New Eritrean Music 2023 Download

Notable Eritrean musicians were Edris Wad Amir, Ibrahim Wad Goret, Edris M. Ali, Zainab Bashir, Fatima Ibrahim, Engineer Asgedom Woldemichael, Wad Asheikh, Yemane Baria, Osman Abderrehim, Alamin Abdeletif and Atowe Birhan Segid. Yemane Baria wrote one political song, and he was in jail.[1] Also of note is Bereket Mengistab, who has had a lengthy career, and 1960s musicians Haile Ghebru and Tewolde Redda.

Modern Eritrean popular music can be traced back to the late 1960s, when the MaHber Theatre Asmara began to produce stars like Osman Abderrehim, Alamin Abdeletif, Yemane Ghebremichael (commonly known as Yemane Baria), Jabber, Ateweberhan Seghid, Yonus Ibrahim, Tsehaytu Beraki, Tewolde Redda, Teberh Tesfahiwet and Tukabo Weldemariam.[3]

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Since then, some musicians, like kraar-player Dawit Shilan, Yohannes Tikabo (also known as Wedi Tukabo), Dehab Faytinga (commonly known as Faytinga),[4] the Asmara All Stars and Temesgen Gebreselassie (also known as Taniqo) have helped to incorporate the core indigenous Eritrean musical elements in popular music.

Traditional Eritrean Tigrinya dancing involves two main styles of dance. In the first which is called 'quda', the dancers form a circle and slowly circumambulator or move around in an endless circular motion to the rhythm of the music. Then, they cease the circular musical flow/motion and dance in pairs or 3's facing each other for a short while before resuming the circular motion in a file again. During this time, they shuffle their feet to the beat of the music and bob their shoulders in a rhythmic fashion. Female dancers usually move their shoulders more than the male dancers. The dancers round off their dancing by facing each other in twos and threes and moving their shoulders faster. This can also involve jumping and bending one's knees, as well as going down to the floor to sit in a squatting position while bobbing those shoulders and moving the head sideways to the strong drum beats.

In the second style of dance, two groups (often a group of men and a group of women) line up and face each other. The dance features a skipping step to the music. Periodically, the two groups will change places, dancing across the floor and passing each other in the process.

The music scene in the Eritrean capital of Asmara has traditionally been known for setting the standard of Tigrinya music for listeners in Eritrea and Ethiopia. The relatively recent 'piano bar' phenomenon has been largely exclusive to Asmara because almost all contemporary musicians and singers live in the capital city.

The piano bar culture became popular around 2004, when leading singers such as Dawit Shilan[5] played at the Ha.Ko.Se.E cafe. At the time - live music in bars being a new experience in the city - the cafe was overcrowded over weekends and many customers had to be turned away.

Piano bars have thus provided a platform for jazz and blues artists - and to a lesser extent the local dance music known as Guayla. They have become sites for musicians to show their artistry, as they are not bound by the typical demands for upbeat music for dancing.

In 2013, the Berhe Aiba Hotel started a new type of live performance by giving prominence to musicians rather than singers. Jazz classics were played, with singers such as Yohannes Tikabo only featuring on certain songs. Some of the best talents in Eritrean music - like Shonqie, Fanjai, Chobie and Gidewon - were brought together as a band to provide a unique experience. The place became a hangout for many musicians, who would get often on stage and jam.

The success of piano bars in Asmara could also be connected with the Gaeda genre, which is played in Swa houses in Aba Shawel, a district of Asmara that has traditionally been home to many notable artists across generations. Gaeda is a communal music experience where a singer plays songs accompanied by friends beating drums, clapping and singing along. Many of these songs are exclusively played in Gaeda settings and are never recorded or released on albums. Songs are often modified by whoever sings them, adding thought-provoking social and political messages.[7]

In 1994, a year after Eritrea declared its independence and gained international recognition, a group of musicians were brought together under the direction of Kahsay Gebrehewet as part of Eritrea's nation building efforts.[8] The musicians, who had previously performed in various revolutionary music groups, were brought together as the national music and dance troupe, Sibrit, which means "heritage".[9] Sibrit perform music and dance from all nine of Eritrea's main ethnic groups (Afar, Bilen, Hedareb, Saho, Kunama, Nara, Rashaida, Tigre and Tigrinya), they feature regularly on Eritrean radio and television shows and perform as representatives of Eritrean culture around the world.[8] Their instrumentation includes the amplified krar, bass krar and percussion.[8]

The German government condemned on Monday the violent clashes occurred during the weekend at a controversial Eritrean music festival held in the town of Giessen, north of Frankfurt.

