Simi pushed for a more expansive sonic palette on her 12-track sophomore project under now former X3M label, ‘Omo Charlie Champagne Vol. 1′. Her guest list of features, which included Maleek Berry, Adekunle Gold, Patoranking and Falz helped her accomplished this feat, but Patoranking assisted “Jericho” is particularly distinct for its Ragaee dancehall bent which Patoranking fueled through his patio vocals.
Though Simi’s sweet lyrics don’t have raunchy heft that makes Ragaeton songs so colourful, the recently released music video for “Jericho” makes up for it through the brightly-coloured costumes and dancers. If the song wasn’t already on your summer playlist, the Adasa Cookey directed video urges you to reconsider.
Watch the music video for Simi and Patoranking’s “Jericho” below.
Featured Image Credits: YouTube/Simi
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AYLØ’s “Paris!” is his first release for the year, returning to his neo-R&B sensibilities that have characterized so many of his best songs. He follows the song’s release with an accompanying music video that seems to imply he’s back in project mode as he hints at a coming tape, ‘dnt’dlt’.
TSE, Sanjo and Nwobi Chukwuka direct the music video for “Paris!”, creating an immersive monochrome universe that portrays AYLØ’s relationship with a lover played by Ashley Okoli. The video follows AYLØ and his muse through a series of shots that intimates viewers with the soothing ambience that inspires his romantic confessional.
Watch the music video for “Paris!” below.
Featured Image Credits: YouTube/AYLØ
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Prettyboy D-O’s ‘Everything Pretty’ album debut was one of the markers of 2018, confirming the niche sounds known for their online predominance were on the verge of a major crossover. Stand out tracks like Falz assisted “Chop Elbow”, highlighted his ability to blend socio-political commentary with dancehall melodies, oozing character. He has since grown more popular with music lovers, going on tours and performing shows here in Nigeria and in Europe.
The teasing snippet he shared of his newly released “Dey Go Hear Wehh” hinted at his aggressive intentions on the track, prancing like Street Fighter’s Ryu character with his red-dyed hair. But even that wasn’t enough to numb the shock-effect of the DJ-hype drop that opens the track; “DJ, DJ, DJ D!, Banger! Certified! Prettyboy! Massacre! Massacre! Burst it!”. Prettyboy D-O has never been shy about his violent urges, using it as fuel to imbue mischievousness and charisma to his dance club driven songs. He’s liable to do or say just about anything and on “Dey Go Hear Wehh”, he mocks his haters over a catchy dancehall beat.
Stream Prettyboy D-O’s “Dey Go Hear Wehh” below.
Featured Image Credits: Instagram/prettyboydo
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Ideally, the loss or absence of one or more of our sense organs shouldn’t imply that life can no longer be experienced in full. It only means there’s a peculiar set of challenges effected by an omnipresent flaw. Since a significant portion of people on the planet have all five senses intact, the challenges of individuals with dysfunctional sense organs are obscure enough to not concern most people. That is until they to have to deal with the reality of those challenges by themselves.
Case in point, Habeeb Bombata, a Computer Science undergraduate of Bells University of Technology, Ota, Ogun state. He recently premiered the first prototype of a money recognition software for visually impaired people, on social media. Explaining the idea behind the striking project, Habeeb explained to the NATIVE that volunteering on “Be My Eyes”, an application focused on assisting the visually impaired, provided him with inspiration. As its name implies, “Be My Eyes” is a help-based platform that pairs visually impaired individuals with sighted individuals who assist them with activities that require visual input.
In volunteering on the ‘Be My Eyes’ app, Habeeb was able to understand the semantics of dependency for visually impaired individuals: While activities like doing chores (laundry and dishwashing), and picking out an outfit or a piece of furniture are elaborate enough to require visual assistance, the realization that less intense tasks can be carried out independently led to Habeeb’s current idea, which he tentatively calls “Currensee”, and his ongoing quest for total fruition.
