We don’t often get songs like Olu’s “Baby” in Africa, or anywhere in the world for that matter; A love song so layered and abstract, the interpretation is entirely open-ended. But that’s what we get when musicians get a bit too extra on the art part of being artists, trying to create something otherworldly.
“Baby” begins with a percussion-heavy baseline that builds into a single guitar strum heard at intervals throughout the song. Olu seems to be reaching out to someone out of her reach and perhaps too occupied to hear her. Worried about the person and overwrought by the lack of response as she asks “Where are you going?”
The mysterious feel tends towards a godlike reference for “Baby”; She wants to know where Baby is going, if Baby is coming back and if Baby’s stay on earth is pleasant. The lyrics and apprehensiveness heard at the start could be a reflection of the heaviness in her heart for fear of losing Baby, but the end of the song communicates a sense of calm. Perhaps she breaks free from this person or they return to her. Either way, the gist is she is content.
Maybe the godlike person she feels she’s losing is herself, and she finds her identity on the almost river-like flow on the last few seconds of the song. We may never find out, but we can enjoy the song below.
Featured Image Credits: Instagram/olu.watosin
“Tomiwa is figuring it out…” Tweet at her @fauxxbella
Every now and then, Young Thug drops something to remind everyone he’s a generational talent. On an ode to Martin Luther King on MLK Day, he does just this. Shuffling between bars like “I was dead broke hustling on the steps/now I rock water like I’m Michael Phelps” and “I pray to God I die in my sleep/I pray my deaf brother don’t run into the police” is what makes Young Thug, Young Thug. Playful, but introspective. Opulent, but inspirational. A national treasure.
Ada (feat. Davido) – DJ Ecool
Dropped at the top of the year, this took a couple of weeks to grow on us, but now it’s in heavy rotation. Davido is 1/1 already.
Sunshine Riptude (feat. Burna Boy) – Fall Out Boy
Picture yourself as Burna Boy, an afro-fusionist and revolutionary given a chance to guest star on his favourite band’s album. How else do you leave a mark in history than with an unsuspectingly empowering verse set into an energetic pop-rock framework? “Feels like I’m bulletproof, bulletproof baby”, Burna Boy sings on his low reverbed verse tieing into the chorus about dancing within the Sunshine Riptide. The phrase ‘Sunshine Riptide’ first surfaced in the video description for “Young And Menace”, another single off their latest album, M A N I A. It is described as the “gentle pull of a tide that rolls over and over again and by the sheer nature of its essence it becomes an indestructible will- ripping out sand- eroding what was before it- without a care”. “Sunshine Riptide” is the ninth track on Fall Out Boy’s newly released album, M A N I A.
Faithful – Francis & The Lights
A deep cut from the phenomenal Francis Starlite album.
Heaven’s Gate (feat. Lilly Allen) – Burna Boy
Burna Boy has promised this collaboration as part of the rollout leading up to his upcoming project, Outside for a minute. While there have been thematically fragmented releases like “De Ja Vu” and Gba from the series, tracks like “Streets Of Africa” and “Sekkle Down” have followed the same colourful art and subject matter. Lilly Allen’s supporting cast role on this “Heaven’s Gate” is subtle, but literally genius contrast to what is easily Burna Boy’s hardest track till date.
Spirit (feat. Wale) – Kwesta
When the stars align for any authentically African artist like it has for Kwesta, the African dream unfolds to be an ‘Ojuelegba to the world’ story. Even featuring Nigerian-American Wale, on “Spirit”, his uplifting single from last year, doesn’t deter his authenticity and dedication to his roots. At a time when the outward push for African music has tended artists towards more global sounds and concepts, the rapper has doubled down on solidifying his electronica-tinged lo-fi hip-hop delivered in his native Kwaito tongue.
Baby – Olu
On “Baby” Olu’s brand of soul relies on dents of rock, ironically set on mellow-ish drums and ambience synths. Her most effective instrument, however, is her voice, a divine-like presence arched by her internal musings. She describes this process as an artistic process of finding you from I.
