Category: African Diaspora Music

Single Review by William Ruben Helms

New Audio: LohArano Shares Bruising “Rodo (The Reign of Outlaws)”

Over the past couple of years of this site’s 15 year history, I’ve managed to spill copious amounts of virtual ink covering Antananarivo, Madagascar-based JOVM mainstays LohArano. Since their formation, the Malagasy metal outfit  — Mahalia Ravoajanahary (vocals, guitar), Michael Raveloson (bass, vocals) and Natiana Randrianasoloson (drums, vocals) — have received attention both nationally and internationally for a unique, boundary pushing sound that features elements of popular and beloved Malagasy musical styles like Tsapiky  and Salegy with heavy metal. 

The Madagascar-based outfit’s sound and approach represents a bold generation of Malagasy youth that still honors, reveres and respects the traditions and practices of their culture and elders, while also being deeply inspired by contemporary, Western genres and styles. 

The JOVM’s latest EP YMAIMA as the band explains is “a mirror. It’s a finger pointed at a truth we’d rather keep quiet.” Thematically and lyrically, the EP’s material takes an unvarnished and unflinchingly honest look at the often brutal reality of their homeland, “which bleeds between muffled cries and complicit silence” they say.

Earlier this month I wrote about “Mpaka Taova (Organ Dealer),” arguably one of the most abrasive, Suicidal Tendencies-meets-Body Count-like tracks that they’ve released to date while retaining the accessible, mosh pit friendliness that they’ve long been known for. The song as the band explains talks about organ dealers who kidnap children. Frequently, these child victims are later found mutated — or never found at all. The song serves as a forceful refusal to forget these victims and cries out for justice for them.

YMAIMA EP‘s latest single “Rodo” is a System of a Down-like ripper full of weird time signature and tempo changes, bruising riffage, thunderous drumming paired with Ravoajanahary punchily delivered shouts and howls. The song as the band explains shines a spotlight on the dahalo (traditionally zebu thieves), who have transformed into more organized and violent groups, quickly become a symbol of the country’s disorder and insecurity, as these groups pillage communities across the island nation. The band mentions that musically, the song is inspired by Kilalaky music and dance, which originated in southwestern Madagascar. The music is frequently played during dahalo celebrations after a successful zebu theft.

They go on to say that the song thematically recounts a day in the life of a fictional dahalo, delving into the mental, spiritual and physical preparation until the moment he and his crew clash with locals and police officers in the village they wanted to pillage. The song — with an almost lived-in accuracy — describes the chaos of these violent clashes, including manhunts across the countryside, members of the crew getting caught and burned alive by villagers and ad desperately hasty retreat into the bush. This leads to a vicious and seemingly endless cycle of vengeance for our song’s narrator.

Video by William Ruben Helms

New Video: JOVM Mainstays LohArano Share Energetic Visual for “Bae Nosy”

Throughout the course of this site’s 15 year history, I’ve spilled a ton of virtual ink on the Antananarivo, Madagascar-based JOVM mainstays LohArano. Since their formation, the Malagasy metal outfit  — Mahalia Ravoajanahary (vocals, guitar), Michael Raveloson (bass, vocals) and Natiana Randrianasoloson (drums, vocals) — have received attention both nationally and internationally for a unique, boundary pushing sound that features elements of popular and beloved Malagasy musical styles like Tsapiky  and Salegy with heavy metal. 

The Madagascar-based outfit’s sound and approach represents a bold generation of Malagasy youth that still honors, reveres and respects the traditions and practices of their culture and elders, while also being deeply inspired by contemporary, Western genres and styles.

Back in 2023, the JOVM mainstays released the Bae Nosy EP, a title, which roughly translates into English as “beloved island.” EP title track “Bae Nosy” is an urgent, mosh pit friendly ripper built around rumbling down-tuned bass, thunderous drumming and Tom Morello-like guitar work paired with Mahalia Ravoajanahary’s furious roar. And at its core, the song evokes a real sense of nihilism and ennui, informed by the fact that the world is on fire and that everything is fleeting. So might as well have some fun while everything burns around us, right?

