Tag: World Champion

Live Footage: Genesis Owusu Performs “GTFO” at Splendour in the Grass

With the release of his debut EP, 2017’s Cardrive, the acclaimed and rising Ghanian-born, Canberra, Australia-based, artist Genesis Owusu — born Kofi Owusu-Anash — quickly established a reputation for being a restless, genre-blurring chameleon with an ability to conjure powerful and deeply personal storytelling. 

Cardrive EP garnered an ARIA Award nomination for Best R&B/Soul Release and praise from Sir Elton John (!), NMEi-Dmixmag and others. Owusu supported the EP by opening for Dead PrezCol3traneSampa The GreatCosmo’s MidnightNonameAniméRuel and others in Australia. 

Owusu-Anash’s critically applauded full-length debut Smiling With No Teeth was released last year. The album as the acclaimed Ghanian-Aussie artist explains is essentially about “performing what the world wants to see, even if you don’t have the capacity to do so honestly. Slathering honey on your demons to make them palatable to people, who only want to know if you’re okay, if the answer is yes. That’s the idea, turned into beautiful, youthful, ugly, timeless and strange music.”

Each of the album’s 15 tracks can trace their origins back to studio jam sessions with a backing band that features Kirin J. CallinanTouch Sensitive’s Michael DiFrancesco, World Champion‘s Julian Sudek and the album’s producer Andrew Klippel. 

In the lead-up to the album’s release, I wound up writing about three of Smiling With No Teeth‘s singles:

  • The Other Black Dog,” a mind-bending production that meshed alternative hip-hop, industrial clang, clatter, rattle and stomp, off-kilter stuttering beats and wobbling synth arpeggios that was roomy enough for Owusu-Anash’s breathless, rapid-fire and dense flow. Managing to balance club friendliness with sweaty, mosh pit energy, the song is a full-throttled nosedive into madness that reminds me of the drug and booze fueled chaos of ODB, and the menace of DMX.
  • Gold Chains,” a brooding yet seamless synthesis of old school soul, G Funk and Massive Attack-like trip hop centered around shimmering and atmospheric synths, stuttering boom bap beats, squiggling blasts of guitar and the rising Ghanian-born, Canberra-based artist’s Mos Def/Yasiin Bey-like delivery, alternating between spitting dense and dexterous bars and crooning with an achingly tender falsetto. “‘Gold Chains’ got me thinking about the flaws of being in a profession where, more and more, you have to be the product, rather than just the provider of the product, and public misconceptions about how luxurious that is,” Owusu-Anash explains in press notes. “Lyrically, it set the tone for the rest of the album.” 
  • Same Thing,” a jolting and uneasy future funk banger centered around shimmering synth arpeggios, skittering beats, bursts of Nile Rodgers-like guitar, a propulsive bass line and infectious hook serving as a silky bed for Owusu’s alternating dexterous and densely worded bars and soulful crooning. But at its core is an unflinchingly honest — and necessary — view of mental health struggles. 

Last July, the Ghanian-Aussie JOVM mainstay released the Missing Molars EP, a five-track accompaniment to his full-length debut. Recorded during the Smiling With No Teeth sessions, the Missing Molars EP material didn’t make the album — but further continue the soul-baring narrative of the album. “Missing Molars is an extension of Smiling With No Teeth,” Owusu-Anash explains. “A small collection of tracks from the SWNT sessions that take the already established world-building groundwork of the album, and expand that universe into new and unexplored places. These are all tracks that I felt were special in their own right and needed to be shared. This is music without boundaries.” 

Adding to a breakthrough 2021, Owusu-Anash went on several sold-out tours, made his Stateside late night TV debut, and went on a successful run of dates across both the States and Europe. Smiling With No Teeth landed on several Best of Lists, including being named triple j’s Album of the Year. The album also earned four ARIA Awards, including Album of the Year, Hip Hop Release, Artwork and Independent Release. And the album was named triple j’s Album of the Year. 

Owusu-Anash returns with the woozy and anthemic, Andrew Klippel, Dann Hume and Jono Ma-produced, “GTFO,” the first bit of new material since SWNT — and the album’s highly-anticipated follow up. Beginning with a looped warbling choir, wobbling bass serving as an ethereal and eerie bed for Owusu-Anash’s rapid fire flow, “GFTO” is built around in a alternating quiet-loud-quiet song structure that features a shout-along-worthy chorus paired with a marching beat and explosive cymbal crashes keeping time, and an analog instrumentation-driven hook. While further cementing his reputation for being an artist constantly experimenting with his sound and approach, the song finds the listener being thrown into the JOVM mainstay’s innermost thoughts and opinions with an unvarnished and unsettling honesty. 

