Watch Burna Boy and DJ Jimmy Jatt’s smokey video for “Chase”

Burna Boy’s position in Nigeria’s musical hierarchy may forever be a topic of contention. Sure he always comes through on releases and even brings his A-game on features but somehow, he doesn’t have quite the same standing as artist like Wizkid, Davido, Tekno and Runtown. They are seen as big stars because they have sold themselves as such but Burna Boy seems to be selling himself short. Especially when you go by this video for DJ Jimmy Jatt’s new single, “Chase” released earlier this month.

https://www.instagram.com/p/BWvRNOBhHDU/?taken-by=djjimmyjatt&hl=en

Produced by Benie Macaulay, “Chase” is a mid-tempo Afropop song with horns and piano led instrumentals and a few guitar harmonies sprinkled for an afro feel. While Burna Boy delivers a delightful performance detailing his almost ironic experience as a desirable person, the video directed by Matt Max is a far cry from what we expect from an artist of Burna Boy’s stature. The video for “Chase” is set in a strip dimly lit club featuring dancing poles and a few models to cheer Burna Boy as he performs the song bathed in fluorescent lights and smoke machine fumes. Basically, the least creative school boy’s imagination of what a night out at the club is like.

Music videos play an important role in crafting an artist’s image. The first video for Wizkid’s “Come Closer” was basically utilitarian studio shots of him and three models performing but just before the SFTOS album was released, he put out a much better video that portrays him as an African prince to cement his position as Africa’s biggest musical export. Burna Boy is inconsistent with his videos and this could be one reason why he isn’t rated as high as he should.

Asides being a great way to spend 4 minutes of your day, videos have grown to become a significant part of our music culture. Watch DJ Jimmy Jatt and Burna Boy’s video for “Chase” below.

Featured Image Credits: YouTube/DJ Jimmy Jatt


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


Shuffle: Revisit Burna Boy’s “Like To Party”, the only contender for African summer song of all time

The ballad of R Kelly the pied piper and the myth of separating art from artist

Words by O. Sylvans

I had promised myself I wasn’t going to add my two cents to the discussion that has erupted following accusations that R Kelly has a new posse of young women separated from their parents, sequestered from their friends and controlled as part of a sex cult.

I didn’t want to add anything to the conversation because I didn’t need to be convinced that R Kelly is the physical embodiment of gutter tripe. He has been accused with video of evidence of engaging in sexual activity with a fourteen year old, and even urinating on her on camera. He married Aaliyah, who he met at age 12 and married at age after being contracted to help write the songs for her debut album, an album he titled “Age Aint Nothing But A Number” and filled with songs glorifying the exploitation and abuse of minors. He kept the marriage secret, even though he supposedly didn’t know Aaliyah was 14 and had the marriage annulled when Aaliyah’s parents threatened him with legal action. He has spent the intervening years (23, in case you were wondering) settling civil law suits from women who he initiated sexual relationships with even though he knew they were minors and has exhibited zero remorse for any of his actions. Not even a lick.

But what really moved me to write about this was the new podcast by M.I Abaga, Middle Ground. In the first episode, M.I Abaga and Loose Kaynon are asked by April Maey the show’s female host on their thoughts about the new accusations, and M.I gives some incredibly watery metaphor about how BDSM can be misconstrued by outsiders and thus since he doesn’t personally understand the dynamics of R Kelly’s relationship with his significantly younger sex partners he will not ‘judge’ him. Ordinarily, this wouldn’t bother me, but (and this is a very big but), this new scandal was brought to light by an extensive, incredibly well researched article published by Jim DeRogatis on Buzzfeed. Jim DeRogatis was the man who broke the original story of R Kelly urinating on a 14 year old in 2002. There is extensive information scattered across the internet detailing the man’s many civil suits, which basically are the same thing as criminal lawsuits, only that if you get convicted you pay a settlement instead of going to jail. He has lost several lawsuits in the last decade, which means he was found guilty of statutory rape, sexual assault and manipulation of a minor several times.

