CD Review: Aziza Brahim's 'Abbar el Hamada'

Aziza Brahim
Abbar el Hamada
Glitterbeat

Based in Spain, Aziza Brahim is a popular singer originally from Western Sahara. Her music is borne out of the Saharawi culture of Algeria/Morocco/Western Sahara. The rousing, upbeat, "Calles de Dajla," is a catchy tune that melds the vocals of Malouma (from Mauritania) and the guitar/percussion of Mali's Tinariwen. "El canto de la arena" encapsulates a softer side of Spanish music with jaunty guitars, breezy percussion, and an effortless, yet breathy, flute. "El wad" continues the Saharawi rock idioms with great vocals and arrangements. The title track represents the plight of the refugees camps along the border of Algeria and Western Sahara. Abbar el Hamada is a rather upbeat album with great vocals and a spacious, rock beat bringing together Spanish, North African, and North American arrangements. Fans of Tinariwen, Toumast, Tartit, Malouma, Mariem Hassan, Dimi Mint Abba, and other musicians from the region will find this album to be a welcome addition to the collection. In general, music from Western Sahara is rarely heard outside the region. Do yourself a favor and discover the music of Aziza Brahim today! ~ Matthew Forss

CD Review: Tinariwen's 'Emmaar'

Tinariwen
Emmaar
Anti Records

North Africa's blues guitar kings are back with another highly-lauded release. Emmaar, which means "the heat on the breeze," is the next installment in Tinariwen's slew of successful albums that attempts to bring a more world rock sound, while still cementing their name in the addictive, swirling, and blues-infused music inherent from their humble beginnings. The reinforcement of the Westernization influences are evidenced by the cover art and liner note poster featuring Tinariwen at a ranch in southern California. This is partly due to the political instability back home in Mali. However, Tinariwen seems at home in any desert; no matter where it is located. There are eleven tracks on this album. There are a lot of repetitious guitar rhythms throughout, but it is broken up by various percussion and vocals. The guitars are organic, gritty, and fuzzy in parts, but the recording quality is still top-notch. Overall, Tinariwen produces yet another fine recording with relatively minor qualms. The lyrics are sung in Tamasheq. ~ Matthew Forss

CD Review: Imarhan Timbuktu's 'Akal Warled'

Imarhan Timbuktu
Akal Warled
Clermont Music

Formed in 1993, Imarhan Timbuktu is a Tuareg guitar group from Mali and spearheaded by Mohamed Issa Ag Oumar El Ansari. The album contains eight songs about the plight of Tuareg refugees in the camps of Mauritania, Burkina Faso, Algeria, and Niger. Mohamed is a guitarist and vocalist on the album. Mohamed is joined by his brother, Ousmane Ag Oumar El Ansari and backup vocalists, Fadimata Walet Oumar and Zeina Walet. There is also a lively percussion section that fills in the vocals and guitars with a nomadic presence. The music is soul-stirring and in the vein of other North African guitarists, such as Tinariwen, Toumast, and Tartit. The music saunters along with majestic cadences, back-up vocal trills, and lilting guitars performing memorable riffs, licks, and chords. One of the highlights, "Tarha Tazar," possesses a great rhythm and melody. Fans of North African guitar music will love it. Discover your inner nomad today! ~ Matthew Forss

CD Review: Malawi Mouse Boys' 'Dirt Is Good'

Malawi Mouse Boys
Dirt Is Good
IRL Records

Discovered by Grammy-winning record producer, Ian Brennan (of Tinariwen and Lucinda Williams-fame), the Malawi Mouse Boys perform fifteen upllifting, Christian songs written and sung in the Chichewa language. These are not your typical gospel or worship hymns, as the rudimentary guitar, drums, and assorted instrumentation suggest an earthy, primitive, and organic concoction of tunes. The vocals and instrumentation come through clearly and the melodies are strong. The vocal harmonies on "Kufanana" suggest a Ladysmith Black Mambazo influence without any instrumental accompaniment. A gritty electric guitar on "Zochita Zanu" showcase a bit of grunge elements and a great rhythm. "Ndiyamika" is a peppy little tune with a catchy vocal set and light percussion. Overall, Malawi Mouse Boys make a positive impact to the world music scene in Africa and beyond. Enjoy this one! ~ 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: Afel Bocoum & Alkibar From North Africa