Recently, “Bae Nosy” was used as the theme song for season 3, episode 6 of the hit Paramount+ show Yellowjackets. And with the growing attention around the band, they shared a music video for the song, directed by Tsiory Andrianamanana.

The accompanying video features the trio in what appears to be a paper-strewn abandoned building. Throughout we see the band doing a mix of traditional Malagasy dancing, headbanging, moshing and just melting faces while displaying their remarkable energy.

Video by William Ruben Helms

Throwback: R.I.P. Amadou Bagayoko!

JOVM’s William Ruben Helms celebrates the life and music of Amadou & Mariam’s Amadou Bagayoko.

Single Review by William Ruben Helms

New Audio: Michael O. Shares a Yearning Yet Catchy Bop

Michael O. is a New York-born, Portland, ME-raised singer/songwriter, who grew up within a fusion of American, Black American and Nigerian culture. His work is honors his upbringing and his roots rand is deeply inspired by both. And through his remarkably accessible music, he hopes to make avenues for the African Diaspora to connect, as well as to inspire all nationalities across the globe to tap into their respective ancestral lineages.

He attended Dartmouth, where he double majored in Global Health and History and joined an a cappella singing group, The Dartmouth Aires. The group participated on NBC’s The Sing-Off, finishing in second place, which helped the rising artist earn a national and international attention, as well as praise from the show’s judges, Ben Folds and Boyz II Men‘s Shawn Stockman.

After The Sing-Off, he relocated to Los Angeles, where he released his debut EP, 2013’s In The Beginning. Within 24 hours of its release, the EP cracked iTunes R&B Charts Top 5. The EP was also Northern New England’s best selling EP.

He appeared in 2015’s Pitch Perfect 2, playing the role of The Singboks’ lead singer, soloing with “Anywhere You Want It.” He was also featured on Pitch Perfect 2‘s American Music Award-winning, commercially successful soundtrack.

Back in 2017, he began diving deeper into West African and African-influenced music , winning a HAPA Best Upcoming Artist Award for that year’s “Your Way.” He followed that up with “Umbrella” “See Stars” and two remixes of “Umbrella — one sung in French and the second remix featuring Kenyan star Naiboi. Adding to a growing international profile, he has collaborated with FlexCop, Option4 and Gladiator.

Michael O.’s latest single “Attention” continues a run of remarkably breezy, accessible an downright catchy pop that meshes elements of Sade-like Quiet Storm R&B and Afrobeats paired with the rising artist’s plaintive, yearning delivery. At its core, the song is a love song for the grown and sexy out there.

“‘Attention’ dives deep into the emotions of a relationship unraveling,” Michael O. explains. The track captures the bittersweet beauty of accepting a relationship that’s ended — even if they didn’t want it to happen. “‘Attention’ is both a personal confession and a universal anthem for anyone navigating love’s complexities. This track is for everyone who’s been there—questioning themselves, searching for closure, and coming to terms with an ending they didn’t want but couldn’t stop.”

Single Review by William Ruben Helms

New Audio: Jupiter & Okwess Shares Defiantly Upbeat Banger

Jean-Pierre “Jupiter” Bokondji is a Kinshasa, Democratic Republic of the Congo-born and-based bandleader, songwriter and percussionist, who can trace the origins of his music career to his childhood: Bokondji’s grandmother was a traditional healer, who got introduced him to music by having him attend religious ceremonies and funerals, which he later would play percussion. 

His father was a Congolese diplomat, who received a post at the Congolese embassy in East Berlin — and as a result, the family relocated to Germany. While in Germany Bokondji started his first band Der Neger, an act that meshed the Mongo music of his native Congo with the European rock of his German-born bandmates. 

When his father’s post ended, the family returned to Kinshasa in the 1980s. Upon his family’s return, Bokondji traveled around the country listening to the music of the country’s different tribes, eventually developing and honing his own style and sound. In 1984, he formed a band called Bongofolk — and in 1990, he formed his best known and longest running band Okwess International, which currently features Staff Benda Bilili’s Montana (drums), Yendé (bass), Eric (guitar), Richard (guitar) and Blaise (vocals). 