Bondage and BDSM, which are consensual activities between adults, is not even remotely close to actively grooming underage minors with the express purpose of manipulating them into sexual relationships once they reach adulthood. As a public figure with considerable influence in the same field and with near identical skill sets like the ones R.Kelly has used to groom and violate dozens of young women, “I didn’t do my research and I’m speaking off the cuff” is not the cross on which you want to be hung.

It is worrying that we need to impress this, that we need to explain that being a person of influence doesn’t excuse shitty behaviour and that we don’t need to personally witness said shitty behaviour from a person of influence before we speak up in support of the victim.  But it is important considering the case of Bill Cosby, still in courts till today.

Over the course of his 50 year career, Bill Cosby ‘allegedly’ drugged, sexually assaulted and raped more than as many as 100 women. But Bill Cosby is also an incredibly talented comedian and actor, and had become the literal symbol for black fatherhood thanks to his long running comedic family television series, The Cosby Show. As Dr. Cliff Huxtable the lovable and often clumsy patriarch of a large black upper middle class family, Cosby built an on-screen persona that ticked all the politically correct boxes. Before long, Cosby left behind his early days as a hard as nails stage comedian and literally disappeared into the Cliff Huxtable character, barely breaking character for years after the show ended. By  many began to conflate the very flawed human with the near perfect fictional characters, treating both as the same person. So when the accusation began to surface, the first of which started in the late 70’s, victims were silenced, insulted and even punished for daring to sully the beloved Cliff Huxtable. It took 40 years, 60+ women from different races and a Time cover for the world to finally take notice and hold Bill Cosby accountable.

And even with all the information that has come to light following investigations into a civil class action lawsuit, many people still aggressively side with Cosby, even his fellow child actors from the show, now all grown up. Cosby’s influence and the adoration of his fans isolated him from the consequences of his actions for most of his life and damaged the lives of victims in the process. R Kelly married a 15 year old who he had started grooming since she was 12 and had convinced to lie repeatedly over the course of 3 years that their relationship was purely professional. In any other scenario, Kelly would have gone straight to jail, but his influence and his network shielded him from criminal investigation and buried the infraction quietly. Today he is still active, luring and grooming underaged, disadvantaged girls with the promise of a music career and pouncing on them when they deemed legal by the state.

People who argue that this legal loophole is a good enough reason to leave things alone fail to realize that reaching the age of consent is not a magic wand that suddenly offers teenagers enlightenment. Allowing a groomed teenager enter a ‘consensual’ relationship with a known predator  is like giving teenaged victims of domestic abuse and torture a gun just because they can now legally own one. Legally enshrined freedoms only remain freedoms if they are not abused, people like R.Kelly routinely abuse these freedoms to satisfy their own perversions.

But ultimately this article is about M.I’s stance, and conversation we need to start having about public figures and accountability. There have been several accusations of domestic violence directed at a number of high profile celebrities, accusations that have not been investigated properly because of these celebrities influence and ‘talent’. In doing so, we have alienated the very real victims of these people, forced several of them, including a number of high profile celebrity ex and estranged wives to pretend everything is remain in toxic contact with their powerful spouses. We are already starting to overlook dangerous character traits, because we need a new summer jam, silence victims speaking out about their abuse because we want to continue to ogle that pair of perfectly oiled an airbrushed six packs. We hear of stories and sigh dramatically before dismissing them because it personally doesn’t affect us.

The parents of the girls entrapped in R Kelly’s ‘sex cult’ had heard about R Kelly’s perversions too, but they prioritized his talent and celebrity over the safety of their families, thinking it would never happen to them. We shouldn’t wait until this becomes a reality in Nigeria before we start holding our celebrities accountable for the things they say. Our musicians especially already make misogynistic music that glorifies and encourages the objectification and harassment of women, and perpetuate these personas in their real lives to sell the fantasy to their audiences, so they are already skating on thin ice when it comes to public statements that are either ambiguous concerning the perverted actions of other celebrities or can be construed to be excusing or endorsing sexual assault, rape and harassment by people of influence.

We can’t ask our celebrities to be our role models, but we can certainly demand they be upstanding citizens, well aware that their influence and talent is not an excuse for deliquence, and their position is not a platform for misguided and ultimately harmful ‘quotes’.

