Skepta Releases ‘Ignorance Is Bliss’, His First Album In Three Years

Posted on by Dennis Ade Peter

UK grime veteran, Skepta has just released ‘Ignorance Is Bliss’, his fifth studio album and first full-length in three years. In 2016, the rapper released his critically acclaimed ‘Konnichiwa’ album, winning the Mercury Prize for the project in the same year. Skepta has remained visibly active in the three-year gap since his previous effort, guesting on cross-Atlantic collaborations with US rappers, Drake and ASAP Rocky, Nigerian artists, Wizkid, BOJ, Teezee and Olamide, as well as performing at the last two editions of Nativeland and Homecoming respectively.

Skepta’s new album contains thirteen songs, featuring self-production on all songs, with assists from producers, Ayo, Ragz, Trench and IndigoChildRick. Amongst its diverse array of featured artists are J Hus, Wizkid and Cheb Rabi. Last year’s loosie single, “Pure Water” makes an appearance at the tail end of the album, as well recently pre-released singles, “Bullet From A Gun” and the Nafe-assisted “Greaze Mode”.

Earlier this week, Skepta put out the videos for the most recent singles. Co-directed by Skepta and Duncan London, the single-frame video for “Bullet From A Gun” shows Skepta at an underground train station in North London with a baby stroller, while lyric-appropriate events take place around him as he performs the song while sitting. By contrast, the Matt Walker-directed video for “Greaze Mode” is goofy, setting Skepta and Nafe Smalls, dressed in 70s Blaxploitation era fits, in a bank robbery gone awry.

Both songs open ‘Ignorance Is Bliss’, and you can listen to the album here.

Essentials: Runtown’s ‘Tradition’ EP

Posted on by Dennis Ade Peter

When Runtown put out his debut album, ‘Ghetto University’, the commercial reception was a fair indicator of his position on Afropop’s ladder of prominence. While the album was well-received by critics for its dazzling pop instinct and the type of expansive sonic width he achieved, it wasn’t the type of cultural event you’d expect from an album that had DJ Khaled, Wizkid, Phyno and M.I Abaga on its star-studded guest list, as well as hugely successful pre-release singles like the Davido-assisted “Gallardo” and the South African House-inspired “The Banger”.

Well over three years later, the singer has finally returned with a new project, his long-awaited ‘Tradition’ EP, and it’s apt to say he’s a much bigger deal these days. On the back of the behemoth success of his late 2016 single, “Mad Over You”, Runtown shot to a higher level of prominence, going on a run that has spawned a consistent run of quality releases. One of those singles is “Unleash”, one of last year’s best songs, which was coloured by his very public tussle with the boss of his former label, Eric Manny.

Instead of being jaded by his situation, “Unleash” was Runtown at his free-flowing best, and the reestablishment of his jovial philosophy immortalized by the iconic line: “Na spoil we spoil, we no dey thief”. It’s the same merry disposition that informs ‘Tradition’, and also the reason the 6-track project makes for a breezy, enjoyable return.

The EP starts off with “Redemption”, a mid-tempo cut on which Runtown performs a set of affectionate lyrics to his lover, set to the preppy dancehall-adjacent beat Del B produces. The same romance-themed inclination is heard on the next track, “Emotions”. Over the sparse combination of sauntering piano keys, steel pan percussions and intermittent horn scats produced by Spellz, Runtown’s lyrics are on imbued with a palpable sincerity, exuded by the heartfelt quality of his vocal delivery.

Save for the materialistic show of affection on “Goose Bumps”, the rest of the EP takes a carefree, self-mythologizing approach in asserting Runtown’s affluent but continually hustling status. Produced by Elputo, the title track, which samples Donell Jones’ classic R&B hit, “This Luv”, albeit with an oriental feel due to the infused Latin guitar riffs, finds the singer highlighting his paper chase mentality, singing “They gon love me for my ambition, getting money be my tradition” on the song’s hook.