Excited to share the first prototype of my final year project 🎉.. An app to help visually impaired people recognize money 🚀🚀🚀🚀
To be clear, Habeeb’s idea isn’t exactly new, but it has undeniable ramifications. A look around the internet highlights a similar minded, trailblazing app, “LookTel Money Reader”, an application (unknown to Habeeb prior to our conversation) that helps visually impaired individuals recognize the denomination of money in 21 various currencies. Currently, LookTel Money reader doesn’t support the Naira, or any other African currency for that matter, which is where Habeeb’s innovation will hopefully come in, in the near future.
“I’ve been working on the idea (his “Currensee” app) since last November, like when I got my project topic, ‘cos I chose it for myself”, Habeeb says, adding that the combination of his tenacity and his project supervisor’s eventual willingness, is to credit for the beginning stages of execution. Going by the video posted on social media, the current prototype can identify the denominations of the Naira in polymer notes (5, 10, 20 and 50naira), which basically covers the scope of his undergraduate project. Knowing the potential, real-life use for his project, though, Habeeb is looking at pushing the application to encompass the recognition of every Naira denomination.
For an idea he’s been working on for just eight months, Habeeb has come far—thanks in large part to a library of already written algorithm relevant to his app—but he also acknowledges he still has a long way to go in order to make “Currensee” a wholesome, perfectly working app.
Delving into one of the significant hurdles he’s faced with development so far, and will continue to face, he explains that, with “Currensee” being an imagery based AI application using unsupervised machine learning, he needs a large number of samples for each denomination, in varying physical states, in order to train the app to recognise any type of Naira note ranging from crisp to shabby. Currently, the app has been trained with over two hundred variations of the polymer Naira notes, but he projects that he needs about two thousands variations of each denomination, in order to full optimize the app’s abilities. The good thing is, Habeeb realizes he needs external assistance to help in widening the scope of his app, and he’s open to receiving a variety of images of each denomination.
There’s a palpable vigour with which Habeeb discusses “Currensee”, pushing the notion that he’s in it for the long haul, but he still has to contend with paying his bills while working on the project. Currently, he’s working a 9-5, greatly reducing the time he can work on “Currensee”, affecting the speed of his work. Considering its low-profit potential, making the decision to work on the app full time is an unwise risk, and it also limits any seed money towards the manifestation of the app as goodwill donations rather than investments.
Regardless, there’s been a substantial, positive encouragement since his video went viral: a member of the ‘Be My Eyes’ team reached out to offer technical assistance. As much as that counts for something, Habeeb is hoping his prototype attracts enough people who willing to assist, in every aspect possible.
The fact that “Currensee” is solving what many might term a solution to a fringe problem is not lost on Habeeb. It is an especially striking observation considering Nigeria’s status as a developing country, compounded by its benign neglect of those who require medical assistance for illnesses that aren’t widespread. Habeeb’s hope, though, is that increased awareness on the plight of visually impaired individuals in Nigeria, and empathy towards them will help in making his undergraduate project, a viable option for real life use.
You can reach Habeeb Bombata via Twitter and LinkedIn.
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Gafacci is gearing to release a new EP, ‘Tash BNM’, his follow up to last year’s ‘Ahunda’, which featured Joey B. To announce and build anticipation for the project, the Accra-based producer has shared the lead single, “Like Water”, featuring Amaarae.
The beat Gafacci produces for “Like Water”, mixing sweeping and erupting synth harmonies with traditional drum riffs and droning synth samples bears some semblance of the serene rush of waves at the beach. Over the summery and tropical EDM-influenced beat, Amaarae sings of love with the same lazy sway of the beat as her vocals disappear down vocoded halls of mirrors that affords her the space to deliver only two lines the whole 3-minute length of the song; “She wants a Love who go cool am down like Water/She Wants a lover who go give am give am ginger”.
You can stream Gafacci and Amaarae’s “Like Water” below.
