Robert Christgau: Dean of American Rock Critics

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Consumer Guide Album

Mariem Hassan: La Voz Indómita [Nubenegra, 2017]
"(Del Sáhara Occidental)," a subtitle explains, but the Western Sahara wasn't big enough to contain Mariem Hassan. Dead of bone cancer in 2015 in a Sahrawi refugee camp, she was postcolonial Africa's most striking female singer. Before, during, and after a European career of over a decade, her powersaw voice was intense at any volume, with none of the sensual comfort of the equally stirring Oumou Sangare, whose forested Wassoulou was so much more forgiving than Hassan's desert. Yet because this onetime nurse had the spiritual wherewithal to resettle in Barcelona, she got to make music with fellow Sahrawis and many others. Her sixth and final album is a DVD soundtrack, recorded solely in her last five years but digging back stylistically. Guests range from the Sahara ululators who haunt "Najter Alaila Anadal Lihuela" to New York avant-bassist Shanir Blumenkranz contrapuntalizing the desert blues "Latlal," from Yemeni-Israeli Ravid Kahalani to Sierra Leonean-Nigerian Seydu. I haven't figured out who's in the jazz combo that backs "Illah Engulek Di Elkalma," but I love the way her easy mesh with the idiom segues abruptly into one where the sub-Saharan Seydu softens her dry wail only to be overtaken in turn by a searing Sahrawi haul. The "Al Widaa" finale was recorded five months before she passed on in her haim, a word than means both family and tent. If 82-year-old Leonard Cohen made his death album, then 58-year-old Mariem Hassan made hers--and it's less sere. A-