AFRICAN PSYCH, CROSSOVERS AND NEW ORIGINAL MUSIC
PAGE 2 :
West-African Nomad Music (like Touareg Music) from
WESTERN SAHARA & MALI, NIGER & MORROCO
review page

Group Inerane ('04,'07,'11)
Group Doueh ('06,'09,'11)
Desert Rebel (DVD+CD) ('07,'07)
Tartit ('06)
"Festival In The Desert" (DVD) ('03)
Group Bombino/Bombino/Bambino ('04,'09,'11)
"Agadez, the music and the rebellion" (DVD) ('10)
Kel Assouf ('11)
V.A.: Ishumar 1 & 2 ('08,'11)
Nabil Othmani ('10)
Toumast ('07)
Tamikrest ('11)
Etran Finatawa ('06)
Tinariwen (CD+DVD) ('06,'09)
Ibrahim Djo Experience ('11)

on a different page :
Musical Brotherhoods from the Trans-Saharan Highway ('05/'08)

Sublime FrequenciesGroup Doueh :
   Guitar Music from the Western Sahara (WS,pub.2006)****°

Alan Bishop and his label, Sublime Frequencies are still one of the few labels to dig into other countries to look for obscurities which aren’t too different from what western people like in some too-left-alone countries from proper and prosper interaction. Although the label started with a more fragmentary achieved interest, more and more certain names and specific facts starts to take shape. The story on this album reminds me of an occasion where I heard a tape playing in a Moroccan snack bar in Antwerp. The guitarist who was playing did similar things comparable to for instance early 70s Erkin Koray, but the guy who worked there said it was just a compilation tape and that he didn’t know, and I think he was not really willing to tell me more. Alan in his turn, heard a track on Moroccan radio. It was difficult for him to trace its origin. People called it Sahrawi music, music from the Western Sahara. After some research by Hisham Mayet from the label he was directed to a house where they would find more info, and where happened to live the musician they were looking for. He is called Doueh. His music was inspired by a Mauritian musician called Yassin Oueld Enana, and by known Western rock classics. He also learned from local traditions and played at first with a self-built guitar, until in 1981 started his group ‘Group Doueh’, where he played guitar and tinidit, a Mauritian stringed instrument, with his wife Halima on vocals and on ‘tbal’ (a local percussion instrument), with one more vocalist called Bashiri. Because local musicians began to appear more often on Moroccan television, he added keyboards to his group, played by his son, Jamai. Officially, he recorded just one home taped recording. The songs are poetry in local language. His guitar playing is a renewal of the tradition with some western influence. This album is material from his home-recorded archives, and is full of surprises.

The first two tracks, but especially the first track, “Eid for Dakhla” is slightly overloaded and gives a primitive garage-rock effect, while using a seemingly wa-wa effect on the electric guitar. You can definitely also notice crossover qualities to a local folk influence, with the backing vocals accompaniment (in duet, child/female?, I think are also typical for African music with a more direct importance for the commu
nity). The second track is played faster and could also be recognised as being from Africa, although it is very unusual to hear such rhythmical tunes being played on an electric guitar (with some backing vocals and bits of rambling percussion), with such arpeggio’s.
At times you could think that Doueh plays techniques on the guitar meant for different instruments, or learned from the way in which certain other African instruments are being played.
The third song, “Tirara” is better recorded, and you hear the guitar clearer, with some bass percussion and some clapping percussion, with similar backing vocals.
The fourth track “Fagu” is again very different, although very fitting, where Doueh plays his guitar (or is it the electrified ‘tinidit’?) like a repetitive drone instrument, while also the singing is in a different style. This particular singing style is somewhat comparable, -for what I’ve heard before-, with the “Ethiopian” style, with variations that sounds very hypnotic, and that might also recall certain Indian (??) singing styles, and which is very beautiful to hear.
Also on the first track of side B, “Dun Dan” the guitar and singing is similar, but then there is added a more African, slightly funky feeling, with some bass, background duo vocals (child-like sounds), with more “African percussion”.
One of the most “African” in sound songs have something like clapping rhythms, with directions where you could easily sing along if you were a bit used to do that.
Next song seems to be sung by his son (?). There are still more surprises to expect, because the last few tracks focus even more on the solo guitar playing, with an almost rocking attention to the guitar, like on “Sabah Lala”.
The Last track, “Cheyla Ya Haiuune” sounds one step closer to western styles, because it is more directed to the song, which is, not pushed from rhythmical tunes, but following the melody line more, and then improvising on it. It is the only track that I think is with some keyboards and additional keyboard rhythms further on background.

With this album the label seem to have uncovered a great discovery. For me, it is perhaps the most interesting record to date from the label. Perhaps that’s why it was released on LP for the first time, to be preserved best for the future. In all my research, and while looking through much from what is released and coming from Africa -with various rare exceptions (like with the 70s Ethiopian releases)-, I often was rather disappointed seeing the repetition of the same kind of sound with every release on the market from what became known as the “typical African” sound. Now, for me, this is more the kind of really creative, personal and “progressive” releases that I hoped and expected from Africa, to be promoted more often. (And since no one does yet, I will try to collect these items and compile them into this separate page to show the difference).

This is a limited, one time pressing, of a 1000, with a folded cover, LPs on thick vinyl, and with additional liner notes and photographs. Especially recommended to those who already found the Ethiopian series on Buddha a welcome surprise.

Audio : "Eid For Dakhkla", "Tirara", "Fagu",& "Sabah Lala" (from WMFU broadcast)
Review with 3 audio tracks : http://www.boomkat.com/item.cfm?id=31492
Other reviews : http://spidey.kfjc.org/?p=2245
& on http://blastitude.com/main.htm
& http://audiversity.com/2007/03/new-music-low-group-doueh-pole.html & http://brainwashed.com/index.php?option=com_content&task=view&id=6003&Itemid=64
& http://www.musicemissions.com/artists/albums/index.php?album_id=5900
& http://www.clevescene.com/2007-09-12/music/group-doueh/
& on http://amillionkeys.com/...
Label entry : http://www.sublimefrequencies.com/...                second album->
Sublime Frequencies  Group Doueh : Treeg Salam (WS,rec.1989-1996,pub.2009)***°°

This is another choice from the same tape archives of Group Doueh, good for a second LP/CD, which seems to be sold out almost immediately at source (some remaining copies are still distributed by Forced Exposure). The five tracks are very different in nature and also have different recording qualities. Most tracks have elements like an intro in spoken word while the band starts playing already, some African call/responses, or some lead vocalist with background female choir or a second voice (a boy singing wildly on the third track) on hypnotic rhythms, with excessive effects of the specific hypnotic guitar playing of patterns and a certain distortion of wahwah effects increasing the psychedelic effect of it, and rhythms that are pushed by keyboard effects in the background and hand claps. The distortion of the electric guitar or tinidit (?) on the second track is overloading and primitive as if coming from a tin box amplifier, the effect is still special and the public is wild, girls are screaming. The third track I guess is the most hypnotic one and could have lasted for 20 minutes if you asked me. But it is the last track which goes over 20 minutes, developing more slowly, with the electric guitar developing patterns like ripples in water, sounding like a meditation on a religious level, directing top musical areas like Pakistani Sufi music for instance. Also the singing is more Arabesque (like Ethiopian style). Another extremely interesting album, which due to the different nature of the five chosen tracks need a few listens and concentrations on each individual choice for optimal appreciation.

