If you’ve been following me through my various social media platforms, you’d know that I’ve been in Chicago for the past few days for a conference related to my day job — and of course, while in town I’ve been running around to see friends, eat good food, drink good beers and catch as much live music as I could possibly take in. Naturally, while en route here and towards the bars, music venues and restaurants I’ve eaten in, I’ve spent it listening to a variety of music — especially Chicago blues, particularly my favorites, Howlin’ Wolf, Muddy Waters and B.B. King. Check out this (mostly) Windy City-inspired playlist below. (Of course, there will likely be additions as I’m commuting to and fro for the next few days, so feel free to keep checking it.)
Over the past few years, I’ve written quite a bit about the internationally renowned Algerian Tuareg pioneers of the Desert Blues, Tinariwen, and as you may recall the act can trace their origins back to the late 1970s when the band’s founding member, guitarist Ibrahim Ag Alhabib, joined a small group of Tuareg rebels living in refugee camps in Libya and Algeria. The group of rebels Ag Alhabib hooked up with had been influenced by radical chaabi protest music of Moroccan groups like Nass El Ghiwane and Jil Jilala, Algerian pop rai, and western artists like Elvis Presley, Led Zeppelin, Carlos Santana, Dire Straits, Jimi Hendrix, Boney M, and Bob Marley — and they started writing music that meshed the traditional folk music of their people with Western rock, reggae and blues-leaning arrangements. Upon relocating to Tamanrasset, Algeria, Ag Alhabib started a band with Alhassane Ag Touhami and brothers Inteyeden Ag Ablil and Liya Ag Ablil that had played traditional Taureg music at various weddings, parties and other occasions across both Algeria and Libya. Interestingly, as the story goes, when the quartet had started, they didn’t have a name; but people across the region, who had seen them play had begun calling them Kel Tinariwen, which in the Tamashek language (the tongue of the Taureg people) translates roughly as “The People of the Deserts” or “The Desert Boys.”
In 1980, Libyan dictator, Muammar Gaddafi issued a decree inviting all young Tuareg men, who were living illegally in Libya to receive full military training, as part of his dream of forming a Saharan regiment, comprised of the best young Tuareg fighters to further his territorial ambitions in Chad, Niger, and elsewhere across Northern Africa. Al Alhabib and his bandmates answered the call and received military training. Whether or not the founding members of the band truly believed in Gaddafi’s military ambitions would be difficult to say — but on a practical level, a steady paycheck to support yourself and your family certainly is an enticement. Five years later, Ag Alhabib, Ag Touhami and the Ag Ablil brothers answered a similar call by leaders of the Libyan Tuareg movement, who desired an autonomous homeland for their people, and wound up meeting fellow musicians Keddou Ag Ossade, Mohammed Ag Itlale (a.k.a “Japonais”), Sweiloum Ag Alhousseyni, Abouhadid Ag Alhousseyni, and Abdallah Ag Alhousseyni — all who had sang and played guitar. At this point, the lineup of Tinariwen was completed and the members of the collective began writing songs about the issues and concerns of their people.
The members of the band built a makeshift studio and then vowed to record and distribute music for free for anyone who supplied them a blank cassette tape. And within a short period of time, their cassettes were a highly sought-after item, and were traded throughout Saharan Africa.
In 1989 the collective had left Libya and relocated to Ag Alhabib’s birthplace of Tessalit, Mali; but by the next year, Mail’s Tuareg population revolted against the Malian government — with some members of the collective participating as rebel fighters in that conflict. After the Tamanrasset Accords were reached and agreed upon in early 1991, the members of Tinariwen, who had fought in the conflict had left the military and devoted themselves to their music full-time. By 1992, some of the members of the band went to Abidjan, Ivory Coast to record a cassette at JBZ Studios, which they followed up with extensive gigs for their fellow Tuaregs across Saharan Africa, which helped furthered the reputation they had developed primarily by word-of-mouth.