Featured Image Credits: Instagram/amaarae
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Skales’s transition from being a precociously talented rapper and occasional singer to full-time connoisseur of dancefloor-ready Afropop may still be a hard pill for older fans to swallow, but his pivot is what has kept him relevant in the Nigerian mainstream. His latest single, “Ego” listens like a sleeper hit primed to grow into DJ sets and radio, due to its combination of the Chopstix-produced Afro-house beat, comprising whirring synths and pacey heavy percussions, and Skales’s catchy lyrics stating his ambition to make more money.
Singing, “I want to rock Vercase, I want to rock Phillip Plein/aye yi gan ko easy (this life is not easy), so I not complain/so I cut my coat according to my pocket”, in a dubiously simple and infectious melodic cadence, Skales’s lyrics are grounded by the reality of knowing your financial lane despite the allure of flossing. The song’s music video directed by Bash ‘Em, colourfully highlights Skales’s lyrics as well as its dancefloor-ready bent, featuring lyric appropriate dramatics, dancers showing off their boisterous routines and Skales performing on a moving car and at the top of a multi-story building.
You can watch the video for Skales’s “Ego” below.
Featured Image Credits: YouTube/Skale
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When $pacely emerged with the hip and energetic La Même Gang music group from Ghana, his trap influenced rap songs weren’t completely unique; Milli and PatricKxxLee, for one, were mining a similar territory. But few other artists were as interested in fusing indigenous sounds with the sparse synth productions of trap, and certainly, none commanded the same captivating bromance he and the rest of the La Même Gang shared on collaborative singles that shot them into the limelight.
$pacely’s latest single, “Yawa” featuring Kofi Mole is a tribute to the compadre he enjoys with his bros, crediting them for his confidence and success; “One time I put this on the bros/ Two time I put this on my life/ Three times I put this on the gang”. Over the engrossing synth led beat Kuvie produces and Altra Nova masters, his melodic rap verse blends his native Twi language and English to drop fast-paced bars aimed at his competition. Kofi Mole contributes a verse as well, reemphasizing $pacely’s threat that his bros will back him whenever he needs them to. “Yawa” is the first single expected to herald his coming ‘Fine$$ed’ project, expected to be released in a few weeks.
Listen to “Yawa” below.
Featured Image Credits: Instagram/spacely1z
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Peruzzi returns his focus to music with the release of an accompanying music video for “Majesty”, off his ‘Heartwork’ EP. The song stood-out for being the project’s centrepiece as Peruzzi expresses his vulnerable emotions about a love interest. While he was able to capture the wistful tendings of feeling like you’ve found the one you love, the music video Dammy Twitch directs expands on his romantic plot to tell a dramatic wedding story.
The video for “Majesty” details the struggle of artists, outlawed by the conservative older generation of parents as we watch Peruzzi’s love interest (played by Big Brother housemate, Cee C) try to convince her parents of her love for Peruzzi. Her argument for her feelings to be considered was neglected until she eventually has to work out on the bridegroom on the wedding day when Peruzzi and his high-fashion styled boys crash the party.
Watch the dramatic video for “Majesty” below.
Featured Image Credits: YouTube/Davido Adeleke
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Nigerian music listeners were introduced to Ivor Novello nominated, British-Nigerian singer, DYO following her stellar guest feature on “Down With You”, a standout track off Adekunle Gold’s sophomore album, ‘About 30’. The two singers have linked up again, this time around on the remix of DYO’s single from April, “Arena”.
Similar to the romance-themed incline of the original, “Arena (Remix)” finds both singers delivering charming odes to their loved interest over a bouncy mix of appergiated guitar licks and a thumping drum pattern, using their distinct vocal qualities to complement each other. DYO’s siren-like voice adds a bewitching effect to the scarcely veiled sexual innuendos of her verse and the Hindi Pop-inspired melody of the hook, while Adekunle Gold’s Juju-inflected vocals add a new element of bucolic appeal.
Going the minimal route, the video for “Arena (Remix)” is focused on both singers, as they sing their lyrics with the frames solely fixed on them in separate settings, imbuing the song with a fresh coat of enchantment due to their impassioned expressions.
You can watch the video for “Arena (Remix)” here.