Elsewhere, on the penultimate standout track, “International Badman Killer”, the singer is at his most cocksure, delivering brash one-liners in a robust tone, over Spellz’ dancefloor-ready beat. By the time “Unleash” closes out ‘Tradition’, it signifies Runtown at his freest, rebranded and ready to move his career even higher up the ladder of the Nigerian music zeitgeist.

You can listen to ‘Tradition’ here.

Featured Image Credits: Instagram/runtown
[mc4wp_form id=”26074″]

ICYMI: Runtown’s rebranding and how Hip-hop is proof of Afropop’s evolution

See the music video for “All Is In Order” by the Mavin Records crew

Posted on by Dennis Ade Peter

Since launching in 2012, Mavin records has bankrolled the careers of some of Nigerian music’s biggest artists in recent memory. Group singles featuring a mix of its more established acts and lesser-known ones have been a key part of the longstanding prominence the Don Jazzy-led imprint has continued to enjoy. “All Is In Order”, the latest collective release from the label continues their tradition, and it is very much set to enjoy heavy radio rotation as well as seep into DJ sets in the coming months.

Over the fast-paced beat comprising Igbo Folk-inspired flutes, groovy bass guitar riffs and heavy swinging percussions beefed up with 808 bass, Don Jazzy sets up the infectious hook, singing the titular words clearly indicating how financially well off his label is. Accompanying the label boss, each of Korede Bello, Rema, DNA and Crayon deliver a single verse, relaying their fame and affluence after years of grinding. The Clarence Peters directed video for “All is in Order” shows all the Mavin acts dancing and celebrating, accompanied by the Kabusa Oriental Choir boys, models and others who join them in celebrating their wins.

You can stream “All Is In Order” below.

Featured Image Credits: YouTube/MavinRecords
[mc4wp_form id=”26074″]

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: NATIVE profile’s Mavin’s Rema, the kid from Benin with the world at his feet

Watch The Video For Sean Tizzle’s “Lotto”

Posted on by Dennis Ade Peter

Sean Tizzle’s latest single, “Lotto”, is the follow-up to his debut single of 2019, “Gyal Dem”. The song is dedicated to an unnamed love interest who he sings affectionately of over a mid-tempo beat produced by Finito.

The singer has just put out the video for “Lotto”, and it features shots of him performing the song solo, as well as with a model who plays his love interest. While the romantic narrative is pretty straightforward, primed to follow the tropes of most Nigerian music videos, the video for “Lotto” takes something of a scenic route, throwing in a backstory that sorta involves an actual lotto.

You can watch the video for “Lotto” below.

https://www.youtube.com/watch?v=Xq8nMtqN5VQ

Featured Image Credits: YouTube/Sean Tizzle

[mc4wp_form id=”26074″]

ICYMI: Listen to “Gyal Dem” by Sean Tizzle

Watch The Music Video For “Freedom” by Mr Eazi, Guiltybeatz & J Derobie

Posted on by Dennis Ade Peter

In a bid to raise awareness on the financial needs of young farmers in the rural areas of Africa, the United Nations International Fund for Agriculture Development (UNIFAD) are collaborating with Rwandan Dancer and Creative, Sherrie Silver, for their new ‘Dance For Change’ challenge. By partnering with Sherrie, who is passionate about activism and is well-known for directing the choreography on Childish Gambino’s viral “This is America” video, UNIFAD are counting on the unifying power of dance and music as means to draw in investors from all over the world.

To soundtrack the challenge, Mr Eazi, Guiltybeatz and Empawa Africa Alumni, J Derobie have just put out “Freedom”, a dance-ready song that equally highlights the socioeconomic intentions of the challenge. Guiltybeatz produces the boisterous Afro-EDM beat, while Mr Eazi and Derobie deliver simple but appropriate lyrics, delivered in recital-esque fashion. Set at a location in rural Cameroon, the Olle Enqvist-directed video for “Freedom”, showcases farmers at work, and also features frames of Sherrie Silver dancing with some of the locals.

