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Stream Two Atmospheric Tinariwen Remixes From Daniel Lanois & The Antlers

Producer/guitarist Daniel Lanois and indie trio The Antlers each remix a song by Northern Malian desert blues band Tinariwen.


Producer/guitarist Daniel Lanois and indie trio The Antlers each recently remixed a song by Northern Malian desert blues band Tinariwen. In an entertaining video that's part road movie and part science experiment, Lanois adds electronic whirs and stretches to "Adounia Ti Chidjret," an elegantly rustic bonus track on Tinariwen's latest album Emaar. Through grainy, slightly scratched footage, the Brian Eno disciple actually remixes the song on a multi-track control panel as he sits in a 1970s Cadillac, bobbing his head with his friends. Check it out below.

With their remix of Emaar opener "Toumast Tincha," The Antlers don't simply make the track bigger or louder. In fact, they show an intriguing method of emphasis-by-de-emphasis; they muffle Tinariwen's deep voices and multi-mooded guitars but only as a means of bringing attention to those sounds. By accentuating other parts of the song — the drum taps, the sound of water — the band retains the spirit of "Toumast Tincha," honoring Tinariwen in the process. Listen below and catch the three acts tonight at Brooklyn Masonic Temple for ANTI-Thesis, an event curated by Daniel Lanois that will feature full sets by The Antlers, Tinariwen, Lanois himself, and an appearance from artist/educator Lonnie Holley.

Music
Photo by Don Paulsen/Michael Ochs Archives/Getty Images

Hugh Masekela's New York City Legacy

A look back at the South African legend's time in New York City and his enduring presence in the Big Apple.

In Questlove's magnificent documentary, Summer of Soul, he captures a forgotten part of Black American music history. But in telling the tale of the 1969 Harlem Cultural Festival, the longtime musician and first-time filmmaker also captures a part of lost South African music history too.

Among the line-up of blossoming all-stars who played the Harlem festival, from a 19-year-old Stevie Wonder to a transcendent Mavis Staples, was a young Hugh Masekela. 30 years old at the time, he was riding the wave of success that came from releasing Grazing in the Grass the year before. To watch Masekela in that moment on that stage is to see him at the height of his time in New York City — a firecracker musician who entertained his audiences as much as he educated them about the political situation in his home country of South Africa.

The legacy Masekela sowed in New York City during the 1960s remains in the walls of the venues where he played, and in the dust of those that are no longer standing. It's in the records he made in studios and jazz clubs, and on the Manhattan streets where he once posed with a giant stuffed zebra for an album cover. It's a legacy that still lives on in tangible form, too, in the Hugh Masekela Heritage Scholarship at the Manhattan School of Music.

The school is the place where Masekela received his education and met some of the people that would go on to be life-long bandmates and friends, from Larry Willis (who, as the story goes, Masekela convinced to give up opera for piano) to Morris Goldberg, Herbie Hancock and Stewart Levine, "his brother and musical compadre," as Mabusha Masekela, Bra Hugh's nephew says.

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