Afel Bocoum & Alkibar

Tabital Pulaaku

Contre-Jour

The music of the late-Malian guitarist, Ali Farka Toure, has inspired a new generation of musicians from Mali, Africa, and beyond. If Ali Farka Toure was your uncle, then you would have a very special introduction to the blues-guitar music of the desert -- North Africa, that is. This is precisely the case for Afel Bocoum. His uncle, Ali Farka Toure, was a musical icon and inspirational figure in his home country of Mali. Afel Bocoum and his band, Alkibar, continue in the musical traditions set forth by Ali Farka Toure in the 1980's and 90's. Tabital Pulaaku means 'Endurance of the Peul culture'. In effect, Afel presents his cultural heritage in a musical fashion for all to enjoy. There are songs sung in Peul, Songhai, and Bambara. Afel's guitar and vocals are backed by njarka, njurkle, bass, calabash, and n'goni instruments. Most of the songs resemble the lighter, acoustic works of fellow desert denizens Issa Bagayogo, Tinariwen, Boolumbal, and Toumast. At any rate, the musical production is first class and the songs are authentic and moving. Start your musical journey with Afel Bocoum and Alkibar today! For bilingual listeners, the liner notes are in French and English. ~ Matthew Forss

CD Review: Tinariwen +|O:|

Tinariwen
Imidiwan: Companions + DVD
Independiente

The release of Imidiwan, which is Tamasheq for 'companions', is another superb musical journey from the Saharan blues-guitar group. Fans of their previous release, Aman Iman from 2007, will find all the tracks easily enjoyable. The opening, 'Imidiwan Afrik Tendam', is a catchy, invitational ode for African people everywhere. An equally engaging song, 'Tahult In', is only a few lines, but funky enough to please anyone. The entire album incorporates their signature use of tinde drum, female ululations, bluesy-guitar riffs, and lyrics describing the Saharan spirit with the rest of the world. Tinariwen never disappoints; and Imidiwan is no different. It's an album that stays with you long after the final track fades out. A special feature of this release includes a half-hour documentary of candid Tinariwen moments playing guitar, singing and traveling through the desert. For those unfortunate to have never experienced Tinariwen live, I have included a link to my concert review here to satiate your appetite: www.insideworldmusic.com/library/blconcertdec07.htm. English subtitles are utilized, though sparingly, since this documentary is predominantly and observational examination of the music. Anyone familiar with the videography of Sublime Frequencies releases can attest to the very similarly observational, non-narrative nature of their musical documentaries. The liner notes are in Tamasheq and English to aid in following along, as Tamasheq language resources are relatively non-existent outside communities of indigenous speakers. As with Aman Iman, Imidiwan is also available on vinyl, but for an extremely limited pressing of 350. Come join Tinariwen as 'companions' on their musical journey across the globe. ~ Matthew Forss

CD Review: Tinariwen - Aman Iman (Water is Life)

Tinariwen
Aman Iman (Water is Life)
World Village

Tinariwen ("empty places" in the Tamashek language) is an African guitar band that has gained a worldwide audience thanks to its participation in the Festival in the Desert concerts in Mali. Formed in 1982 of Tuareg people, it is believed Tinariwen is the first band from this part of the world to use electric guitars. And use them indeed - combined with basic percussion and vocal arrangements of lyrics that mostly deal with freedom and independence from the Mali government, the music is rhythmic and highly addictive. Singing mostly in Tamashek and French, there is very much a rock element here on Aman Iman that makes Tinariwen's music accessible even to Western listeners.
~ Paula E. Kirman

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