You can watch the video for “Freedom” below.

Featured Image Credits: YoouTube/ Mr Eazi
[mc4wp_form id=”26074″]

ICYMI: Teni is the girl next door on our print magazine cover

DJ AJ Features Buju On New Single, “Shakara”

Posted on by Dennis Ade Peter

Since emerging into the spotlight, Buju has continued to prove he deserves his reputation as one of the future prospects for Afropop with each new release. Following his breakout single, “Energy”, which was highlighted on NATIVE’s Best New Music column, and the release of the highly anticipated follow-up single, “Commander”, the singer’s third act of 2019 is the contribution of vocals to DJ AJ’s “Shakara”, a song on which Buju cheekily sings about transactional sex.

Describing the initial dramatic, verbal exchange between both parties and the relations that eventually occur, Buju’s Fuji-adjacent lyrics, carries a mischievousness that flouts the touchiness his chosen subject matter often inspires from conservative Nigerian audiences. The dancefloor-ready beat Mavin produces for the song, mixing piano chord samples and bouncy drum riffs further embellish the playfulness of Buju’s set.

You can listen to “Shakara” below.

Featured Image Credits: Instagram/__djaj
[mc4wp_form id=”26074″]

ICYMI: Listen to Buju’s breakout single, “Energy”

Essentials: Patoranking’s ‘Wilmer’

Posted on by The Native

Women are usually the centre of attention in the dancehall space. The rhythm is designed to inspire the female body to wine and the lyrics echo a similar intention, giving dance instructions to encourage listeners to get into the groove of the beat. However, for Patoranking’s new album, ‘Wilmer’, he infuses some sentimental tenderness with the album being named after and dedicated to his daughter who is the centrepiece for the cover art.

https://www.instagram.com/p/Bxj9R_cHG5h/

As a result, the opening track, “Wimer”, is a love song that transcends mere romance with adoring lyrics seemingly addressed to his daughter; “My eyes fill with tears the time I saw your face/Baby dance for me”. Georgian singer, Bera, who has remained friends with Patoranking since their 2018 “Fire to the Sun” feature, is featured on the charming love song, ensuring that the song fits into DJ sets in clubs with his dance centred verse. The second track, “Feelings” sees Patoranking return to the sultry intentions of dancehall with the lightweight theme of appreciating the body of his muse, asking “Could this be love or infatuation” over the laid back Reggae inspired riddim DJ DJ Coublon produces. Though other tracks like pre-released “Lenge Lenge”, “Temperature”, “Go Crazy”, and Donae’o assisted “Turn Up” keep within this dance club specific narrative, Patoranking’s diverse sonic palette keeps each track distinct as he experiments with reggaeton, Afrobeat, Afropop, House.

To assist in his sonic exploration, Patoranking collaborates with several artists to achieve the diverse sounds of ‘Wilmer’. Kenyan singer, Nyanshiki infuses his indigenous language in his verse and the chorus of “Nakupenda” while French singer, Dadju, performs in French for “Zero Probleme” and South African House artist, Busiswa performs in her native language on “Open Fire”.

Introspective track, “Black” is however the album’s highlight as Patoranking offers some social commentary on internalized racism over cinematic instrumentals produced by CTEA. The song is written like an inspiring speech to encourage listeners to love each other and do better in order to ensure a bright future for the coming generation. The 12-track tape closes on an optimistic note with Davido assisted pre-released single, “Confirm”, reminding listeners of the successful run Afropop is having in the international pop culture scene.

You can stream ‘Wilmer’ below.