A collaboration with renowned French, world music ensemble Lo’Jo helped the members of Tinariwen receive a growing international profile, which included their a live set at Africa Oye, one of the UK’s largest African music/African Diaspora festival. Building on the increasing buzz, the band released their full-length debut The Radio Tisdas Sessions, which was their first recorded effort to be released outside of Saharan Africa. Since their formation, the collective has gone through a series of lineup changes, incorporating a younger generation of Tuareg musicians, who haven’t fought during the military conflicts of the elders, including bassist Eyadou Ag Leche, percussionist Said Ag Ayad, guitarist Elaga Ag Hamid, guitarist Abdallah Ag Lamida, and vocalists Wonou Walet Sidati and the Walet Oumar sisters.
Despite their lineup changes, Tinariwen has received international acclaim, particularly over the past decade, as they’ve regularly toured across the European Union, North America, Japan and Australia, frequently playing sets at some of the world’s biggest music festivals — including Glastonbury, Coachella, Roskilde, Les Vieilles Charrues, WOMAD, FMM Sines, Printemps de Bourges and others, as well as some of the world’s best known music venues, as they continued with a sound that evokes the harsh and surreal beauty of their homeland, centered around the poetry and wisdom of a rough and tumble, proud and rebellious people, whose old-fashioned way of life is rapidly disappearing as a result of technology and encroaching Westernization. Along with that, a bloody and contentious series of religious and ethnic wars have splintered several nations across the region — including most recently Mali and Libya, where members of Tinariwen have proudly called home at various points of the band’s existence. Unsurprisingly, Tinariwen’s latest album Elwan (which translates into English as The Elephants) thematically focuses on the impact of Westernization and technology has had on their people, the band’s life of forced exile, and their longing for their ancestral homeland.
Elwan’s latest single “Nannuflay” is an atmospheric and shuffling blues centered around a hypnotic groove and a gorgeous, looping guitar line that features the renowned pioneers of the Desert Blues collaborating with guitar god Kurt Vile and the imitable, grunge rock pioneer Mark Lanegan, that manages to be a powerful connection between Saharan Africa and the West, and a mournful longing for a past that the song’s narrator knows he cannot have back; but along with that, there’s a tacit acknowledgement that time is passing by — sometimes faster than anyone wants to admit.
Directed by Axel Digoix, the animated video for “Nannuflay” follows an older Tuareg man, who returns to the camp where he grew up for a party. The man remembers both the joys and torments of the nomadic life, he once lived with a friend, who has since died, including childhood memories of life in the sand dunes, the adventures they had as teenagers, the fights, dramas and responsibilities of their adult lives. Throughout the video, the two men’s friendship details the lives of the Tauregs and the duty and obligation they feel towards each other and to passing along as much of the old traditions as humanly possible.
Bordered by Central African Republic and South Sudan to its north; Uganda, Rwanda, Burundi and Tanzania to its east; Zambia and Angola to the south; the Republic of the Congo to its west; and the Atlantic Ocean to its southwest, the Democratic Republic of the Congo is the second largest country by area in Africa and the eleventh largest by area in the entire world — and by with a population of 78 million people, the most populated officially Francophone country in the entire world, the fourth most populated nation in African and the seventeenth most populated country in the world.
Humans first settled within the expansive territory of the Democratic Republic of the Congo roughly 90,000 years ago, although various Bantu speaking tribes began migrating into the region in the 5th century and again in the 10th century. From the 14th to the 19th century, the territory was split into three different territories — to the West, the Kingdom of Kongo ruled for close to 500 years; while the central and Eastern sections were ruled by the Luba and Lunda kingdoms, which ruled from roughly the 16th century to the 19th century.