When Jupiter was young, he wanted to follow in the footsteps of his father, who was a diplomat. But, as he says, “Destiny is complicated. Life changed, and my life was making music on the streets in Kinshasa. But now we are performing all over the world, doing interviews, telling the world about the Congolese people – well, now I have the chance to be a diplomat. I did it differently.” 

In the years immediately after their formation, the members of Jupiter & Okwess toured across Africa, playing a crowd-pleasing mix of Afropop, traditional Congolese rhythms, funk and rock paired with strong sociopolitical messages that Bokondji has dubbed “bofenia rock.” But unfortunately, as they saw increased popularity, a bloody civil war broke out in the Democratic Republic of the Congo. Some of the band’s members fled to Europe as a result of the war; however, Bokondji remained in Kinshasa. And as the war died down, the Congolese songwriter, bandleader and percussionist saw a resurgence of his popularity. 

Bokondji was featured in the 2006 documentary film Jupiter’s Dance. The film brought him to the attention of British producers and musicians: The following year Blur‘s and Gorillaz‘s Damon Albarn and Massive Attack‘s Robert Del Naja first visited Kinshasa. That first trip spurred various collaborations with Jupiter & Okwess opening for Blur and guesting on Albarn’s 2012 album Kinshasa One Two. Bokondji and his bandmates also joined the Africa Express tour and made the rounds of the global festival circuit, including sets at  Glastonbury Festival and Way Out West. Adding to a rapidly growing international profile, the act released their then-long-awaited full-length debut, 2013’s Hotel Univers.

In 2013, Massive Attack remixed “Jupiter (Battle Box).” As a result of this breakout success, the band toured across the UK, Mexico, Japan, New Zealand and France. 

The Kinshasa-based act’s sophomore effort, 2018’s Kin Sonic saw the band drawing from sounds outside of their homeland, incorporating elements of modern, contemporary music to the mix. The Afropop outfit supported the album with 180 dates across the globe, including performing in the Paris production of Abderrahmane Sissako and Damon Albarn’s opera Le Vol du Boli.

Their third album, 2021’s Na Kazonga saw the Congolese outfit meshing an array of sounds from across the African Diaspora including traditional African music, disco, jazz, New Orleans brass, samba and soul while still remaining committed to conscious, sociopolitical lyrics and a strong sense of purpose. 

The acclaimed Congolese outfit’s fourth album, Ekoya is slated for a February 7, 2025 release through Airfono. The album represents a new chapter for the band, as the material sees the band blending their signature mix of soulful Congolese funk, rock and soukous with influences from Mexico and across Latin America, informed by cross-cultural encounters and drawing from the shared history of African people in two continents. 

Ekoya was conceived in 2020 when the Congolese band were touring across South America, a tour shaped by the specter of lockdowns and interruptions. Once the tour was finished, the band was forced to pause in Mexico for a period of time, before returning home. For the band, it was a transformative experience, as they found themselves immersed in Latin American culture. “Latin America has influenced us a lot… but our music hasn’t changed, it has just been given a new dimension,” Bokondji says. “When we were there, we discovered things that pushed us to think differently. Because it’s like a continuation of Africa. There are people there who have African roots, Congolese roots – they are part of the story of Africa. They are part of us, and they are a part of our music.” 

Recorded in Mexico rather than the band’s hometown, the album explores themes of change and resilience, of Indigenous peoples’ issues and the joys and struggles of everyday life. The 12-song album features guest spots from Brazilian singer Flavia Coelho, Mexican Zapotec rapper Mare Advertencia and Congolese singer Soyi Nsele — and lyrics in eight different languages. The album sees the band as both proudly Congolese and profoundly global. 

The band explains that when it came time to record the album, Mexico was a natural destination with the band recording material in studios in Guadalajara and Mexico City, while working with a series of producers including Mexican Institute of Sound’s Camilo Lara. 

Late last year, I wrote about album single “Les Bons Comptes,” a collaboration with Brazilian vocalist Flavia Coelho that’s anchored around a driving soukous-meets Kinshasa funk rock groove, punchily delivered shouted call-and-response vocals and a soulful contribution from Coelho. While being a soulful and effortless mix of Africa and South America, the song is rooted in the conscious, sociopolitical charged lyrics and warm welcoming spirit the Congolese outfit is known for. But the song is also underpinned by a desire to be the connective tissue and soul of the global African Diaspora.