Featured Image Credits: Instagram/patorankingfire
[mc4wp_form id=”26074″]

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Watch the 70’s inspired music video for Patoranking’s “Lenge Lenge”

Mati Diop Wins Cannes’ Grand Prix Award For Debut Directorial Feature, “Atlantique”

Posted on by Dennis Ade Peter

African artists and creatives are increasingly receiving long-deserved global recognition for their efforts and it’s not just Nigerian creatives either. Just last week, Senegalese filmmaker, Mati Diop won the Grand Prix award at the recently concluded edition of the Cannes film festival, for her debut feature, “Atlantique”. Succeeding Spike Lee’s critically acclaimed “BlacKKKlansman”, Diop’s win makes her the first black female director to pick up a prize at the festival in its 72-year run.

Co-written and directed by Diop, “Atlantique” stars Mame Bineta Sane as Ada, a woman whose lover leaves Dakar on a boat heading for Spain, in search of a better life after working construction for months without pay. The feature is based on Diop’s 2009 documentary, “Atlantiques”, which focuses on the migration of workers to Spain via boats, a reputably dangerous journey many still undertake.

‘Atlantique’ has no trailer or release date yet, but it should grace public eyes soon, since audio-visual streaming giant, Netflix have picked up the feature’s worldwide rights. But the Grand Prix prize, which is the second biggest award at Cannes, following the Palme D’Or is a much more significant accolade for the Senegalese movie director.

Featured Image Credits: Instagram/uhaihair

[mc4wp_form id=”26074″]

ICYMI: Wanuri Kahiu’s “Rafiki” is the first Kenyan feature to get screened at Cannes

Listen To “Smogolo”, Emtee’s First Single Of 2019

Posted on by Dennis Ade Peter

Emtee’s future seemed uncertain due to the tenuous relationship with his Ambitiouz Entertainment label earlier this year when he revealed that they were hindering his career’s progress. Now in a seemingly better place, the South African rapper has just put out his first single of 2019, “Smogolo”, featuring label mate, Snymaan.

Since breaking out with his “Roll Up” hit single, Emtee’s music has stayed fervently in the Trap stylings, but for “Smogolo”, he showcases his singing chops over an ambient combination of folksy guitar harmonies, 808 bass and skittering hi-hats produced by go-to producer, Kreazo. His heartfelt singing mirrors concerns from early in the year, and adds an affectionate layer to hustle-themed lyrics like: “It’s been a long time coming, all my life I’ve been hustling, I don’t chase the bag for nothing”. Synamaan delivers his lyrics in his native dialect, adding rustic beauty to the song.

You can listen to “Smogolo” below.

Featured Image Credits: Instagram/emteethehustla
[mc4wp_form id=”26074″]

ICYMI: See the music video for Emtee’s “Manando”

Latin pop-star, Becky G and Digital Farm Animals feature Davido and Rvssian for “Next To You Part II”

Posted on by The Native

Nigeria is on the rise to be dancehall’s new creative hub with Davido’s hit singles finally crossing over to radio in the states and this year’s Coachella having two separate Nigerian sets. Latin-pop would be the natural competition for dancehall dominance but Latin pop-star, Becky G and Digital Farm Animals seem to welcome the competition, bringing in Davido’s Afropop talent to create, “Next To You Part II”, a song that embodies every aspect of a modern pop song.

EDM’s embrace of Afropop has helped the genre and its ambassadors become sort after in the international music scene, creating a space where the signature blend of reggaeton, rap, and pop felt familiar for audiences in dance clubs around the world. The EDM influenced beat for “Next To You Part II” is the same from the previously released “Next To You” single, but Davido’s charming melodies add a distinctly human gait to make Becky G and Rvssian emotionally compelling verses even more riveting.

Stream “Next To You Part II” by Becky G and Digital Farm Animals, Davido and Rvssian below.


