Essentials: De Mthuda reaffirms why he’s ‘The Landlord’ of Amapiano
Building on his existing and experimental tendencies
As the listening session for ‘The Landlord’, the highly-anticipated full-length by pioneering Amapiano DJ/prodcer De Mthuda is about to commence, the prolific artist walks in with a calm, shy-like demeanour. He’s introduced by the current Head of Urban at Universal Music (South Africa), before hitting the stage to showcase his latest work. When asked what he has in store for the attendees, which mostly consisted of media and industry-personnel, he answers with a confident smile, “iLandlord album bafethu, asimameleni (guys, let’s listen).”
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(@demthudasa)When not in the comfort of close friends and family or the studio, Mthuthuzeli Gift Khoza is a reticent character, who expresses himself best through music. Since the mid-2010s, De Mthuda has been consistently upholding his position as a trailblazing Amapiano DJ and producer. When the now-globally renowned genre was on the cusp of national recognition in 2019, Mthuda emerged with the Njelic-assisted “Shesha.” His mainstream breakout which helped popularise refined-melodic singing within the genre was in high rotation on radio and was one of the first Amapiano songs to reach gold-selling status; ultimately sparking the upward trajectory of the genre.
From that culturally shifting moment, seeing and admiring the song’s success, other pioneers like Kabza De Small and DJ Maphorisa featured melodic tracks on their genre-elevating, eponymous album ‘Scorpion Kings’, enlisting the talents of Bontle Smith, Sha Sha, and Samthing Soweto. The Scorpion Kings even went on to collaborate with Njelic on the cult classic “Nana Thula,” that same year.
While De Mthuda followed up with other bonafide hits in “Bade” and “Ebumnandini,” he reached his innovative and creative zenith in 2020, in line with the genre’s continental takeover. Mthuda spearheaded the synth bass-laden, Techno-tinged iteration of Amapiano, which forms the bedrock of his current sound. Staying true to the genre’s communal and collaborative nature, he teamed up with fellow Vosloorus native and then-burgeoning producer, Ntokzin. The pair had previously worked together on “Blissful Day,” which was initially included on Mthuda’s 2018 debut ‘Forever’, as well as in the House Afrika/Born in Soweto-curated 2019 compilation ‘Amapiano Volume 4’—which also hosted Kabza De Small’s “Bamba La” and Kwiish SA’s “Iskhathi (Gong Gong).”
During the midst of the coronavirus-induced national lockdown in South Africa, Ntokzin and De Mthuda rented a house solely for the purpose of creating music in a secluded area in Brakpan. The fruits of that creative habitation started with the release of “Forbes.” A string of singles—“Dakwa Yini,” “Igama Lam,” and “Ghost”—followed, and ended up in the joint project ‘Ace of Spades’, which recently won Album Of The Year at the first annual South African Amapiano Awards. Before that album’s November release, De Mthuda had dropped a solo EP, ‘Story To Tell Vol.1,’ in June. Though the EP failed to yield a hit record, it laid the foundation for the phenomenal run Mthuda has been on.
With Mthuda’s star power at an all-time high, and several leaks allowing fans to peek through his upcoming works, ‘The Landlord’, couldn’t have come at a better time. The album builds on the signature sound the producer has carved over the past year-plus, adding layers of soul by bringing along a number of equally-talented individuals who assist in bringing some of his visions into life.
Producer Da Muziqal Chef, who appeared in all three smashes in his last EP ‘Ace of Spades (Reshuffle)’, is responsible for a lot of the musical flourishes. “Sometimes I have ideas that I cannot execute well, so he’s always there to assist,” De Mthuda confesses on the Apple Music album liner notes. The synergy between the two super-producers shines through yet again on the project. He also employs the skills of Sipho Magudulela, who adds guitar riffs, and saxophone licks to the album’s already beamy productions. The guitarist and musician is credited as a feature of four of the project’s twelve songs.