M.I Abaga is getting into the podcast game with “Middle Ground”

No one could have foreseen just how big the Loose Talk podcast, conceptualized by Pulse Nigeria editor, Osagie Alonge would become. The Podcast which dissects music (Nigerian and global) and the pop culture periphery associated with it, resonated with Nigerians home and abroad just getting hip to the podcast trend and looking for content that mirrored their realities. Since then quite a few ‘millennial’ podcasts have popped up trying to find their niches, including the very popular pro-feminist We Just Got Back podcast, Now ‘O’ Clock podcast and the now defunct Zikoko podcast. The big wigs are finally getting into the fray, with none other than M.I Abaga.

The Chairman is pairing up with fellow label mate Loose Kaynon one a new variety opinion podcast called “Middle Ground”, produced by Wendy Akomolafe Kalu and hosted by April Maey. We gave the first episode a listen, and while the transitions are pretty jerky and it is obvious it is going to take a while before the team finds their rhythm, the production work is excellent M.I Abaga and Kaynon have good chemistry and the podcast has the potential to get very good.

We wonder who else will be getting into the game after this, maybe 2face?

Listen to “Middle Ground Ep 1” here.

Hear “Mr Poe – Mr Ice”, Ice Prince’ most hip-hop release in recent times

Anyone who has ever gotten into a row with a hip-hop head knows arguments about rap never come to a heel. The wide range of influences, coupled with a multiplex of sub-genres means rappers are classed based on different indexes. While these radio/club inclined songs serve their purpose for the culture as a whole, introspective lyrics are regarded higher than showy bars. However, the really good rappers like Jay Z and even Drake can find the perfect balance between both extremes and serve a wider audience. Ice Prince and Poe’s latest single, “Mr Poe – Mr Ice” also aims for that balance and considering how well their previous releases have done, they barely need the effort to get on radio.

https://www.instagram.com/p/BWtFyOyhzhu/?taken-by=ladipoe&hl=en

The former Chocolate City rapper and Mavins’ only rapper team up to exchange bars over a 90’s hip-hop beat, complete with electronic funk guitar harmonies, pacey bass heavy drums and melodious vocal samples. Ice Prince takes the first verse and makes the song’s personal narrative immediately obvious, describing his experiences as a celebrated rapper. Most of his lines are showy (as they should) but he manages to tie in a few appreciative lines for fans; “Ain’t Nothing Realer Than The Place I Rep/ So Fuck You And Your 8ball Rap”. Poe’s verse also boasts of goofy lines like, “Ass Is Certain To Jiggle If You Tap It Right” but he’s a lot more down to earth talking about everyday living: “I Just Want My Only Problem Is Whether I Should Rent Or Own”.

“Mr Poe – Mr Ice” shows serves us two rappers baring their honest minds while still stunting and swagging. They exhibit their rap skill by avoiding popular trap music gimmicks on the single that sounds like it was created in the Nas, Pac and Biggie era.

Listen to Ice Prince and Poe’s “Mr Poe – Mr Ice” below.

Featured Image Credits: Instagram/iceprincezamani


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


Check out Poe’s “They See” where he’s real enough to recognize real

Rita Ora’s new single, “Your Song” gets the Afropop treatment featuring Burna Boy

Afropop has found a home away from home in UK clubs where DJs recognize the benefits of its dancehall melodies. This has birthed a generation of artists  like J Hus, Eugy and Kojo Funds who fuse the genre with their sounds and cause it just sounds really good on dance floors. Rita Ora’s brand of pop might stand her apart from the aforementioned artists but even she couldn’t resist the Afropop trend.

Despite the Jay Z co-sign in 2009, Rita Ora has struggled to reach international stardom so whether this move would help is yet to be known. Even her pop covers and big features like Drake on “R. I. P” haven’t helped her to make the required crossover to American market. Her latest single, “Your Song” was released last month with a video but the aesthetically satisfying video has only done so much to make the single viral. Her latest ruse however, sees her delve into the Afropop territories through a remix for “Your Song” featuring Burna Boy.

