Q (p.117) - 3 stars out of 5 -- "Tinariwen's third album again sounds thrillingly unlike anything else on the planet....[With] dense, pulsing guitars..."
The Wire (p.63) - "AMAN IMAN is at once sinewy and spooky, with lyrical concerns that address both societal oppression and a metaphysical bent borne of the desperate beauty of their home in the sands."
The Wire (p.73) - "High female ululations punctuate the parched declamations of the male voices, electric guitars knit across the sands, accompanied by minimal percussion and massed voices."
Down Beat (p.75) - 3.5 stars out of 5 -- "Every syncopated hand clap pattern and tightly coiled guitar solo contributes to the emotional impact of the band's elegantly restrained delivery."
Dirty Linen (p.40) - "[I]t has a fierce, loping pace that evokes the harsh but beautiful landscape of the Sahara and the Touareg's nomadic way of life."
Global Rhythm (Publication) (p.42) - "They make music that combines hypnotic grooves with gutsy, blues-derived guitar riffs and Arabic-sounding percussion..."
Tinariwen: Abdallah Ag Alhousseyni (vocals, guitar, acoustic guitar, hand claps, background vocals); Mohammed Itlale (vocals, guitar, acoustic guitar); Alhassane Touhami (vocals, guitar, hand claps, background vocals); Ibrahim Ag Alhabib (vocals, guitar); Elaga Ag Hamid (guitar, hand claps, background vocals); Abdallah Ag Lamida (guitar, background vocals); Justin Adams (acoustic guitar, lute, background vocals); Eyadou Ag Leche (bass guitar, hand claps, background vocals); Salah Dawson Miller (congas, shekere); Said Ag Ayad (hi-hat, djembe, hand claps, background vocals); Wonou Walet Sidati, Kesa Walet Hamid (hand claps, background vocals); Hamid Ekawel (background vocals); Mama Livio, Manaki Diallo.
Sub-Saharan guitar blues has taken a strong enough foothold in the world music scene to qualify as its own genre, with its own stars and aesthetics and, now, its own alternative offshoots like Tinariwen. Formed in the 1980s in Muammar Qaddafi's rebel training camps, this group of Touareg nomads and former soldiers play droning, heartfelt, trance-inducing blues.
Like their Malian peers, they favor hypnotic, single-note guitar runs with gutbucket vocals that double the guitar melody. Where they differ is in an improvisational group dynamic that adds elements of funk, rock, and a certain hallucinatory desert feel that seems less inspired by American blues forms and more an organic outpouring of pure inspiration, creating an utterly compelling, sui generis sound. On this 2007 release, their third album, these guys sing and play as if their lives depend on it.