Featured Image Credits: Instagram/davidoofficial
[mc4wp_form id=”26074″]

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Listen to “Swing” by Quavo, Normani and Davido

Akwaeke Emezi’s “Freshwater” novel is getting adapted into a series by FX

Posted on by The Native

Nigerian writers have been taking the international literati scene by storm, getting spotlighted by international award bodies and getting big co-op TV nods. While we are still waiting for George R.R. Martin’s HBO adaptation of Nnedi Okorafor’s sci-fi novel, “Who Fears Death”, it looks like another Nigerian author’s book is getting the Hollywood treatment with Akwaeke Emezi announcing working with FX to adapt their “Freshwater” novel into a series.

https://www.instagram.com/p/BxyMSf4HJBI/

The non-binary writer made the announcement on social media last week, explaining that they would be writing and executively producing the project along with Tamara P. Carter to bring the surreal novel rooted in Igbo cosmology to TV screens. The novel explores Igbo traditions, spirituality, identity and mental illness as the heroine, Ada, a Nigerian student in her final year of college, becomes aware of her multitudinous selves and has to make peace and accept that she’s “A village full of faces and a compound full of bones, translucent thousands”.

Though the series is still in early production, the book has made a rockstar of Akwaeke Emezi, earning them a place on The Women’s Prize 2019 longlist of 16 books written by women from across the globe, speaking on different themes of femininity and related topics. “Freshwater” is also a finalist for the Lambda Literary Award for Transgender Fiction, the NYPL Young Lions Award, and the Edmund White Award for Debut Fiction.

Featured Image Credits: Instagram/azemezi
[mc4wp_form id=”26074″]

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Teni is the girl next door on our print magazine cover

Dr Sid Returns With New Single, “Good Time”

Posted on by Dennis Ade Peter

Since breaking out as a superstar, Dr Sid has nursed his reputation as a hitmaker though his releases come few and far between. He just surprised fans with a new single, “Good Time”, in time for daytime summer parties, with the beat and sentiments expressed on the song designed specifically for DJ setlists at nightclubs.

For “Good Time”, Mavin in-house producer, Ozedikuz sets up a boisterous beat comprising of thumping bass drums and shimmering piano keys, underlining the summery vibe Dr Sid imbues his lightweight lyrics with. While the good doctor delivers both verses with his autotuned vocals, the hook is sung by an uncredited female guest artist, who adds warmth by singing the song’s central conceit: “all we need is cocktails, some cigs, foreplay, good sex, we came to have a good time”.

You can listen to “Good Time” below.

Featured Image Credits: Instagram/iamdrsid
[mc4wp_form id=”26074″]

ICYMI: Dr Sid’s “Deep Down” featuring Seyi Shay

Ycee Shares New Laidback Single, “Gold”

Posted on by Dennis Ade Peter

The unceremonious end of the working relationship between Ycee and former label, Tinny Entertainment created some doubts as to the artist’s trajectory without his trusted machine. Ycee, though, has handled the split impressively, by setting up his indie platform, delivering a handful of winning guest verses, as well as dropping new music. He follows the release of rap-heavy “Balance” with a new single, “Gold”, his second single of the year. And unlike the debut, it features a laidback, pop-centric vibe synonymous with “Juice”, his biggest single till date.

Singing “there’s gold on my wrist and neck” repeatedly on the hook, Ycee uses “Gold” to reiterate the affluence he’s amassed since breaking out. His verses feature cocksure lyrics that are half-sung and half-rapped over the beat Beatsbykarma produces to the swing of dancehall and the grit of hip-hop, mixing cloudy piano chords and steely drums to create a bop.

You can listen to “Gold” below.

Featured Image Credits: Instagram/iam_ycee
[mc4wp_form id=”26074″]

 

ICYMI: Listen to YCee’s “Balance”

Wallz Baba Collaborates With Psycho YP And Tobby Drillz For “Cozy”

Posted on by Dennis Ade Peter

Ambition is always a solid place for emcees to ground their more outlandish brags and Wallz Baba takes advantage of this with his lineup of sporadic releases, balancing his pursuit of fame and his evident self-belief. His first single of the year, “Cozy” follows the same template, albeit an attempt to reach more ears, via its song structure and guest rap feature.

