CD Review: Terakaft's 'Alone'

Terakaft
Alone
Outhere Records

One of Mali's greatest Tuareg blues guitar groups, Terakaft, brings us another gem from the desert. This is the fifth album from Terakaft and it keeps getting better. The soulful and bluesy guitar rhythms are punctuated by hand-claps, ambulating percussion, scintillating guitar strums, and bubbly bass-lines. The music is quite peaceful at times, while the guitar and rock-like arrangements make an appearance on a few of the tracks. The songs are sung in Tamasheq with liner notes in Tamasheq, English, and French. There are nine tunes here with loads of great grooves imbibing the Saharan spirit through mesmerizing guitar chords. The electric guitar sounds are not to be missed. As a total package, Alone is one of the best Tuareg releases of the year. If you seek Tuareg guitar rock and Tamasheq-soaked songs, then Terakaft should be high up on your list. ~ Matthew Forss

CD Review: Tamikrest's 'Chatma'

Tamikrest
Chatma
Glitterbeat

Upon first examination of the cover art, one may be reminded of the iconic 1985 National Geographic photo of Sharbat Gula - a young Afghan girl, named Sharbat Gula, known for her mesmerizing facial shot. In this case, the plight of North African refugees are highlighted with an emphasis on familial affiliations. North African blues guitar rock may have been popularized by Tinariwen, but Tamikrest also fills the big guitar shoes with Chatma. The ten-track release contains bluesy, guitar riffs, licks, and slides with booming bass, Tamasheq vocals, and some percussion. The affect is a contemporary release without a complete dismissal of North African music traditions. All of the tunes are rather upbeat; except for "Achaka Achail Aynaian daghchilan," "Adounia tabarat," and "Timtar." Some of the songs have characteristic, female ululations in the background, which are quite intoxicating. The guitar sounds are fluid, organic, and slightly rustic, which are very fitting overall. The beats are catchy and memorable. This is not a polished dance album or a pop production, but fans of Tidawt, Tinariwen, Terakaft, Toumast, and others, will find some great stuff here. Essentially, anyone with a passion for North African guitar music will love Tamikrest. Buy it today! ~ Matthew Forss

CD Review: Kiran Ahluwalia's 'Aam Zameen'

Kiran Ahluwalia
Aam Zameen (Common Ground)
Avokado Artists Recordings

Kiran's fifth recording, Aam Zameen, features wonderful melodies from South Asia and a rather unlikely place--Africa. In fact, Malian guitar greats, Tinariwen and Terakaft, lend their talents on Kiran's latest recording. The stirring music is very engaging and inviting for even the most picky of listeners. Kiran's voice is a perfect addition to the musical repertoire throughout. Kiran sings in Urdu, but Tamasheq and Punjabi lyrics are also included. The liner notes contain French, English, Urdu, Punjabi, and Tamasheq lyrics. The late-Sufi master, Nusrat Fateh Ali Khan is honored with a cover track, "Mustt Mustt," which possesses an excellent mastery of rhythm, tone, and vocals--which are international in flavor, due to the cross-cultural repertoire. Kiran's latest effort exemplifies two distinct musical cultures and places them in a very creative context that clearly works. The appropriately-titled Common Ground represents the culmination of different musical cultures coming together for a good cause. Kiran releases yet another musical milestone. Recommended tracks: "Saffar," "Rabba Ru," "Zindagi," and "Mustt Mustt." ~ Matthew Forss 

CD Review: Terakaft's 'Aratan N Azawad'

Terakaft

Aratan N Azawad

World Village

The Malian blues guitar group follows up their 2008 release of Akh Issudar (World Village) with a solid Aratan N Azawad. The album's title means 'children of the azawad'. The azawad is the Sahelian region of Tamasheq-speaking Tuaregs in Mali, Algeria, and Niger. The group's name is translated as 'caravan'. The nomadic references reflected in the name of the group and the Sahelian cultural influence is also marked by a few other similar groups from the region, including Tinariwen, Toumast, Tartit, Tamikrest, and others. Terakaft's songs are pleasant and carefully brewed with the finest Saharan sounds to emanate from the sands. Overall, the music is slightly stripped down from their Malian counterparts, most notably, Tinariwen. Additionally, the Tamasheq vocals are relatively rare in recorded music today. Thankfully, one can appreciate and even learn, or at the very least, pronounce this fine language as the songs become more familiar with each listen. The songs range from two-and-a-half to five minutes in length. The characteristic handclaps, bluesy guitar riffs, and light percussion secure Terakaft's presence in the Saharan music scene. Music is more than purely performance; it is a way of life that shines brighter than the desert sun! ~ Matthew Forss

CD Review: Desert Blues - Terakaft

Terakaft
Akh Issudar
World Village

The album title is adapted from the popular Tuareg saying, "Aman iman, akh issudar", which means, "Water is life, milk is survival". Akh Issudar is the follow-up album to Terakaft's 2007 debut (and hard-to-find) album, Bismilla: The BKO Sessions. Terakaft plays Saharan blues guitar music like their fellow countrymen, Tartit, Tinariwen, and others. In fact, Tinariwen's co-founder, Inteyeden Ag Ablil lends support on a few tracks. This album is perhaps more structured and focused than their debut release. Though, their iconic guitar riffs, percussion claps, and vocal melodies bring life to the Saharan desert. After hearing a few tracks, it is easy to find out how the melodies somewhat mimic lilting winds blowing across a sand dune, or by the plods of a camel caravan through a village. Lyrics are provided in the local Tamasheq dialect. If you want to listen to music as beautiful as the brilliantly colored metal and beadwork of Tuareg culture, then buy Akh Issudar (and Bismilla: The BKO Sessions) today! ~ Matthew Forss