The rapidly rising Aussie JOVM mainstay has been on the road most of this year, making stops along the global festival circuit with stops at Lollapalooza and Osheaga earlier this year. Owusu-Anash recently performed at Splendour in the Grass with his full live show, which includes The Black Dog Band — Julian Sudek (drums), Touch Sensitive (bass, synth), Kirin J. Callinan (guitar), Andrew Klippel (keys) and Jonti (rhythm guitar, keys) — and The Goons, led by his frequent creative collaborator Bailey Howard. Owusu-Anash shared this incredible live footage of “GFTO” shot during his Splendour in the Grass set — with several hundred thousand folks chanting “Get the fuck out” in unison.

I’ve seen this brother live a few months ago. He’s going to be the biggest fucking thing on the planet, soon. And you can catch him when he returns back to the States to open for Khraungbin for a handful of dates and a handful of September festival appearances.

And for my Aussie friends and readers, Owusu-Anash will be opening for Tame Impala during their Australian headlining tour in October.

New Video: JOVM Mainstay Genesis Owusu Shares Woozy and Anthemic “GTFO”

With the release of his debut EP, 2017’s Cardrive, the acclaimed and rising Ghanian-born, Canberra, Australia-based, artist Genesis Owusu — born Kofi Owusu-Anash — quickly established a reputation for being a restless, genre-blurring chameleon with an ability to conjure powerful and deeply personal storytelling. 

Cardrive EP garnered an ARIA Award nomination for Best R&B/Soul Release and praise from Sir Elton John (!), NMEi-Dmixmag and others. Owusu supported the EP by opening for Dead PrezCol3traneSampa The GreatCosmo’s MidnightNonameAniméRuel and others in Australia. 

Owusu-Anash’s critically applauded full-length debut Smiling With No Teeth was released last year. The album as the acclaimed Ghanian-Aussie artist explains is essentially about “performing what the world wants to see, even if you don’t have the capacity to do so honestly. Slathering honey on your demons to make them palatable to people, who only want to know if you’re okay, if the answer is yes. That’s the idea, turned into beautiful, youthful, ugly, timeless and strange music.”

Each of the album’s 15 tracks can trace their origins back to studio jam sessions with a backing band that features Kirin J. CallinanTouch Sensitive’s Michael DiFrancesco, World Champion‘s Julian Sudek and the album’s producer Andrew Klippel. 

In the lead-up to the album’s release, I wound up writing about three of Smiling With No Teeth‘s singles:

  • The Other Black Dog,” a mind-bending production that meshed alternative hip-hop, industrial clang, clatter, rattle and stomp, off-kilter stuttering beats and wobbling synth arpeggios that was roomy enough for Owusu-Anash’s breathless, rapid-fire and dense flow. Managing to balance club friendliness with sweaty, mosh pit energy, the song is a full-throttled nosedive into madness that reminds me of the drug and booze fueled chaos of ODB, and the menace of DMX.
  • Gold Chains,” a brooding yet seamless synthesis of old school soul, G Funk and Massive Attack-like trip hop centered around shimmering and atmospheric synths, stuttering boom bap beats, squiggling blasts of guitar and the rising Ghanian-born, Canberra-based artist’s Mos Def/Yasiin Bey-like delivery, alternating between spitting dense and dexterous bars and crooning with an achingly tender falsetto. “‘Gold Chains’ got me thinking about the flaws of being in a profession where, more and more, you have to be the product, rather than just the provider of the product, and public misconceptions about how luxurious that is,” Owusu-Anash explains in press notes. “Lyrically, it set the tone for the rest of the album.” 
  • Same Thing,” a jolting and uneasy future funk banger centered around shimmering synth arpeggios, skittering beats, bursts of Nile Rodgers-like guitar, a propulsive bass line and infectious hook serving as a silky bed for Owusu’s alternating dexterous and densely worded bars and soulful crooning. But at its core is an unflinchingly honest — and necessary — view of mental health struggles. 

