“The string-centered Hear in Now ensemble’s collaboration with Addis Ababa-based group Qwanqwa was a highlight. Fronted by impassioned singer and dancer Selamnesh Zemene, Qwanqwa brought instruments such as the one-string masinqo and the surprisingly deep-toned, lyre-like bass krar to the south side of Chicago. “
“Qwanqwa exemplifies the virtuosity and talent in current Ethiopia – we’re excited to host them at Next Stage”. — Keith Marks, Executive Director of Next Stage Arts.
"Qwanqwa has always occupied a unique space in the globally-facing East African music scene, layering grooves from across the Horn into hypnotic, string-driven interpretations of folk traditions and pop songs that feel bright and unique, with plenty of room for dancing. Volume Three is no exception." -- Adriane Pontecorvo, PopMatters https://www.popmatters.com/qwanqwa-volume-three-review-2647630372.html?rebelltitem=1#rebelltitem
“Were Ornette Coleman still with us, I’ve little doubt he would enthusiastically endorse this sophomore effort by Qwanqwa, an instrumental Addis Ababa-based quartet that integrates a number of disparate styles into its bold take on indigenous traditional music.”
“Qwanqwa is for sure is an incredible experimental traditional Ethiopian rock group that deserves to be played in every living room, at every party and on every radio station from Gondar to Santa Cruz.”
“FPE is really showing off the breadth of their label here with a fine collection of music by this Ethiopian band which features an American violinist. These cats play crazy instruments like the krar, a bowl-shaped lyre, which, when amplified, sounds like some trippy-ass guitar fingering. The three songs on the first side are particularly killer. I’m not hugely knowledgeable about the bevy of music recently made available of African rock-type bands (these guys are less rock than some), but I’ve heard enough to know that this stands up quite well. It’s not blazing like Group Inerane and other Tuareg bands, but they build up quite a head of steam at points. There is common ground here with Erkin Koray as the strings are often engaged in that woozy dance he did so well. Shit, for all I know this band is like the Headhunters of Addis Ababa. One thing I do know is that I dig it.”
BRYAN COOLEY, THE WIRE
“Very interesting debut by an instrumental quartet from Ethiopia who work in a style that takes traditional music and rocks it up a bit. I’m reminded of the way Fairport Convention did this to UK trad stuff – amping up and stretching without really distorting the rootage too much. The violinist, Kaethe Hostetter (who played a great set with Fred Frith at this year’s Victoriaville Festival), is originally from the US, but three other members are from various spots in Ethiopia and their music is a great blend of inputs.”
