Best New Music: Accra City Vice comes to life in Tulenkey’s trap-house anthem “Yard”

Posted on by The Native

In the GTA-inspired opening sequence of the action-packed music video for “Yard”, Tulenkey, Ara and Wes7ar 22 are blocked off the road and pulled over from a vintage Camaro by a police task force. Ominous music and sirens heighten the tension as the officers roughly search the boys, a cinematic cut-away intro follows, re-opening to a flashback of events leading up to the police arrest.

Rapper, Tulenkey’s has been coasting in Ghanaian underground for nearly two years, with sharp lyricism and picturesque music videos. “Yard” is visibly his most ambitious attempt yet. The emPAWA-backed single comes packed with all the stylistic elements of grit, storytelling and bright colours that fit right into the renaissance of modern West African Afropop.

In the video, we follow Tunlekey—who is flanked by a masked Wes7ar 22 and Nigerian up-and-comer, Ara—through a trap-house, he is there to pick up a package but the details around him tell the clearer story. Wes7ar 22’s ebullient chorus, “We’ve got some Igbo (weed) in the Yard“, foregrounds trap house scenes;  a pair of dice at the centre of a gambling circle, money being exchanged for an unidentified purchase and women packaging a white substance in palm-sized bags.  As the events in the “Yard” progress, we later see the police slowly surrounding the building. Tulenkey and the gang are seen driving away, the gamblers scrambly disperse, and the formerly rowdy trap house rapidly empties out until viewers are reconnected to the scene of Tulenkey’s arrest.

“Yard” has an unapologetic attitude in itself that’s impossible to ignore. This is partly due to the confident delivery of all three artists on the track, but mostly because the edginess of the video highlights Tulenkey’s inclination towards hyper-realistic narratives steeped in contemporary pop culture references. Nigerian contemporaries Naira Marley, Santi and Prettyboy D-O have already become subjects of social media fascinations for using the same stylistic trope. With “Yard” , Tulenkey is proof raw depictions of African reality in this gritty manner won’t stop surfacing in popular music any time soon.

See Tulenkey in “Yard” below:

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Best New Music: Tems “Try Me” is a fiery anthem of triumph”

Gruesome history trails reports of xenophobia in South Africa

Posted on by Tami Makinde

This is not the first time that actions in South Africa have caused the #SayNoToXenophobia hashtag to dominate social media. In 2015, Bloomberg reported that there was a death toll of seven people following the violent attacks on African migrants living in South Africa. Now the hashtag has surfaced yet again following the release of a series of harrowing videos capturing foreigners, mainly Nigerian business owners, their properties and cars being set aflame.

AlJaezera reports that the attacks broke out on Sunday following a clash between local taxi drivers and alleged immigrant drug dealers. This continued into Monday where anti-immigration protesters clashed with police and set fire to properties mostly owned by foreigners. Today, Nigerians are being vocal about their outrage at these inhumane attacks; with people actively protesting outside South African owned businesses like the Shoprites at Ikeja City Mall and Jakande while some celebrities have taken to social media to share their thoughts. Wizkid, Jidenna among others expressed their concerns; in the slew of online reactions, YCee had a heated exchange with South African artist, AKA that opened a broader conversation on the tense history between Nigerians and South Africans.

 

The history behind the bad energy between South Africa and Nigeria is inspired by S.African nationalist propaganda that Nigerian immigrants are responsible for crimes and have taken all the employment opportunities away from the locals. Considering that the 2016 statistic survey done by Pretoria provides a much less number for the Nigerian citizens in South Africa than the local media, one wonders if there are some political roots.

It may be too easy to presume the extent of the reported cases of xenophobic attacks as a S.Africa-wide occurrence. Alongside some of the most graphic images of violence and looting that surfaced online, the video of South African rapper, Cool Zet who delivers a verse about losing a friend to xenophobia, has also made rounds. Aside spotlighting the young rapper’s talent, this shows that just like any other fraction between two camps, the hatred isn’t all encompassing.

Rising multidimensional poverty levels in South Africa also indicate some of the violence is a result of low economic conditions. These attacks, perpetuated by second generation independent South Africans, can be traced to socio-economic causes; repressed poorer South Africans are unable to direct their violent outbursts at the minority white social class who are so far removed from them. This leads to them holding animosity for fellow Africans; particularly Nigerians who have a lot of commercial influence in their country.