King Of Sorrow – Sade
“I Am Crying Everyone’s Tears/ I Have Already Paid For All My Future Sins”, Sade sings on “King of Sorrow”, the second single off the group’s millennium album, Lover’s Rock. In this vintage interview, lead singer, Sade Adu aptly describes the track as a moment: “Where you feel like everything is on your shoulders”. The legendary singer turns 59 this year, what better way to revisit her influence than this emblematic cut of her group’s most indemnifying soulful quality.
Issa Banger (feat. Mr Real and Slimcase) – D’Banj
“Issa Banger” is Bangalee’s first official release of the year. And unsurprisingly—though rather peculiar—the track features “Legbegbe” wave of the moment, Mr Real, and another emerging collaborator Slimcase. Mr Real and Slimcase are right at home on the EDM-leaning instrumentation. “Issa Banger” is composed loosely and precariously like much of D’Banj’s punchiest releases since 2016. Only a few artists have a diverse enough mindset to dip into the trenches of obscure street music and still manage to come out untainted, and D’banj is one of such artists; if “it’s not a lie”, then Issa banger.
Go Down – Yemi Alade
After an active run as Mama Africa that culminated Yemi Alade’s two-year-long Afrocentric embellishment, the singer is returning to her R&B/Pop roots. “Go Down” comes off her third studio album Black Magic, featuring a sultrier Yemi Alade putting her vocals to work.
The Bumplist is The NATIVE’s official weekly playlist – what we love this week, in no particular order
With the mythology surrounding pop music fandoms in Nigeria, it’s easy to fall into a “music for Nigerian audience” mindset, where you believe that the music made without foreign influences is somehow more sincere or more real. Though this is obviously bullshit given the music streaming culture around the world, artists like Olamide have cashed in on the indigenous currency despite releasing sometimes underwhelming projects. Burna Boy’s latest single, “Heaven’s Gate” shows yet again that he can manage just fine without the industry politicking as he features British singer, Lily Allen.
Burna Boy has promised this collaboration as part of the rollout leading up to his upcoming project, Outside for a minute. While there have been thematically fragmented releases like “De Ja Vu” and Gba from the series, tracks like “Streets Of Africa” and “Sekkle Down” have followed the same colourful art and subject matter. Lilly Allen’s supporting cast role on this “Heaven’s Gate” is subtle, but a literal compositional genius work of art when she contrasts to what is easily Burna Boy’s hardest nostalgia-influenced deliveries till date.
Burna Boy’s ability to blend his style and sound with others is exemplified in the video for “Heaven’s Gate”. Burna Boy is shown in a saloon, in a kitchen, in a home with kids and on a corridor performing the song along with Lily Allen. You can watch the fun video below.
Stream “Heaven’s Gate” via Apple Music below
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
DJ Tiz’s latest single, “Plenty” featuring David Meli and Minz is just the song for all of us who want to loosen up and forget there are still a few days before the month ends and salaries come in.
If you’re ever in dire need for that pre-Sounds From The Other Side Wizkid but with fresh perspective, Minz and David Meli’s “Plenty” is all the serving you need. The song literally opens with an ad-lib similar to Wizkid’s.
“Plenty” is poster track for the Nigerian music’s dancehall swing during the early 2010’s. David Meli and Minz sing about a sudden stream of funds that allow them to pop as many bottles as they want, catch flights to Malaysia whenever (for unclear reasons), pull as many women, stunt on “haters”. The amalgamation of pulsating beats and a compulsive rhythm makes the song stick though.
The sensual blend of electronics, vocals and rhythm is immediately engaging and relentless. Meli and Minz’ discography will show that they make pretty clean Afropop songs perfect for mainstream consumption, however forgettable.
Released as a single, “Dante’s Awakening” placed PatricKxxLee in a Devil May Cry-esque universe where his recourse for rage feels right at home. Perhaps to avoid predictability, the Nape Phasha directed video steers clear of the obvious reference and opts instead to show PatricKxxLee all alone in a phantom zone of some sorts. He has made it clear severally that he’s a loner and the video reinforces that sentiment even further as he raps bathed in red lights then with black and white filters with nothing but digitally edited effects as company.
“Dante’s Awakening” is Patrickxxlee’s second official video release.
Watch the video for “Dante’s Awakening” below.