“Cozy” is a superb slice of pop-rap, featuring a snappy beat built around an ominous piano riff and stomping drum pattern, as well as a sublime hook from Tobby Drillz to set up the song’s assertive disposition. Abuja rap ascendant, Psycho YP delivers the first verse, rife with elastic bar structures and assured raps. Wallz Baba’s second verse follows the same candour, but his verse takes a more personal spin, adding some autobiographical details which give his lyrics a relatable feel.

You can listen to “Cozy” here.

Featured Image Credits: Instagram/wallz.y
[mc4wp_form id=”26074″]

ICYMI: Listen to Pyshco YP’s groovy single, “Be Like You”

A-Q replies Joyner Lucas’ “Devil’s Work” with new single, “God’s Work”

Posted on by Dennis Ade Peter

Earlier this month, American rapper, Joyner Lucas put out “Devil’s Work”, a widely shared single that divided opinions because of its controversial lyrics, hinging on the demise of certain, name-checked individuals who the rapper felt the world would be better off without. Veteran Nigerian rapper, A-Q, has released a new single replying Joyner Lucas with his opposite stance, “God’s work”, along with an accompanying video.

Set to the same 808-drum led beat as “Devil’s Work”, A-Q reels off an extended, freewheeling verse, detailing his opposing views through bars that highlight the preciousness of each life. While an abortion line lands rather awkwardly in the midst of global debates concerning the topic, A-Q’s equally sneering and contemplative candour makes “God’s Work” a riveting piece of social commentary. In the DIY video for “God’s Work”, A-Q performs the song in a black and white background, embellishing the stark sentiments expressed throughout the song.

You can watch the video for “Devil’s Work” below.

Featured Image Credits: YouTube/ThisIsAQ
[mc4wp_form id=”26074″]

 

ICYMI: Listen to A-Q and Ruby Gyang’s “-Ve”

Listen to “RAIN”, the new single from Miles From Mars

Posted on by The Native

Miles From Mars, aka the intergalactic afroR&B band formed by SoulBlackSheep and Bio just released a new single, “RAIN” to add to their growing romanced themed discography. The band debuted last year with “Asteroid Blues” featuring Paula B, laying the lo-fi blueprint for their sonic explorations.

Though both Miles From Mars artists are still quite new, their music has a charming bedroom-pop roughness marked by the lo-fi production, straightforward lyrics and catchy guitar riffs. On “RAIN”, they keep this vulnerability as they candidly address their love interests, confessing their romantic feelings in a mix English and their native Yoruba dialect; “Bi Orun Ban ro/ Bi Ojo Ban ro/ You are the one that I write this song for”. Cuts from a viral voice note of someone expressing similar sentiments to their partner is included in a Drake-esque mood setting finesse and it makes the song even more charming.

Stream Miles From Mars’ “RAIN” below.

Featured Image Credits: Soundcloud/milesfrommars
[mc4wp_form id=”26074″]

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Listen to “Asteroid Blues” by Miles From Mars and Paula B

Zlatan Shares Inspirational And Prayerful New Single, “This Year”

Posted on by Dennis Ade Peter

Last week, Zlatan released “4 Nights In Ekohtiebo”, a contemplative single informed by a recent, torrid set of events that saw him arrested by the EFCC, alongside frequent collaborator, Naira Marley, who is yet to be granted bail. On bail and potentially with no charges to answer for, Zlatan has just dropped a new single, “This Year”, an attempt at getting back to his regularly scheduled program, and a return to the jovial form that brought him to to the limelight.

Rexxie produces the dancefloor-ready beat for “This Year”, mixing chippy guitar riffs and propulsive Afropop drums, while Zlatan jumps on the beat with his trademark syncopated vocals, delivering lyrics that are equal parts inspirational and prayerful. For his verses, the rapper recounts his rise to wealth and fame, while throwing in self-admonishing lines that will resonate with listeners. It’s his hook, however, that embellishes his sentiments, as he delivers a slew of prophetic lines, and also sings, “As I dey hustle, k’owo nla ko wole (let plenty money enter)”.

