A lot of the “new” music that I come across is not new at all except to me. A suspicious car collision cut tragically short Omar Khorshid’s career in music and film a few months before I was ever born. Documented attempts on his life began shortly after he played a concert at Carter’s White House to celebrate the Israeli-Egyptian peace treaty signed 31 years ago this past Friday.
I discovered his music when my brother recently passed along a tip about Sublime Frequencies, a self-described:
collective of explorers dedicated to acquiring and exposing obscure sights and sounds from modern and traditional urban and rural frontiers via film and video, field recordings, radio and short wave transmissions, international folk and pop music, sound anomalies, and other forms of human and natural expression not documented sufficiently through all channels of academic research, the modern recording industry, media, or corporate foundations.
I highly recommend that you check them out. So far they’ve put out 52 releases, the most recent being a retrospective of the music Khorshid was producing in Beirut around the time of the Lebanese civil war. “Takkasim Sanat Alfeyn (Music from the Year 2000)” originally appeared on Rhythms from the Orient (1974).