Latlit
Mashrou' Leila Lyrics
إذا كنت مشي عمبتكزدر عل الكورنيش
بدي لتلت
إذا كنتي مشيه لبسه شي فستان قصير
بدي لتلت
إذا كنتو تنين اه أهلين شي فلتان
بدي لتلت
وإذا رح تنهان أفضلان عندي لسان
بدو يلتليت
إذا كنت وئف بدي لطش على الكوع
و إذا كنت مصروع يا دلوع
مش ممنوع
بس حلتلت
و إذا كنت مقهور
راح بتفور كيف ما تدور
بادي لتلت
المهم منك مستور
و يي شرشور أم ندور
حتى نلتلت
Contributed by Sydney G. Suggest a correction in the comments below.
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Mashrou’ Leila (Arabic: مشروع ليلى) is not a bandʼs name. It is not a proper noun per se; Mashrouʼ Leila is Arabic for ʻan overnight projectʼ lusting out a microphone, a violin, a bass, two guitars, drums and keyboards. It started out as a music workshop at the American University of Beirut in 2008, an open platform for students of architecture and design, somewhere to experiment with sounds and make things audible. Haig Papazian, Carl Gerges Read Full BioMashrou’ Leila (Arabic: مشروع ليلى) is not a bandʼs name. It is not a proper noun per se; Mashrouʼ Leila is Arabic for ʻan overnight projectʼ lusting out a microphone, a violin, a bass, two guitars, drums and keyboards. It started out as a music workshop at the American University of Beirut in 2008, an open platform for students of architecture and design, somewhere to experiment with sounds and make things audible. Haig Papazian, Carl Gerges, Hamed Sinno, Omaya Malaeb, Andre Chedid, Firas Abou Fakher and Ibrahim Badr have enjoyed this sound fetish savoring its façade of nonchalance and feeding on its lack of genre – sustaining their collective as Mashrouʼ Leila, an experiment.
You can hear Leila, cascading melts of masculine vocals only suspended with thrusts of violin, beats and bass – attacked by neurotic melody that means no harm – sometimes tender, even sometimes on pause. Through the music, you can smell where Leila has been, in bed sheets, on sidewalks, jasmines in rifles and spilled coffee on dresses as she made you play with aubergines, dancing her dance. Music has constantly been their place to play with things, to match and mis-match, a project.
In the various performances, Mashrouʼ Leila is a constant attempt to taste and produce, more than happy to harvest anyone from the audience as a guest in their encores. They have performed around Lebanon since 2008, playing in various venues in Beirut, taking over supposed public piazzas as well as clubs, pubs, hybrids and the such – they also played in Zahle, Sour, Jounieh, Saida and Deir el Qamar, each of which pushed forward their thinking about how to go about their music, lyrics and performance. It is only when Mashrouʼ Leila goes live, that you can actually catch a glimpse of Leila. As it talks to you of Beirut, the city that tastes of the absurd, the product of its day-to-day experiences, its stubborn security and lack of the latter, its musical bombshells, incoherent sexuality and thrusting pleasure…narcotic pain – as it brings forward hints of Arabic Tarab, rock, to folk pop, electro, you can see Leila in every man and woman in the silent- come-raving audience. In this trajectory, they participated in music workshops and concerts in Amman and Cairo to maneuver their way into a pan-Arab music scene, to know and to announce, more importantly to grow, musically.
In March 2009, Mashrouʼ Leila won the Lebanese Modern Music Contest jury prize and public vote organized by Radio Liban in partnership with CCF, Incognito and the Basement. They released their debut album in December 2009 at what turned out to be Beirut’s biggest alternative (read non-mainstream) event in recent years.
The months leading up to the Arab Spring proved fruitful for Leila as well. In July 2010, Mashrou’ Leila headlined Byblos International Music festival alongside the Gorillaz and Caetano Veloso; this was the first time a Lebanese band was given a headlining post in the festival and proved to be Mashrou’ Leila’s biggest concert yet. Fall of 2010-11 saw Leila pack up her suitcases with shows in Qatar at the Doha Tribeca International Film Festival and at the Vodafone Big Day Out, headlining alongside Hoobastank and Toploader, in the United Arab Emirates at the Du World Music Festival and the Music Room – Dubai’s leading live music venue and in Egypt where the live at the Genaina Theater show saw a sold out crowd with people gathering outside the venue premises for a peek.
