Sahel Sounds

  • 01. Terroir
    02. Houmeissa
    03. Dounia
    04. Bororo
    05. Wassa
    06. Takamba
    07. Touareg
    08. Baoura



    [engl] Nigerian composer Hama presents a groundbreaking album of traditional electronic desert folk songs, hovering somewhere between early 90s techno and synthwave. Nomadic herding ballads, ancient caravan songs, and ceremonial wedding chants are all re-imagined into pieces seemingly lifted from a Saharan 1980s sci-fi soundtrack or score to a Tuareg video game. With a deep love and respect, Hama effortlessly takes back and re-appropriates fourth-world ethnoambient music.
    EAN 0843563107874
  • 01. ADOUNIA
    02. ISHILAN
    03. IMETAWAN
    05. ASIN ORAL
    06. TIKARAS
    07. AZAMAN
    08. POESIE
    09. ASSOUF
    10. TIKOUNEN
    11. TEMET
    12. WAR TAFAR


    Akaline Kidal

    [engl] In exile from his city in Northern Mali, singer/songwriter Ahmed Ag Kaedy returns to the origins of Tuareg folk with sessions of stripped down solo acoustic guitar. Mellow pentatonic notes dance over plaintive vocals, intimate and close mic'd, endearing in their simplicity. Drifting from melancholic ballads and pleas for peace, "Akaline Kidal" is a politically charged and poignant recording for a community ripped apart by division and civil war.
    EAN 0602318136794
  • 01. Eghass Malan
    02. Inssegh Inssegh
    03. Imigradan
    04. Jori
    05. Tihilele
    06. Abadrarass
    07. Telillite


    Eghass Malan

    Fatou Seidi Ghali ist die wahrscheinlich erste Gitarristin unter den nordwestafrikanischen Touareg und Bandleaderin der Formation Les Filles de Illighadad. Wie der Name durchblicken lässt, handelt es sich hier um eine Frauenband, deren Mitglieder aus Illighadad stammen. Die kleine, von der Welt abgeschiedene Gemeinde liegt am Rande der Sahara in Niger. Hier kommt eigentlich niemand mal so zufällig vorbei, und umgekehrt gibt es selten einen Anlass für die Bewohner Illighadads, das ländliche Heimatdorf zu verlassen. Umso erstaunlicher, wie modern "Eghass Malan" klingt. Nach dem gleichnamigen, 2016 live vor Ort von Sahel-Sounds-Chef Christopher Kirkley aufgenommenen Debüt ist "Eghass Malan" das erste Studioalbum. Es erscheint beim selben Label und wurde im Anschluss der ersten Europatournee der Frauen ganz direkt und ohne nennenswerte Verwendung von Effekten aufgenommen. So blieb der rohe, charmant-spontane und authentisch-originäre Gestus, der die Songs von Les Filles de Illighadad auszeichnet, erhalten. Hypnotische Gitarrenriffs, rasante, vorzugsweise auf der Zweihandtrommel Tende gespielte Rhythmen, Klatschen und polyphoner Gesang bilden dabei das Gerüst für sieben Stücke, die heimische Traditionen so organisch wie natürlich an die westliche Welt anschließen.
    EAN 4030433690116
  • 01. Achabiba
    02. Erilegh Iflassakh
    03. Eliss Wan Anas
    04. Douban
    05. Telilit
    06. Tarha
    07. Tende


    Fatou Seidi Ghali & Alamnou Akrouni

    [engl] Recorded in Illighadad, Niger, 2014. The vinyl release includes the track 'Tarha', which does not appear on the digital edition. Artists: Drum [Tendé] - Alamnou Akrouni // Guitar, Drum [Tendé] - Fatou Seidi Ghali
    EAN 0602318136725
  • 01. Falaw
    02. Bbni
    03. Foret
    04. A Tara
    05. Tolobana
    06. Indienfoli
    07. Kodouma
    08. Badjan
    09. Djessou
    10. Sitanba
    11. Deli



    [engl] Luka Productions presents Falaw, an innovative take on West African Hip Hop and sample-based folktronica. A follow up from the acclaimed Malian "new age" inspired Fasokan (2017), Luka Guindo turns his focus to the rich cultural heritage of Manding music. Eschewing wholly PC-based sequencing, Falaw invites a number of traditional performers to join him in the studio. Griots recount sage stories over Luka's sweeping synth pads while Ngonis shred pentatonic solos to the crash of sequenced drum samples. Paying homage to the storyteller, combined with regional styles of lyrical Hip Hop, Falaw offers advice on modern living, with heartfelt songs about loss, love, and life. The effect is both otherworldly while seemingly organic. In a genre where all too often the "modern" is synonymous with outsider collaborators, Falaw is a groundbreaking entry into homemade fourth world and a sign of future Malian music to come.
    EAN 0602318136831
  • 01. Zerzura Reprise
    02. Akaline Akaline
    03. Issikita
    04. Imejar
    05. Igrawahi Assouf
    06. Targhat
    07. Y'a Elwan
    08. Zerzura Theme I
    09. Igrawahi Assouf Reprise
    10. Toumast
    11. Tchimitar
    12. Azal N'emgre
    13. Derhan
    14. Zerzura Theme II