Next month, President Muhammadu Buhari will visit South Africa and meet with her President, Cyril Ramaphosa with an eye to guaranteeing safety for all Nigerians in South Africa. In the meantime, it is important we begin to prioritise education on the history of how post-colonial Africa emerged. Not only does Nigeria have deep footprints in South African history, South Africa also deployed soldiers to Nigeria at the peak of the fight against Boko Haram insurgency in Sambisa Forest in 2015. These and more are recent examples of shared common purpose between South Africa and Nigeria that embodies the kind of African unity required for continental progress.

Regardless, the xenophobic attacks have also affected other African and Asian citizens with the crisis taking the lives of 62 people in 2008 and displacing of many more in subsequent attacks. South African authorities are currently tasking themselves with treating the reported case of xenophobic attacks as criminal cases. Until a judicial process is followed through and through, #SayNotoXenophobia.

 

 

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ICYMI: Shola Fapson’s Short Film Has A Powerful Message but Shoddy Execution

Peruzzi bursts out his reggae influences for new single, “Nana”

Posted on by The Native

Peruzzi has sustained his relevance in the mainstream since breaking out in 2018 with his ‘Heartwork’ EP boasting of hit songs like “Majesty”. But the DMW singer isn’t resting on his laurels just yet. Word on the street is he’s already working towards releasing his debut album, and his latest release, “Nana”, hints at what we can expect.

Lush produces a Caribbean influenced beat, mixing Raggea fueled guitar riffs and drums to create a groove for Perruzi’s layered vocals, singing of his romantic feelings for a love interest. The song debuted on Amazing Klef’s AKtivated TV YouTube show where Peruzzi sits in front of the mic in the studio to perform his vocals.

Watch the AKtivated TV video for Peruzzi’s “Nana” below.

https://www.youtube.com/watch?v=C4J1mPfv5hc

Featured Image Credits: YouTube/AKtivated TV
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ICYMI: Watch the music video for Peruzzi’s “Majesty”

Jake Doe tries to rescue a relationship on “WWW”

Posted on by Dennis Ade Peter

As he’s continually proven his potency with billboard melodies and more mellow, stunning mood pieces, Drake’s influence on today’s R&B is only emphasized with each direct reference, from R&B star H.E.R’s cover of “Jungle”, to Nigerian singer Jake Doe building his latest single, “WWW”, around lyric interpolations off “Redemption”. Ruing his lackadaisical attitude during their relationship, Jake tries to win back a lover who recently called it quits after being fed up of his bullshit. Pleading through gritted teeth, he promises to do better if she takes him back, his confessional being bolstered by the Ronin-produced sombre beat, underscored by slow plodding 808 bass.

Listen to Jake Doe’s “WWW” here.

Featured Image Credits: Instagram/jakedoeofficial

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H_art the Band releases debut album, ‘Made In The Streets’

Posted on by Dennis Ade Peter

Six years after its formation, Kenyan Pop trio H_art the Band have finally released their debut LP, ‘Made In The Streets’. Comprising producer/singer KENCHEZ, and singers ASAP and G.T, the group put together an elongated run of singles, breaking out with 2014’s “Uliza Kiatu”, and continuing with a steady stream of new music. However, they effectively started the long roll-out for their first album, at the beginning of this year, with the February release of the Kaskazini-assisted “P.D.A”.

Last Friday, the band finally released ‘Made In The Streets’, with the inclusion of all four pre-released singles on the 15-song set. Rhythmic, boisterous and with a wide variety of musical influences to add colour, the album is a propulsive set-list intended for a wider audience beyond their local country. While its latter tracks veer into contemplative and religious subject matter, a major chunk of the album is concerned with blue-eyed romantic sentiments. Bensoul, Cindy Sanyu, Nyota Ndogo and Kenyan pop stars Victoria Kimani and Sauti Sol make up the list of local guest appearances, while Jamaican Reggae singer Randy Valentine, and Nigerian singer Seyi Shay join in from outside Kenyan borders.

