Da ich mir jetzt seit zwei Stunden ununterbrochen Musik von T i n a r i w e n anhöre, die Klaus, KSTR, empfohlen hat:
Obwohl ich normalerweise nur noch Langspielplatten auflege, möchte ich diese Musik hier auch nochmal in den Vordergrund schieben.
Die Musik ist sehr rythmisch und wird durch den Gesang, drei E-Gitarren, eine Bass-Gitarre und als Rhythmusinstrumentierung eine Djembe und Händeklatschen auf die Beine gestellt. In die Beine - da geht diese Musik auch sofort hin! Die Musik ist zum Tanz geeignet. Mir gefällt dieser Sound aber vor allem wegen eines auf mich sehr hypnotisch wirkenden Sog, der diese Musik erzeugt und den drei elektrischen Gitarren. Man kann die Amps hören, ein wenig wunderbares Rauschen, verzerrt sind die Gitarren zum Teil auch .. und schneidend elektrisch - einfach sehr sehr schön. Die tiefgestimmte Djembe pocht sehr entspannt den Rythmus. Diese Musik ist in meinen Ohren die Entdeckung der letzten Monate! Dank Klaus!
Was Klaus in seiner Empfehlung zu Tinariwen, dem Album Aman Iman: Water Is Life, schrieb hat mich sofort interessiert und dann war es klar, daß ich in der eMusi nach Tiwarien einfach mal suche... und fündig geworden bin. Mit dem schon erwähnten Album und einem zweiten: Imidiwan: Companions
— Evan C. Gutierrez , All Music Guide hat geschrieben:Tinariwen is a Tuareg group that performs in a Middle Eastern/African style similar to artists like Ali Farka Toure or Nusrat Fateh Ali Khan. All of the musicians originating from the southern Sahara, the group's name, meaning "empty places," is a reflection of their lands of origin. The band formed in the rebel camps of Colonel Ghadaffi, as each of the musicians had been forced from their nomadic lifestyle into involuntary military service. Surrounded by a displaced nation of their peers, Tinariwen forged a new style of music, trading their traditional lutes and shepherd's flutes for electric guitars and drums. The style that resulted was dubbed Tishoumaren, "the music of the unemployed." Their music addressed issues such as political awakening, problems of exile, repression of their people, and demands of sovereignty. In a region with no postal or telephone system, their tapes soon became a grassroots voice of rebellion and a rallying point for a disenfranchised nation. Though outlawed in Algeria and Mali, 2001's The Radio Tisdas Sessions and 2004's Amassakoul are available to Western audiences.
Chris Nickson hat geschrieben:The best rock music on the planet isn't coming from Britain or America. It doesn't shred or headbang. Instead, it strides out of the dust of Sahara, the crucible of the blues, with a gun in one hand and a guitar in the other. It's made by Tinariwen, one-time nomadic Touareg rebels who, these days, fight with six-string axes rather than AK-47s, and from the start of their fourth outing it's obvious the fire still burns hard in them. The sound might be a little fuller, there's a touch more emphasis on communal backing vocals, and a greater feeling of space for the instruments, but at heart, the sonics remain largely unchanged from their previous work. The music still builds on irresistible, slow-burn desert grooves that twist and turn, sometimes atavistically funky ("Tenhert"), other times delightfully playful ("Initlayaghen"). Guitars and voices wind and snake around each other, ratcheting up the tension inch by inch, so that when they do finally unleash the full power, as on "Imazaghen N Adagh," it's like standing in a raging whirlwind — scary and exhilarating at the same time. This is rock at its most primal and basic: raw, passionate, and brutal, the music of hardship and survival. The late Ali Farka Touré might have been the first to really explore the desert blues, but it's Tinariwen who keep mining the deepest seams and they're still bringing up the motherlode.
Da macht es gleich auch wieder Spass, die Musik von einer Festplatte zu hören. O.K. - nicht aktiv. Mein Computer ist an eine ältere Elektronik und ältere Lautsprecher angeschlossen, die aber unmittelbar hinter mir an diesem Platz stehen.James McNair hat geschrieben:OK, I’ll fess up: I only discovered Mali’s Tinariwen after Robert Plant raved about them in an interview four years back. But the nomadic desert blues collective has in fact existed in some form or other since 1979, their impassioned, highly politicised sound an issue-raising catalyst for the Tuareg people of the southern Sahara long before someone pulled a Ry Cooder and helped record their wonderfully stirring music for consumption outside of Africa.
On Aman Iman — as on their "official" 2001 debut The Radio Tisdas Sessions — that person is producer Justin Adams, the multi-instrumentalist and erstwhile Wayward Sheiks member who is also a member of Robert Plant’s current band, the Strange Sensation. Adams does an excellent job, acting as facilitator, not meddlesome shaper.
This time out, Tinariwen has made a fabulously skewed blues album that restores a winning exoticism to that oft-heard genre. The return of near-mythic founding member Mohamed Ag Itlale after six years in the desert (and you can take that quite literally) proves memorable, his improvised poetry on “Ahimana” intoxicating even if, like me, you don’t understand a word of his native tongue.
Gritty and wholly involving, the album is a delicious tangle of snaking Malian guitars, Möbius strip-like rhythms, fat bass, clanking percussion and call-and-response chanting. The hypnotic pulse of “Cler Achel” is such that resistance is futile, while “Tamatant Tilay” further underlines Tinariwen’s status as lords of the feral dance. But there are also gentler moods, the meditative-sounding “Izarar Tenéré” so soothing that it’s easy to forget that the members of Tinariwen are in fact fearsome, Colonel Gaddafi-trained guerrillas-turned-troubadours.
Word is that the final mix of the album had to be submitted for the approval of the Tuareg tribal elders, and that band percussionist Said Ag Ayad ferried it to them by camel. Now, how cool is that?
Gruß Ingo
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