Ekoya‘s second and latest single “Congo Blinders” is a joyous track anchored around collaboration with Brazilian vocalist Flavia Coelho that’s anchored around a driving soukous-meets Kinshasa funk rock groove, punchily delivered shouted call-and-response vocals, a relentless four-on-the-four drum pattern and a fiery guitar solo. Much like its immediate predecessor, “Congo Blinders” further cements the Congolese outfit’s uncanny knack for pairing catchy hooks, hypnotic grooves with defiantly upbeat, politically charged messages.

Single Review by William Ruben Helms

New Audio: Jupiter & Okwess Teams Up with Flavia Coehlo on a Globalist Banger

Jean-Pierre “Jupiter” Bokondji is a Kinshasa, Democratic Republic of the Congo-born and-based bandleader, songwriter and percussionist, who can trace the origins of his music career to his childhood: Bokondji’s grandmother was a traditional healer, who got introduced him to music by having him attend religious ceremonies and funerals, which he later would play percussion.

His father was a Congolese diplomat, who received a post at the Congolese embassy in East Berlin — and as a result, the family relocated to Germany. While in Germany Bokondji started his first band Der Neger, an act that meshed the Mongo music of his native Congo with the European rock of his German-born bandmates.

When his father’s post ended, the family returned to Kinshasa in the 1980s. Upon his family’s return, Bokondji traveled around the country listening to the music of the country’s different tribes, eventually developing and honing his own style and sound. In 1984, he formed a band called Bongofolk — and in 1990, he formed his best known and longest running band Okwess International, which currently features Staff Benda Bilili’s Montana (drums), Yendé (bass), Eric (guitar), Richard (guitar) and Blaise (vocals). 

In the years immediately after their formation, the members of Jupiter & Okwess toured across Africa, playing a crowd-pleasing mix of Afropop, traditional Congolese rhythms, funk and rock paired with strong sociopolitical messages that Bokondji has dubbed “bofenia rock.” But unfortunately, as they saw increased popularity, a bloody civil war broke out in the Democratic Republic of the Congo. Some of the band’s members fled to Europe as a result of the war; however, Bokondji remained in Kinshasa. And as the war died down, the Congolese songwriter, bandleader and percussionist saw a resurgence of his popularity. 

Bokondji was featured in the 2006 documentary film Jupiter’s Dance. The film brought him to the attention of British producers and musicians: The following year Blur‘s and Gorillaz‘s Damon Albarn and Massive Attack‘s Robert Del Naja first visited Kinshasa. That first trip spurred various collaborations with Jupiter & Okwess opening for Blur and guesting on Albarn’s 2012 album Kinshasa One Two. Bokondji and his bandmates also joined the Africa Express tour and made the rounds of the global festival circuit, including sets at Glastonbury Festival and Way Out West. Adding to a rapidly growing international profile, the act released their then-long-awaited full-length debut, 2013’s Hotel Univers.

In 2013, Massive Attack remixed “Jupiter (Battle Box).” As a result of this breakout success, the band toured across the UK, Mexico, Japan, New Zealand and France.

The Kinshasa-based act’s sophomore effort, 2018’s Kin Sonic saw the band drawing from sounds outside of their homeland, incorporating elements of modern, contemporary music to the mix. The Afropop outfit supported the album with 180 dates across the globe, including performing in the Paris production of Abderrahmane Sissako and Damon Albarn’s opera Le Vol du Boli.

Their third album, 2021’s Na Kazonga saw the Congolese outfit meshing an array of sounds from across the African Diaspora including traditional African music, disco, jazz, New Orleans brass, samba and soul while still remaining committed to conscious, sociopolitical lyrics and a strong sense of purpose.

The acclaimed Congolese outfit’s fourth album, Ekoya is slated for a February 7, 2025 release through Airfono. The album represents a new chapter for the band, as the material sees the band blending their signature mix of soulful Congolese funk, rock and soukous with influences from Mexico and across Latin America, informed by cross-cultural encounters and drawing from the shared history of African people in two continents.