Featured Image Credits: YouTube/
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Thematically joining the myriad of songs dedicated to the dense madness that is the city of Lagos, Kizz Daniel’s “Eko” might not be the most ingenious song you’ll hear this year. But the singer’s penchant for insouciant melodies that easily creep into the ears of Nigerian music listeners, in conjunction with the equal parts punchy and groovy beat Philkeyz produces has helped the song warm its way up the charts since its release earlier this month.
The singer has just put out the music video for “Eko”, capturing his attempted panoramic portrayal of the city. The Daniel Vintage-directed visuals is a slightly frenzied mishmash of frames, showcasing street traders and workers going about their daily business, young people engaging in activities common to inner city life, and a party set a high-end club presumably filled with affluent people. Kizz Daniel is also seen performing his lyrics in the company of the Eyo masquerades, as well as with dancers who highlight the song’s dancefloor-ready vibe.
When Rema debuted “Iron Man” back in March, it was with many trappings of a modern major-label roll-out that would eventually see him top charts with his self-titled ‘Rema’ EP, released in the same month. The 19-year-old’s fame quickly spread with viral dance videos and high-profile artists like Wizkid and Davido co-signing by playing the lightweight Afropop tracks off the tape on their IG Live.
Prior to the project, however, Rema had grown a notable following as a trap rapper, sharing performances from his ‘Rap Nation’ church group and freestyle videos with a dress sense and wardrobe to match his Atlanta rap influences. He had even gotten discovered and signed to Mavin Records through one of such freestyle videos, so naturally, the Afropop direction of the EP that shot him to the limelight was cause for concern. Rema fans and observers were wary of the label playing it safe by forcing the young talents to change his sound to appeal to a more mainstream audience. But as it turns out, we may have underestimated how safe they were playing it.
Rema just released ‘Rema Freestyle’, a 4-track compilation of mixed and mastered versions of freestyle rap videos he shared to keep fans engaged on his social media pages while his Afropop songs casually climbed into every playlist, DJ set, and the subconscious of the Nigerian music lovers. In one sense, this is state-of-the-art, industry chess board strategy for marketing an artist that is no stranger to the Nigerian mainstream to the international audience.
‘Rema Freestyle’ was worth the wait and the hype, containing four tracks he already teased with snippets online. Like any good success story, the EP opens with a sad tale of grief, “Boulevard”, where he details his emotional torture from dating an unfaithful partner who undermined him. A wispy mix of percussion, synths, vocal harmonies and guitar riffs create a cinematic tapestry while his lyrics, “I don’t need her/ Mona Lisa/ And I miss her/ No picture” paints a vivid picture of his bruised ego.
As a result, the buoyant next track, “American Love”, almost seems intended as a revenge kiss-off track to his heart-breaker as he brags and takes petty shots over the sparse trap production. Ironically, his melodic Carti-esque caricature cadence and ad-libs also make for the most ambitious element on the project with its objective to draw the attention of international audiences.
“Spiderman” was perhaps his most notable freestyle, inspiring parody videos from comedians on Instagram who mimicked his quirky hand gestures while rapping. However, the song’s melancholic lyrics and atmospheric production stand at sharp contrast to the humorous fan videos. “Spiderman” reveals Rema’s paranoid thoughts, dealing with haters that undermine him and those who try to take advantage of his talent and newfound fame. Despite his catchy flow and cartoonishly inventive raps, his lyrics are dark and lucid, revealing his adept pen-game.
Having already established his trap influences, the closing track, “Trap out the Submarine”, expands his sonic palette as he explores more niche synth-pop sounds, singing over a velvety mix of vocal harmonies, drum machine loops and space-age synth chords of a Frankensteinian combination of guitar and synthesizer harmonies. Thematically, however, “Trap out the Submarine” lives in the overlap between political anthem and self-reflection. Lines like “Government they be busy acting crazy/ They shedding so much blood for this” and “So many niggas died/ How did I?/ I told them I was born for this” listen like battle hymns. But despite the down-pitched ambience of the song, there’s also an undercurrent of a celebration of his rise to mainstream dominance.
