logo
Shkoon Releases ‘SOUF' Merging Electronic Sound With Sufi Chants

Shkoon Releases ‘SOUF' Merging Electronic Sound With Sufi Chants

CairoScene11-04-2025

The new track from Shkoon's upcoming EP blends Sufi vocal tradition with ambient electronic production.
Apr 11, 2025
Shkoon, the Syrian-German duo known for weaving Arabic melodies into Western electronic frameworks, returns with a new single titled 'SOUF'—a deeply atmospheric track that bridges traditional Sufi chants with electronic sound design. The release is the latest from their forthcoming EP 'Greater Than One', set to explore themes of unity, reflection, and spiritual grounding.
Built around vocal invocations like 'Ya Madad' (Oh help) and 'Ya Jamil' (Oh beautiful), the track reinterprets classical phrases of divine appeal through a contemporary sonic lens. Instead of overpowering the source material, Shkoon allows the spiritual weight of the chants to rise through layered textures and carefully restrained beats, crafting a soundscape that feels both ancient and immediate.
The track unfolds gradually, favouring tension and atmosphere over rhythm-heavy momentum. It pulls listeners into a trance-like space, inviting stillness, introspection, and a rare kind of emotional clarity.
According to Shkoon, 'Greater Than One' aims to reconnect people—to themselves, to their communities, and to something greater. In that context, 'SOUF' feels less like a standalone single and more like a spiritual overture. It speaks to the duo's broader vision: one where sound becomes a medium for healing and remembrance in a disjointed world.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Select 335: Mixed by NeighborsByMusic
Select 335: Mixed by NeighborsByMusic

CairoScene

time11 hours ago

  • CairoScene

Select 335: Mixed by NeighborsByMusic

Lebanon's vinyl maverick NeighborsByMusic delivers jazzy house, Brazilian bossa nova with funk and classic Arabic tunes. Jun 07, 2025 For our latest Select, we have Lebanese vinyl maverick, NeighborsByMusic. Her penchant for discovering new sounds has led her to build an extensive repertoire over the years, blending diverse music styles from different cultures. Her sets often incorporate influences from oriental, Brazilian funk, hip-hop and jazz. NeighborsByMusic treats us to a special vinyl-only set–initially recorded at JIVE in Beirut–that meshes together threads of Brazilian bossa nova, funk, and Arabic oldies from Simone and Hamid El Shaeri with 90s hip-hop and a hint of jazzy house here and there. The colossal proportions of the set, fitting together a multitude of different sounds, are somewhat reflective of the organised chaos that Lebanon is known for. Featuring a thoughtfully curated selection of feel-good tunes, such as Ezra Collective's 'Palm Wine', Mtume's 'Juicy Fruit', and Simone's 'Mabsouta', the set ends abruptly, as if alluding to a typical electricity cut at midnight in Beirut. Listen to the full set below: SceneNoise · Select 335: Mixed by NeighborsByMusic

Jordan's Royal Family Celebrate 2026 FIFA World Cup Qualification
Jordan's Royal Family Celebrate 2026 FIFA World Cup Qualification

See - Sada Elbalad

timea day ago

  • See - Sada Elbalad

Jordan's Royal Family Celebrate 2026 FIFA World Cup Qualification

Rana Atef On Thursday, several members of the Jordanian Royal Family attended the game of Jordan's first national team that ended with a 3-0 victory for Jordan. This win led the Chivalrous Ones to the first FIFA World Cup qualification in their history. Princess Rajwa Al Hussein was seen accompanying the Jordanian royal family during the national team's match against Oman in Muscat, offering support to the team. Princess Rajwa wore a white jersey featuring the team's logo, designed by Kelme Jordan, which she paired with beige pinstriped trousers from British designer Victoria Beckham. She added a personal touch with a gold necklace engraved with her daughter Iman's name, and earrings featuring the Arabic letter 'أ', designed by Nadine Kanso. She appeared with Crown Prince Al Hussein bin Abdullah II, his brother Prince Hashem, as well as Princess Iman and Princess Salma. Crown Prince Hussein shared a video on his official Instagram account, capturing the excitement and cheering from the stands. He described the atmosphere as charged with enthusiasm and expressed high confidence in the performance the team. Queen Rania Al Abdullah also shared her joy through Instagram Stories, posting a photo of the team after the final whistle, writing: 'You made this Eid twice as joyful,' As for King Abdullah II, although he was abroad on an official visit, he followed the match from the Jordanian embassy in London, according to official media sources. read more 15 Ludicrous Cosplay Costumes That Will Blow You Away Watch... Dorra's natural beauty will blow your mind in latest photo session Exercising For As Little As 150 Minutes A Week Will Make You Happier، Study Claims ARIES: Your Horoscope for April 7 FDA Now Considers Vaping A Rising Epidemic In High School Lifestyle How to make Dried salted fish (feseekh) -By Chef El-Sherbini Lifestyle Batarekh Dip & Sardine Dip Lifestyle Best of Easter cookie and cakes Lifestyle ARIES friendship News China Launches Largest Ever Aircraft Carrier Sports Former Al Zamalek Player Ibrahim Shika Passes away after Long Battle with Cancer Lifestyle Get to Know 2025 Eid Al Adha Prayer Times in Egypt Sports Neymar Announced for Brazil's Preliminary List for 2026 FIFA World Cup Qualifiers News Prime Minister Moustafa Madbouly Inaugurates Two Indian Companies Arts & Culture New Archaeological Discovery from 26th Dynasty Uncovered in Karnak Temple Business Fear & Greed Index Plummets to Lowest Level Ever Recorded amid Global Trade War Arts & Culture Zahi Hawass: Claims of Columns Beneath the Pyramid of Khafre Are Lies News Flights suspended at Port Sudan Airport after Drone Attacks News Shell Unveils Cost-Cutting, LNG Growth Plan