Last July, the Ghanian-Aussie JOVM mainstay released the Missing Molars EP, a five-track accompaniment to his full-length debut. Recorded during the Smiling With No Teeth sessions, the Missing Molars EP material didn’t make the album — but further continue the soul-baring narrative of the album. “Missing Molars is an extension of Smiling With No Teeth,” Owusu-Anash explains. “A small collection of tracks from the SWNT sessions that take the already established world-building groundwork of the album, and expand that universe into new and unexplored places. These are all tracks that I felt were special in their own right and needed to be shared. This is music without boundaries.” 

Adding to a breakthrough 2021, Owusu-Anash went on several sold-out tours, made his Stateside late night TV debut, and went on a successful run of dates across both the States and Europe. Smiling With No Teeth landed on several Best of Lists, including being named triple j’s Album of the Year. The album also earned four ARIA Awards, including Album of the Year, Hip Hop Release, Artwork and Independent Release. And the album was named triple j’s Album of the Year.

Owusu-Anash returns with the woozy and anthemic, Andrew Klippel, Dann Hume and Jono Ma-produced, “GTFO,” the first bit of new material since SWNT — and the album’s highly-anticipated follow up. Beginning with a looped warbling choir, wobbling bass serving as an ethereal and eerie bed for Owusu-Anash’s rapid fire flow, “GFTO” is built around in a alternating quiet-loud-quiet song structure that features a shout-along-worthy chorus paired with a marching beat and explosive cymbal crashes keeping time, and an analog instrumentation-driven hook. While further cementing his reputation for being an artist constantly experimenting with his sound and approach, the song finds the listener being thrown into the JOVM mainstay’s innermost thoughts and opinions with an unvarnished and unsettling honesty.

Directed by Uncle Friendly (a.k.a Rhett Wade-Ferrell), the accompanying video for “GTFO” opens with the Ghanian-Aussie artist trapping a cockroach before kneeling in prayer before a candle-lit shrine as he recites the song’s original lines. But the cockroach escapes and catches Owusu-Anash’s attention. And the rest of the video sees the rising artist being driven insane as he tries to hunt down and kill the insect, wreaking havoc to his apartment before finally killing the bug with a cricket bat.

“There are many people like Roach. Strugglers, doing whatever they can to get through hell and high water,” Owusu-Anash explains. “Bankruptcy, depression, sickness; God himself can try to stand in the way, but a struggler has to keep struggling. And a Roach has to keep Roaching. Even when it’s told to GTFO.”

New Video: JOVM Mainstay Genesis Owusu Shares a Frenetic New Ripper

2017’s  Cardrive EP saw Ghanian-born, Canberra, Australia-based, 20-something artist Genesis Owusu — born Kofi Owusu-Anash — quickly establishing himself as a perpetually restless, genre-blurring chameleon with an ability to conjure powerful and deeply personal storytelling in diverse forms. Cardive EP eventually garnered an ARIA Award nomination for Best R&B/Soul Release and praise from Sir Elton John (!), NMEi-Dmixmag and others. Adding to a growing profile across Australia, Owusu has opened for Dead PrezCol3traneSampa The GreatCosmo’s MidnightNonameAniméRuel and others. 

Back in 2020, Owusu-Anash released a handful of highly-celebrated singles including the fiery mosh-pit friendly banger “Whip Cracker” and the ARIA Award-nominated smash hit “Don’t Need You,” which quickly became the #1 most played song on triple J radio — and since then has received airplay in the UK on both BBC Radio 1 and BBC Radio 6 and here in the States on KCRWKUTXThe Current and Alt98. Those singles prominently appear on Owusu-Anash’s critically applauded full-length debut Smiling With No Teeth.

Smiling With No Teeth is performing what the world wants to see, even if you don’t have the capacity to do so honestly,” Owusu explains in press notes. “Slathering honey on your demons to make them palatable to people who only want to know if you’re okay, if the answer is yes. That’s the idea, turned into beautiful, youthful, ugly, timeless and strange music.” Each of the album’s 15 tracks can trace their origins back to studio jam sessions with a backing band that features Kirin J. CallinanTouch Sensitive’s Michael DiFrancesco, World Champion‘s Julian Sudek and the album’s producer Andrew Klippel. 