You can stream ‘Rema Freestyle’ below.
Featured Image Credits: Instagram/heisrema
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In March, celebrated Ghanaian music duo, R2Bees released their long-awaited album, ‘Site 15’. In its support, the duo have been releasing musicvideos for songs off the album, and they’ve just shared the video for “Picture”, the King Promise-assisted third track. Following the M.O of a bulk of its housing album, “Picture” is a romance-inclined cut that finds Mugeez and King Promise singing lyrics of admiration to their love interests, while Omar Sterling delivers a rapped verse in the same vein.
Over Killbeatz’s mid-tempo beat, their catchy lyrics are perfectly suited to the digital age of immortalizing moments with a loved one by taking pictures of and with them—“Girl let’s take a picture, wanna see you smile”, Mugeez sings on the hook. The music video Justin Campos directs for “Picture” captures their sentiments, as all three artists are seen performing their lyrics to beautiful models who act as their muses.
PatricKxxLee has built a fan-base that guarantees a sizeable fanfare for everything he shares on his social media pages. Whether it’s a new single, music video or tour announcement, you can be sure it’d get a lot of hype. Though it could get quite exhausting to those outside the fandom, his two new singles, “NDNA RIPCN RIPKC” and “Spaceship” featuring Lethabo Acid were certainly worth the hype.
The two songs seem to highlight PatricKxxLee’s extreme moods as “NDNA RIPCN RIPKC” takes listeners into his more destructive, rock music-inspired world while “Spaceship” featuring Lethabo Acid is much more pleasant. Both songs are peak PatricKxxLee but “NDNA RIPCN RIPKC” is shorter and painfully so with its dizzying pace, oozing character as he captures that sweet spot where pain, rage and satisfying screams meet. He produces a laid-back synth led beat for “Spaceship”, mixing harp riffs, 808 drum samples and piano flourishes for his melodic raps addressed at opposition.
You can stream “NDNA RIPCN RIPKC” and “Spaceships” featuring Lethabo Acid below.
Though the Grammys has slowly lost its relevance, their status as the biggest prize musicians aspire towards hasn’t weaned. For what it’s worth, the award organizers, the recording academy seems to be making moves towards becoming more expansive in order to better highlight the best music around, especially by involving a more diverse pool of voters and advisers.
Last Friday, Afro-Soul artist, Aramide announced that she will be inducted into the recording academy’s governing body. “This Monday, I will be inducted into the Recording Academy (the GRAMMYS) Governance Board. I will now be a part of the Governors for the Washington DC Chapter board”, the singer wrote in the marquee tweet off a mini-thread detailing her growth and emotional affinity for music over the years.
In what is undoubtedly a huge milestone, Aramide has now been inducted alongside Grammy-nominated rapper, Goldlink, veteran hip-hop producer, 9th Wonder, Grammy-nominated singer, Dom Flemons, as well as fifteen other music-invested individuals from different facets of the music business in the DC area. Makes you wonder if music has ever been as inclusive as it seems to be now in 2019.
“Immortal”, the latest single from LasGiiDi lasts just a few seconds shy of the 90-second mark, and it’s beyond effective in achieving what the rapper clearly set out to do within that brief time-frame. Ambitious, vindictive and self-aware, “Immortal” finds the rapper delivering a maelstrom of slightly sung bars, encompassing his quest for eternal remembrance as well as sending out threats to perceived rivals.
Charging into the ominously groovy beat like a raging bull, LasGiiDi quickly gets into the heart of the song, spitting introspective lines like “immortal, so they’ll sing my songs forever”, then switching to his more violent intentions, rapping: “when my enemies come for me, dem know say I got one for him/his name on the bullet, it was done for him”. By its end, “Immortal” listens like a highlight reel of LasGiiDi’s impressionable lyricism.
