Onaida

Dutch-born singer and percussionist Natascha Rogers released ‘O Baba’ as the first single from this album, With its strong Yoruba beats and lyrics it stands out as the chief dancefloor track among a record that is predominantly more airy. It’s an album that could potentially be a confusing mess of influences with cringeworthy sentimentality but, due to Rogers’ incredible inventiveness and downright beautiful songwriting, it stands out as one of the most interesting and enjoyable albums I’ve reviewed for this publication in the last 12 years.

Melodically, there are many similarities with the output of Fleet Foxes, with echoes of Nils Frahm in the sparkly piano arrangements and the occasional American folk vocal inflection. There is so much going on on every track: Afro-Cuban hand percussion, jangly electric guitar, little bird sounds; but it never sounds kitchen-sinky and every ingredient sounds appropriate and well blended. ‘Aniafa’ is an ode to Mother Earth, referencing Rogers’ Amerindian heritage, ‘Sacred Night’ references West African rhythms and on ‘Tambor’ Rogers switches between Spanish and English to celebrate the power of the drum. It is impossible to pigeon-hole Onaida into any particular genre as it takes us on a beguiling journey through many lands and themes.