Tinariwen - Biography
By Nick Castro
Tinariwen were formed in the early 80's by Tuareg musicians of Mali, who not only shared a love to Tuareg musics and traditions, but also of rock and roll, especially the guitar stylings of Jimi Hendrix. The resulting sound is a wholly unique one, that combines elements of funk, Tuareg desert music, and rock guitar. As a result of their legendary festival performances, they have finally began to garner the attention they so richly deserve. Now that the world is getting a chance to hear their infectious rhythms, Tinariwen's popularity is picking up steam very quickly, and in recent years, their music has carried them from Australia to Europe and also to the US.
The roots of Tinariwen can be traced back to the early 80's, when Ibrahim Ag Alhabib founded the group and began to record cassettes and distribute them in Africa. Alhabib had been involved in the military, fighting the British with a Tuareg group of soldiers, who were conned into thinking that they were fighting for their liberation. The Tuaregs armies were in pursuit of an autonomous nation of Tuareg and Berber peoples, but as the 80's progressed, it became painfully apparent that this was not the same goal that the power structure had. It has been this plight that has become one of the main themes of the music of Tinariwen, who sing in both French and their native tongue, Tamashek.
Tinariwen became not only the first Tuareg group to utilize electric instruments, they also became the official voice of the Tuareg movement, a position thrust on them by the Tuareg liberation movement leader, Lyad Ag Ghali, who saw not only the musical potential in the group, but the potential to rally the masses, especially the Tuareg youth, who were struggling with their own identities in the face of British occupation, and Mailian and Nigerian governments, who saw no place in their societies for the your Tuaregs. Tinariwen, financed by Ghali, who purchased their equipment and financed their rehearsals and living expenses, began to play for fellow Tuaregs throughout the 80's, as well as record prolifically on makeshift recording equipment, which allowed them to make cassette tapes of their music and distribute them through the most grass roots mean possible, and even then, mainly at their concerts only.
When, in the mid 90's, the rebellion seemed to be coming to an end, and peace was finally on the horizon, Tinariwen were offered government positions by Mali, which the majority of them refused, instead attempting to try their hands at music, professionally. They had already made a name for themselves with their native peoples, the Tuareg, as well as in their native country, Mali. Through some connections made with their friends in the band, Lo'Jo, Tinariwen got an opportunity to tour in France in 1999, which began to spread their name around the world music communities, and finally outside of their Saharan homeland. This tour not only exposed them to new audiences, it exposed them to booking agents and record labels, who were eager to put Tinariwen on the festival circuit and in the recording studio. They got booked at the now famous, Festival in the Desert, in 1999, which they have played several times since. They also released their first album, which was a radio session they he recently done, called, Radio Tisdas Sessions (2001 - Wayward). Fans of other Malian bluesmen, such as Ali Farke Toure, were astounded upon hearing this music, which was so familiar, yet so otherworldly and new. the group dynamic, that Tinariwen had cultivated over the last 20 years, was glaringly evident with their heavy unison vocal choruses and guitar doubled vocal melodies. The rhythms are distinctly Saharan yet funky enough to appeal to a mass western audience as well.
Tinariwen quickly followed up with their first studio effort, Amassakoul (2004 - World Village), which became an instant classic in the world music scene. This album is the one that truly helped them to crossover into more mainstream music markets, with many young American music fans, though they could not understand the lyrics, could identify with the funky rhythms and electric guitars, which were reminiscent of 70's American rock moves at times. Due in large part to this recording, Tinariwen have even been invited to play American indie rock festivals, like Coachella. Amassakoul managed to bridge the divide between many cultures though, and the rhythms on board can satisfy fans of nearly any kinds of music. There is also a tendency amongst world music purists, to preserve the natural integrity of music through field recordings, rather than properly set up studio situations, but the transparent production on this album suits the music perfectly, which can be heard in every nuance, yet still maintains the raws and gritty feel of a live show. The group even makes moves towards modern day hip hop, much to the dismay of their older fans, on the song, "Arawan", which finds of the members slowly, and calmly, rapping over a heavy groove.
Tinariwen's third CD effort, Aman Iman: Water is Life (2007 - World Village), finds the group pursuing amore straight ahead rock sound, which is sure to solidify their position as style makers amongst their younger American and European music fans. Though the guitars have always been heavily present in their music, they really take the front seat on this album.
Tinariwen have also been featured in the documentary film, Teshumara, or the guitars of the revolution, which was made in 2007 and recalls the adventures of the Tuareg people during their struggle for independence. Tinariwen are still in their prime and much more can be expected from them.