In the 1870s, European exploration of the Congo region was first carried out and led by Henry Morton Stanley, who was sponsored by King Leopold II of Belgium and by 1885, Leopold had formally acquired the rights to the Congo territory, making the land his private property. Ironically naming the territory the Congo Free State, the colonial military unit the Force Publique forced much of the local population into producing rubber and from 1885-1908 millions of Congolese died from exploitation and disease. Despite initial reluctance, the Belgian government formally annexed the Free State and the territory became the Belgian Congo.
Between the late 1950s and mid 1960s, revolutionary movements swept much of Africa, reshaping the map; in fact, The Democratic Republic of the Congo achieved independence in June 1960 as the Republic of the Congo, with Patrice Lumumba, a Congolese nationalist, becoming the country’s first Prime Minister and Joseph Kasa-Vubu, becoming the country’s first president. Within a few months, the provinces of Katanga, Moise-Tshombe and South Kasai attempted to secede and by September 1960, Lumumba was dismissed from office by Kasa-Vubu with encouragement by the US and Belgium after Lumumba sought assistance from the Soviet Union with what has since been known as the Congo Crisis. By mid September of that year, Lumumba was arrested by forces loyal to Army Chief of Staff Joseph-Desire Mobutu, who gained de facto control of the country through a coup d’etat. By early 1961 Lumumba was executed by Belgian-led Katangese forces.
In 1965 Mobutu, who later renamed himself Mobutu Sese Seko, officially came into power through a second coup d’etat, running the country, which he renamed as Zaire as a one-party state, with his Popular Movement of the Revolution as the country’s sole legal party for more than 30 years. By the early 1990s, Sese Seko’s government had begun to weaken and by the middle of the decade, growing disenfranchisement among the country’s eastern Congolese Tutsi population led to Zaire’s invasion by their Tutsi-ruled neighbor Rwanda, which began the First Congo War and eventually led to the end of Mobutu Sese Seko’s 32 year stranglehold on the country.
In May 1997, Laurent-Desire Kabila, a leader of South Kivu province-based Tutsi forces became President of the country and reverted the nation’s name to the Democratic Republic of the Congo. Unfortunately, tensions between Kabila and the Rwandan and Tutsi presence led to the Second Congo War from 1998-2003, which involved nine different African nations and 20 different armed groups and eventually resulted in the deaths of 5.4 million people. Naturally, the decade long period of civil war and instability devastated the country and the larger region. And if you add several centuries of commercial and colonial exploitation, which continues to this very day, extreme poverty, inequality and inequity and a lack of infrastructure, you understandably wind up with a population that’s desperate and struggling to survive.
Led by Makara Bianco and featuring production from prolific French producer débruit, KOKOKO! is a pioneering Kinshasa, Democratic Republic of the Congo-based DIY electronic collective inspired by a growing spirit of protest and unrest among Kinshasa’s young people, who have begun to both openly question centuries-old norms and taboos and or openly denounce a society that they perceived as paralyzed by fear. In fact, the collective’s name literally means KNOCK KNOCK KNOCK! with the collective viewing themselves as the sound of a new generation boldly, loudly and defiantly banging on the doors and walls, yelling “OUR TIME IS NOW!” The members of the collective operate in a wildly inventive DIY fashion, creating self-designed and self-made instruments from recycled junk and claptrap — and they built a recording studio out of old mattresses, found wood and a ping pong table. (If that isn’t punk as fuck, I don’t know what is.) Fueled by the underlying notion that desperate survival fuels creativity, the collective received international attention with their Tokoliana EP, an urgent, forward-thinking, way out in left field effort featuring a sound that nodded at disco, post-punk, hip-hop, reggae, retro-futuristic funk, Afro-futurism and traditional regional music — but from a sweaty, grimy, post-apocalyptic future in which the ghetto and club are one and the same.
