Mdou Moctar, ‘Funeral For Justice’: Mdou Moctar: ​​music like a huge dune field | Babelia

Mdou Moctar, ‘Funeral For Justice’: Mdou Moctar: ​​music like a huge dune field | Babelia
Mdou Moctar, ‘Funeral For Justice’: Mdou Moctar: ​​music like a huge dune field | Babelia

“This is how the world ends / not with a bang but with a whimper.” This sentence by TS Eliot, from his poem The hollow menseems written for the closing of Funeral For Justice, the seventh and recent album by Tuareg musician Mdou Moctar. ‘Modern Slaves’, the piece in question, is about how the world tends to be selective with human beings. It could be said that it is a piece that the singer and guitarist from Niger had imprinted on his memory, since its title corresponds to a phrase uttered by him five years ago in an interview with the newspaper The Guardian. Almost acoustic, with the percussions very present and the text sounding like a litany, ‘Modern Slaves’ is a beautiful song to freedom that runs sinuous and enveloping. It is the epilogue to an album that begins like the fires of hell, with the composition that gives it its name, with a hurtful guitar, resounding bases and agitating voices, transporting the blues from the sands to the stony paths of hurtful rock. A reminder for the leaders who are bleeding Africa and, more specifically, Niger: “Regain control of your countries, rich in resources, and stop sleeping.”

The Nigerien is the voice of his country’s conscience. He sings in Tamasheq and his music includes blues, rock and traditional sounds.

Mdou Moctar is the voice of conscience of his country and of the Tuareg people. He sings in Tamasheq (he dedicates the song ‘Inmouhar’ to the need to preserve that language) and is accompanied on the adventure by drummer Souleymane Ibrahim, bassist Ahmoudou Madassane and American producer and bassist Mike Coltum. His band falls into that somewhat vague taxonomy known as blues of the desert, along with groups and performers such as Tinariwen, Bombino, Tamikrest, Tartik and Imarhan, to name just a few. His music, like that of his colleagues, participates in the blues, of rock and traditional music from North Africa, and is circular, responsorial and choral, but, without losing those qualities, it increasingly leans towards a rock of fiery guitars that pass without interruption from the Kaffir rhythm to the melody balsamic. Mdou often says, to respond to the usual press headlines, that he is neither Jimi Hendrix nor a resurrected Eddie Van Halen with his technique. tapping: “What really matters to me are the messages we can convey, as they come from our hearts.”

In Funeral For Justice There is no shortage of these warnings, as it is a resounding anti-colonial artifact: ‘Oh, France’, one of the most brilliant, energetic and explicit compositions in the conjugation of styles, is a broadside against the French country, whose military left Niger in December of the year past: “France’s actions are often disguised as cruelty / We are better off without their turbulent relationship.” ‘Sousoume Tamacheq’, traversed throughout by a guitar storm, but eloquent in its African roots, recalls the precarious situation of the Tuaregs, living in Niger, Mali and Algeria: “Oppressed in all three / In addition to the lack of unity, the Ignorance is the third problem.”

Between explosions and lamentations, Mdou Moctar’s music is like a huge field of dunes. The desert advances.

Mdou Moctar

Funeral For Justice
Matador / Popstock!

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