The TAKAAT Interview
TAKAAT (pronounced tuh-cot), meaning “noise” in the Tuareg language Tamashek, is the name of the Agadez, Niger-based transcendental trio consisting of members Ahmoudou Madassane, Mikey Coltun, and Souleymane Ibrahim, famously known as the rhythm section of the beloved Mdou Moctar. While effortlessly expanding on the gravitational pull of guitar music from the Sahel, a vast, semi-arid transition zone in Africa that stretches between the Sahara Desert to the north and the Sudanian savanna of the south, Takaat invites the esoteric elements and textural tones of noise and ritualistic rhythm like a psychedelic prophet. Ahmoudou Madassane and Mikey Coltun take a brief moment from their tour to tell us everything we need to know about the band and its melodic mechanisms.
Photo: Amghy Chacon & Cem Misirlioglu
Representing the rhythm section of the beloved Agadez, Niger-based group Mdou Moctar, led by guitarist extraordinaire Ahmoudou Madassane, what initially inspired the project in terms of artistic approach, overall direction, and creative chemistry towards the sights and sounds that have officially established this terrific trio known as TAKAAT? Similar to the tonal textures of island music, for example, the Sahara Desert plays such a revolutionary role in the group’s language and instrumental intensity. What are some other elements the group pulls from to make that critical connection to their craft and melodic message?
Ahmoudou Madassane: TAKAAT is a band that Mikey and I co-lead. We were inspired to do something different musically and to sound different from other groups. We feel drones are like the breath of the desert. We are interested in different kinds of noise. Mikey Coltun: Ahmoudou and I share an interest in feedback, drone, and heavy music in general. Traditional Tuareg styles like Takamba are a huge inspiration for us. It’s loud, intense, trance-y, and blown out. TAKAAT is our take on traditional Taureg music — traditional in the sense that these are elements we like, such as volume, raw intensity, and feedback, that are a bit more zoomed in and explored deeper, but also blended with the world of DIY/Punk I grew up in. A wedding in Agadez, Niger, is very similar to punk and DIY shows I grew up going to, and we wanted to channel that a bit more with TAKAAT. TAKAAT is really a blend of the two worlds we both grew up in.
Photo: Amghy Chacon & Cem Misirlioglu
Mikey, I understand you not only play bass/electronics in the group, but you’ve also released the group’s 10”, three-volume series on your own label Purplish Records, as well as record, mix, and produce the band’s material. As someone who plays such a critical role both as a musician and behind-the-scenes force, how do you manage to find that unique balance with everything that goes on in the weird and wild world of being in a band these days?
Photo: Ursula Gillingham-Ryan
Mikey Coltun: We all have our roles in the band. My role has been as a player, songwriter, recording artist, and on the production side. I find it all very related, as the band's overall vision and concept have a lot to do with the choices made in recording and production; this part is very much songwriting in its own right. With any recording or production, it’s about capturing a moment. Ahmoudou and I are interested in exploring so much with TAKAAT, and I feel very fortunate to have a collaborator who is as down with sonics as I am. Being in a band is like being in a family or any relationship, for that matter. Some challenges come along with it, and you have to know when to back off and let something go. It’s really nice to be back in the DIY world and approach it with TAKAAT. Since we handle everything ourselves, Ahmoudou and I have bonded so deeply. We cook together almost every night on the road, we crash with friends 98% of the tour instead of hotels, and have deep conversations about art along the way. I can’t see doing it any other way. We’ve been a great team and feel like we can tour together for several months at a time without any breaks.
What’s been the approach and tonal target for capturing these beautiful songs embedded in this particular series? It’s like capturing lightning in a bottle. How does the group decide when to put a cap on it, or allow it to continue building until the container shatters altogether? The band’s overall momentum is simply incredible. With one EP after another over the last year or so, I’m curious to know about the group’s internal mechanisms, scheduling, logistics, writing methods, recording, and then touring, which continues tonight in Northfield, MN, at the Contented Cow as I write this! What are you most excited for people to pick up on through the live experience, which is so paramount for you guys? Is there anything else you would like to further share with the readers?
Photo: Amghy Chacon & Cem Misirlioglu
Mikey Coltun: The concept of the 10” Is Noise EP series is that each volume is recorded to tape. Not only do I love the way this format sounds, but the process also lends itself to us recording in as few takes as possible. We keep it as raw as possible. These EPs are capturing a moment and an idea we are exploring together with TAKAAT. It’s almost like an etude or a study. We make these EPs limited, and once they sell out, we move on to the next idea. TAKAAT has always been about taking a risk. Ahmoudou and I talk about always wanting things to evolve and change. People will see that while we tour. Each tour is going to be completely different, and we’re hoping to challenge people and their expectations about what TAKAAT is. We are excited for everyone to come along for the ride! Ahmoudou Madassane: People are going to come to see something different. If you want to have the feeling of being in the desert at night, you’re welcome to come to the show.
