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Wanderlust

Mdou Moctar: Ilana, The Creator

“Ilana: The Creator”, the first official studio album from guitar shredder and prince of the desert Mdou Moctar.

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Mdou Moctar immediately stands out as one of the most innovative artists in contemporary Saharan music. His unconventional interpretations of Tuareg guitar and have pushed him to the forefront of a crowded scene. Back home, he’s celebrated for his original compositions and verbose poetry, an original creator in a genre defined by cover bands. In the exterior, where Saharan rock has become one of the continents biggest musical exports, he’s earned a name for himself with his guitar moves. Mdou shreds with a relentless and frenetic energy that puts his contemporaries to shame.

 

 

For Mdou, this style is to draw on both modern and traditional sources and combine elements into new forms. In “Ilana” Mdou reaches back into Tuareg folklore for inspiration, riffing on the hypnotic loops of takamba griots, or borrowing vocal patterns from polyphonic nomad songs, and combining them with his signature guitar. You can hear the effect in tracks like “Kamane Tarhanin,” where a call and response lyric lifts up over a traditional vocal hum before breaking into a wailing solo with tapping techniques learned from watching Youtube videos of Eddie Van Halen.

There is an urgency in Mdou’s music, and the fury of the tracks are matched by their poignant messages. The title track “Ilana” is a commentary on uranium exploitation by France in Niger: “Our benefits are only dust / And our heritage is taken by the people of France / occupying the valley of our ancestors.” Other times, he delves into the complexities of love, but always with delicate poetics: “Oh my love, think of my look when I walked toward the evening / Tears fell from my face, from the tears that fell green trees grew / And love rested in the shade.”

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    April 22, 2019 at 1:12 pm

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Wanderlust

Colombia’s Independent Powerhouse Compilation

Biggest contemporary folklore alliance in Colombian modern musical history

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From the Afro-Indigenous rhythms of Bullerengue and Cumbia, to Currulao and Bunde on the Pacific Coast, Calypso on the Caribbean islands, Bambuco and Joropo in the plains, to countless “modern” versions of all these traditional folk music styles, Colombia is becoming recognized as one of the most diverse musical countries in the world.



The “Colombian Music PowerHouses” project is a humble attempt to show the immense diversity of our country’s music and culture to a wider public. For this purpose we’ve gathered together as independent music labels; a joint collaboration between seven key Colombian “PowerHouses” to bring you a non-exclusive selection of today’s Colombian music. We know there are other labels and artists out there who deserve just as much attention and visibility as the ones who were brought together in this compilation, but we hope these picks will arouse your curiosity and inspire you to dig deeper into the fascinating world of Colombian music.

The “Colombian Music PowerHouses” are:
Palenque Records
Polen Records
Sonidos Enraizados
Tambora Records
Llorona Records
Mambo Negro Records
Galletas Calientes Records

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Wanderlust

Dengue Dengue Dengue- Zenit & Nadir

Strong return of the magnificent Peruvian folklorists via Enchufada records

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Dengue Dengue Dengue continue expanding their carefully created aesthetic on their new album ‘Zenit & Nadir’ by diving into the deep and rich musical history of Afro-Peruvian music, already hinted in the first single ‘Ágni’, which is the inversion of the traditional Afro-Peruvian rhythm Ingá.

The ongoing exploration of the vast and rich musical heritage of the descendants of the former African slaves in Peru has become the main focus of their new album.

Enchufada also drops this wicked remix

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Marginal Original

Grupo Bongar + Maga Bo – Macumbadaboa

Impressive collaboration exploring the lesser known Afro-Brazilian genres with an electronic twist

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“Macumbadaboa” unites the ancestral sounds of Grupo Bongar from Pernambuco, Brazil with the electronic and dub elements of Maga Bo, the American/Brazilian DJ/producer based in Rio de Janeiro. The project includes the participation of various well known Pernambuco artists – Isaar, Cláduio Rabeca, Lia de Itamaracá e as Filhas do Baracho, Lu do Coco do Pneu, members from the Xambá terreiro, children from the local community as well as the Malian kora player Adama Keita. The album explores many northeastern Brazilian rhythms such as coco, afoxé and maculelê as well as subtle elements of electronic and dub music.

The songs were recorded in an improvised studio set up by Maga Bo in the Memorial Severina Paraíso da Silva – Mãe Biu, in the terreiro of Xambá in Olinda. The intention was to bring Grupo Bongar into a familiar atmosphere where Guitinho could compose music and lyrics on the spot, inspired by the history of the Xambá community which was represented by all of the photos, antiques and relics that surrounded them in the Memorial.

“The lyrics emerged from observing the pieces that make up the Memorial. The old photos, the utensiles used in the terreiro in the time of Mãe Biu, the old percussion instruments, the maps of Nigeria and Cameroon (where the Xambá folk originated) and the articles of clothing from that time. Finally, everything that reminds us of our history and the history of our people,” explains Guitinho. “The repertoire of this album brings traditional songs for the orixás and the entitiies of Jurema. The original lyrics emerged in the moment, through my observation of the pieces in the Memorial, during the recording.” – Marileide Alves 

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