In the lead-up to the album’s release, I wrote about three of Smiling With No Teeth‘s singles:

  • The Other Black Dog,” a mind-bending production that meshed alternative hip-hop, industrial clang, clatter, rattle and stomp, off-kilter stuttering beats and wobbling synth arpeggios that was roomy enough for Owusu-Anash’s breathless, rapid-fire and dense flow. Managing to balance club friendliness with sweaty, mosh pit energy, the song is a full-throttled nosedive into madness that reminds me of the drug and booze fueled chaos of ODB, and the menace of DMX.
  • Gold Chains,” a brooding yet seamless synthesis of old school soul, G Funk and Massive Attack-like trip hop centered around shimmering and atmospheric synths, stuttering boom bap beats, squiggling blasts of guitar and the rising Ghanian-born, Canberra-based artist’s Mos Def/Yasiin Bey-like delivery, alternating between spitting dense and dexterous bars and crooning with an achingly tender falsetto. “‘Gold Chains’ got me thinking about the flaws of being in a profession where, more and more, you have to be the product, rather than just the provider of the product, and public misconceptions about how luxurious that is,” Owusu-Anash explains in press notes. “Lyrically, it set the tone for the rest of the album.” 
  • Same Thing,” a jolting and uneasy future funk banger centered around shimmering synth arpeggios, skittering beats, bursts of Nile Rodgers-like guitar, a propulsive bass line and infectious hook serving as a silky bed for Owusu’s alternating dexterous and densely worded bars and soulful crooning. But at its core is an unflinchingly honest — and necessary — view of mental health struggles. 

Owusu-Anash capped off an enormous 2021 with the Missing Molars EP, a five-track accompaniment to his critically applauded full-length debut. Recorded during the Smiling With No Teeth sessions, the Missing Molars EP material didn’t make the album — but further continue the soul-baring narrative of his debut. “Missing Molars is an extension of Smiling With No Teeth,” Owusu-Anash explains. “A small collection of tracks from the SWNT sessions that take the already established world-building groundwork of the album, and expand that universe into new and unexplored places. These are all tracks that I felt were special in their own right and needed to be shared. This is music without boundaries.” 

Recently, Owusu-Anash made his Stateside, late night TV debut on The Late Show with Stephen Colbert, where he performed SWNT standout single “Gold Chains” along with his backing band. 

And as you may recall, the Ghanian-Aussie JOVM mainstay had to reschedule his January Stateside tour to March-April as a result of the Omicron variant. The rescheduled tour includes an April 2, 2022 stop at Bowery Ballroom. (As always, you can check out the tour dates below. And check out the following for tickets and more information: https://www.genesisowusu.com/tour)

in the lead up to his Stateside headlining tour, the acclaimed Ghanian-Aussie JOVM mainstay shared Smiling With No Teeth‘s sixth and latest single, “Black Dogs!” may arguably be the most post-punk/punk rock leaning song on the entire album. Centered around a propulsive and angular bass line, a relentless and forceful four on the four, twinkling and fluttering synths, bursts of angular guitar paired with Owusu-Anash’s angry snarls, “Black Dogs!” is a mosh pit friendly stomp, fueled by simmering rage. It’s a rage that’s deeply familiar to me as a Black man frequently in era white spaces: Maybe you don’t get abused by the police at all, but the constant microagression, the backhanded compliments, the outright insults get deep into your soul. For me, it often feels like life is a series of insults, of someone always saying “you ain’t shit.”

Directed by Daniela Federici, the accompanying visual for “Black Dogs!” is split between a sumptuous and cinematic black and white and vivid color and captures Owusu-Anash’s frenetic, captivating energy.

“I really wanted to capture the tension and the rising chaos of the song in video form, and Daniela Federici knew how to bring that energy in spades, but also in a really artful way,” Owusu-Anash says in press notes. Of “Black Dogs!,” he adds, ” “It’s a straight-to-the-point song encompassing a day in the life of me, or just any Black person in Australia. It’s not that I’m getting abused by police every day, but it’s all the little micro-aggressions. Sonically speaking, it plays into how I feel every day, going into white spaces and feeling a bit paranoid.” 

Live Footage: Genesis Owusu Performs “Gold Chains” on “Late Show with Stephen Colbert”

2017’s  Cardrive EP saw Ghanian-born, Canberra, Australia-based, 20-something artist Genesis Owusu — born Kofi Owusu-Anash — quickly establishing himself as a perpetually restless, genre-blurring chameleon with an ability to conjure powerful and deeply personal storytelling in diverse forms. Cardive EP eventually garnered an ARIA Award nomination for Best R&B/Soul Release and praise from Sir Elton John (!), NMEi-Dmixmag and others. Adding to a growing profile across Australia, Owusu has opened for Dead PrezCol3traneSampa The GreatCosmo’s MidnightNonameAniméRuel and others. 