The country has seen economic growth, and there have been improvements in education and healthcare. Eritrea has also made strides in promoting gender equality and protecting the rights of women and children. The country has a rich cultural heritage, and its music and dance scene are a source of great pride for its people.

Several types of artistic expression in Eritrean culture present the Tigrinya language. Songs written and performed by prominent Eritrean musicians like Abraham Afewerki and Yemane Baria in the Tigrinya language have helped to spread awareness of and appreciation for the language.

Eritrean pop music, which is heavily influenced by Western pop and R&B music, uses a pentatonic scale. Many Eritrean artists have blended traditional and modern sounds to create a unique sound, traditional and contemporary.

Some of the most notable Eritrean music legends include Tsehaytu Beraki, a renowned Eritrean musician with a career spanning over four decades. She was famous for her unique style that blended traditional instruments and rhythms with modern sounds. Her legacy inspires Eritrean musicians today, and fans continue to celebrate and enjoy her music worldwide.

Her performances are known for their energy and passionate delivery; her powerful voice captivates audiences and leaves a lasting impression. With her unique style and powerful performances, Tsehaytu Baraki will always be a favorite among Eritrean music fans. Her music continues to be celebrated and enjoyed by audiences worldwide.

Abraham Afewerki was an Eritrean singer, songwriter, and musician known for his traditional sounds with a modern twist. Born in Asmara, Eritrea, his music has inspired fellow Eritreans and some parts of Eritrean neighboring regions.

The sixth artist on our list, is Yohannes Tikabo or better known as Wedi Tkabu is a well-known singer and songwriter. He is a talented and influential Eritrean musician who has significantly impacted the Eritrean music scene.

Helen Meles is a talented Eritrean singer and actress who has made a name for herself in the Eritrean music and entertainment industry. Meles began her career in the Eritrean military as a singer, performing traditional Eritrean music and quickly gaining a reputation as a gifted vocalist with a powerful voice.

Sami Berhane is a renowned Eritrean singer known for his soulful and powerful voice. He began his music career at a young age. He quickly rose to fame with his unique blend of traditional Eritrean music with contemporary rhythms and beats.

Millen Hailu is a young Eritrean musician who has quickly established her place as one of the most talented emerging artists in East African music. Especially her recent collaborations with her neighboring Ethiopian artists have made her fame even more enormous.

Her smooth yet powerful voice has made her an instant standout in the music in the Eritrea scene, thanks partly to her unique style of combining Eritrean melodies with eclectic rhythms and contemporary sounds. Her singing style is very lovable and passionate.

In the last few years, Eritrean music has also been transformed by musicians increasingly bypassing state broadcasters and turning to YouTube. Rather than having to rely on government-controlled channels to distribute their music, artists are uploading it themselves. There are now over a dozen hugely popular YouTube channels dedicated distributing to Eritrean music. Their songs regularly receive several millions of hits.

In Eritrea itself, connections are too slow to listen to music online easily. However, the use of YouTube has had similar effects on listenership indirectly. After uploading their music videos to the internet, many singers and producers today also distribute them to internet cafes. They, in turn, lend them on to customers on flash-disks. In effect, these Eritrean internet cafes have now become digital libraries or offline versions of popular YouTube channels.

What matters most is not whether these new songs are deep or shallow, but that the new generation has no interest in maintaining the status quo of Eritrean music (which was pure propaganda.) And that, my friend is an emancipation for our ears.

Btw, life is never too short to spread the truth.

Lack of effective copyright regulatory bodies and a relatively new copyright protection scheme means that Eritrean artists have not been able to earn revenues from their craft. This text highlights copyright development as well as music piracy as it relates to the Eritrean music industry.

Music piracy (i.e. the unauthorized use or reproduction of another's musical work and/or composition) is rampant in Eritrea. Piracy affects both domestically produced Eritrean music (various genres as well as languages), non-domestically produced Eritrean music (Eritrean music originating and/or first published abroad, generally for consumption by the large Eritrean Diaspora), and non-Eritrean music, especially, American hip-hop. 17dc91bb1f