Team Salut remakes the beat for “Your Song” by placing more emphasizes on the drums and forces the EDM riffs to play second fiddle to the pacey Afro drums. This elevates Rita Ora’s already bright and peppy original to uplifting floor-filler. Burna Boy features on the second verse continuing the feel-good affair with endearing lyrics in patios.

Stream to Burna Boy and Rita Ora on this Team Salut produced remix of “Your Song” below.

Featured Image Credits: Instagarm/ritaora


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


Hear Burna Boy on LeriQ and DJ Tunez’s summer hit single, “Cotton Candy”

Awilo Longomba and Tiwa Savage shame every aproko on “Esopi Yo”

Awilo Longomba’s music has always had the tenacity to catch the bug after a single listen. Even without knowing the context of which the Congolese  musician crafts his lyrics, the melody and ambience of which his releases are set in, tugs at an uninterested person. This of course results from the raunchy and African dance moves he does in his videos and live performances too. But we can’t ignore that the euphoria that often comes with Afropop or Afrobeats drives its products to popular airplay. Thus it’s with unsurprising enthusiasm that we receive this new release, “Esopi Yo” featuring Tiwa Savage.

“Escroquerie komela ba mbongo ya batu, yo”: “Crook, Fraudster, Money Grabber”

“Esopi Yo” translates to “You have been shamed!” and on the track, he and Tiwa Savage sing of the aproko people, who are all about showing off and living pretentious lives. Tiwa croons “Small small my sister o, life na jeje brother o, no fall e your hand o, everywhere you go, you go want to dye jolly o, but you want to see another man bow”, which ties into the basis of the song,  judging its title and Awilo’s quoted line above.

https://www.instagram.com/p/BWsmA2dgZhX/?taken-by=awilolongomba

Awilo splices the song with constantly uttered phrases in the song’s bridge, dramatically intended to bring shame to these class of people. It’s as clear as crystal when he ridicules them with the full cast at the end of the video.

Davido, Flavour and Tekno make cameo appearances, you can spot them while you watch Awilo Longomba’s video for “Esopi Yo” featuring Tiwa Savage below.

Featured Image Credit: Instagram/@awilolongomba


Fisayo is a journalist who thinks writing is hard and reading too. But her journey somewhere reveals, words are like pawns on chessboard when writing. She wants to see, create and share with the world, experience & communicate these experiences. Tweet at her @fisvyo


 ICYMI, Read Up: Tiwa Savage Is That Shy Girl At Every House Party On Young Paris’ Video, “Best Of Me”

AV Club: Mr Eazi’s “Tilapia” short film is both surprisingly unimpressionable and meaningless

Mr Eazi has mastered the laissez faire approach to life and it has leached into everything he does, especially his career as a recording artist. After half a decade of trudging in relative obscurity, he finally stumbled on a zeitgeist in Nigeria, championing a slower approach to afro pop. Nigeria was suffering from ‘frenzy fatigue’, as artist after artist put out minutely different iterations of the same frenetic song. Eazi was catapulted to stratospheric fame and his sound became the thing to mimic.

However, as he rides this wave, we are beginning to suspect that this ‘chillness’ that has his craft isn’t as deliberate as it originally appeared. That a man cannot be bothered to emote more energy than necessary means audiences can only approach the music with a single-minded reciprocity, taking everything else as lightly as Eazi presents it. The gag is, Mr. Eazi wants to be taken seriously. He wants audiences to rip apart his mellow slurring vocals for the meaning of life, he wants his ‘vibes videos’ to serve as audiovisual compliments to his nuanced music, and he wants to be seen as a visionary leader of the new school, taking the West African pop to places it never reached a priori (or so he says).

Even as his latest project, Accra to Lagos—a collection of unhurried love songs where he occasionally celebrates lifestruggles for airplay, in addition to a tour, Mr Eazi has been releasing videos off the project anyway. “Tilapia”, the latest visual cut from the project is released as a retro short film set in rural Ghana. Though Eazi refuses to call it a music video, (talk less of a ‘vibes’ one as he’s tagged other videos from Accra to Lagos), “Tilapia” comes with all the shrewd Eazi-esque tropes you would expectslow motion shots and long camera pans across faces of a small cast, and the African landscape. All of Mr Eazi’s insouciance is still contained here, even as the video opens with an eponymous “Based on a True Story” tag.

