Emahoy Tsege Mariam Gebru: Souvenirs Album Review – Warungku Terkini
By the early 1970s, Emahoy was in her mid-50s and living in Jerusalem, finding deeper inspiration for her music within the holy city and releasing two more albums dedicated to the Ethiopian Orthodox church and an orphanage. Upon returning to her mother in Ethiopia, her musical practice diversified—she dedicated songs to family members, wrote hymns, and performed benefit concerts, broadening her music’s personal and cultural purpose up until the Derg took power. Under this new form of exile, Emahoy crafted Souvenirs. The liner notes observe that this music was likely meant to be private at the time it was made; Emahoy often recorded songs late into the night since the Derg had restricted access to evening liturgy services at the church, and these lightly scuffed reel-to-reel recordings capture errant sounds like birdsong outside of her window, adding a wistful, homespun richness.
Throughout, Emahoy’s songwriting orients toward melancholic, tremulous compositions and lyrics that evoke the natural world as a means of escape. Opener “Clouds Moving on the Sky” yearns for a safe haven, drifting on Emahoy’s melismatic runs that climb, elongate, and shift in tandem with her piano like sunlight passing over grass. “My heart has never stopped missing home,” she sings mournfully, going on to give voice to anyone displaced by war: “Why are we condemned to be tangled in the sins of others?” Her voice arcs around notes, capable of both gliding exuberance and weary contemplation. Over rippling piano arrangements on the stunning “Ready to Leave” and “Is It Sunny or Cloudy in the Land You Live?,” she dreams of travel, but her thoughts never stray far: “I couldn’t see my country’s sky,” she sings in the latter song, her voice rising to an epiphanic high. “Have I really gone so far?”
The music of Souvenirs underlines Emahoy’s pride in the beauty and breadth of life in Ethiopia; here, you easily understand her drive to keep coming home. The highlight “Ethiopia My Motherland” dances along a roaming piano melody as she paints a vivid, loving portrait, describing fields “rolling in green velvet” and trees “draped in yellow and red.” She extends her love to the soldiers, laborers, farmers, and everyone else who make up her homeland: “Could a country be missed like a person?” she asks tenderly. She continues to weave a political thread through the warm, eddying “Don’t Forget Your Country,” which references the Derg regime’s effort to eradicate illiteracy. “Our nation’s literacy campaign made history/When the young, the elderly, and men walk together/It is a great pride for the comrade who taught them,” she sings, affirming the spread of knowledge. The song speaks to Emahoy’s ethos throughout her life: ensuring the safety, wellbeing, and benefit of those within her power to help.
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