Artist: Oumou Sangare
Album: Timbuktu
Genre: World, African
Year: 2022
Label: World Circuit
Tracks: 11
Duration: 00:41:57
Format: FLAC (tracks) 24bit, 44,1 kHz
Size: 472 MB
Tracklist:
1. Oumou Sangare – Wassulu Don (00:03:38)
2. Oumou Sangare – Sira (00:02:57)
3. Oumou Sangare – Degui N’Kelena (00:03:54)
4. Oumou Sangare – Gniani Sara (00:03:43)
5. Oumou Sangare – Timbuktu (00:03:42)
6. Oumou Sangare – Sarama (00:03:38)
7. Oumou Sangare – Kanou (00:04:00)
8. Oumou Sangare – Demissimw (00:04:27)
9. Oumou Sangare – KĂȘlĂȘ Magni (00:03:35)
10. Oumou Sangare – Dily Oumou (00:04:32)
11. Oumou Sangare – Sabou DogonĂ© (00:03:46)
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âMusic is within me,â Oumou affirms. âWithout it, Iâm nothing, and nothing can take it away from me! Iâve put my life into this record, my whole life â this life in which Iâve known hunger, the humiliation of poverty and fear, and from which today, I draw glory.ââTimbuktuâ is a stunning collection of songs, fusing her distinctive Malian sound and voice with elements of blues, folk and rock â resulting in a timeless body of work, free from borders and genres. Written and recorded in the US during coronavirus lockdowns, the album is the latest chapter in an unparalleled musical epic which has seen an artist born in the poorest districts of Bamako, Mali, become the greatest and most influential African singer alive, as well as a powerful feminist icon. Between the hometown pride exhibited in âWassulu Donâ, the quiet introspection of âDegui NâKelenaâ, the amorous languor expressed on âKanouâ, the compassion in âDemissimwâ and the sadness and frustration in âKĂȘlĂȘ Magniâ, many emotions nourish this record, with common threads of courage and optimism woven throughout. With âTimbuktuâ, Oumou SangarĂ© demonstrates her endless talent, her passion and her wisdom, shining a light and leading the way for the world, through pain and strife, towards resilience, positivity and hope.
“This album is a tapestry of sound, a warp of the traditional Wassoulou rhythms and a weft of the roots of the blues from the Dobro to the slide guitar played by Pascal DanaĂ«. However these passionate and impressionistic pieces affect you, there is no denying that the core of their strength lies in Oumou SangarĂ©âs powerful voice, both as a writer and singer and as a proponent of womenâs rights. This will be a regular on my player for a long time.” (Richard Hollingum, folkradio.co.uk)
Timbuktu is Oumou SangarĂ©âs ninth album in a 30-year career which has seen the Malian singer become not only musical royalty at home and in Western âworld musicâ (not our term) circles, but also a UN goodwill ambassador, a charity head, a hotelier in her native Bamako, and even a car developer. When the pandemic stranded her in Baltimore in mid-2020, however, the 54-year-old was able to shut out her extra-curricular duties and concentrate purely on music-making for the first time since she was a teenager, and the 11 songs here are the fruits of that focus.
Those hoping these conditions might produce a masterpiece, however, may be disappointed with Timbuktu â instead, theyâve fostered a record thatâs undeniably well written, played and produced, but also frustratingly inward-looking and samey, in terms of both themes and presentation. No album, for example, needs two separate songs in which the singer implores herself, in the third person, to ignore the haters (âSaramaââs lyric, that translates as âInstead of being jealous of someone who is predestined, blessed and lucky, you should make friends with them / Donât be jealous of Oumou SangarĂ©, she hasnât done anything wrong to youâ the most egregious example), and while thereâs a degree of stylistic variety across the recordâs 42 minutes, the vast majority adopts a mid-pace melancholia that is certainly heartfelt, and at times quite affecting, but also, at length, rather deflating.
When SangarĂ© offers respite from the formula, though, things look up: opener âWassulu Donâ has oodles of kosmische groove and loosely undulating pulse, and highlight âKĂȘlĂȘ Magniâ, all thumping techno texture below a terrific buzzsawing lead line, is SangarĂ©âs defiant response to the awful civil war in Maliâs north, a genuinely forward-looking piece of music that could easily double in length. An entire album that leant into that side of SangarĂ©âs personality, full of defiance and musical cross-pollination, would have been challenging, urgent and exciting. Instead, Timbuktu ends up, like so much of the West African music that manages to penetrate the Western mainstream, resembling tasteful, non-threatening coffee table exotica. For someone with as much to say as SangarĂ©, that represents an opportunity missed.