Audio : http://www.boomkat.com/item.cfm?id=186723
& on http://www.honestjons.com/shop.php?pid=34649
Info : http://www.sublimefrequencies.com/item.asp?Item_id=55&t=Group-Doueh:-Treeg-Salaam
Review with audio on http://www.dustedmagazine.com/reviews/5023   next
Sublime Frequencies  Group Doueh : Zayna Jumma (WS,2011)****

I didn’t expect to be surprised again by another release of Group Doueh, the fourth one on record so far (I missed the previous one) but I was. This started already with the first track, with loudly recorded but thus very effective rocking guitars with vocals and backing vocalists. Lead guitar and vocals, backing vocals and jangling acoustic guitars are enriched with electric bass and different drum rhythms with groove and hypnotic repetition. The second track uses wahwah electric fuzz guitars, some background organ and a lead boy singing, with an effect to create very Afro desert garage-psych with hypnotic mind exalting effect. This track is not very well recorded or mixed, but the sound has been optimized to make it work. This sort of approach continues with a different song on the next track. The track after this is from a slower haze, with an organ drone melody repetition mixed with electric bass, dominating handclaps and Arab lead singing. On the fifth track desert whirlies like djins or sand storms play over the electrified guitar, on a monotone sweeping up rhythm and group response singing, speeding up at times expressing inner tensions and heat. The 6th and also the 7th track has a more relaxed rhythm on percussion, we hear lead singing with group responses and more whirling wahwah-alike effects on the guitar. The 8th track is again different for we hear some of the rhythms taken over by what sounds like a cheap synthesizer with rhythm box overloaded by an acoustic guitar, with an effect that surprisingly works with its own power and rhythmic attraction. Here we also have here and there some lililili-screaming women in the background. After this track it suddenly is all over. You have the  impression you experienced something new, leaving you with somewhat confusion on the empty spot it leaves behind in the end.

The style, which can be heard on the album, comes forth from the mixture of music from different origins and regions. First we recognise the tribal Saharan music from the Western Sahara and Morroco, some instrumental forms from Mauritanian origin, and Gnawa music. Instruments used are the tinidit, a three-stringed lute traditionally played with a plectrum, the ardin, a harp played mostly by women with 12 to 14 strings, a western Korg synth, a drum-kit and of course the Touareg desert blues inspired electric guitar.


Articles on http://www.tinymixtapes.com/... & http://alteredzones.com/...
Label :http://www.sublimefrequencies.com/
Sublime Frequencies  Group Bombino : Guitars from Agadez vol.2 (NI,rec.2007,pub.2009)***°'

Group Bombino is a band gathering around guitarist Omara Mochtar (Bombino), who are based in Agadez, an isolated Tuareg part of Niger. The album is split in two parts (side A and B for the LP).

The first part comes from Bombino’s private archives, is an acoustic set where you can hear his “dry guitar” style (as it was called), influenced by the first generation of Touareg guitarists like Abdulla Oumbadogou and the Tinarwen group, as well as Mali guitarist Ali Farka Toure. This is with a few well fitting background sounds, like a camel drive in the beginning and ending of the first track. They sound like a friend’s  gathering with a rhythmic acoustic guitar playing with bluesy touches now and then, following melody lines of songs inside the rhythmic patterns. This musical voice is optimistic and warm, while hand claps and box rhythms accompany the rhythms, and sometimes a second voice joins the song. If a second guitar appears this is softly brushed and is following the trance-like repetitive patterns. This has a rather local but also universally understandable folkie flavour.

The second part is a live recording with a full electric band with drummer, starting already rather up-tempo while the guitar style of the additional guitars remains soft and brushed, they succeed in pushing the vibe, while the lead guitar plays some additional bluesy solos. The part of the singing is not so well recorded, but the quality of the guitar sounds is good enough to make it a satisfying recording. The power of the band becomes incredible, the rhythms are pushed forward further and we hear some nice solos on top of the tranced foundations. “Imouharte”, the second track, is an electric version of “Imuhar” from the first side. More rock power is added to the track hereafter. On the following “Kamu Telyat”, the singing almost disappears in the background, the rhythm remains fast (4/8?) and the distortion of the guitars works hypnotically. On the last track some female backing singers are noticed, and more pushing electric bass patterns, a powerful ending.

The LP version was limited to 1500 copies. I have reviewed the CD version.

Hopefully this series of albums from areas that are hardly reachable (landmines all over the place to the only roads that lead to them), this will give renewed attention to the situation of the Tuaregs. For them, these electric recordings showed their way of expressing their identity. Last thing I heard is that Bombino was exiled to Ougadougou, Burkina Faso because of the rebellion of the Tuareg nomads against the indifference of their situation by the Nigerian government.

Audio on http://www.honestjons.com/shop.php?pid=34038
Video on http://www.youtube.com/watch?v=u204vdQvAWk
& http://www.youtube.com/watch?v=tneOdum6f68&feature=related
Label info : http://www.sublimefrequencies.com/item.asp?Item_id=51
Review with audio : http://www.boomkat.com/item.cfm?id=157844
Other reviews, with audio on http://www.dustedmagazine.com/reviews/4765
& http://www.dimple.com/rel/v2_viewupc.php?storenr=391&upc=61350541831
& http://brainwashed.com/... & on http://www.spin.com/reviews/...
& http://www.prefixmag.com/reviews/group-bombino/guitars-from-agadaz-vol-2/25734/
& http://lineout.thestranger.com/lineout/archives/2009/02/16/group_bombino_s_guitars_from
& http://mapsadaisical.wordpress.com/2009/02/24/group-bombino-guitars-from-agadez-volume-2/
Cumbancha Discovery Bombino : Agadez (NI,2011)****

Omara Moctar who was quickly called ‘Bombino’ (as a worthy descendent, a child from a matriarchal tradition), is one of the Toareg guitarists who got some attention. Being involved in the Toareg rebellions, being forced to search for refuge and finding it in Agadez, but having lived in Algeria, Niger and Lybia for the same reasons it becomes clear that his music and songs are also the expression of a renewed foundation of Touareg identity. As early as 2006 Bombino had travelled to California with the band Tidawt where he recorded a desert blues version of the Rolling Stones song "Hey Negrita" alongside Stones' members Keith Richards and Charlie Watts, a track which appeared on ‘Stone's World: The Rolling Stones Project Volume 2’ (2008). More recordings were done since 2006. I have already reviewed one Group Bombino release (see above this one), which was reissued last year. In 2009 filmmaker Ron Wyman who liked the tapes he heard from Bombino's music while traveling near Agadez, was enchanted by Bombino's music and spent a year seeking Bombino out, finally tracing him in Burkina Faso, where he included him in his Touareg movie. The movie and CD are associated with one another so I guess the recording sessions are done at the same occasion. The music is professionally recorded. So the rawness and rebellious tension and the distortions, which we heard on the Subliminal Frequencies releases, are no longer present. This is a relaxed mode, a warm desert blues with hope and positive, let’s say united visions. There is no rush, and the rhythms are repetitive, often imitations of hand claps. Of course there a few real blues influences, the foundations remain song expressions played upon steady rhythms. ‘Bombino’ says he picked up his guitar influences from the examples of Tinarwen, and from listening to Ali Faka Touré, Jimi Hendrix and even watching Dire Straits on a video. Bombino’s singing is soft, and in fact reveals a portion of contentment and celebration now. The most expressive track perhaps is “Anotrher life” which becomes danceable rock and where there is taken care to have an electric guitar solo on top, a longer and more hypnotic track. The last track is with acoustic guitar shows how his soft voice fits with this very well too. Different circumstances might lead to different sounds and expressions.

Omara ‘Bombino’ Moctar, vocals, lead guitar ; Kawissan Mohammed, guitar ; Ibrahim Emoud Atchingui, drums with guests Eds Lucie, bass guitar ; Chris Decato rhythm guitar ; Ghissa Tshoda (Lalo), calabash, Joe Galeato, Chris Decato, Ron Wyman, Mohammed Serge, percussion.