Ekoya was conceived in 2020 when the Congolese band were touring across South America, a tour shaped by the specter of lockdowns and interruptions. Once the tour was finished, the band was forced to pause in Mexico for a period of time, before returning home. For the band, it was a transformative experience, as they found themselves immersed in Latin American culture. “Latin America has influenced us a lot… but our music hasn’t changed, it has just been given a new dimension,” Bokondji says. “When we were there, we discovered things that pushed us to think differently. Because it’s like a continuation of Africa. There are people there who have African roots, Congolese roots – they are part of the story of Africa. They are part of us, and they are a part of our music.” 

Recorded in Mexico rather than the band’s hometown, the album explores themes of change and resilience, of Indigenous peoples’ issues and the joys and struggles of everyday life. The 12-song album features guest spots from Brazilian singer Flavia Coelho, Mexican Zapotec rapper Mare Advertencia and Congolese singer Soyi Nsele — and lyrics in eight different languages. The album sees the band as both proudly Congolese and profoundly global.

The band explains that when it came time to record the album, Mexico was a natural destination with the band recording material in studios in Guadalajara and Mexico City, while working with a series of producers including Mexican Institute of Sound’s Camilo Lara.

Ekoya’s latest single “Les Bons Comptes” is a collaboration with Brazilian vocalist Flavia Coelho that’s anchored around a driving soukous-meets Kinshasa funk rock groove, punchily delivered shouted call-and-response vocals and a soulful contribution from Coelho. While being a soulful and effortless mix of Africa and South America, the song is rooted in the conscious, sociopolitical charged lyrics and warm welcoming spirit the Congolese outfit is known for. But the song is also underpinned by a desire to be the connective tissue and soul of the global African Diaspora.

Video by William Ruben Helms

Live Footage: Mariaa Siga Performs “Boukanck” at Sensor Club

Over the past handful of years, I’ve spilled quite a bit of virtual ink covering Senegalese singer/songwriter, musician and JOVM mainstay Mariaa Siga. 

Siga continues an ongoing collaboration with ODDY on the slow-burning and heartfelt “Boukanack,” which pairs a shuffling and twinkling reggae riddims, bursts of soulful and meditative horn with the Senegalese JOVM mainstay’s gorgeous and expressive delivery. “Boukanack” continues a run of material that blurs and transcends cultural and international boundaries while celebrating diversity in all forms. With “Boukanack” in particular, the song is anchored in a much-needed message of peace and hope for all humanity. 

Recently, the Senegalese JOVM mainstay recorded a solo live session of “Boukanack,” that’s completely stripped down to Siga accompanying herself on guitar. The live version of ” Boukanack” gets down to the basics — songwriter, vocal and song — while reminding us that the star of the show is always her effortless and gorgeous vocal.

Video by William Ruben Helms

New Video: Mariaa Siga Teams Up With ODDY on Hopeful “Boukanack”

Over the past handful of years, I’ve spilled quite a bit of virtual ink covering Senegalese singer/songwriter, musician and JOVM mainstay Mariaa Siga. 

Siga continues an ongoing collaboration with ODDY on the slow-burning and heartfelt “Boukanack,” which pairs a shuffling and twinkling reggae riddims, bursts of soulful and meditative horn with the Senegalese JOVM mainstay’s gorgeous and expressive delivery. “Boukanack” continues a run of material that blurs and transcends cultural and international boundaries while celebrating diversity in all forms. With “Boukanack” in particular, the song is anchored in a much-needed message of peace and hope for all humanity.

Directed by Mao Sidibé, the gorgeously shot accompanying visual for “Boukanack” is set in beautiful Senegal and offers a slice of daily life in that country; but perhaps more importantly, the video celebrates diversity — both within the country and outside.

Video by William Ruben Helms

Throwback: Happy 86th Birthday, Fela Kuti!

JOVM’s William Ruben Helms celebrates the 86th anniversary of Fela Kuti’s birth.

