2023 :: Favorite Music

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Welcome to the 2023 Holiday at the Sea year-end music list. There was a lot of great music in 2023, but I’ve narrowed it down to my favorite top 50, presented here in alphabetical order. I hope you see some of your favorites and find something new. I’d love to hear your thoughts. What has been your favorite music of 2023?

the 2023 Holiday at the Sea year-end music list:

  • Afro Futuristic Dreams by Idris Ackamoor & The Pyramids // BC // FB // Amzn //

  • A Trip To Bolgatanga by African Head Charge // BC // FB // Insta //Amzn //

  • Tony Allen JID018 by Tony Allen, Adrian Younge, & Ali Shaheed Muhammad (Jazz Is Dead) // site // BC // FB // Amzn //

  • New Blue Sun by André 3000 // site // Amzn //

  • My Back Was A Bridge For You To Cross by Anohni & The Johnsons // site // BC // Insta // Amzn //

  • Love In Exile by Arooj Aftab, Vijay Iyer, Shahzad Ismaily // site // Amzn //

  • Black Duck by Black Duck // BC // Amzn //

  • Sun Arcs by Blue Lake // BC // Amzn //

  • Sahel by Bombino // site // BC // FB // Amzn //

  • Keeping Secrets Will Destroy You by Bonnie “Prince” Billy // BC // Amzn //

  • Dimanche à Bamako by Bounaly // BC // Amzn //

  • the Record by boygenius // site // BC // FB // Amzn //

  • Fly or Die Fly or Die Fly or Die ((world war)) by jaimie branch // site // BC // Amzn //

  • Nocturnal Country by Sammy Brue // site // BC // FB // Amzn //

  • Villagers by Califone // site // BC // FB // Amzn //

  • Chitinous Mandible by Chitinous Mandible // site // BC // Insta // Amzn //

  • Hostile Environment by Creation Rebel // BC // Amzn //

  • Shadow Kingdom by Bob Dylan // site // FB // Amzn //

  • & the Charm by Avalon Emerson // site // BC // Insta // Amzn //

  • Some Kinda Love Performing The Music Of the Velvet Underground by the Feelies // site // BC // Amzn //

  • A River Running To Your Heart by Fruit Bats // site // BC // FB // Amzn //

  • Let the Moon Be a Planet by Steve Gunn & David Moore // BC // Amzn //

  • Philanthropy by Hauschka // site // BC // FB // Amzn //

  • Days In The Desert by High Pulp // site // BC // FB // Amzn //

  • Oh Me Oh My by Lonnie Holley // site // BC // FB // Amzn //

  • James and the Giants by James and the Giants // BC // Amzn //

  • Did You Know That There's A Tunnel Under Ocean Blvd by Lana Del Rey // site // FB // Amzn //

  • New Future City Radio by Damon Locks & Rob Mazurek // BC // Amzn //

  • No Fixed Point In Space by Modern Nature // site // BC // FB // Amzn //

  • the Age of Pleasure by Janelle Monae // site // BC // FB // Amzn //

  • Since Time Is Gravity by Natural Information Society // site // BC // Amzn //

  • Travel by the Necks // site // BC // FB // Amzn //

  • Jump On It by Bill Orcutt // site // BC // FB // Amzn //

  • Switched-On by Pachyman // site // BC // FB // Amzn //

  • After the Magic by 파란노을 (Parannoul) // BC // Insta // Amzn //

  • The Times by Phoenix Afrobeat Orchestra // site // BC // FB // Amzn //

  • Drag On Girard by Purling Hiss // BC // FB // Amzn //

  • the Window by Ratboys // site // BC // FB // Amzn //

  • Garden Party by Rose City Band // site // BC // Insta // Amzn //

  • Live at Third Man Records by Rich Ruth // BC // Insta // Amzn //

  • Robed In Rareness by Shabazz Palaces // BC // FB // Amzn //

  • Everything Is Alive by Slowdive // site // BC // FB // Amzn //

  • Javelin by Sufjan Stevens // site // BC // FB // Amzn //

  • Music Is Victory Over Time by Sunwatchers // BC // FB // Amzn //

  • Secret Stratosphere by William Tyler And The Impossible Truth // BC // FB // Amzn //

Mdou Moctar: Tiny Desk (Home) Concert (2021)

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Tuareg wunderkind Mdou Moctar performs (at home) for the NPR Tiny Desk and this is my love language.

