1. Gone Thum Mana Gi Nyadhi 	
2. Odera Lwar 	
3. Wires 	
4. Margaret Okudo (Dub) 	
5. Hera 	
6. Doyoi Nyajo Nam 	
7. Owegi Owando (Solo) 	
8. Nabed Nade Ei Piny Ka (Rework) 	
9. Here On The Line 	
10. Rapar Nyanza

Jesse Hackett (keys) 
Louis Hackett (bass) 
Sam Lewis (guitar) 
Chris Morphitis (bouzouki, guitar)
Tom Skinner (drums) 
Joseph Nyamungu 
Charles Okoko

This Nairobi-London sound clash mixes traditional Kenyan Luo styles with contemporary western influences, and really works. The project started when Jesse Hackett and other members of the electronic hip-hop and soul collective Elmore Judd went out to Kenya at the invitation of a voluntary organisation promoting local musicians. Here they met up with Joseph Nyamungu, an exponent of the traditional nyatiti 8-stringed lyre, and began performing with him and local percussionists, naming their band after Nyamungu's music school (and his late grandfather). Back in London, Judd played one of the tracks they recorded to DJ Gilles Peterson, who was so impressed with "this weird collage with a great groove" that he commissioned a full album for his Brownswood record label. The result includes nyatiti solos alongside percussion and bass work-outs, but the best sections are those when both groups come together to create a quirky, slinky dance style. This is just the sort of project Africa Express set out to promote, so it's no surprise to find Damon Albarn adding Farfisa organ or omnichord (like an electronic autoharp) on a couple of the tracks. ---theguardian.com

What I heard when I first played Owiny Sigoma Band on the radio was a phat, wayward dance record with African leanings and it just felt completely right... That’s why it was good to continue along the path that they’d followed, because they've got a different approach to how the drums should sound and the bass should sound – it’s like they’ve been listening to a bunch of Arthur Russell and Liquid Liquid records. Those characteristics alongside the nyatiti, the vocals and the cow’s horn, lend it these unique properties that you don’t hear in any other African music and make it exciting. But, fundamentally, the reason that it works for me (and Brownswood) is that it’s drum and bass heavy… rhythmically heavy. ---Gilles Peterson, soundcloud.com

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1.Nagalo Ni Piny Odag 02:30
2.Norbat Okelo 03:58
3.Sunken Wrecks 05:04
4.Lucas Malore 04:25
5.Magret Aloor 05:33
6.Mombassa Outro 01:04
7.Harpoon Land 02:54
8.Owiny Techno 05:27
9.Yukimwi 04:36
10.All Together 03:19
11.Johnny Ra Ha 05:32
12. Nyiduonge Drums  04:23

Band members:
Jesse Hackett (keys), 
Louis Hackett (bass), 
Lewis (guitar),
Tom Skinner (drums).

Their debut was one of the best fusion experiments of recent years, with its clash of traditional Kenyan styles and contemporary British electronica, and here's a second set to prove how well the collaboration works. This time round, the nyatiti lyre exponent Joseph Nyamungu has travelled to London with Luo drummer Charles Owoko to record with keyboard player Jesse Hackett and other members of the Elmore Judd collective, and the results are even more attacking and confident than before. Once again, there's a fusion of east African and western influences, and many of the best tracks are dominated by the Kenyans. The set starts with a slinking nyatiti riff and African percussion backed by a swirl of keyboards, while on Owiny Techno the chanting vocals are matched against rumbling bass. Elsewhere, the funky melodic pop of Harpoon Land sounds like Talking Heads with a Kenyan edge. Impressively original. ---Robin Denselow, guardian.co.uk

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