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Hera Ma Nono still possesses an often awkward transition between the jarring Kenyan and North American influences, but this also essentially provides Extra Golden with their character.
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As with their earlier release, Extra Golden seems to shine particularly in two speeds: an amped up tango rhythm that seems to accompany the more soul-driven songs, and a faster gallop that tends to yield the most sweat
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Hera Ma Nono improves on "Ok-Oyot System" in almost every way: the guitar sounds are more vibrant (padded with reverbs, phasers, and other bubbly what-have-you’s); the songs hang together better as a record; the slide between Swahili, English, and Luo is as effortless and colorful as good pidgin; and, most importantly, it usually gets at--or at least hints at--African music’s most cherished balance: unhurriedness with a pulse.
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Unlike "Ok-Oyot System," Hera Ma Nono credits all songs to the band, as opposed to individual band members, and no doubt the results sound more cohesive as well.
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The 2005 AIDS-related death of Extra Golden cofounder Otieno Jagwasi shades the follow-up to last year’s rough yet lovable "Ok-Oyot System."
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Moments on Hera Ma Nono sound a little AOR for a label as experimental as Thrill Jockey, and one suspects that a tasteful re-branding is all that's keeping Extra Golden and their fascinating dance music from the heights of legitimacy currently enjoyed by much less challenging, much less "World" bands.
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The songs themselves are trimmer and sweeter than they were on the first album, and the outro is inspired.
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Under The RadarThe songs on Hera Ma Nono are long, but the band is effective enough to maintain interest. [Fall 2007, p.73]
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They've just released their second very good album, Hera Ma Nono, and the collaboration is still positive and unforced.
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Overall, Hera Ma Nono left a good impression with several notable points, however, there will be no drooling this time around.