For years now, Jordanian-Palestinian rapper The Synaptik has solidified his presence in the regional rap scene as an artist whose work stands apart from his contemporaries. His first full length album, ‘Om Al Mawjat’, showcased his ability to craft cohesive bodies of work through smart collaborations with some of the region's most prominent rappers, and introduced a distinct sound unique to him. Having gone fully independent, he launched his own record label, Milq Records, under which his new album ‘Al Taman’ was released, featuring an array of guest artists and exclusive production credits to Wardenclyph.
From the outset, The Synaptik asserts his presence with the album's opener, 'Bekhawef', an extended intro that sets the tone for the one-hour-plus runtime. The track features multiple sonic transitions and flow switches, a collaboration with Wardenclyph that continues throughout the album’s 20 tracks. In the intro, The Synaptik shifts from his signature delivery over 80s-inspired production to a pure trap beat, culminating in a final section where he experiments with a new delivery, rapping in English over jazz-infused production.
Wardenclyph’s production is top-notch throughout the album, introducing The Synaptik to entirely new sonic territories, especially in the second half. The diverse sonic palette includes everything from old-school boom bap to trap and even ventures into folk-based production and '80s disco.
The Synaptik's songwriting formula is in full force from the intro, delivering clever, precisely written bars infused with humor and socially aware commentary, all while exploring different aspects of his inner self:
“Yes, I'm feeling myself
I think I'm healing myself.”
Though the decision to create an album lasting over an hour carries the risk of sacrificing sonic cohesion, the first half of 'Al Taman' remains strong and cohesive both sonically and lyrically. The Synaptik’s vocal performances are executed with clear quality. The dreamy production in the second half of '9/YGLYB' offers a clearer picture of The Synaptik's vision across the album, incorporating spoken word samples that reinforce the album’s personal themes.
Palestinian rapper Sakt makes a strong appearance on 'Had 5ofi', delivering one of the album's standout features. His melodic chorus infuses fresh energy into the track, setting up The Synaptik's verse, which matches the electric energy, highlighted through his dynamic flows. Sakt returns with his distinct, heavily auto-tuned delivery on an infectious hook that becomes one of the catchiest moments on the album.
The album feels larger than its 20 tracks, with songs like 'Montana/7osna' featuring two distinct parts. Here, The Synaptik engages in overtly boastful writing, critiquing the Arab music scene with a sound sample from Egyptian cinematic icon ‘Tito’. The production transitions from traditional boom bap in the first half to a more evolved trap in the second, where The Synaptik's tone becomes more reflective and serious, questioning and shedding light on the world around him.
'Al Taman' doesn’t feel monotonous, thanks to the constant shifts in musical production, songwriting themes, and lyrical content. This is exemplified in 'Sersa3ajari', where Al Darwish delivers a fierce verse over an advanced boom bap beat that perfectly highlights his sharp flows.
The Synaptik's talent for creating infectious hooks, evident in previous releases like 'Mesh Sa7ilik', 'Dari' and 'Ala Bali', is masterfully executed here. Even the album's interludes, such as the three-minute-plus 'Bos Shof', where The Synaptik presents a falsetto voice over EDM-leaning production with trap hints.
Though the album’s transitions from boom bap to trap and beyond showcase Wardenclyph’s versatility as a producer, there are moments in the second half where sonic cohesion is compromised. Tracks like 'Nar Nar Nar', despite The Synaptik's strong delivery, feature sonic elements that feel disconnected from the rest of the album, particularly the delicate guitar samples. Similarly, 'Tiji Ana Wayaki?' strays far from hip-hop, incorporating traditional folk music elements that, while of good quality, do not contribute to the album's overall unity. Kokym's verse on this track is somewhat underwhelming. 'Besmek' follows a similar sonic direction but is executed more cohesively, with electronic elements that better align with the album's overall sound. Here, The Synaptik delivers personal and self-critical lyrics.
“Running away from a colonizer inside my head.”
The album closes with 'Shababek', featuring Palestinian singer Lina Makoul. The duo delivers a soothing, cinematic outro, addressing the situation of an artist during times of war, singing, “I guess we have the war to blame - I guess the world can see the picture now.”
‘Al Taman’ is The Synaptik’s most ambitious record to date, navigating between genres and sonic directions while presenting a multi-faceted version of his identity as a mature songwriter and an artist with a keen eye for detail and a deeply personal perspective. While the album could have been trimmed, particularly in the second half, for a more cohesive listen, it still delivers a solid and rich experience filled with high-quality production, strong features, and mature songwriting, further solidifying The Synaptik as an artist who moves entirely in a lane of his own.