Hamid El-Shaeri: The Man Who Defied Tradition From Benghazi to Cairo
Hamid El-Shaeri: The Man Who Defied Tradition From Benghazi to Cairo

CairoScene

time3 days ago

  • CairoScene

Hamid El-Shaeri: The Man Who Defied Tradition From Benghazi to Cairo

In 1978, at the heart of Tripoli's Al-Saha Al-Khadraa, pianos, violins, guitars, drums, and keyboards were set ablaze—accused of being Western, un-Libyan, and tools of cultural corruption. The scene echoed the infamous Nazi book burnings of 1933, where works by Ernest Hemingway, Karl Marx, Sigmund Freud, and others were reduced to ashes for being deemed un-German. At the time, the Libyan authorities ordered inspections of homes, schools, and universities to ensure they were cleared of all so-called 'corrupting instruments.' Amongst the onlookers was a teenage Abdelhamid Ali Ahmed al-Shaeri—later known as Hamid El-Shaeri, and then as Il Capo—who watched helplessly as his prized piano, awarded to him for his academic excellence, and a keyboard gifted by his father were destroyed in the flames. At this moment, he knew had to flee Libya. The young teenager couldn't really understand why he had suddenly been made a national enemy, or why he was made to feel this way—but he knew the only answer would be heading to Cairo. Hamid El-Shaeri was not an isolated case of personal ambition clashing with political authority. He belonged to a pioneering generation in Libya that listened to music with a new ear and read its notes with a fresh vision. His peers—like Nasser El Mezdawy, who fled to Italy, and Ahmed Fakroon, who sought refuge in France—were part of a generation defined by defiance and the courage to create, pursuing renewal at a time when the safest path in Libya, musically, was strict adherence to artistic tradition. Stepping into Egypt as a stranger, a foreigner entering a land he had only seen on television, Hamid El Shaeri brought with him what would come to define his distinct sound—his roots, carried all the way from his hometown in Benghazi. Though he never studied music academically, he understood it instinctively. That unorthodox path shaped the unique direction his music would take—marked by deep sentiment and raw emotion. This was evident in his debut album 'Ayonha' (1983). While it didn't achieve widespread success at the time, it laid the foundation for the Hamid we know today. That early neglect didn't last; a year later, his second album 'Raheel' (1984) found resounding success, especially amongst younger audiences. Hamid El Shaeri didn't just enter the Arabic music scene — he rewired it. Dubbed the godfather of 'Al-Jeel' music, he introduced a sound that was bold, electronic, and unapologetically modern. He layered his vocals to mimic the effect of multiple singers — a stark contrast to the traditional Egyptian style that relied heavily on a single performer's vocal prowess. Using synthesizers, drum machines, and Western funk and pop grooves fused with Arabic melodies, Hamid injected the region's music with a much-needed jolt of youth and energy. At a time when Arabic music was steeped in classical orchestras and long-winded ballads, he trimmed the excess and cranked up the soul, creating catchy, yet emotionally rich tracks that resonated across generations. Egypt was changing—and so was its soundtrack. In the early 1980s, the country was still reeling from the seismic shifts brought on by President Sadat's Infitah, the open-market policy that restructured Egypt's economy and daily life. After Sadat's assassination, the streets felt restless. Uncertainty lingered in the air, and with it, a growing hunger for something different—something that spoke to a new generation trying to find its voice in the chaos. That's where Hamid El-Shaeri stepped in. Bold, modern, and unapologetically different, it echoed the pulse of a nation in flux. The youth welcomed Hamid like a long-awaited answer. He didn't just arrive on the scene—he arrived right on time. Hamid wasn't just a trailblazing solo artist—he was the mastermind behind the scenes, crafting enduring hits for stars like Amr Diab, Hisham Abbas, Mostafa Amar, Mohamed Fouad, Simone, Ihab Tawfik, Ali Hemeida, and Hakim. He gave many of them their first real break, and in doing so—whether by design or instinct—he helped shape the future of Egyptian music, as these artists went on to dominate the scene for years. But