Tag: afro pop

New Video: Speed Through the Streets of Kinshasa in Visuals for TSHEGUE’s Thumping “The Wheel”

Born in Kinshasa, Democratic Republic of the Congo, Faty Sy Savanet and her family emigrated to Paris when she was eight. In her early twenties, a mutual friend connected Savanet with Robert Wyatt collaborator Bertrand Burgalat, whose label, Tricatel has been referenced as a major influence of the likes of Air and Daft Punk.

Burgalat encouraged and enabled many of Savanet’s formative musical experiments, including a short-lived voodoo ‘n’ roll band. Interestingly, Savanet’s latest project TSHEGUE, which derives its name from her childhood nickname, a Congolese slang term for the boys who gather on Kinshasa’s streets, can trace its origins to when she met her bandmate, French-Cuban producer Nicolas ‘Dakou’ Dacunha.

Their debut EP, 2017’s Survivor thematically explored the challenges faced by the African Diaspora paired with Dacunha’s forward-hthinking, hypnotic, club-banging productions which features elements of Afropunk, garage rock and electro-clash. Survivor EP was championed by the likes of Mura Masa and Noisey, which led to a growing international profile. And adding to a growing profile, the video for “Munapoto,” which was shot on the Ivory Coast received a UK Music Video Award nomination alongside videos for tUnE-YaRdS and Chaka Khan.

“The Wheel,” the first bit of new material from the duo since the release of Survivor EP, and I’m certain that it’ll further cement TSHEGUE’s growing reputation for crafting swaggering, forward-thinking, genre and style-blurring bangers. Centered around a wildly exuberant, hypnotic and percussive production featuring ricocheting industrial clang and clatter, stuttering, tweeter and woofer rocking beats, explosive blasts of bass synth paired with Savanet’s commanding flow, the song bears a resemblance to JOVM mainstays Kokoko! as it sounds as though it comes from a sweaty, post-apocalyptic future where the club and the ghetto are one and the same — but delivered with a decidedly punk aggressiveness.

Directed by Renaud Barret, who was also behind the Africa Express documentary featured Damon Albarn, Peter Hook and Tony Allen, the recently released video for “The Wheel” was filmed in a gorgeously cinematic black and white amidst the chaotic traffic of Savanet’s hometown, follows members of the local, mixed-gender, teenaged skating club, Club Etoile Rollers hitching rides on the backs of speeding busses, cars, motorbikes through the heaving megalopolis’ crowded streets. Speaking about the video Barret says ““An ordinary day in Kinshasa. I’m in a taxi on Lumumba Boulevard, when suddenly I’m in the middle of this gang of kids slaloming between cars. We exchange thumbs up, signs of complicity, rolling side by side for a moment. One of them spots my camera, and comes closer to shout ‘Hey sir! Do you wanna shoot something crazy?’ I couldn’t refuse. This is the magic of a limitless city where each and every day brings incredible spontaneous possibilities. Now as I watch the beaming faces of these kids, thrown at full speed on their crumbling rollers, almost out of control, intoxicated by danger and only protected by their faith in good luck; I can only see a metaphor for the Congo’s situation. But also a middle finger to a society trying to maintain an illusion that everything should be controlled, supervised. These free riders remind us that life must be lived in the present.”

The duo has begun to make a name for themselves with commanding live performances, including sets at Lowlands and The Great Escape Festivals and from what I understand the act will be announcing a series of headlining UK live shows to coincide with the release of more new material.

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Earlier this year, I wrote about the up-and-coming indie electro pop/neo-soul act Seba Kaapstad, and as you may recall, the act which is comprised of founding members Sebastian “Seba” Schuster, Zoe Modiga and Ndumiso Manana along with their newest member, Philip “Pheel” Scheibel is split between Cape Town, South Africa and Stuttgart, Germany, and can trace its origins to when Schuster landed in Cape Town back in 2013. While studying at the University of Cape Town, Schuster met Modiga and Manana and began working together in an informal setting, in which they jammed playing standards and rearranged songs of their choice. And as they continued working together, the trio recognized a deeper chemistry within their work.

As the story goes, before Schuster returned to Germany, he asked his future bandmates if they’d be interested in recording back in his homeland — and over the next few months, he spent time writing and organizing sessions with the focus on what would eventually become Seba Kaapstad. After a series of phone calls, emails and trips back and forth to Cape Town, the act’s founding trio had written the material that would eventually comprise their full-length debut, 2016’s Tagore.

