Siwane – Amann (2025)
The French-Algerian quartet, Siwane, often describe their music as a journey through time. Their debut album Amann is a suite of songs that encompasses highs, lows, meditations, tributes, and introspection, all within what feels like someone’s or all of our journeys. On the opener, ‘Ya Saki’, singer Mounia Siwane lets her voice go wherever it wants, among guitarist and composer Stani Jardel’s peaceful picking on electric guitar, drummer Wendlavim Zabsonré’s continuous sticking all over his set, while Vincent Domergue’s electric bass flows along, adding the sultriness to this cool, contemplative song.
The title is in a line of poetry from renowned Persian poet, Hafez, about the struggles of personal journey. Siwane wades in the spirit of that struggle in the Arabic poetic singing style, until the composition opens up for a charged solo from Jardel, before returning to the waviness of the sound.
The subtle flamenco rhythm and tranquil guitar riffs bring in ‘Nofous’. Here, the quartet go in and out of electrified Noubas melodies and Brazilian jazz rhythms. The laidback drumming and quick guitar plucks of Latin jazz seep effortlessly into the track, then go back to the North African influence. The band then seamlessly move out of Jardel’s structure and makes room for his graceful soloing. The funkiness the band achieves when marrying these traditions showcases borderless connections between communities. The fusion feels organic, instead of a jazz fusion genre convention.
The interplay between instrumentalists and the way they move through each composition like a stream, open for Jardel’s solos, then come back to Mounia, or when Siwane descends on them with her uninhibited expression, showcases a fluidity in how the group organically weaves together traditions and their talents on each song.
Amann is at once cultural work, re-imagination, and discovery. What better way to connect with the history of flamenco than through this music’s more upfront presentation on the hook of ‘Amann Amann’? This track features Mounia giving herself to convention as she serves the compas time signature in a refrain, “Amann Amann” (peace), while aiding the festive spirit of the song.
The high energy continues through to ‘Belhawa’, a force with steady strumming of Jardel’s Al-Andalus era melody and marching drumming, and bass lines accented on the one beat, creating urgency. Mounia is a force in her performance, unleashing her longing for her lover; her romantic self feels incomplete due to long distance. The emotion gives way to a psychedelic rock solo that acts as a release for the pain.
Throughout the album, the band continue to modernise classical Noubas, and unbind for Jardel’s solos. Songs don’t feel repetitive, but solos from other members could add depth to their sound.
The album standout is the serene ‘Hamami’. For two verses, Mounia emotes from devotion; phrase after phrase is beautifully sung and performed with conviction, as if she’s committing to serve a higher purpose. As the guys follow her through switching time signatures and going up and down the minor scale, they sound intertwined in calming and expressive melodies and rhythms, and this adds to the feeling of giving oneself to something greater.
On Amann, Siwane are so in sync, guided by the interdependence of each other’s respect for music traditions and abundant talent. Their brilliant playing and exploration of the diversity of the journeys towards self-discovery make their debut a must-listen.
Find out more about Siwane on their Facebook, Instagram, YouTube and Spotify.
This artist was sent to us by Protomaterial Records.
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