Habibi Returns in Style on 'Anywhere But Here'

by Mara Tatevosian

Following their 2018 EP, Cardamom Garden, Habibi, the NYC-based DIY band, quietly released their second album Anywhere But Here on Valentine’s Day. The album stays true to the band’s brand of fusing psychedelic rock techniques while maintaining the essence of a 60s pop girl group. Their last EP melded the Rahill Jamalifard’s Iranian roots with Habibi’s surfer girl aesthetic. Cardamom Garden dueled two cultures beautifully in their melody and instrumentals.

With the exception of  “Come My Habibi,” Anywhere But Here leans towards optimistic Americana but experiments with a 12-string guitar, ney flute, vibraphone, and sitar. The album’s lyrics sound like a tale of furious love for the person or city that broke your heart. This isn’t a tug-of-war between cultures but exudes a perpetual state of discomfort in general. It tiptoes on feelings of being deserted and finding a sense of belonging within the realms of the band itself. 

Habibi is still finding their footing in a larger spectrum but have carved a place for themselves in the Brooklyn underground music scene, notably opening up for the ‘80s dance-punk band, ESG. Jamalifard leads the band with her signature rasp and smooth talk. It’s clear she takes inspiration from Iranian culture – her vocals evoke a similar essence to the Iranian songstresses of the early ‘70s.

This rings especially true in “Flower,” which starts slowly and steadily builds its sensual tempo. As one of the longer songs on the album, it gives the band time to tell an intimate story of reconciliation. The lilting melody is backed with soft tambourines and tombak, hinting at the Middle Eastern influences of the band.

The most prominent part of  “Born Too Late” is Lenaya Lynch’s surrealist guitar solo, feeding to the song’s take on the common romanticization of the 70s. If it were a little bit longer, it could be the distorted successor of Fleetwood Mac’s “The Chain.” 

“Stronghold” stands out in the album because it isolates Jamalifard’s vocals and repurposes the common pop lyric, “L-O-V-E,” with distinct rock‘n’roll electric guitar strings. “Misunderstood” is especially evocative of early ‘60s Garage Rock, such as The Belles’ “Come Back,” with an added twist of modern female rage.

The album is bookended by songs initially released as singles. “Angel Eyes” opens the album with the touch of a harp and a harmony reminiscent of their debut. Ironically, the album is closed by the first song founding members, Lenny Lynch and Jamalifard, wrote together. The quintessential “Come My Habibi,” written during the early years of the band, was never released. Years later their bassist/guitarist, Leah Fishman, suggested they revisit the song. Jamalifard interchanges between English and Farsi with impressive fluidity. The song’s central bass strings, finger snaps, and kick drum are interrupted by the tombak, Middle Eastern ululation, and a guitar distortion to mimic the sounds of a sitar – reuniting two musical influences and identities.  

At first listen, many of the songs’ instrumentals bleed into one another, dulling the excitement of the album. After sitting with the album, the songs find their individual roles, creating a wonderful story of finding love in the uncomfortable moments. Anywhere But Here feels like a step away from the experimental ambiguity of their earlier work but succeeds in establishing a sound that feels organic to Habibi.