The trueness however becomes debatable when the first scene of the video kicks off with Mr Eazi awaking from sleep. This runs parallel to the story Mr Eazi told at a recent live concert about his night as a hungry man who was left with nothing but two fishes for dinner. Into the bargain he states “because say I dey wear fine cloth, no be say I no dey hustle”, this served as a precursor spoken word to the performance of  “Tilapia” that night. On the adjoining short film however, a love story between two people is languidly detailed to stress a point that is non-existent, even as the video occasionally cuts to clips of the fishing process as if to hint a bigger thematic tie-in (that never comes).

In a manner that is almost typically Mr Eazi, “Tilapia” was most probably intended as a representation of African subsistence: a man, his lover and the fish they share together. The result however begs questions the “Skintight” singer really cares about appropriately representing the average man he professes to champion. A retro theme is used with no context, his fishing expedition could have been left out without diminishing the film’s cinematic value. It’s never clear if Mr Eazi is comparing his lover to the Tilapia fish or if it is truly a metaphor for something else, perhaps the people behind the film thought no one would think that far.

Mr Eazi has crept up the charts with his laid-back style as a craft and art form. Not that Mr Eazi can’t make the grade with this style, it just allows him pass off an evidently lackadaisical attitude to presentation. And the results often come with pieces like “Tilapia” where the seemingly grand idea is failed by atrocious execution.

Take a moment to watch Mr Eazi’s “Tilapia” short film below.


Featured Image Credit: Youtube/Mr Eazi “Tilapia (Short Feem)”


Fisayo is a journalist who thinks writing is hard and reading too. But her journey somewhere reveals, words are like pawns on chessboard when writing. She wants to see, create and share with the world, experience & communicate these experiences. Tweet at her @fisvyo


 AV Club: Laura Mvula’s “Generation Anxiety” shows the dark cost of talent.

Watch Kranium’s “Can’t Believe” video featuring Wizkid and Ty Dolla $ign

Before Wizkid’s collaboration with Ty Dollar $ign on “Dirty Wine” from his SFTOS album, he had worked with the singer through their joint feature on Kranium’s “Can’t Believe” released back in May. But while Wizkid has only released two videos from his album (both for “Daddy Yo” and “Come closer”), Kranium has now released the video for their collaboration and saved fans the wait for a Wizkid and Ty Dollar $ign video.

https://www.instagram.com/p/BWu4lBbjfy1/?taken-by=kranium&hl=en

“Can’t Believe” is the second time the trio have assembled following their feature on Major Lazer’s “Boom” in 2015. The single is set on a similar electronic baseline just as their previous collaboration, but it screams of the tropics and that whine-friendly summer time vibe ever present with Afro-Caribbean genre-bending. The video is directed by Rage who shoots a summer themed music video with all the regular tropes—thick models in swim suits and palm trees.

Kranuim, Wizkid and Ty Dollar $ign are seen at a night casino and a sunny side party but the contrasting sets only help emphasize that the right music will keep the party going; day or night.

Watch the video for “Can’t Believe” below.

Featured Image Credit: YouTube/officialkranium


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


Watch: Wizkid might have just ended the Jollof Wars

Roy Charamba muses on the dark side of love gone wrong on “You Know”

Rapper Roy Charamba’s been making beats for a quick minute, teaching himself how to work the amps and sequencers at the ripe age of 11 after his parents emigrated from his home country Zimbabwe to South Africa in search of better work. It’s been six years and after honing his skills and working his way up the ranks, including a killer remix for Frank Casino’s single “Whole Thing” Charamba is ready to switch the sequencer for the booth and get into the action himself. He’s signed to G63 Music, and has just put out his first single under the label, “You Know”.

