Owiny Sigoma Band

Owiny Sigoma Band frontman Joseph Nyamungu says the songs on this record came to him while walking down the street, or in dreams. He takes you daydreaming with him, and tells you stories through interruptions of cow horn, and short keyboard flourishes setting a scene of dusty, busy urban bluster. Owiny Sigoma is a person, but he is not in the band that is named after him. He was Nyamungu’s grandfather in Kenya. Nyamungu runs a school, which also bears the name, at which he teaches and sells nyatitis - an eight-string lyre on which strings are played with a violin-like bow. And Nyamungu brings his musical teaching to this album, a collaboration with fellow Nairobi native and percussionist Charles Owoko and four London-based musicians. The songs are based on traditional Luo folk songs of Kenya, recognisable by their irregular chanted rhythms, the band add repetitive basslines, and a clatter of uptempo drums.

Nyamungu’s opener ‘Gone Thum Mana Gi Nyadhi (Play The Music With Confidence)’ is as if he is instructing his new cohorts through fresh rhythms and musical ideas, and, like a conversation building pace, the dialogue picks up its own distinctive groove. And the vocals reinforce this, Nyamungu repeating lines with extra emphasis on the phrasing, which feels its way into your subconscious through creeping rhythms. ‘Odero Lwar’ follows suit, upping the tempo ever so slightly, the chanted vocals getting more strained, guttural and urgent. Whistling and off-mic breathing punctuate the dense atmosphere, made eerier still by the wail of the unusual cow horn. It’s a low, ominous groove and so it’s a surprise what happens next – with the melody and pop structure of third track ‘Wires.’ The tight wind-up/wind-down licks of the single - one of two English-language songs on this record - shows the English musicians are not just along for the ride. When they step out to do their own thing it is like a different group, and brings to mind the Afrobeat-influenced indie of the likes of Vampire Weekend. And they have chops of their own, keys player Jesse Hackett toured with Gorillaz and Africa Express, which explains the involvement of Damon Albarn, who makes an appearance on the Farfisa organ. Drummer Tom Skinner, bassist Louis Hackett and bouzouki and guitar player Chris Morphitis all adapt to their new environment, capturing the feel of what their hosts were sharing while bringing in wider African influences like Fela Kuti and Tony Allen, as well as late 70s New York no wave dance moves.

Elsewhere on the record the band are back to the unstructured and loose, natural grooves, which benefit from seven to eight minute durations. Deep dub roots come to the fore on ‘Margaret Okudo Dub (My Friend)’ with echo-drenched vocals and stabbing keyboards punctuate. They strip things back altogether on Nyamungu’s solo piece ‘Owegi Owandho,’ a simple wood block beat with vocals standing higher than the repetitive fiddly nyatiti line. Natural funk from the west takes over on root dance note-based instrumental Afro-disco ‘Nabed Nade El Piny Ka’ making it clear why Gilles Peterson, on whose Brownswood label the record is released, started comparing them to Liquid Liquid. It is understated, but undeniably funky, with a stripped down three-piece lineup of bass, drums and keys, a handful of the English musicians conjuring something new based on ideas and techniques only newly learned. Like Nyamungu humming a tune walking down the street, the Owiny Sigoma sound has personality, swagger and its own distinctive groove.

Source: thequietus.com - Richie Troughton , June 6th

In 2009, a handful of London-based musicians travelled to Nairobi in Kenya to collaborate with two local musicians: Joseph Nyamungo and Charles Okoko, who hail from a village up country called Owiny Sigoma. The workshop/rehearsals were a lot of fun and pretty fruitful so they set about finding a studio that could accomodate a 7-piece live band. The resulting four tracks made their way to Gilles Peterson who promptly signed the band to his Brownswood imprint and sent the boys back to Nairobi for another week-long recording session with Joseph, Charles and their extended musical family.

The traditional folkloric music of Kenya has not received the same global exposure as that of Nigeria, Ethiopia, South Africa or North Africa for example and one of the objectives of this project was to try and build on this. The band draw on a broad spectrum of African influences, from Fela Kuti and Tony Allen to the likes of Thomas Mapfumo and Oumou Sangare, but bar Jesse's participation with Damon Albarn's Africa Express, this was the first opportunity for Jesse Hackett (keys), Louis Hackett (bass), Sam Lewis (guitar), Chris Morphitis (bouzouki/guitar) and Tom Skinner (drums) to visit specifically for a musical project.

The results are documented on the band's forthcoming album -- a collection of gloriously hypnotic Afro grooves symbolic of the true culture clash between the Luo and London. A 12" featuring two tracks from the original session in Nairobi - 'Doyoi Nyajo Nam' b/w 'Jalako Onyoono Paka' (playing in the clip) - is out now on Brownswood Recordings.

- Live Session for Lefto on Studio Brussel -

Owiny Sigoma Band // Live session for LeFtO on Studio Brussel by Brownswood

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