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Intimate, affecting singing and dramatic settings of classical Andalusian-Algerian M’djanba and Mazmum noubas, accompanied by tar and darbuka percussion, lute, violin, qanun zither, and stringed kwitra.

Arabic-Turkish court music.

Old masters Hamid Kasri and Amida Boussou join forces with young stars such as Hassan Boussou, founder of the band Sewarye.

Electric guitar and tinidit, with keyboards, two female voices and drums — raw, distorted, thrilling, like an unhinged Hendrix automatic-drawing Mauritanian and Sahrawi roots.

‘Compiled from Group Doueh’s personal archives, these five tracks (note sidelong piece on the flip), are as brain shifting in their ecstatic brilliance as any music ever heard.’

A cosmic take on Saharoui roots: traditional Moorish instruments like the three-string tinidit lute, ardin harp, clay tbal drum, and tea glasses, together with guitar and Korg synth, and Halima’s exalted singing.

Searing, electrifying blues-rock-Saharan-trance, recorded in Dakhla, West Sahara in 2010, this is great.

‘amplified roots rock, blues, and folk in the local Tuareg styles entering into full-on electric guitar psychedelia… two electric guitars, a drum kit and a chorus of vocalists’ (SF). ‘Buy it!’ (Honest Jon’s).

‘Saharan trance stun guitar… a hypnotic choogle that rivals both the Magic Band’s early 70s marathon workouts and the Velvet Underground’s drone on tracks like Sister Ray.’

Chaabi — ‘of the people’ — has its roots in the Andalusian music of Moorish Spain, spreading to North Africa with exiled Jewish and Moorish communities; but it really took off in post-WWII Algiers…

Sahrawi music, haunting and hypnotic — from poetry sung over traditional instruments to electrifying grooves drenched in reverb and phase effects. Doueh, tidinit, field recordings from Nouakchott market…

From 1998-2000: street scenes, a wedding, a mosque, spontaneous music, political opinion, interviews (a gay man), radio stuff, a song about Saddam Hussein, the mystery of Kazib, underground city.

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