1.Tenere Maloulat (feat. Warren Ellis) 03:42
2.Zawal (feat. Warren Ellis, Noura Mint Seymali, Jeiche Ould Chighaly) 04:04
3.Amalouna (feat. Noura Mint Seymali, Stephen O’Malley) 04:01
4.Taqkal Tarha (feat. Micah Nelson) 03:59
5.Anina 03:43
6.Madjam Mahilkamen 03:47
7.Takount (feat. Noura Mint Seymali) 03:11
8.Iklam Dglour (feat. Warren Ellis, Rodolphe Burger) 04:35
9.Kel Tinawen (feat. Cass McCombs) 03:57
10.Itous Ohar (feat. Cass McCombs) 04:19
11.Mhadjar Yassouf Idjan (feat. Warren Ellis) 04:22
12.Wartilla (feat. Warren Ellis, Stephen O’Malley) 05:36
13.Lalla 04:56 

Ibrahim Ag Alhabib - lead vocals, lead guitars 
Abdallah Ag Alhousseyni - lead vocals, lead guitar
Alhassane Ag - Touhami lead vocals and lead guitar
Eyadou Ag Leche - bass, electric guitar, acoustic guitar, background vocals
Elaga Ag Hamid - guitars, background vocals, claps
Said Ag Ayad - djembe, calebasse, derbouka background vocals, claps, acoustic rhythm guitar
Amar Chaoui - additional percussion 
Lala and Aicha - background vocals
Rodolphe Burger - guitar 
Warren Ellis - violin, loops 
Cass McCombs - guitar, vocals and acoustic guitar
Noura Mint Seymali - vocals and ardîn
Micah Neslon - charango, mandolin
Stephen O’Malley - guitar
Jeiche Ould Chighaly - guitar

There is a hazy expansiveness to Tuareg band Tinariwen’s music that recalls the desert setting in which it was created. Fuzzy guitars are rhythmically picked over undulating rhythms and gravelly baritone vocals; it is almost as if you can hear a sand-laden breeze passing between the mics as the band record.

For their ninth album, the nine-piece group took inspiration from that desert breeze as they rehearsed and wrote their music in the Moroccan Sahara en route to recording in Mauritania. The result is an impressionistic record full of references to “becoming the son of gazelles / who grew up in the meanderings of the desert,” on opener Tenere Maloulat, “golden sand glittering in the light of the moon” on Amalouna, and “the burning sun, sparks spouting from its entrails” on Zawal. It is an imaginative music that places the listener entirely within the nomadic Tinariwen universe, regardless of where you are listening.

Amadjar features a host of impressive guests, including Bad Seeds co-founder Warren Ellis looping a plaintive violin line on Mhadjar Yassouf Idjan and bowing with distorted reverb on the clattering Iklam Dglour, while guitarist Cass McCombs provides a floating falsetto melody and oneiric spoken word for Kel Tinawen. But the true artistry comes from the deft interplay between the younger and long-serving members of Tinawiren: percussionist Said Ag Ayad’s polyrhythms with bassist Eyadou Ag Leche, the joyous choral backing vocals from all members, and, crucially, the weather-worn delivery of founding lead singer Ibrahim Ag Alhabib tying each composition together.

This is a band that has been in existence, in one form or another, since 1979. Never resorting to cliche, they continue to be just as inspired by the universal themes of love, politics and nature as they always have been. Their musical delivery is just as heartfelt and forceful for it. ---Ammar Kalia, theguardian.com

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1 	Tiwàyyen 	
2 	Sastanàqqàm 	
3 	Nizzagh Ijbal 	
4 	Hayati 	
5 	Ittus 	
6 	Ténéré Tàqqàl 	
7 	Imidiwàn N-àkall-In 	
8 	Talyat 	
9 	Assàwt 	
10 	Arhegh Ad Annàgh 	
11 	Nànnuflày

