Hanni El Khatib

Hanni El Khatib is a Palestinian-Filipino American singer-songwriter and multi-instrumentalist songwriter and producer as well as visual director and co-owner of the Los Angeles-based independent record label Innovative Leisure. His 2013 sophomore full-length Head In The Dirt was produced by the Black Keys’ Dan Auerbach. His album Moonlight was released on Jan. 20, 2015. He was described by The Guardian as a “former skate-punk raised on vintage rock and R&B [who] is keeping the spirit of 76 alive with his primal raunch ‘n’ roll.”

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Top SongsAlbum
Come AliveWill the Guns Come Out2:35
Melt MeMoonlight3:40
No WaySavage Times3:37
Can't Win 'Em AllHead in the Dirt3:04
So DustySavage Times3:24
Dance HallMoonlight3:29
Gonna Die AloneSavage Times3:18
Paralyzed (feat. Robin Tapp) (Cozy Inn Refix)Savage Refix4:33
Head in the DirtHead in the Dirt3:18
Solid GoldFLU DOGS1:59
Previously a creative director for a skateboard fashion label and a designer for an advertising agency, Hanni El Khatib, a first-generation American son of Filipino/Palestinian immigrants, states that his raw back-to-basics sound is designed for "anyone who has ever been shot or hit by a train." The multi-instrumentalist sure knows how to sell his music, but his debut album, Will the Guns Come Out, proves that there's more to him than just attention-grabbing soundbites. Those who have seen the recent Nike promo, which features his raucous glam rock interpretation of Funkadelic's "I Got a Thing," will already be aware of his retro rough-and-ready style, but there's plenty more where that came from. The abrasive "Build. Destroy. Rebuild." is a nihilistic call-to-arms that blends vintage garage rock riffs with ramshackle beats and El Khatib's unhinged yelping tones; "Fuck It, You Win" channels the early primal blues of the White Stripes with its scuzzy guitars and relentless crashing percussion; while the sparse one-chord grunge of "Garbage City," the distorted psychedelic cover of Louis Armstrong standard "You Rascal You," and the stomping old-school R&B of "Come Alive" continue to menace and enthrall in equal measure. There are a couple of more melodic offerings such as the Vampire Weekend-esque Afro-beat hooks and doo wop backing vocals of "Dead Wrong," the mournful banjo-led folk rendition of Elvis' "Heartbreak Hotel," and the vulnerable acoustic balladry of "Wait Wait Wait," but Will the Guns Come Out? is much more compelling when wearing its primitive rock & roll pastiche badge with pride. It's certainly not pretty but it's a distinctive first record that, in a bizarre way, appears to live up to his rather unusual claims.
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