French film-maker Eliane de Latour believes that "the essence of a city can be captured through its voices." And the soundtrack to Après l’océan - a topical tale about immigration seen through the eyes of Shad and Otho, two young "adventurers" from Abidjan - gives listeners a strong sense of life on the Ivorian city streets. Working without the support of a record label, de Latour has managed to put together a highly original album which "does not set out to present a panorama of Abidjan, but just the opposite, in fact." Abija’Taam reflects the vibrant hustle and bustle of a cosmopolitan city not by giving a overview, but by letting the microphone dart about in search of the greatest possible range of voices.

Abija’Taam (the album title means "the taste of Abidjan" in Senufo) features singers from radically different styles and backgrounds ranging from a joint effort by rapper Kajeem and the Dioula 'griot' Karim to the Catholic choir of Sainte-Catherine's and a chorus of Burkinabe fisherwomen. All the ingredients of Abidjan's rich musical melting-pot are represented via Senufo witch doctors and 'coupé-décalé' chanting to a Protestant soloist and reggae, folk and Latino singers.

Another major highlight of Abija’Taam is that the album begins and ends with two original contributions from Ivorian reggae star Tiken Jah Fakoly. The album's thoroughly eclectic mix could have been a little overwhelming. But de Latour decided to have a unifying thread running throughout her compilation, persuading most of the singers involved to perform 'a cappella.' The film-maker waived her own rules at times, however, allowing flautist Ali Wagué and kora maestro Djeli Moussa Diawara to add subtle musical accompaniment here and there. Far from breaking the overall charm of Abija’Taam, the two musicians inject a vital touch of spirituality and musicality to the city's vibrant and sensual soundscape.