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Bedouin SoundClash: One get-out-of-jail-free card poorer

By Eric Freytag

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Bedouin SoundClash

Related Links:
• Bedouin SoundClash Official Site
• Comments

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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