SaLiVa Review: A Devotional Celebration from Brazil to Cape Verde

Among the various “global fusion” musical styles available today, the transatlantic band Ayom offers a truly unique and unexpected experience. The group is composed of members hailing from Brazil, Angola, Italy, and Greece. What unites them is a shared admiration for mysticism revolving around the Candomblé religion and the cultural exchanges prominent in the “black Atlantic.” Thus, while their music is primarily Brazilian in essence, it also incorporates influences from Portugal and Cape Verde.

Ayom’s second album marks a confident evolution from their self-titled debut in 2020. Overseen by noted Brazilian producer Guilherme Kastrup, the album integrates subtle electronic elements into their traditionally acoustic sound. It’s built upon a poignant concept: sagrado (sacred), liberdade (freedom), and valentia (courage). These themes merge to form SaLiVa, a metaphorical representation of the water on everyone’s lips.

The album commences with three slow and devotional tracks, followed by celebratory tunes and culminating in a blend of fierce and contemplative numbers. This structure ensures a little bit of everything for listeners.

Jabu Morales, the lead singer, handles each piece with striking ease. Whether she is conveying the yearning of migrants in “Oxalá, Promessa Do Migrante” or embodying the carnival spirit in “Eu Me Quero Mais,” Morales delivers each performance with agility and emotion.

The album features a variety of musical elements, including slinky samba, potent percussion, brass stabs, and intricate accordion lines by Albert Becucci. The track “Io Sono Il Vento” stands out as a lovely, soft-focus close, reminiscent of a 1950s Italian croonalong.