Bass, Electric Guitar – Eyadou Ag Leche
Electric Guitar – Iyad Moussa Ben Abderahmane
Lead Guitar, Lead Vocals – Ibrahim Ag Alhabib
You-you – Mina Wallet Oumar
Lead Guitar, Lead Vocals – Abdallah Ag Alhousseyni
Lead Guitar, Lead Vocals – Alhassane Ag Touhami
Backing Vocals – Abdelkader Ourzig, Abdoul Wahab Cheich, Haibdallah Akhamouk (Imarhan), 
 Hicham Bouhasse, M'bark Bellal, Melghaynine Sifori (The Kids From M'Hamid),
 Said Laghferi, Tahar Khaldi 
Backing Vocals, Handclaps – Abdallah Ag Alhousseyni, Alhassane Ag Touhami, Eyadou Ag Leche
Cigarbox Guitar – Alain Johannes
Djembe, Calabash, Backing Vocals, Handclaps – Said Ag Ayad
Electric Guitar – Kurt Vile, Matt Sweeney 
Guitar, Backing Vocals, Handclaps – Elaga Ag Hamid
Tambours, Percussion – The Gangas De Tagounite 
Vocals – Mark Lanegan 

Decades of cultural displacement, political unrest, and even a kidnapping have somehow failed to dim the spirit of Tinariwen, the long-tenured Saharan desert blues outfit from Northern Mali. Over 30 years into their career and with six albums to their credit, the Tuareg band has maintained a global presence and garnered widespread critical acclaim for its distinctive sound fusing West African assouf traditions with a potent multi-guitar attack. For their seventh album, Elwan, Tinariwen reunited with producer Patrick Votan, who also helmed 2014's dramatic Emmaar. Just prior to Emmaar, the band was exiled from Mali, fleeing from the militant Islamist regime Ansar Dine, who denounced popular music as "Satan's music." With their homeland still in conflict, this album marks the second time the embattled musicians were unable to record on native soil. Captured in France, Morocco, and California, Elwan is a work of subtle power, relying less on the atmospheric grace of its predecessors and focusing on the distilled, fine-tuned engine of Tinariwen's percussive core. Overall, the album's production is more immediate and, with its tasteful contingent of rock-oriented guests like Kurt Vile, Mark Lanegan, Alain Johannes, and Matt Sweeney, the arrangements still remain spare and effective. On the slowly unfurling "Ténéré Tàqqàl," gently snaking riffs belie the tension of the lyrics, which make reference to uprisings, both human and animal. On "Imidiwàn N-Àkall-In," a track full of quietly roiling tension, bandleader Ibrahim Ag Alhabib sings "My own people have abandoned their ancestral ways, all that's left is a groaning land full of old people and children." While there is certainly bitterness throughout Elwan's 13 tracks, there is hope, love, and motivation, too. On the dreamy "Nànnuflày," a spray of smoothly interlocking guitar riffs build as Alhabib and the group deliver a call-and-response to which guest vocalist Lanegan replies "No sleepwalking, don't keep me apart, I'm through sleepwalking, God be in my heart." Exiles, explorers, and seekers of inner truth, Tinariwen once again deliver a vital and engaging album. ---Timothy Monger, AllMusic Review

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1. Toumast Tincha
2. Chaghaybou
3. Arhegh Danagh
4. Timadrit In Sahara
5. Imidiwan Ahi Sigdim
6. Tahalamot
7. Sendad Eghlalan
8. Imdiwanin ahi Tifhamam
9. Koud Edhaz Emin
10. Emajer
11. Aghregh Medin

Ibrahim Ag Alhabib - Guitar, Vocals
Abdallah Ag Alhousseyni - Clapping, Guitar, Vocals
Elaga Ag Hamid - Guitar, Vocals (Background), Clapping
Fats Kaplin - Fiddle, Pedal Steel Guitar
Alhassane Ag Touhami - Guitar, Vocals, Clapping
Fats Kaplin - Fiddle, Pedal Steel Guitar
Josh Klinghoffer – Guitar
Mike Sweeney - Guitar
Eyadou Ag Leche - Bass, Guitars, Vocals, Clapping
Saul Williams - Spoken Word