Back in 2020, Owusu-Anash released a handful of highly-celebrated singles including the fiery mosh-pit friendly banger “Whip Cracker” and the ARIA Award-nominated smash hit “Don’t Need You,” which quickly became the #1 most played song on triple J radio — and since then has received airplay in the UK on both BBC Radio 1 and BBC Radio 6 and here in the States on KCRWKUTXThe Current and Alt98. Those singles prominently appear on Owusu-Anash’s critically applauded full-length debut Smiling With No Teeth.

Smiling With No Teeth is performing what the world wants to see, even if you don’t have the capacity to do so honestly,” Owusu explains in press notes. “Slathering honey on your demons to make them palatable to people who only want to know if you’re okay, if the answer is yes. That’s the idea, turned into beautiful, youthful, ugly, timeless and strange music.” Each of the album’s 15 tracks can trace their origins back to studio jam sessions with a backing band that features Kirin J. CallinanTouch Sensitive’s Michael DiFrancesco, World Champion‘s Julian Sudek and the album’s producer Andrew Klippel. 

In the lead-up to the album’s release, I wrote about three of Smiling With No Teeth‘s singles:

  • The Other Black Dog,” a mind-bending production that meshed alternative hip-hop, industrial clang, clatter, rattle and stomp, off-kilter stuttering beats and wobbling synth arpeggios that was roomy enough for Owusu-Anash’s breathless, rapid-fire and dense flow. Managing to balance club friendliness with sweaty, mosh pit energy, the song is a full-throttled nosedive into madness that reminds me of the drug and booze fueled chaos of ODB, and the menace of DMX.
  • Gold Chains,” a brooding yet seamless synthesis of old school soul, G Funk and Massive Attack-like trip hop centered around shimmering and atmospheric synths, stuttering boom bap beats, squiggling blasts of guitar and the rising Ghanian-born, Canberra-based artist’s Mos Def/Yasiin Bey-like delivery, alternating between spitting dense and dexterous bars and crooning with an achingly tender falsetto. “‘Gold Chains’ got me thinking about the flaws of being in a profession where, more and more, you have to be the product, rather than just the provider of the product, and public misconceptions about how luxurious that is,” Owusu-Anash explains in press notes. “Lyrically, it set the tone for the rest of the album.” 
  • Same Thing,” a jolting and uneasy future funk banger centered around shimmering synth arpeggios, skittering beats, bursts of Nile Rodgers-like guitar, a propulsive bass line and infectious hook serving as a silky bed for Owusu’s alternating dexterous and densely worded bars and soulful crooning. But at its core is an unflinchingly honest — and necessary — view of mental health struggles. 

Owusu-Anash capped off an enormous 2021 with the Missing Molars EP, a five-track accompaniment to his critically applauded full-length debut. Recorded during the Smiling With No Teeth sessions, the Missing Molars EP material didn’t make the album — but further continue the soul-baring narrative of his debut. “Missing Molars is an extension of Smiling With No Teeth,” Owusu-Anash explains. “A small collection of tracks from the SWNT sessions that take the already established world-building groundwork of the album, and expand that universe into new and unexplored places. These are all tracks that I felt were special in their own right and needed to be shared. This is music without boundaries.” 

Recently, Owusu-Anash made his Stateside, late night TV debut on The Late Show with Stephen Colbert, where he performed SWNT standout single “Gold Chains” along with his backing band.

New Video: JOVM Mainstay Genesis Owusu Releases a Trippy Visual for “Waitin’ For Ya (Remix)”

With the release of his debut EP, 2017’s Cardrive, the acclaimed and rising Ghanian-born, Canberra, Australia-based, artist Genesis Owusu — born Kofi Owusu-Anash — quickly established a reputation for being a restless, genre-blurring chameleon with an ability to conjure powerful and deeply personal storytelling.

The EP eventually garnered an ARIA Award nomination for Best R&B/Soul Release and praise from Sir Elton John (!), NMEi-Dmixmag and others. Owusu supported the EP by opening for Dead PrezCol3traneSampa The GreatCosmo’s MidnightNonameAniméRuel and others in Australia.