Video's on http://www.youtube.com/... & http://www.youtube.com/...
Label info :http://www.cumbancha.com/... & http://bombino.bandcamp.com/
& movie info : http://zerogravityfilms.com/bombino-agadez
Article : http://www.npr.org/2011/04/21/135176796/first-listen-bombino-agadez
Interview : http://www.greenglobaltravel.com/...
Other reviews : http://blogcritics.org/music/article/music-review-bombino-agadez/
& http://www.rootsworld.com/reviews/bombino11.shtml
& http://www.dustedmagazine.com/reviews/6365
& http://vivoscene.com/feature/bombino-agadez-music-review/
Dutch intro :http://www.tropicalidad.be/pivot/entry.php?id=1058
Dutch reviews :http://www.soundslike.be/reviews/?reviewID=7119
& http://www.mixedworldmusic.com/recensies.php?id=325
Zero Gravity Films Ron Wyman : Agadez, the Music and the Rebellion -DVD- (NI,2011)*****

I have seen already some documentaries about the new Touareg Music, so at first I did not really expect more than another quick journey into the region with some interviews about the music, with a bit of background and some concert music. But this documentary goes much deeper towards the real source of it all : the people, into the living exploration of the visual images, into the philosophy, the uniqueness of it all. First of all there has been very good camerawork, with an eye for colour, shape and human expressions. Secondly, the philosophy of the Touareg has been explained well in the political and regional context. In fact, it felt as if I rediscovered something I am currently still looking for myself as traces of my own culture’s origins, here something of the origins of a humanised democracy reveals itself once more. This is comparable to the pre-Celtic foundations in society that existed also in our regions and beyond it, perhaps as a common form of essence of leading consciousness, originating from thousands of years from before the Romans came here.* In some small, almost instructive and educational aspects included in the video, it seems to show the idea as if the Touareg once fled into the desert in order to keep that very democratic and freedom-minded essence alive, away from power struggles and domination by more primitive preferences. The video further explains how difficult it was in the recent years after the decolonisation, the years of the Touareg revolt against the local oppressions, and how just recently some peace agreements were found and how it changed life for the Touareg. And what a powerful, musical example they found in Bombino, who not only represents the right changes around this time, he is also a wonderful guitarist. The music really comes in it's element in the movie, like the acoustic pickings, clever and hypnotic and inspired on the moments as they are, as well as in the wild and electric live recordings during the celebrative and memorable concert. The film maker spent years in building up the movie and tracing down Bombino, leading to a highlighting relief through music, revealing interesting thoughts and beautiful hanging together with the educational background story images on its way to it. A must-have seen.

Info : http://www.bambinoafrica.com/ZeroGravity_Films/Bombino.html
& http://www.microfundo.com/bombino/ & http://www.imdb.com/title/tt1704686/
& http://www.bambinoafrica.com/ZeroGravity_Films/Agadez_the_Movie.html
Homepage : http://zerogravityfilms.com/
Trailer : http://www.youtube.com/watch?v=RUcePTVPkZU
Articles : http://blogcritics.org/video/article/movie-review-agadez-the-music-and/
& http://vivoscene.com/feature/bombino-agadez-music-review/
Info on Ron Wyman's project : http://www.rendezvouscentralsquare.com...

* If interested, I will explain what I mean by this “different sort of democracy”. Democracy today is still more like a pseudo-democracy because (after elections looking for a representative, in the end) it still gives the right to an individual and his/her personality to make choices for a whole group. In much older cultures, like in the European community that existed from long before the Celts, this would never have been possible. It was simply not allowed for a random choice of an individual to have the right to decide for a group, because then such a foundation and right would only lead to a personalised power struggle outside the natural balance and the more creative order and organisation of things. Within a society that is in balance with nature and with natural conditions, there has been much more care taken over keeping this awareness and essence of nature intact. Voice representation was only partly preserved by a few men who remained mostly somewhat outside society, in conditions where they could further develop this sort of alertness. Possibly some more direct aspects of a natural nature could also be presented by women in society.
The essence of nature itself within the growing process in life besides having this feminine element of a more stagnant or passive balance, within the tendency to create a purpose of a growing and liberating itself further process it also needs, at certain prepared times, a further growth of the essence of its own consciousness. That this second nature exists too, becomes more clear and more a need at times when being confronted with less great circumstances. In reality, at some point of history, any well-balanced group essence was no longer capable to provide this openness of this very aspect of inner growth, so its group foundations through this principle of need again, had to seek a sort of personality who could represent a new process of change.
At some breaking point the method itself of historical progression had been written down for some for a first time. At that stage more primitive personalities were capable of forcing this theory into their own fake practical form, so that for the first time they could get to the top of the pyramid of evolution for their own purposes. These new sort of pioneers represents the organised religion and the paternal descendants of power, through enforcements of visions of the much more unnatural human laws of discipline and restrictions, creating with these personalised choices a first breaking point in the natural evolution of consciousness itself, breaking down the early traditions of seeking balance in nature. Everything from that point started to live outside nature, outside the bond with all and the capacity of a total remembrance. Two kinds of decay existed ever since. The old pagan generation ceased to evolve further and fell back on repetitions, trying to remember the leftover vagueness, losing its voice and original purposes. The new power-based generations only kept possibilities for randomly made individuals that could still save the falling process into a series of events, expressing new parts of growing consciousness within the process of the fall of men. While the majority of people presented and still presents the fall, for nature and its consciousness it is no longer necessary to give all human members the opportunity to remember everything any longer, to feel a broader perspective, for most men are in no way capable of developing consciousness further for the sake of nature’s existence, with a growing process of associations. So that is how since then most people in both groups will truly become the chaff that hopefully some day will still bring forth new solutions within all the forms of decay, making the continuation history of consciousness still possible. All others minds will become gradually more sleepy, dumb, dream-like and in the end will fall back into a more primitive, let’s say a new form of an animalistic state that has no need for a further evolution any more, just like happened many times before, think of certain species'extictions and its repetivive patterns of self-organisation as an example of this principle of stagnation.
Taken in association with the Touareg I will add here something. The Touareg at some stage in history had a comparable essence that they wanted or needed to preserve, when they came into contact with groups from conquering powers that was already based upon restriction inspired more from personal power, they seek refuge in the desert where they were no longer followed.
It is clear how societies of restriction and organised religion with forms of suppression are like another form of decay making their members more primitive as before than they would ever admit themselves. Both societies however need a voice that can stand up against any forms of decay, new personalities that simply explains the situation more frankly, something some of the most degenerated and more strictly organised societies would not even allow any more to happen, even though nature some day, like always, will seek that sort of voice to break out the unpractical and in reality unspiritual limitations, at the same time with the purpose to gain back a normal alertness, the very form of spirituality, a natural awareness that once was there before religion, and that was differently explained by the written down religion formats, aspects that are still described in their writings, but with an essence of it that was quickly forgotten and in the end almost forbidden with it as well.
Unless how religion and some philosophies like the Rosicrucians try to explain from this breaking point afterwards, a dualistic nature, the voice of nature, the inner snake of the earth is in fact not at all too different from the spiritual guide itself to liberation. It is that same imaginative voice which will only fully work again when the essence is capable to work physically, emotionally and mentally through all levels in nature at once, a connection which can only be remembered through some circumstances that and were only provided by certain oral traditions long long before. I won’t talk about these possibilities further within this context. I only wanted to say that society once developed from totally different principles. Certain origins of this can still be traced back in some ethnical groups and places as the world’s vague remembrance of this, in the true nature of something that these groups were still capable of keeping intact over many many years.

