Through her folkloric mystique, otherworldly psychedelia, and a dash of enigmatic punk, Ahomaleby Combo Chimbita catapults the sacred knowledge of our forebears into the future. Their second studio album and Anti-Records debut sees the visionary quartet drawing from ancestral mythologies and musical enlightenment to unearth the awareness of Ahomale, the album’s cosmic muse. Comprised of Carolina Oliveros’ mesmeric contralto, illuminating storytelling and fierce guacharaca rhythms, Prince of Queens’ hypnotic synth stabs and grooving bass lines, Niño Lento’s imaginative guitar licks, and Dilemastronauta’s powerful drumming, the lure and lore of Combo Chimbita comes into existence.
The legend begins with their first EP, 2016’s El Corredor del Jaguar, and followed up with the occult psychedelia of Abya Yala. In 2019’s Ahomale, the New York-by-way-of-Colombia troupe fuse the perennial rhythms of the Afro-Latinx diaspora with a modern-day consciousness, while tracing the prophetic traditions of our ancestry. “The more we’ve played music together, the more we began to discover things within ourselves that we were previously unaware of, almost like an energy. And that’s being communicated through our music,” explains Prince of Queens in the making of Ahomale.
Inspired by a Yoruba term Ahomale, meaning adorer of ancestors, Oliveros reveals her quest to connectwith ancestral cosmology, which the Combo pays homage to. “Ahomale resurges from the visions that we’ve been having via our music and life, and the lyrics reflect a manifestation passed on through our ancestors and the gods,” she explains. “I wanted the album to convey the search for spiritual awareness, which ultimately serves as a revelation.” In a similar spirit, Niño Lento conveys: “The protagonist of this album whose name is Ahomale possesses the ability to communicate ancestral wisdom through the music.”
With the help of producer Daniel Schlett (The War on Drugs, Modest Mouse), the group’s rootsy experimental alchemy and metal strangeness take centerfold. Oliveros howls, yowls and chirpswith gut wrenching emotion, like on the languid mirage of “El Camino,” or plaintive frenzy of the title track. Whether rock raw and soulful or bewitching like a shaman in a spiritual ceremony, her voice is always a multifaceted wonder. “Brillo Más Que El Oro (La Bala Apuntándome)” boasts alluring vintage synths that seem to time travel through the lush tropics of yore; then, the mood intensifies when its bridge brilliantly crosses into a spellbinding chant sung in unison: “Y si digo que / Que ahora ya lo se” (“And if I say that I now know”). “Testigo” is pure melodic witchcraft in action that strips away wordly façades into something bare and beautiful: “Desde principio a fin, yo siempre di mi verdad” (“from beginning to end, I always gave my truth), the singer vulnerably croons against a whirling guitar and galloping percussions.
Ultimately, Ahomaleis a catharsis of divine feminine force helmed by their powerhouse vocalist, laden with the teachings from a bygone era, in tune with the spiritual realm. “Our spirit and energy have passed through multiple generations,” says Prince of Queens. “We might not be open or allowed to explore it because of Western society’s conditions. But the idea is that we are receiving messages from the past, and from our ancestors that each one of us carries.” In nearly 40 minutes of eye opening thrills and chills, the listener experiences the pedagogy of Ahomale, journeying through her epiphanies and enlightenment. “Ahomale is a warrior, not the sword and shield type, but a woman who is ready to listen to her heart, follow her intuition and connect with her ancestors,” Oliveros avows
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