Single Review by William Ruben Helms

New Audio: Major Lazer’s House Music Remix of Amadou & Mariam’s “Mogolu”

Over the course of their almost 50-year career, the iconic and beloved Malian duo Amadou & Mariam have an illustrious career that has been them take the Malian blues that made them a household name in Africa and opened it up to rock, hip-hop and EDM/dance influences, spreading their unique Afropop message and joie de vivre. “We’ve always dreamed of tearing down walls and opening people’s ears to new sounds so the whole world can discover and appreciate Malian music,” Amadou & Mariam says.

Released last month, the compilation album La Vie Est Belle highlights the pairs legacy as one of Africa’s most famous duos and the massive influence they’ve had paving the way for an exciting, new generation of African artists, who have begun to dominate the Western mainstream. The Malian duo have also been ambassadors of Afro-pop, who have collaborated with some of the most iconic and biggest stars of Western mainstream music, including U2, Coldplay, Stevie Wonder and David Gilmour — with their seven studio albums selling over one million records globally.

Amadou & Mariam have made the rounds of the global festival circuit with stops at Coachella, Lollapalooza and Glastonbury, as well as at The World Cup, NPR’s Tiny Desk and this year’s Paris Paralympic Games Closing Ceremony, where they covered Serge Gainsbourg‘s “Je Suis Venu Te Dire Que Je Me’n Vais.” They’ve also made the run of the late-night TV circuits across both the US and U.K.

And adding to their global profile, the duo have collaborated with JOVM mainstays Sofi Tucker, BLOND:ISH, Santigold, Akon, TV on the Radio and Damon Albarn.

La Vie Est Belle features new and exclusive material, as well as essential songs recorded and released over the last 20 years, including material off Dimanche à Bamako, the album that propelled the duo into pop stardom, which celebrates its 20th anniversary this year. Album single “Mogolu,” which derives its title from the Bambara word for “people” is a celebration of all things human — human encounters, travels, cultural exchange and diversity, echoing the acclaimed pair’s longstanding commitment to global peace. Featuring layers of skittering and propulsive African polyrhythm paired with the Malian duo’s gorgeous boy-girl melodies and harmonies and glistening guitarrs “Mogolu” is a sleek and incredibly catchy synthesis of the traditional and the modern that has managed to burn up dance floors while subtly recalling the likes of La Confusion‘s “Bofou Sakou.”

Mogolu Remixes EP features remixes of “Mogolu” by a series of acclaimed producers including PPJ, Busy Twist and Major Lazer, the powerhouse production outfit led by Diplo. The Major Lazer remix of “Mogolu” turns the song into a slickly produced, club banger with dense layers of oscillating synths, skittering tweeter and woofer rattling thump while retaining the gorgeous melodies and soulfulness of the original.

Single Review by William Ruben Helms

New Audio: Mariaa Siga and Oddy Team Up on Empathetic and Soulful “Immigration”

If you’ve been frequenting this site over the past couple of years, you’d recall that I’ve spilled quite a bit of virtual ink covering Senegalese-born and-based singer/songwriter, musician and JOVM mainstay Mariaa Siga. 

Siga recently collaborated with ODDY and Rascat on an effort that features five distinct versions of the Siga and ODDY co-written tune “Immigration.” Each version showcases distinct mixes and arrangements, including a dub interpretation by Oddy and Rascal, an intimate acoustic version and a Nyahbinghi/rasta drum version.

The Senegalese JOVM mainstay shares a dub version of “Immigration.” Anchored around a mournful horn line, a shuffling riddim and a rubbery, throbbing bass line, the song’s arrangement serves as a lush and soulful bed for Siga’s gorgeous and expressive vocal. The song is written from the perspective of the immigrant and the migrant — in particular, young Africans — who have been forced to leave their homelands for safety, for a better life or to live out big dreams and so on. But it’s written from a place of much-needed empathy with the understanding that close to one-billion humans across the world are picking up what’s left of their lives and are on the move right now.

The question will be how will those in the global north respond? So far, it’s been with selfishness, cruelty and recrimination. Shame on us.