The album’s rollout started with the overdue official release of romantic ballad “Emlanjeni.” The track also serves as the opener, as the dream team that brought us the two-times Platinum-selling “John Wick” team up for yet another undeniable smash record. On the fan-favorite single, which has already been certified Gold, Sir Trill muses about missing a lover that he hasn’t seen in a while AND vowing to travel a thousand miles to meet his love interest by the river (“emlanjeni”), no matter the hurdle. Driven by the featured vocalists, romance quickly becomes a constant theme on the album. On “Jola,” the latest song to be given the single treatment, Sino Msolo expresses his disbelief in finding himself in a romantic involvement, while on “Mhlaba Wonke,” he admires the alluring beauty of his partner and argues that no one else in the world is as attractive.
On “Khanda Liyazula,” Sino is joined by fellow El World Music affiliate Mthunzi, as they dovetail about how isgubhu (the sound/drum) is driving them insane. Similarly, on the dancefloor-inviting “Jaiva,” frequent collaborator Njelic warns of Mthuda’s sgubhu and hit making abilities. “Let me tell you about this man, a big big man/he’s a warrior, he can come and come/he can make you dance, he can make you jive,” he sings in the refrain, before being joined by Focalistic who delivers slick raps.
On ‘The Landlord’, De Mthuda widens his sonic collage to include influences from genres such as Afropop, bubblegum-Disco, Kwaito, and even gospel. “Double Double” interpolates lyrics from Uche’s “My God Is God,” which became popular in South Africa when the Nigerian gospel artist performed it with the Joyous Celebration choir in 2009. The singer-songwriters on the album compliment its lush and dynamic productions. The singer of the ascending duo Murumba Pitch renders career-elevating, standout vocal performances on “Phithizela,” “Double Double,” and “Gijima”—the latter is Mthuda’s personal favourite on the album.
“Inkomo Zam” focuses less on the customary percussions, luminous basslines, jazzy chords and airy pads of ‘Piano instead highlighting Nomfundo Moh’s soaring voice and the song’s Kwela-inspired, Afro-jazz guitar. The song, which appears towards the end of the album, also offers a slight preview into Mthuda’s next compositional path, which he refers to as ‘Skandi Yano,’ a fusion of Maskandi elements with Amapiano. While most of the albums remains progressive in its approach, the aptly titled “Roots” pays homage to the genre’s instrumental early days, without sounding dated or compromising on De Mthuda’s current style and the album’s overall tonality.
“It has more of my feel, I did it to express my feelings through the music. It’s kind of different from the sound of ‘Piano,” De Mthuda told LootLove about the album during an episode of Apple Music’s Africa Now Radio. The album’s title can be considered a nod to the self-reverential acclaim, and self-affirmation of his status as one of the genre’s mainstays and frontrunners. Crafting bangers for artists such as Samthing Soweto, Njelic, MalumNator and Kammu Dee, it’s clear that Mthuda sees himself as umastandi (the landlord) of the genre which started out as an offshoot of South African House. But when asked by the MC during the listening session, he responds “awume (leave it/don’t start)” while confidently smirking, as if he would rather let the people decide if he is worthy of the title or like most ‘Piano enthusiasts like to say, “let the music do the talking.”
Listen to De Mthuda’s ‘The Landlord’ here.
@madzadza is a South African freelance writer. He has contributed to reputable online publications, writing extensive pieces on popular African music and emerging scenes. As someone who has a wide musical taste and a keen interest in most genres, he keeps his ear to the ground and his writing and commentary is not limited to one specific sound.
ICYMI: KABZA DE SMALL & MDU AKA TRP TEAM UP FOR NEW LP, ‘PRETTY GIRLS LOVE AMAPIANO 3’
Essentials: Majeeed Offers Poignant Reflections On ‘Cheers To Life’
The singer continues to prove his immense potential
Around the same time a new vanguard of superstars were breaking into the Afropop scene, an unassuming Majeeed crept up. He wasn’t immediately championed like some of his peers, but his sound—a vivid reinterpretation of 2000s-sounding Nigerian Pop—left a good impression on those who listened. “Gee For Life” was a focused rendering of his skills, his vocal style reminiscent of Kizz Daniel though the writing was undeniably his, simple but strikingly evocative as he mused about his loyalty to a girl he loved.