The combination of Tobore’s boisterous flow, the bare London slang woven into his equal parts brag-filled and catchy lyrics, and the preppy dancehall beat produced by Alphonso, makes “Cor Blimey” an interesting exhibition of the rapper’s pop sensibilities. It also makes for a dancefloor-ready bop, brought to life by the camaraderie-based music video.
The video for “Cor Blimey” is shot by Thr33. Roses and directed by Kynex who adds more gloss to the song, showing Tobore performing the song in front of a mansion with friends, as well as inside the mansion in the company of beautiful ladies.
You can watch the video for “Cor Blimey” below.
Featured Image Credits: YouTube/Tobore
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The more obscure artists have learnt to take advantage of covers as a tool to help improve visibility and grow an organic fanbase. Over the last couple of weeks, multi-hyphenate hip-hop artist, Alpha Ojini began a cover series, remixing a bunch of well-known songs into 1-minute covers that were shared across his social media pages. Due to demand from avid followers of the series, the rapper has now put out ‘Ten Minutes – My “QuickBars” Compilation’, a loose playlist comprising the covers.
Being a low stakes release, the mini-tape heightens the DIY charm attached to the covers, listening like a pyrotechnical showcase meant to serve as an easy to point of entry to newer listeners and also help earlier listeners track his musical growth since his buzz garnering debut album, ‘Half Price’, dropped last year. Copping inspiration and retooling musical elements of songs ranging from Teni’s “Uyo Meyo” and Rema’s “Dumebi” to Wizkid’s “Fever” and J. Cole’s “Middle Child”, Alpha covers a smorgasbord of themes on ‘TMMQC’. The personal throughline, though, is that Alpha uses the tape as an assessment of his rise from being relatively unknown to teetering on the cusp of the mainstream.
‘TMMQC’ is a follow-up to his two-song mini-project, ‘Hatchlings’, from earlier this year, both precursors towards his sophomore album set to drop sometime in the coming months.
You can stream ‘Ten Minutes’ here.
Featured Image Credits: Instagram/
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These days, tweets describing men as “scum” and other colourful adjectives are commonplace enough for it to become a narrative the targeted gender can wield with self-effacing of levity. Tulenkey’s “Proud Fvck Boys”, originally released last December with assistance from Eddie Khae, finds the Ghanaian rapper detailing and revelling in the unsavoury acts associated with ‘fuck boys’, in a satire-inflected, first-person perspective.
The rapper has just put out the remix to the song, and in addition to his updated quotable lyrics like “fuck boys, the year we go change be the year Lukaku go win Balon d’0r”, he taps Nigerian rap heavyweights, Falz and Ice Prince for additional guest verses, of which the former particularly impresses with his trademark wittiness. The crisp, accompanying video Twitch and Splash direct for “Proud Fvck Boys Remix”, features all three rappers vivaciously performing their verses, as well as dancers performing choreographed routines.
You can watch the video for “Proud Fvck Boys Remix” below.
Featured Image Credits: YouTube/TULENKEY
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Afropop production group, Legendury Beatz and Mr Eazi shared their 3-track collaboration tape, ‘Zanku Leg’ a few weeks ago. The project featured Mr Real and Zlatan on the “Zanku Leg Riddim” track and they have now put out an accompanying ‘vibes video’ to highlight the song’s proficiency on dancefloors. The video was premiered under Mr Eazi associated charity organization, Empawa Africa, but it is set in Yokohama, Japan, showing a Japanese dance group performing a choreographed Zanku inspired dance routine, decked in traditional Japanese threads that underline the global reach and acceptance of Nigerian culture.
DJ Snake – “Loco Contigo” Feat. J Balvin and Tyga
DJ Snake has a pretty stellar track record as a producer. So it’s no surprise that when it’s time to assemble a posse cut, he can flex the depth of his contacts list with all-star collaborations like “Enzo”, featuring Sheck Wes, Offset, 21 Savage and Gucci Mane, “Taki Taki”, featuring Selena Gomez, Ozuna and Cardi B and his latest release, “Loco Contigo”, featuring J Balvin and Tyga. The new single comes with a colourful Colin Tilley-directed video that takes the bright and carefree nature of summer to surreal extremes as we watch giant snails and colourful Sasquatch-like creatures dance along to the groove of the summer anthem.