it wasn't all smooth sailing for Hamid in Egypt. Controversy seemed to be his constant companion. When politics wasn't the reason pulling him down, other forces found ways to hold him back. The changes Hamid brought to Egyptian music didn't sit well with many — was the shift too radical? Maybe. Hamid El Shaeri found himself clashing with the establishment once again—and, ironically, the same accusations followed him all the way from Libya. He was blamed for destroying Egyptian music heritage and corrupting the youth. To many, his music was once again labeled too Westernized, accused of lacking any authentic identity. To his surprise, the slamming wasn't limited to his music— even his appearance on stage drew disapproval from the musical aristocracy of the time, as he often performed in sportswear. What they didn't realize was that he was setting a new benchmark. Many musicians would soon start imitating his style, paving the way for the sporty-funky aesthetic that became a hallmark of the '80s and '90s. That relentless challenge to the academic order led to his ban from the Musicians' Syndicate for a full four years. What did they tell the public? They claimed the delayed payment of a whole EGP 16 was behind the non-renewal of his license. Did it stop him? Not quite. Hamid wasn't even sure why he'd been banned, but he knew the issue ran deeper than a missed fee. He kept producing and composing under pseudonyms, quietly crafting hits while others took the credit such as 'Sabry Aleek Tal' for Rajaa Belmaleeh and 'Maktoob' for Alaa Abdelkhalek. In fact, much of Egypt's music scene feared Hamid El Shaeri for his heavy use of electronic music, which they believed threatened the livelihoods of traditional instrumentalists, according to Egyptian music journalist Amgad Alaa. Hamid was leading a shift, and the question naturally arose: was Egyptian music about to change forever? 'Anything new sparks concern. Our generation appeared out of nowhere — we were a shock, not just to the audience, but to the people in charge of Egyptian music at the time,' Hamid El Shaeri said in a TV interview. 'They were stunned. Keyboards? Guitars? Drums? Where's the classical structure? It became a generational clash. They couldn't process what was happening — an album with just eight songs? A track that lasts three minutes? What even is that? The shock was simply too much to handle.' Once his suspension was lifted, it marked a clear victory over the establishment, tradition, and the old guard. Hamid returned with an even broader musical vision, blending more genres than ever before. Flamenco music with Arabic melodies—who would've thought? His comeback was defined by rhythms and instrumental styles he had rarely explored. He returned with 'Nour El Ein' by Amr Diab, his biggest hit to date, along with the singer's entire new album. Beside Amr Diab, there was 'Sidi Mansour' with Saber Al Rubai and 'El Soud Oyouno' for Mostafa Amar. For Hisham Abbas, he produced 'Habibi Dah' and the iconic 'Nari Nareen'. And of course, 'Lolaky' by Ali Hemeida—a track that became a runaway hit. These are just a drop in the ocean—examples of the remarkable work Hamid crafted for others. In Italian, Il Capo means "the chief" or "the boss." In the Arab music dictionary, it means Hamid El-Shaeri. Perhaps it was his courage to defy norms that earned him the title. Or maybe it was his relentless drive to innovate—and his readiness to clash when necessary. That, essentially, is what made Hamid so distinctive. The nickname was first given to him by Fares, a singer Hamid himself discovered. And from that moment on, Il Capo stuck—becoming part of his legacy. 'Art is eternal. We, the artists, are only temporary,' Hamid El Shaeri once said. We still sing his songs by heart—but just as much, we remember the battles he fought. That's the thing about real art—it doesn't play it safe. It breaks rules, stirs things up, and leaves a mark. Sticking to the script never made anyone unforgettable. It's the ones who dare to be different, who stay true to what they feel, that end up becoming legends. Hamid didn't force it. He just poured his heart into the music—and people felt that. No act. No polish. Just honesty, raw and real. Il Capo rose just as Egypt was shifting in the 1980s, delivering the sound they didn't know they needed

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store