Blues, Soul, Doo Wop und Garage Rock, irgendwo zwischen The Black Keys, den Shangri-Las und den White Stripes knallen dir da um die Ohren. Reduziert aufs Wesentliche. Hier geht es darum, das Basale im Rock zu zelebrieren. Ein Mann an der Gitarre, ein weiterer am Schlagzeug (zumindest live). Was braucht man mehr? Es steht zu befürchten, dass es sich um eines der heißesten Debutalben im Garage Rock 2011 handelt. A propos: wer die NIKE Kampagne "Just Do It" und dazu die neue CONVERSE-Kampagne im Ohr hat - Hanni El Khatib liefert mit "I Got A Thing" und "Build.Destroy.Rebuild." den Sound dazu.

Amazon.de



Top 11 Artists To Watch In 2011... Speaking Of The Black Keys, Hanni El Khatib Is The Next Garage-Rock Sensation On The Verge.

Boston Globe



Hanni El Khatib's Sound Is A Blistering Barrage That You'd Expect From A Former San Francisco Skate Punk, Recently Transplanted To La. Perhaps The Closest Comparison Is To A "De Stijl"-Era Jack White, If He Had Claimed Lineage From The Stax Catalog Instead Of Son House.

LA Times



Hard To Believe That Only One Man Can Pack This Much Heat.

Nylon



Hanni El-Khatib is one of the most talented acts in L.A. right now, a one-man band, singing, songwriting, and producing all on his own and synthesizing 50s and 60s garage rock, soul, blues, and even a bit of folk... and brings with him the rawness of Phil Spector, Jack White, the Shangri-La's, and the Black Keys.

LA Weekly



San Francisco-raised El Khatib says his debut album is "for anyone who's ever been shot or hit by a train - knife-fight music". A former marketing/advertising type, he's probably never experienced anything remotely similar himself, but his infatuation with bad-boy retro-masculinity has led him to fashion his sound around 50s garage rock. Songs are taut and brief, the guitar/drum arrangements stripped to absolute basics and El Khatib squawks his lines as if his switchblade is giving him grief. The White Stripes loom large over all this, but he brings a noirish touch of his own that renders a few tracks more than just pastiche. In particular, his remake of Heartbreak Hotel as a banjo-accompanied folk song is relentlessly bleak, and tense, compressed vocals bring out the impotent rage of the 30s infidelity narrative You Rascal, You. Of his own tunes, doo-wop vocals add doomed romanticism to Dead Wrong. But is it knife-fight music? The jury is out.

Caroline Sullivan, 29 September 2011
© 2015 Guardian News and Media



San Francisco-bred skater Hanni El Khatib identifies the target demo for his garage-soul tantrums as anyone who's "been shot or hit by a train." Or, anyone who wished Jon Spencer fronted the White Stripes. Hey, we all have delusions, and El Khatib's full-length debut is a fine testament to the power of pomade nostalgia, cigarette-pack-in-sleeve tropes, and Gene Vincent licks. "Build. Destroy. Rebuild" is the Young Rascals' "Good Lovin'" for dudes who hate power steering and collect Nike Dunks. "You Rascal You" is "Ball and Biscuit: The Sequel." Bonus points for claiming the song title "Fuck It, You Win." Because in spite of it all, this guy does.

Camille Dodero, September 27 2011
Spin Music



Hanni El Khatib appeared, seemingly from nowhere but actually from the world of San Francisco skateboarding, last year.  His initial calling cards – the two singles ‘Dead Wrong’ and ‘Build.Destroy.Rebuild’ – were bolstered by the inclusion of his cover version of Funkadelic’s ‘I Got a Thing’ on a “high profile” Nike commercial, plastered all over our TVs.  Now bringing us his debut album (with the two singles included, and the cover version added as a “bonus track” on the end), El Khatib gives us an opportunity to better get the measure of the artist who himself has described his songs are “for anyone who’s ever been shot or hit by a train.  Knife fight music”.

What the music in fact is, in slightly less florid prose, is straight-up, straightforward garage rock, with a side of blues and an occasional touch of 1950s rock ‘n’ roll.  There are several moments where it almost veers towards the imitative, so close does it sound to the White Stripes – see ‘Fuck It You Win’ (with its Meg-alike percussion), ‘Come Alive’, and particularly ‘You Rascal You’, with its formally-structured, repeating lyrics (“I trusted you in my home, you rascal you / I trusted you in my home, you rascal you / I trusted you in my home, you wouldn’t leave my wife alone / I’ll be glad when you’re dead, you rascal you” etc) in the blues idiom, its deliberate use of slightly archaic language and the stripped down sound. Elsewhere there are suggestions of the late Jay Reatard, fans of whom might enjoy the scuzzy guitar sounds, swampy feel and suggestion of evil (“you’ve got that vampire look tonight”) of ‘Loved One’, for example.

The 1950s are also much in evidence, not only with a sort-of cover version of Elvis’ ‘Heartbreak Hotel’ – lyrics apart, so different as to be almost unrecognisable – but also in tracks like ‘Dead Wrong’, where El Khatib combines a kind of do-wop rhythm with “wah-ooh”s, a Buddy Holly vocal and handclaps (which are also a significant feature of the title track and of the album’s closer).

The album’s prevailing tone is bleak, all betrayed romance and nihilism.  Lyrical statements are frequently of the “Ain’t no future (…) no more culture” (‘Build.Destroy.Rebuild’) or “Our city’s made of garbage / Our city’s made of fakes” (‘GarbageCity’) ilk.  Aggression is often implicit or overt, from ‘Dead Wrong’ with its evocation of a threatening-looking gang at night to ‘GarbageCity’, where the protagonist’s surroundings are claimed to be forcing him to “act rough, rough, rough”.  The positivity that can be found, in parts of ‘Dead Wrong’ (“I’ve got something to say / Something that’ll hopefully brighten your day”) and ‘Come Alive’, with the scratch and jump of the guitar acting as a counterpoint to El Khatib’s words, is somehow doubly uplifting, when it emerges out of  such a downbeat context.

While tracks like ‘Will the Guns Come Out’, ‘Build.Destroy.Rebuild’, the propulsive ‘I Got A Thing’ (tacked on the end as a bonus track) and particularly the quite lovely, acoustic and mellow Wait.Wait.Wait’ all have something to offer the fan of a less-ornamented, pared down, back-to-basics musical approach, it is hard not to feel that this album has not really succeeded in establishing a firm identity for El Khatib. Nice moments aside, there is simply too much here that resembles things that have gone before, and the album lacks the kind of distinctive voice that is needed to make the singer more than simply “the one who did that Nike ad song”.

Jude Clarke, 06 October 2011
© 2014 The Line Of Best Fit
 

 L y r i c s


Currently no Lyrics available!

 M P 3   S a m p l e s


Currently no Samples available!