This text was partly inspired by Ouspensky’s “In search for the miraculous”.
Additional inspirations about the same subject, in association with psychology this time :

As a grownup it is possible that very quickly, outside the imitation-room you begin to forget “who” you are or “who you’re not” from its own nature, and that you also no longer see things how they really are. It is possible that from a young age you are forced to adapt more to the imitations in which you make a choice with them, forming your own way out into a Personality that fits within the pressures of a limiting social environment. It always is the personality itself that will make its way into society. This last extra additive piece made during the growing-up time still is in fact only a temporally adaptation to current and random situations. As soon as people identify themselves with this additional part, they will also stop to remember to look at and with the whole of reality, and forget the activity led from the true essence of themselves so that in the end this won't be remembered because they will be busy adapting themselves the whole time to a lot of what their surrounding needs, with automated results. Most people's essence in that way will stop to grow very soon. Their real essence, if they ever come back to it during confrontations with their vulnerability, will so long remain on the level of the intelligence of the child they left behind. For many people this essence could be at its best that of an 8-13 year old. Often people even won't come to a situation where they return to that ‘real person' any more. They become like a ‘fake’, a well developed personality (yes, but) with no possibility to think/feel further than into the contemporary patterns in which it keeps itself together. Where are You in this stage? Because as a personality you will feel the need to succeed. Secondly you will seek comfort to maintain the illusion of a steadily built up personality.
Some children however had so many bad experiences they had to grow with their essence much further or beyond a child’s essence. It must be said that in general only in bad circumstances or difficult and vulnerable confrontations this essence is capable of growing further. Hopefully, that person with such a further grown essence than a child, will grow indeed far enough so that the person him/herself will no longer seek comfort alone, and will no longer be afraid of unknown situations and vulnerable moments, because like I said before, only in such moments it will discover and develop itself further. This psychological fact is the same for every body.
Ouspensky makes so much difference between the ‘directly experiencing consciousness’ of someone working from its ‘essence’ and someone working in its personalized identification, he says that if someone would have the chance to work from its true essence just once, it is possible that afterwards he or she would not even remember that moment. ‘Essence’ in that way often was or is associated with ‘higher consciousness’, with a physical state of direct confrontation with everything at once, when knowing what ought to be known at that stage, like a state of awakening, while the ‘daily consciousness’ also known as ‘awake consciousness’ according to Ouspensky, is in fact on the contrary a form of sleep, of hypnosis and let’s say illusionary and egocentric pretentiousness of awareness.
In perspective of the evolution of mankind it is clear that people closer to nature are also closer to direct confrontation with the essence of all, without having a personal agenda, while true change and the real growing process that can be used for a group’s essence adaptation to bigger changes in the environment, still can only be expressed by the individual, through a Voice, a voice which in former days was formed from the judgment of a deeper need, today, after the historical point of confusion of the right circumstances for a voice, there will always come new points where the group is tested if they see the difference between an egoistic goal, contra-formed at the same time, or a change in benefit to the renewed circumstances before a new grown consciousness is really adapted or not.
People in general think we all have a general freedom and progress. They are convinced of the existence of a general positive evolution process within the community. I say however that people live on borrowed time, and only because nature still lets us have this for a while. Mankind received the possibility to consciousness not because it once was chosen by God’s choice or something, because of a continuous superiority of our or some paternalistic species coming forth from some aspect within creation. Nature only allows something of this kind because it has its own reasons.
Often we read the idea that a spiritual choice in man is totally different from nature’s choice and pressure of growth from underneath, while nature itself in this case is in charge of certain buffers. Through the element of ‘personality’ one part of a connection with the total consciousness is already blocked at the stage when mankind admits or choses its separation from nature’s calls. For nature this choice will possibly lead, into a few generations already, into a new animal form, only because of man’s choice to no longer represent his own voice. Consciousness in its totality of aspects in that case truly is governed by a permission from nature itself. When man choses to degenerate into limiting choices and the foundation of personality, the percentage of representation of nature becomes much smaller and certain forms of intelligence will automatically become blocked, a person is kept into a dream phase with only a similar potency of chance left to recover and awaken from this situation once more. You can trace hints about this situation of this nature and of this returning point in the traces of writings of several religious books and comments on it. The wish of nature itself in this situation is only that it can get a good representation for itself so that there is another chance of growth in consciousness, a growth of viability indebt of the principle of the process of forming life itself.
One must realise that whatever deeper true meaning of spirituality we investigate, that becomes a part of a practical psychology, will always be as much part of this nature’s principle of life making than how it is named a so called higher truth.
Whenever a group in society fails to understand the natural inner growing principle and similar growing process and needs of mankind, the rules and regulations that will be formed will be of that kind that it will be destructive to each further growing process until all is killed and dead by sword. As long as the majority does not want to awaken from this kind of worst nightmare, this kind of situation will only become worse. Growing back to a true essence is not a matter of discipline by force, but of discipline in freedom. The more spontaneous discipline in freedom exists, the higher a culture has developed itself. Such culture also allows an inner voice of truth, a natural intelligence to be regained.
Sublime FrequenciesGroup Inerane :
Guitars from Agadez (NI,rec.2004 & 2007)***°

There has been given some attention lately to the African desert blues Touareg group from Mali, Tinarwen. The last group seems to have become one of the forerunners to spread the word into the world, with guitar music and songs, making their own identity stronger with music. This kind of music was originally meant as a word of music against oppression in their home countries, Mali and Niger, where political and economic profits over the areas caused the first oppression of the Touaregs. Many Touaregs found refuge in military camps in Libya lead by Colonel Ghadaffi, where they were given guns as well as guitars. The music style of rebellion was called “Touareg guitar”. Kaddhafi however had his own political goals as well as religious associations, and the Touaregs felt threatened a second time, feeling the dangers of oppression by forces using the sort of restricting Islam with its political purposes hidden behind it. I still don’t know how many Touaregs were forced to embrace this religion form or how many accepted, and then in which form. Anyhow, their last word remained their music to spread into the world while keeping some of their traditions and origins and a right for their own identity-in-essence intact. The music also works as a conscious mobilisation for their people who lost, as nomads, the open roads and open skies as their main visions. Since 1995 there has been some halt in the conflict, so that the war image disapeared, something which made the music flourish better, even more so to entertain and to give meaning to the people attending.

The group leader and guitarist of this group, Group Inerane, Bibi Ahmed learned various songs from Abdallah Oumbadougou, so he can be seen as his teacher. Abdallah Oumbadougou, with his group Desert Rebel, nowadays, is the second forerunner and one of the most important enigmatic Touareg figures to spread the music with its consciousness throughout the land and the world. There has been made a French documentary lately, called “Desert Rebel”, with CD. It seems like it contains some nice guitar pieces but also some great electric guitar wildness, so I guess I will also need to check this one out for sure, and to compare.

Group Inerane’s songs all smoothly drives on handclap rhythms, and is mostly accompanied by two neatly played electric guitars and drums, with portions of typical North African & Berber-sounds of female vocal lillilililing, singing also in a family gathering way. This reveals often a small family-like gathering, singing and dancing a bit along. The sort of repeated themes in combination with this family meeting feeling sounds really very “African”. The first three tracks are somewhat similar. The fourth track is wilder, more distorted, less well recorded and a bit noisy recording, even with all noise filtered out. It contains some more adventurous electric guitar, sounding like psychedelic garage, and is rather hypnotic when you dig with your attention deeply into this recording. Some other track on side B reveals also a bit more electric guitar improvisation. One specific track I found also really interesting for its use of different, African percussive instruments, something which in some way still gave a more original sound with its own world of expression.

This is a special document, has a certain directness and raw (lat's say) "garage" side to it, it is still very interesting, and at times also a bit hypnotic. Limited one-time pressing LP of 1000 copies.

