Tag: Bob Marley

New Audio: Celebrated Malian Afel Bocoum Releases a Breezy Genre-Defying Single

Afel Bocoum, a celebrated Niafunké, Mali-born and-based singer/songwriter and guitarist is among the last of a breakthrough generation of African artists, who have mixed their traditional music with the new sounds that arrived from all overthe world during the 20th and 21st centuries. But interestingly enough, despite the accolades that surround him, music hasn’t been an easy dream for the celebrated Niafunké-born and-based singer/songwriter and guitarist: Most aspiring musicians face stiff parental and societal opposition; however for Bocoum, the parental opposition he faced was deeply perplexing, given the fact that this father Abakina Ousmane Bocoum, a.k.a. Kodda was one of the most famous and beloved njarka players of the 20th century.

But Bocoum wasn’t deterred. Music was omnipresent: it was in the holey or spirit dances of Songhoy, in the melodies of the Fulani flue, in the gumbé drum sessions with their wild moonlit dancing, in the stories and poetry of the griots and in the hymn of the local Protestant Mission.  For a young Bocoum, music was more than just entertainment; it taught people about life and the right way to live it. It guaranteed social cohesion and the strength of the collective conscience, especially in a society that was at the time, largely illiterate and had no access to modern media. “There was no radio at the time, no TV, nothing. It was incredible,” Bocoum remembers. “When you saw someone with a guitar, you followed him everywhere.”

As a teenager, the legendary Ali Farka Touré exerted a powerful hold on the young Bocoum. When Bocoum first met Touré in the late 1960s, he was a barely a teenager and Touré was already considered one of the region’s most famous and greatest sons. Bocoum hung out with Touré as much as he could, eventually becoming a member of Asco, Touré’s backing band. And as a member of of Asco, Bocoum toured with the legendary singer/songwriter and guitarist throughout the 80s and 90s, appearing on Touré’s 1992 effort, The Source. 

Interestingly, the idea of releasing his own music arose  from a gentle curiosity, rather than any self-serving ambition or desire to upstage his beloved mentor. “Everybody seemed to be releasing albums all around me, so it was like, ‘why not?’” Bocoum says in press notes. Tourè hooked his mentee up with Nick Gold, artistic director of  World Circuit, which led to Bocoum’s 1999 full-length debut, Alkibar (The Messengers), an effort that established Bocoum as an international star in his own right.

As a result of Alkibar’s success, Bocoum was invited to work with Blur and Gorillaz frontman and creative mastermind Damon Albarn and Toumani Diabaté on the 2002 album Mali Music. From there, he became a regular contributor on the Africa Express compilation series, collaborating with a who’s who list of internationally acclaimed artists, including Béla Fleck, Habib Koité, Tarit Ensemble, Oliver Mutukudzi and others. “You have to collaborate, otherwise you’ll get nowhere in today’s world,” Bocoum says of his work with those artists. “All those collaborations were positive.”

Bocoum’s forthcoming album, the Damon Albarn and Nick Gold produced-Lindé is slated for a September 4, 2020 release through World Circuit Records. Deriving its name from a wild expanse near his hometown, the album which was recorded in Mail’s capital city of Bamako, reportedly finds the celebrated Malian singer/songwriter and guitarist drawing from the timeless sounds of the Niger River bend with a variety of styles across the globe,  through collaborations with a diverse and eclectic array of artists including eminent Malian artists like Madou Kouyaté, the late Hama Sankaré and Madou Sidiki, along with the recently departed, legendary Afrobeat pioneer and Fela Kuti collaborator Tony Allen, Bob Marley and Skatalites collaborator Vin Gordon (trombone) and Joan as Police Woman creative mastermind Joan Wasser on violin.

Throughout the album’s material, you’ll hear traditional African folk instruments like ngoni, njurkele, kora and calabash with guitars, percussion, horns and call-and-response vocals, and the end result is something timeless and mystical, yet modern.  At its core, the material possesses a deep and abiding message: in the face of an uncertain and turbulent world and a homeland struggling with jihad, poverty and tribal warfare, the album’s material urges the listener to have hope and to seek solidarity and unity. “We have to meet each other, talk to each other, look each other in the eye and tell the truth,” Bocoum says. “If we’re not united, I can see no solution. Our social security is music. That’s all we’ve got left. People love music, so we have to make use of that fact.”