Featured Image Credits: YouTube/ARTIS Records
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
For an artist who debuted nearly 10 years ago, Wande Coal’s smooth hand body coordination is always mind-bending, nevermind his cute chubbiness. His music releases have also been just as spirited, scoring a sleeper hit with “Iskaba” and enjoying radio circulation well into last year—despite being released in 2016. Perhaps in an attempt to replicate last year’s success, the singer has released the video for “Tur-Key Nla”, a single released in time for last year’s Christmas celebrations.
The video for “Tur-Key Nla” is shot in a set that makes it look like it was recorded while another shoot was going on. Which is just as well since it provides some context to the plot of the video and why there are so many models around. Following the single’s raunchy pseudo-romantic narrative, Wande Coal chases a love interest around and tries several tricks—sweet talking, dancing and spraying money—to win her affection.
In line with the song’s lyrics, all of Wande Coal’s cooing doesn’t seem to faze his love interest. Even when he slips into a sleek shaku-shaku groove, she keeps walking around the colourful set till Wande Coals pulls out some money and sprays it around for effect.
Watch the video for “Tur-Key Nla” below.
Featured Image Credits: YouTube/WandecoalVEVO
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
The last few months has seen a lot of rap move towards heavier and introspective themes. Major players such as Olamide and Reminisce have taken on topics of drug abuse and marital promiscuity with “Science Student” and “Pon Mi Le” respectively, while dominant trap music scene in South Africa reflects a pseudo-violent and troubled lifestyle of the youth in those parts. But Kidakuz’s latest release, “Last Last” featuring Dremo gives a slight realignment towards fun rap.
Over the laid-back piano-led beat, KidaKudz channels the lightweight buzz of “Sipping on That Henny”. Flipping rap’s brash tone on its head, he brags in the least outlandish tone saying “Yeah I Love My Life, Mi O Le Complain” before threatening his love interest with enough affection to make her overdose.
Dremo takes the last verse on “Last Last”, and though his lyrics are more offensive, his delivery is joyful as he switches between singing and animated rap. He raps about suffering and smiling; a popular sentiment in Nigeria’s often problematic society. But he gives context for the smiling promising “Last Last Everybody Go Dey Alright”.
The chemistry between KidaKudz and Dremo, and their positive message over the dance-inclined mid-tempo beat is primed to turn bad days around and give good days that extra spice.
You can listen to “Last Last” below.
Featured Image Credits: Instagram/kidakudzgram
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
Great music requires the songwriter to match lyrics with the perfect groove to deliver the song’s intended message. On Dunnie’s previously released track “Give It To Me” she pairs her dotting lyrics with a classic highlife beat that vivifies the track. On her new song, “Wahala” she gives a detailed description of Lagos’ struggle lifestyle.
Over the guitar-led beat with upbeat drums and distinct bell chime, she paints a picture of a scene on a bus. Singing “Condo Give Me My Change I No Won Forget, Condo Come Dey Shout For My Head”, the imagery is both vivid and relatable for anyone that has ever been on a bus around these parts.On the second verse, she moves on to yet another “Wahala” when she haggles with a pepper seller trying to sell her 100 Naira pepper for 1000.
She describes the stress the average Nigerian will relate to, but with soothing vocals that betray the firmness in her resolve not to be taken for granted.
You can listen to Dunnie’s “Wahala” below.
Featured Image Credits: Instagram/officialdunnie
“Tomiwa is figuring it out…” Tweet at her @Tomiiwaa_i
“Perfect lover” is the what we imagine every Ser Jorah wants to sing to their Daenerys. It tells the story of a guy letting out his frustrations about unrequited affections towards a paramour with other interests. The friend zone is as dreaded as it is famous and “Perfect Lover” is Ditweni turn in the long list of googly-eyed clueless boys.
He alternates between rapping and singing much like Drake does, and while the flow is somewhat patchy, it makes for an enjoyable listen. Rather than try to wow with clever wordplay and all the brags that usually comes with rap bars, Ditweni focuses on the song’s theme of heartache and gets his message across adequately. Plus the production of the song makes up for his lack of pseudo-conceptual lyric book.
