Sons of Kemet: Lest We Forget What We Came Here to Do review – hooky horns and rapturous drumming

Mobo jazz award winners Sons of Kemet’s follow-up to their 2013 debut album, Burn, features a comparable chemistry of hooky horn themes – from reeds-player Shabaka Hutchings and new tubist Theon Cross – and rapturously hip double-drumming from Tom Skinner and Seb Rochford. Their sound balances ritualistic sparseness, conversational clamour and unpredictable jazz looseness. The languid tenor-sax vamp of In Memory of Samir Awad turns to smeary upper-tone asides over pounding drums; the initially free-jazzy Tiger gets slinkier in dialogue with the tuba; Afrofuturism mixes marching-band music, abstract sax shimmers and distant vocal chants. But there’s also a gentleness in the lyrical sway of Play Mass and the hypnotic, north African-inflected Mo’ Wiser. Two years ago, Sons of Kemet were already blowing live audiences away and fascinating listeners on record – they do it even better now.