Tag Archives: agadez

Sousoume Tamachek Teaser Vid

We put together this little preview video for Mdou Moctar’s upcoming album “Sousoume Tamachek.” The album was recorded in Portland, Oregon, and we brought in a range of local talent in the recording, working with Jason Powers from Type Foundry and Jesse Johnson at Boomarm Nation. But the album itself is just Mdou, playing all the instruments, backup vocals, rhythm guitar, and percussion.

The full release is August 2017, coinciding with Mdou’s first USA tour – stay tuned for tour dates coming soon.

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!

tuareg autotune

Abdoul Kader (Tanoutetanoute)

Abdoul Kader (Tanoutetanoute)

Abdoul Kader – Alhadi

Autotune, the notorious pitch correcting vocal effect, has seemingly found its way into every perceivable genre and style of music in every corner of the world. In the genre of Tuareg guitar however, the wanton use is confined to Niger where modern Tuareg compositions have nudged up against the slickly produced autotuned Hausa pop music in a near seamless melding. This is as much geographic as it is cultural. Hausa culture lies on both sides of the Niger/Nigeria border and Agadez, Niger’s capital of Tuareg guitar is majority Hausa speaking. Northern Nigeria’s film industry Kannywood dominates the VCD market throughout Niger even among non-Native Hausa speakers.

For many years, the influence of Hausa music in Tuareg guitar was a pragmatic concern. Nigeria has a plethora of studios with well trained engineers, and a destination for Tuareg guitarists looking to record an album. Such was the case with the two first instances of tuareg autotune – Mdou Moctar in Sokoto, and Abdoul Kader in Kano. Today Agadez hosts a number of studios. Modeled on the Nigeria, these new studios are largely electronic, relying on computer based composition and arrangement and leaning away from live instruments.

Moussa Tchingou, Zone Tuareg

Moussa Tchingou, Zone Tuareg

Moussa Tchingou – Zone Tuareg

While the first incidents of this Hausa pop/Tuareg guitar cultural exchange were largely accidental – Mdou’s autotuned Anar was recorded in 2008 – the resulting style of music is emerging as a definitive trend. I just received some of the new album of Agadez youth outfit Zone Tuareg, and they seem to be only continuing in this vein. It’s not yet a genre and there is no designation for these studio productions, but the number of music recorded with this particular melding of Tuareg and Hausa pop is expanding. As the genre of Tuareg folk guitar further twists in new directions, it’s a challenge to a hegemonic definition of the ishumar guitar sound, and a glimpse at a diversified future.

Akounak Premiere

After nearly a year from our shoot, we’re pleased to announce the premiere of our film. Starring Mdou Moctar, a longtime Sahel Sounds artist and collaborator, Akounak Tedalat Taha Tazoughai (“Rain the Color Blue with a little Red in it”) is the fictional tale of a young guitarist trying to make it against all odds. You can read more about it here.

Per the aforementioned Kickstarter, we’ll be premiering the film in two places: Jan. 29th at the Hollywood Theater in Portland, Oregon, followed by a premiere Feb. 5th at Le Gyptis in Marseille, France.

Though originally slated to be released quickly, a mere six months after the shoot, post production was extended far beyond the realm envisioned. We enlisted a team for color correction, recorded new versions of the songs, redubbed portions of the audio, delved into foley work, and hired a sound engineer to mix and master the audio. Most of these post production steps were unexpected, as the interest in the film caught us by surprise. What we had imagined as an experimental project with a handful of screenings in the West and distribution via West African DVD players transformed into something beyond our expectations. Post-production is something overlooked by many filmmakers, especially this one. Next time, it would be interesting to follow with a post that could be done in record time, carried out in West Africa – a fully encapsulated project start to finish on the ground. Though we’re in no hurry to remake Under the Cherry Moon.

We had the chance to screen the film in Agadez in September 2014. It was a very vocal crowd, filled over capacity, and the film was punctuated with cheers and applause. The Agadez reviews are good, which was a most flattering conclusion to the project. But more work remains – we’ve still got Kickstarter rewards coming, and DVDs are in production. The soundtrack is in its final stages of mixing and an LP will be released this year. And we are slated to release the film in West Africa across the Tuareg diaspora – so if you find yourself in Agadez, Sebha, Tamanrasset, or Kidal, look for the film soon. Whether on DVD, USB key, or a cellphone is up to you. Tastes may vary.


photo by Markus Milcke