ICI released the Congolese collective’s second EP TONGOS’A late last year, and the EP finds the collective further exploring themes of survival in the desperate and uneasy political and social climate of their homeland — sometimes focusing on small, deeply human pleasures and concerns; in fact, the EP’s first track, title track “Tongos’a (which translates roughly into ’til the morning light”) is a sweaty and raunchy club banger on the necessity of getting laid properly, rooted around skittering drum programming, thumping beats and a looped guitar and bass line that’s derived from the Mongo tribe repertoire, making the song a mischievous mix of the old and the new.
Directed by débruit, Markus Hofko, Renaud Barret, the recently released video for “Tongos’a” stars a local dance act “l’homme capote” comprised of Mbuyi Tickson, Makoka, and Riyana sweaty and grinding seductively to the song, capturing the song’s raunchy, club-friendly vibe.
Oumou Sangare is a Bamako, Mail-born and-based, Grammy Award-winning, singer/songwriter and musician, who comes from a deeply musical family, as her mother, Aminata Diakite was a renowned singer. When Sangare was young, her father had abandoned the family, and she helped her mother feed the family by singing; in fact, by the time she had turned five, Sangare had been well known as a highly gifted singer. After making it to the finals of a nursery school talent show, a very young Sangare performed in front of a crowd of 6,000 at Omnisport Stadium — and by the time she was 16, she had gone on tour with a nationally known percussion act, Djoliba.
Sangare’s 1989 debut effort, Moussoulou (which translates into English as “Women”) was recorded with renowned Malian music master Amadou Ba Guindo, and was a commercial success across Africa, as it sold over 200,000 copies. With the help of the world renowned Malian singer/songwriter and multi-instrumentalist Ali Farka Toure, the father of Vieux Farka Toure, Sangare signed with English record label World Circuit — and by the time she turned 21, she had received an internationally known profile. Interestingly, Sangare is considered both an ambassador of Mali and the Wassoulou region of the country, just south of the Niger River, lovingly referred to as “The Songbird of Wassoulou,” as her music draws from the music and traditional dances of the region while lyrically her work has been full of social criticism, focusing on the low status of women within Malian society and elsewhere, and the desire to have freedom of choice in all matters of one’s life, from who they can marry to being financially independent.
Interestingly, since 1990 Sangare has performed at some of the world’s most important venues and festivals including the Melbourne Opera, Roskilde Festival, Gnaoua World Music Festival, WOMAD, Oslo World Music Festival and the Opera de la Monnaie, while releasing several albums including — 1993’s Ko Sira, 1996’s Worotan and 2004’s 2 CD compilation Oumou. Adding to a growing profile, Sangare has toured with Baaba Mal, Femi Kuti and Boukman Eksperyans, and she has been named a Commander of the Order of Arts and Letters in 1998, won the UNESCO Prize in 2001 and was named an ambassador of the FAO in 2003.
Mogoya which translates into English as “People Today,” was Sangare’s first full-length effort in over 22 years, and it was released to critical praise from the likes of Dazed, The Fader, The Guardian while making the Best of 2017 Lists of Mojo, the BBC, the aforementioned The Guardian as well as Gilles Peterson — and the album found the renowned Malian artist collaboration with the legendary Tony Allen and French production team A.L.B.E.R.T. and pushing her sound in a new, direction; in fact album single “Minata Waraba” features Sangare’s gorgeous and expressive voice with shimmering African instrumentation paired with a slick and hyper modern production that emphasizes a sinuous, electric bass line and shuffling, complex polyrhythm that reminds me of a 2013 Fela Kuti tribute compilation, Red Hot + Fela, which featured contemporary artists re-imagining some of the Afrobeat creator’s signature tunes.
Sangare will be releasing the Mogoya Remixed album through Nø Førmat Records today, and the album features remixes of the album’s material by contemporary artists and producers, who have been high profile fans of her work; in fact the album’s latest single is from the British-born and based producer and artist Sampha. Sampha has split his time between solo and collaborative work, and has worked with the likes of SBTRKT, FKA Twigs, Jesse Ware, Drake, Beyonce, Kanye West, Solange and Frank Ocean. His full-length debut Process won the Mercury Music Prize last year, and earned him a 2018 BRIT Award nomination for Best British Breakthrough.