In the summer of 2011, Mashrou’ Leila released "el Hal Romancy" E.P., five songs of new material recorded in mountain retreats with cousins and turkish coffee, in the abandoned concrete dome in the Tripoli world Fair and with a quintet of strings on cold winter nights. The release was held at the Hippodrome of Beirut. Mashrou’ Leila also added Serbia and Jordan to the map, with a spot in the 4 day prestigious Exit Festival in Serbia and a 2 night show at the Citadel in Jordan.
After two years, one spent writing the other spent producing, one crowd funding campaign, touring and gigging all around, Mashrou’ Leila released their 3rd Album “Raasük” on 27 August, 2013, recorded at the mighty Hotel 2 Tango in Montreal.
www.mashrou3leila.com
You can hear Leila, cascading melts of masculine vocals only suspended with thrusts of violin, beats and bass – attacked by neurotic melody that means no harm – sometimes tender, even sometimes on pause. Through the music, you can smell where Leila has been, in bed sheets, on sidewalks, jasmines in rifles and spilled coffee on dresses as she made you play with aubergines, dancing her dance. Music has constantly been their place to play with things, to match and mis-match, a project.
In the various performances, Mashrouʼ Leila is a constant attempt to taste and produce, more than happy to harvest anyone from the audience as a guest in their encores. They have performed around Lebanon since 2008, playing in various venues in Beirut, taking over supposed public piazzas as well as clubs, pubs, hybrids and the such – they also played in Zahle, Sour, Jounieh, Saida and Deir el Qamar, each of which pushed forward their thinking about how to go about their music, lyrics and performance. It is only when Mashrouʼ Leila goes live, that you can actually catch a glimpse of Leila. As it talks to you of Beirut, the city that tastes of the absurd, the product of its day-to-day experiences, its stubborn security and lack of the latter, its musical bombshells, incoherent sexuality and thrusting pleasure…narcotic pain – as it brings forward hints of Arabic Tarab, rock, to folk pop, electro, you can see Leila in every man and woman in the silent- come-raving audience. In this trajectory, they participated in music workshops and concerts in Amman and Cairo to maneuver their way into a pan-Arab music scene, to know and to announce, more importantly to grow, musically.
In March 2009, Mashrouʼ Leila won the Lebanese Modern Music Contest jury prize and public vote organized by Radio Liban in partnership with CCF, Incognito and the Basement. They released their debut album in December 2009 at what turned out to be Beirut’s biggest alternative (read non-mainstream) event in recent years.
The months leading up to the Arab Spring proved fruitful for Leila as well. In July 2010, Mashrou’ Leila headlined Byblos International Music festival alongside the Gorillaz and Caetano Veloso; this was the first time a Lebanese band was given a headlining post in the festival and proved to be Mashrou’ Leila’s biggest concert yet. Fall of 2010-11 saw Leila pack up her suitcases with shows in Qatar at the Doha Tribeca International Film Festival and at the Vodafone Big Day Out, headlining alongside Hoobastank and Toploader, in the United Arab Emirates at the Du World Music Festival and the Music Room – Dubai’s leading live music venue and in Egypt where the live at the Genaina Theater show saw a sold out crowd with people gathering outside the venue premises for a peek.
In the summer of 2011, Mashrou’ Leila released "el Hal Romancy" E.P., five songs of new material recorded in mountain retreats with cousins and turkish coffee, in the abandoned concrete dome in the Tripoli world Fair and with a quintet of strings on cold winter nights. The release was held at the Hippodrome of Beirut. Mashrou’ Leila also added Serbia and Jordan to the map, with a spot in the 4 day prestigious Exit Festival in Serbia and a 2 night show at the Citadel in Jordan.
After two years, one spent writing the other spent producing, one crowd funding campaign, touring and gigging all around, Mashrou’ Leila released their 3rd Album “Raasük” on 27 August, 2013, recorded at the mighty Hotel 2 Tango in Montreal.
www.mashrou3leila.com
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S M
Hamed's rant:
The most important thing that we're gonna give thanks for, and I think it was the main thing that pushed us to work on the new songs this time,
is criticism,
Sometimes it's so sweet, sometimes it criticize the ugly things in you and it teaches you, and sometimes it's just gossip....(applause)
Sometimes in criticism there is lying, bullshit, there's things that you've never done in your life, but they want to decide that you wrote a song when in reality the one who did was Mr. Omar Za'ny "عمر الزعني" who should be looked upon as a GOD among people if there is one. right?
and this critique who is SO deep and has a deep criticism and he has done his research, tells you that the band wrote the song not Mr. Omar za'ny, and he tells you that the song is superficial.
