Omar Souleyman – Dabke 2020 (Folk And Pop Sounds Of Syria)
Sublime Frequencies
Reviewed by J. Bongwoo

If you failed to pick up Syrian pop god Omar Souleyman’s, Highway to Hassake, a compilation released two years back by the good people at Sublime Frequencies. you’ve already missed quite a bit. But, hey, it’s not your fault, right? You were busy with that thing with your friends and you totally forgot or something, and that last Justice release was just really kind of more important. I mean, really, it was seriously, like, so fucking good, amirite? White people really do make for some innovative musicians. And white people only; really boring, lame, coked out white people. And they make even better music if they have ironic mustaches. That really adds a certain level of innovation that really gets me going in the club and makes my apathy that more palpable. Oh, and look, Omar has a mustache! And he even has some pretty killer vintage shades! You know, the ones that you totally tried to grab a few weeks ago at that one thrift shop by Main but your parents, like, totally forgot to transfer your allowance for the month. It’s a drag, dude; Indie parents just don’t understand. But chin up gentle reader: everything will be okay. Why? Because just like Highway to Hassake, Dabke 2020 is a real fucking keeper.

Now, I know your demographic is a hard sell for this kind of thing. And I’m aware of the few problems that will need to be dispensed with. Moreover, I firmly believe we can accomplish this together as a team of caring and like-minded individuals willing to work toward a grand vision of tolerance.

Let’s begin with the first obstacle, which is likely the biggest we’ll be facing: this record isn’t mind-numbingly boring. Yeah, I know, overlooking this will be a trick, but I am completely convinced that songs like “Kaset Hanzal (Drinking from the Glass of Bitterness)” will make you love music that isn’t both homogeneous and stupidly tedious. And yes, I know, I know, the guy isn’t technically white. He’s Syrian. Don’t worry though, I’m sure Vice will do a full cover story on them at some point in the future and you’ll sort of give a shit about it, or at least it’ll give you some conversational fodder for that one chick who works at American Apparel you’re trying to bang.

This brings us to our second obstacle. Given that Souleyman is a Syrian pop singer, the music itself is not based on white, Western principles – or at least it’s not music from another country that’s been appropriated and soul-sucked by dull, uninspired white people (i.e. Vampire Weekend.) There will be a few moments like “Jamilla (The Beautiful One)” and ” Laqtuf Ward Min Khaddak (I Will Pick a Flower from Your Cheek)” that may bring some initial “9/11, Never Forget” discomfort, but if you pretend the songs are original remixes by some white dude wearing a beard and too much neon, you’ll be hip to this is no time.

And so we arrive to the final obstacle to overcome. Dabke 2020 has a certain raw, unflinching sensibility that runs throughout. Now, I know what you’re thinking: I’m apathetic and vacuous, so anything remotely passionate, abrasive, and genuine will rub me the the wrong way. I understand this, sensitive reader, but you’re going to have to pull through for me on tracks like “Lansob Sherek (I Will Make a Trap)” and Qalub An Nas (People’s Hearts),” because Souleyman is about to get in your pasty, acne-riddled face and he don’t give no two Syrian fucks for your “indie personal space issues.”

You can do this. You’re a big boy. You voted for John Kerry. Goddamn, I’m so proud.

Now take ten laps and taste me, faggot.

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