Category Archives: field recordings

the caves of missirikoro

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Missirikoro field recording

Missirikoro is a small village south of Sikasso. It’s only 12 kilometers away, but the road is all red dirt and rocks – unpaved, but heavily traveled. As you approach the village, you can see the strange mountain rising above the tree line. It is a small cylinderical formation that seems to have been dropped out of the sky. There are some young men standing in the forest when we approach, and they accompany us up the hill. Inside the mountain are a series of caves. The biggest chamber is about twenty meters tall. Various indentations mark the floor – the place where the ancient ones prayed, carved out spaces for giant knees and feet, or the crescent shaped divot where a woman and child once lay. The cave walls are curving, and the light from the opening high above flows down them in a river of shadow. It smells of incense and the cave ceiling is waxy and black from smoke. Hidden in the small annexes and corners, people are praying.

This is an ancient place with ancient magic. The place is special with Djinn. There are various caves for Muslims, Christians, and animists, all who come here to make sacrifices. You come here to pray and you make a promise to the cave. If it grants you this, you must come back and fulfill the promise. I hear dozens of stories of those who negated their end of the bargain, and payed in various ways. It’s said many years ago, anything you felt the need to eat would be waiting for you when you arrived. But it was ruined when a man didn’t believe the cave. He thought it was some sort of trick, so hid and watched to see where the food came from. A young girl djinn came carrying the food, and when he spotted her he cried out. He tried to leave but turning into the cave, he became hopelessly lost, and is somewhere still, perhaps, in secret passages underneath.

I go back into the main cavern to have a moment, alone. There are three people in the various chambers with me – a man lying on a prayer rug with a koran, a woman in white hidden on a ledge over the animist cave, and another man, dishelved and unkempt. It is not all silent. Birds flutter and make strange cries, bats swoop through the darkness. Strange insects with long antennaes crawl on the floor. The ground is cold. The air is cold. The earth is still. It reminds me of the cathedral in Tarragona, the curves and symmetry, the private chapels, the underground crypts, the divine valuting. This is a cathedral. Or the cathedral is a cave. Is it so unlike the places where the first people worshipped? The cathedral always carries with it a narrative of power of man to build the structure in the name of god. But this chamber is something different. It is built by god and djinn. It may be alive itself.

The lack of written history is cited as a tragedy, and we work to find and preserve elements of tradition that may be lost to history. But absence is also power. Historical explanations of the caves of Missirikoro might tell us when the first people came here, how they worshipped, why they came to see the caves this way. They could say which stories are ancient, which were altered over generations, and which are modern innovations, sprung from imaginations, boredom, and speculation. But we have nothing like a library here, only words. With nothing to look to, with no explanations of when or how a story began, we are left with only the stories themselves. And all the stories are equally true. We are left with only the sacred.

Vieux Balani, live and direct

Vieux Balani – Balafon

Spent a few days in the South of Mali in Sikasso — a region stunningly different from the North. This is green Mali, with rice paddies, giant tropical trees, and red earth. Water is everywhere. People like to joke that everything is free in Sikasso. It’s one of the only regions that is truly self sustainable and can grow its own food. It’s also home to a myriad of deep tradition and history.

I’ve come here to research the Balafon, only scratching the surface, for a future trip next year. I soon find myself at the home of Soumana “Vieux Balani” Diarra, who plays in the orchestre of local griot Isa Keita. We visit his house in the late afternoon, clearing a space of traditional medicines, tiny packets of powders wrapped and bound in leaves. In addition to the Balafon, Vieux makes various charms that he sells by the roadside. He also makes a mean millet beer.

We record a short session, accompanied by Amidou Koita on the Ngoni. A musician stops in to sing for a bit, and soon the door is crowded from neighbors who have gathered to watch as well. The audience is global too – we take a small video and post it to Instagram and Facebook while they are playing (longer video here). At the end of the session, we gather around the cellphone and check out the likes and comments, and think about the future – while internet is slow, it suggests some interesting possibilities for live streaming performance. Boiler Room Sikasso? Stay tuned.

Uchronia


photo by Maciek Pozoga

In June 2015, we traveled to a place that doesn’t exist.

The work was semi-ethnographic documentation of travel to a fictional Bamako. Over 10 days, photographer Maciek Pozoga and I meticulously documented the real and the unreal through photo and sound. The imagined capital evolved out of discussions with Bamakois: visual artists, science fiction scenarists, traditional griots, DIY filmmakers, and modern studio producers. At the forefront was perception of Mali and its capital – what it is, what it could have been, and what it will be. At the core was the idea of travel, that feeling of being in a strange land. On this journey we looked for clues of alternate pasts, hidden in architecture, dress, song, or deep in the dreams of possible futures.