Last year, Owusu-Anash released a couple of highly-celebrated singles — the fiery street shit meets mosh pit ripper “Whip Cracker” and the ARIA Award-nominated smash hit “Don’t Need You,” which quickly became the #1 most played song on triple J radio and eventually international airplay on BBC Radio 1 and BBC Radio 6 and here in the States on KCRWKUTXThe Current and Alt98

Owusu-Anash’s critically applauded full-length debut Smiling With No Teeth was released earlier this year. The album as the acclaimed Ghanian-Aussie artist explains is essentially about “performing what the world wants to see, even if you don’t have the capacity to do so honestly. Slathering honey on your demons to make them palatable to people, who only want to know if you’re okay, if the answer is yes. That’s the idea, turned into beautiful, youthful, ugly, timeless and strange music.

Each of the album’s 15 tracks can trace their origins back to studio jam sessions with a backing band that features Kirin J. CallinanTouch Sensitive’s Michael DiFrancesco, World Champion‘s Julian Sudek and the album’s producer Andrew Klippel. 

In the lead-up to the album’s release, I wound up writing about three of Smiling With No Teeth‘s singles:

  • The Other Black Dog,” a mind-bending production that meshed alternative hip-hop, industrial clang, clatter, rattle and stomp, off-kilter stuttering beats and wobbling synth arpeggios that was roomy enough for Owusu-Anash’s breathless, rapid-fire and dense flow. Managing to balance club friendliness with sweaty, mosh pit energy, the song is a full-throttled nosedive into madness that reminds me of the drug and booze fueled chaos of ODB, and the menace of DMX.
  • Gold Chains,” a brooding yet seamless synthesis of old school soul, G Funk and Massive Attack-like trip hop centered around shimmering and atmospheric synths, stuttering boom bap beats, squiggling blasts of guitar and the rising Ghanian-born, Canberra-based artist’s Mos Def/Yasiin Bey-like delivery, alternating between spitting dense and dexterous bars and crooning with an achingly tender falsetto. “‘Gold Chains’ got me thinking about the flaws of being in a profession where, more and more, you have to be the product, rather than just the provider of the product, and public misconceptions about how luxurious that is,” Owusu-Anash explains in press notes. “Lyrically, it set the tone for the rest of the album.” 
  • Same Thing,” a jolting and uneasy future funk banger centered around shimmering synth arpeggios, skittering beats, bursts of Nile Rodgers-like guitar, a propulsive bass line and infectious hook serving as a silky bed for Owusu’s alternating dexterous and densely worded bars and soulful crooning. But at its core is an unflinchingly honest — and necessary — view of mental health struggles. 

In July, the Ghanian-Aussie JOVM mainstay released the Missing Molars EP, a five-track accompaniment to his full-length debut. Recorded during the Smiling With No Teeth sessions, the Missing Molars EP material didn’t make the album — but further continue the soul-baring narrative of the album. “Missing Molars is an extension of Smiling With No Teeth,” Owusu-Anash explains. “A small collection of tracks from the SWNT sessions that take the already established world-building groundwork of the album, and expand that universe into new and unexplored places. These are all tracks that I felt were special in their own right and needed to be shared. This is music without boundaries.” 

In the lead up to Missing Molars‘ release, I wrote about “The Fall,” a slick and pulsing synthesis of industrial house, hip-hop and future soul centered around Owusu-Anash’s silky falsetto that manages to convey a restless and uneasy energy while being a banger.

Originally commissioned to be part of a global ad campaign, Jagwar Ma’s Jono Ma gave album track “Waitin’ On Ya,” the remix treatment. The original was sultry bit of neo-soul centered around shimmering and arpeggiated Rhodes, a sinuous bass line and Owusu’s silky smooth delivery. The Jono Ma remix retains the acclaimed JOVM mainstay’s silky smooth delivery but pairs it with skittering drum ‘n’ bass-like beats and glistening synths and buoyant horns, turning the song into a trippy yet club friendly bop.

The “Waitin’ On Ya (Remix)” caps off a wildly successful year for the Ghanian-Aussie JOVM mainstay: Owusu-Anash has firmly secured himself atop international “emerging artists to watch in 2021.” Smiling With No Teeth has received critical acclaim internationally from NPR Music, i-D, Paste Magazine, Hypebeast and countless others. The album has also received over 50 million streamed globally while landing on a number of Spotify and Apple Music playlists.

