At one point Americana legends, Buddy Miller and Jim Lauderdale both shared that they were listening to Tinariwen quite often. So, there were connections with the blues, especially the riveting trancelike guitar sounds, but the Americana and country linkages were there too. Now that connection between the desert lifestyle and rural music has become a reality on Tinariwen’s ninth studio album, Amatssou, (translated to “Beyond the Fear”)
Perhaps a bit more background on Tinariwen is in order first, just in case. The band formed on the borders of Mali and Algeria, pioneering their infectious signature guitar sound, called the assouf style (“nostalgia’) to address Tuareg’s people’s preoccupation in songs that mix traditional West African and Arab music with blues, folk, and other influences. Three notable examples of this guitar sound are on the tracks “Tidjit,” “Imidiwan Mahitinam,” and “Nak Idnizdjam.” The area has long been subject to political and social turmoil and the band has long been about protest as many of their songs call for peace, freedom, and unity as they do here on Amatssou. They pride themselves on being ambassadors for their people. Examples culled from the lyrics are as follows” “Arajghiyine” (The Traitors) – “Dear Brothers/Allrest, all leisure will always be far from reach/Unless your homeland is liberated/And all the elders can live there in dignity.” From “Jayche Atarak” (Tareq’s Group) – “Whatever happens/The martyrs will be avenged/Like it or not.”
Originally the plan was for Tinariwen to travel to Nashville and record at Jack White’ studio, while the likes of Daniel Lanois (guitars, pedal steel), Fats Kaplin (pedal steel, violin, banjo), Wes Corbett (banjo), and others would merge their sounds with the band. The pandemic interfered. Then the American group was going to travel to the African desert but unable to due to the virus restrictions. Ultimately, Tinariwen recorded Djanet, an oasis in the desert of southern Algeria located in the Tassili N-Ajjer National Park, a vast sandstone plateau that is a a UNESCO World Heritage Site and famous for its 10,000 years old prehistoric cave art. Recording in a makeshift studio in a tent, the band is augmented by guitarist Hicham Bouhasse from the band Imarhan. So, you guessed it, Lanois added his parts from Los Angeles, Kaplin and Corbett from Nashville, and percussionist Amar Chaoui from Paris.
The American contributions are mostly subtle. Lanois adds haunting pedal steel to the trance-like desert blues of “Arajghiyine” and “Jayche Atarak.” Corbett’s banjo adds texture to the opening “Kek Alghalm,” and Kaplin is almost ubiquitous, with his fiddle, pedal steel, or banjo on six of the ten tracks. Yet, the thrust of the music, as always is the slithery guitar lines from the three founders who alternate lead vocals and guitar leads, as well as the chanting, rhythmic clapping, and percussion. They sound even more urgent now and, of course, Lanois’s production values have further enhanced the band’s captivating sound.