So you tell him to eat SHIT...(applause)
"beat starts"
and you go in and you spread your shoulders and who likes it dose and who doesn't let them "build a flooring on the sea" (Arabic expression means let them do whatever they can do)
Cause you have 200 000 thing to do in your life, and you're not gonna stop because of a shitty blog or a stupid retarded woman that got to where she is now just by her money (talking about Nidal Alahmadieh) and she brings people just to show their breasts on the stage and tells you that is art,
and this bitch coming to tell you what is art.
How you gonna tell me what is art? you bitch, you don't know better than me, understand? two slaps on your jaw you ugly.
(song starts)....
I tried to make it as literal as possible.
S M
Hamed's rant:
The most important thing that we're gonna give thanks for, and I think it was the main thing that pushed us to work on the new songs this time,
is criticism,
Sometimes it's so sweet, sometimes it criticize the ugly things in you and it teaches you, and sometimes it's just gossip....(applause)
Sometimes in criticism there is lying, bullshit, there's things that you've never done in your life, but they want to decide that you wrote a song when in reality the one who did was Mr. Omar Za'ny "عمر الزعني" who should be looked upon as a GOD among people if there is one. right?
and this critique who is SO deep and has a deep criticism and he has done his research, tells you that the band wrote the song not Mr. Omar za'ny, and he tells you that the song is superficial.
So you tell him to eat SHIT...(applause)
"beat starts"
and you go in and you spread your shoulders and who likes it dose and who doesn't let them "build a flooring on the sea" (Arabic expression means let them do whatever they can do)
Cause you have 200 000 thing to do in your life, and you're not gonna stop because of a shitty blog or a stupid retarded woman that got to where she is now just by her money (talking about Nidal Alahmadieh) and she brings people just to show their breasts on the stage and tells you that is art,
and this bitch coming to tell you what is art.
How you gonna tell me what is art? you bitch, you don't know better than me, understand? two slaps on your jaw you ugly.
(song starts)....
I tried to make it as literal as possible.
Hopeless Ghost
حتى السب من فمو حلو
S M
Hamed's rant:
The most important thing that we're gonna give thanks for, and I think it was the main thing that pushed us to work on the new songs this time,
is criticism,
Sometimes it's so sweet, sometimes it criticize the ugly things in you and it teaches you, and sometimes it's just gossip....(applause)
Sometimes in criticism there is lying, bullshit, there's things that you've never done in your life, but they want to decide that you wrote a song when in reality the one who did was Mr. Omar Za'ny "عمر الزعني" who should be looked upon as a GOD among people if there is one. right?
and this critique who is SO deep and has a deep criticism and he has done his research, tells you that the band wrote the song not Mr. Omar za'ny, and he tells you that the song is superficial.
So you tell him to eat SHIT...(applause)
"beat starts"
and you go in and you spread your shoulders and who likes it dose and who doesn't let them "build a flooring on the sea" (Arabic expression means let them do whatever they can do)
Cause you have 200 000 thing to do in your life, and you're not gonna stop because of a shitty blog or a stupid retarded woman that got to where she is now just by her money (talking about Nidal Alahmadieh) and she brings people just to show their breasts on the stage and tells you that is art,
and this bitch coming to tell you what is art.
How you gonna tell me what is art? you bitch, you don't know better than me, understand? two slaps on your jaw you ugly.
(song starts)....
I tried to make it as literal as possible.
Ziad
salma agh she wrote an article mocking Mashrou' Leila's songs
salma agh
S M who's nidal and what did she do ?
Anna Anon
When he said "لان احنا مجتمع متزمت" Hamed is a fucking legend!!!!
Khaled Moharb
If i want to be relaxed , i listen to Mashrou' Leila or Fairouz
This the fact that will be to the end
Ayman Daraghme
Mashrou' Leila, you rock! أفضل تحية من فلسطين..صرتو عقاري المدمن عليه بلحظات انفعالاتي او انزعاجي...كل الاحترام...ولتلت
Nour El Hmedi
أليس لنا حصة من هذا الجمال يا مشروع ليلى؟
هوا ڤيينا الصيفي مع " ما تتركني هيك " ، عيون مغمضين، حواس مفتوحة.. 🌌 هي هيي النشوة 🖤
يا ريت ما تنسوا الفانز تبعكن بڤيينا
بالتوفيق
salma klaled
😂😂😂😂😂 احسن شي لما هزأ اللي انتقدوه
وبنت الحرام اللي بدا كفين 😂😂😂😂
mohamed Abdulrahman
salma klaled j