Arabic electronic experimentalism is thriving. In recent years, diaspora artists such as Egyptian producer Abdullah Miniawy, singer Nadah El Shazly and Lebanese singer-songwriter Mayssa Jallad have each released records that combine the Arabic musical tradition of maqam and its slippery melodies with granular electronic sound design, rumbling bass and metallic drum programming to create a dramatic new proposition. The artwork for Wahj Beirut-born and Amsterdam-based composer Toni Geitani is the latest to contribute to this growing scene with his masterfully produced second album Wahj (“radiance” in Arabic). Working as a visual artist and sound designer, Geitani is well versed in creating imaginative soundscapes for films such as 2024 sci-fi Radius Collapse, as well as referencing the shadowy nocturnal hiss of producers such as Burial on his dabke-sampling 2018 debut album Al Roujoou Ilal Qamar. On Wahj, he harnesses soaring layali vocalisations, reverb-laden drums and analogue synths to leave a cinematic impression. Opener Hal sets a plaintive tone with a yearning cello solo from Nia Ralinova and Geitani’s melismatic vocals meandering over the slow, thrumming notes …