The resulting exhibition, Uchronia: The Unequivocal Interpretation of Reality will feature photography from Maciek Pozoga, a photo book, edited by Pierre Hourquet, and vinyl record of field recordings documenting the journey – available during the exhibition (and later here at Sahel Sounds). The vinyl record, “Field Recordings from Alternate Realities” accompanies the photographs as soundscape to this unrealized world. The record draws on the experience of a number of musicians, including Mamelon, Luka Productions, and Super Onze – borne out of conversations and experimentation.

Bambara Affirmations – Relaxation Cassette, Taxi

In studio with Luka Guindo, we listened and discussed mp3s of Craig Leon’s Nommos. Released in 1981, Nommos is a concept album based around the “Dogon creation myth” – a much referenced story that the Dogon tribe’s mythology was based around impossible astronomical knowledge, and that this knowledge must have come from the stars themselves. Leon composed the music New York after encountering Dogon art at the Brooklyn museum. Luka is Dogon, and I asked him about Sirius and the double star and the mysterious ancient aliens of his mythology. He had never heard of it. As ideas are filtered across cultures, they succumb to overwhelming cultural misinterpretations – coming from another place brings with it a penchant for the sensational and exotic. The questionable veracity of the myth, or even the historic veracity, is largely irrelevant, as this myth has become part of the West’s West African canon. It may well be reinvigorated as Bamakois discover Leon’s album.

Working with mythic objects is purposefully confusing. The results of this journey lie somewhere between the fiction and the real; a necessary component of realizing an idea across cultures, resulting in objects that straddle both worlds. Some of the field recordings may not be comprehensible at the moment. The Venn diagram of Luka’s contribution borrows context from Bambara speakers and Western vinyl collectors – a very small contingency. Vinyl records have an element of timelessness, only exaggerated in the presence of the fleeting digital. It is rumored that the Church of Scientology has left vinyl records of their scripture buried them in bunkers around the world – so when the surface of the planet is a smouldering crust, the survivors will come across these recordings and build an empire with their blueprint. Today’s fiction only needs time to pass into mythology.

Uchronia: The Unequivocal Interpretation of Reality runs from September 4th to October 16th, 2015 at 12Mail / Red Bull Space in Paris, France. The exhibition is produced by Red Bull and Carhartt WIP. (FB event page)

boiler room

Recently I was asked to put together a mix for Boiler Room’s Upfront series. That is, strictly online, not the Boiler Room in a secret nightclub where people are wiling out behind the dj. Just as well, as it’s very hard to for the uninitiated to dance the Takamba.

It’s been a very busy past year, and the blog has been so quiet as of late as we’ve been wrapping up the film, traveling in W. Africa – and continuing, with upcoming Mdou Moctar EU/Canada tour dates, and screenings across Europe this summer. But there is so much music to share: more Balani Show remixes out of Bamako, Azna’s Hendrix inspired Tahoua rock, the first Tuareg film soundtrack from Mdou Moctar, blown out wedding songs from Nouakchott, a new Amanar album and so much more.

Here is a little sampling of what is to come in 2015. Stay tuned.

facebook in the rainy season

fatou seidi ghali Alamnou Akrouni, Fatou Seidi Ghali

Fatou – Song 1

Fatou Seidi Ghali is a guitarist – of note, perhaps, as the other woman guitarist in Niger (there are only two). Over a year prior, a photo was circulating on Facebook of her playing a red electric guitar in a festival. The photo was liked, and shared. Later, I learned that Ahmoudou from Mdou’s group had taken the photo and posted it. Fatou was a cousin from his hometown.

We travel to Ilaghadad, a small village 40 kilometers outside of Abalak. It’s the bush, but the village boasts a number of small houses and a school. There are thousands of goats. Tall, wispy grasses cover the ground. There are seasonal water holes everywhere, and at the end of the rainy season, big white egrets weigh down the tree limbs. Flowers bloom on lily pads. Camels splash through the mud. Fatou’s family lives a few kilometers from the village, about an hour on foot. We take motorbikes.

Fatou – Song 2

Fatou has played guitar for only about four years. She learned to play alongside her brother. With her two sisters, Fatou is known in Ilaghadad known more for her singing tende, the stretched water drum fabricated from a mortar, played in weddings and festivals. Even some of the songs are the same, played here on a guitar.

We sit under some trees, back from the house and away from the kids from the village that have come out en masse to watch the recording. In the quiet of the late afternoon, Fatou sings softly but distinctly. She plays the guitar, accompanied by her sisters and brother and a chorus of crickets announcing the end of the rainy season.