Simo Cell & Abdullah Miniawy - Dying Is The Internet - Dekmantel UFO

Ever imagined buying two copies of a record that includes Bass music, partly autotune infused Arabic vocals and trumpet? Why I did this with their first record and why I’m afraid I might end up doing it again with their recent LP.

This project brings together to masters of their craft, uniting for a signature sound which is difficult to compare. On first sight they might be a surprising, unexpected duo but actually they have a lot in common...

Paris based Simon Aussel, better known as Simo Cell, has been making waves with his productions since 2015. As his disography shows, he is strongly connected to and influenced by UK club music: several appearances on Bristolian establishments Livity Sound, their sublabel Dnous Ytivil, Timedance and Wisdom Teeth, plus two Mixtapes on The Trilogy Tapes and Chrome make that pretty obvious. Besides two single appearances on Fragil Musique and Lavibe, all his other work appeared on either his closely related Marseille based Brothers From Different Mothers Label or, since 2021 on his own imprint TEMƎT, which he founded in 2020. TEMƎT seemed to be just the right place to release his first two albums YES.DJ and Cuspide Des Sirènes. Besides his collection of drink tickets, his music collection which he presents regularly in DJ sets, is very impressive, too. And his way of producing makes even more sense when you take a closer look to them.
Strongly influenced by his father, passionate player of and Professor for classical Guitar Roberto Aussel, his collection goes far beyond contemporary dance music. His old-school approach wants to educate the audience and create curiosity through the unpredictable. This happens when he takes the floor on a journey from Jackin House cuts to Baile Funk, atmospheric Electro, raw Techno bangers, wonderfully silly French House anthems and – of course – loads of UK as well as US infused Bass Music and Rap in its broadest sense. Especially these two sounds build the foundation of his productions, no matter if it’s a drive-by soundtrack (Short Leg), a bouncy brain melter (Oh No!) or an ethereal, epic interlude (surface/sirens). Since his Remix for GREG’s Dembow Tronico in 2023, chopping and modulating Kayako Saeki’s horrifying voice (The Grudge) became a constant companion in many of his productions.

Introducing Abdullah Miniawy shows not only a pool of enriching contransts, but also several overlaps with Aussel’s work. The Egyptian artists has many ways to express, whether it’s writing, acting, composing, programming or, in this project, singing as well as the trumpet playing. Until today he shared the stage with artists like Kamilya Jubran, A Filleta or his Le Cri Du Caire project, which has earned the French Les Victoires du Jazz award in 2023. These names underline his origins and main habitat, but since his very first releases in 2016, he’s also wandering in the worlds of experimental electronic music. Alongside the German trio Carl Gari, he released several records on imprints like Whities (before they re-branded to AD93), Hundebiss, ULLLU, or, just like Simo Cell, on Will Bankhead’s Trilogy Tapes. So, it comes he performed in institutions like London’s Institute of Contemporary Arts, Haus der Kunst in Munich or even the Louvre in Paris, as well as Dutch Draaimolen or En Masse festival in Bristol. His work brings together traditional Arabic maqam music, experimental Jazz and Electronic, and – since he first jammed with Simo Cell in 2018– darker territories of dancefloor related music.

Their first release Kill Me Or Negotiate in 2020 on BFDM unlocked new fields for both: Aussel was used to the Eurocentric concepts of scales and melodies, so Miniawy’s quarter-tone-technique was a sudden insight. Miniawy on the other hand never got in touch with Bass heavy music, has the approach to make people dance, a field Aussel’s an expert in. This rare mix of sombre steppers, Mawwal and distorted Trumpet (exactly, Caged in Aly’s Body) was – at that time and from a Eurocentric perspective – state of the art.

Dying Is The Internet, their new eight-track-masterpiece, examines the influence of AI and other internet-related phenomena on our daily life critically. I See The Stadium is a very strong entrance to this record: Surrounded by brutal, isolated bass hits, Miniawy’s distorted chant is contemplated by Kenya-based Lord Spikeheart, who gives a preview of the rest of the LP’s vibe with guttural growling, sounds of distant laughter and choking. After the half-time beat in the first half, eerie strings seemingly build the foundation for a heavy 808-infused club beat, including a catchy, minimalist plucked melody. Lord Spikeheart closes this first chapter, inviting you to be his guest – this time rapping, not growling. Pixelated, as well as The Dala Effect show Simo Cell’s incredible ability to combine ideas of Dubstep-ish drum work, Trap aesthetics, as well as Jersey Club related squeaking sounds and military drums. Miniawy’s vocals supplement these nested, well-crafted beats with and without autotune. Besides these, on Reels in 360 and Travelling in BCC also his Trumpet play does not only match the vibe, it gives a new, unexpected twist – which, once you heard it, you don’t want to imagine these stanky faces tunes without it. The Jazz-related play with supposedly disharmonic melodies play an important role in every tune, most obviously on Tear Crime, an experimental piece that gives a little break between two bangers. Living Emojis, a critical lament, stands out not only for its Safqa-based, complex triplet beat, but beyond that in terms of arrangement and composition.

Once again they manage to create a unique sweetspot between the free world of Jazz and the functional one of Electronic Dance Music, full of well-structured chaos and possessive, full on dystopic atmospheres.