Akounak Tedalat Taha Tazoughai or “Rain the Color Blue with a Little Red in it,” is Mdou Moctar’s feature length fiction film. It is largely a musical film, and like any musical film now has a soundtrack – featuring new compositions by the band, in what is effectively their first studio album.
The music for Akounak was recorded over the past two years. Some of the acoustic pieces were recorded on the fly, spontaneous sessions during pre-production. Other songs were recorded during the shoot itself. Some of the instrumental music is a result of running out of gas in the bush and toying around with a portable amplifier under a tree 20 kilometers outside of Agadez. The songs with the full band were recorded in Marseille at L’Embobineuse in single takes. The soundtrack was mixed by label mate and frequent collaborator Jesse Johnson of Boomarm Nation.
Mdou Moctar is heading out on a tour across the EU and Canada! If you happen to be around, please come by. We’ll be screening the film “Akounak” at select dates, and we’ll be bringing DVDs and the yet to be released Vinyl OST. Stay tuned for more film screenings + Sahel Sounds DJ dates in Europe throughout the month of July…
Supreme Talent Show, Facebook
Supreme Talent Show is a Malian duo, Mèlékè Thiathio and MC Waraba. Their music is hard to classify, at least in recognizable Western terms (which may suggest how far the international music scene lags behind). It’s bass heavy and the bpms are frantic and infused with movement. This isn’t accidental – this is the music of a generation who grew up in the shadow of Balani Show neighborhood sound systems.
In the late 90s, when Balani Shows became the rage in Bamako, DJs began experimenting with samplers and CDJs to recreate Balafon style village parties in the capital. The innovation was both artistic and economical. A full Balafon outfit was expensive to rent and heavy to assemble. CDJs and speakers were much easier. A class of DJs rose to prominence providing signature remixes, soundtracking the festivities. The Balani Show parties gave way to a new genre of music known as “Ambience,” or the ambient dance music that could be played during the Balani Show. Around the same time, Hip Hop was securing a foothold in Mali with influences of American Hip Hop, but equally that of the Parisian suburbs. It is no coincidence that Bamada City and RHHM, the largest promoters of Malian Rap, are both based in France.
Luka Production in studio, 2012
Today in Bamako there are a plethora of studios producing Hip Hop. The top and most well known is Sidiki Diabate, with his flourish of kora and pitch bending keyboards (and producing exclusively with Iba One), to Pap Junior, and Luka Productions. While the majority of Malian Hip Hop is unique, much is hyper modern, with punchy beats, slick crashes, and lightning fast rap. Some of it exists in a conscious defiance against ancient musics, made for the club; quite a lot of draws heavily on tradition. Supreme prides themselves on the latter: “We chose this name because we know that we have the Talent to show that our culture is the best, with Djembe, Bala[fon], and Tama. Supreme because we leave all the others behind. And we have the talent to make people move when we make a [Balani] Show.”
The high energy dance music of groups like Supreme fall somewhere between the old school Balani Show remixes of the late 90s and the new generation of synthesizer slick Battle Rap of the Sahel (they refer to their style as “human rights”). Listening to the music, it’s easy to hear transnational influences of Kuduro, Coupe Decale, and Hip Hop. While Angolan Kuduro is an established scene, the “ambience” music of groups like Supreme lie outside of the mainstream, even in Bamako. With only a handful of groups creating in this vein, it’s more akin to an electronic music subculture in the West than representative of a full fledged scene – a branch of youth culture at the fringes, like in Chicago, Berlin, or Istanbul – just much smaller. In Bamako, the fusion of ancient and modern seems to be a the driving force, with a seemingly limitless potential and deep musical history to pull from. Although it may not be live, balafons cut into samples, triggered on a keyboard, and tracked in Fruityloops, the sounds suggest a new tradition.
Featured previously on Balani Show Super Hits, the first full release from Supreme Talent Show “Danbe” is now available at bandcamp and on a limited edition cassette. The cover design is an original work from the original photoshop king, Bamako based Prinsco Production.
* Special thanks to Midnight Ravers, a French duo who recently were in Mali working with Supreme Talent Show, among others for a collaborative music and art project – and who have contributed photos and a bonus track on the digital download, Koroni Foli!
On the last visit, in the fall, we spent a few days in Podor, a small colonial town that sits in the interior of Senegal on the banks of the river. It had been about two years and everyone was a bit older. A few people had passed, and a few more had been born. The city itself was more or less the same. Horse carriages crowded the center of town, coming in from all the surrounding villages on market day, but otherwise it was slow and calm. Like the river, Podor always seems still, and you have to look closely to see that things are moving.
Tidiane Thiam, solo guitarist and folklorist of the group Lewlewal (previously) had his first child during our stay. He was a father of a only few days when our departure arrived, but we managed to do something I had wanted for years – some simple instrumental recordings of himself and the guitar.
Tidiane is an artist and folklorist. An autodidact in the truest sense, he learned to play the guitar by listening to radio broadcasts late into the evening. He sometimes makes art, strange paintings of hands and symbols, and for many years he worked as an intern under the famous Podor portrait photographer, Oumar Ly. He plays guitar in the style common to Fouta Toro, influenced by Guinean styles – Hal Pulaar folklore guitar, made famous by another Podor resident, Baaba Maal. Most of the songs are played with “double gamm,” a doubling of the notes. Nearly all are played in major scales in standard tuning. The music is nostalgic and pensive, very different from the pentatonic scales associated with the desert. A little more green, perhaps.
It was our last night when we finally had a chance to record with Tidiane, and he played songs until the very early hours. Lewlewal means moonlight, but this night there was no moon, only stars.