Thina, Seba Kaapstad’s highly-anticipated full-length sophomore album is slated for a May 17, 2019 release through Mello Music Group, and the album finds the act further expanding on a genre-mashing, globalist sound that draws from neo-soul, hip-hop, jazz, electro pop and Afro pop — while adding a new member Philip “Pheel” Scheibel. Album single “Africa” was centered around a slick and mind-melting production that features elements of smoky jazz, swaggering hip hop, soul and Pan African vibes that brings Soul II Soul, Erykah Badu, theeSatisfaction, The Roots and Flying Lotus to mind.

The album’s latest single “Bye” is centered around an atmospheric and  cosmically shimmering production featuring a sinuous bass line, fluttering synths, thumping beats while Manana and Modiga’s ethereal boy-girl melodies and harmonies describe the self-doubt, anxiety and uncertainty filled moments of attraction at first blush. Splitting between the male and female perspective, the song’s central story should feel familiar: it’s the internal monologue many of us have had when we’ve encountered a new potential love interest.

 

New Video: Introducing the Futuristic Genre Blurring Sounds of Seba Kaapstad

Comprised of founding members Sebastian “Seba” Schuster, Zoe Modiga and Ndumiso Manana with their newest member, Philip “Pheel” Scheibel, the members of indie electro pop/neo-soul act Seba Kaapstad are split between Cape Town, South Africa and Stuttgart, Germany — and interestingly, the act can trace its origins to when Schuster landed in Cape Town, South Africa in 2013. While studying at the University of Cape Town, Schuster began working with Modiga and Manana in an informal setting, in which they jammed standards and rearranged songs of their choice. As they continued to work together, the more it seemed as though the trio were experience a much deeper chemistry within their work and music. 

Before Schuster returned to Germany, he asked Modiga and Manana if they’d be interested in recording in his home country — and over the next few months, Schuster spent his time writing and organizing sessions, focusing on what would eventually become Seba Kaapstad. After a series of phone calls, emails and trips down to Cape Town, the members of the project had written the material that would eventually comprised their debut, 2016’s Tagore. 

Slated for a May 15, 2019 release through Mello Music Group, Seba Kaapstad’s highly anticipated sophomore full-length album Thina finds the act adding a new member, Philip “Pheel” Scheibel while further expanding on a genre-mashing, globalist sound that draws from neo-soul, hip-hop, jazz, electro pop and Afro pop that’s intended to demonstrate humanity’s shared commonalities. Interestingly, the album’s latest single,  “Africa,” a is track centered around a slick yet mind-melting production that features elements of moody jazz, thumping and swaggering hip hop and sultry soul and Pan African vibes that at points recalls Soul II Soul, Erykah Badu, theeSatisfaction, The Roots and Flying Lotus simultaneously — but with a futuristic leaning. Shot in a smoky purples and reds, in a mirrored room, the recently released video for “Africa” evokes the moody atmospherics of the song, while being equally futuristic. 

New Video: JOVM Mainstays Ibibio Sound Machine Releases Vividly Colored Visuals for Funky Album Single “Wanna Come Down”

I’ve written quite a bit about this site’s newest mainstay, the London-based act Ibibio Sound Machine over the past few months, and the act, which is fronted by Nigerian-born vocalist Eno Williams and features Alfred Kari Bannerman (guitar), Anselmo Netto (percussion), Jose Joyette (drums), Derrick McIntyre (bass), Tony Hayden (trombone, synth), Scott Baylis (trumpet, synth) and Max Grunhard (sax, synth) over the course of their first two albums — 2014’s self-titled debut and 2017’s Uyai — have received attention both nationally and internationally for a sound that’s influenced by golden era West African funk and disco and contemporary post-punk and electro pop.