Video on http://www.youtube.com/ ; Audio : "Kunt Majagani" / "Awal September" / "Ano Nagarus" / "Tenerte" / "Nadan Al Kazawnin" / "Telilite" / "Wazan Samat" / "Ikab Kabau" / "Ashal Wali Tigeli" / "Kamu Talyat" & on http://www.honestjons.com/shop.php?pid=31601
Label entry: http://www.sublimefrequencies.com/...
Other review on http://www.blastitude.com/25/25.htm           next release ->
Sublime FrequenciesGroup Inerane :
Guitars from Agadez vol.3 (NI,rec.2010)***°

This is volume three of the Agadez series, it is in fact recorded in Niger’s capital Niamey this time, as traveling to Agadez was forbidden by the military junta that had just overthrown president Mamadou Tandja and therefore was also dangerous. Perhaps you remember volume one. Front guitarist Adi Mohammed in the meanwhile was shot dead in one of the rebellion battles. Bibi Ahmed now became the front guitarist. He agreed to come over from Agadez, arranged a Niamey-based drummer, Mohamed Atchinguel, the younger brother of Inerane’s original drummer, a bass player, Abdulai Sidi Mohamed, and second guitarist Absoulahi “Koudede” Maman. This additional guitarist is considered to belong to the second wave of guitarists (Tinarwen and Abdulla Oumbadougou being the first wave, and group Inerane and Bombino amongst others the third manifestation of Touareg electric guitar movements).
This is no compilation but a complete concert, which is an advantage because in that way the tracks hang together well in a steady mood. The album was released in a small edition on LP before. I missed it. But here is the CD reissue.
The album immediately sets the tone right with a highlighting electric droning hypnotic groove from the first second, some additional singing, good melting together swing-low combinations of guitars, and well blended drums. This mode is rather psychedelic as an effect. Then follows some bluesier tracks, and some known Touareg songs with certain repetitive melodies to shake your head along to, vaguely reminiscent to the call / response traditions, with guitar solos improvising a bit around the rhythmically and wordy driven melodies of the songs. The hypnotic electric effect with groovy rhythms has a rather constant turning wheel so the band keeps the mood constant well, in a mostly still rather relaxed way.  On the last track the electric guitars convince with its themes in a slightly rockier arrangement.
The recording quality is not perfect but it surely is good enough to convince.

I wonder what would happen to the Touaregs in Syria now who fought for the former government because they found refugee in Syria before the current revolutions I am sure they will choose sides more than ever now based on certain tribes and choice of religioun.

Audio : "Tchigefen", "Ikabkaban" & on http://soundcloud.com/...
Label entry: http://www.sublimefrequencies.com/...
Group intro : http://www.inkonst.com/merinfo.php?id=1462
Other reviews : http://www.tinymixtapes.com/music-review/group-inerane-guitars-agadez-vol-3
& (with audio track) http://www.dustedmagazine.com/reviews/6032
& http://www.npr.org/templates/story/story.php?storyId=129907079
& http://www.foxydigitalis.com/foxyd/?p=4376 & http://www.premierguitar.com/...
& http://www.normanrecords.com/...
& http://rvamag.com/articles/full/9838/daily-records-group-inerane-group-doueh
& http://issikta.blogspot.com/2010/09/first-listen-group-inerane-guitars-from.html
Culture & Resistance    Desert Rebel :
Ishumars les Rockers oubliés du Desert -dvd + cd (NI/F,2007)***°+**°

A Group of musicians including Amazigh Kateb (Gwana Diffusion), Guizmo (Tryo) and Daniel Jamet (Mano Negra) with documentarist François Bergeron travelled through the Sahara desert to start their series of documentaries on 'music as a force of resistance', in this case a sort of ‘rock music rebellion’ in Northern Africa. This first documentary (only available in French for the moment) cooperates especially with Abdallah Oumbadougou and also Takrist’ Nakal to record music together, lead of Abadallah Oumbadougou, or solo, and similarly investigates the political story of the problems that the Touareg people faced. Many interviews are taken for it, so that the small evolutions over time are explained, in some order of time.

After colonization it was the dictatorial taking over of power, of land and economy, that made life for nomadic people like the Touareg, who lived all over Northern Africa, difficult, because their way of living does not fit with and within these systems. Since the 90s, music, and especially ‘electric guitar music’, known as the “Touareg guitar” was spread through tapes and with concerts, in order to increase a consciousness to keep their identity intact, and if necessary to mobilize people to revolt and stay together if this identity was endangered. Musicians therefore were often captured but in the end were set free because the only thing they did was keep their people like herders together, mobilizing consciousness and thoughts with hope for solutions. After a while, France was involved in the matter because many Northern African countries were colonized by France before, and French still remained the official language, it was so that international politics and interest became involved.

The documentary follows Abdallah mostly. He was involved with the whole movement from start to finish. The French musicians participate with the songs, bring in some reggae and bluesy chords now and then, drums and some Hendrix-like guitars. This mostly means a cross-pollination, a cooperative soul spreading the Touareg ideas to the world, but there just a few small moments (like shown on the Quebec concert, where all musicians played together), where I think the personal factor of deliberately bringing in different influences just slightly tends to lose the original spirit to replace it by something else. In an interview with Abdallah in that part of the movie he says that musicians should not follow their own goals and purposes, but the heart of the music, otherwise it looses the magic.. When Guizmo, at some point when wearing a T-Shirt of Cuban rebel Ché Guevarra forces reggae into the spirit, I think he crosses a bit that line, and even when there was a rocking swing on that Quebec concert, I have the impression Abdallah sings in it as if he feels exactly this thought, that his message tends to become exploited in a different background, but luckily the music still carries enough to save this thought.

For those who want to get a chance to dig deeper into the music, the bonus DVD track of 36 minutes is a welcome addition. The African Touareg blues here is enriched with improvisations from the extra musicians. The Hendrix factor for me works, because the music tends to rock on and add variations in sections. Also once a reggae part combined technically well with the original song. The French songs in reggae association gave a chance to show the other side of the story, of the French musicians discovering this part of the world. I only wondered why with this opinion there wasn’t taken the time and a consciousness and deeper awareness with it to find a different, more African rhythm variation to replace reggae for it.* The highlight I think almost surely is “Ghai Imidrai Imageren”, which is the track that becomes almost psychedelic. With a fine lightshow, the imitation of a tent on the background, and with the Touaregs keeping on their traditional clothing this is a moment that becomes surreal and overwhelming visually, and musically.

But this is not all, an over 75 minutes CD is also added. Unfortunately the titles can only be read on the CD, and not in the package. I like that many pure acoustic cores with songs are included. The songs for me not necessarily need more than this, because like this its message is kept clear and pure, and it is beautiful to hear their integrity. Also included are a few more rocking tracks. But also a few remixes were added, possible to give more variation or for possible associations and introductions on the dancefloor. These are not necessary remixes, and make us, western people also musical colonists a bit, but it still gives variations on the album. I realize very much how this bonus cd fits well with the documentary. It shows the result well of the musicians time together and how they collected some ideas together, a vision which shows the viewpoint of those who collected, and to what they understood so far. In that way the CD completes the documentary well, and captures also those moments.

* I noticed before everywhere in African sounds how rumba, rock’n roll, jazz and perhaps blues easily added something to the original spirit and rhythms, while there are never done any spontaneous references to reggae at all, because this last style is still much more related to certain islands than to anything from Africa. With rose tinted glasses to true creative evolutions and a blind folded left-wing idea on world music globalisations, I think the addition of what does not add something to the essential voice, could increase a danger to repress certain true origins, something which is perhaps even the opposite of what was intended with the opening up of a global vision. Bringing world music to the west for me often fails because this didn’t find the link yet to show a useful universal vision, or when it attempts to make that link also then it could still fail with its results, because they didn’t take enough time to make it grounded and founded enough. In this case the musicians took enough time to make a vision worth checking out to some degree, even when I think not with the most balanced and 100% creatively respectful formula. In that way not all of it will be the best kept record of it in time, but it will be able to mobilize further political ideas and other consciousness, and might open doors to different directions very well.

Studio album of Desert Rebel ->
Culture & Resistance     Desert Rebel (NI/F,2007)**°

Additionally to the documentary has been made a studio album, with different recordings from the bonus tracks on the documentary. It is done with the same Desert Rebel group, so it contains mostly songs by Abdallah Oumbadougou, one song by Guizmo and a few cooperations of compositions by Abdallah Oumbadougou with Guizmo.
I like very much the only other cooperative song, partly troubadour-like, “Yangogo”, sung and composed in cooperation with female singer Sally Nyolo. On this release I understand also well the message of the French songs.
“70 Litres” because of its reggae form is able to come over with its words well, like a political statement.
The compositions does not always come over as direct-cooperative ideas, but also as individual additions, sometimes solo invented in the studio. In that way much of the arrangements in the recording confirms a bit more the approach there already exist towards African music in general, more than there are surprises available made from a heart driven intuitive creativity.
Much more the CD speaks like a movement of consciousness on the move, on the run, leaving a feeling for us, as a matter of speaking, that is lost in the desert, in the context of, of becoming a bit lost in the cities. The statement on the run remains in this nature, music in this form did not yet find a world refuge.

