Westerners tend to group Tamikrest into the “desert rock” movement, a vague and cinematically inclined term for music that would sound appropriate set under images of the Saharan desert, complete with tired camels and heat lines. The band hails from Mali, where about two-thirds of land is desert, so the grouping is at least geographically relevant. As far as their music goes though, Tamikrest produce a sound that goes well beyond accompaniments for stock images from a David Lean film. Their music is a rich hybrid of West African, Middle Eastern, and Western influences, catchy and ambitious enough to catch the ears of listeners from every country. This brings comparisons to acts like Amadou & Mariam and Dengue Fever. At times, Tamikrest even introduce Latin fixings (specifically in the lead guitar and brass accompaniments), reminiscent of international staples like Os Mutantes and Tom Zé. So while the call-and-response vocal patterns – many of them with wide range and male-female duets – recall tribal chants and Saharan themes, there is no geographical or cultural restriction on Tamikrest’s fascinating sound.

In addition to this “desert rock” tag, Tamikrest are apparently the current leaders of “‘Ishumar rock”, a style created from Tuaregs from Mali and Niger who lived in political struggle and exile. Problem is, any search for “Ishumar rock” on Google turns up Tamikrest and Tamikrest only, so the genre appears either newly created or simply has no one else notable involved. This minor quirk aside, their second album Toumastin certainly establishes a precedent for any up-and-comers in the movement. While incorporating plenty of political intrigue into their lyrics (“Ayitma Madjam” is a call to action for officials to save a corrupt society), the lyrics and vocal implementation are non-invasive in the grandest sense. Even if you were to understand the exact lyrics (most of you won’t), the way the vocals are presented within the music is comparable to largely instrumental artists that place vocals sparingly and, when doing so, with excellent precision.

“Nak Amadjar Nidounia” establishes a very suave feel with a restrained guitar progression, in the mold of playful pop with a touch of exotic orchestral efforts. A vocal duet emerges mid-way through, in perfect harmony with the Eastern woodwinds that. In subtly effective form, a soothing brass is tucked away in the background, but the composition rides on the rhythm and lead guitar for the most part, the latter reflecting the vocal melody with some excellent off-beat choices (particularly at the 02:41 mark). “Aratan N Tinariwen” is a quicker and more direct change of pace. Despite the energetic bursts of heavy guitar riffs that nearly encourage bodily movement, one can’t help but notice a slightly somber feel. The guitar solo after the first verse cries out, like a clannish yelp, as the rhythm stays fixated on the arrival of Ousmane Ag Mossa’s calm and confident voice.

“Aidjan Adaky” takes  a bluesier approach, but in a rock-oriented direction certainly influenced by Beatles tracks like “Why Don’t We Do It in the Road?” and their cover of Blind Lemon Jefferson’s “Matchbox”. That is true for the intro and verse at least, before settling into a very traditional-sounding Middle Eastern vocal presentation of solitude. The track initially is minimalistic, but expands to bongo drums and exuberant bass that later give way to the smooth guitar lines that are familiar at this point in the album. “Addektegh” tackles a lush form of modern folk. This acoustic-laden effort is striking beautiful, which is a bold feat considering its entirely instrumental status. It is successful in its placement, as it suitably precedes “Tarhamanine Assinegh”, one of the album’s catchiest efforts. The high-pitched female vocals of Fatma Walett Cheikh, more reminiscent of the Far East than Middle East, burst in and out. About 2.5 minutes in, the bass and drums take full control, as the feminine vocals are introduced again. There then arrives a call-and-response pattern with male and female vocals. It is repetitive but enjoyable.

The final one-third of the album shows some enjoyable experimentation. “Nak Akaline Tinza (Tinzaouatene)” is lo-fi sounding initially, but then expansively turns to more effervescent acoustical tones. The dynamic is rich and the accompaniments are beautifully textured. “Tidit” is vibrant and catchy, with trippy organs establishing a slight ‘70s psych-pop feel. As you can tell, Toumastin is an adventurous album that shows the youthful Tamikrest as full of potential, in addition to potential forerunners of a movement that – so far – is notably enjoyable.