Listen to ‘Made In The Streets’ via Apple Music below.

Featured Image Credits: Instagram/h_arttheband

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ICYMI: ON SAUTI SOL’S AFROPOP GAME-CHANGER, “AFRIKAN SAUCE”

The Black Esper’s new single, “Nile Alhaji”, is a tale of debauchery

Posted on by The Native

Storytelling seems like a forgotten skill in Hip-hop with the recent emphasis on catchy, innovative flow, brags and disses. But Black Esper is among the few young emcees you can always count on to craft his bars through vivid stories that make his songs more compelling. He just put out a new single, “Nile Alhaji”, his first release since dropping his debut project, ‘Rice’, and it narrates his experience partying with nymphomaniacs.

The instrumental Mockingbird produces for “Nile Alhaji” is perfect for Black Esper’s raspy vocals; it’s spacey and generally catchy with its bouncy drum riff. It sets a psychedelic vibe that also fits the intoxicating mood of his tale of debauchery as he switches flow and flaunts his ability to slow down the flow and pick up the pace on a whim. Rapping “On a Sunday, emi Sola ati Femi/With some hot girls, smoking weed nile Alhaji” on the chorus, he sets the scene with a conversational ease that sets him apart from your average rapper. But it’s the topical theme, referencing the trending sensual coconut challenge from twitter without being overly raunchy that makes “Nile Alhaji” so remarkable.

Listen below.

Featured Image Credits: Instagram/theblackesper
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ICYMI: Listen to The Black Esper’s “Thoughts and Contemplation” off his ‘Rice’ project debut

The Shuffle: ‘Tis the season for CAC Good Women Choir’s “Odun lo sopin” classic

Posted on by The Native

Few cultural artefacts scream, “Ah yes, the ember months” louder than CAC Good Women Choir’s “Odun Lo Sopin”. It might as well be the theme song for the trends that would dominate popular conversations in western Nigeria following its 1979 release. In 40 years, the song has remained an evergreen classic, resurfacing with religious devotion each time the calendar years nears its end between September and December.

Mrs Deborah Fasoyin who led the 200 women Christ Apostolic Church (CAC) Good Women Choir in Ibadan to sing the hit record has gone on record saying that the song was inspired by a CAC composition dating back to the early 1940s. “It was a hymn that was sung at the end of each year by all CAC churches but we added only two verses to the original composition so one can’t really say who wrote it but many have said that we made it famous and we thank God for that,” she told a media publication in 2017.

The religious origin story is certainly interesting—another case of the church inspiring musical talent—but it’s the song’s apt depiction of our end of year anxieties that make it unforgettable. Channelling the optimism of prayer, the melodic chant rhythm is celebratory while the lyrics plead for safe, stress-free passage into the new year. “Odun Lo Sopin” is the perfect marriage of iconic bassline, magnificently rendered Yoruba vocals made for the prayerful lyrics, and cultural relevance that supersedes changing trends.

Today, it’s hard to imagine gospel music existing as part of mainstream Nigerian music entertainment, given the lewd sentiments that have now been embedded in the cultural mainstream. For reference, Naira Marley’s masturbation advocating “Soapy” is one of the biggest songs of 2019. And yet, it’d be unwise to rule out the very religious “Odun Lo Sopin” from enjoying its annual rounds in mainstream Yoruba speaking media as we kick off the first week of the ember months.

Watch the music video for CAC Good Women Choir’s “Odun Lo Sopin” below.

https://www.youtube.com/watch?v=6fipavXgdfY

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ICYMI: The Funkees’ “Akula Owu Onyeara” is a classic from Nigeria’s psychadelic rock era

JoeBoy’s music video for “Beginning” captures all the right romantic moods

Posted on by The Native

Like a legion of pop-stars before him, JoeBoy has a simplistic approach to his music videos, focusing on mirroring the mood of his songs. The “Baby” singer continued his googly-eyed romance on follow up single, “Beginning”, setting his romantic confessions to the lightweight groove of a guitar-led beat Killertunez produces. The music video Mollana Burke directs coasts on the narrative his lyrics already established, showing JoeBoy and his love interest sharing intimate moments where they dance to the music and stare longingly into each other’s eyes. The video holds next to no surprise, closing with JoeBoy proposing to his love interest who seems to have said yes as they end up hugging before the camera fades to black.

