Feature | MUSIC
EAST OF EDM
His Syrian techno brings the sound of a high-energy Middle Eastern wedding knees-up to the West. Malcolm Jack catches up with Omar Souleyman
‘T his is the best thing I have recorded orded Omar in my career to date,’ beams Omar ieran Souleyman about his new Kieran ome Hebden-produced album Wenu Wenu. Some it as may squirm a little at descriptions of it as ms to his i rst ‘proper’ record, a term that seems to nely show little respect for the Syrian’s insanely ince prolii c prior output of 500-plus albums since cus, 1994, as sold at cassette stalls in Damascus, and many of them recorded at weddings and und parties. Souleyman used to perform around fore 20 shows a month in his homeland, before off the combination of his music taking off t of abroad – thanks largely to the support of the Seattle label Sublime Frequencies – and the n to Syrian civil war necessitated a relocation to List Turkey, from where he speaks to The List via a translator.
out But the man himself isn’t precious about on declaring this i rst high-i delity distillation – of his slamming Shaabi street sound – wn ‘Syrian techno’, as it’s sometimes known ’m – a new line in the sand for his career. ‘I’m n a very proud,’ he says. ‘It has indeed been a his long-term ambition of mine to achieve this quality of sound on a record.’
an Anyone concerned about transporting an nd artist born in rural north-eastern Syria and a raised on Middle Eastern folk music to a ’t recording studio in Brooklyn shouldn’t ft worry. The raw essence of his craft e, remains – principally a live experience, g synonymous with both foot-stomping d dabke circle dances at Syrian parties and n legendary after-hours sets at hip Western s festivals including All Tomorrow’s Parties s and Primavera. Four Tet man Hebden has g done a i ne, hands-off job of capturing m all of Souleyman’s unvarnished charm y with just the right degree of clarity s and control. Getting down to business s within the opener’s i rst two seconds with a pumping beat and a face-melting Middle Eastern-l avoured synth solo (from Souleyman’s lightning-i ngered collaborator Rizan Sa’id), then giving way to Souleyman’s impassioned Arabic chanting and crooning, it’s instantly the kind of thing that, experienced under the inl uence circa 2am at a festival, will inspire frenzied scenes of shit-losing. Instantly recognisable with his thick
fi h trademark shades, kefi yeh black ’tache, headscarf and djella robe (no one could deny he has a strong look), Souleyman too has high praise for his producer. ‘Working with Kieran was a great joy,’ he says. ‘He is one of the greatest professionals I have had the pleasure of working with, as he is capable of doing pretty much everything – he is like a magician! It was a great experience, especially as I had no idea who he was until we started working together.’ For all that superstars such as Björk and Damon Albarn have embraced Souleyman (he
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remixed for remixed for h f the former and collaborated with the latter), Western music doesn’t mean much to him. ‘I don’t really listen to any Western music, to be honest,’ he admits. i h h l
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Does it surprise him that audiences in Europe and the US have become so excited by the Souleyman sound? ‘Of course it is a little surprising,’ he responds, ‘especially as they probably don’t understand the language. But yes, when I walk off stage and I can hear the crowd repeatedly shouting my name, it is clear to me they must be enjoying what
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d i I’m doing.’ Is taking I’ Wenu Wenu to a peaceful Syria his next great ambition? ‘Of course I would love to be able to go back and perform my new album at home – nothing would make me prouder,’ he says. ‘At the moment everyone is waiting for a breakthrough in Geneva. I want things to get better for my beloved country.’
Omar Souleyman, The Arches, Glasgow, Sat 9 Nov. Wenu Wenu is out on Ribbon Music on Mon 21 Oct. 17 Oct–14 Nov 2013 THE LIST 81