Thus goes the Rumi-inspired poem that appears on the back cover of Opium Moon’s second album, the double CD Night + Day. What the band has proposed for their sophomore release shows their more fiery side compared to their debut. Reflective of the title, the Night portion of the album is more meditative and relaxing, whereas by Day, things are in more of a dancing mood. Either way, the music is richly satisfying and the foursome that is Opium Moon- bassist Itai Disraeli, percussionist MB Gordy, violinist Lili Haydn and santoor player Hamid Saeidi -show their chops to be spot on and their strength as an ensemble skin tight.

Middle Eastern inspired fusion music has become commonplace to the point where it can sound generic. Opium Moon avoids that trap by not laying their obvious virtuosity on too thick, drawing on a wide swath of influences both sacred and secular, and giving the overall sound an accessibility that borders on funky at times (most evident in the elastic bounce of Disraeli’s bass). There are two versions of the namesake tune “Opium Moon,” each serving as suitable mood-setters for their respective discs. I prefer the Night version, but that’s it as far as personal comparisons between the disc that’s more dreamy and the one that’s more driving.

Both of the Sufi-imbued “Dhikr” are appropriately grand. “Ahava ve Shalom” bestows peace on a world badly in need of it. “I’ll Wait for You” blends sacred yearning with a sensuous groove to the benefit of each. Throughout, the band is completely dialed in on their instruments. The tracks are lengthy, and the easy shifting between pieces reaching for heavenly desires (“When Their Wings”) and those seeking enlightenment with feet still on Earth (“100 Ways to Kiss the Ground”) give Night + Day a twofold grace that gets to your soul shortly before the rest of your body kicks in. Feel free to enjoy the nocturnal and diurnal separately or together. You’ll do yourself good no matter which.

Find the ensemble online.