The video for the “Waiting On Ya (Remix)” was directed by Riley Blakeway, who directed the award-winning video for “The Other Black Dog.” The video continues the narrative developed from “The Other Black Dog” but through a fever dream-like prism that features that visual’s main character running a complex and crazy scam that seems him travel to all kinds of paradisal locations — but while appearing and being a menacing and uneasy look at someone, who might be slowly going mad.

New Video: JOVM Mainstay Genesis Owusu Returns with a Pulsating and Uneasy Banger

2017’s debut EP Cardrive found Ghanian-born, Canberra, Australia-based, 20-something artist Genesis Owusu — born Kofi Owusu-Anash — quickly establishing himself as a perpetually restless genre-blurring chameleon with an ability to conjure powerful and deeply personal storytelling in diverse forms. Cardive EP eventually garnered an ARIA Award nomination for Best R&B/Soul Release and praise from Sir Elton John (!), NME, i-D, mixmag and others. Adding to a growing profile across Australia, Owusu has opened for Dead Prez, Col3trane, Sampa The Great, Cosmo’s Midnight, Noname, Animé, Ruel and others. 

Last year, the rising Ghanian-born, Aussie-based artist released a handful of highly-celebrated singles including the fiery mosh-pit friendly banger “Whip Cracker” and the ARIA Award-nominated smash hit “Don’t Need You,” which quickly became the #1 most played song on triple J radio — and since then has received airplay in the UK on both BBC Radio 1 and BBC Radio 6 and here in the States on KCRW, KUTX, The Current and Alt98. Those singles prominently appear on Owusu-Anash’s critically applauded full-length debut Smiling With No Teeth.

Smiling With No Teeth is performing what the world wants to see, even if you don’t have the capacity to do so honestly,” Owusu explains in press notes. “Slathering honey on your demons to make them palatable to people who only want to know if you’re okay, if the answer is yes. That’s the idea, turned into beautiful, youthful, ugly, timeless and strange music.” Each of the album’s 15 tracks can trace their origins back to studio jam sessions with a backing band that features Kirin J. Callinan, Touch Sensitive’s Michael DiFrancesco, World Champion‘s Julian Sudek and the album’s producer Andrew Klippel. 

ver the course of the past six months, I’ve written about three of Smiling With No Teeth’s singles:

“The Other Black Dog,” a mind-bending production that meshed alternative hip-hop, industrial clang, clatter, rattle and stomp, off-kilter stuttering beats and wobbling synth arpeggios that was roomy enough for Owusu-Anash’s breathless, rapid-fire and dense flow. Managing to balance club friendliness with sweaty, mosh pit energy, the song is a full-throttled nosedive into madness that reminds me of the drug and booze fueled chaos of ODB, and the menace of DMX.
“Gold Chains,” a brooding yet seamless synthesis of old school soul, G Funk and Massive Attack-like trip hop centered around shimmering and atmospheric synths, stuttering boom bap beats, squiggling blasts of guitar and the rising Ghanian-born, Canberra-based artist’s Mos Def/Yasiin Bey-like delivery, alternating between spitting dense and dexterous bars and crooning with an achingly tender falsetto. “‘Gold Chains’ got me thinking about the flaws of being in a profession where, more and more, you have to be the product, rather than just the provider of the product, and public misconceptions about how luxurious that is,” Owusu-Anash explains in press notes. “Lyrically, it set the tone for the rest of the album.” 
“Same Thing,” a jolting and uneasy future funk banger centered around shimmering synth arpeggios, skittering beats, bursts of Nile Rodgers-like guitar, a propulsive bass line and infectious hook serving as a silky bed for Owusu’s alternating dexterous and densely worded bars and soulful crooning. But at its core is an unflinchingly honest — and necessary — view of mental health struggles.

that take the already established world-building groundwork of the album, and expand that universe into new and unexplored places. These are all tracks that I felt were special in their own right and needed to be shared. This is music without boundaries.”

house, hip-hop and future soul centered around skittering, tweeter and woofer rocking beats, synth arpeggios. industrial clang and clatter paired with Owusu-Anash’s silky falsetto. The track conveys a restless and uneasy energy while being a pure banger.

