Category Archives: Uncategorized

Mohamed Barky, synth from Niger

Mohamed Barky

It’s been quiet around here lately as we’ve been doing this and that, but there’s still so much to share in the archives! Today’s tracks come from a mysterious cassette from Djadje, one of Niamey’s last cassette vendors at the Niger’s Grande Marche (there are two – the other vendor sells only bootleg Takamba) Djadje has a deep selection of everything ever recorded in Niger on tape. He’s one of the few people to own an original Mamman Sani cassette. And he is very reluctant to part with anything. Like most of the cassette vendors, he makes his living off dubbing.

This particular cassette has no identifying jacket or information, suffice a name scribbled “Mohamed Barky.” According to Djadje, Barky was a pianist in Niger, in the same vein as Mamman Sani (though likely much more recent by the sound of it), playing traditional compositions on a synthesizer. He passed away sometime in the last decade. There is no further information or track titles, and no one seems to know anything more about Barky. Djadje wont sell the cassette, but provides me with this copy.

Mohamed Barky – Track 1
Mohamed Barky – Track 2 – Takamba

Agrim Agadez – musique guitare de la republique du niger

Agrim Agadez

The newest release from Sahel Sounds is titled Agrim Agadez , a compilation of field recordings of guitar music from the Sahelian empire of Niger. Focusing on guitar music throughout the country, and recorded over many years of travels, Agrim Agadez celebrates the diversity of the instrument in the contemporary Sahel.

Like most of the Sahel, the guitar is found in every corner of Niger. Whether acoustic, electric, or built by hand, guitars are highly prized possessions and continue to inspire. Every corner of Niger has particular languages, customs, and cultures, and each corner has taken the instrument and transformed it in its own special way: from bar bands of the southern Hausa land, pastoral flock owning village autodidacts, rag-tag DIY wedding rock musicians, to political minded folk guitarists. Agrim Agadez follows the sounds overheard playing on cassettes, seeking out the once legendary local heroes in their hometowns, and stumbling upon musicians in accidental chance encounters.

For readers of the blog, it’s familiar territory. Much of the music has been shared here over the years, as yours truly was faithfully updating the blog from remote cyber cafes and borrowed cellphone wi-fi. It’s also a continuation of two other records that delved into the same subject, the debut Ishilan n-Tenere, and the subsequent Laila Je T’Aime. Field recordings have always been a foundation of this work (if for anything else, an opportunity to travel!), but there is a certain element to the live recording that is hard to replicate in a controlled sterile space of the studio.

While it would be nice to claim that the record is comprehensive and academic, Agrim Agadez is not that album. This is not a record of research, but something to listen to. You can draw your own conclusions. However, it is a faithful document of the guitar as it’s heard, experienced in the open air studios of Niger with a single microphone, with backdrops of children’s voices, crickets, and village ambience. But above all, it’s a record of people who once upon a time, decided to pick up the guitar and play a song.

The record is available now on vinyl from our shop with 16 page liner notes w/ photos and bios of the bands. You can also listen/download on bandcamp.

Zerzura, crowdfunding for a magical city

We recently launched a Kickstarter campaign for our new film “Zerzura,” a modern Tuareg folktale. You can check out the trailer at the above link. The film follows a young man from in Niger who leaves home in search of an enchanted oasis. His journey leads him into a surreal vision of the Sahara, crossing paths with djinn, bandits, gold seekers, and migrants.

Following in the footsteps of our previous film “Akounak” (Zerzura stars Ahmoudou Madassane, rhythm guitarist for Mdou Moctar), the film is a collaborative fiction. Zerzura was developed with a Tuareg cast, and shot in and around Agadez, Niger. The film was produced over two trips to Niger. The first trip was spent collecting folktales, conducting interviews, and finding shooting locations (see the architecture of Not Vital). In June of 2016, I ran a “workshop” in Agadez, to develop, write, and shoot the resulting film.

The film is currently in post-production. Ideally Ahmoudou Madassane will join the process and visit Portland in the new year for final editing work, translation, and scoring. Stay tuned here as we bring you updates!

Akounak DVD

Akounak DVD
Akounak Tedalat Taha Tazoughai is now available!

The first ever Tuareg language fictional film, based on the legendary rock-u-drama “Purple Rain,” Akounak or “Rain the Color Blue with a Little Red in it” explores the world of a musician trying to succeed in the raucous subculture of the Niger guitar scene. The protagonist, real life musician Mdou Moctar, must battle fierce competition from jealous musicians, overcome family conflicts, endure the trials of love, and overcome his biggest rival – himself. Carried by stunning musical performances from Mdou, the film is a window into modern day Tuareg guitar and an experiment in participatory ethnographic filmmaking.

The past year, the film has toured around the world at various screening and festivals. We got to travel around with the film and meet lots of folks. Mdou got to come to the US for the first time and present the film in New York. We had loads of unexpected press, and learned that blogs are still killing it. We’ve even got to organize a few screenings for celebrities (we’re not saying who). It’s been a fun, weird journey, and we’re excited to keep moving forward – thank you for the support!

You can rent/stream from Vimeo or grab a limited edition Akounak DVD from the shop. In Tamashek, with English, French and Spanish (streaming only) subtitles.

new age bamako

image by cheick amadou ouattara & maciek pozoga

image by cheick amadou ouattara & maciek pozoga

In 2015, I had the opportunity to work on a bit of a dream project entitled Uchronia, an exhibition and recording lying somewhere between conceptual art and experimental ethnography. The process was a series of collaborative “fake” ethnographies (or ethnographic forgeries) – a very flagrant self conscious expression in a field that and hides the role of the documentarians in documentary.

Bambara Affirmations – Relaxation Cassette, Taxi

One of the more interesting recordings produced was the above titled “Bambara Affirmations” from
Bamako based Hip Hop producer/composer/rapper Luka Productions (facebook link). Modeled on the new age genre of affirmation music, the conception was a spontaneous, humorous conversation in Luka’s tiny studio, where we took clichéd and hackneyed phrases and translated them into Bambara (“you are transforming into a butterfly,” etc). The resultant track was mixed into a field recording and conjured scene: a stressed out Bamako taxi driver, gridlocked in stifling humidity of the fast growing riverside metropolis, concentrating on the soothing voice on the cassette.

Luka – new test track

Recently I proposed Luka to make a full album similar to the recording, based around the previous artifact, but further extrapolated. The first tracks have begun to trickle in via Whatsapp and Wetransfer, now to be mixed and mastered. They are at once familiar to Mali, lying between the measured griot speaking over a looping melody to the the verbal wordplay of contemporary Bamako Hip Hop, suggesting a continuity outside of the narrative of Western Influence in Global Hip Hop.

Luka says there has been a curious reaction to the songs: when he’s working in the studio, a nexus of Bamako Rap scene, many of the musicians and emcees are asking for copies of the tracks. As much as it is familiar, it is also something new – an artifact of a fake world. As we move forward into completion, perhaps they will find their way into an actual taxi, like some Borgean artifact. Will they carry forward a similar affirmation when reinterpreted by Bamako’s Hip Hop culture? Non-Bambara readership of the blog will have to remain in suspense for the moment. Stay tuned.