Setlist:

  1. Ya Habibti

  2. Tala Tannam

  3. Afrique Victime

Players:

  • Mahamadou "Mdou Moctar" Souleymane: lead guitar, vocals

  • Ahmoudou Madassane: rhythm guitar, vocals

  • Mikey Coltun: bass

  • Souleymane Ibrahim: calabash

Important People:

  • Video: Mamadou Halidou, WH Moustapha, Sabrina Nichols

  • Audio: Mikey Coltun, Seth Manchester

  • Special Thanks: Dynamique Image and Machines with Magnets

Tiny Desk People:

  • Producer: Bob Boilen

  • Video Producer: Kara Frame

  • Audio Mastering: Josh Rogosin

  • Associate Producer: Bobby Carter

  • Tiny Production Team: Maia Stern, Gabrielle Pierre

  • Executive Producer: Keith Jenkins

  • Senior VP, Programming: Anya Grundmann

Tinariwen Live At KEXP

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Tinariwen live for KEXP (2014).



Setlist:

  1. Cler Achel

  2. Timadrit In Sahara

  3. Tahalamot

  4. Chaghaybou

Les Filles de Illighadad at Chicago Music Exchange

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You already know that I dig Tuareg music (browse tagged posts here). I featured the song ““Jori” by Les Filles de Illighadad on Episode 46 of The Global Elite Music Radio Podcast Supershow and have followed the group ever since. Les Filles de Illighadad join Tartit as the number of women Tuareg led groups continues to grow.

As noted in my original post: The group’s Bandcamp page says:

“Sublime recordings from rural Niger. Two very different sides of Tuareg music - dreamy ishumar acoustic guitar sessions, and the hypnotic polyphonic tende that inspires it. Guitarist Fatou Seidi Ghali and vocalist Alamnou Akrouni lead the troupe, named after the village.”

She Shreds recently partnered with Chicago Music Exchange to invite Les Filles de Illighadad to play at CME’s showroom, and to talk with Fatou Seidi Ghali. Watch the fantastic performance here and head over to She Shreds to read the interview.

You Had Me At Tuareg Guitar: 2019 Albums From Mdou Moctar and Tinariwen

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Sometimes known as “Desert Blues.”

Sometimes known as “Saharan Rock.”

Sometimes known as “Tuareg Guitar.”

Whatever you call it, there is a style of music closely associated with the Tuareg people (Kel Tamashek) and the geography of the Western Sahara desert, from Morocco extending to Mali. Steeped in its stark, unforgiving geography, and a political climate to match, the music is a derivative of blues rock and relies on open tunings and repetitive, droning, of patterns played over skittering percussion often creating an effect that many might equate with psychedelic rock. Many of the lyrics are centuries old poems and stories passed down from one generation to another. It is often highly political and is always rooted in its time, place, and people. The Tuareg people are one of the largest confederations of African Berbers and have often had to fight for their own survival and identity, whether against French colonialists, or the Malian, or Nigerian governments.

Cooked up in the sunbaked desert and under breathing the air of political struggle, “Desert Blues” often reflects the shimmery simmer of the desert heat; the very fight just to survive somewhere that seems to be actively working against you being there in the first place, which of course extends to the political struggles endured by these resilient people. The Blues isn’t just about being Blue, it’s about the fight to keep on living despite what life may bring. Often reflecting the nomadic nature of its creators, Desert Blues can be both transcendent and imminently urgent; joyous and defiant all at once. You have to live where you find yourself, even if you know you’ll be moving along soon. The fantastic label Sahel Sounds (home to Mdou Moctar) describes the music as:

“Tuareg guitar has become one of the most popular folk music in the contemporary Sahara. Originally political ballads, created in exile in Libya, today the sound has expanded to encompass everything from introspective love songs, blistering psychedelic rock, and synthesizer and drum machine. At its core, the music still relies on poetry to transmit a message, carried by the pentatonic solos of a guitar.”

The music has gained popularity over the years, in large part riding the visibility of artists like Bombino, Tinariwen, and now Mdou Moctar. Both Moctar and Tinariwen released fantastic albums in 2019 that deserve to be listened to, not just heard.

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In fact, Mdou Moctar released two albums this year. The first, was released to less fanfare and has largely flown under the radar, but in January, 2019, Jack White’s Third Man Records released Moctar’s ‘Blue Stage Session,’ a live album recorded in 2018 at Third Man Cass Corridor in Detroit.