Majeeed continued in that fine form, scoring an underground classic with the realism of “Time.” It was a record in the class of Oxlade’s “Ojoro” and Victony’s “Kolomental,” an early career song which laid down the artist’s preoccupations. For Majeeed, he was more driven by external stories, revealing his own perspective through the telling of others’ experiences. His debut EP ‘Bitter Sweet’ arrived in early 2022, and as one hears on songs like “How I Care” and “Yawa No Dey End”, he was extending that range both in subject and sound.
Coming into the new year, it was evident that Majeeed was on the cusp of a breakout. That arrived unanimously on the Tiwa Savage-assisted “Gbese,” whichbintroduced the sterling Majeeed to a wider fanbase. Since then the artist has moved with the purposefulness required to solidify his ubiquity, and his latest project, the positively-titled ‘Cheers to Life’ comes from that consideration. It’s the same title which supplies the opening record, a glittering piece where Majeeed’s stirring vocals emerge. Soft with its drums, sexy in its movement, the record doubles as an account of his better quality of life but the first verse describes getting ready for a night out.
Every narrative of Majeeed is threaded by the didactic twist of his pen. On that emotive opener, it comes with the lyric, “Instead make you live your life, you sit down there dey complain,” he sings with jazzy carefreeness while the production builds around him. “Girls Deserve More Money” would make him a popular man among the ladies; promising to avail the good life to his lover, it adapts the kind of songwriting primed for an internet-savvy audience base. You could almost imagine a TikTok run behind the chorus, but on the song level, Majeeed’s evocative qualities are yet present, which is further amplified by the dreamy electronic loops in its post-chorus parts.
“Stop Nonsense” is the only other record in this collection of eight where Majeeed appears alone. It’s also the most popular-lying record, with splashes of smooth vocals and brash drum playing which shuffles between Amapiano and House. A groovy, anthemic number, it demonstrates Majeeed’s range across ‘Cheers To Life.’ Understandably however, the collaborative records offer more to the listener. Given the svelte, malleable quality of Majeeed’s tone, he’s able to blend in with a host of voices, and that artistic ability elevates the project.
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The similar hue of BNXN’s tone comes present on “Waka Jeje,” which stands a good chance of being one of the project standouts. Over celestial amapiano-influenced arrangement, both artists muse about coming from where they’ve done, the journey not lost on them. “Thank God say man no look like wetin e don go through,” sings Majeeed on the opening lyric, following up with why more hustle is needed to consolidate on one’s spot in life. BNXN’s lazer-sharp delivery is finely utilised, and he’s one of the EP’s best features, in terms of potency matching up to Tiwa Savage’s superb work on “Gbese”.
While that record is familiar enough to Afropop audiences, there’s the attempt to further its reach by creating an EDM remix. The mix doesn’t come across as deliberate enough, somehow losing the song’s essential soulfulness. That quality is however present on “Slip & Slide,” where Majeeed and the American artist of Nigerian descent Rotimi layer sweet affirmations over the warm palmwine-evoking production. Produced by Priime, it mirrors the work he’s done for Wizkid, and the sexy vulnerability associated with the veteran is present here, even more because of Rotimi, who provides a distinct but reliable perspective for Majeeed’s delivery to feed off. “Shayo” is a personal favourite of the collection; fusing the distinct writing skills of Majeeed and his guest Lojay, who’s never been known to flunk a feature—it’s a hit song in the waiting.
Crowd vocals are in sync with the guitar-led production, slightly evoking Highlife and which works given the genre’s dedication to alcohol-fuelled communal spaces. It’s the kind of song that gives cheers to life, because even in the midst of all the complexities of relationships and experiences, we’ll always find ourselves loving its thrill. Majeeed’s project is a colourful demonstration of his unique prowess, and if there’s anyone who thinks he’s resting on his laurels, then they haven’t heard this. There’s clearly a lot of journeys embedded within the young man, and his music seems to possess the grace necessary to see them through.