Over the upbeat drums, somber piano chords and vocal samples Ditweni produces for “Perfect Lover”, he complains about the unfair treatments he has endured with descriptive yet, conversational lyrics that almost come off as comedic; “Actually, I Dey Notice These Things You Put On Instagram/ Every Time I Read The Caption, It’s Always About A Man”. But rather than give up on his love interest, he “Remind(s Her They) Were Meant To Be Together”.
“The Weekend” immediately stood out of SZA’s Ctrl album. Dubbed the ‘side-chick anthem’ on social media, it went on to garner Grammy attention, and an ‘interpretative’ visual from Solange in December last year. While social media reactions to the video remain divided due to how societal expectations around female promiscuity and sexuality, Wale who is no stranger to putting on unpopular topics on wax has flipped the script on the hit single for a rejoining remix.
Wale’s remix of “The Weekend” does a good job of preserving the general crux of SZA’s version while providing a male perspective. He starts with a spoken word poem about complex love before he begins his verse. The first verse excuses his cheating as he raps “Look, I’m sorry we got us a lil’ problem. Monogamy not for the weak hearted”. Later in the song, he seems ready to admit his faults as he raps “Maybe cheaters is sociopaths”, but he ends up making excuses debaucherous actions “Maybe we be cheatin’, we ain’t heal from a ho in the past”.
Wale announced he was taking a mental breather after he released Shine in July last year. He resurfaced on Statik Selektah’s song “Get Down” and N.E.R.D’s fifth album, No One Ever Really Dies.
Stream Wale’s “The Weekend” here.
Featured Image Credits: Instagram/Wale
“Tomiwa is figuring it out…” Tweet at her @fauxxbella
Since his debut with Dairy of An Arsonist, PatricKxxLee’s fans have never gone too long without getting a material release. Warning EP, his collaboration with BABYFACEDEAN and Saint Klaus followed the album, then singles “Run” and “Dante’s Awakening” followed. At this point, it’s safe to say only a few will rival Patrickxxlee’s work ethic because It’s just a few weeks into the new year, and the rapper is already treating fans to a new release all the way from Hong Kong, where he is working on a new album. According to Patrickxxlee, Dead By Dawn The Old Me Is Gone is “a compilation of tracks that you need to Hear but that don’t belong anywhere specific at this Point”.
The emotive take on trap music heard on Dead By Dawn The Old Me Is Gone might not be as new as advertised. Our best guess is that these songs were written and recorded before his album debut, which makes sense since PatricKxxLee clarifies that it’s not an album or an EP.
The opening track, “See You In Hell” is a sombre trap confessional with staggering revelations that make you feel a tinge of guilt for listening to it. Over the synth-heavy beat, he admits being a “Pessimistic Piece of Shit” and how he’ll rather be alone because his insecurities and anxieties get in the way of his relationship. On “Black Sheep”, PatricKxxLee creates a sound tinged with rock drums, and guitars harmonies. His vocals, however, stay true to hip-hop with rap bars celebrating his growth from the old him. The showy attitude continues on “Transylvania”, a supercharged cut dedicated to PatricKxxLee’s carefree hedonistic lifestyle.
It’s easy to dismiss songs that go a bit overboard on synths and auto-tune, but if we did we’ll miss all the dims in Kanye’s Yeezus. Not to mention the vivid description of romance on “Soichiro”, the second track on PatricKxxLee’s Dead By Dawn The Old Me Is Gone. The 7th track, “8 – Bit” has a whopping 5-minute playtime that could discourage even his biggest fan placed so late into the 9-track offering. Luckily, PatricKxxLee brings an explosive delivery with lyrics pitched somewhere between a grad school thesis and a decathlon; “I Came To Change The Code And Bend The Rules/ I Swear They’re Trying To Keep Us Slaving/ They’re Trying To Take Everything We Make”. Exploring questions about the economy and financial systems is a heroic feat that could easily feel fatiguing if the composition wasn’t so upbeat and empowering.
