Terminal

about this album

It sees him broaden out his work on previous UIQ EPs 2016’s ‘Bionic Ahmed EP’ and the 2017 follow up ‘Numbers’ and into something more localized and personal. The project features photography from his local zones in Cairo. Musically with ‘Terminal’ ZULI's focus moves away from the dancefloor and towards more melodic/ambient/listening/vocal territories. “In a world that feels like it’s regressing into tribalism, many of us who don't fit into any one specific group identity feel sidelined at best. When people talk to me, whether it be the press or peers in the scene I operate in, I am often approached with a preconceived notion of pretty much everything from my influences and taste to my politics and lifestyle, solely based on my nationality. It is a caricature that has proven very marketable, one that makes for a more interesting read/conversation/booking, apparently, than a multi-faceted (hence unique) human personality just like each and every one of us. Ever since this came to my attention I have been making a point to be as vocal as possible about how unfair that is. This is an album inspired by my own personal experience in the city I live in. I just happen to be an Egyptian musician and the city just happens to be Cairo; my experience in Cairo may very well have more in common with that of an Indian accountant in New Delhi than of another Egyptian musician in Cairo. Terminal draws from an abstract narrative of increasingly frequent cycles of ego-death and rebirth; its

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