When Western and Eastern cultures creatively collide, spirit, originality and unusual talent can thrive. Bridging the gap between exotic Eastern sounds and Western chart music, Omar Souleyman's traditional Dabke instrumentation and rapid-paced rhythms are polished, prepped, and rendered with expert edge on his second studio album. The Syrian folk singer rose to fame through performing at local weddings and christenings around Turkey, and is now working with some of the biggest names in Western house music. Omar, signed to Monkeytown Records (Dark Sky, Lazor Sword, Moderat), recently released the follow-up album to 2013's Wenu Wenu LP. Featuring seven progressive cuts, Bahdeni Nami explores his ability to transcend cult and genre with the help of Gilles Peterson, Four Tet, and Modelselektor on the buttons.
Dramatic, sitar-led epiphanies wind, fall and rise simultaneously, with rich, wide-scaling vocals that retell true stories of passionate love, jealousy, hate and lust. A deep optimistic with romantic soul, Omar's tribe-like sounds drive crowds in their thousands the world over. This man is a modern enterprise, and at 49, his movement is on a rapid rise.
Interview by Milly McMahon
The last time we met was two years ago. Since then, the popularity of your music has grown and support for you as an artist has been established globally. You come from such a distinctly non-commercial background—how do you translate the success of the music to your local friends and family, and how have they received the new album's material?
Yes, I remember you. And that cold November day in London, in the small hotel lobby [laughs]. Thank you for your interview and thank you for saying my popularity has grown. I like hearing that. My manager often records videos of my shows on her phone, or on my phone, and then I show them to my family when I return home, so they can all believe the success is real [laughs]. Everyone in my family, and my friends who matter the most, they heard and liked my first studio album. In the process of making the new one, I would show them the tracks as we were working on them. And they are very supportive of the new and improved sound that I have.
How have you tried to progress the music, from those early days playing at weddings to now being signed to a label and performing at festivals?
I have not tried to do anything myself. I have kept true to my tradition, and I sing the same way that I have always done. The audience I now sing for is truly different and sometimes they come in their thousands so that was something to get used to. But I did, and with pleasure. I have people with me who guided me to try and record in the studio. I work with competent producers, ones who love my music and understand it, and I am very pleased with the results over the past two records.
What are your thoughts on the way young Western crowds enjoy the festival and live music scene? Do you view their behaviour as hedonistic or just pure unadulterated enjoyment, and would you allow your children to attend European music festivals?
I wish I could take my children or my friends with me when I tour but, unfortunately, that is not possible. I think they would enjoy that very much. The way my festival audience reacts is all genuine and pure, and I enjoy very much to bring them a good time.
When you played at Turkish weddings, what would be the event's typical proceedings and what has been the most impressive wedding that you've played at?
Mostly, the weddings are in Syria, but sometimes, I perform at weddings in Turkey. Recently, since many Syrians moved to Turkey, including myself, our weddings are very elaborate and long affairs and there is music for every part of the proceedings. I don't only sing for weddings but for engagements also, as well as for christenings, for birthdays, and other things. I came back to Syria recently, and was asked to sing at a wedding. It was just a regular couple from my village, but almost the entire government came to it because they heard I had come back home. It was very special for me.
How did you celebrate first signing to a record label, and why did you decide Monkeytown was right for you?
I did not celebrate anything. My manager arranged everything for my Wenu Wenu album, and I was very pleased with how everything worked out.
When we last spoke, you had released over 500 albums—are you continuing to release independent, traditional LPs or has your focus been solely on the new album?
I am only releasing good quality, studio-recorded music now. I am very happy to be doing that, to have a sound that is something I always dreamed of having. Those many hundreds of tapes that exist, yes, they were made and circulated, but it is not the same as with studio albums recording in the West. Those take longer to prepare, to make, and to release.
What does Bahdeni Nami mean, and who made the brilliant album artwork?
Bahdeni Nami means literally 'after sleep', but the context of the lyrics is reflected in the songs throughout. When we had to name the album, I decided on Bahdeni Nami because I liked how that song sounded very much. There was no particular plan there, but I am glad we did and I'm also proud of the video we made for the same song. There is a remix of it, too. The cover art is just photos my manager took when she was at my home, and we were making the video for "Bahdeni Nami".
You worked with Gilles Peterson, Four Tet and Modeselektor on the production of the album. What happened in your first meeting with Gilles Peterson; what were your first impressions of him?
Gilles had invited me to his festival in France some summers ago. He is a very nice man. And Kieran [Four Tet] works very fast; he delivers things in a few hours, basically. He is a genius!
What have you learned from the experience of recording this album?
This one was harder then the previous. But, in some ways, I'm more pleased with this one. I was more free in the sessions.
What track are you the most deeply attached to, and why?
I love all of them. I cannot chose just now. "Darb Al Hawa" perhaps comes to mind as number one today, but tomorrow, that might be very different.
What impression of yourself do you want this album to give to those who may have not encountered your sound before?
Well, if it is anyone's first time with my music, with this album, they will be getting a much richer variety of songs, great poetry and sound of the saz which I have never heard before in the studio.
Where are you going after this interview?
To buy some groceries in the market.
