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Mdou Moctar immediately stands out as one of the most innovative artists in contemporary Saharan music. His unconventional interpretations of Tuareg guitar have pushed him to the forefront of a crowded scene. Back home, he’s celebrated for his original compositions and verbose poetry, an original creator in a genre defined by cover bands. In the exterior, where Saharan rock has become one of the continents biggest musical exports, he’s earned a name for himself with his guitar moves. Mdou shreds with a relentless and frenetic energy that utterly sets him apart.
Mdou Moctar hails from a small village in central Niger in a remote region steeped in religious tradition. Growing up in an area where secular music was all but prohibited, he taught himself to play on a homemade guitar cobbled together out of wood. It was years before he found a “real” guitar and taught himself to play in secret. His immediately became a star amongst the village youth.
In 2008, Mdou traveled to Nigeria to record his debut album of spacey autotune, drum machine, and synthesizer. The album became a viral hit on the mp3 networks of West Africa, and was later released on the compilation Music from Saharan Cellphones. In 2013, he released Afelan, compiled from field recordings of his performances recorded in his village. Then he shifted gears, producing and starring in the first Tuareg language film, a remake of Prince’s Purple Rain (Rain the Color Blue with a Little Red in It). Finally, in 2017, he created a solo folk album, Sousoume Tamachek, a mellow blissed out recording evoking the calm desert soundscape. Without a band present, he played every instrument on the record. “I am a very curious person and I want to push Tuareg music far,” he says.
2019 brings his first recorded in a proper studio - Ilana (The Creator), out Mar. 29th on Sahel Sounds. He has shared the first single, “Kamane Tarhanin,” and has announced spring tour dates in support of the new record. A long time coming, Ilana is Mdou’s first true studio album with a live band. Recorded in Detroit at the tail end of a US tour by engineer Chris Koltay (the two met after bonding over ZZ Top’s Tres Hombres), the band lived in the studio for a week, playing into the early hours. Mdou was accompanied by an all-star band: Ahmoudou Madassane’s (Les Filles de Illighadad) lighting fast rhythm guitar, Aboubacar Mazawadje’s machine gun drums, and Michael Coltun’s structured low-end bass. The album was driven by lots of spontaneity – Mdou’s preferred method of creation – jumping into action whenever inspiration struck. The resulting tracks were brought back to Niger to add final production: additional guitar solos, overdubs of traditional percussion, and a general ambiance of Agadez wedding vibes.
The result is Mdou’s most ambitious record to date. Ilana takes the tradition laid out by the founders into hyperdrive, pushing Tuareg guitar into an ever louder and blistering direction. For Mdou, his style is to draw on both modern and traditional sources and combine elements into new forms. In “Ilana” Mdou reaches back into Tuareg folklore for inspiration, riffing on the hypnotic loops of takamba griots, or borrowing vocal patterns from polyphonic nomad songs, and combining them with his signature guitar. You can hear the effect in tracks like “Kamane Tarhanin,” where a call and response lyric lifts up over a traditional vocal hum before breaking into a wailing solo with tapping techniques learned from watching Youtube videos of Eddie Van Halen.
As Mdou travels the world, he divides his time between two places, alternating from lavish weddings in Agadez to sold out concerts in Berlin nightclubs. It offers a unique perspective, but also means that he needs to address different audiences. At home, his compositions send a message to his people. Abroad, his music is an opportunity to be heard and represent his people on a world stage.
Ensemble Economique - California-based experimental musician Brian Pyle (also of Starving Weirdos and RV Paintings) uses the name Ensemble Economique for his solo ventures, which range from dark, Shamanic drone to mystical, echo-heavy psych rock to shadow-dwelling goth/darkwave. He initiated the project with At the Foot of Nameless Roads, an album of clattering, occasionally noisy soundscapes on the Digitalis label in 2008. The label also released No GPS, a limited companion CD-R containing the project's earliest recordings. Two years later, two very different LPs bearing the name Ensemble Economique were released: the expansive, cinematic Standing Still, Facing Forward (Amish Records) and the intense, tribal psychedelia of Psychical (Not Not Fun). 2011's Crossing the Pass, By Torchlight (Dekorder) added chilling horror-soundtrack synth textures and shuddering electronic beats, resulting in the project's most direct, cohesive work to date. The year also saw the release of an eerie, jarring cassette called The Vastness Is Bearable Only Through Love on Agents of Chaos.
[Fever Logic] Many of Ensemble Economique's 2011-2012 releases were limited live recordings (including the Live in London tape on Not Not Fun) or split releases (a tape with Dubai on Clan Destine Records; the Motion Forever LP with Lee Noble on Hands in the Dark). The split releases in particular marked the project's shift toward creeping, atmospheric post-punk/shoegaze with sheets of heavily treated guitar and ethereal vocals. Pyle expanded on this sound with the excellent Fever Logic (Not Not Fun, 2013), which quickly became the project's most acclaimed work. 2013 also saw the release of a limited picture disc titled (no thing-ness) on Dekoder, a split LP with doom-surf group Heroin in Tahiti on NO=FI Recordings/Sound of Cobra, and Shelter Press' vinyl issue of The Vastness Is Bearable Only Through Love. EE also signed to Denovali Records in 2013, concluding the year with two abstract, collage-like LPs, Interval Signals and Light That Comes, Light That Goes. 2014 album Melt Into Nothing was a return to the darkwave sound of Fever Logic, and 2015's Blossoms in Red (which featured guest appearances by Soft Metals and Peter Broderick) continued in this direction. In 2017, Ensemble Economique released In Silhouette, an album of tense, cinematic drone which featured a collaboration with Jung an Tagen.