Various Sweet As Broken Dates Lost Somali Tapes From The Horn Of Africa
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Danan Hargeysa feat. Sharero Band feat. Waa Taayadii What's October? It's Ours A legacy of the past that blurs the trauma Various Sweet As Broken Dates Lost Somali Tapes From The Horn Of Africa the present. The bombing leveled the entire city. Barre targeted Radio Hargeisa to prevent any kind of central communication system that could organize a resistance.
With the attack imminent, a few brave radio operators and dedicated vanguards of Somali culture knew the archives, containing over half a century of Somali music had to be preserved. Thousands upon thousands of cassette tapes and master reels were quickly removed from the Various Sweet As Broken Dates Lost Somali Tapes From The Horn Of Africa targeted buildings. They were dispersed to neighboring countries like Djibouti and Ethiopia, and buried deep under the ground to withstand even the most powerful airstrikes.
These audio artifacts were excavated and recalled from their foreign shelters only very recently. The Ostinato Records team digitized a large portion of the archive, distilling 15 songs that reveal the panoramic diversity of styles and sophistication of Somali musicianship. Each track is a keen illustration of a carefully refined, rarely revealed cultural crossroads of the world. These damaged cassettes evoked memories of the revered national theater, where Waaberi Band provided unforgettable soundtracks.
Somali music of this era is set apart by its empowerment of women. Female singers, often more prolific than their male counterparts, are inseparable from its evolution. Half the compilation is sung by women, their voices often compared in Somali poetry to the sweetness of broken dates. Poetry, intrinsic to the cultural fabric, forms the foundation of Somali songwriting. These damaged cassettes evoked memories of the revered national theater, where Waaberi Band provided unforgettable soundtracks.
Somali music of this Willi Williams So Real is set apart by its empowerment of women. Female singers, often more prolific than their male counterparts, are inseparable from its evolution.
Half the compilation is sung by women, their voices often compared in Somali poetry to the sweetness of broken dates. Poetry, intrinsic to the cultural fabric, forms the foundation of Somali songwriting. A thriving scene was owned entirely by the state. Music was recorded for and by national radio stations and only disseminated through public broadcasts or live performances. Private labels were virtually non-existent. This music was never made available for mass release. Almost all recorded material came from original masters or homemade recordings of radio broadcasts.
As a result, most of it has never been heard outside Somalia and the immediate region.
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