About this Artist

• Biography

Editorial Reviews

San Francisco–based, Algerian-born electronic artist Cheb I Sabbah brings his minimalist production ethic to the music of his homeland on La Kahena, and turns the spotlight on a posse of ferocious female vocalists from Algeria, Morocco, Israel, and beyond. The world-traveling producer set up shop in Marrakesh to record artists such as the women's troupe B'net Marrakesh and gnawa trance vocalist Brahim Elbelkani, then took the results back to the States for collaboration with global dub wizard Bill Laswell (bass), Karsh Kale (drums), Richard Horowitz (Arab flute and keys), and others. Unlike most techno-minded globalists, Cheb I Sabbah doesn't let the 808s run roughshod over the rhythms. Often his contribution lies in tightening the freely flowing originals into something more streamlined and trance-inducing, and of course, layering it all into a psychedelic, bass-laden experience. Just off a trilogy of South Asian–themed albums, Sabbah's embrace of the more percussive North African traditions seems a be better fit: The production doesn't dumb down the music, it recontextualizes it for an audience that wouldn't likely tolerate poorly recorded field recordings. Tellingly, his version of "Im Ninalou," the Yemenite song made famous by Israeli star Ofra Haza, is altogether more spare than Haza's disco-pop. While his one-world approach seeks rapprochement between Arabs, Berbers, and Jews, it's likely the greater good of La Kahena will lie in the Western ears opened to these powerful voices of the Maghreb. Mark Schwartz, Barnes & Noble

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