Eighth album from these Malian desert blues legends. This time they’re joined by a number of Western musicians including Kurt Vile. Due to the dangerous situation in northern Mali, Tinariwen split recording this between Paris, Joshua Tree, and southern Morocco. The lyrics continue to focus on the future of the Tuareg people, who have gone through tremendous political conflict lately. It makes for a world-weary, beautiful, and deeply meaningful record. Already one of my favorites of 2017.

1. (3:44) *** Tiwàyyen—Mid-tempo, loping, with a bassy undercurrent.
2. (3:25) *** Sastanàqqàm—Amazing groove. Multiple voices and pulsing bass.
3. (3:40) ** Nizzagh Ijbal—Relaxed, subdued, with some flavorful drumming.
4. (3:23) Hayati—Lively, funky, vocal-driven.
5. (3:46) Ittus—Melancholy. Clear vocals and riffs.
6. (4:26) ** Ténéré Tàqqàl—Trance-like vocals/guitars and syncopation. “Many have died battling for twisted ends / And joy has abandoned us, exhausted by all this duplicity.”
7. (3:33) *** Imidiwàn n-àkall-in—Plodding, meditative, gorgeous.
8. (4:14) ** Talyat—Urgent. Acoustic guitars and rolling drums.
9. (3:40) Assàwt—Rollicking, never stops. A call for the freedom of the Tuareg women.
10. (2:48) *** Arhegh ad annàgh—Slow, patient, tired. Clear guitars and vocals.
11. (5:03) **** Nànnuflày—Distant, melancholy. Words in English midway. “I’m through sleepwalking.”
12. (1:27) Fog Edaghàn (Intro Flute)—Soft, straining flute and extremely hushed guitar.
13. (3:05) *** Fog Edaghàn—Slow-burning, driven by the bass.