Electric City Entertainment presents:
Hanni El Khatib
The Empty Spaces, Sundelles
Mon, April 16, 2012
Doors: 8:00 pm / Show: 9:00 pm (event ends at 11:30 pm)
The Riot Room
Kansas City, MO
$8.00
Tickets
This event is 21 and over
http://www.theriotroom.com/event/83887/Hanni El Khatib

Hanni grew up in San Franscisco, California. The son of Palestinian and Filipino immigrants and the first American in his family, he became obsessed with classic Americana and pop culture of the 1950s and 60s. Influenced by pioneers of early rock and r&b (Johnny Burnette, Sam Cooke, Johnny Cash), El Khatib created a musical aesthetic to match his vision. The multi-instrumentalist serves as singer, songwriter & producer for his one-man band (live he is joined by a drummer) that is part blues, part garage rock, part soul, part folk & part doo whop.
As the creative director for HUF and lifelong skater, El Khatib professes to a love for well-crafted objects: classsic cars, cans pomade and stiletto switchblades. This craftsmanship carries over into his music, where El Khatib is inspired and informed by the specificity of a guitar tone or the fuzziness of an amp sound . His background in DIY and skate culture manifests as a desire to “keep mistakes in” and make things “as raw as possible.” Merging primitive rock sounds with punk aesthetics, El Khatib toes lines between all genres and ends up firmly in his own.
His diverse interests in music, zines, art, photography, and film, converge around his singular personal aesthetic, which reveals itself in all of El Khatib’s work. Combining the old weird America with the brave new frontier of home recording, El Khatib bridges the past and the present to create music that already sounds timeless and were written for anyone who’s ever been shot or hit by a train.
As the creative director for HUF and lifelong skater, El Khatib professes to a love for well-crafted objects: classsic cars, cans pomade and stiletto switchblades. This craftsmanship carries over into his music, where El Khatib is inspired and informed by the specificity of a guitar tone or the fuzziness of an amp sound . His background in DIY and skate culture manifests as a desire to “keep mistakes in” and make things “as raw as possible.” Merging primitive rock sounds with punk aesthetics, El Khatib toes lines between all genres and ends up firmly in his own.
His diverse interests in music, zines, art, photography, and film, converge around his singular personal aesthetic, which reveals itself in all of El Khatib’s work. Combining the old weird America with the brave new frontier of home recording, El Khatib bridges the past and the present to create music that already sounds timeless and were written for anyone who’s ever been shot or hit by a train.
Sundelles

"Dead Youth" instantly jumps off of the record as a whirling one direction carousel of noise and reverb. Everything, including the rumored guitar solo, blurs to the periphery. The song glistens with sweat and smiles. "Waiting" on the b-side is as, if not more, accomplished as its vinyl brethren. Taking its template from 40's Doo Wop, the song swings and sways in dizzying proportions. Waiting makes the listener fill with joy and perhaps push them to break things of moderate value.. The redeeming quality about both songs is the lack of fidelity. The drums on both songs pop out of the mix as if being pressed against a stone wall. The vocals feel as if they were screamed over the excitement of a 1950's fraternity party. The Lo-Fi quality of this record gives it a sense of costume that some of the other Garage revival lacks. Mimicking the intentional and sometimes accidental production of the mid 60's is a wonderful effect (whether intentional or accidental). Sundelles has all the parts in the right place to make a drop dead gorgeous record. Their nonchalance and no-style sets them up for whatever may come in the future ."


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