* More on Abdallah Oumbadougou
http://www.agadez-niger.com/page-musique-touareg.html
On the documentary & info on "Desert Rebel" : http://www.desertrebel.com/ & http://www.myspace.com/filmdesertrebel &
http://www.3dfamily.org/artist-DESERT_REBEL-Desert_Trance-30.html &
http://www.3dfamily.org/integralite.php?idRoster=30 &
http://www.metimes.com/storyview.php?StoryID=20070410-071749-9252r
http://desert_rebel.mondomix.com/en/chronique3733.htm
Video fragment & audio : http://www.agadez-niger.com/musique,desert-rebel.html

Other Touareg guitar groups/guitarists :
* Tinariwen (Mali) : http://www.tinariwen.com/
http://www.myspace.com/tinariwenofficial
* Toumast : http://toumast.com & http://www.myspace.com/toumast 
* Koudede (Niger) : http://www.myspace.com/koudede
* See also Terakraft from Mali : http://www.myspace.com/terakaft
* a more traditional group Takrist Nakal : http://www.myspace.com/takrist 
* Amazigh website "free world citizen, but no enslavement by Islam" : http://www.myspace.com/amazighroots
Crammed Discs Tartit : Abacabok (MAL,2006)****

With the releases of Tinarwen and Desert Planet one could almost forget how the new Touareg music locally sounds without any interference or dominating preferences (Tinarwen performs a exploited specification of bluesy electric guitar and Desert Planet is a mixture with interfering intermissions from outside).

Tartit is grounded as a contemporary communal folk style, using whatever arrangements they feel that fits with the songs, from traditional instruments to electric guitars. This approach sounds pure, and is conscious on what gives the best musical effect. Whatever instrument is used, it seems that it can’t be a better choice. When for instance on “Houmeissa” or also on “Tadsaq” electric guitars and bass and percussion are used this isn’t used to sound weird, but is exactly what it needs at this moment. Beautiful also is “Al Afete”, a prayer for peace on flute solo and some vocals. There’s one dance, some songs about things that matter, of which a few are, slightly hypnotic, more monotone a communal singing-in-group-together affair with some repetition.
Songs are led by men or a woman, but are accompanied in chorus by women’s handclaps and chorus singing and lilling.
On “Assinaina” the lead voice sound electrified.
Very hypnotic is “Tihou Beyatene” with vibrant harmonics of vocal arrangements with clapping and percussion it seems to imitate some snake drive energy, in a rather shamanic way.

A successful release that hangs well together and shows many different sounds compared to other Touareg/Tamashek related albums I have heard before.

Audio : "Tabey Tarate", "Ansari", "Eha Ehenia", "Tihou Beyatene
& on http://www.myspace.com/tartit
& on http://www.fnacmusic.com/...
Video on youtube
Label info : http://www.crammed.be/craworld/crw34/index.htm
Other reviews : http://www.popmatters.com/pm/music/reviews/6971/tartit-abacabok/
& http://www.crammed.be/craworld/crw34/pq3.htm
& http://www.crammed.be/craworld/crw34/pq2.htm
& http://www.crammed.be/craworld/crw34/pq1.htm
& http://calabash.typepad.com/world_music_advocate/2006/11/tartit_abacabok.html
& http://arts.guardian.co.uk/print/0,,329611448-117421,00.html
& http://asreview.as.wwu.edu/...
Sublime Frequencies  Hisham Mayet / V.A. :
Musical Brotherhoods from the Trans-Saharan Highway (MO,rec.2005,pub.2008)***°'

review moved to
http://psychemusic.org/morocco.html#anchor_221
Wrasse Rec.  Lionel Brouet / V.A. : The Festival In The Desert (MA,rec.2003,pub.2004)**'

This is a one hour documentary of the Touareg festival in 2003. You can see an act of each participant, with some interviews in between, and some images and activity during the building of the stage and awaiting the moment. It surely was a peace-offering and socialising event and of which some of the music worked pretty much this way. Traditions from some areas and tribes were also mixed on stage like some mixed friends did. Also Robert Plant and Justin Adams have participated, although their interpretation of some vague blues connection, performed then clearly from a more introverted shoegze expression, that sound somewhat ou of place to me. Also the Canadian Indian band Blackfire who thought to feel a connection out of respect sounded a bit aggressive and noisy to me, while some of the rhythmic drives of it were adapted well enough. I realise once again how it takes a while to adapt to one another. And one should realise that this connection does not exist from a wishing well meeting point alone. Creative meetings should be a cross-fertilization and from an inspiring shared time while listening to each other, learning skills and ideas, something which rock artists compared to serious world fusion artists never take the time for as if the moment of the crosspoints should have enough to offer. For me they show also a lack of showing any of their own educational level in their performance showing what they could offer as their best, so that in the end their energy of contribution probably would vanish as quickly like wind in the desert. Still it was the meeting place itself that could have given something beyond the moment hopefully. From what happened beyond the music and is able to remain remains beyond view, while the interviews still make us realise this as well.

The pixel quality of the digital camera recording could have been a bit better I think, but still is pretty acceptable on a not too large screen.

Info : http://www.palacetravel.com/...
& http://video.barnesandnoble.com/... & http://www.worldvillagemusic.com/...
Other reviews : http://www.rootsworld.com/reviews/festdes-dvd.shtml
& http://movies.yahoo.com/movie/1808599498/details
& http://www.rockpaperscissors.biz/...
& http://www.dbmagazine.com.au/336/dv-FestivalInTheDesert.shtml
& http://www.insideworldmusic.com/library/blrevs131.htm
& articles : http://www.allaboutjazz.com/php/article.php?id=16266
& http://www.guardian.co.uk/music/2004/jan/08/popandrock1
Label : http://www.wrasserecords.com
IglooMondo Kel Assouf : Tin Hinane (GH/ML/ALG/MR/F-B,2011)****
(Kel Assouf =translated as ”son of the desert/son of the boundless/nostalgia")

The first Touareg Rebellion under the form of the electric Touareg Guitar Music like with the Desert Rebel project back in in the nineties was the beginning of a consciousness and awareness to give a voice to the Touareg’s position, because the total group was stuck without having representation in the independence, because the desert people were forgotten, without any rights at that time. Their music was the voice to unite, to create a consciousness and keep the culture together. Nowadays another concern came up and in 2007 there was a second revolt because the desert is turning into an industrial zone in search for uranium, now also excluding the people from their open space grounds. With the title “Tin Hinane” the band refers to the ancient Touareg queen who took part of the earliest revolts. Because the band is based in Belgium and involves many other Africans (from Niger, Mali, Togo, Algeria, Mauritania, and Ghana) and some Europeans (from France and Belgium) it now reaches hands from a common ground.

Aboubacar Harouna had moved to Brussels and married a Belgian woman, set up his own group in continuation of the Touareg Guitar tradition singing also in Tamazight language and creating a similar Touareg communal music form. Different from the other bands is that the enrichments of the other members expand the musical form gently and without brusque differences, spontaneous and conscious over the musical cooperations. The basic form is not rebellious but that of a gentle minded songwriter and voice, playing his typical repetitive electric guitar style. His voice has moments of sad regrets but is also full of joy and love and sharing energy.