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Essentials: Kaestyle & LeriQ Bond Over R&B-Tinged Melodies on ‘Asylum’
a dynamic
When an artist and a producer find chemistry, they make music; if we are lucky, the music comes as a body of work. This is the case of Kaestyle and LeriQ who have put out the five-track ‘Asylum.’ In recent years, music producers have left the shadows to stand beside artists as bonafide creators deserving of attention and acclaim. Sarz has been one of the most dominant Nigerian producers with his collaborative projects; ‘I LOVE GIRLS WITH TROBUL’ with WurlD, ‘LV N ATTN’ with Lojay and ‘Sweetness’ with Obongjayar have made a significant impact on the careers of Sarz and the artists featured, as well as on the landscape of the Nigerian music scene.
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LeriQ, like Sarz, is a veteran. He got his big break in 2013 after he produced Burna Boy’s ‘L.I.F.E’ in its entirety. The project—coated with LeriQ’s signature producer tag “It’s LeriQ, call the paramedic”—was an Afro-fusion masterclass in how it imbibed multiple sounds from Dancehall to Fuji to Afrobeat to Reggae to Galala. Two years later, LeriQ released his debut album ‘The Lost Sounds,’ which featured Burna Boy, Phyno, Wizkid, 2Baba, Cassper Nyovest, Timaya and Tay Iwar, among others. LeriQ has continually released music, even showing his skills as a vocalist on 2018’s ‘Luv.Wav.’
Kaestyle, on the other hand, is a newcomer who possesses a huge dose of potential. After signing to KeyQaad (same home as Omah Lay and M3LON), Kaestyle debuted his EP ‘Kae’s Study,’ introducing his brand of Afropop, which has a solid base in R&B. The project featured Omah Lay and Victony and portrayed the Port Harcourt talent as a competent songwriter and vocalist. On the Semzi-produced “Soundtrack,” he further exercises that mastery for feel-good tunes.
On ‘Asylum,’ Kaestyle and LeriQ address familiar themes through exciting unique sound choices and deliveries. On the opener “The Bag,” Kaestyle makes his intentions clear: he puts in the work to get enough money to live his best life. “Ain’t nobody getting in my way o/I want it now,” he sings. LeriQ also reveals his manifesto with a delightful production of background vocals and rumbling bass. Sonically, “The Bag” is an easily identifiable feature of LeriQ’s production: a familiar soundscape with an element of surprise lurking.
“YOLO,” which recalls Teni’s “No Days Off,” continues Kaestyle’s hope for a better life. It’s a bouncy tune with a catchy hook that is meant to get the people on their feet and bobbing their heads. “Say my name gon’ live forever/But I’m trying to live for now/If this life is just a show/I’ll kill it and take a bow,” sings Kaestyle. LeriQ sprinkles “YOLO” with electronic elements with a shift in the latter parts of the song. It is a song with the potential to become a runaway hit record.
R&B is an important ingredient in Kaestyle’s music. It’s evident in his delivery regardless of what genre he’s working with. He and LeriQ slow things down on ‘Asylum’ with “21” as Kaestyle flexes his vocals. He praises the anatomy of a love interest and the feelings she elicits from him. “Oh my, do that dance that you do on TikTok/Ain’t no time for you to flip flop/21 but with a big butt/Girl, I need some,” he sings. He does the same on “eMotion” but with more sexual urgency, singing, “I’m gon’ make you moan/Eat it till you’re sore.” The song, in mood and theme, is reminiscent of Jeremih’s “Birthday Sex.”
While Kaestyle’s vocals make ‘Asylum’ a smooth and enjoyable listen, LeriQ’s production is fundamental to the project’s success. He and Kaestyle showcase an understanding of each other’s uniqueness; what binds them together is their versatility and ear for sound and the skill to weave sound with well-tailored lyrics. Kaestyle and LeriQ are at their highest powers on “Ugly Truth,” mining Afro-R&B goodness out of the song. Kaestyle wraps LeriQ’s mid-tempo production with dollops of irresistible melodies.
From DJ Coublon and Oxlade’s synergy on ‘Eclipse’ to the brilliant experimentations of Sarz’s collaborative projects, ‘Asylum’ is another depiction of the magic that can happen when two minds are in sync. Kaestyle and LeriQ have made their case as a dynamic duo. ‘Asylum’ is music at its glorious and finest state.
Stream ‘Asylum’ below.