RIYL: Os Mutantes, Tom Zé, Dengue Fever, Amadou & Mariam, Ali Farka Touré, The Beatles, Group Doueh, Terakaft, Tinariwen, Tartit, Bassekou Kouyate & Ngoni ba, Afel Bocoum, Vieux Farka Touré, Boubacar Traoré, Toumani Diabaté

Tamikrest – Nak Amadjar Nidounia

Tamikrest – Aratan N Tinariwen

Tamikrest -Fassous Tarahnet

Tamikrest – Ayitma Madjam

Tamikrest – Aratane N’adagh

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The Very Best are a deliciously odd trio. The band formed more than four years ago, after DJ gods Johan Karlberg and Etienne Tron of Radioclit met Esau Mwamwaya after buying a bike at Mwamwaya’s used furniture/junk store in East London. In 2008, the group released a mixtape, Esau Mwamwaya and Radioclit are the Very Best, featuring samples of artists like M.I.A, Architecture in Helsinki, and Santigold. Since then, the trio have been producing popular ballads like “Warm Heart of Africa”, inspired by Esau’s native country of Malawi. They released their official debut of the same name, Warm Heart of Africa, last August to critical acclaim from Rolling Stone, NME, and Pitchfork. I recently sat down with the band to discuss their collaboration with Ezra Koenig, the process of creating beats, and why The Very Best’s aim is to put a smile on your face.

How did you guys meet?

JOHAN: Esau ran a second- hand junk shop on my street. Etienne lived up the street, so he used to pass the shop going to my house. He bought a bike from Esau and invited him to his house warming party and that’s where I met him. He told me he was a drummer so I invited him to to the studio, thinking he was an African percussionist. As it turned out, he was more of a proper drummer and was drumming for his local church in Hackney, East London. Esau came to the studio and, as we played him some beats, he started to sing along. That day, we did the song “Chalo”, which is still on the album, Warm Heart of Africa, ’til this day. We just went from there and started recording every week; we practiced whenever there was time Esau had off work.

How long have you been playing together for?

We don’t play together in the sense of playing instruments. but we play together as in having fun. It’s been four years in September now. We chilled out and had fun and took our time making the album, then the mixtape. Now we’re just touring and doing all that comes with having a record out, but we’ve managed to almost finish up a new mixtape as we’ve been on road, so we stay creative.

As a three-piece, what does your music writing process look like?

Usually we give Esau an instrumental piece. He brings some melody ideas, which we develop together. And when we’re set on melodies, he will write the lyrics for it.

You collaborated with Ezra Koenig of Vampire Weekend on “Warm Heart of Africa.” Did you write the song with his vocals in mind?

Nah, that song was made with him and Esau in studio, at the same time the instrumental/beat was made. That was made the same morning, just about an hour before Ezra arrived in the studio. Ezra wrote the hook and recorded, then Esau came in and did his verses, and then Ezra, Esau, and us vibed together to get it all glued together the right way.

Esau, I know you grew up in East Africa. Do you feel like this greatly influenced your music?

ESAU: Everything influences my music… life, nature, love, hardship. Of course, my background inspires me too. I grew up with a lot of western music so that influences me too. Now I’m back in Malawi after nine years in England and it’s a combination of all these life experiences that really inspire me. There’s sooo much to life and sooo much to observe and experience, hence sooo much to write about.

You guys came out with “Warm Heart of Africa” in 2009. Should we be excited for a new album in the near future?

We’ve just started to toy with some new ideas, so its still very early. But there will be another album one day, we hope….

What do you aim to achieve with your music?

To go as far as we can, really. Go wherever it takes us. It’s amazing seeing how people take to your music and how it affects people. We had such a good time making this album and in general, making music together. It’s great to see that filter down to listeners. This was a happy project and it seems we managed to translate that from us being in the studio to people being at home listening or coming to the shows, taking part. We just want to put a smile on people’s faces and open up their mind to some different styles of music.

RIYL: Amadou & Mariam, Annie, Tinariwen, Vampire Weekend, Discovery, LCD Soundsystem, Ebo Taylor, Surfer Blood, Ra Ra Riot, Local Natives, Ali Farka Touré, Oumou Sangare, Salif Keita, Orchestra Baobab, Two Door Cinema Club, The Shins, Girls, Broken Bells, Boubacar Traoré, Cold War Kids, Issa Bagayogo

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The Very Best – Warm Heart of Africa (feat. Ezra Koenig)

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The Very Best – Chalo

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The Very Best – Mfamu

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Green Owl Records

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