Sampha has publicly mentioned his love of Oumou Sangare’s music, explain in press notes, “My dad had a copy of Oumou’s album Worotan and no other album has spoken to me quite like that. Her music has been a huge inspiration ever since and it’s a real honour to have remixed some of her music.” Sampha’s remix retains Sangare’s crystalline vocals but pairs it with a thumping production, featuring tribal house like beats and shimmering arpeggiated synths that while modern, still keeps the song rooted to Africa. Interestingly, Sangare has mentioned being bowled over by Sampha’s remix, saying “When I first heard Sampha’s remix, I was amazed at the beat. Our rhythmic patterns are not always easy for Western people. But, wow, Sampha’s beat is definitely African, definitely. Listening to it I can tell that Sampha has African blood in his veins. I am really excited by this version, I play it again and again.”
Deriving their name from the Yoruba word for twins ibeji, the French-Cuban twin sibling duo Ibeyi (pronounced ee-bey-ee), comprised of Lisa-Kainde Diaz and Naomi Diaz have become JOVM mainstays and a critically applauded, internationally recognized act. Interestingly, the Diaz sisters are the daughters of the late and renowned percussionist Anga Diaz, best known as a member of Buena Vista Social Club, and for collaborating with Ibrahim Ferrer, Ruben Gonzalez and Compay Segundo. The elder Diaz died when the girls were 11, and upon his death, they studied Yoruba folk songs and the cajon, an Afro-Carribean drum, which their father had specialized in throughout most of his musical career.
While Yoruba is primarily spoken throughout Nigeria and Benin, it has been spoken in some fashion in Cuba since the 1700s when the slave trade brought Africans to the Caribbean — and to the island. When the Diaz sisters began studying their late father’s musical culture and heritage, it gave them a much greater understanding of the man, where he came from while putting them in touch with their ancestral history. Unsurprisingly, the Diaz sister’s self-titled Ibeyi debut, which was released to critical praise in 2015, thematically dealt with the past — the loss of their father, their relationship with each other, their father’s and their own origins and roots, while sonically the duo’s sound possessed elements of contemporary electro pop, hip-hop, jazz, the blues and traditional Yoruba folk music in a way that brought to mind Henry Cole and the Afrobeat Collective‘s Roots Before Branches as both albums conscientiously made a spiritual and musical connection between the African Diaspora in the West and the motherland.
Up until last year though, some time had passed since I had personally written about the Diaz sisters, and as it turned out, they had spent the better part of 2016 writing and recording the material that would comprise their sophomore effort Ash, which XL Records released late last year. Now, as you recall the album’s first album, “Away Away,” lyrically and thematically focused on accepting pain as a necessary part of life, while celebrating life for its complicated entirety. Of course, sonically speaking, the track further cements their reputation for resoundingly positive messages sung with their gorgeous harmonizing paired with slick and swaggering electronic production. However, the material overall reportedly finds the Diaz sisters writing some of the most visceral, politically charged material they’ve released to date; but while centered on who the Diaz sisters are after a year in which racial, gender and sexual identity issues are among the most important and vexing of our current time.
“Deathless,” Ash‘s second single found the Diaz sisters collaborating with contemporary jazz great Kamasi Washington, who contributes saxophone lines that mange to be mournful, outraged, proud, bold and riotous — within a turn of a phrase. The song is inspired by one of the most outrageous and humiliating experiences of Lisa-Kainde Diaz’s life — she was was wrongly arrested by French police for a crime she didn’t commit. Throughout the song is a sense of fear, knowing that the police could practically do anything they wanted without reprisal; of righteous rage that’s palpable yet impotent in the face of a power that can crush you at will; of the burgeoning recognition that you can never escape racism or unfair treatment; and the shame of being made to feel small and worthless while knowing that it’ll happen repeatedly throughout your life. As Lisa Kainde explains in press notes I was writing Deathless as an anthem for everybody!” For every minority. For everybody that feels that they are nothing, that feels small, that feels not cared about and I want them to listen to our song and for three minutes feel large, powerful, deathless. I have a huge amount of respect for people who fought for, what I think, are my rights today and if we all sing together ‘we are deathless, ’they will be living through us into a better world.”
