Since times of old, Azmariwoč have played an essential role in Ethiopian society as entertainers, social critics, and cultural custodians. From the root “mazammar” meaning “to sing” in Amharic, Azmariwoč (plural) are skilled in traditional instruments like the masenqo (one string fiddle), krar (5 string harp), and washint (flute), and are known for extemporising verses that touch on prevailing socio-political affairs. They may also take on different specializations based on their ethnic and geographical origins. Azmariwoc from Showa, for example, are renowned for their craftsmanship in instrument-making whereas Azmari from Kafficco emphasize preserving oral histories, not unlike the griots of West Africa.
Until the advent of mass media, the Azmariwoč were the primary medium for socio-political discourse throughout the history of the Ethiopian state. They were employed by statesmen to push political agendas and announce reforms, and by common-folk to express approval or disdain about the status quo.
In times of war, Azmariwoč were essential in mobilizing people for national defense. This was the case at the battle of Adwa in 1896, where Emperor Menelik’s army defeated the invading Italians. They had marched to battle alongside a band of Azmari whose music maintained morale among the troops.
The place of the Azmariwoč in Ethiopia has been in constant flux and precarity throughout the 20th century, as the nation undergoes large-scale political reform and technological advancement. Under Haile Selassie’s rule from 1930 – 1974, Azmari were for the first time subject to wholesale censorship from the state, no longer able to voice political critique or public grievances. State owned media rose to replace Azmari music as the primary form of official communication, thus relegating the Azmariwoč to entertainers.
Even as the growing influence of western musical styles and instruments threatened their customs with extinction, Azmari musicians managed to forge new cultural spaces for themselves throughout the second half of the 20th century up until today.
Artists like Bahru Qäññé and Yerga Dubalä were among the first to record Azmari music onto cassettes and records, making space for themselves in the recorded music market. Asnaketch Worku, Ethiopia’s first theatre actress and gifted krar player enjoyed national acclaim throughout her career. The 1970s saw the advent of privately owned bars called Azmari Bet where strictly Azmari artists perform cabaret style in front of dining customers. There are still many such Azamari bets active today, albeit fewer in number, providing consistent work for the dwindling number of urban Azmariwoc who also find employment as entertainers during traditional festivals and ceremonies or theatrical performances.
Ethiopian Records and the emergence of Ethiopiyawi electronic
Music producer Endeguena Mulu is a testament to the resilience of Azmari tradition, which is the foundation of his creative practice and the genre that spawned from it, Ethiopiyawi Electronic. Known by his stage name, Ethiopian Records, Mulu is a self-proclaimed “electronic Azmari,” concerned with preserving indigenous musical practices, experimentation, and creating space for alternative approaches to creativity, life, and social organisation at large to flourish; particularly in Africa.
For Mulu, the essence of Ethiopiyawi Electronic lies not just in the music itself (as is the case with most genres) but in the process behind its creation. In his own words, “Ethiopiyawi Electronic is a genre that uses electronic music tools, traditional East African and African music in general as a medium of expression to reflect a musical East African perspective on the human experience.” This genre, characterized by an interplay of indigenous sounds and modern digital techniques, focuses heavily on research, community engagement, and a deep cultural respect for tradition. Mulu emphasizes that for him, “research and continuous self-education are integral to my growth as an artist and the growth of my work.” This philosophy fuels the heart of Ethiopiyawi Electronic and mirrors the ethos of the Azmari—both a creator and a critic of societal norms.
It is in this process that the true essence of Ethiopiyawi Electronic is revealed; in the discovery and re-contextualization of indigenous sounds, dialogue with contemporaries about shared heritage, readings of old texts, sessions with traditional instrumentalists, singers, and craftsmen. It honours and preserves indigenous knowledge and practices and presents a uniquely East African musical perspective that stands independent of the mainstream culture machine. Much like the Azmariwoch who utilized music to reflect on the socio-political climate, Mulu’s work also delves into social critique. “The one topic I always feel compelled to comment on is the carelessness shaping this violent, globalized mainstream,” he explains. Mulu’s music resists the “partitioning” of cultures into simplistic, commodified silos, something that’s evident in both his process and his critique of the global music industry, which he believes devalues artistic creation.