Directed by directing duo VERSUS (Jason Sukadana and Tanya Babic), the recently released video or “The Fall” was shot in Australia’s Phoenix Central Park, an innovative space for collaboration and live exchange. Throughout the entire video, we see Owusu-Anash bound, restricted or hemmed in. At points we see him desperately attempting to escape and at others, he accepts it. But you can’t help but observe the rising Aussie’s larger-than-life energy and intensity. “There was a real sense of symbiosis on this project, when we first met with Kofi our ideas for the film meshed perfectly with the themes in a track he had just recorded,” VERSUS co-director, Jason Sukadana says. “When Kofi is in the room, you know you are in the presence of greatness. He’s truly one in a billion. His immense talent and groundbreaking vision will resound for generations,” co-director Tanya Babic adds.

New Video: Rising Ghanian-born Aussie-based Artist Genesis Owusu Peers into Madness

With the releases of his debut effort, 2017’s Cardrive EP, which garnered an ARIA Award nomination for Best R&B/Soul Release and praise from Sir Elton John (!), NME, i-D, mixmag and others, the rapidly rising Ghanian-born, Canberra, Australia-based, , 20-something artist Genesis Owusu — born Kofi Owusu-Anash — quickly developed a reputation for being a maverick presence with an ability to conjure powerful and deeply personal storytelling in diverse forms, centered around a genre-defying sound and approach that’s uniquely his own. Adding to a growing profile, Owusu has opened for the likes of Dead Prez, Col3trane, Sampa The Great, Cosmo’s Midnight, Noname, Animé, Ruel and others in Australia.

Building upon a rapidly growing profile, Owusu-Anash has released a handful of highly-celebrated singles over the past year, which have included “Whip Cracker,” and the ARIA Award-nominated smash hit “Don’t Need You,” which quickly became the #1 most played song on triple J radio — and since then has received airplay in the UK on both BBC Radio 1 and BBC Radio 6 and recently here in the States on KCRW, KUTX, The Current and Alt98.

“Whip Cracker” and “Don’t Need You” will be prominently featured on Owusu-Anash’s forthcoming 15 song Andrew Klippel-produced full-length debut Smiling With No Teeth. Slated for a March 5, 2021 release through House Anxiety/Ourness, Smiling With No Teeth reportedly sees the rising Ghanian-born, Aussie artist further honing and developing his genre-confounding sound and approach while charting the epic peaks of troughs of mental health struggles and his experience as a black man in a very white world. Centered around raw hip-hop energy, the material routinely veers into industrial, punk, funk and pop, sometimes within the same song. And as a result, the album’s brash and defiant material is dedicated to those who boldly refuse to be boxed in by stereotypes or cultural norms, or at the very least, don’t feel that they fit in anywhere.

“Smiling With No Teeth is performing what the world wants to see, even if you don’t have the capacity to do so honestly,” Owusu explains in press notes. “Slathering honey on your demons to make them palatable to people who only want to know if you’re okay if the answer is yes. That’s the idea, turned into beautiful, youthful, ugly, timeless and strange music.” Each of the album’s 15 tracks can trace their origins back to studio jam sessions with a backing band that features Kirin J. Callinan, Touch Sensitive’s Michael DiFrancesco, World Champion’s Julian Sudek and the album’s producer Andrew Klippel.

“The Other Black Dog,” Smiling With No Teeth’s third and latest single is a cinematic take on contemporary alternative hip-hop, industrial music and pop centered around Owusu-Anash’s breathlessly rapid-fire delivery and barking, and an industrial stomp featuring off-kilter, stuttering beats and wobbling synth arpeggios. Somehow managing to balance dance floor friendliness with a sweaty mosh-pit energy, the song is a full-throttled nosedive into the hell of madness that brings the drug and booze fueled chaos of ODB, and the fury and menace of DMX to mind. Thematically, the single finds the rising Canberra-based artist giving the fearsome inner and outer demons he lives with and informs his life, the “black dogs,” a name. “The track explores the internal struggle between a hopeful spirit of endurance, and a gnashing black hole of ugliness,” Owusu-Anash explains. “One is me, and the other is also me.”

Directed by Riley Blakeway, the recently released video for “The Other Black Dog” brings the track’s kinetic and forceful menace to vividly nightmarish life: the video finds the rising Aussie artist running for his life along a deserted, night time road, desperately trying to outrun a relentless and evil version of himself and the demons that feed off his fear and insecurities. The video suggests something deeply fearful and disconcerting that we all know but don’t want to admit: there’s no escape from the devils that torment our hearts and souls — and there’s no escape from the devils that torment us in our daily lives. You can run but you can never hide.