Watch the music video for “Beginning” below.

Featured Image Credits: YouTube/emPawa Africa
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ICYMI: Watch JoeBoy’s music video for “Baby”

Zilla Oaks and Straffitti get explicit for their latest single, “Backseat”

Posted on by The Native

The success of rap music around the world has helped the niche Nigerian trap music scene grow into the thriving, highly collaborative community it is today. But while high profile artists like Rema have yet to fully embrace the raw and dirty inclinations of trap, Zilla Oaks and Straffitti make up for the laxity on their new collaboration, “Backseat”, where they exchange sex stories while showing off their rap proficiency and ability to make the obscene seem cool.

Backed by the slick beat Tobi Sho produces with a bouncy drum riff and synth harmonies that seem designed to soundtrack a car chase scene, Zilla Oaks and Straffitti brag of their sexual prowess with enough aggression to be offensive. Rapping “Your mama and your sister sucking on my dick”, “Backseat” is too abrasive to appeal to new audiences who aren’t already familiar with the raunchy sensibilities of trap despite the rappers’ whimsical rhymes and diverse flows.

Stream Zilla Oaks and Straffitti’s “Backseat” below.

Featured Image Credits: Instagram/zilla__oaks
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ICYMI: Watch the music video for Straffitti, Prettyboy D-O, Zlatan and Ice Prince’s “Kuronbe” music video

Six Kunle Afolayan-directed movies are now available on Netflix

Posted on by Dennis Ade Peter

A Kunle Afolayan-directed movie carries with it an intrinsic stamp of quality. Gaining fame after playing a string of memorable roles in a handful of movies, kickstarted by his famous role as “Arese Jabata” in Tunde Kehlani’s 1999 classic, ‘Sarowoide’, the actor widened his role to include sitting in the director’s chair, with his 2006 feature, ‘Irapada’. However, it was his next feature, 2008’s ‘The Figurine’, that validated his chops behind the camera, and started an undeniable run that’s still ongoing with this year’s lauded film, ‘Mokalik’.

In July, the highly rated director announced that visual streaming giant Netflix had acquired the rights to ‘Mokalik’ and a couple of his other features. True to that announcement, viewers around the world can now watch six movies directed by Kunle Afolayan on Netflix, with ‘The Figurine’, ‘Phone Swap’ (2012),‘October 1’ (2014), ‘The CEO’ (2016) and ‘The Bridge’ (2017), completing the line-up. These additions come just a week after FilmOne productions announced that ‘The Wedding Party 2’, ‘King of Boys’ and ‘Merry Men’ would be available on Netflix very soon.

https://www.instagram.com/p/B1zO6PSJaLF/

Earlier this year, Netflix declared plans to develop its catalogue of Nigerian films, and also commission original content, in coming months. Their current aggressiveness shows their intent, further emboldened by the diversity of content being acquired. With one of the strongest catalogues of the last decade-and-a-half, Kunle Afolayan’s directorial filmography will offer a compelling set of Nigerian storytelling to viewers around the world.

Featured Image Credits: Instagram/kunleafo

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ICYMI: CHIWETEL EJIOFOR’S ‘THE BOY WHO HARNESSED THE WIND’ IS CURRENTLY ON NETFLIX

Tulenkey’s emPawa-floated video for “Yard” is the stuff of ghetto cinema

Posted on by Dennis Ade Peter

The Tulenkey train is revving up to full speed. Following the remix of his jovial, infectious “Proud Fvck Boys” single with prominent Nigerian rappers, Falz and Ice Prince, the Ghanaian rapper has featured on former BBNaija winner Efe’s “Scammer”, and more recently collaborated with La Meme Gang’s $pacely on recent single, “Little Soldiers (Tsoboi)”. Keeping up with the impressive consistency, and also scoring an integral look along the way, he’s the latest artist on the ongoing emPawa100 program, featuring with the music video for new single, “Yard”.