Cheque – “Abundance”
Asides exposing some of the problematic opinions about women in our society, Kizz Daniel’s #FuckYouChallenge offered a platform for new artists to get discovered. Cheque’s cover of the ex-disrespecting song stood out of the bunch for his melodic cadence, seamlessly blending rapping and singing. The Obafemi Awolowo University graduate has since released three singles, “Jeka Soro”, “Pain Away” and “Abundance” under Phyno’s Penthauze Records label and just shared the music video for “Abundance”, where his hip-hop sensibilities are more prominent as he takes some more shots at women who turned him down while he was broke. Under the outlandish guise of Hip-hop, however, his brash intentions are less cringe and more honest expressions of his feelings while we watch the glitch filtered video Jaiyeola Adedamola directs.
City Girls – “Act Up”
As you’d expect, news of Lil Yachty’s writing credit for City Girls’ “Act Up” hit single generated some hilarious memes and comments on social media. Rather than shy away from the backlash, they take advantage and keep up the momentum as they feature the NY rapper in the Ray Kay-directed spring-break-themed video. The video plays up the narrative even further with skits where he’s offering suggestions on how to make the song sound better.
Goldlink x Maleek Berry – “Zulu Screams” Jimmy Fallon’s Tonight Show performance
Goldlink aligned himself with the hip African culture for his sophomore, ‘Diaspora’, which featured African artists like Wizkid, Maleek Berry and Juls. Last week, the rapper graced the “Tonight Show” with the performance of “Zulu Screams”, featuring Maleek Berry who joined him on the stage along with colourfully dressed dancers that capture the African essence with their kinky-hair styles, costumes and dance.
“Angel Has Fallen” Trailer
Like most successful action films, “Olympus Has Fallen” is getting a sequel, “Angel Has Fallen”. Lionsgate is making a new instalment of the government agent glorifying film expected to hit cinemas this August. The trailer shows the film’s lead, Secret Service agent, Mike Banning (played by Gerard Butler), being framed for an assassination attempt on the President (played by Morgan Freeman). Pursued by his own agency and the FBI, Banning has to protect his life, his family, the president and his reputation by uncovering the real terrorist threat.
Featured Image Credits: YouTube/Goldlink
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Nonso Amadi follows up his sultry tribute to one-night stands, “Comfortable”, featuring Kwesi Arthur, with an accompanying music video that highlights some of the inspiration behind the song; liquor, women and party. The club-driven song which has featured on radio and DJ sets since its release back in May can finally bring the steamy and lightweight buzz of the dance-club to our TV screens.
Ademola Falomo directs the colourful video for “Comfortable”, set in a neon-lit room where Nonso Amadi sings to his muse who is also performing, dancing in a suggestive manner that seems to emphasize the one-night sentiment isn’t a one-way street as she eventually leaves him high and dry. Kwesi Arthur also makes an appearance in the video to perform his rap verse.
You can watch the music video for “Comfortable” below.
Featured Image Credits: YouTube/Nonso Amadi
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Good Girl LA became a name to reckon with from her debuted single, “Faraway”, earmarking the singer as a passionate and compelling songwriter with the vocal strength to match. Though the song offered rich, lived-in metaphors that captured the raw feeling of falling in love with an unavailable person, her mopey cooing kept pace with the soaring synth lines Syn X produces.
Fans have had to wait a whole year before finally getting the accompanying video for “Faraway” but Good Girl LA compensates with her charming performance in the ‘Visuals by Uche’ directed music video. The video opens at a gym where Good Girl LA makes her move on a love interest who she is later seen giving a sexy private dance in a neon-lit room. While the song’s lyrics, “You’re far away from me, baby/ You no go look my side baby”, suggest that she’d get rejected, the video confirms our fear that it’s not for lack of effort on her path.
You can watch the music video for “Faraway” below.
Featured Image Credits: YouTube/GoodGirl LA
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