Challenging circumstances are nothing new to the Kel Tamashek (Tuareg) band Tinariwen. After all, most of their members had been Libyan military-trained rebel fighters engaged in active revolt against the Malian government before the Tamanrasset Accords in 1991. Beginning in 2012, real danger is ever present in northern Mali -- due to the incursion of Islamist militias -- for the Tuareg people and to musicians in particular. So much so, many, including Tinariwen, have fled the country. One of their members, Abdallah Ag Lamida, was even kidnapped, though he has since been released. Tinariwen was forced to exchange one desert -- the Sahara -- for another in Joshua Tree National Park in the United States in order to record Emmaar (without Ag Lamida, who was freed after recording began). Once more produced by Patrick Votan, the sound here retains its "desert blues" heart but is also more expansive -- there's no need for alarm, really. The traditional interlocking guitar interplay involves more drones as lead lines snake underneath them, and there is more reverb in this mix. All of the material was written by leader Ibrahim Ag Alhabib or his bandmembers. Exile, anger, and displacement populate the songs on Emmaar. Multi-instrumentalist Fats Kaplin adds his spiraling fiddle to "Imdiwanin Ahi Tifhamamone" and pedal steel to the militant opener "Toumast Tincha" (that also features guitar from Josh Klinghoffer and a spoken intro by Saul Williams), and the atmospheric dirge "Sendad Eghlalan." Percussionist Amar Chaoui helps out on the stinging "Chaghaybou" and five other tracks, adding a sense of more dynamic urgency to balance the more drone-centric approach. "Emajer," with guest guitarist Matt Sweeney, is a different tack for Tinariwen. Its vibe is more American Southwest (which isn't so strange since this is a nomadic band after all). But Ag Alhabib's lyric and melody are pure African folk song, reflecting loss and longing, as the rolling percussion, voices, and guitars wind around one in multiple melodies underscoring the emotion. The interwoven acoustic guitars on closer "Aghregh Medin (Hassan's Song)" offer a staggered minor-key blues. They highlight the disillusionment in the lyric "... I no longer believe in unity/I will only believe in it again if/Those opinions serve a common ideal/That of the people from which they emanate." The different textures and timbres at work on Emmaar reveal Tinariwen's evolution; one derived from the need to grow musically, as well as respond to adversity with creativity. ---Thom Jurek, Rovi

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01. Cler Achel (4:27)
02. Mano Dayak (5:43)
03. Matadjem Yinmixan (5:45)
04. Ahimana (4:58)
05. Soixante Trois (4:13)
06. Toumast (4:26)
07. Imidiwan Winakalin (4:27)
08. Awa Didjen (4:14)
09. Ikyadarh Dim (3:37)
10. Tamatant Tilay (3:21)
11. Assouf (3:58)
12. Izararh Tenere (5:04)

Musicians:
Abdallah Ag Alhousseyni (vocals, guitar, acoustic guitar, hand claps, background vocals); 
Mohammed Ag Itlale (vocals, guitar, acoustic guitar); 
Alhassane Touhami (vocals, guitar, hand claps, background vocals); 
Ibrahim Ag Alhabib (vocals, guitar); 
Elaga Ag Hamid (guitar, hand claps, background vocals); 
Abdallah Ag Lamida "Intidao" (guitar, background vocals); 
Justin Adams (acoustic guitar, lute, background vocals); 
Eyadou Ag Leche (bass guitar, hand claps, background vocals); 
Salah Dawson Miller (congas, shekere); 
Saďd Ag Ayad (hi-hat, djembe, hand claps, background vocals); 
Wonou Walet Sidati, Kesa Walet Hamid (hand claps, background vocals); 
Hamid Ekawel (background vocals); Mama Livio, Manaki Diallo.

Their name means "Empty Places" in their native Tamashek language, the tongue of a people known to most of the outside world as the Tuareg. The Tuareg, who refer to themselves as the Kel Tamashek ("those who speak Tamashek") are traditionally nomadic, occupying a vast swath of the Western Sahara that today is split between five different countries. Tinariwen formed in a refugee camp in Libya in the early 1980s; most of the members were living in exile from their homes in Mali, banished in the wake of a civil war and a wave of government repression.

