Essentials: AYLØ’s ‘dnt’dlt’
A stunning re-emergence after two years of relative silence
AYLØ takes pride in being a unique creative. “Fusion”, the oldest song on his SoundCloud, was a catchy lampoon against the homogeneity prevalent in Afropop, as well as an implicit declaration of his nonconformity. He’s spent the last three years continually assembling the mosaic of his patented ‘Soul Fusion’ sound, releasing two splendid projects in the process; ‘Honest Conversations’ EP in late 2016, and the career-defining ‘<insert project name/>’ tape in mid-2017.
Preferring to work in spans, AYLØ’s latest project, ‘dnt’dlt’, is his first major release in two years, following a sparse run of dropping new material, and an ample amount of feature work. As much as it preserves his mystic and plays into his ethos of ghosting until it’s time for a tape, the relative silence was unfortunately assisted by a robbery, his laptop—filled with new material—and other recording instruments being part of the items taken.
“This oxygen is priceless”, he added in the tweet detailing the incident, pushing out a positive attitude, despite going through the kind of traumatic event that could derail entire careers. For profound effect, the resurgence motif plays a substantial role on ‘dnt’dlt’, hitting a crescendo on the final track, “Alive and Breathing”. Assisted and co-produced with Abuja singer/producer, Cheso, who adds a moving layer of relatability with his impassioned singing of “I know I’m a champion, just because I’m alive and breathing” on the hook, AYLØ basks in the glow of self-acceptance on a rapped first verse and a sung, zen-inducing second verse.
On “Alive and Breathing”, he elucidates on the importance of the ride-or-die relationship with his parents, as well as the impact of meditating and rolling gardens, a call back to the intro of his previous project. In contrast with the linear unfolding of that coming-of-age tape, the narrative of growth and savouring life on ‘dnt’dlt’ is both explicit and apparent, because AYLØ remains an exciting artist to listen to, especially since he’s still hell-bent on levelling up.
While his catalogue is a masterclass in grandly, and effectively, presenting an array of emotions in their varying complexities, his writing and delivery multiplex have become even more potent, magnifying every pixel of every frame on ‘dnt’dlt’. On “City of Lights!”, where he is joined by an inspired Sugarbana to mourn the gloomy state of Nigeria, AYLØ mostly chants a refrain, with his high-pitched vocals establishing the aura of an elegy. Two songs prior, AYLØ and MOJO celebrate and reminisce on the death of their innocence on “Indo Smkn”, imbuing their hedonistic musings with a considerable level of seriousness so that the song listens like a deeply personal revelation.
The same visceral improvements apply to songs about women and relationships; admiration-filled sets like pre-released singles “Paris!” and “Sassy”, and pro-Instagram anthem “Pretty Mama!” are basically rituals extolling the divine energy of women; and “xozhu”, a vindictive, alcohol-fueled voicemail to an ex, is realistically messy both in writing and delivery.
Also a marker of his progression, AYLØ is omnipresent behind the boards, picking up production credits on seven songs here, as compared to three on his previous tape. Even with outside contributions, there a sense of overall direction, considering how the project mostly deals in immersive flourishes and subdued grooves. There’s an abundance of nocturnal piano chord motifs, harmony inflexions from bass and electric guitars, as well as lightly knocking percussion patterns. Throbbing EDM instrumental, “IMWTWOTF”, sticks out, but not negatively since it is sandwiched by slow-rolling banger “Nintendo”, and the bouncy amalgamation of reggae and folk that propels “Alive and Breathing”.
Despite the temporal temptation to call ‘dnt’dlt’ a return to form, it is more of re-emergence, for an artist that has hurdled over a grim, uncertain situation, to now wielding his ability with more certainty than he has shown till date.
Stream ‘dnt’dlt’ via Apple Music here.
Featured Image Credits: Twitter/arkhonellz
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ICYMI: AYLØ DEBUTS WITH THE VIDEO FOR “WYS?”
Maya Amolo Is Committed To Giving You The Sweetest Time
There’s undoubtedly more to come from the talented singer as she looks to solidify herself as one of the...
“Sweetest Time,” Maya Amolo’s latest single, is a soothing, lovesick confessional that mixes intimate, heartfelt lyricism with wistful production courtesy of Ugandan musician and producer SOULCHYD aka MAUIMØON. Alongside fellow Kenyan singer Ywaya Tajiri, the self-acclaimed sweetest girl delivers a lustrous duet that sees her soft vocals, which perfectly complement Tajiri’s more robust voice, skip and flit across moody synths, intensifying the spotlight on her wholehearted delivery. “I can feel you rushing through my system / Every single day it’s my religion,” she sings passionately halfway into the record. The whole thing sounds like the aural equivalent of a warm blanket; a truly affectionate record that immerses and envelopes its listeners in its warmth. This is the brand of vulnerable, understated R&B music that has been helping Amolo gain significant attention since she debuted in the pandemic year.
Born and raised in Nairobi, Kenya, Amolo always had an affinity for music. The singer and producer, who took on piano and guitar lessons as a child, has previously credited acts like Brandy, Erykah Badu, Prince, and Kenyan musical icon Eric Wainaina as her early influences – and it’s easy to see how Amolo’s style draws from this strong lineage of musicians whose music is equally expansive, soothing and vulnerable. After years experimenting with different styles, recording covers to beats she ripped from YouTube and posting them on her Soundcloud page, Amolo released her debut project ‘Leave Me At The Pregame’ in 2020.