Just the other day, the Diaz sisters made their major television debut performance on Late Show with Stephen Colbert, which features the Harlem Gospel Choir and Isaiah Barr of Onyx Collective on the last day of Black History, as a fiery and passionate reminder of the plight of black folk across the African Diaspora.
Over the past 12-18 months or so, I’ve written a bit about the genre-defying, world music duo Xylouris White, comprised of Melbourne, Australia-born, New York-based drummer Jim White, who’s best known for being member of the internationally acclaimed instrumental rock act Dirty Three and for collaborating with a number of equally renowned artists including PJ Harvey, Nina Nastasia, Cat Power, Bill Callahan a.k.a. Smog and others; and beloved Crete-born vocalist and lute player Giorgos Xylouris, the son of renowned vocalist and lyra player Psarantonis Xylouris, who is best known best known for leading the Xylouris Ensemble.
Strangely enough, although White and Xylouris had been friends and collaborators for more than 20 years, it wasn’t until 2013 that they decided that they should directly collaborate together, a process that was accelerated when the duo played together at a Nick Cave curated All Tomorrow’s Parties festival. The duo’s long-held admiration of each other’s work and their friendship have naturally found a way to influence everything about their creative process, revealing a mischievous and deep simpatico in which each musician intuitively knows when it’s time to lead, when to follow backwards and in heels, as the old saying goes. when to coax more from each other or when to hold back– but underneath there’s a jazz-like sense of unfettered and effortless improvisation of two old masters at their craft.
Unsurprisingly, Goats their debut effort together was indebted to their unique creative approach, which Giorgos Xylouris has poetically described in press notes as being “Like goats walking in the mountain. They may not know the place, but they can walk easily and take risks and feel comfortable. Really, the goats inspired us.” The duo’s sophomore effort, Black Peak continued the goat analogy, although the album’s title was derived from one of Crete’s most famous and beautiful mountains; however, the album, which was produced by Fugazi‘s Guy Picciotto and was “recorded everywhere,” as Xylouris joked in press notes, found the duo expanding upon their sound as the material possesses a subtly modern take on traditional sounds and motifs — at points sounding as though it nodded heavily at classic rock, punk rock and jazz, as you’d hear on album singles “Black Peak,” and “Forging,” both of which are two of my favorite songs off that album.
The duo’s third, full-length effort together, Mother was released earlier this year, and as Xylouris said in press note about the duo’s new album “Mother is the extension of Goats and Black Peak. Three things, all part of a whole. Goats are mothers, Zeus was raised on Amaltheia’s milk, Black Peak is Mother Earth . . . Mother Earth is the mother of everything.” As Xylouris adds “a theme of the album is the significance of simplicity and a child-like approach. So, we connect mother and child and play instruments as toys. Xylouris White is still gestating.”