You could say the group, whose membership is indefinite, but generally contains about six guitarists and a few female singer/percussionists, plays a kind of desert blues, not entirely removed from the transcendent work of Ali Farka Touré. But it's not blues in the typical Westerner sense. For starters, one chord is almost always enough in this music, but more than that, the blues is present as a sense of intense longing and defiance in the face of despair that hums in sympathetic vibration with its trans-Atlantic cousin.

Aman Iman is Tinariwen's third internationally released album, and it's the most powerful statement they've issued so far. It begins with guitars that conjure so much: the vast emptiness of the Sahel, the endlessness of a desert sky, the gradual shift of sands and the sudden violence of a sandstorm. "Cler Achel" ("I Spent the Day") is a song for the displaced, ending with the couplet (sung in Tamashek), "It's a time that separates the beloved from those they love/ And when you think of them, painful obsessive thoughts are all that come." Principle vocalist Ibrahim Ag Alhabib is echoed by a chanting choir as the guitars swirl around him in hypnotic waves, oddly spectral and earthly at the same time.

Tinariwen more fully embraces rock texture and volume on this album, opening "Assouf" (roughly, "Longing") with a ferocious electric guitar solo edged with wah-wah pedal and distortion. "Matadjem Yinmixan" ("Why All This Hate Between You?") just rocks, clomping along on a buoyant beat that sends the guitars fluttering off on flights that John Coltrane might have admired during his post-modal phase. There's tension and release in these songs, but the crescendo and diminuendo of the music never feels calculated, flowing with an open-ended spontaneity that producer Justin Adams captures brilliantly simply by refusing to manipulate or impede it.

The music of Tinariwen is at once exotic and familiar-- the scales and arrangements are as strange to our ears as the language they sing in, but there's a force operating on a more subliminal level that unites it to something rattling around inside anyone who was brought up on blues or rock & roll. It's music of longing and rebellion, weary wisdom and restless energy, and it sounds so, so good. Don't let it pass you by. --- Joe Tangari, pitchfork.com

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01. Amassakoul 'N' Tenere [3:24]
02. Oualahila Ar Tesninam [3:48]
03. Chatma [5:36]
04. Arawan [4:07]
05. Chet Boghassa [3:53]
06. Amidinin [2:51]
07. Tenere Dafeo Nikchan [4:51]
08. Aldhechen Manin [3:54]
09. Alkhar Dessouf [4:55]
10. Eh Massina Sintadoben [4:30]
11. Assoul [4:06]

Musicians:
Alhousseïni Abdoulahi 	- Calebasse, Choir/Chorus, Guitar
Saïd Ag Ayad - Choeurs, Choir/Chorus, Djembe, Percussion
Issa Dicko - Choir/Chorus
Philippe Brix - Mixing, Producer
Justin Adams - Mixing, Producer

Tinariwen strip rock down to its basic building blocks of rhythm, guitars, and voice. On their second CD there are no fancy studio tricks or multiple overdubs. They stick to what they've shown they do well -- keep the music raw and emotional. While there are similarities to the desert blues of Mali, these Tuareg nomads from the Western Sahara are as much as rock band as the Stones at their best, capable of conjuring up magic with a guitar riff or lick. Oftentimes, the music has the same bluesy, undulating, hypnotic rhythm of a camel crossing the sand, as on "Aldhechen Manin." But they can also crank the amps and unleash something to tingle the spine and feet, which they do on "Oualahila Ar Tesninam," as frantic and primal a piece of rock & roll as you're likely to find. There's even a touch of rap on "Arawan." But there's a complexity in their basic approach, the interlocking layers of electric guitars and the plaintive, defiant voices. To listen to Tinariwen is to believe once more in rock and its power. This is angry and passionate; it's dangerous music in the very best sense. Western bands might have forgotten how to rock as if their lives depended on it; Tinariwen can teach them. ---Chris Nickson, Rovi

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