Ebne Hakim Mints Timeless Soul and Ethiopian Influences on the ‘Brana’ EP
The R&B-influenced musician, Ebne Hakim, recently signed to Sony Music Africa for his Ethio-fusion sound.
Twenty seconds into “Brana (Intro),” the opening song in Ethiopian singer-songwriter Ebne Hakim’s new EP, natural bliss is the dominant mood. Birds chirp atop the melancholic notes, which move with cinematic slowness. What follows are words in Amharic, one of the oldest recorded languages in the world and a spiritual source for Hakim, whose music draws readily from the deep wells of his indigenous tradition.
Released this past Friday, the Brana EP — executive produced by Bana Records and licensed by Sony Music Africa — is an impressive achievement of sound. It shows clearly why Sony Music Entertainment would seek the musician on their roster, just a month after the release of “Gela,” his debut single, which came out in March. A musical talent was perceived, showing startling assurance of voice in tone and technique. Its glossy R&B sound was tinged with zesty electronic touches and seamlessly rode by Hakim, whose passionate delivery calls to mind the motions of a troubled relationship.
Cohesion is the prime quality of Brana, its six songs packing enough individuality to excite in their own way, but together they’re a fine composition rewarding multiple listens. For the most part, Hakim croons, his svelte tone unpacking themes which center around self-discovery. Utilizing a prosaic style, which works with characterization and worldbuilding, Ethiopia moves into the world of the project. The country not only supplying narrative but also sound, as there are subtle touches of its distinct funk here.
Hakim calls his sound Ethio-fusion, accounting for its central Ethiopian preoccupations but also genres which include alt-R&B, pop and soul. “Yeneta,” for instance, has a tender base that swells as the song progresses, but doesn’t explode fully. That measure is found on “Qal Becha” and “Yehuna,” both thriving on the sweet pairing of melancholic sonics and lifting, reflective vocals. On the former, the music underneath the chorus packs a lot of energy, quite similar to what one hears on the closer “Gud New.”
“Gud New” gives an optimistic ending to the project. From the start, the sonic choices are ostensibly joyous, with shiny trumpet riffs and a festive clap percussion. The most mainstream-sounding stuff on the project, the delivery yet reflects a versatility that elevates Hakim into the plane of the rare artists who make assured statements on their first showing.
Furthermore, Hakim’s choice sonics are propelled by the visual accompaniment. All six records currently have lyric videos, shot in poetic frames, which burst with color and intentionality. Like the music, the settings are grand and intimate: night gazing over a city filled with lights, walking through the greenery of a lush landscape, Hakim’s frame moving through an empty neighborhood, the camera descending from above, a listless energy permeating from the screen.
An artist like Hakim is no doubt important to African music. Through his well-realized songs, he broadens the gaze of the industry into spots that would benefit from more exposure. His home country of Ethiopia has a rich diversity of sounds — and here comes Hakim, soaked in centuries of cultural tradition and trained in the style of masterful singer-songwriters.
Listen to the Brana EP here:
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