For its accompanying video, Clarence Peters directs a colourful video highlighting the song’s perfect for Owambes (high octane Yoruba parties) and large gatherings in general. Solo shots of Zlatan performing the song in traditional wears, as well as the movements of selected party attendants are cut together before it climaxes at the party where Zlatan performs in front of the crowd.

You can watch the video for “This Year” below.

Featured Image Credits: YouTube/ Alleluyah Boyz Ent
[mc4wp_form id=”26074″]

ICYMI: Listen to Zlatan’s “4 Nights in Ekohtiebo”

Best New Music Special: ‘Mandy & The Jungle’ by Santi

Posted on by The Native

When ‘Mandy & The Jungle‘ pops up in conversations five years from now, the most interesting thing to see would be how the roll-out and release of the project is replicated in popular Naija fashion.

https://www.instagram.com/p/BxF7vQvgUTi/?utm_source=ig_web_button_share_sheet

Being a risk-averse artist in a space where traditional styles are safer bets for quick wins, Santi, in spite of his relentless reclusiveness, cannot shy away from being labelled a trendsetter. His new album oozes with an indelible dreamlike Afro-fusion, the truest reflection of Santi’s greatest joy: “A freedom to create without limits”. But what is also unforgettable about this studio debut is the way the record has come to life with a lithe deliberateness at every turn; from pre-released singles to visual aesthetic.

Although Mandy & The Jungle is his fourth studio project, Santi revels in hedonism, nostalgic love and youthful aspirations often commonplace on neo-R&B debuts. That Santi doesn’t make any grand statements does not mean Mandy & The Jungle isn’t laced with poignant thought-streams often warped in his diminutive language (Santinese) and a twisted sense of humour. On the opening track, “Raining Outside”, Santi affirms his availability to a lover who has nobody else to call. He however also lazily suggests their heart-to-heart can wait till morning.

Even before Santi announced his deal with Interscope-affiliated American label, LVRN, speculations about the calibre of features to expect from Mandy & The Jungle tapered towards producers or artists with prominence for an added cross-over edge. But starting with production work done almost entirely by his Monster Boyz collective, Santi’s collaborators are immersed in his own synth-set electronic universe. Instead of following a trend we have come to anticipate from otterly Afropop careers, features from DRAM, Goldlink, Krisirie and Kida Kudz tip Santi as one of the greatest curators of the Alté generation. On “Demon Hearts”, “RX-64 (The Jungle)” and Raw Dinner, Santi fluidly transitions between realms of experimental hip-hop, R&B and contemporary Afropop. Under the careful arrangements and across colourful expressions and synchrony, Santi’s pointed world-view and obscure influences (like Owl City) bubble to the surface.

Mandy & The Jungle is wildly difficult to define, without prior understanding of why Santi has so many far-reaching influences. Santi like many young Africans around the continent was groomed by MTV Base (started operations in Lagos in 2005) in his early teens, then unassumingly transposed onto post-MySpace social networks as an adult. Over the last two decades, the spread of cable TV and mobile technology have become honeypots for investors and startups looking at African markets, but there is no truer reflection of how quickly Afro-urban culture is evolving like the DIY music scene.

The term ‘alte’, was contentiously coined for Nigeria’s DIY musicians in reference to what many traditionalists view as an ‘out of the norm’ lifestyle. But as Santi embodies on his new album, the word ‘Alte’ is short for ‘alternative’, but that’s not what it means. Rather, it’s a compressed summary of the wide-ranging cultural influences can inspire the movement. And when the guitar-licked opening moments of “Diamonds” temporarily transport you to a world of Disney-teen dramas, “Mandy & The Jungle” shines brightest: As validation to a generation’s experience, an acknowledgement of the limitless possibilities that can happen when millennial Nigerian nostalgia meets contemporary popular art.

