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Omar Souleyman's Poem

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Over the past few years, dabke veteran Omar Souleyman has experienced a substantial increase in his Western following - in 2011, the Syrian drew attention for his remix of Björk’s “Crystalline”, and in 2013, he released his first studio album Wenu Wenu, with production from Four Tet’s Kieran Hebden. Souleyman’s second studio LP, Bahdeni Nami, continues to flirt with Western electronic music - the album features collaborators like Four Tet and German duo Modeselektor. Bahdeni Nami is a little more sprawling and a little more experimental than its predecessor Wenu Wenu, which was more of an entry-level introduction to Souleyman’s unfamiliar form of music; here, we see Souleyman apply dabke’s most dance-y traits to more trance and techno-oriented beats. The change is subtle, however; and often feels like not enough of a progression from Wenu Wenu. Souleyman has recorded hundreds of albums in his career, and is something of a legend within his own genre. But there is a subjective problem for any Western listener unaffiliated with dabke (and let’s be real here, many of this album’s listeners will be relatively new to the genre, me included). Bahdeni Nami can be just as exhilarating as Wenu Wenu was; after a while, though, you …show more content…

“Bahdeni Nami”, the title track and lead single off of this one, is as good of a starting point as ever. You get the full dabke experience in this one - Souleyman sings or chants lyrics in Arabic over an incessant beat. As soon as he’s done, the stomping bass percussion joins in the fun, and mind-melting synthesizer solos take over. It’s simple and repetitive fun - no wonder the genre has experienced something of a renaissance in recent times. Punctuated with claps and jubilant yells, the 8-minute “Bahdeni Nami” doesn’t carry you so much as it lets you sink into its never-ending tapestry of

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