Category: African music
<blockquote class=”twitter-tweet” data-lang=”en”><p lang=”en” dir=”ltr”>Best new single you've uncovered in the last week?</p>— Rough Trade (@RoughTrade) <a href=”https://twitter.com/RoughTrade/status/1130156163272728576?ref_src=twsrc%5Etfw”>May 19, 2019</a></blockquote>
In 2011 “Toumastin” Tamikrest’s second album made number five in my Top Ten Albums of the Year and threw down the gauntlet to the kings of Tuarag (Sahara desert blues) kings Tinariwen. Now they return with a new album that pays title to the women, children and old people who are the victims of the war that’s been raging in their homeland. The band themselves had to escape to Algeria where they recorded “Chatma” (the title means ‘sisters’ in French). The album sees the band in fine form both solidifying what they’d achieved on the previous albums and adding to it with new elements (hand claps, synths), slower more reflective tracks (something the band hadn’t done before), the addition of former Tinariwen singer Wonou Walet Sidati and a sharper, lusher production job.
The album opens with ‘Tisnant an Chatma’ and there synths are evident from intro before the lead guitar enters and Sidati talks in her native tongue. After about 30 seconds the assured drums and bass guitar and rhythm kick leading the way and picking up where the band left off on thier last album. An early highlight is ‘Itous’ which starts with a deep sparse bass line and hand percussion, swiftly followed by rhythm and lead guitars and interchanging lead vocals. Its more contemplative in tone than any Tamikrest track before it and puts down a marker for the rest of the album. More hand claps utilised around the 1 minute 20 second mark. I reaaly like the cutting, choppy rhythm guitar in the second half of the track. ‘Achaka Achail Aynian daghchilan’ continues the comtemplative tone with its combination of picked naturally reverberate acoustic guitar and quiet almost whispered male vocals and thick but not intrusive electric guitar chords.
Next up another change for Tamikrest in the faster tempo’d ‘Djanegh etoumast’ that opens with muted rhythm guitar riff before the lead guitar comes in a big chord is stuck and a faster rhythm of drums, percussion, bass and guitar kicks in. Shortly after the hand claps and vocal chants join in. There’s some great guitar solos in the instrumental sections. A drum break, bass solo and revered drum sounds introduced briefly after the three minute mark before the guitar drive back in to take the song to its climax. ‘Assikal’ sees the band exploiting the modern production techniques of reversing (a piano in this case). The guitar melodies float in before a male vocal sings quietl over, lots of overlapping reversed piano and then the loping percussion and lead guitar proper are slowly faded in. The track has a stately assured feel. Around two minutes the reversed piano and spoken word returns, the guitar echoes out infinetly. Three minutes fifty seconds in hand percussion and a wooden flute come in swiftly followed by the lead guitar, the one thing holding this whole complex track together.
A dirty analogue synth drone rises at the start of ‘Takma’ before hard drums bang and clatter, the lead guitar darts around the mix and chunks of fast and funky rhythm guitar and bass chugs below. It takes a moment to get used to this newly more uptempo Tamikrest but once I did the track and especially the synth and drums sounded great. The album closes with the brilliant ‘Timtar’, reversed guitars open the track giving way to the lead guitar and a deep bass drum, the melody is quite sparse compared to typical Tamikrest melodies. A wonderful gentle male vocal melody moves slow across the backing track. More drums enter around 2 minutes 30 seconds but they are subtle yet add just enough forward momentum to stop the track from stalling. The rhythm comes in towards to the end of the track to provide the same forward momentum.
All-in-all “Chatma” is the crowning achievement of Tamikrest’s career, the band managing to retain what made so great in the first and combine it with new elements and techniques to that enrich their Tuarag sound. Highly recommended for fans of Tuarag artists such as Tinariwen, Group Inerane and Group Doueh and those that like of sound of the descriptions in this review but have yet to explore this genre.
I first came across Mulatu Astatke’s music after buying “Inspiration Information” (2009) a collborative album made with London’s funk/jazz/psychdelica band The Heliocentrics. The album hasn’t been off my mp3 player since and I’ve explored his impressive back catalogue of Ethio Jazz (the genre he pionneered in the late 60’s that combines tradtional Ethiopia modes and rhythms with those of Western jazz) albums. Four years later he returns with an album that gets closer to his aim of a perfect hybrid of Ethiopian music and jazz. The album features a number of tradtional that have been modified by Astatke so that they can play the 12 tone Western scales used in jazz.
The album opens with ‘Azmari’ the whole of Astake’s band in full swing, playing an Afro-funk/Latin jazz rhythm, brass stabs, upright bass underpins the patter of percussion and drums shift under everything. A krar (six-string lyre) flys in playing a counterpoint melody to the brass. There’s a great tense battle between the instruments around 2 minutes 40 seconds in, then the track breaksdown to upright bass twang, masinko (single-bowed lute) scraping and a vibraphone twinkling high above. The intros drums, percussion and melodies dive back in soon after. Next up is ‘Gamo’ a fast moving krar melody, upright bass line, clip-klopping percussion and African vocal chants open the track. Then the brass moves in and out with purpose. The track feels both Latin and African all at once (a trademark of Mulatu’s sound), it’s light yet not without substance. There’s a nice krar solo and low synth drones come in for the final minute or so, the interweaving male and female vocals are great too!!
‘Gambella’ starts with three sparse melodies playing out (vibes, piano & krar) over tumbling toms and waves of cymbals, this creates a forboding atmosphere but with shafts of light courtesy of the cymbals, vibes and high piano notes. The full beat, bass line and acoustic guitar melody kick in at 1 minute 30 seconds in before the horns strut in and blares out over the top. There’s great attitude in the male vocals, which are supported by the female backing vocals and they remind of how the vocals are used on Talking Heads “Remain In Light”. It’s followed by ‘Gumuz’ which begins with chanted male vocals and distant female vocal chants before phased guitar, double bass and a shuffling Latin rhythm slink in. An acoustic guitar plays a rhythm that gives the whole track forward momentum. There’s some nice electric piano chords that introduce themselves during a breakdown around 2 minutes 30 seconds and add warmth throughout the rest of the track. It’s the most modern of all the tracks I’ve hear from Astatke and he just about pulls it off, though some of the sounds are a little too smooth and polished and thus come off as a bit cheesy.