Senegalese guitarist Tidiane Thiam's third Sahel Sounds LP teams him up with beatmaker Ndiaye Moctar, who backs Thiam's ornate flourishes with hiccuping, blown-out drums and illusory field recordings.
Meaning "Africa, it's time" in Pulaar, 'Africa Yontii' is a hopeful album that dreams of co-operation and new opportunities for the continent's youth. It's a record that wears its philosophy on its sleeve: Thiam has been reworking Pulaar folk sounds - like wedding songs and river music - for years, and here refreshes his concept with help from Moctar. The studio M.N. Records producer is best known for making hip-hop, but slips into a new mode here, throwing down saturated 'Grindin'-style thumps and staccato bass knocks on 'Néené Africa' and woody clicks on the symphonic 'Oo Duna'.
Thiam's playing is expressive throughout; dispensing with words, he uses his dextrous phrasing to sing, like on the unaccompanied 'Malisadio', one of the album's most disarming compositions. Elsewhere, on 'Yangue', he shifts into a joyful groove, playing against Samba Ba's electric guitar and Alioune Ba's calebasse, showing his virtuosity with a subtle wink.
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Senegalese guitarist Tidiane Thiam's third Sahel Sounds LP teams him up with beatmaker Ndiaye Moctar, who backs Thiam's ornate flourishes with hiccuping, blown-out drums and illusory field recordings.
Meaning "Africa, it's time" in Pulaar, 'Africa Yontii' is a hopeful album that dreams of co-operation and new opportunities for the continent's youth. It's a record that wears its philosophy on its sleeve: Thiam has been reworking Pulaar folk sounds - like wedding songs and river music - for years, and here refreshes his concept with help from Moctar. The studio M.N. Records producer is best known for making hip-hop, but slips into a new mode here, throwing down saturated 'Grindin'-style thumps and staccato bass knocks on 'Néené Africa' and woody clicks on the symphonic 'Oo Duna'.
Thiam's playing is expressive throughout; dispensing with words, he uses his dextrous phrasing to sing, like on the unaccompanied 'Malisadio', one of the album's most disarming compositions. Elsewhere, on 'Yangue', he shifts into a joyful groove, playing against Samba Ba's electric guitar and Alioune Ba's calebasse, showing his virtuosity with a subtle wink.
Senegalese guitarist Tidiane Thiam's third Sahel Sounds LP teams him up with beatmaker Ndiaye Moctar, who backs Thiam's ornate flourishes with hiccuping, blown-out drums and illusory field recordings.
Meaning "Africa, it's time" in Pulaar, 'Africa Yontii' is a hopeful album that dreams of co-operation and new opportunities for the continent's youth. It's a record that wears its philosophy on its sleeve: Thiam has been reworking Pulaar folk sounds - like wedding songs and river music - for years, and here refreshes his concept with help from Moctar. The studio M.N. Records producer is best known for making hip-hop, but slips into a new mode here, throwing down saturated 'Grindin'-style thumps and staccato bass knocks on 'Néené Africa' and woody clicks on the symphonic 'Oo Duna'.
Thiam's playing is expressive throughout; dispensing with words, he uses his dextrous phrasing to sing, like on the unaccompanied 'Malisadio', one of the album's most disarming compositions. Elsewhere, on 'Yangue', he shifts into a joyful groove, playing against Samba Ba's electric guitar and Alioune Ba's calebasse, showing his virtuosity with a subtle wink.
Senegalese guitarist Tidiane Thiam's third Sahel Sounds LP teams him up with beatmaker Ndiaye Moctar, who backs Thiam's ornate flourishes with hiccuping, blown-out drums and illusory field recordings.
Meaning "Africa, it's time" in Pulaar, 'Africa Yontii' is a hopeful album that dreams of co-operation and new opportunities for the continent's youth. It's a record that wears its philosophy on its sleeve: Thiam has been reworking Pulaar folk sounds - like wedding songs and river music - for years, and here refreshes his concept with help from Moctar. The studio M.N. Records producer is best known for making hip-hop, but slips into a new mode here, throwing down saturated 'Grindin'-style thumps and staccato bass knocks on 'Néené Africa' and woody clicks on the symphonic 'Oo Duna'.
Thiam's playing is expressive throughout; dispensing with words, he uses his dextrous phrasing to sing, like on the unaccompanied 'Malisadio', one of the album's most disarming compositions. Elsewhere, on 'Yangue', he shifts into a joyful groove, playing against Samba Ba's electric guitar and Alioune Ba's calebasse, showing his virtuosity with a subtle wink.
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Senegalese guitarist Tidiane Thiam's third Sahel Sounds LP teams him up with beatmaker Ndiaye Moctar, who backs Thiam's ornate flourishes with hiccuping, blown-out drums and illusory field recordings.
Meaning "Africa, it's time" in Pulaar, 'Africa Yontii' is a hopeful album that dreams of co-operation and new opportunities for the continent's youth. It's a record that wears its philosophy on its sleeve: Thiam has been reworking Pulaar folk sounds - like wedding songs and river music - for years, and here refreshes his concept with help from Moctar. The studio M.N. Records producer is best known for making hip-hop, but slips into a new mode here, throwing down saturated 'Grindin'-style thumps and staccato bass knocks on 'Néené Africa' and woody clicks on the symphonic 'Oo Duna'.
Thiam's playing is expressive throughout; dispensing with words, he uses his dextrous phrasing to sing, like on the unaccompanied 'Malisadio', one of the album's most disarming compositions. Elsewhere, on 'Yangue', he shifts into a joyful groove, playing against Samba Ba's electric guitar and Alioune Ba's calebasse, showing his virtuosity with a subtle wink.