Sorani Pop

The roots of Sorani Pop lie in the rich tradition of Kurdish folk music, particularly the dengbêj (bard) tradition and gorani songs. During the 1980s, musicians began experimenting with electronic keyboards to modernize traditional wedding music, creating a raw, synthesized sound known locally as 'Band' music.

The genre formally crystallized in the late 1990s, largely driven by the diaspora in Europe. The release of Zakaria Abdulla's debut album To Hati in 1998 is widely considered a turning point; Abdulla revolutionized the sound by abandoning traditional march-like rhythms in favor of Western pop structures, high-quality studio production, and diverse musical influences ranging from Jazz to R&B.

Following the 2003 invasion of Iraq and the subsequent stability of the Kurdistan Region, the genre experienced a massive boom. The establishment of dedicated satellite music channels like Korek TV and Vin TV provided a platform for a new wave of artists to produce high-budget music videos, cementing Sorani Pop as the dominant youth culture music in the region.

In recent years, the genre has continued to evolve, incorporating elements of hip-hop, reggaeton, and EDM, with artists like Navid Zardi bridging the gap between traditional Kurdish pop and global urban trends.

The heartbeat of Sorani Pop is the Geryan rhythm, a fast-paced 2/4 folk dance beat that is essential for upbeat tracks. For slower ballads, 4/4 pop beats or traditional 7/8 rhythms are common. Modern productions often rely on programmed drum kits that emphasize the 'kick-snare' drive while retaining traditional percussion elements like the daf or dhol in the background.

Synthesizers are central to the sound, particularly Korg arranger keyboards (like the PA series) which are used to emulate quarter-tone scales. A typical arrangement blends these electronic layers with live instruments such as the electric baglama (saz), violin sections, and zurna or balaban for melodic hooks.

Compositions frequently utilize Kurdish maqams (modes) such as Bayat, Rast, and Kurd, adapted to fit Western harmonic progressions. Melodies should be catchy and repetitive (hook-based) but sung with traditional melismatic ornamentation.

Lyrics are almost exclusively in the Sorani dialect. Themes should oscillate between romantic idealism (courtship, heartbreak) and patriotic sentiment, often using poetic metaphors derived from classical Kurdish literature.