Featured image credits/NATIVE
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Essentials: RayTheBoffin Explores The Dynamics Of Love On ‘Freckles’
one of Nigeria's most exciting
In his NATIVE Exclusive, Suté Iwar praised RayTheBoffin, saying, “He’s a producer that I’m excited about,” and then added: “Ray is gonna have a big future with what I’ve heard him working on.” Months after that conversation, RayTheBoffin, real name Joseph Chikak, steps out with his debut EP ‘Freckles,’ fostering his identity as a multitalented act. The project, which was released under Outer South (the same label that Iwar belongs to), is RayTheBoffin’s way of curating his world with his gifts as a singer and producer.
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Before the release of ‘Freckles,’ RayTheBoffin gave listeners a taste of the project with “Lifeline,” with 3kene and Tim Lyre delivering solid performances. “Lifeline” is a groovy rendition of 90s R&B and Pop with electronic fusions. All three acts reveal their interest in a significant other but from varying emotions. 3kene and Tim Lyre are the casanovas who seek pleasures but clearly state their disinterest in commitment. RayTheBoffin, on the other hand, counterbalances their perspectives with a yearning for commitment. “I just see your body and I keep on loving ya/He just want your body isn’t it so obvious,” he sings.
The overarching theme of ‘Freckles’ is the exploration of love and its merits and challenges. On the project, RayTheBoffin and the featured artists offer snapshots of what affection means to them, how it nourishes them and how it can tear their souls apart. On “Alive,” RayTheBoffin is the lover too busy chasing money that he has no time to love his partner. Nigerian singer Yimeeka is the woman whose emotions are ignored; she describes all the distractions preventing her lover from giving himself to her as “counterfeits.” “I am doing my part/No I ain’t playing/You don’t know/What you lost/I know my worth,” she sings.
Although ‘Freckles’ is RayTheBoffin’s debut under Outer South, he has been a consistent music maker. He’s one-half of the group Riverays with co-member Iver Rivers. Both artists sing, rap and produce. They recently put out a new project in ‘Peek 2,’ a follow-up to 2020’s ‘Peek.’ RayTheBoffin and Iver Rivers are also members of the four-man group Dancing in the Desert (with Jess ETA and 3kene) and their project ‘Afrorock’ shows an ambitiousness with fusing African sounds with Rock music. These collaborations are pillars of RayTheBoffin’s music as it exudes fearless creativity. In addition to 3kene’s appearance on “Lifeline,” in ‘Freckles,’ Iver Rivers shows up on “Brain,” a fun track where Rivers and RayTheBoffin exhibit their chemistry.
The soundscape of ‘Freckles’ is a pristine collage of sounds such as Hip-Hop, R&B, Pop and Dancehall, with dashes of electronic distortions adding colour to the offering. On “Okay,” RayTheBoffin, Twelve XII and BUSA effortlessly find pockets amidst the Trap bounce, while on “New Emotions,” RayTheBoffin swings back and forth between Hip-Hop and Amapiano elements. In all, RayTheBoffin masterfully crafts his world of fusions and multidimensionality while ensuring it’s engaging and pleasing.
The lyrics on the project are constantly in conversation with one another. It raises a question here and provides an answer there. RayTheBoffin and Twelve XII try to convince their lover to forgive their transgressions and ignore the words of outsiders on “Okay. “I know I do wrong sometimes/But why you acting like I never please you,” Twelve XII sings. In her verse, BUSA shows she doesn’t lack options as she raps, “Baddies waiting for me/I curve them on the low.” On “New Emotions,” RayTheBoffin is ready to take care of the sexual and emotional needs of his partner, and on “Baaaddie,” he surrenders to his lover’s charm, singing, “Bad bad things I fit do, the way you moving that short thing.”
In the ecosystem of Nigerian alternative music, RayTheBoffin is an act with incredible potential. He fits every facet of his artistry into ‘Freckles,’ making for a definitive body of work that places him as one of the country’s exciting artists. For ‘Freckles,’ RayTheBoffin reaches into his bag of tricks with the assuredness of a veteran.
Stream ‘Freckles’ below.
Featured image credits/NATIVE
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