Assisted by fellow Ghanaian music upstarts Ara and Wes7ar 22, who deliver the superb hook and a quick verse respectively, Tulenkey vigorously raps about his come-up, detailing his ambition and also adding a few hedonistic bars for catchy measure, over a Leviathan, reggae-inflected trap beat. Directed by Babs, the video for “Yard” is a cinematic set, following all three artists as they saunter around a trap-house under police surveillance. Upon exiting the building, cops come at them unsuccessfully, deceptively ducking attempts to arrest them for picking up drugs.

Watch the video for Tulenkey’s “Yard” here.

Featured Image Credits: YouTube/Empawa Africa

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MR EAZI’S EMPAWA AFRICA INITIATIVE IS ACCEPTING SUBMISSIONS FOR NEW SET OF RECIPIENTS

Ictooicy encourages us to take things slowly with her latest single, “Serenity”

Posted on by The Native

In the age of the infinite scroll, any occasion to slow down merits praise, but Ictooicy does so with purpose. Her catalogue of releases like “Devil Wears Prada”, “Guava Juice” and her latest ‘Majic’ tape has the lo-fi sounds that encourage listeners to be more chill. Her latest song titled, simply “Serenity”, does so through a relatable romantic narrative and the lightweight lo-fi beat she lifted off YouTube.

While the song narrates how love can provoke some unpleasant emotions, she sings soothingly, layering her voice over the synth piece, singing “We can take it slow tonight”. The implication is intuitive. The more you’re willing to pause and take in your surroundings, the richer your experiences can be. The details are more vibrant, the colours more full, romance, less tasking.

Stream Ictooicy’s “Serenity” below.

Featured Image Credits: Instagram/icygram_
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ICYMI: Listen to “Devil Wears Prada” by Ictooicy

Psycho YP flaunts star power in music video for “Be Like You”

Posted on by Dennis Ade Peter

Earlier this year, prolific rapper Psycho YP put out “Be Like You”, a groovy bop that doubles as his most overt play at a mainstream crossover, as well as playing up his growing celebrity status. In the newly released music video, the simultaneous facets of the song are grandly displayed. Set at a school, the first part of the video features star struck classmates, while YP performs his lyrics with a cool, detached demeanour. The other part of the video takes place on a basketball court, with boisterous dance moves performed by a dance crew, to underscore the song’s club-ready tilt.

Watch the video for “Be Like You” here.

Featured Image Credits: YouTube/PsychoYP

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ICYMI: PSYCHO YP TAG TEAMS ODUNSI ON NEW SINGLE, “TO THE MAX”

Essentials: Boybreed’s ‘Made in the Tropics’

Posted on by The Native

Boybreed won the hearts of fans with their simple and romantic single, “Follow Me Back”, which made Best New Music last year. Now it seems the duo want to spread the joys of their dancehall romance around the globe. Their debut EP, ‘Made in the Tropics’, is tagged under the ‘World’ genre as the brothers, Chibuzor Franklyn Amajuoyi and Nnamdi Kennedy Amajuoyi team up with artists like Alora, Minz, King Perryy and Wilfresh to perform romantic songs inspired by the hot and humid weather of the tropics and the sticky feeling of flesh on steamy dancefloors.

The lightweight Caribbean influenced beat SynX produces for the opening track, “Set” sets the dancehall tempo which is retained for all 7 tracks on the tape. While this makes all the tracks on ‘Made in the Tropics’ predictably romantic, they make up for it through their catchy melodies with memorable references and samples from the world of dancehall. Alora assisted “What You Say” asides offering a much-needed woman’s perspective on dancefloor romance, also helps Boybreed expand their audience range through the French lyrics and the international feature.

TUC produces a bubbling bassline for “Bugatti”, mixing traditional drum riffs, synth and percussion harmonies while they team up with Minz to sing of their lovers’ sex appeal. Evida produces the beat for “Bam Bilam”, pandering to the EDM sound of European dance clubs while Boybreed retain the African sound with their distinctly African lingo. TUC, however, brings back the Caribbean sound on Raggae fueled “One More Try”, one of the mellow cut from the project. King Perryy assisted “Rugged Love” follows in the lightweight mood of dimly lit nightclubs, but rather than turning up the heat with raunchy lyrics, they opt for heartfelt confessions that show a maturity older folks will appreciate. They find a more convincing middle point between romance and sensual expressions on closing track, “Dro Dro” which features Wilfresh’s remarkable knack for storytelling as they examine the intoxicating effect of women.