As an “Electronic Azmari,” Mulu’s work honors the legacy of traditional Azmariwoch while using technology to reimagine it. His sound, lush with polyrhythmic percussion, atmospheric synths, and vocal samples is the backbone of the genre. Over the years, Mulu has released a handful of highly impactful projects, including his 2019 EP Ye Feqer Edaye, each one reflecting his evolving musical world that bridges traditional Ethiopian sounds with global electronic elements.
Mulu is also the founder and leader of a band called Azmari Synthesis, which sees him conduct a cohort of western and traditional Ethiopian instrumentalists and vocalists from Ableton Live on his laptop. While yet to release any original stand-alone studio recordings, their live performances—often streamed on Ethiopian Records’ YouTube—highlight the intersection of Mulu’s digital work with live, organic sounds. This synthesis of cultures and technologies is at the core of Ethiopiyawi Electronic.
Through this multi-disciplinary work, Mulu has established himself as an elder statesman in Addis’ electronic music scene, creating fostering a more supportive environment for independent artists, and having galvanized a community of other Ethiopiyawi artists like Mikael Seifu, Nerliv, and Dotphic, who are building on his work, conducting their own sonic and anthropological experiments and adding to the genre’s sonic palette.
Boiler Room x Ethiopian Records: Addis Ababa
In October 2024, Mulu’s contributions to Ethiopiyawi Electronic and to Addis’ electronic scene reached an exciting new milestone when he collaborated with Boiler Room as part of their 10th annual Broadcast Lab call-out. Each year for the last decade, Boiler Room issues an open call to musicians, collectives, and curators across the globe to pitch live events and projects to be streamed across Boiler Room’s platforms. The aim is to platform emergent scenes and underrepresented artists and communities. As last 2024’s winner, Mulu took the chance to spotlight the community at the centre of his work. Ethiopiyawi Electronic, Ethio-Jazz, and Azmari music were all on full display.
Held at Addis Ababa’s legendary Moseb Music Centre, the event brought together artists from different generations, from veteran figures like DJ Jazzy Dave, who mixes jazz and funk, to up-and-coming Ethiopiyawi producers like Nerliv and Dotphic. Traditional figures like Tasew Wondem (a washint player) and Negarit Band (Ethio-Jazz legends) also took the stage, demonstrating the depth of Ethiopia’s musical heritage. Mulu himself performed alongside Azmari Synthesis, further reinforcing the connection between ancient traditions and contemporary electronic music.
Reflecting on the event, Mulu shared with PAM that “creating independent futures and imaginations based on one’s traditional heritage” was at the heart of this Boiler Room showcase. It was a space where diverse local sounds came together, bridging the past with the present, and presenting a vision for the future of Ethiopian music.
The future of Ethiopiyawi Electronic
As Ethiopiyawi Electronic grows, Mulu’s vision for the genre remains one of autonomy and cultural preservation. He acknowledges the challenges faced by African artists in the global music industry, citing how barriers to access—both financial and infrastructural—continue to stifle creativity. Yet, despite these obstacles, he remains optimistic: “People continue to create, and people continue to listen.”
Mulu’s commitment to his art reflects the perseverance of Ethiopian music and its traditions. While the global music industry might prioritize commodification, Mulu remains steadfast in his mission to create music that holds both cultural and spiritual significance. “I place great importance on the meaning behind the work I create,” he states, underscoring his ongoing dedication to preserving indigenous sounds while reimagining them through modern technology.
Moving forward, Mulu is determined to continue his journey of self-education and musical growth, encouraging other Ethiopiyawi artists to do the same. As a pioneer in the electronic scene, he has chartered a path for younger generations of Ethiopian musicians to take on the work of cultural preservation while still embracing experimentation and innovation.
Editor’s Note: The loss of Teferi Assefa this past January remains deeply felt. A masterful drummer, a soulful musician and a legend, his absence leaves an irreplaceable void. As the founder of Negarit Band, Teferi shaped the sound and spirit of a generation. We mourn an artist of extraordinary mastery, knowledge, and discipline, whose heartfelt mentorship profoundly impacted so many of us. Teferi was also one of the kindest and most thoughtful human beings I have ever met. We honor his memory by celebrating his generosity of spirit, his unwavering dedication to his craft, and his unparalleled contributions to our music and culture. He is truly and deeply missed.