Mother‘s first single “Only Love” was a rollicking and passionate stomp that consisted of White’s propulsive and forceful drumming, Xylouris’ dexterous and heavy metal guitar god-like lute playing and an infectious hook paired with Xylouris’ sonorous baritone. And while possessing a rare mix of urgency and a deceptive simplicity, the song further reveals the duo’s unique chemistry, as it features a playfulness as its core. The album’s latest single “Daphne” is a gorgeous yet meditative song that while building up to a explosive climax, manages to be a swooning declaration of love — a love that may be unrequited, but interestingly enough, as Xylouris explained to Stereogum, the song actually goes back to his time with Xylouris Ensemble — or roughly sometime in the early 90s when they first met. And as Xylouris admits, the duo had discussed recording a version of the song featuring their arrangement — lute and drums. The lyrics were written by Mitsoo Stavrakakis and are translated into English below:
It’s a song following us a lifetime
It’s a love song and the lyrics say
I’ve got your love roots in my heart,
And your blossom in my mind
I float in your scent
Because your scent is beautiful
The recently released video features White’s and Xylouris’ mothers dancing to the song in their homelands of Australia and Crete, Greece respectively. As White explained both in press and to Brooklyn Vegan, “For this clip they are dancing separately but both connecting with their sons’ music through dance. They are also relating to the ground they are dancing on, one in Australia and one in Crete.” The visuals convey and emphasize a remarkable tenderness — and well, it should make you think of your own mother.
Comprised of Iyad Moussa “Sadam” Ben Abderahmane, Tahar Khaldi, Hicham Bouhasse, Abdelkader Ourzig and Haiballah Akhamouk, the Tamanrasset, Algeria-based quintet Imarhan formed back in 2008 and are among a newer generation of Tuareg musicians that haven’t fought in the armed conflicts that have devastated Saharan Africa over the past 3 or 4 decades. Unsurprisingly, the members of Imarhan have been mentored by members of the internationally renowned Tuareg collective Tinariwen, while developing their own reputation across both the Tuareg world and elsewhere for pairing the ancestral tamashek poetry and rhythms of their elders with the contemporary sounds that reflect their urban upbringings, listening to a wide variety of music from across the globe.
With the 2016 release of the Algerian quintet’s critically applauded, self-titled debut album, they quickly became a buzz-worthy act with a growing internationally recognized profile which found them opening for a number internationally renowned touring acts including Kurt Vile, the aforementioned Tinariwen, Songhoy Blues and Mdou Moctor at venues across the US, the European Union and China. Imarhan’s highly-anticipated sophomore album Temet officially drops today and the Patrick Votan and Eyadou Ag Leche-produced album derives its name from the Tamashek word for “connections,” — and interestingly enough, the album reportedly is meant as an urgent wake up call to the listener, reminding them (and us, of course) that we are all deeply connected and without unity and understanding, we will never solve the world’s most urgent and pressing problems — i.e., environmental destruction, inequality, racism, growing strife and conflict, etc. As the band’s Ben Abderahmane said in press notes some time ago, “People should love each other. They need to know each other, we need to know each other, everyone should get to know their neighbor. We need to have the same approach as our elders,” he continues. “You will stumble across an old man who knows the world and will hand down his knowledge to his children.”
Now, if you’ve been frequenting this site over the past few months, you may recall that the album’s first single “Azzaman” was a meditative, hypnotic yet subtly contemporary take on the region’s desert blues sound that nods at psych rock — while thematically the song focuses on the passing of time and the handing over of a heritage and traditions by each successive generation, and the importance of leaving the right legacy. But along with that, the song makes a point of connecting different cultures of mixing the old and the new in a sensible way. Temet‘s second single “Tamudre” consists of a hypnotic and downright propulsive groove, punctuated with layers of percussion (both drumming and handclaps), call and response vocals and some impressive guitar work. Naturally, the song manages to remind me quite a bit of Tinariwen’s “Sustanaqqam” and “Adounia Ti Chidjret” but with a loose, bluesy vibe.
Temet’s latest single “Ehad Wa Dagh” features a stomping, dance floor-friendly, trance inducing, disco-like groove paired with some incredibly dexterous guitar pyrotechnics, making the song a funky and bold modernization of the desert blues that finds the band retaining familiar elements — the call and response vocals and the propulsive rhythms.
Directed by Visions Particulières, the recently released neon colored video focuses on Tamanrasset’s nightlife with members of the band arriving at a local nightclub to play a show — throughout it’s an explosion of colors, lights, and superimposed footage of the band members playing over an overhead of Tamanrasset. It’s a fitting psychedelic stomp.