“Radical Melanin” is a goth-flavoured electro-waltz sprinkled with complex emotions that are hardly unique to PatricKxxLee. Singing “All We Want To Do Is Sin/ I’m Just Trying To Take It All”, we get a hint at the things that drive PatricKxxLee as he goes on to lists things ranging from “Vanity” to “Insanity”.Dead By Dawn The Old Me Is Gone closes on an uplifting note with the last track, “King of All Or Nothing”. Though the beat is sombre with big arrangements that fit PatricKxxLee’s underlying emo aesthetic, his vocals are confident and packed with metaphors alluding to his godlike status.
While we wait on the promised album he’s reportedly recording in Hong Kong, you can stream Dead By Dawn The Old Me Is Gone below.
Last year, photographer and A Nasty Boy collaborator, Wami Aluko introduced herself as a filmmaker with her two-minute fashion film, “Neogenesis”, a colourful fashion film featuring Stephany Amata. The film’s cumbia soundtrack displays Wami’s ability to fuse visuals and sound to amplify viewer experience. On her new film, “For Those Who Listen”, she zeros in on the music and the creative scene in Nigeria.
Prior to the release, photos of the artists featured in the documentary were released along with a trailer as part of the promotional images for the documentary. Over the thirty-minute long documentary, she looks into the emerging alternative-music and art scene in Nigeria, capturing the ecosystem between creatives in Nigeria.
“For Those Who Listen” opens with clips of artists performing in front of adoring fans and Wami’s photo collaboration with fashion brand Mojokojo, while “Temper” by Skales and Burna Boy plays in the background, setting a light-weight motif. The documentary features interviews with Mr Eazi, and emerging artists like Idris King and Lady Donli. Wami also interviews visual artists, curators and people she believes have a fair understanding of the music and art scene within her chosen demographic.
Independent film projects are created by virtue of the producer’s sacrifice for the art, so it is important the eventual output is rewarding to both the audience and creative behind the camera as well. Wami said, in an interview with ThisDay, that she decided to focus on a specific demographic of new artists she feels are not properly represented in mainstream media, but this documentary barely shows any of their work. “For Those Who Listen” is back-packed nearly on celebrity features without a glimpse at the actual processes.
West Africa’s emerging urban culture is the product of years of refinement of craft, culture and style, yet for years the gap between niche obscurity and mainstream local acceptance has remained for two reasons; isolation from the rest of the industry and low commercial viability for that industry due to its limited amount of stakeholders. In recent times, however, the internet has allowed more visionary minds to accelerate their growth on a global mainframe. A documentary like this could have become an important tool for showing how active and progressive the culture is, so local acceptance can be courted with a story arch that provides reasons for the mainstream to take the burgeoning industry more seriously. Sadly, all you get are performance clips and a handful of creatives seemingly being interviewed about themselves.
Performative documentaries ought to connect personal experiences with a larger issue, this documentary tries, but fails to communicate a narrative. Perhaps working with a scriptwriter may have improved the narrative of the story.
Watch” For Those Who Listen” here:
Featured Image Credits: Wami Aluko/Youtube
“Tomiwa is figuring it out…” Tweet at her @Tomiiwaa_i
The effect of fake news on global news consumption over time is proof that social media platforms have a huge impact on how information is absorbed. Following scrutiny in the aftermath of the 2016 American elections, where fake news and click baits were cited as some of the agencies that skewered public opinion, Facebook is taking social responsibility. The company is now refining how hoaxes are filtered from actual news on the platform.
In 2013, the company introduced the ‘Disputed Flags’ feature to red flag fake news articles. This tool was recently replaced with a tool called ‘Related Articles’ that identifies fake news and shows more reliable articles before the post is opened. According to a post on Mark Zuckerberg’s Facebook page, the goal is to “Connect People With Stories They Find Meaningful,” and give easy access to additional information that will help users identify hoax news.
Facebook’s product manager, Tessa Lyons said Facebook decided to replace ‘Disputed Flags’ with ‘Related Articles’ because the red badges reinforced the filter bubbles the tool was built to reduce. The new tool does not exactly change user experience, it just identifies reliable sources better and provides additional perspectives that (maybe) reduce the bandwagon effect of bubbles. Essentially, this new development does not change the Facebook experience for anyone who isn’t purposely sharing click bait or fake news articles. As it affects NATIVE, maybe now, after years of allowing trolls and bots to rule the day, true journalism can rise to the occasion.