    [engl] Soundtrack to the Saharan acid ethno-Western Zerzura. Instrumental soundscapes invoke a surreal fever dream of the desert. Reverbed electric guitar, subliminal drones, and ghostly percussion. Free form improvisations from Ahmoudou Madassane (Mdou Moctar, Les Filles de Illighadad) offer an entirely new vision of the familiar Tuareg guitar genre.
    EAN 0843563107843
  • 01. Kamane Tarhanin
    02. Asshet Akal
    03. Inizgam
    04. Anna
    05. Takamba
    06. Tarhatazed
    07. Wiwasharnine
    08. Ilana
    09. Tumastin


    Ilana (The Creator)

    [engl] Born in a nomad camp in Niger and now a leading figure of desert rock, Mdou Moctar has enjoyed one of quickest rises to success. In contrast to the polished style of Imarhan or Bombino, Mdou Moctar trades in unrelenting gritty rock and has no qualms about going full shred. But Mdou's success is not confined to guitar theatrics alone. From his experiments in autotune, DIY field recordings, to a starring role in a Saharan remake of Purple Rain, Mdou stands out amongst his peers. Tuareg guitar has rock music in its genes, owing as much to traditional desert ballads as 70s classic rock. Mdou doubles down on these origins, pushing Tuareg guitar into an ever louder direction. If early innovators looked to Mark Knopfler, Mdou has an affinity with Eddie Van Halen. Recorded in Detroit at the tail end of a tour, the band jumped right into frenetic non-stop sessions. Accompanied by an all-star band with Ahmoudou Madassane's lighting fast rhythm guitar, Aboubacar Mazawa dje machine gun drums, and Micheal Coltun's supportive low-end bass, Ilana (English: The Creator) captures the spirit of an Agadez wedding, a studio recording with just the right amount of grit.
    EAN 0602318136862
  • 01. Intro
    02. Hali Diallo
    03. Super Continue
    04. Adernibah
    05. Khomeissa
    06. Ami Cisse
    07. Kanji
    08. Kalitay
    09. Abacabok
    10. Chebiba


    Hali Diallo

    [engl] Tallawit Timbouctou are champions of takamba, a hypnotic traditional music from Northern Mali. Built around the tehardent, the four stringed lute and pre-cursor to the American banjo, takamba's droning distortion comes from signature handmade mics and blown out amplifiers. Accompanied by percussion pounded out onto an overturned calabash with mind boggling time signatures, the combined effect is trance inducing. This is the music that long ruled the North of Mali, performed at festivities, blasting out of dusty boomboxes, and beaming out from village radio stations. Its origin is shrouded in mystery, and though purportedly dating back to the Songhai Empire of the 15th century, takamba's heyday was in the 1980s, with the introduction of amplification. Musicians found a lucrative circuit, performing in elegant weddings, creating cassettes on demand, and writing songs for their wealthy patrons. Today takamba has fallen out of popular fashion with the youth, but continues to thrive in a small network of die-hard traditionalists. Band leader Aghaly Ag Amoumine is one of the remaining renowned takamba musicians. Descended from a long line of praise singers, he spent decades traveling across the Sahel, performing in remote nomad camps and crowded West African capitals. His compositions continue to circulate today and have become part of the folk repertoire. His group Tallawit Timbouctou, based in the city of the same name, continues in the family tradition, and has featured both his brother and nephew as accompanying members. Recorded at home in Timbouctou, "Hali Diallo" is a relentless and nonstop recording, true to the form of takamba. Tracks blend seamlessly into one another, instruments are tuned mid-song, and Aghaly only pauses singing long enough for the occasional shout-out or dedication. Unfiltered and direct as it's meant to be heard, Tallawit Timbouctou is a shining example of one of the last great takamba bands.
    EAN 0843563107829
  • 01. Oyiwa
    02. Hemi Helale
    03. Arikawat
    04. Bili Manane
    05. Bili Manine (Barmo)
    06. Medan Niger (Barmo)
    07. Tiolent
    08. Nikini Dada
    09. Lae-Lale
    10. Oyiwane



