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They never help us to find a solution.\"\u003c\/p\u003e\u003cp\u003e\"Mdou Moctar has been a strong anti-colonial band ever since I've been a part of it,\" says producer and bassist Mikey Coltun, who has been playing with Moctar since 2017. \"France came in, fucked up the country, then said ‘you’re free.’ And they’re not.\" The song ‘Oh France’ tackles this head on: “France veils its actions in cruelty\/ We are better without this turbulent relationship\/ We must understand their endless lethal games.”\u003c\/p\u003e\u003cp\u003eOn the lead single and title track, Moctar addresses African leaders directly, bidding them: \"Retake control of your countries, rich in resources \/ Build them and quit sleeping”. The song ‘Sousoume Tamacheq’ deals with the plight of the Tuareg people to which the band belong, and who are mainly spread across three countries: Niger, Mali and Algeria.\"Oppressed in all three\/In addition to lack of unity, ignorance is the third issue.\" Another song, ‘Imouhar’, calls on the Tuareg to preserve their Tamasheq language - it's at risk of dying out, and Mdou is one of the few in his community who knows how to write it. \"People here are just using French,\" laments Mdou. \"They're starting to forget their own language. We feel like in a hundred years no one will speak good Tamasheq, and that's so scary for us.\"\u003c\/p\u003e\u003cp\u003eMdou Moctar in its current iteration is first and foremost a band. Alongside Moctar, it consists of rhythm guitarist Ahmoudou Madassane, drummer Souleymane Ibrahim, and American bassist and producer Mikey Coltun.\u003c\/p\u003e\u003cp\u003eThe band got their start performing at traditional weddings. These are high energy events – amps are dialed up to 11 and the whole town is invited to attend. \"I grew up in the DC punk scene and this is no different,\" explains Coltun. \"It’s a DIY punk show: people bring generators, they crank their amps. Things are broken, but they make it work.\"\u003c\/p\u003e\u003cp\u003eConveying that energy and feeling of community to a new audience has been an important goal for the band. Their first concerts in the US were sometimes, mistakenly, organized to be tame seated affairs. That’s no longer the case. Over 100s of shows, they’ve proven themselves as one of the world’s most vital rock bands – a group rooted in Tuareg tradition, but undeniably its own singular organism. An Mdou Moctar concert is now recognized to be a place for dancing, if not full-force moshing.\u003c\/p\u003e\u003cp\u003e\"‘Ilana’ was the gateway album, saying that this is a raw rock band. And ‘Afrique Victime’ was a summation of that vision,” says Coltun, who recorded the entire record over five days in a mostly unfurnished house in upstate New York. “With ‘Funeral For Justice’, I really wanted this to shine with the political message because of everything that's going on. As the band got tighter and heavier live, it made sense to capture this urgency and this aggression – it wasn't a forced thing, it was very natural.”\u003c\/p\u003e\u003cp\u003eIn July 2023 – after \u003ci\u003eFuneral For Justice\u003c\/i\u003e had been completed – Niger’s democratically elected government was deposed in a military coup. The president was placed under house arrest and the nation plunged into a state of chaos and uncertainty. The French have withdrawn. The area continues to be threatened by terrorism. The band – then on tour in the US – was, for a time, unable to return to their families. \"I don't support the coup,\" explains Mdou, \"but I never in my life liked France in my country. I don't hate France or French people, I don't hate American people either, but I don't support their manipulative policies, what they do in Africa. 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Three years after 2000's brilliant \u003cem\u003eAnd Then Nothing Turned Itself Inside-Out\u003c\/em\u003e, \u003cstrong\u003eYo La Tengo\u003c\/strong\u003e returned with \u003cem\u003eSummer Sun\u003c\/em\u003e, an album that's as settled and smooth as the previous one was inventive and eclectic.\u003c\/p\u003e\n\n\u003cp\u003eMusically, \u003cem\u003eSummer Sun\u003c\/em\u003e continues the band's progression away from intricate, guitar-based pop both loud and soft and toward an arguably more sophisticated sound. This time around, the post-rock, Krautrock, and jazz influences the band introduced on \u003cem\u003eI Can Hear the Heart\u003c\/em\u003e and perfected on \u003cem\u003eAnd Then Nothing\u003c\/em\u003e dominate \u003cem\u003eSummer Sun\u003c\/em\u003e, giving it a hushed, polished feel.\u003c\/p\u003e\n\n\u003cp\u003eSometimes, this approach works, as on the lovely opener \"\u003cem\u003eBeach Party Tonight\u003c\/em\u003e,\" which sounds appropriately warm and full of possibilities, and \"\u003cem\u003eTiny Birds\u003c\/em\u003e,\" a droning, spiraling track that sounds a bit like a fusion of post-rock and \u003cem\u003ePet Sounds\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eHowever, the fusion-inspired instrumental \"\u003cem\u003eGeorgia Vs. Yo La Tengo\u003c\/em\u003e\" and the jammy, ten-minute \"\u003cem\u003eLet's Be Still\u003c\/em\u003e\" veer dangerously close to noodling and bloat the album's length to over an hour.\u003c\/p\u003e\n\n\u003cp\u003eMuch of this is due to \u003cem\u003eSummer Sun\u003c\/em\u003e's arrangements and productions: tracks like \"\u003cem\u003eHow to Make a Baby Elephant Float\u003c\/em\u003e\" and \"\u003cem\u003eDon't Have to Be So Sad\u003c\/em\u003e\" are based on lighter-than-air guitars, drums, and synths and topped with whispery vocals.\u003c\/p\u003e\n\n\u003cp\u003eWhen the band does get a little livelier, they deliver some memorable moments, such as the percolating \"\u003cem\u003eLittle Eyes\u003c\/em\u003e,\" the cute, poppy \"\u003cem\u003eThe Season of the Shark\u003c\/em\u003e,\" and \"\u003cem\u003eToday Is the Day\u003c\/em\u003e,\" a Georgia Hubley song that's nearly as gorgeous as \"\u003cem\u003eShadows\u003c\/em\u003e\" or \"\u003cem\u003eNowhere Near\u003c\/em\u003e.\"\u003c\/p\u003e\n\n\u003cp\u003eA little more variety in volume and tempo could've made this album great instead of pretty good; for the first time in years, \u003cstrong\u003eYo La Tengo\u003c\/strong\u003e doesn't break out the feedback and distortion anywhere on an album. \u003cem\u003eSummer Sun\u003c\/em\u003e is so mellow and pretty that it feels uncharitable to call it one of their weakest albums in recent memory; many bands would kill to make music this accomplished. 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Car Seat Headrest began in 2010 in Will Toledo's hometown of Leesburg, Virginia. Needing a place of solitude (and soundproofing) where he could record vocals undisturbed, a 17-year-old Toledo set up shop in the family car. Toledo's catalogue is sharp, literary, and culturally omnivorous as it touches upon youth and death, love and depression, drunken parties and 2nd century theologians. Ever surprising, his lyrical imagery ranges from playful to sexually frank to sorrowful, often within the same song.  After relocating to the Seattle suburbs in 2014, Toledo assembled a lineup with bassist Ethan Ives and drummer Andrew Katz. 'Teens of Style' is the first Car Seat Headrest album recorded with a full band, and the sound is vibrant and powerful, with a wide stylistic range. On 'Teens of Style', Toledo has taken material from the first three years of the band's existence and reworked it to generate some of the most realized arrangements to date. 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