When the Dust Settles

Second albums are said to be the most problematic creations, particularly after an outrageously strong debut, like Balimaya Project's Wolo So. But led by their leader/djembé-player/arranger/composer/griot, Yahael Camara Onono, they have evolved into an even more intriguing and compelling creative force. Their tunes have more fluidity, possessing diverse forms in which solos flower into life, vocals range from chant and spoken word to Mande and neo-soul melodies and the incisive percussive presence constantly punctuates and flows, like a changing wave through the music.

Camara Onono's liner notes trace the emotions of the album's trajectory from regret and understanding to acceptance and ‘expectance’, underlining the roots of the journey in the rituals, celebrations and languages of the various West African and diasporic London communities which have nurtured the illustrious band members. The songs touch on growth, belonging and joy, but also look at alienation, rejection and death… a thought-provoking, mind-opening odyssey. Their wide-ranging musicality takes in the spectral trance of ‘Red Oil / Beyond Kingdom Come’, with shamanic vocals from London-based Nigerian superstar Obongjayar, the celestial funereal polyrhythms of ‘Suley's Ablution’, the infinitely joyful afrojazz of ‘Anka Tulon’, the salutary defiant Mande anthem ‘There's Nothing Left for Us Here’ and the joyous marriage of Siamou and Farabaka rhythms on ‘Golo Kan’. Undoubtedly an epic and triumphant tour de force for this ever more virtuosic ensemble.