The EP, which quickly soared up the charts in Kenya, served as a brief but emphatic introduction to Amolo’s minimalistic take on R&B. Standouts like the emotive opener “Puddles,” “Lush Green”, and “Jokes” showcase her clever and poignant lyricism that reflects on themes of love, depression, and self-healing. Along with sparse, melancholic production and the icy sensuality of her voice, Amolo delivered a remarkable debut that made her one of the most promising figures in Nairobi’s alternative music scene. Two years after ‘Leave Me At The Pregame,’ the Kenyan rising star released her debut album, ‘Asali.’
‘Asali,’ which translates to “honey” in her native Kiswahili, showcased Amolo’s progression as both an artist and a human being, as she swapped out the sad-girl tunes that filled her debut EP for more vibrant and intricate records – thanks in part to Sir Bastien and Kenyan producer and rapper Lukorito – that explore themes of growth and the complexities and rich luster of love. The album’s lead singles, “Foundry” and the self-produced “Can’t Get Enough,” found relative success on streaming platforms, placing Amolo as one of the continent’s most exciting new R&B voices. About a year after the release of ‘Asali,’ Amolo updated the album with 8 new songs on a deluxe version that featured Kenyan stars like Bensoul, Xenia Manasseh and Zowie Kengocha.
In August 2024, a few months after she delivered a splendid Colors performance, Amolo released a new project titled ‘What a Feeling.’ The 5-track EP, which essentially serves as an ode to Amolo’s home city, Nairobi, sees her experimenting with an array of dance sub-genres without straying too far from her R&B roots. While the project still retains much of the melancholy and elegance that defined her earlier work, there’s a hypnotic and pulsating energy that courses through ‘What A Feeling,’ that highlights a shift in the singer’s sensibilities. Amolo’s honeyed vocals gently seep through subtle Dancehall, Electronic, R&B and House-inspired production and the accompanying visualizer, a mashup of camcorder footage of her and her friends in Nairobi, also adequately captures the charming and nocturnal vibe of the tape.
The project produced standout tracks like the sensual “Let It Flow,” the title track and “Take It,” which later got remixed by Ugandan singer Soundlykbb and rapper SGawD. With Amolo’s latest release, “Sweetest Girl,” the Kenyan rising star continues her intricate exploration of R&B music, merging it with varying styles to produce her own distinct and refreshing variant. There’s no telling what Amolo might do next, but with only a handful of releases to her name so far, there’s undoubtedly more to come from the talented singer as she looks to solidify herself as one of the genre’s most prominent faces across the continent.
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T.I Blaze Updates ‘Shakur’ EP With Deluxe Version
Following the success of “Trenches Luv,” the street-pop star is back with seven new songs on the deluxe...
Over the last few years, street-pop, a guttural version of afropop, has surged to mainstream popularity, birthing stars like Asake, Seyi Vibez, and Shallipopi. On the homefront, a generation of younger stars also put unique spins on the sound. Singer, T.I Blaze, has been a notable star in the sub-genre since his 2021 single, “Sometimes,” and a subsequent remix with icon, Olamide, launched him into a different stratosphere.
Since “Sometimes,” Blaze has established his profile as a reliable source for songs that reflect the pulse of the streets while archiving his come-up story across a debut album (‘El Major’) and three extended plays like ‘The Fresh Prince Of Lagos’ and ‘Dangerous Wavy Baby.’ His 2024 EP, ‘Shakur,’ further underscored his evolution as an artist, featuring slippery numbers about escapism, his thoughts on life in the fast lane, and brotherhood with features from rising stars like Tml Vibez and BhadBoi Oml.
In 2025, the singer has picked up where he left off last year, releasing “Trenches Luv,” a balmy February release that examines the dynamics of romance from his point of view as a young adult moulded by the hard realities of life on the street. The success of “Trenches Luv” has led to a deluxe version of ‘Shakur’ with the singer adding seven new songs to the original version of the project. Impressively, on the new version of the project, TI Blaze taps up Ayo Maff and Ghanaian star Arathejay on “My Brother” and “Mario Remix,” respectively.
Led by a galala-inflected opener, “Track 1,” ‘Shakur (Deluxe)’ is both raw and complex with the singer sounding refreshed on songs like “My Brother,” “Dodge,” and “Introduction.” In many ways, this project is an invitation for listeners to explore the many facets of T.I Blaze’s artistry as well as a portent to celebrate his roots and offer a glimpse at his evolution.
Listen to ‘Shakur (Deluxe)’ here.
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NATIVE PREMIERE: Rigo Kamp Runs Ahead Of The Pack With The Visuals For “Marathon”
Rigo Kamp’s Marathon video is an intimate Afro-juju revival that pays homage to Sir Shina Peters and stamps...
Last Friday, Rigo Kamp, a NATIVE uNder alum and one of the architects of an equal parts nostalgic and refreshing sound released his self-titled debut EP, delivering a propulsive fusion of Alte, R&B, Funk, and Soul-infused rhythms.
Featuring previously released singles “Morning Sun” and “Summer”, the six-track eponymous EP executively produced by Odunsi The Engine sees Rigo lean heavily into his element as a sonic alchemist, jumping from silky falsettos to gritty grooves without losing an ounce of cohesion, and ultimately stamping the Abuja-born, Lagos-based singer-songwriter as a mad scientist of sound.
Just last November, Apple Music named Rigo Kamp as its Up Next artist, an acknowledgment that underscored his potential and confirmed what the tastemakers and underground scene already knew. Weeks later, he delivered an exhilarating live set for Spotify Fresh Finds in Lagos, proving he’s just as compelling live as he is in the studio.
On “Marathon”, the refreshing opener to the Rigo Kamp EP, Rigo borrows the bounce and swagger of Afro-Juju legend, Sir Shina Peters’ golden-era, fusing nostalgia with re-imagination to birth a vintage performance that feels like a private party for two, where it’s just Rigo, and you.
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