Featured Image Credits: eschoolnews.com
“Tomiwa is figuring it out…” Tweet at her @Tomiiwaa_i
There’s a need to have a serious conversation about consent of all forms with Nigerians.
For some reason, a majority seem to be conditioned to think it’s okay to take without asking, even when it applies to intellectual property and copyright laws. This is not a new wave and violations like these have been going on for a long time. From unlicensed distribution to outrightly stealing songs and accusations of copyright infringement of movie scripts; basically, Nigerians will take anything for themselves without thought for due process.
Veteran Nigerian musician, Onyeka Onwenu is not having any of it though. The legend is suing digital music and movie distributor, IROKING for ₦205 Million for violating a copyright agreement. According to Onyeka, IROKING, blatantly disregarded the lapse of their 2-year contract and continued to profit from sales of her music.
“For years, Iroking profited from the sale of my music, even after a two-year contract it signed with me had elapsed. For years, also, they denied that they were doing so, they denied that they had made any profits from their illegal exploits”
Usually, these copyright issues usually fade off without any actual legal action taken and this could explain why IROKING refused to show up to settlement meetings they had initally agreed to. Unfortunately, this doesn’t seem to be going their way as there has already been a court hearing on Monday. Hopefully, this will send a message that intellectual property of any kind cannot be exploited for gain.
How the case progresses remains to be seen and we can only hope that her suit doesn’t take as long before she gets her coins. This suit will, however, go a long way to create public awareness on the seriousness of paying artist royalties as it ensures a functional ecosystem where everyone involved in the creation of the music gets rewarded.
Few things capture feelings and moods as adequately as music does. Movies, sports, religion, the army, all have some anthem or the other to motivate members. But quite frankly, musicians are in a league of their own in the art of mood setting. The energy on Kwesta’s “Spirit” featuring Wale is almost palpable through their vocals and this video further accentuates it. Using Nelson Mandela graffiti, kids playing with water, fire, a choir, a marching band, and even an epic stage performance by Kwesta and Wale. The video highlights how music can be a driving spirit.
Black Eyed Peas – “Street Livin'”
It has been 8 years since Black Eyed Peas’s last album, but they are back now with new single, “Street Livin'”. In line with the MLK anniversary, they talk on systematic racism over a sombre mix of horn loops, a gritty hip-hop beat and genuinely impressive lyricism. Socially conscious music is nothing new for The Black Eyed Peas, after all, they had “Where is the Love?” before the wokeness became a requirement for mainstream music. The accompanying video follows the dark narrative of the song with a greyscale filter and graphic images depicting black struggles.
Yemi Alade – “Go Down”
Yemi Alade has had the type of successful run that makes sitting on the fence uncomfortable for anyone that has ever heard her sing. Her ‘Mama Africa’ image seems to have fans divided as she racked up hits despite the occasional cringe-worthy sexist themes that made up that era for her discography. After releasing her Mama Africa album in 2016 and following that with her Mama Afrique EP, for french speaking countries, the singer released Black Magic last year and has since been gradually easing off her ‘African woman’ schtick. “Go Down” is directed by Paul Gambit who also reflects a more urban Yemi Alade as she is joined by dancers on a colourful material background.
QDot – “Ijo Gelede”
Q Dot’s “Apala New Skool” was such a timely release for last year’s conversation around internet fraud. The indigenous singer is touching on lighter topics this time around with new single, “Ijo Gelede”. Though he can’t seem to stick to his favoured indigenous style through the entire video, that shot of him doing a milly-rock in an Agbada is priceless.
J Molley – Never Know
J Molley just upped the ante of his Dream Money Can Buy track, “Never Know” with the visual elements of an anarchic night with the gang. The video which he directs in collaboration with ZeeTakesNicePictures features a number of cameos including PatricKxxLee who adds just as much threat to the video as the flashing lights, dogs, guns and gang signs.
Dua Lipa – “IDGAF”
After storming charts with “New Rules” expectations were high for Dua Lipa’s follow up video. “IDGAF” off Dua’s self-titled album debut, covers the same empowering themes as her breakout single, but the tone is decidedly more emo. The Henry Scholfield who directs video captures this through a bold-hued clip showing a dance-off between two teams channelling the brassy confrontation in the hook.