On “Alkas” the other band members show the group energy well, expanding the style with different variations of rhythm or contra-rhythms and talent to improvise, from which especially the flute is a remarkable expansion of the fundaments. The second guitar, clearly from a different style background, is also careful, never too difficult or never disturbing. In the second a bit, and more clearly in the third track we hear a contribution from the West-African kora, combined with acoustic guitars, another nice example of the reaching hand of a style expansion. Even though, like I said, such interactions of styles are cautiously done and without going far beyond its foundations, it is already beyond all other examples I have heard from Touareg music; this works well. From the few tracks with slight moves towards bluesy and reggae-like rhythms, I am always a bit cautious when I hear this, I can say that luckily they only carry the songs lightly rhythmically, so that the songs themselves and the total expressions can still do their work well and are able to be the strongest musical voice over this. Often the music is relaxed, and the mood kept light and always with a warm sound. On Talit the guitar is picking electrified acoustically. Here, sweet woman voices and flute respond. A successful addition to the Touareg Guitar Music scene.

Audio : http://kelassouf.com/fr/audio/
Short description : http://insideworldmusic.blogspot.com/...
Homepage : http://kelassouf.com & with audio : http://www.myspace.com/kelassouf
Label info : http://www.igloorecords.be/IglooMondo/albums/tin-hinane/
Dutch reviews : http://www.tropicalidad.be/pivot/entry.php?id=1023
& http://www.muziekweb.nl/MuziekWeb/Cat/Album/Search.php?albumID=hex11332
Music Of The Sahara   V.A. : Ishumar -music of the Touareg Resistance- (ML/NI,2008)****
Music Of The Sahara   V.A. : Ishumar 2 -new Touareg Guitars- (ML/NI/ALG,2011)**°'

In two albums, Re-Aktion gives an introduction to the two main Touareg guitar movements. Part one needs of course an introduction of how the first movement came to existence and this is well explained in the booklet. Because this is all in French I will make a small resume of the story.

The area where the Toareg community lives through colonisation became divided into 5 different parts that belong to different countries. They always had lived outside these unrealistic borders. The decolonisation only made this fact to something worse, leading to further and further discrimination. A certain revolt in a local prison in Nigeria led to a first ethnic cleanout by the army with 1500 deaths in 1990. Because no political solutions were being considered as urgent or realistic, it led only to more arrests. When the Touaregs got armed, in 1991, the Mali government, not wanting to participate into negotiation, executed all nobles in public. It took until 1992 before under influence of Algeria, a peace pact was signed. The reality was that most Touareg now lived in exile, stripped from their original possessions. Already since the 70s lots of tindé singers met. In the 80s a musical collective called Tinarwen invented a new genre through the electric guitar to increase the awareness of what is happening, to a protest and mobilise in group, spreading cassettes with their musical message. At the time the peace pact was signed, the music remained an element of their new identity, crossing all these nations with a common sense rooted in the traditional tindé style. Since 2000 the genre became more commercialised and festivals were held. This first compilation shows the diversity amongst the musician playing after the example of Tinarwen. The bands involved were there in the first hour of its resistance and existence, all have experienced struggle and exile.

The songs included are not those recorded on the early tapes, but are all later recordings. On this stage it is unclear to say how many bands calmed down over the year or how they changed their creative inspirations. Often they sound more relaxed and happy.

The early band Terakraft (Mali) are there with two tracks. They are somewhat comparable to Tinarwen. The first song, “Tenere wer tat zinchegh”, sound almost like a new traditional in the genre, a kind of sing-along folk-pop/rocker as a matter of speaking. This track is played with two electrified guitars, a reggae-like guitar rhythm and group singing responses. Also two tracks from Tinarwen are added. The first one is lovely because of the whole group of people responding to the song including children. It has a relaxed walking rhythm, a long repetitive song track with a warm group participating feeling. The other track is led by blues guitar. The third track shows Hasso Akotey’s (Niger) distinctive fingerpicking style, rhythmically accompanied with handclaps, some percussion and strummed guitar, with some lead singing. Hamid Ekawel’s guitar style is bluesier, other guitars accompany him too, one of them takes the role of the bass accompaniment.Japonais’s (Mali) picking style is interesting too. Other guitars accompany him too, one of them takes the role of the bass accompaniment. Bambino’s track is the second sing-a-long track which sound good in the ear with attractive acoustic guitar and hand clap rhythms. Etran Finatawa (Niger) is partly a guitar group, partly a dance group, are comparable for the electric guitars to Tinarwen, have also shaking bells rhythms, have lots of people responding, clearly are a bigger group event. Also Koudede (Niger) has been influenced by blues, this time electric blues guitar. With hand clap rhythms and females responding. Tamikrest (Mali) is clearly rockier, with electric guitars and rocking drums. We hear solo voice and female voice responses. Exceptionally different is Toumast, with a very beautiful female lead voice reminding more of some Scandinavian folk singers actually. Their music is well produced, has a rocking effect in the rhythm and deep overtone voices added too. A welcome variation.

Volume 2

The second volume focuses especially on the style changes after 30 years of popularising the Touareg guitar music, and on the second generation of guitarists, dealing with migration and repetition of what is known, changing with this the shape and colour and tone of the song and guitar style. Some of the tracks sound rockier with a few more solos on the electric guitar. Amanar even incorporates an element of rap in their own mother tongue. And here and there we hear guests on flute contributing with good ideas. Nabil Baly Othmani’s track strangely became completely blues, which sounds also less inspired and going one step down in energy. Tamkilwate”s track as well sound like an opposite evolution towards a more underground style, with smoked voice and electric solos that remind vaguely of psychedelia, while the repetition becomes more demanding, we in the west wanted to get away from these sounds, while we experienced Africans had more life-energy to offer, now also some of the Touaregs became adapted into the city lifes with little less direct experiences. Moussa Bilalan Ag Ganta’s guitar track is mixed with some echoes, reveal a studio setting, not the urge that brought the sounds to studio. The effects are different. Moussa Sidi’s track has a dark keyboard in the background with the electrified guitar pickings. In fact not too much new is coming to something yet, the general sounds have already been changed.

Label info : http://re-aktion.com/albums_ishumar1_uk.html
& http://re-aktion.com/albums_ishumar2_uk.html
Music Of The Sahara   Nabil Othmani : Tamghart In (ALG,2010)***'

This is a rather young sounding Touareg songwriter with a rather soft style and voice with somewhat repetitive at times lullaby-like elements. Nabil comes from the small Touareg minority in Algeria. The booklet writes (-in French only-) about the disappeared traditional music styles, like the “imzad”, the monochord played by women and the poetry reciting by men, from which Nabil ‘s grand father was part of, and about the art of poetry, and the “tindé” style, a more communal shared style with percussion, dance, hand claps, lead voice and responding vocalists, still practiced by Nabil’s parents. Nabil’s father, Baly Othmani, adapted the oud to express himself in this “tindé” tradition. Living in a somewhat touristic area, Nabil knows how rap, reggae, rock and oriental music often became part of the new traditions, being changed by the youngsters once more. Nabil’s main guitar is the acoustic guitar. I am sure that also the occasional participating French all take part in the style variations.

The songs of Nabil Othmani sound rather simple. There are some soft vocal harmonies added, often very close in harmony with his own voice, sometimes only confirming certain colours, keeping the harmonies and spirit close like close friendships, with less freedom or responses, keeping it simple, but it can be that there are some harmony responses. Also the second and third guitars keep it simple, and percussion is extremely sparse. On “Djanet” the background strums have a reggae influence, while the electric guitar is played like in a rock song way, responding to the voice’s tune. Most often the song melody is adapted by the guitars, which play it, rhythmically, with a bit of its own freedom. Distinctively different is “Anhedji” co-writen by Nadil’s father, from which the guitar theme sounds pretty Spanish, and also “Nahla” has something of an Andalusian flavour. On “Aran Adam” is added a cello arrangement, which makes it also different. The last track is led by acoustic and electric oud, (with electric guitars and at first bass drum only), is very loop-like repetitive in a bluesy way, building up in a few parts. One song is in French.

