Last year, I wrote about the acclaimed trio of Toto Bona Lokua, comprised of French-Antillean singer/songwriter Gerald Toto, Cameroonian jazz musician Richard Bona and Congolese singer/songwriter Lokua Kanza, and as you might recall, with the release of 2004’s, critically applauded sophomore effort Totobonalokua, the pan-African act received attention across world music circles for a sound and aesthetic that effortlessly blended several different traditions, cultures and languages; in fact, the album was a commercial success in France, despite very little promotion and no touring.
Since the release of Totobonalokua, the members of the trio have pursued a series of diverse solo projects, which kept them incredibly busy. Of course, because of the success of their sophomore album, the individual members of the trio would frequently be asked by fans and the press if they would be reuniting to write and record new material — or if they had any plans to tentatively do so. Although the individual member of the trio’s paths seldom crossed, they managed to stay in touch, and as the story goes Gerald Toto suggested that it might be time to reconvene the trio and try to write new material. Bona and Kanza quickly agreed and while it took some time to synchronize the schedules of three extremely prolific and busy artists, they found time to write and record their third full-length album Bondeko, which was released earlier this year through French record label Nø Førmat. (By the way, the album’s title is derived from the Lingala word for “friendship” or “fraternity.”)
This year has been a very busy one for Gerald Toto, as he followed the release of Toto Bona Lokua’s third album with his latest solo album Sway, and from the album’s first single “Away Alive,” Toto will further cement his reputation for crafting infectious and breezy pop that’s mischievously difficult to categorize. In fact, “Away Alive” is centered around a languid and tropical groove, featuring gently strummed guitar, brief bursts of arpeggiated synths and an infectious hook paired with Toto’s yearning falsetto. Sonically the song hints at Tropicalia, Bossa nova, 70s soul, Afro pop, French pop and folk while not being one thing in particular; but perhaps more important, the song encouragers the listener to slow down and pay close attention to gentle sway of life’s rhythms every now and then.
Produced by Paris-baed company La Sucrerie and directed by R&D, the recently released — and incredibly cinematic — video follows Toto as he wanders about the desert. Speaking about the video, Toto says “The desert is an allegorical dream. An inner space where one seems initially lost, without reference or bearings, before finding, within, an anchor point from which to walk. With a heart open to all encounters.”