Earlier this year, I wrote about Lindé‘s first single, the breezy and uplifting “Avion.”  Centered around the shimmering guitar work of Mamadou Kelly, Oumar Konaté and Lamine Soumano, call-and-response vocals, propulsive polyrhythm that is playful and optimistic ode to air travel, complete with the prerequisite safety announcement  — in French, of course —  that quickly takes off and soars upward. But it’s also a gentle yet urgent call for all people to band together around the most human of all things — music, love and dancing; that music can take us to the promised land of peace and equality among all.

Lindé’s  latest single “Bombolo Lindo” features Skatalites’ Vin Gordon (trumpet), Songhoy Blues’ Garba Touré (guitar) and Toumani Diabaté’s brother Madou Diabaté (kora) on a song that broadly draws from across the Pan Africa Diaspora: you’ll hear shuffling and uptempo reggae riddims, shimmering guitar and kora, an infectious and soaring hook and some sweeping trombone lines. And while seemingly possesses irie vibes, the songs’ lyrics attempt to realistically temper the dreams of African youths desperately attempting to escape to Europe — with the hopes that it’ll be some promised land of money and opportunity.  “The small percentage of people who manage to make it to Europe shouldn’t cry ‘victory!’ because there are still many problems left for them to overcome, including finding a place to live, a job to do and food to eat,” Bocoum explains. “They mustn’t forget that, from the moment they arrive, they’re subject to the laws of the receiving country. And then they have to learn how to communicate and deal with the climate. Add it all up and you’ll see that overall, there’s more loss than benefit, and finding that anticipated happiness is just a lottery. More often than not, you’re talking about a 1 in 100 chance of success.”

New Video: Celebrated Malian Musician Afel Bocoum Releases a Gorgeous Glimpse into Malian Life in Visual for “Avion”

Afel Bocoum, a celebrated Niafunké, Mali-born and-based singer/songwriter and guitarist is among the last of a breakthrough generation of African artists, who mixed their traditional music with the new sounds that arrived from all over the world during the 20th and 21st centuries. Interestingly, music hasn’t been an easy dream for the celebrated Niafunké-born and-based singer/songwriter and guitarist: While most aspiring musicians face stiff parental and societal opposition; however for Bocoum, the parental opposition he faced was deeply perplexing, given the fact that this father Abakina Ousmane Bocoum, a.k.a. Kodda was one of the most famous and beloved njarka players of the 20th century. 

But Bocoum wasn’t deterred. Music was omnipresent: it was in the holey or spirit dances of Songhoy, in the melodies of the Fulani flue, in the gumbé drum sessions with their wild moonlit dancing, in the stories and poetry of the griots and in the hymn of the local Protestant Mission.  For a young Bocoum, music was more than just entertainment; it taught people about life and the right way to live it. It guaranteed social cohesion and the strength of the collective conscience, especially in a society that was at the time, largely illiterate and had no access to modern media. “There was no radio at the time, no TV, nothing. It was incredible,” Bocoum remembers. “When you saw someone with a guitar, you followed him everywhere.”

As a teenager, the legendary Ali Farka Touré exerted a powerful hold on the young Bocoum. When Bocoum first met Touré in the late 1960s, he was a barely a teenager and Touré was already considered one of the region’s most famous and greatest son. Bocoum hung out with Touré as much  as he could, eventually becoming a member of Asco, Touré’s backing band — and as a member of of Asco, Bocoum toured with the legendary singer/songwriter and guitarist throughout the 80s and 90s, appearing on Touré’s 1992 effort, The Source. 

The idea of releasing his own music arose  from a gentle curiosity, rather than any self-serving ambition or desire to upstage his beloved mentor. “Everybody seemed to be releasing albums all around me, so it was like, ‘why not?’” Bocoum says in press notes. Tourè hooked his mentee up with Nick Gold, artistic director of  World Circuit, which led to Bocoum’s 1999 full-length debut, Alkibar (The Messengers), an effort that established Bocoum as an international star in his own right.  

Interestingly, as a result of Alkibar, Bocoum was invited to work with Blur and Gorillaz frontman and creative mastermind Damon Albarn and Toumani Diabaté on the 2002 album Mali Music. From there, he became a regular contributor on the Africa Express compilation series, collaborating with a who’s who list of internationally acclaimed artists, including Béla Fleck, Habib Koité, Tarit Ensemble, Oliver Mutukudzi and others. “You have to collaborate, otherwise you’ll get nowhere in today’s world,” Bocoum says of his work with those artists. “All those collaborations were positive.”