Stream Mandy & The Jungle below

Toye is at NATIVE Nigeria. Tweet at him @ToyeSokunbi

The NATIVE Rebel Issue: Santi’s Rebellion

See the music video for Oshmann’s “Mans”

Posted on by The Native

Because art often imitates life, several artists have used Lagos as muse, attempting to capture the famous city through their distinct perspectives. Ajebutter22 recently released his romantic tribute to Lagos, “Lagos Love” with a charming music video to match, but while he agrees on with the stifling reality in the city, his depictions still stand at sharp contrast with the Lagos setting for Oshmann’s new single, “Mans”, as the rapper takes us through the more sinister scenes of Lagos through the eyes of a hustler.

Slow piercing and melancholy instrumentals produced by Toye Aru set up the chilling mood for Oshmann’s hardcore confessional, establishing his hustler instincts as he brags about his ability to navigate the gritty reality on the streets in a mix of English and Yoruba bars. Despite Oshmann’s confidence in his street-smart, the emotions are dark, painting a gloomy picture of Lagos that inspires a noir music video directed by Toye Aru to match his vision through unhygienic streets, scenes of police arrests and under potentially dangerous scenes.

Watch the music video for Oshmann’s “Mans” below.

Featured Image Credits: YouTube/Aru Productions
[mc4wp_form id=”26074″]

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Watch SuperWozzy’s music video for “The cops the youth the country”

Skiibii teams up with Teni and DJ Neptune and Falz for new single, “Daz How Star Do”

Posted on by The Native

Among the many perks of Afropop genre is the fluid mash-up of several pop sounds as though they were meant to be one genre. Skiibii’s latest single, “Daz How Star Do” is a testament of this remarkable feature as the song spirals between pop, rap, dancehall and EDM territories without sounding off beat or forced.

Jaysynths Beatz produces the catchy beat for “Daz How Star Do” with a sticky flute sample that does wonders to the song replay value. Skiibii teams up with Teni and Falz bring their fun and humorous sensibilities as they join him to sing and rap about their superstardom. The music video EAD directs is set in Lagos, featuring dancing, horse riding, a mascot for one of the three wise men statue in Lagos and more celebrity cameos as Skiibii reminds everyone of his celebrity. You know, in case his superstar guestlist and lyrics go over anyone’s head.

Watch the music video for “Daz How Star Do” below.

Featured Image Credits: YouTube/SkiibiiVEVO
[mc4wp_form id=”26074″]

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: See the music video for Skiibii and Reekado Banks’ “Sensima”

Patoranking Releases Anticipated Sophomore Album, ‘Wilmer’

Posted on by Dennis Ade Peter

Dancehall artist, Patoranking has just put out his anticipated sophomore album, ‘Wilmer’. The 12-track project is a follow-up to his 2016 debut, ‘God Over Everything’, and is named after the singer’s daughter who also features in the album’s cover art.

While the increased global fanfare around Nigerian music tends to centre more on the country’s more talked about A-list acts, Patoranking’s crossover efforts, which includes sold-out performances across Europe and Africa, places the singer as an integral dark horse in Afropop’s continued rise. ‘Wilmer’s diverse guest list, featuring pan-African collaborations with Busiswa and Nyanshiki, as well as international assistance from Bera and Donae’o, is a marker of Patoranking’s ambition to move to the next level of crossover success.

Earlier this week, Patoranking hosted a private listening party for ‘Wilmer’, with 2Baba, Tiwa Savage and Wizkid amongst the attendees. The album is now available for public ears.

You can listen to Wilmer here.

Featured Image Credits: Instagram/patorankingfire
[mc4wp_form id=”26074″]

You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: See the music video for “Lenge Lenge”, a pre-released single from ‘Wilmer’