Imarhan have always ripped up the rulebook. Since 2006, the band has challenged preconceptions about the Tuareg desert blues sound known as assouf, popularised by the likes of Tinariwen and Mdou Moctar, by blending its ancient poetry and rhythms with funk, psych-rock and pan-African rhythms. Across three albums, the Algerian group has toured extensively internationally, collaborated with Gruff Rhys of Super Furry Animals and Giant Sand’s Howe Gelb, opened up for Kurt Vile, and been remixed by Moscoman, criss-crossing musical worlds and finding new audiences worldwide. Among the growing visibility for Southwest Asian and North African artists globally, Imarhan’s bold blend of genres and influences signals a cross-cultural exchange that is as contemporary as anything in the charts.

With their fourth album, Essam (lightning in the Tuareg language of Tamasheq), Imarhan forge ahead once again, creating a watershed moment in Tuareg music. Recorded at their Aboogi Studio in the heart of Tamanrasset in southern Algeria with their core lineup, the record is another major evolution, moving away from the guitar-driven style that many associate with Tuareg and into more expansive territory. Essam continues to illuminate Tuareg heritage and preserve the nomadic group’s stories and culture, but the band pushes this rich history into a bright future with exploratory electronic soundscapes and evocative production. “We tried something we’d never done before, we took some risks,” says Sadam, the band’s lead vocalist and guitarist. “Music allows us the freedom to try new things.”