Bocoum’s forthcoming album, the Damon Albarn and Nick Gold produced-Lindé is slated for a September 4, 2020 release through World Circuit Records. Deriving its name from a wild expanse near his hometown, the album which was recorded in Mail’s capital city of Bamako, reportedly finds the celebrated Malian singer/songwriter and guitarist drawing from the timeless sounds of the Niger River bend with a variety of styles across the globe, as he collaborates with a diverse and eclectic array  of artists including eminent Malian artists like Madou Kouyaté, the late Hama Sankaré and Madou Sidiki, along with the recently departed, legendary Afrobeat pioneer and Fela Kuti collaborator Tony Allen, Bob Marley and Skatalites collaborator Vin Gordon (trombone) and Joan as Police Woman creative mastermind Joan Wasser on violin. 

You’ll hear traditional African folk instruments like ngoni, njurkele, kora and calabash with guitars, percussion and call-and-response vocals with the end result being something both timeless and mystical yet modern. But at its core, there’s a deep and abiding message: in the face of an uncertain and turbulent world and a homeland struggling with jihad, poverty and tribal warfare, the album’s material  urges the listener to hope, solidarity and unity. “We have to meet each other, talk to each other, look each other in the eye and tell the truth,” Bocoum says. “If we’re not united, I can see no solution. Our social security is music. That’s all we’ve got left. People love music, so we have to make use of that fact.”

“Avion,” Lindé’s first single is a uplifting and breezy track, centered around the shimmering guitar work of Mamadou Kelly, Oumar Konaté and Lamine Soumano, call-and-response vocals, propulsive polyrhythm that is playful and optimistic ode to air travel, complete with the prerequisite safety announcement  — in French, of course —  that quickly takes off and soars upward. But it’s also a gentle yet urgent call for all people to band together around the most human of all things — music, love and dancing; that music can take us to the promised land of peace and equality among all. Considering recent world events, we  need more uplifting calls for unity and love. 

The recently released video gives the video a gorgeous glimpse of daily life in Mali, as we see fisherman, goat herders, the nomadic and proud Taureg people riding horses and  camels, massive metropolitan areas and the like. It reveals a world that’s more diverse and interesting that what most Westerners would know or acknowledge with a gentle  and kind viewpoint. 

Born Mark Anthony Myrie, the Kingston, Jamaica-born and-raised dancehall legend Buju Banton is widely considered one of the most significant,  well-regarded and commercially successful recording artists in Jamaican music. Starting his career back in 1987 with a string of singles, Myrie came to national and international prominence with his first two albums, 1992s Stamina Daddy and Mr. Mention — with Mr. Mention at the time, becoming the the best-selling album in Jamaican history.  Adding to a breakthrough year, he broke Bob Marley‘s record for #1 singles in Jamaica.

1993 saw the Kingston-born and-based dancehall artist sign with Mercury Records, who released that year’s Voice of Jamaica. Interestingly, by the mid-1990s his work became more influenced by his Rastafari faith — especially on albums like ‘Til Shiloh and Inna Heights. As a result of his critical and commercial success, Banton has collaborated with a number of internationally renowned artists in a variety of genres and styles including hip-hop, Latin and punk rock, as well as Bob Marley’s sons.

The dancehall legend recently released an appropriately titled 4/20 anthem “Ganja Man.” Fittingly, the track is all irie vibes and strutting riddims paired with Banton’s imitable vocals.  Puff, puff pass y’all. And happy 4/20 to those who celebrate!

 

 

 

 

New Video: Montreal’s Jonathan Emilie Releases an Infectious Dancehall Banger

Jonathan Emile is rising Montreal-born and based, Jamaican-Canadian singer/songwriter.  Emile’s latest album, the Paul Cargnello and Christopher Cargnello-co-produced Spaces In Between finds the Jamaican-Canadian singer/songwriter delving deep into his roots with the album’s material borrowing from several styles of Jamaican music, including acoustic and traditional roots, reggae pop, Dancehall, dub and hip-hop. Released through Montreal-based record label, MindPeaceLove Records, the album is the first album by a Quebec-based artist to be distributed through Bob Marley’s Tuff Gong International. 

