With 'Amina', Belgian-international musical refugee project Refugees For Refugees presents a successor to its 2016 debut effort 'Amerli'. With this second album, the ensemble, which has been downsized from twenty to ten musicians, above all wants to focus on reconstruction and finding a new breath after being uprooted, resulting in the songs on 'Amina' sounding a lot more cheerful than the often melancholic and nostalgic tracks on 'Amerli'. Title track 'Amina/Ganou Manaleleh' was written by Afghan dombura player Mohammad Aman Yusufi and describes his separation from his beloved, whom he was forced to leave behind in his homeland. That being said, within the band, the song with its melancholy lyrics, has become a symbol of friendship and festive cooperation, and in the second part of the song Fakhr Madallal, son of legendary Syrian singer Sabri Madallal, calls to sing together, to get out the percussion and to dance. The instrumental Indo-Pakistani flavored 'Punarjanm' (Hindi for "reincarnation"), a title for the musicians of Refugees For Refugees perfectly symbolizing how they reinvented themselves in a totally new context. 'Tales Of The Mountain' is a medley of cheerful Tibetan folk songs that are often sung by the nomads in the Tibetan highlands when herding their cattle, and for 'After The Dust', sarod player Asad Qizilbash and duhulla player Simon Leloux drew inspiration from the heartbreaking images of Omran Daqneesh, the five year old Syrian boy who was staring ahead in shock as he sat there covered in blood and dust after an attack on his neighborhood in Aleppo. Here and there a more melancholic composition can still be found in the track list. Examples are 'Shuq' ("I miss you"), a composition by Iraqi qanun player Souhad Najem from 2003, the period of the Second Gulf War, which he spent exiled in Tunisia, separated from his family, lonely and in fear, and 'Rose Gate' or 'Bab Alward', the name of one of the nine gates of Aleppo, which was destroyed more than a century ago. Oud player Tareq Alsayed Yahya wrote the song in 2010 on the eve of the Syrian revolution, and it now symbolizes the lost grandeur of the city and its long and rich history. Very similar is 'Wasla Qudud Bayati', a Syrian traditional from Aleppo in 2016. Refugees For Refugees continues to make music with a laugh and a tear, in which all members can express themselves and just as easily link an Indo-Pakistan raga with a Tibetan song, merge an Arab suite with a popular Hazari song from Afghanistan, or enrich a song from the Himalayas with some oriental percussion. Again, part of the proceeds of the album will go to a charity, and this time that's Cinemaximiliaan, a platform with and by newcomers in Belgium, which started in an improvised camp at the Maximiliaan Park in Brussels with daily film screenings, but quickly grew to become a vast network of volunteers, amongst them many newcomers, together bringing light to the day and to the night.