Despite the impressively curated guest list of young promising Nigerian artists, ‘Made in the Tropics’ plays out very dated thanks to the familiar rhythm of dancehall and lyrics like “Make I play you my cassette”. It’s the type of project you want to play at the family cookout so the parents can feel included.

Stream Boybreed’s ‘Made in the Tropics’ below.

Featured Image Credits: Instagram/boybreed
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ICYMI: Listen to Boybreed’s “Follow Back” Best New Music feature

Yemi Alade shares ‘Woman of Steel’ album with African romanticizing music video for “Home”

Posted on by The Native

Last week, Yemi Alade released two singles, “Home” and “Give Dem”, hoping to build anticipation for her coming ‘Woman Of Steel’ project. Both songs produced by Vtek and Krizbeatz respectively assured listeners they could count on getting the classic gospel leaning Yemi Alade sound with her African celebrating and romantic direction when the album drops. She just released the 15-track album along with the accompanying video for the lead single, “Home”, where she is seen dancing and wearing flashy African attires in the 4-minute clip Clarence Peters directs. Much like the traditional leaning song, the music video is has a folky narrative, following Yemi Alade and a lover’s romantic relationship at the beach as she seems to dance to impress her love interest.

Watch the music video below.

Featured Image Credits: YouTube/Yemi Alade
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ICYMI: See the music video for Rick Ross assisted “Oh My Gosh”

Essentials: Vader the Wildcard and TGM’s ‘Lagos in July’ EP

Posted on by The Native

‘Lagos in July’ might seem a clique title for an EP with the number of music pieces dedicated to the entertainment capital of Nigeria. But following the inspirational tale of friendship between two talented artists working to put their city on the map, historic accuracy takes precedence over artistic pride.

Vader the Wildcard hasn’t looked back since getting his first taste of the limelight in 2017, sharing the good looks from winning the Hennesy Rap Battle Cypher with the rest of his set, WTS. The online community has since grown from being a small WhatsApp group created in Ibadan to be renowned for being ‘the biggest online community in Nigeria’, helping promote other artists like SDC and many more. While Dolapo Amusat is more popularly known for his role as the founder and perhaps data analyst of WTS, he shows off his rap prowess on ‘Lagos in July’, a 4-track EP where he joins forces with Vader the Wildcard to toast to their ambition and the come up.

‘Lagos in July’ opens with “Jide’s Posters”, a triumphant song that introduces Vader the Wildcard’s comical alter-ego and TGM’s belligerent rap bars as they combine to make their case for being one of this generation’s most compelling voices over bubbling basslines AudioMonkey produces. Traces of funk drip on the next track, “Under Bridge” with the lightweight harmonies OLSBeat produces to contrast the harsh hassle experiences both artists share of their stay in Lagos. “Lekki Water” is more mellow, this time rapping over a piano-led beat to celebrate the hustler ambition they share in common with others who have moved to Lagos in search of a better life of financial freedom. The EP closes with an attempt to give social commentary on the millennial culture, playing on the “Yaba Left” title as they question the sanity of current social behaviours; “People just dey catch cruise/ Everyone entitled/ Niggas in their feels/ Emotions on switch mode/ People on a stream roll/ Man can’t deal”. The thematically apt beat OLSBeat produces with a sinister piano harmony layered over catchy drum riffs gives the song all the markings of a hit, but it’s the personality and character the rappers’ infuse into their bars that makes it such an outstanding track from the tape.

You can stream Vader the Wildcard and TGM’s ‘Lagos in July’ EP below.

Featured Image Credits: Instagram/vaderthewildcard
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ICYMI: Vader the Wildcard’s “Not Famos”is a thrilling glimpse into the mind of the Hennessy VS Class 2017 winner

Olamide reminds us why he’s on every DJ’s set with his latest single, “Pawon”

Posted on by The Native

Olamide has worn many crowns over the course of his very successful career. He started out as a rapper with the confidence and skill to fill the shoes DaGrin left behind after pushing indigenous Yoruba rap into the mainstream, but these days, he’s more likely to provide dancefloor jams than spit bars. His latest single, “Pawon”, is only his latest attempt at celebrating the festive Yoruba culture following hit songs like “Lagos Boy”, “Bobo”, “Pepper Dem Gang”, “Wo”, “Oil and Gas” , “Totori” and more.