So far two singles off the album have been released to praise by the media internationally — the energetic “Savanna” and the gospel-folk influenced, acoustic ballad “Moses.”  The album’s third and latest single is the hook-driven and breezy dancehall anthem “Just A Likkle More.” Centered around bursts of shimmering guitar, thumping beats. an upbeat riddim, and Emilie’s easy-going and mellifluous vocals, the song is a blast of summer warmth — and perhaps more important, an old-school, feel good love song. It’s the sort of song that will make you find that special someone and do that old-school two-step with them. 

Directed by Pete Beng, the recently released video for “Just A Likkle More” was cinematically shot in Westmoreland Jamaica. Throughout the video, the viewer gets a taste of daily life in Westmoreland, as we follow its protagonists — a beautiful and madly in love Black couple. And much like the accompanying song, the video is upbeat and playful. 

New Video: Introducing the Global-Spanning Sounds of Mayotte’s M’Toro Chamou

Located in the Comoros archipelago off the coast of Southeast Africa, between Northwestern Mozambique and Northeastern Mozambique, the Department of Mayotte is a French overseas region, which consists of two islands — the main island of Grande-Teerre (or Maore), a smaller island of Petite-Terre (Pamanzi) and several islets around the two. 

Initially populated by people from nearby East Africa, Arabs, who brought Islam came later on — and by 1500, a sultanate was established. In the 19th century, Mayotte was conquered by Andriantsoly, former king of Ibonia (which was in modern day Madagascar), and later by the neighboring islands of Moheli and Anjuoan before being purchased by France in 1841.  

With a decisive referendum on the independence  of the Comoros region in 1974, the people of Mayotte voted to politically remain a part of France. Another decisive referendum vote in 2009 led to Mayotte becoming a French Department on March 31, 2011 — and an outermost region of the European Union on January 1. 2014. Although the islands are a politically recognized French territory, the majority of its inhabitants speak Shiamore, a Sabaki language closely related to the languages spoken in the neighboring Comoros Islands, not French. Kibushi, a Malagasy language, which features two dialects — Kibushi Kisakalava and Kibushi Kiantalaotra is also spoken by a significant portion of the population. Interestingly, according to a recent census report, a majority of the population aged 14 and older say that they can speak French — with varying levels of fluency. 

As a new department, the island region currently faces some enormous problems: as of this year, its annual population growth is at 3.8%. Half its population is less than 17 years old. Unemployment is at 35%. 84% of its inhabitants live below the officially recognized poverty line. And as a result of an influx of illegal immigration from its neighbors, 48% of its population are foreign nationals. As you can imagine, much like everywhere else on the planet, things socially and politically on Mayotte are rather turbulent. 

Over the past few years, the Mayotte-born singer/songwriter and guitarist M’Toro Chamou has created a unique sound and musical style that he’s dubbed Afro M’Godro Rock, which meshes the traditional M’Godro, Shigoma and Chengue rhythms of Mayotte with more Western sounds — primarily rock and blues. In fact, he’s deeply influenced by BB King, John Lee Hooker, Nina Simone, Ray Charles and James Brown, among a host of others. Thematically, his work exhorts people to come together as one rather than being torn apart by politics. Interestingly, his most recent album Sika Mila, which translates into English as “Preserve Your Culture” thematically focuses on the rapidly charging Mahoran culture while spreading messages of hope and unity to a fractious people. 

Chamou’s latest single “M’Godro Rebel” is a breezy and anthemic song centered around shimmering acoustic guitar, brief bursts of emphatic electric guitars, propulsive polyrhythm and call and response vocals. And while deeply rooted in traditional sounds, the song finds Chamou’s sound and approach nodding at Bob Marley-like reggae both thematically and sonically. As Chamou explains in press notes, the song is about the discrimination and oppression that limits the people of Mayotte and Black people everywhere. 

Directed by Lenz, the gorgeous shot and recently released video for “M’Godro Rebel” finds both the director and the Mayotte-born singer/songwriter purposefully highlighting the beauty, wealth and strength of African people: the video begins with Chamou and a cast of beautiful black people of all shades wearing 18th Century Rococo — or late baroque — style clothing, in opulent European-inspired settings that makes the first portion of the video seem indebted to the work of Kehinde Wiley. In the West, we rarely see Africa or Africans in such a proud, powerful fashion, let alone other Black people across the Diaspora — and it is defiant, boldly Black as fuck. During the video’s second half, we see the same cast wearing the vividly colored designs of South African designer Laduma Ngxokolo. The video says that Africans have a proud, rich history and an important place in the modern world. Simply put, everything about the video is black excellence.  