Now, as you may recall, the London-based act’s third, full-length album Doko Mien is slated for a March 22, 2019 release through Merge Records, and the album which derives its name from the Ibibio phase that translates into English as “tell me,” reportedly finds the act crafting a sonic world of entrancing specificity and comforting universality, essentially blurring the lines separating cultures, between nature and technology, between joy and pain, between tradition and the future. Album title track  and first official single, “Doko Mien,” was centered around a glimmering, hook-driven club banger  featuring 80s synth funk meets disco-like beats, arpeggiated synths, African polyrhythm, a sinuous bass line and pizzicato guitar and an explosive horn arrangement. Sonically, the song strikes me as a wild, genre-bending amalgamation of I Feel For You-era Chaka Khan, Prince, Michael Jackson‘s “Wanna Be Startin’ Somethin‘,” Chicago house and Fela Kuti — and adding to the globalist vibes, Williams soulfully sings lyrics in both English and Ibibio, the Nigerian dialect from which the London-based act derives its name.

Doko Mien‘s second and latest single “Wanna Come Down” continues in a similar, club-banging vein as its predecessor as its centered around a rubbery, Bootsy Collins meets Flea bass line, an explosive horn line, arpeggiated synths and propulsive beats and Williams powerhouse vocals singing lyrics in her native Ibibio and English. Sonically, the song is a wild and seamless synthesis of 80s synth funk, Afrobeat and JOVM mainstays Escort — all while feeling like a sultry come on. In line with the track’s beckoning title, the band’s frontwoman Eno Williams says, “The Ibibio lyrics of the track are about the healing power of the river and the chorus. ‘Wanna come down, get ready ‘coz we’re gonna go’ is inviting people to come, dance and get involved with what’s going on.”

The recently released video employs the use of a bold and vivid color palette that includes reds, blues, white, yellows, purples and an array of other pastels, as well as split screens that feature each of the band’s musicians performing the funky club banger; but the heart of the song and the video is the band’s commanding frontowman. 

New Audio: Ibibio Sound Machine Releases a Slow-Burning, Quiet Storm-Inspired New Single

Throughout the first few months of this year, I’ve written a bit about the London-based act Ibibio Sound Machine and as you may recall, the act, which is fronted by Nigerian-born vocalist Eno Williams and features Alfred Kari Bannerman (guitar), Anselmo Netto (percussion), Jose Joyette (drums), Derrick McIntyre (bass), Tony Hayden (trombone, synth), Scott Baylis (trumpet, synth) and Max Grunhard (sax, synth) over the course of their first two albums — 2014’s self-titled debut and 2017’s Uyai — have received attention both nationally and internationally for a sound that’s influenced by golden era West African funk and disco and contemporary post-punk and electro pop.

Slated for a March 22, 2019 release through Merge Records, the London-based electro pop act’s third full-length album Doko Mien derives its title from an Ibibio phrase that translates into English as “tell me,” and the album reportedly finds the collective crafting a sonic world of entrancing specificity and comforting universality, essentially blurring the lines separating cultures, between nature and technology, between joy and pain, between tradition and the future. The album’s first single, album title track“Doko Mien,” was centered around a glimmering, hook-driven club banger  featuring 80s synth funk meets disco-like beats, arpeggiated synths, African polyrhythm, a sinuous bass line and pizzicato guitar and an explosive horn arrangement. Sonically, the song is a wild, genre-bending amalgamation of I Feel For You-era Chaka Khan, Prince, Michael Jackson‘s “Wanna Be Startin’ Somethin‘,” Chicago house and Fela Kuti — and adding to the globalist vibes, Williams soulfully sings lyrics in both English and Ibibio, the Nigerian dialect from which the London-based act derives its name. Doko Mien’s second single “Wanna Come Down” is a club-banger centered around a rubbery, Bootsy Collins meets Flea bass line, an explosive horn line, arpeggiated synths and propulsive beats and Williams powerhouse vocals singing lyrics in her native Ibibio and English. Sonically, the song is a wild and seamless synthesis of 80s synth funk, Afrobeat and JOVM mainstays Escort — all while feeling like a sultry come on.

“Guess We Found A Way,” Doko Mien’s third and latest single is a slow-burning ballad featuring shimmering guitars, a simple yet propulsive back beat, a funky bass line and Williams’ sultry vocals that immediately brings Quiet Storm-era soul to mind. “It’s a song about trying to speak to people in words that no-one understands, conveying your feeling with just the music which is what we try to do in many of our songs,” the band’s Eno Williams says in press notes. 

