American listeners have grown familiar with Tuareg music and what’s become known as “desert blues,” primarily through the recordings of Tinariwen, a band whose roots stem from the southern Sahara desert. (Other artists, like Etran Finatawa, Bombino and Mdou Moctar, have emerged to hint at the musical richness of the region as well.) Imarhan are a young Tuareg band from Southern Algeria in Northern Africa. Their new record, the title of which means “connections” in Tamashek, was recorded in Paris, and produced with help from one of the members of Tinariwen, who is a relative of Imarhan’s lead singer. The production balances gleaming guitar details mirrored with submerged murky tones, like on “Imuhagh.” Imarhan play with the traditional loping rhythms, the bright trebly and delicate guitar filigree, the bluesy drones that hover over the songs and the joyous call-and-response singing, bolstered by energetic handclaps. Imarhan infuse their music with a little more of a rock vibe, with shredding guitar solos and, particularly, with a prominent reggae feel. Crisp djembe drum patterns give the music a forward motion. This is a band that understands the importance of tradition and the value of building on what’s been handed down. The rapid-fire guitar playing, coupled with the swift rhythmically articulated singing, like on “Tumast,” can suggest connections to both fusion and hip-hop. The record’s standouts come at the end though, especially on songs like “Tarha Nam” and “Ma S-Abok,” when Imarhan get mellow with some acoustic-leaning songs that dial back the drive and settle instead for atmosphere.