Live Footage: Burna Boy Performs “Anybody” for Vevo CTRL

  With the release of 2013’s Leriq-produced full-length debut L.I.F.E., which featured attention-grabbing singles like  “Like to Party,” “Tonight”, “Always Love You”, “Run My Race” and “Yawa Dey,” Burna Boy, a Nigerian Afro-fusion singer/songwriter, born Damini […]

New Video: Follow Acclaimed JOVM Mainstays Tinariwen on a Cinematically Shot Journey in the Desert

I’ve written quite a bit about the internationally acclaimed Algerian Tuareg pioneers of Desert Blues and JOVM mainstays Tinariwen over the past handful of years. And as you can recall, the act can trace its origins back to the late 1970s when the band’s founding member, Ibrahim Ag Alhabib (guitar) joined a small group of Tuareg rebels living in refugee camps in Libya and Algeria. The rebels Ag Alhabib hooked up with had been influenced by radical chaabi protest music of 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.

Despite a series of lineup changes since their formation, the act has toured regularly across the European Union, North American, Japan and Australia, playing some fo the biggest festivals of the international touring circuit — and at some of the world’s biggest clubs and music venues. But one thing has been consistent: they’ve firmly established a sound that evokes the harsh and surreal beauty of their desert 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 increasingly technology and encroaching Westernization and globalization. And while 2017’s Elwan (which translates into English as “The Elephants”) thematically touches upon on the impact that Westernization and technology has had on the lives of their people, their exile from their homeland as  result of religious and ethnic infighting, the uncertain future of their homeland and their longing to be back in their homeland — with the tacit understanding that many within the band may never see their homeland ever again.

Slated for a September 6, 2019 release through Anti- Records, the acclaimed JOVM mainstays’ forthcoming album Amadjar reportedly is as close as listeners can get to the proverbial soul of the band as it was recorded in a natural setting. Accompanied by their French production team, who arrived in an old camper can that has been converted into a makeshift studio, the Saharan Africa JOVM mainstays’ journey to the Mauritanian capital of Nouakchott takes about 12 days or so. Every evening, the caravan stopped to set up camp and the band went to work under the stars to prepare for the recording sessions, talking through things, and letting their guitar motifs, thoughts and long buried songs come. Then, during a final two-week camp in the desert around Nouakchott, the band, joined by The Mauritanian griot  Noura Mint Seymali and her guitarist husband, Jeiche Ould Chigaly, recorded their songs under large tent in a few live takes, without headphones or effects.

Once recorded, a host of Western musicians added additional instrumentation including the Bad Seeds’ Warren Ellis, who contributed violin; Micah Nelson, the son of the legendary Willie Nelson and a member of Neil Young‘s backing band, contributed mandolin and charango; Sunn O)))‘s Stephen O’Malley contributes guitar; Cass McCombs, who contributes guitar; and Rodophe Burger.

Lyrically and thematically, the album explores the continuing political, social, humanitarian and environmental problems faced in their home country of Mali and continues Tinariwen’s pursuit to highlight the plight and issues of their people through their music. The album continues the band’s ongoing work of highlighting the plight of the Tuareg community — from the collapse of infrastructure and public services, climate change and the ongoing political and military conflicts that have plagued their homeland since it gained independence in 1960.

Interestingly, “Kel Tinariwen” Amadjar’s latest single continues in a similar path of its predecessors as its centered around shimmering and looping acoustic guitar, call and response vocals, handclaps and drums and while the addition of a sinuous electric bass line  helps to modernize the song, the song feels as though it’s an effortless synthesis of the ancient and the modern. Thematically, the song touches upon two ancient things: the treacherousness of those power mad and greedy sorts, who will sell out their people — and a triumph of the righteous over them. Cass McCombs contributes some trippy vocals towards the song’s coda and his guitar work. 

Directed by Celidja Pornon, the recently released video for “Kel Tinariwen” is a cinematic and intimate shot visual that follows the band and their crew as they travel through the desert with their makeshift recording studio. We see tons of earthy browns and oranges, eerily beautiful landscapes, enormous and seemingly endless skies, and Van Gogh-like suns. Over the course of their journey, they stop for the night, set up camp, play dominoes, joke and chat and at night, they jam and write songs — the songs that represent the struggles and concerns of their people and of their homeland. We also get glimpses of the band performing for an ecstatic group of Tuaregs, who cheer them up and record every moment. 