New Audio: Ibibio Sound Machine Releases a Shimmering and Funky Club Banger

Earlier this year, I wrote about the London-based act Ibibio Sound Machine, and the act, which is fronted by Nigerian-born vocalist Eno Williams and features Alfred Kari Bannerman (guitar), Anselmo Netto (percussion), Jose Joyette (drums), Derrick McIntyre (bass), Tony Hayden (trombone, synth), Scott Baylis (trumpet, synth) and Max Grunhard (sax, synth) over the course of their first two albums — 2014’s self-titled debut and 2017’s Uyai — have received attention both nationally and internationally for a sound that’s influenced by golden era West African funk and disco and contemporary post-punk and electro pop. 

Now, as you may recall, the London-based act’s third, full-length album Doko Mien is slated for a March 22, 2019 release through Merge Records, and the album which derives its name from the Ibibio phase that translates into English as “tell me,” reportedly finds the act crafting a sonic world of entrancing specificity and comforting universality, essentially blurring the lines separating cultures, between nature and technology, between joy and pain, between tradition and the future. Album title track  and first official single, “Doko Mien,” was centered around a glimmering, hook-driven club banger  featuring 80s synth funk meets disco-like beats, arpeggiated synths, African polyrhythm, a sinuous bass line and pizzicato guitar and an explosive horn arrangement. Sonically, the song strikes me as a wild, genre-bending amalgamation of I Feel For You-era Chaka Khan, Prince, Michael Jackson‘s “Wanna Be Startin’ Somethin‘,” Chicago house and Fela Kuti — and adding to the globalist vibes, Williams soulfully sings lyrics in both English and Ibibio, the Nigerian dialect from which the London-based act derives its name.

Doko Mien’s second and latest single “Wanna Come Down” continues in a similar, club-banging vein as its predecessor as its centered around a rubbery, Bootsy Collins meets Flea bass line, an explosive horn line, arpeggiated synths and propulsive beats and Williams powerhouse vocals singing lyrics in her native Ibibio and English. Sonically, the song is a wild and seamless synthesis of 80s synth funk, Afrobeat and JOVM mainstays Escort — all while feeling like a sultry come on. In line with the track’s beckoning title, the band’s frontwoman Eno Williams says, “The Ibibio lyrics of the track are about the healing power of the river and the chorus. ‘Wanna come down, get ready ‘coz we’re gonna go’ is inviting people to come, dance and get involved with what’s going on.”

New Video: The Gorgeously Cinematic and Symbolic Visuals for Blick Bassy’s “Ngwa”

Blick Bassy is a Cameroonian-born, French-based singer/songwriter, who released a number of award-winning albums with his backing band Macase, which culminated with the release of 2015’s Akö, an album that included “Kiki,” a track that was used to launch the iPhone 6. Bassy’s forthcoming album La Cigale is his first album in over four years, and it will be released through Nø Førmat Records.

La Cigale’s first single is the atmospheric and mournful “Ngwa,” which translates into English as “my friend.” Centered by a gorgeous horn arrangement, glitchy electronics and Bassy’s achingly tender vocals, singing in his ancestral Bassa language, the track sounds as though it were inspired by Peter Gabriel and Rubblebucket; but it evokes both a sense of profound and inconsolable loss and a mournful sense of missed opportunity from that loss that wonders “what could have happened if . . .?” The song is Bassy’s tribute to the heroes who fought and died for the independence of Bassy’s native Cameroon — in particular, Ruben Um Nyobe, the anti-colonialist leader of the Popular Union of Cameroon (UPC), who was murdered by French troops on September 13, 1958, just two years before the country became independent. Speaking of what drove him to write the song, Bassy says “Ngwa, I wanted to pay tribute to your fight, our fight, but also to your philosophy, where the values of equality, antiracism, anti xenophobia, serve emancipation and fulfilment for every human being.”

The UPC had been campaigning for independence for fifteen years, during which many people died — facts that had been subtly erased from the country’s history books by the French and Cameroon until recently.  Bassy wants to shed light on Um Nyobe’s story, saying in press notes,  “In school we studied the French version of what happened. The way I learned it in the books was that they were agitators, troublemakers. Which is wrong. Um Nyobé was in this movement hidden in the mountains, organising the Cameroonian People’s Union, and the truth about what happened has never been out.” 

