On their breakthrough, 2019’s Ilana: The Creator, Mdou Moctar used 70s-influenced psych rock mixed with Tuareg guitar music to great effect. The strong follow-up, 2021’s Afrique Victime, cast a wider sonic net with acoustic tracks mixed into their sound. Now arrives Funeral for Justice, their most complete album yet, as it uses righteous protest fury and aggressive punk influences to propel the serpentine guitar majesty and hypnotic grooves.
As the title suggests, lead guitar/vocalist/songwriter and band namesake Moctar is disgusted with Colonialism in Africa and the terrorist activities happening in his homeland. That palpable passion and anger flow out, and even if fans don’t understand the exact lyrics, the emotions of unrest come through as Moctar is supported by some fantastic playing from the rest of the band (Ahmoudou Madassane – rhythm guitar, backing vocals, Michael “Mikey” Coltun – bass guitar, backing vocals, drum machines; producer, Souleymane Ibrahim – drums, percussion, backing vocals).
Blasting open with a big rock intro, the title track morphs into a punk rock-influenced burner as the supercharged drums and sped-up slamming mix with Tuareg riffs that fly off the handle. Lyrically, the track is a plea to African leaders to “Retake control of your countries, rich in resources / Build them and quit sleeping,” as Moctar speaks directly to his homeland.
Even more blazing is the album’s centerpiece and dramatic highpoint. “Sousoume Tamacheq” that was written for the Tuareg people spread across three countries (Niger, Mali and Algeria) as the lyrics state, “Oppressed in all three/In addition to lack of unity, ignorance is the third issue”. The powerful singing is matched by a monster rock display as the track blasts out of the gate around ripping riffs, angry vocals, and slapping drums, proceeding to kick ass over almost six minutes of energetic playing.
Just as impressive is “Tchinta”, which delivers a massive rocking sound with vibrating playing, fast drumming and the most intoxicating guitar gymnastics from Moctar, which can both invigorate and hypnotize. A swirling intro leads to a distorted and muffled beginning on “Imouhar,” which calls on the Tuareg people to preserve their Tamasheq language before exploding halfway through, breaking out overdriven guitars and a whirlwind finale.
While Moctar’s fire-breathing guitar playing will grab the headlines, it is the drumming that truly adds an extra punch throughout the album, with the pumping protest song “Oh France” being just one slamming showcase of the excellent percussive work. The tone shifts away from the aggressive nature on a few tracks as well, with “Takoba” showcasing a head-bopping groove and handclaps while both “Imagerhan” and album closer “Modern Slaves” add an acoustic guitar to the warbling circular riffs, toning down the volume a touch, but not the message of unrest.
Funeral for Justice finds the band flying high while creating songs they believe passionately in, resulting in the strongest album of Mdou Moctar’s career.