New Audio: Tinariwen Releases a Gorgeous and Brooding Collaboration with Warren Ellis, Noura Mint Seymali and Jeiche Ould Chighaly

I’ve written quite a bit about the internationally acclaimed Algerian Tuareg pioneers of the Desert Blues and JOVM mainstays Tinariwen over the past couple of years. And as you may recall, the act can trace its origins back to the late 1970s when the band’s founding member, Ibrahim Ag Alhabib (guitar) joined a small group of Tuareg rebels living in refugee camps in Libya and Algeria. The rebels Ag Alhabib hooked up with had been influenced by radical chaabi protest music of 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. 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 initial lineup was completed and the members of the collective began writing songs about the issues and concerns of their people.

Then the members of the band built a makeshift studio, vowing to to record and distribute music for free to anyone, who supplied them a blank cassette tape. Within a short period of time, the band’s cassette tapes were highly sought-after and were popularly 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. In R1992, 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 expand the band’s profile outside Saharan Africa. They also played 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. Interestingly, since their formation back in the late 70s, the collective have gone through a series of lineup changes, gradually incorporating younger generations of Tuareg musicians, many who haven’t seen the military conflicts that their elders have, 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 become internationally known, as a result of regular touring across the European Union, North America, Japan and Australia, frequently playing some of the world’s biggest festivals and biggest music venues and clubs. But one thing has been consistent throughout — they’ve 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.

Additionally, a contentious and bloody series of infighting and wars between the various religious and ethnic groups across the region have splintered several nations throughout the region — including most recently Mali and Libya, where members of Tinariwen have proudly called home at various points of the band’s history. Unsurprisingly, the band’s last full-length effort, 2017’s Elwan (which translates into English as “The Elephants”) thematically focuses on the impact of Westernization and technology has had on their people and their way of life, their exile as a result of the religious and ethnic infighting that has destroyed their homeland, their longing for their ancestral homeland, the uncertain future of their homeland — and the tacit understanding that some of the band members may never see their homeland ever again.

Slated for a September 6, 2019 release through Anti- Records, the acclaimed JOVM mainstays’ forthcoming album Amadjar, reportedly is as close as listeners can get to the proverbial soul of the band as it was recorded in a natural setting. 

Accompanied by their French production team, who arrive in an old camper can that has been converted into a makeshift studio, the Saharan Africa JOVM mainstays’ journey to the Mauritanian capital of Nouakchott takes about 12 days or so. Every evening, the caravan stopped to set up camp and the band went to work under the stars to prepare for the recording sessions, talking through things, and letting their guitar motifs, thoughts and long buried songs come. Then, during a final two-week camp in the desert around Nouakchott, the band, joined by The Mauritanian griotte Noura Mint Seymali and her guitarist husband, Jeiche Ould Chigaly, recorded their songs under large tent in a few live takes, without headphones or effects.

Once recorded, a host of Western musicians added additional instrumentation including the Bad Seeds’ Warren Ellis, who contributed violin; Micah Nelson, the son of the legendary Willie Nelson and a member of Neil Young‘s backing band, contributed mandolin and charango; Sunn O)))‘s Stephen O’Malley contributes guitar; Cass McCombs, who contributes guitar; and Rodophe Burger.

Lyrically and thematically, the album explores the continuing political, social, humanitarian and environmental problems faced in their home country of Mali and continues Tinariwen’s pursuit to highlight the plight and issues of their people through their music. The album continues the band’s ongoing work of highlighting the plight of the Tuareg community — from the collapse of infrastructure and public services, climate change and the ongoing political and military conflicts that have plagued their homeland since it gained independence in 1960.

Amadjar’s latest single is a gorgeous yet brooding track centered around looping and shimmering acoustic guitar, explosive blasts of pedal effected electric guitar, handclap led-percussion and bursts of soaring violin. And much like its predecessor, “Taqkal Tarha,” the song is an effortless synthesis of something far more ancient and seemingly older than time with a subtly contemporary feel. I’ve seen a translated version of song’s incredibly poetic lyrics — and in translation, they indirectly evoke Revelations, The Upanishads and other religious texts, as it paints a picture of the end of the world. And yet, the song’s narrator finds himself confronted by the fact that he’s got his trusty camel and the endless road ahead.