Single Review by William Ruben Helms

New Audio: JOVM Mainstays KOKOKO! Shares Swaggering In-Your-Face “Motema Mabe”

The acclaimed Congolese collective and JOVM mainstays KOKOKO!’s highly-anticipated sophomore album BUTU is slated for a July 5, 2024 release through Transgressive Records. Their sophomore album sees the acclaimed Congolese JOVM mainstays continuing to pair a defiantly resistant punk-like energy, informed and inspired by the attitude and thought of a new generation of Congolese artists and young people with their neck-snapping, attention-grabbing block party alchemy — but pushed to new, global heights. 

Kinshasa’s after-dark buzz was one of the major inspirations behind BUTU, which means “the night” in Lingala, and the album dives deep into the heart of the chaotic, throbbing city, celebrating and championing the joyful and creative spirit of its inhabits. Continuing their ongoing collaboration with Belgian producer Xavier Thomas, a.k.a. Débruit, the forthcoming album sees the collective led by Makara Bianko channeling a more electronic-driven, upbeat sound while replicating the frenetic feel of their hometown’s dynamic nightlife: equipment is pushed to its limits through saturated and distorted speakers and the sonic push-and-pull of nighttime sounds. 

The band employs field recordings, recorded from the city’s nighttime sounds and “ready-made percussion” like detergent bottles, which they fed through distortion to get closer to their city’s nighttime sounds. “Compared to Fongola, this album is intentionally way more intense, because it’s quite upbeat and quite full-on,” Xavier Thomas says. The album’s material also pulls from much wider influences and span across West Africa and South Africa, influenced by Bianko’s global travel, which introduced him to new types of alternative electronic music and punk. 

Over the past couple of months, I’ve written about the following singles: 

“Mokili” a house music inspired banger featuring glistening synth arpeggios, relentlessly skittering hi-hats and tweeter and woofer rattling thump serving as a slickly produced bed for Bianko’s crooning and impassioned shouts. Continuing a remarkable run of club friendly material with an in-your-face punk attitude and ethos, “Mokili” captures the frenetic and sweaty energy of their hometown and its nightlife scene with an uncanny, novelistic realism. But along with that, the song is a forceful and joyous reminder that Africa is the present and the future. 

“’Mokili’ is about moving the world so much that it’s going to tip over sort of,” the acclaimed Congolese collective explains. “This track was a track we were used to trying live in a more improvised way, we never got the chance to record till recently where we added the right touch for the studio. It was the last addition to our album BUTU and became the first single, so it’s really fresh. It has obviously influences from Kinshasa but also Kwaito and 90’s dance music.”

“Salaka Bien,” a euphoric, trance-inducing banger anchored around percussion created on heavy ceramic pots and pans, glistening house music synth stabs and skittering beats that helps to emphasize Bianko’s punchy and swaggering delivery singing lyrics full of winking sexual innuendo. If this track doesn’t fire you up and get you moving, you’re probably dead — literally and figuratively. 

“It’s a bass line driven track, with a lot of influences, like punk funk meeting old house stabs with a trance feeling!” The acclaimed Congolese collective explain. “When we play it live there are moments of overwhelming feeling building till it explodes and people let go totally. Do it, do it good, do it till you break it”.

“Bazo Bango,” a track that derives its title from a Lingala phrase that translates to English as “they are scared,” a chant sung by crowds as a way to vent frustration, the collective explains. Anchored around a looping and propulsive electric bass line, skittering electronic beats, twinkling and percussive polyrhythm and bursts of woozy synth arpeggios pared with chanted call and response vocals, “Bazo Bango” is a euphoric, riotous banger that captures Kinshasa’s chaotic, throbbing and irresistible energy with a mischievous aplomb. 

BUTU‘s fourth and latest single “Motema Mabe” continues a run of swaggering, neck snapping bangers. Anchored around a woozy and punchily menacing production featuring a looping twinkling and plunked string sample, buzzing bass synths and skittering military-styled beats and percussive percussive synth oscillations paired with Makara Bianko’s equally punchy delivery, “Motema Mabe” is an in-your-face challenge to any and all comers — whether on the mic, the dance floor or your fly style.

“Motema Mabe is a track about someone imitating, appropriating someone else’s creations, style or charisma – which happens a lot in Kinshasa!” The acclaimed JOVM mainstays explain. “It’s about karma getting back at people who can’t be original and claim things that they haven’t created. Make them pay!”