No one has embraced house music as enthusiastically and successfully as Olamide has and he keeps up the groovy tempo for “Pawon”, singing over a traditional leaning mix of synth riffs, drums and whistling samples Cracker Mallo produces. With lyrics “All my sexy ladies, Pawon(kill them)/All my sexy mamas, Pawon/Jojo, Pawon/ Juju, Pawon/ Chuchu, Pawon/ Titi, Pawon/ Kiki, Pawon/ Tola, Pawon/ Yeye, Pawon/ Bibi, Pawon”, Olamide shows off his age as an experienced hitmaker as he sings the clever call to dance. It’s the type of song that teases listeners who can’t get into the festive mood it channels.

Stream Olamide’s “Pawon” below.

Featured Image Credits: Instagram/baddosneh

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ICYMI: Watch the music video for Olamide and Wizkid’s “Totori” collaboration

Catch this DMW flex on “On God”, featuring Davido, Mayorkun and Dremo

Posted on by The Native

The DMW crew are no strangers to flexing, living up to their ’30 Billion Gang’ alias through the flashy lifestyle they display in their music videos and IG posts. While previous releases like “Mind”, “Aje” and “Aza” told their flamboyant stories through a romantic narrative that numbed the impact, there are no such filters on their latest collaboration, “On God”, featuring Davido, Mayorkun and Dremo.

Over the catchy beat Rexxie produces to a mid-tempo groove backed up by hazy synth harmonies, horns, percussion, rattling samples and a compelling mix of traditional drum riffs and 808s, the three artists show off their vocal talents, global fan base and a remarkable grasp of the potential in Nigerian’s deep bag of music pop culture references with Yinka Ayefele inspired lyrics from Davido.

Stream DMW’s “On God”, featuring Davido, Mayorkun and Dremo.

Featured Image Credits: Instagram/iammayorkun
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ICYMI: Watch the music video for DMW’s “Aza” featuring Davido, Duncan Mighty and Peruzzi

Mut4y & Maleek Berry are the only guys around in music video for “Turn Me On”

Posted on by Dennis Ade Peter

While they serve as muses for a wide range of intentions, Afropop knows that dancefloors would be whack without women, which explains the genres unrelenting correlation of both. Continuing this eternal tradition, super producer and one-half of Legendury Beatz, Mut4y has linked up with Afropop heartthrob Maleek Berry for “Turn Me On”, a new single that is steeped in all the cliches, albeit impressively.

Combining a breezy piano chord progression and Afro-Caribbean drums, Mut4y produces the club-ready beat, matching the salacious set Maleek Berry performs in adulation of a love interest’s bod. Visualizing their lightweight set, Caponne & Guise direct a winsome video packed with beautiful women models dancing under the alluring glow of neon lights. Both artists are the only prominent men faces throughout the video, well, except cameos from Bankulli and DJ Neptune, making for an apt representation of how most guys would like a dancefloor to be.

Watch the video for “Turn Me On” below.

Featured Image Credits: YouTube/Mut4y

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Ladipoe’s “Lemme Know” is a blinding statement track

Posted on by Dennis Ade Peter

In a quest to widen the potency of his arsenal, Mavin rapper Ladipoe has put out the sunny and sleek “Jaiye”, as well as the radio-ready “Based on Kpa” this year, singles planted in melodic territory. While the switch-up doesn’t mean both songs are inherently bad, they don’t possess the distinct flair the rapper flashed in a viral freestyle some weeks ago, and on his newest song, “Lemme Know”.

At his best, Ladipoe’s songs come across as statement tracks, merging gobstopping lyricism with an unassailable, confident cool. On “Lemme Know”, all positive elements coalesce gloriously, over a chill reggae groove produced by Mavin in-house beatsmith Ozedikuz. Although Poe’s subject matter of claiming to be the best is hardly anything new to his catalogue, it coins in on his supreme ability to display a high level of technical dexterity, cleverly flip references, bolstered by an impenetrable cadence and delivery.