This live set preceded Moctar’s proper studio debut, ‘Ilana (The Creator)’ which appeared three months later, in March, 2019, but the ‘Blue Stage Session’ is no less important, featuring several tracks that didn’t make it on to the later studio album, including opener ‘Tarha,’ which explodes with repeated psychedelic swirls and pounding percussion, displaying that this Moctar is not just a studio musician but a live force to be reckoned with. Much has been made about Moctar’s backstory which bears repeating if you haven’t already heard it: Moctar was raised in a strictly religious home where music was forbidden. But, much like the little boy in Coco, Moctar would not be deterred, fashioning a clandestine guitar for himself out of a piece of wood strung with brake wires from an old bicycle. He practiced in secret for hours and is a self-taught guitarist of the highest caliber.

That determination and zeal is woven throughout this live performance. This is someone who is playing because he has to. There is an urgency to the music and reminds us all of the importance music can play. It can help us rise above our circumstances while also preserving the story of the struggle to be heard. Moctar combines traditional blues with Saharan tunings and charges at the listener with guitar shreddery that doesn’t shred just to show off but because it’s in his soul.

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The live ‘Blue Stage Session’ release was followed in March 2019 by Moctar’s full-band studio debut ‘Ilana (The Creator).’ The studio album succeeds in large part because it is able to capture that sense of joyous urgency made apparent in the live set. Lots of bands are great live but struggle in the studio, or vice versa, but Moctar shows that, despite his self-taught nature (or maybe because of it?), he is adept at both.

Some of the songs have a slightly slower tempo which does not hinder from the music’s urgency but does allow for the guitar playing to shine through as the real star. Moctar’s repeated patterns draw you in with their drone-like qualities, but it’s also clear that this music shares a lineage with the choogle-boogie of John Lee Hooker, early ZZ Top, and others. The studio allows the songs room to breathe while also retaining their spontaneity (the album was largely recorded live in the studio). Recorded in Detroit at the tail-end of touring, the band was cohesive and tight yet the compositions don’t lose any of their spaciousness or immediacy. The added production of the studio is minimal and the tracks were then taken back to Niger for final production.

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While Moctar’s music draws focuses a self-taught guitarist, Tinariwen is a Desert Blues collective. The same swirling, insistent guitars and driving percussion are present, but the focus is never on a single player. Watch a short documentary about the band and the new album here.

Tinariwen was was formed in 1979 in Algeria, but returned to their native in the 1990’s after a cease-fire. Perhaps more than anyone else (possibly with the exception of Bombino?) Tinariwen have been at the forefront of bringing Tuareg guitar to the world’s attention. The group has done this by relentless touring including Denmark’s Roskilde Festival and high-profile fans including NPR and others.

Tinariwen has also held closely to a collaborative approach throughout its history, not just within the group but drawing from outside as well. On ‘Amadjar’ Tinariwen’s ninth album, collaborators appear on many of the tracks. For example, five tracks here feature Warren Ellis of The Dirty Three and Bad Seeds fame and there are other notable collaborators including Willie Nelson’s son Micah on ‘Taqkal Tarha’ and Cass McCombs on closing track ‘Lalla’. The band recorded these tracks in the camper-van turned studio in Southern Morocco (watch the video featured here).

The tempos are often slower than Moctar’s but the music is no less insistent, driving, or mesmerizing, swirling in and out of complex patterns forming a droning effect that rises like the desert shimmer but, like the desert, doesn’t want you staying in one place for too long. This is music shaped by and for life’s journey, as difficult as it often is. This shimmering swirl lays the perfect foundation for someone like Ellis, who's violin punctuations serve as a counterpoint for the electrifying solos of a songs like the album’s second track ‘Zawal.” The vocals throughout the album are often presented in a call and response pattern which draws the listener in to a collaborative experience evoking the desert haze and the joyful fierceness of living. Noura Mint Seymali’s vocals soar above ‘Amalouna’ but never leave us below. We hear in the choir-response and we feel her short but piercing vocal solo. The danger with bringing in collaborators is that a group might lose their own sense of identity, but ‘Amadjar’ finds Tinariwen bringing their collaborators along for the journey rather than finding themselves drowned out. This is, without a doubt, a Tinariwen record and it is a very good one.

The album’s acoustic guitars, violin and even mandolin remind us of the folk/rural nature of the music’s origins, but it is always insistent music, perhaps because of the nomadic nature of its creators; it is driven by urgent percussion, even when the vocals feel calm, even joyous. It is this struggle between transcendence and imminence, between the journey to wherever is next and finding one’s self on that journey that has always been at the heart of Tinariwen’s music and ‘Amadjar’ finds the band, perhaps content with the journey, but not standing still by any means.