Western Sahara’s story is a sad but typical one for a post-colonial land with bigger, stronger neighbors. In the ’70s, a nearly century-long episode of Spanish occupation gave way to bruising jockeying for possession between Morocco (which currently holds sway), Mauritania, and the homegrown Polisario movement of nationalist liberation. Episodes of war have generated a civilian diaspora that’s spread from refugee camps in neighboring countries to Cuba, but life for the people who have stayed behind carries on like it does anywhere. Folks still like to marry and party, and if they do so in the coastal city of Dakhla, they’re likely to hire Group Doueh to bring the tunes.
The group is part of a family entertainment business run by Doueh, a Dakhla native whose birth name was Salmou Baamar. As a youth, he took a shine to the sounds of James Brown and Jimi Hendrix, which he heard on cassettes imported from Spain. His first experiences as a professional musician playing at local parties coincided with Mauritania’s occupation of Dakhla, and you can hear both Western rock sounds and Mauritanian rhythms in his music, which he’s been performing throughout the region and marketing on cassette for over a quarter century. Doueh plays the tinidit (a.k.a. tidinit), a Moorish four-stringed lute, and electric guitar; according to a recent Wire article, he favors a Fender run through a few pedals. The rest of the group includes vocalists Bashiri Touballi and Halima Jakani (his wife) and keyboardist Jamaal Baamar (his son). Rhythm duties are shared between collective handclaps, Halima’s tbal (a hand drum), and the keyboard’s drum programs.
When they aren’t playing at local festivals and weddings, Doueh runs a cassette dubbing shop, and that’s where Sublime Frequencies’ Hisham Mayet located him after a search up and down Morocco to find the musician responsible for “Eid For Dakhla,” the raucous, backbeat-heavy ruckus that opens Doueh’s first LP Guitar Music From the Western Sahara. That record also kicked off Sublime Frequencies’ series of vinyl-first releases of contemporary guitar music heard around the Maghreb. Although Group Doueh’s music enjoys the same no-budget recording quality as the rest of the series, it differs significantly from the Touareg-rooted approaches of Group Inerane and Group Bombino. The music of the desert interior sounds like the blues, sometimes jacked up to rock distortion and intensity; Doueh’s has a more complex rhythmic underpinning, closer to the Master Musicians of Jajouka or flamenco, and adheres to traditional Mauritanian modes that spin the melodies down different paths than those of their deep Saharan brethren, more elaborate but less open-ended.
(click here to continue reading Dusted Reviews: Group Doueh – Treeg Salaam.)
It’s hard to imagine what the four Muslim members of Group Doueh thought about their first gig outside Western Sahara, playing inside an Anglican church that served cold lager within the gay neighborhood of one of the most flamboyantly gay cities in Europe, Brighton, England. A couple of hours beforehand, Terminal Boredom got a few moments to sit down with the band in the church basement after sound check as the musicians ate takeout chicken and tabouli. Sublime Frequencies Co-founder Hisham Mayet translated from English to Arabic and back: vocalist Bashiri Touballi provided answers on the band’s behalf while guitarist Salmou “Doueh” Baamar stood squarely in front of and pointed a video camera directly at their English-language-only interviewer. Outside, a peculiar mix of middle-aged, upper-middle-class world music fans and scruffy weirdos on drugs lined up — an audience peculiar for most bands, sure, but not a Sublime Frequencies one.
(click here to continue reading Terminal Boredom – DOUEH.)
I’d usually link to Amazon’s copy of this album, but since they ended my affiliate program in a tax-dispute snit with the State of Illinois, I’ll let you discover the album on your own, from wherever.