Ibibio Sound Machine are a pulsating eight piece band that is made up of Eno Williams (vocals), Alfred Kari Bannerman (guitar), Anselmo Netto (percussion), Jose Joyette (drums), John McKenzie (bass), Tony Hayden (trombone, synth), Scott Baylis (trumpet, synth), and Max Grunhard (saxophone, synth). Since their 2014 self-titled debut the band have toured extensively, but they have managed to find time to record a follow up Uyai. “Uyai is a continuation of Ibibio Sound Machine’s story in which the worlds of West African highlife and electronic London collide via the storytelling lyrical thread of Eno’s vocals in the Ibibio language of Nigeria,” the band explains. “There is a darker, edgier quality to the sound that maybe reflects the difficult journey the band took from making the first album to completing the second one. The songs are based more around themes of empowerment, freedom, and the liberation of dance for women, and people in general.”
'Uyai’ means beauty in the Ibibio language. And beautiful this album is. ISM sound pulled elements from West African funk, disco, post-punk and electro to sound like Melt Yourself Down, mashing up an Orchestra Baobab with Gloria Estefan vocal. While this sounds like an inconceivable mess, it actually works and yields impressive results. ‘Give Me a Reason’ kicks everything off. Sounding like an updated version of the Miami Sound Machine, is ISM’s name a more than subtle reference to this?
Everything has an undulating pop sheen and an unending playfulness surges from the speakers. If you’ve ever been to the Notting Hill Carnival, this is the sound you were always searching for, but never found. ‘The Chant (Iquo Isang)’ opens with a barrage of electronic oscillations. Then Eno’s vocals enter the mix, half in English and half in Ibibio, they are the main event of the song. The music however is a mix of soul/jazz horns, electro synths and driving basslines. ‘One That Lights Up (Andi Domo Ikang Uwem Mmi)’ slows things down a bit and shows ISM can go slow and steady just as well as lairy and frantic. Delicate keyboards mingle with poignant percussion to create a nice juxtaposition to the opening salvo.
‘Quiet’ is a stand out moment of the album. Hypnotic guitars twist, coil and interlace with Eno’s powerful vocals. This shows that ISM don’t need studio trickery to get their message across. Broody ethereal trance-esque synths start to build up a soundscape that slowly wraps you in a claustrophobic bubble. ‘Sunray (Eyio)’ is the sound of, as the title suggests, sunshine. As the rhythmic basslines and funky guitars emerge from your speakers they give you a sense of warmth. The real highlight are the wonky synths that bring to mind classic Acid House. As ‘Sunray (Eyio)’ progresses they get tighter and more intense until a glorious outro of slow free flowing techno. The album closes with ‘Trance Dance’. The track lives up to its name as pulsating electro synths are woven with blaring horns and sketchy guitars, while a heavy dose of funk lurks in the shadows. It it a fitting end to an exciting and mesmerising album.
ISM have made an album that is equally suited to be played out loud on speakers as it is on headphones walking about town. Uyai is the kind of album you can play to bookend a night out. Put it on before you leave the flat to get you in the mood, but it will also work as the soundtrack to an impromptu house party. The music is uplifting, catchy, while at the same time having moments that will allow profound and throught-provoking conversations until the first rays of sunlight break through the windows. This is an early contender for album of the year and if ISM have their way it will be on every end of year list come December. Make sure it’s on yours.
Nick Roseblade