Creatives have their unique processes but inspiration is something they all require, though the source could vary. The creativity of Nigerian artists has been called to question a number of times but Masterkraft’s latest single checks all the boxes.
He recently announced via an Instagram post, his intention to spend a week close to a forest where he’ll seek creative inspiration to make 5 beats each day. “Go”, the producer’s latest single, is expected to be the first of the 35 different nature-inspired songs to feature in a project called Project 35—you know, cause 5 beats every day for seven days.
“Go” has all the feels of an artist seeking adventure, with jungle influenced harmonies making up the track’s baseline. The dance-inclined single preaches freedom, a quality codified into it’s becoming with sounds of birds chirping amidst the harmony of other nature-inspired sounds in the arrangement.
At a time when more emphasis is being placed on individuality and standing out, Masterkraft gets a word in with “Go”, a song that will do just fine on the dance floor too. The mix of different jungle animals noises at the close of the track somewhat feels like a gimmick, but the gesture fits into the context of Masterkraft’s recent adventures, so we can’t complain.
Since Endia surfaced on the internet nearly five years ago with his “48” freestyle, the absence of an album to tie his discography together has caused the rapper and singer to somewhat languish in an up-and-coming limbo. The lack of a project, however, hasn’t deterred Endia from updating his catalogue once in every blue moon.
“Oboche”, his latest single, is an afro-dancehall track, heavy on the drums and perfect for the air of optimism that has overspread the new year. Ironically, despite being built on the foundations of a pop song, Endia’s lyrics take a left turn to serious matters of the heart, about waiting on love from an uncertain paramore. The single essentially starts out happy,“All my life i’ve been searching for you” , Endia sings. But slowly, “Oboche” unpacks into a song about one-sided affections as the story expands to reveal an emotive core message.
Listen to “Oboche” here:
“Tomiwa is figuring it out…” Tweet at her @Tomiiwaa_i
“I am crying everyone’s tears/ I have already paid for all my future sins”, Sade sings on “King of Sorrow”, the second single off the group’s millennium album, Lover’s Rock. In this vintage interview, lead singer, Sade Adu aptly describes the track as a moment: “Where you feel like everything is on your shoulders”. Despite coming in nearly twenty years after the group’s soulfully indented 1984 debut, Diamond Life, “King Of Sorrow” is emblematic of the intimacy, melancholy and universality that underscores Sade’s music.
The accompanying video for “King Of Sorrow” covers this premise, as Sade embodies a Puetorican mother alternating raising her children with a blossoming singing career. Video director and filmmaker, Sophie Mueller said Sade Adu had provided the inspiration for the video citing her own mother, who also worked as a singer while raising young Sade and her older brother, Banji.
By design, soul music relies on documenting our collective human experiences. Thus, it’s not unlikely to feel removed from Sade’s blues in the same manner, you feel a simultaneously relational aura that tells you the story is as much Sade’s as it is yours too. Sade Adu herself thematically references the classic record with a generalised wide-cast description; “It’s a song for the people” she says. As she sings “The D.J’s playin’ the same song/ I have so much to do, I have to carry on”, the inherently contextual nature of the music is brought to the fore, you become aware her mourning is not because she has been beaten down, it’s because this is not her first rodeo.
Stream “King of Sorrow” via Apple Music here.
Photo Credits: Patrick Demarchelier for The FADER
Toye is the Team lead at Native Nigeria. Tweet at him@ToyeSokunbi
Through a voice recording sent to NATIVE, Lady Donli tells us Letters To Her is about the protagonist—Moonchild—and unrequited feelings for someone she believed was her Sunlight. On Letters To Her, an intimate story is spread out across 6-tracks that you may need to immerse yourself into for full effect. According to Lady Donli’s she composed the who project from her heart, without ever putting pen to paper before recording the songs on the tape. And that sort of eccentricity is what makes the project so peculiar.
Letters to her begins with a jazz influenced track, “Tease” where Lady Donli introduces herself as ‘Moonchild’ and begins the story of her complicated relationship. Complimenting vocals from Yinka Bernie and Garvie give a wider perspective on the mind-games lovers often play. On the second track, “Spell”, ‘Moonchild’ wails about a lover whose affection she is unsure of. Garvie produces the distorted instrumentals heard on “Spell” and it aptly conveys the discomfort that often comes with lack of trust in new love scenarios.