“Lemme Know” was originally premiered on social media with a video, eventually making it to legit streaming platforms after overwhelmingly positive reactions. In the music video Xela directs for Mavin Films, there are frivolous and posturing shots of the rapper delivering his bars, alone and in the company of a makeshift posse.

Watch the video for “Lemme Know” here.

Featured Image Credits: YouTube/MavinRecords

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ICYMI: LADIPOE’S “MAN ALREADY” WAS NAMED BEST NEW MUSIC IN 2017

Essentials: Jidenna’s ’85 To Africa’

Posted on by Dennis Ade Peter

Home is where the heart is, or at least where you can always go to find asylum. Per the trailer of his newly released album, ’85 To Africa’, rapper/singer Jidenna went on a prolonged vacation around Africa, after accommodation issues spun him into disillusion, clearly recharging his creative batteries and refreshing his perspective on what home means.

Although he’s never shied off his Nigerian origins, even reflecting it in his music, there were notable doses of contrivance and sensationalism attached to his last album, ‘The Chief’. This time around, in attempting to crystallize his trip, he is far more looser, compelling and innately prideful of his African heritage. Even his image has been aptly rebranded: jerry curls have been replaced with cornrows, and he’s ditched the ‘classic man’ look to don Ankara-based pants. And on wax, he claims to have replaced his suit jackets with Kimonos on “Babouche”, which references the heelless footwear attributed with Moroccan origins, and quite popular amongst men from the South-East of Nigeria.

’85 To Africa’ is bracketed by two statement tracks, as pillars of sorts. On the emphatic opener, “Worth The Weight”, Jidenna bounces between triumph and ambition, revelling in the pride of being a first generation and expressing his grand purpose, while Afrobeat heir-apparent Seun Kuti chimes in with pan-African rhetoric at the end. “Since I buried papa in the village with a shovel, bro/every move is bold, ain’t no time for being subtle, bro”, he snaps over a ground-shaking combination of Leviathan bass and squealing horn samples.

“The Other Half” is more communal in tone, written like a rousing speech to Black people everywhere, with African-Americans being the closest point of contact. Taking into account traumas of the past, Jidenna extols the virtue of resilience, vigorously declaring “we lynching our Willie Lynch manuals”, followed by a series of uplifting bars, each line as weighty as the last. Ethiopian-American singer Mereba adds an evocative coda, heightening the pensive texture of the organ-led beat with the zen-like vibe of her chanted lyrics.

Instead of needlessly descending into agitprop during the other nine tracks, Jidenna’s cross-Atlantic vision for ’85 To Africa’ is helped along by well-managed execution, sometimes mining personal stories for an authentic, improved representation of his dual nationality. On the raucous title track, he boasts of taking his crew around different cities in Africa and inspiring them to trace their ancestries, while he holds out a family portrait on “Jungle Fever”, reminiscing on the struggles of his parents while they found each other, attributing his unrelenting work ethic to seeing their wins.

Mainly handled by go-to producer Nana Kwabena, with assists from popular producers like DJ Dahi, Mike & Keys and Lil C, the music on ’85 To Africa’ spans contemporary hip-hop and an array of Afropop stylings. Better sequenced than his debut, the album’s apparent sonic split between ’85’ and ‘Africa’, helps embellish Jidenna’s growth from competent rhymer and melody conjurer, to a rounder, more entrancing and effective artist. He’s as confident trading bars with DC rapper Goldlink on a boisterous swag rap cut, as he is wooing a love interest preoccupied with astrology, on a bouncy Afropop beat with Mr Eazi.

Portraying the album’s visceral high point, “Vapouriza” features Afrobeat drums, blaring horns and buzzing bass guitars, forming a chunky groove for Jidenna to sing cliché, sweet nothings like, “let me love you, your wish is my command”. Mixed in something of a slapdash manner, for vintage effects, Jidenna’s throaty vocals swing with the suave flair of a bandleader from the ‘7os, summing up his best attempt at Afropop yet.

Stream ’85 To Africa’ via Apple Music here.

Featured Image Credits: Instagram/Jidenna

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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter

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