    Sweet and sublime school recordings from elementary school group in Northern Niger from the 1980s. All-girl group accompanied by their instructor on the acoustic guitar, recalling Guinean folk and early Ali Farka Touré. Troupe École Tudu takes their name from a small neighborhood of Agadez, Niger. In 1985, the city hosted a musical competition between various schools. École Tudu, lacking a choir, sought out a young Tuareg guitarist Kader "Barmo" Balla to create a new style of music. The guitar was new to Niger and Barmo was new to the guitar, having only played for a few years. His notes were minimal and stripped down melodies mirroring the vocals, a technique common in Malian and Guinean folk music. To make something uniquely Saharan, they modeled their percussion on the tende, the traditional Tuareg goatskin drum and rhythm. Their debut composition titled "Oyiwane" ("Greetings to Everyone") won first prize at the competition and garnered the attention of the Niger state. The following year they were invited into the studio to record an album, released on the small boutique label Hasada (known for their seminal work with Mamman Sani Abdoulaye). The compositions mixed traditional folksongs with original creations, but the lyrical content was political. At a time of massive rural migration, drought, and exodus, their songs were a message to the modern nomads, emphasizing traditional culture while stressing the importance of education, particularly for young women. The group continued to win accolades for their music throughout Niger. Following their success, a number of other school groups created similar guitar/vocal folklore groups. This style of music became popular throughout the late 1980s and early 1990s and led to the creation of the today's female music troupes of Niger. Restored and remastered for the first time outside of Niger, Troupe École Tudu's Oyiwane is available on a limited vinyl pressing of 500, accompanied with liner notes and song translations from Kader "Barmo" Balla.
    EAN 0843563107812
  • 01. Yaral Sa Doom
    02. Thiante
    03. Mouhamodou Lo and His Children
    04. Salamaleikoum
    05. Gouné Yi
    06. Yaral Sa Doom II
    07. Riddim Rek Sa Niouy Mom
    08. Mame Cheikh Sidy Anta Mba
    09. Si Tu Savais Juste
    10. Legui Legui


    Yaral Sa Doom

    Kosmische Avantgarde Sounds aus Senegal: "Yaral Sa Doom" ist ein bahnbrechendes Album, das Grenzen und musikalische Szenen überspannt. Inspiriert von westafrikanischen Traditionen, Sufi-Lobpreisliedern, spirituellem Jazz und Dub-Rhythmen, ist das Ergebnis ein genreübergreifender Einstieg in einen internationalen Sound, der seinesgleiche sucht. Hypnotische Perkussionsschleifen über wogenden Flächen, Call-and-Response-Gesänge, die sich über elektronische Beats legen, und Kinderstimmen, die zu Aufnahmen von rauschenden Wellen singen. 2018 reiste der schwedische Musikarchäologe und Leftfield-Musiker Karl Jonas Winqvist nach Toubab Dialaw im Senegal, einem kleinen Fischerdorf, das zum Zentrum der senegalesischen Boheme-Kunstszene wurde. In den nächsten Wochen kamen dort Musiker, Perkussionisten, Dichter und Beatmaker zusammen, um Ideen zu skizzieren und freie Improvisationen aufzunehmen. Winqvist kehrte nach Schweden zurück und tauschte die Aufnahmen über WhatsApp mit dem im Senegal lebenden Kollaborateur und Studiotechniker Arouna Kane hin und her. "Yaral Sa Doom" ist eine Wolof-Phrase, die "die Jugend erziehen" bedeutet. Im Zentrum des Albums steht das Thema Bildung, mit Songs, die sich direkt mit den sozialen Problemen des heutigen Senegals, mit Bildung und Immigration auseinandersetzen. "Heute muss man Kinder mit einem Instrument und Kunst erziehen, wenn man ihnen ein Instrument beibringt, lehrt man sie, ihren Geist zu benutzen", sagt Djiby Ly. Mit über 20 Mitwirkenden aus dem Senegal und Schweden ist das resultierende Album vielschichtig und komplex, behält aber eine zentrale Vision bei. "Es ist, als würde man ins Meer eintauchen", erklärt Kane. "Da schwimmen alle möglichen Arten von Fischen herum, aber zusammen bilden sie den Ozean." Nichtsdestotrotz ist es auch eine geografische Anomalie, die nur durch den Austausch im Internetzeitalter möglich wurde. "Yaral Sa Doom" ist eine außergewöhnliche Aufnahme und ein visionärer Einstieg in die Zukunft der transglobalen Zusammenarbeit.
    EAN 0602318137265