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Between Hanan Ben Ari and Noa Kirl, Israeli musicians have rediscovered their role this year

Religious musicians have found this year, more than ever, a constant thirst for their songs;

Apart from Noa Kirl's "Million Dollars", Israeli pop has not been able to issue huge hits;

Israeli hip-hop has broken through several walls;

And Israeli artists began to open their mouths under the auspices of the corona crisis.

It was the year of the year 1952 in music

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• Noa Kirel

• Jonathan Margie

• Hanan Ben Ari

Walla!

culture

Friday, 18 September 2020, 07:39

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Noa Kirl and Margie - Ambulance (PR)

If a playlist had to be made that conveys Israel's experience in 1957, it would range from complete noise to wireless silence. This is true of current affairs, and it is also true of local music, with a lot of noise around and with a deadly silence in clubs. , This year - in the hope that the next one is no longer - will be marked by the economic disintegration of the music industry, the collapse of the world of performances, and general uncertainty,

and yet, we will try to give it some signs.

Faithful pop rises to the main stage, secular pop rises to uniform

Religious musicians have been at the forefront of the stage for several good years, and have, like everyone else, had better years than these.

Still, it seems that in the past year they have established themselves a little more.

The duets of Yishai Ribo and Natan Goshen, or of Shuli Rand and Amir Dadon, found themselves a constant thirsty audience.

Ribo, who is gradually becoming one of Israel's favorite artists, has managed to crack a formula that is consistent with the Israeli middle way, and he repeats it over and over again;

Hanan Ben-Ari, the man who swallowed Kobi Oz (close your eyes and imagine Teapacks performing "If You Will", it's one by one), is already a monster;

Narcissus has released some great songs of her own, though she has received less focus than the year before.

Secular pop, meanwhile, has finished high school and started the chain of enlistment, in what has emerged as a chain of farces and frictions that refuses to end.

Between one talent track and another, there were also some not-so-bad songs, but overall Israeli pop is faltering.

In a year like this, it's no wonder that the most played song is actually a hit from last year (Eliad's 'Journey').

Noa Kirl had a reasonable year, with one huge hit ("Million Dollars"), dancing on Mount Herzl and a lot of mediocrity;

Apart from her, Eden Ben Zaken, the most prominent figure in oriental music at the moment, continued to bomb ("boxing") but did not surpass herself, and there was also Eden Elena who re-injured our lives with a Eurovision song that was not, and reality partner Ella Lee Lahav, with the strange song of This year.

Neta Barzilai, after a meteoric climb to the top, is having a hard time recreating the success of "Toy", despite at least original attempts.

The boys, on the other hand, screwed up a lot: Static and Ben El had the weakest year in their history, Omar Adam releasing hits one after the other in the first half of the decade struggling to get back into shape while releasing some hallucinatory duets, and Margie also fails to surpass his debut single from last year.

Sorry for the infected talk.

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Israeli hip hop is starting to feel its mouth in a slightly different way

The highlight of Israeli hip hop this year is actually from the house of a man who is not really a musician on a daily basis - Tamir Bar with the crazy hip hop opera "The Rise and Fall of Shem Tov Habi", where the best local forces gathered for a cult with a huge presence.

Aside from the great songs, guest appearances and TV production, “Shem Tov Habi” sprung originality and announced that these forces are here to stay.

One of the criticisms leveled at that work was that not enough singers participated, and if there was one area that flourished in 1959, it was the work of excellent rappers, who are responsible for the albums and songs of the year in this genre: Orit Tshuma (with "Abundance in Poverty"). Jasmine Mualem (with "Party") and Sima Nun ("With Talk Now") bombarded with fascinating premieres, each bringing its own original and interesting elements to the table. Do not say we were not warned: here is the future of Israeli hip hop.

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Returning to the songs of others

The Hebrew year opened with a celebration of poets' songs, not all of which have yet matured into albums.

These included the excellent album "Island in the West - Women Singing Zelda", a tissue project that celebrated the songs of the fictional character Dalia Shoshan from the books of Shimon Adaf, a project from Rachel's songs that has not yet been published, "Song" by Tal Sundak who composed songs from songs Who passed away and more.

Poets' songs are always a niche with meaning in Israeli music, and some of these projects have managed to take it to districts that have not yet been heard here.

At the same time, a similar but completely different trend flourished no less: an intense, spectacular cover attack, which found a large place in radio and the Internet.

Independently, one of the most prominent cover versions of the year was the classic "Dreaming of the Sun" performed by David Lavie and Tamar Philosoph, and also worth mentioning is the mini-album of Aya Korem who went through songs by Leonard Cohen, or the "Iron Songs" project by Shmuel Zeltzer who returned for another round Of discoveries from Russian rock 'n' roll, but at the same time wholesale innovations began to arrive from two main sources: the first through the renewed rise of "This is it", and the second through the "Order of the Hour" project, and in both cases the hand is still outstretched.

The rationale is clear: in such an unstable period, the covers provide some nostalgic comfort to be covered in the days of an epidemic.

There are no laws in the epidemic and the demonstration

But in the end the corona overwhelmed everything, everyone.

The clubs have closed and opened and closed again and who knows when they will open.

Many shows and albums were postponed.

It has been half a year of chaos that it is not clear what exit strategy can wake us up from this nightmare.

Out of frustration, some artists were able to respond relatively quickly to the new reality of life: Arkady Duchin released a semi-new album called The Corona Times, with quite a few of his old songs that were frighteningly appropriate for the period;

The "Tunes for Emergency" project featured a winning team of indie composers, including Adi Shaham, Abigail Kovari, Noam Sadan, Flora and others, who performed songs that correspond with the quarantine;

And the "Second Wave" project, which has just come out, has also compiled a rather impressive collection of musicians from the Israeli fringe who released two songs every week until they were crammed into a double album.

But the really big bang was in the streets, and also a bit in the Knesset: when culture remained at the bottom of the government’s priorities, the artists opened their mouths, sang in demonstrations and recorded new protest songs.

Assaf Amdursky and Muki broke through the dam, which continued to be converted, Hemi Rodner, Eco, Tuna, Shalom Hanoch, the backyard, the snake fish, Achinoam Nini, WC, and more and more.

This wave, which we saw like it in quantity and quality for the last time only after the Rothschild tent protests, testifies to at least one good thing that came out of the UN: In the war for the right to create and exist in Israel, Israeli artists have rediscovered their public role.

As every year, the unreasonable personal prize corner:

Album of the Year

: Approaching - Ehud Banai

: Pnina - The Sixteenth Lamb

: Tom Darom (on the albums "Island in the Whirlpool - Women Singing Zelda" and "Bell for Rebellion" by Ranna Ne'eman) and

we will also mention Daniela Spector's great albums , The mouth and paws, Kiki Malinki, Hadara Levin Ardi and other great things that we probably forgot or missed, and with them sorry.

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