“2/11”, the third track featuring Jable signifies the day her lover left her life as she chants “Nothing’s Been The Same Since The Second of November”. Jable’s vocals sways softly from singing to talking over a beat Garvie produces with drums that could be akin to loud heart thumpings. The open letter continues on “Roses for K”, a somber ballad, where she expresses her anger. According to Lady Donli, “Roses for K’ is about a lover you thought was perfect for you, leaving you.”
Lady Donli’s chant-like meditation on “Yours Sincerely” slowly progresses into a ballad. She tries to convince herself and her lover that she has moved on as she sways between singing and talking throughout the track. The Final track, “Candy” featuring Tay Iwar is a continuation of Lady Donli’s collaboration from last year, “Ice Cream”, featuring Tomi Thomas. The airy synth rhythm may leave you feeling sad but the synergy of the two artists infuses a bit of hope as they acknowledge the loss of love, but are ready to move on.
However, the charm of her debut EP, Letters To Her comes from the selected instrumentals and the relatability. The story format emphasizes the importance of listening to the tracks in order. And the undeniably honest lyrics are sure to resonate with anyone who has experienced hurt that follows unrequited feelings, or the end of a brief relationship.
Steam Letters To Her on Soundcloud:
Featured Image Credits: Instagram/Ladydonli
“Tomiwa is figuring it out…” Tweet at her @Tomiiwaa_i
Last year, M.I made it a note to remind everyone who would listen that he is the best living Nigerian rapper. While fans waited on his talked-up fourth studio album, the rapper spent the most part of 2017 in the media defending his work and basking in past glory. One of such self-wanks was released as a single, “Your Father”, featuring Dice Ailes.
M.I has now released the official music video for the battle-charged track and it seems like he has been reading one of my favourite books; “How To Steal Like An Artist”. The video directed by The Myth draws heavy influences from Lil Wayne and Big Sean’s “My Homie Still” and Kendrick Lamar’s video for “Humble”. Combining the creative direction of the two videos directed by Dave Meyers Parris, “Your Father” still manages to comes off as artsy though somewhat inauthentic.
There’s a lot of direct copying from MI replacing Big Sean at the moving-chair, to mannequins seen now dressed in native attires while M.I and Dice Ailes rap in front of a house. The spherical 360 degree edits are also lifted from Parris’ works. The bicycle riding is particularly notable coming off Kendrick’s “Humble” video released last year.
But somewhere hidden behind the heavy visual sampling, are some more creative art referencing with museum portrait paintings reimagined as MI, Jesse Jagz and Ice Prince. It’s nice that while M.I raps about being the ‘father’ of Hip-hop in Nigeria, he has no qualms shamelessly showing off his inspirations and just how much he relies on others for creative direction.
You can watch the video for “Your Father” below.
Featured Image Credits: YouTube/MI Abaga
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
Atlanta, Donald Glover’s acclaimed series, returns to FX on the 1st of March 2018. Ahead of its premiere, a trippy new trailer has been released with Yellow Days’ “Gap in The Clouds” as an accompanying soundtrack. The teaser gives little away in terms of plot details but shows the lead star falling in a trippy 360-degree motion that is sure to enjoy some heavy meme/gif rotation till the eventual release of the series.
From the fragmentary first trailer and the new one, Glover appears committed to putting out unique trailers that sell the atmosphere of the show rather than the plot. This will please viewers who were into the surreal texture of the first season.
The show’s debut in 2016 with 10 episodes devoid of sensationalism and addressing real life issues was a big hit. Fans have since looked forward to the second season. However, Glovers’ busy schedule caused production to be delayed.
According to Stephen Glover, the head story editor and Donald Glover’s brother, “The Robbin’ season” (aka Atlanta season 2) tells a story of the holiday season when robberies exponentially increase in Atlanta. It has been a long time coming but the wait is almost over and we’re super excited.
Stream the new trailer for ‘Atlanta: Robbin Season’ below
