One of the reasons Mali's rootsy, pentatonic pop musicians get so much play on the world stage is that their music morphs easily into more familiar genres: blues, funk, jazz, and in this case, ambient club music. On his second international release, this singer and karnele n'goni (G-string bass harp) player continues his celebrated fusion of naturalistic viliage pop and techno. As on the earlier album, Bya , Bagayogo works here with Malian-based French engineer Yves Wernert at Studio Bogolon, an outfit best known for its acoustic racordings After years of persuading artists to strip away the corny keyboard and drum-box trappings that mar so many local pop productions, Wernert helped Bagayogo to steak out new ground, combining acoustic recordings with loops and electronic beats in an adventurous new way.

On "Sisi," the tumbling plink of Bagayogo's harp drops into a spare, swinging club groove
adorned by keyboard horns, tasty guitar riffing, and a smoky, laid-back vocal. Even slower
and more sensual, 'Baro" works around a flute riff, and strong backing vocals. Bagoyogo is no star singer, but his cool, slightly rough vocals go ,down easily and lend his songs a reedy authenticity- Slow, sultry numbers like the title track are Bagayogo's stock in trade, but there are a few crankers here as well, notably 'Dambalou," in which balafon tinkling,
kamele n'goni plinks, and an electric guitar hook interplay with electronic bleeps, whistles
and tones in a spare, satisfying arrangement. 'Saye Mogo Bana," with its catchy vocal and
mid-tempo lope, has much in common with typical Malian pentatonic pop, but the production
makes a world of difference. Ambient guitar and backing vocals weave through the mix, and
techno touches serve to enhance, rather than bury or suppiant the acoustic instruments. The
ease and spaciousness of Bagayogo's music puts It miles ahead of more self-conscious and
labored takes on roots-derived club music.