Directed by up-and-coming South African director Tebogo Malope, the incredibly cinematic visuals for “Ngwa” was shot in Lesotho, and is a slow-burning meditation on the relationship between present-day Cameroon and its former French colonizers with Bassy embodying the spirit of Um Nyobe and the Cameroonian people. 
Speaking about the video – across which Bassy’s character is hunted down by French soldiers Malope says, “The narrative of Ruben Um Nyobé is one that resonates throughout the continent, one that is still grappling with the legacy of colonialism and attempts to redress the consequences thereof. This is echoed in the video’s initial scenes which reference renowned Kenyan renowned Author Ngugi Wa Thiongo’s book Matigari, where a freedom fighter lays down his arms for a supposed prosperous future where bloodshed shall be no more. Will he regret the decision? Another representation at the video’s end spawns from the images of a lifeless freedom fighter turning into a tree, reminiscent of South African political icon Solomon Mahlangu, who was killed by the Apartheid government. His last words before his death were ‘My blood will nourish the tree that will bear the fruits of freedom.'” 

New Audio: Ibibio Sound Machine Globalist and Genre-Bending Take on Dance Music

Fronted by Nigerian-born vocalist Eno Williams and featuring Alfred Kari Bannerman (guitar), Anselmo Netto (percussion), Jose Joyette (drums), Derrick McIntyre (bass), Tony Hayden (trombone, synth), Scott Baylis (trumpet, synth) and Max Grunhard (sax, synth), the London-based act Ibibio Sound Machine through the release of their first two albums 2014’s self-titled album and 2017’s Uyai has received attention both nationally and internationally for a sound that draws influence from golden era West African funk and disco, and contemporary post-punk and electro pop. 

The London-based act’s third, full-length album Doko Mien is slated for a March 22, 2019 release through Merge Records, and the album which derives its name from the Ibibio phase that translates into English as “tell me,” reportedly finds the act crafting a sonic world of entrancing specificity and comforting universality, essentially blurring the lines separating cultures, between nature and technology, between joy and pain, between tradition and the future. 

Doko Mien’s latest single, album title track “Doko Mien,” is centered around a glimmering and mind-bending production featuring  80s synth funk meets disco-like beats, arpeggiated synths, African polyrhythm, a sinuous bass line and pizzicato guitar and an explosive horn arrangement. Sonically, the song strikes me as a wild, genre-bending amalgamation of I Feel For You-era Chaka Khan, Prince, Michael Jackson’s “Wanna Be Startin’ Somethin’,” Chicago house and Fela Kuti — and adding to the globalist vibes, Williams soulfully sings lyrics in both English and Ibibio, the Nigerian dialect from which the London-based act derives its name.  Simply put, the track is a club banger with an infectious, jubilant hook. 

Comprised of Peter Kaunda (vocals), Albert Manda (vocals), Solomon Nikho (drums), Myles Minthall (percussion, vocals) and Guta Manda (percussion, vocals) the Malawi-based act Tonga Boys emerged with the release of last year’s Tiri Bwino, an effort that vividly described African urban life — chaotic, crowded, desperate, frequently deprived of electricity and in many cases surrounded by sewage treatment plants. Sonically, the act meshed contemporary electronic music with the traditional music of the Tonga people.

Reportedly, the Malawian act’s sophomore album Vindodo finds the act pushing their sound in a more mature, dynamic and refined direction. While still centered around the lead vocals of Kaunda and Manda paired by the call and response vocals of the act’s remaining members. Musically, the act’s call and response vocals are accompanied with drums and improvised instruments — namely, plastic buckets, shovels, aluminum cans filled with gravel, and a guitar made of wires on an unheated board. The album was recorded in makeshift home studios in about five different sessions with the band telling their production team Pitor Dang, Czanry Latawiec and Wojciech Kucharcyzk to add more sounds to it later. Dang, Latawiec and Kucharcyzk incorporated a bolder use of electronics into the overall sound. Ultimately, the aim wasn’t to find a way to adapt Malawian act’s sound into European ideas about African electronic music or traditional folk music but rather to further emphasize the energy, rawness, joy and sense of dislocation and displacement within their music.

Album opener “Buranda” which is centered by a deceptively simple arrangement rapid fire call and response, bolstered by forceful tribal polyrhythm that gives the song an ecstatic, trance inducing vibe. Interestingly, as the folks at 1000Herz Records explain, the track is about a party in honor of an arriving stranger, presumably far away from their homeland. Focusing on the experience of a stranger in a strange and perhaps unforgiving strange land seems like a decidedly modern concern, but when rooted to a folk-based sound, the track points at the fact that it’s a timeless one.