Oceania II

According to legend, Hawaiki is the place half-real, half un-real, where man walked with Gods and had an innate communion with all animate and inanimate things. It's from here the Maori made their voyage to Aotearoa, leaving on a journey to a new land, but perhaps never leaving the old. This sense and knowledge of a spiritual past is what informs our present existence.

Which leads us to the second album of Oceania; the first released in 1999 to both local and international acclaim and reaching double platinum sales in New Zealand. This new release, like the first, is a collaboration between singer Hinewehi Mohi and Jaz Coleman (of Killing Joke fame and accomplished composer in many fields). Adding to the project is Irish producer, Rory Carlile.

It was Hinewehi's father who guided her to pursue an understanding of Maori culture and sense of Maori identity. From this position of strength she has been able to promote these values through her roles as poet, singer and Maori broadcaster.

However it is with her musical recordings that this mission is fully realised. With a linking of the Maori language and traditional themes to the lush melodies and contemporary rhythms used in the electronic landscape of Oceania, Maori sensitivity meets European sensibilities. Placed between tracks are traditional instruments operating as transitions into the modern sound of the album. Echoes of the past encased in the present producing a dream state that resonates with meaning.

But it is the voice that you notice above all, flowing like a river of melody matching the astute musical arrangements. The track Kurupana has an almost European pop feel, while the beautiful and haunting Hawaiki displays Hinewehi's ability to create wondrous images with her voice. Much of the album is of a mellow feel, fitting the overall texture of the sound, one may describe as part of the "chill out" genre. Perhaps the Maori word "moemoea" is more applicable, for it means to dream, to escape and learn from your visions. Akonga is a particularly personal experience for Hinewehi as she sings a duet of sorts with her deceased grandfather's brother who passed away over three decades ago. The contrasts in the traditional Maori vocal cadence of her ancestor with her own stylised performance shows the difference in melody and rhythm between the ages, but somehow achieving the same ends. Listen to this track and you will understand what Oceania is trying to achieve.

The influences on this album have been many; sourcing the collection of traditional songs recorded by Sir Apirana Ngata in the 1940's, and the role and work of Dr Hirini Melbourne with the traditional instruments.

Perhaps even more influential have been Hinewehi's own experiences, now in a "different space emotionally" having come to terms with her daughter's cerebral palsy and gaining a sense of confidence and courage from her family life.

One doesn't have to speak Maori to appreciate the joys of Oceania. Part of its appeal is the universality of the sound and to show that, is the use of a track (Kotahitanga) from the first album being used as titles music to a Brazilian soap opera. Hinewehi's adherence to spreading the use of Maori became news when she sang the national anthem in Maori at the 1999 Rugby World Cup causing a controversy. It is now an established event and we have her to thank for that.

This album certainly makes one appreciate the beauty of the language and to see the commonalities of all cultures. Fine sentiments with a wonderful and all embracing message that you can almost touch whenever you hear the sound of Oceania.