Live performance video : http://www.youtube.com/watch?v=YOgg2KTbIgQ
Audio : http://www.tamasheq.net/nabil-othmani-tamghart-in.html
Label info : http://re-aktion.com/albums_nabil_album_uk.html
& http://www.re-aktion.com/pdf/pressbook%20Nabil%20Othmani.pdf
& http://www.myspace.com/labelreaktion
French interview : http://www.berberes.com/...
French article : http://www.laroutedusahara.com/...
Real World Rec.   Toumast : Ishumar (W-SA,2007)****'

Also several listens, and second checks on the other releases I have confirm that this first album by this band surely remains one of the best and most rewarding. First of all, the tracks have been worked upon much thoroughly compared to most Touareg releases, despite the fact that live energy, improvised talent and life experiences give certain tracks from make some other releases something unique. Not only the arrangements, the songs, also a production like this one still gives this album someting one step more advanced and rewarding on the long run and for repeated listen.

Let's take already the first track, "The countries that are not mine/Ikale Walegh". The electrified lead guitar has "trembling" effect, a bit like Hendrix developped from and could do somewhat base upon the blues, this at the same time gives the tuning a more ethnic sound, an attractive technique especially used on this track especially. Also, the handclap rhythms everywhere are rearranged to a beautiful complexity in sounds and rhythm, an attractive reconsideration that still is based upon the original traditions. The lead voice is convincing, and the second female vocals are a great finishing touch, beside well fitting electric bass and a few drum accents on top of the hand percussive swings. Also the second track, "That Girl/Tallyatidagh" has beautiful female and subtle bass voice background arrangements. The repetition is alternated with good enough small details that change the whole time, a perfect balance between hypnotic swing and satisfying musical variation. One more surprise is a small introductary scream before a small soprano sax arrangement/improvisation into the song. Here and there, in different songs we hear the female lillilllli shouts too. The fourth song, "Oh my God/My soul/Ammilana" I heard already from the Ishumar compilation. Also this one was a very different one, with more female lead voice contribution as usual, a beautiful high toned voice. Extra vocal arrangements are added, responding with tonal accents (both female and deeper toned male) and repeatitive singing. A very special song. The fifth song, "The Camel/Ezeref" is a slow blues guitar song, the guitar somewhat playing rhythmically and melodically along with the song melody, with bluesy improvisation around it. Also the singing, with its vocal pronunciations sounds a bit like poetry this time. I can say a lot more about the songs, but let me only add a few of the details to discover. The electric guitars on "Dounia/Life" sounds a bit more emotional, more improvised in its electric and slightly bluesy character too."For Twelve Moons" sounds more happy/celebrative in its a bit more up tempo rhythm. Also here are a few small rhythmical accents added in the production. "Hey! My Brothers!/Kik Ayittma", also with up tempo accents, has interesting guitar arrangements, including a few reverb accents. The last track is slower, has a small string accents arrangement added in the intro, and another string arrangement accent, with bass note and vocal, a beautiful contrast in ideas which makes the track more wonderful to listen to.

The band has made already a second album, but this French lable went bankcrupt so I am not sure if it will be able to trace another album yet.

Label info : http://www.realworldrecords.com/catalogue/ishumar
Homepage : http://www.toumast.net/ & http://www.myspace.com/toumast
Intro : http://womad.org/artists/toumast
Other reviews : http://www.bbc.co.uk/music/reviews/vbvr
Dutch concert review : http://3voor12.vpro.nl/artikelen/artikel//39907256
Dutch articles & reviews : http://www.tontonjovo.nl/mixite/toumast_ishumar.php
& http://www.muziekwereld.com/rec-toumast.htm
& http://www.tontonjovo.nl/mixite/toumast_amachal.php
Interview : http://www.rfimusique.com/musiqueen/articles/133/article_8443.asp
note : next review still needs to be checked for spelling/grammar mistakes!
Glitterhouse Rec.   Tamikrest : Toumastin (ML,2011)***°

Tamikrest were influenced like several other Touareg guitar bands by listening to tapes of Tinarwen, Bob Marley and Dire Straits. The band, which existed since 2006, played at the Festival Au Desert in 2008 where they played together and jammed with the American/Australian band Dirtmusic. This was the beginning of a longer cooperation and an invitation to a world tour. This is their second release already, again produced by Chris Eckman of Dirtmusic. I didn’t hear the first one, but clearly Tamikrest shows a mixture of being electric rockers and folkblues singers. I assume they follow Tinarwen a bit, trying to have their own identity. I feel often a real sadness in the music, and a certain tiredness perhaps of the situation in some songs, while a certain element of handclaps and group harmony singing celebrations returns as well, including some female backing singers too (adding their own typical higher tone harmonies and some lililiiii-voiceover effects). The electric guitars are a bit different from other Touareg bands. Some of these electric guitar contributions are played slower and more stretched than usual, more emotional, like in electric rock music, while the other guitars pick, in a classic Touareg guitar way, or here and there give reggae-like accents. There’s nice group harmony singing but also slower lead songs. Little percussion was used, with some exceptions. There has been an injection of a few new ideas in the production. The album starts with an oooh, or OM-like introduction and also the last song comes back to this setting with a slow sad song conclusion that has a small cello arrangement to it. The electric guitars contributions on the first half of the album, played in a way as described earlier, are pretty distinctive and give the band their own originality. There are also a few more sad and simple songs in the second half. In between that is a small interesting picking improvisation with two cooperative guitars, fading out and into the next track, very much like original western picking guitar music. A nice album in the genre, but I keep wondering where that sad aspect is really coming from.

Video intro : http://www.youtube.com/watch?v=yyoXJmeOWII
Homepage : http://tamikrest.net/en/ & http://www.myspace.com/tamikrest
French intro: http://www.tamasheq.net/tamikrest.html
Description with audio: http://www.piccadillyrecords.com/...
Article : http://obscuresound.com/2011/05/tamikrest-toumastin/
Other review : http://www.bbc.co.uk/music/reviews/qhm5
& http://www.guardian.co.uk/music/2011/apr/17/tamikrest-toumastin-review
& http://www.adequacy.net/2011/04/tamikrest-toumastin/
& http://thequietus.com/articles/06176-tamikrest-toumastin-review
& http://www.shakara.be/...
& http://www.musicomh.com/albums/tamikrest-2_0411.htm
& http://www.theepochtimes.com/...
Playlists of earlier radioshows I did on "progressive Africa" :
http://psychevanhetfolk.homestead.com/files/africa.txt
http://psychevanhetfolk.homestead.com/files/Africa2.txt

Also interesting :

There is now an official website for that great African radio station  LM Radio (Lourenco Marques Radio) which played such an important role in promoting young music in South Africa in the 60s and early 70s : http://www.lmradio.org

East African music sites :
http://biochem.chem.nagoya-u.ac.jp/~endo/EAKilimanbogo.html
& http://members.aol.com/dpaterson/eamusic.htm
About African music styles : http://www.worlddiscoveries.net/African%20Issue/General%20Articles.htm
African music on '45 in UK : http://www.mustrad.org.uk/articles/african.htm
African music articles : http://www.afropop.org/multi/features.php

More Touareg albums : http://www.tamasheq.net/disques.html
& http://www.re-aktion.com/albums_uk.html
Sahel Sounds : http://sahelsounds.com/

Another interesting scene was also Ethiopia in the 70s. Perhaps I will add a few more links about this. The series of "Ethiopiques" opened a new world for me. This music is somewhat jazz related. After some compilations were published, also a few original LP's were reissued now and then.

I gave some attention to the scene in Niger too. Really a shame to see that pirate copying of music in Niger caused more or less the death of the scene to survive well.

More from Mali :

A release by Thee, Stranded Horse with kora player Ballake Sissoko
is reviewed on http://www.psychedelicfolk.com/acidfolkreview28.html#anchor_1063

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or go back to general music index