Imarhan – ‘Essam’ Review

What does Imarhan sound like?

Desert rock breaks out from Algeria and takes on wider, modern electronic influences.

The review of ‘Essam’ by Imarhan

Now on their fourth studio album, Imarhan has used ‘Essam’ as a way to expand their sound palette. Their first three albums explored Tuareg and desert rock. Whilst Imarhan covered the vast expanse of that subgenre across their music, this time the quintet integrate electronic elements into their music. It came from a collaboration between the sound producer Maxime Kosinetz and UTO’s Emile Papandreou. Emile introduced the band to sampling live instruments and reprocessing them in real time with a modular synth. Merging the organic with the electronic felt like a new way to explore music and the band’s Tinariwen heritage. ‘Essam’ was born.

The changes are subtle and effective. Opening with ‘Ahitmanin’, the acoustic guitar gallops longingly over bluesy vocals, whilst an ambient drone bass fills out a dusty undercoat. For ‘Derhan N’Oulhine’, the band loops a percussive bass pulse into a throbbing kick drum to allow a chorus of singing, and reverse feedback of guitars where you can’t tell if it’s a synth or a guitar. The track has breakout single written all over it due to its catchy chorus chant and jig-like guitar rhythms. It’s still Tuareg, but with electronic bells and whistles modernising some of its production and audio layering. ‘Tellalt’ is another standout for its desert guitar hooks and call-and-response vocal arrangements. The reggaeton rhythms bring an uplifting hue to the bluesy vocals. The vintage guitar solos noodle away like serpentine calls to the wild. Everything has changed, yet nothing has changed. Imarhan are still creating stunning music.

With ‘Tamiditin’, we get a soft acoustic-led track that embellishes the campfire romance with reverberant pianos and synth strings. You could argue that there is a hint of Indian influence here by how the dewy, crystalline synths offer a peaceful, cleansing undertone. The fingerwork on the acoustic guitar trills is beautiful. ‘Okcheur’ is almost freeform. Using electronic beats, the track drifts like the wind, feeling open and free. Imarhan said that the live electronics approach led to the band creating more explorative music, and this track showcases that freedom well. ‘Azaman Amoutay’ uses electronic processing on drums to create a rhythmic whirlpool for synths, guitars, and vocals to take turns leading and expressing themselves over. Again, there’s a freedom here that feels part improvisational, yet still incredibly tightly woven. I’d say this track is the best example of this expanded sound palette approach.

Whilst the previous couple of tracks gently showcase creative freedom, ‘Tin Arayth’ is more celebratory and plugged. Switching between sections of solo guitar rock stomps and caravan vocal calls, here the electronics merely accent the band’s raw power and desert rock spirit. I feel like I’m part of a village celebration, and the ramp-up of tempo and gusto at the end brings the listener’s heart rate up. ‘Tinfoussen’ is a far more melancholic affair. It’s sombre, nurturing patter is like a trickle bead of comfort trying to find its way home. I don’t know what the lyrics convey, but the overriding emotion is a shushing of comfort and home.

‘Adounia Tochal’ is sublime. It comes across like a patriotic campfire anthem, backed by sympathetic strings. The collective of children that join in for a bountiful and emotive chorus twist the bittersweet blues of Imarhan further into your soul, making it the perfect penultimate track for the album. That leaves the nearly eight-minute-long ‘Assagasswar’ to round off the album. This call back to earlier albums is more desert blues-centric, letting the percussive tempo slowly gain momentum and prowess across the first four minutes. As layered vocal chants and whooping calls ring out over subtle drones and guitars, the track hypnotises the listener with its repetitive nature, like the lapping of the ocean. It ends in a psychedelic ambient synth outro that you’d expect from a new age record, as if we’ve ascended from campfire to the night sky.

Whilst at times, this album is less immediate than some of their previous work, ‘Essam’ still delivers what makes Imarhan great. Clever riffs, bluesy sadness clashing against riotous guitar, and a galloping rhythm that keeps listeners moving forward. The additional electronics are clever and accentuate rather than distract. Where that may have led to more open, freeform exploratory moments across the album, Imarhan always brings it back home to the Tuareg roots where their story began. I’m curious to see how the band adapt to this new approach in the future. With cleaner production and more toys to play with, there are infinite ways to fuse together cultures and influences. ‘Essam’ feels like the start of a new chapter, and it is a fine opening parade at that.

Recommended track: Azaman Amoutay

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