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Bedouin SoundClash
Music
Bedouin SoundClash: One get-out-of-jail-free card poorer
By Eric Freytag
Bedouin SoundClash
The Band:
Known for a unique and innovative style, Bedouin SoundClash
is named after Israeli fusion artist/producer Badawi's 1996 release. This
release pays homage to the nomadic Arabic poet tribe the Bedouins – the group
formed in 2001 at Queen's University in Kingston,
Ontario. The combination of lead
singer Jay Malinowski's poignant vocals and rhythmic guitar riffs, Eon
Sinclair's tenacious bass, and Pat Pengelly's captivating rhythms completes the
Bedouins cornerstones.
The Show:
Before the Bedouin SoundClash show last week the Seattle.net
staff posted an article entitled “The Bedouins are Coming,” with a quote
stating: “Bedouin SoundClash is not to
be missed.” Sadly, we were mistaken.
On February 13th, if you missed the band’s performance at
Chop Suey it would have been for the best.
The band was drunk. Or more accurately: lead singer Jay Malinowski was
drunk. This would not be a problem if
Malinowski was able to pull it together as many rock stars do, but
unfortunately the slough of missed notes (of voice and guitar) had the audience
yelling derivatives such as “Get it together!” and “Sober up!” and “You already
played that one!” by their fourth song of the night.
To his credit, Malinowski apologetically remarked “I don’t
usually drink before shows, but my mom and my aunt came into town…” at which
point he trailed off without further explanation. Although the crowd was
undoubtedly curious as to how this was a catalyst for his level of
intoxication, they seemed nonetheless touched by his honesty and regret.
Fortunately, Bedouin SoundClash has accrued some
get-out-of-jail-free cards, and they are called “Root Fire,” “Sounding a Mosaic,” and “Street Gospels.”
Each album manages to be inventive and original without sacrificing cohesion or
catchiness. “Sounding a Mosaic” is most
notable for its harmonious contrast between lyrical content and instrumental
disposition. Although Malinowski sings about
strife and loss (Murder on the Midnight Wire, Criminal, etc.) the pervading
melodies on the album are upbeat reggae tunes that suggest with certain wisdom
that everything is going to be all right.
Although “Street Gospels” is self-classified as reggae when
imported into an iTunes library, SoundClash’s most recent album cannot be
accurately lumped into any one genre.
Street Gospels is folk rock one moment and a cappella gospel the next,
yet throughout the entire album the common thread of easy-stylin’ island sound
permeates seamlessly.
As they are a delightful band rising in popularity, Bedouin SoundClash
will probably be back to Seattle
before long. When they do come back, I’m
strangely comfortable stating that they are not to be missed.
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