Charamba’s music draws strong parallels to fellow Zimbabwean PatrickxxLee; both have made careers for themselves as producers, both have a taste for goth influenced melodrama as evinced by the melancholic synths that form the soul of their instrumental beats. But that is where the comparisms end. Roy Charamba is way more direct in his musings, cutting through the self introspection to the heart of the matter. And matters of the heart are at the core of “You Know”, specifically a former lover whose sudden decision to end what comes off as a destructive co-dependent relationship filled with booze and drugs wrecks Charamba’s protagonist. He wants her back, but she seems much better off without him and the protagonist parties even harder to forget her. It’s the quintessential post-millennial love story, almost impossible not to relate.

Rappers from Zim are really the new wave.

Listen to “You know” here.

 

Tomi Thomas is taking matters into his own hands with his ‘Higher Vibrations’

There is a new guard of Nigerian artists fucking things up and redefining what we consider Nigerian music. However, this new guard has proven to have the worst kind of Achilles heel; they’re all pretty shit at performing live. The reasons for this are legion. Unlike the generation before them that most began their music careers as part of church choirs where Choir masters did the grunt work of whipping them into shape and teaching them how to nail a live performance in one take and without any digital accoutrement, this new generation began their careers in their bedrooms tinkering with Fruity Loops and their mirrors for practice. Even the best performers in the world spend insane hours practicing to stay the best performers in the world and since our post millennial performers can’t benefit from the church structure, they’re going to have to make their own. Don’t worry, Tomi Thomas is already on it.

The singer is starting what he calls Higher Vibrations, utilizing the power of Instagram Live to record and livestream jam sessions with a full live band just for the edification of his fans. It is a novel idea, interesting even, without the pressure of guest live performances as championed by music sites like NPR (you should check out their Tiny Desk Concerts, genius), just Tomi, his bands and his friends jamming out. It doesn’t quite have the scale of a proper live performance but it is much needed practice. The first Higher Vibrations sessions is already up on Youtube and guest features Santi (of the Gangsta Fear fame), Odunsi The Engine (a regular fixture at this point at Native) and King Zamir.

All four perform their hit singles and debut a few newbie tracks. It is altogether an enjoyable watch. Now, to take that energy and super-size it at the next live gig.


Watch “Higher Vibrations” here.

Edwin eats his rice and cabbage. Tweet at him @edgothboy


AV Club: Episode One of Lagos Big Boy is basically a showreel for IG celebs

Zehs Cold Island continues to defy the conventional with new single, “Departed”

Music’s all encompassing range of influences is both a curse and a blessing. On one hand it’s always interesting to see new sounds emerge from genre experimentation and fusion but on the other, the classic genres get muddied or neglected all together. Zehs Cold Island’s releases have shown a reluctance to let go of that classic 90’s R&B polluted with EDM and Pop strains. His new single, “Departed” continues a brave stance against popular music of this era.

https://twitter.com/zehscoldisland/status/884891591785275392

Backed by somber piano harmonies, digitally created horn samples and soft mid-tempo gong drum riffs that serve as a mist that evokes a melancholy atmosphere, Zehs Cold Island gives a soulful number declaring he’s ready to fight for his place in the world. From his lyrics, it’s obvious that he recognizes the difficult challenges that are in store for an artist who isn’t ready to pursue trends. The song’s mournful narrative is amplified by both his words; “When the light leave my eyes and I’m about to lay it over/ I will pass on the sword/ I will pass it to another” and the palpable wistful emotion in his vocals layered in different peaches that brings to mind classic 90’s R&B boy bands.

With everything produced and performed independently, Zehs Cold Island is able to stay clear of the mainstream pop sound. The combination of live instrumentation, sampling, and layers of soulful vocals makes “Departed” a warm, appealing single especially for lover of R&B. It’s almost nostalgic.

Listen to Zehs Cold Island’s “Departed” below.

https://soundcloud.com/zehscoldisland/departed

Featured Image Credits: Twitter/zehscoldisland


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


Listen To Zee’s Cold Island’s Epic Battle Chant On “Hall Of Fame”

Hear “Cotton Candy”, a new star-studded collaboration starring Burna Boy, Leriq and DJ Tunez

The thin line that separates DJs and producers often gets blurred because most DJs spend enough time mixing to understand the dynamics for music production. But the best DJs know better than to spread themselves thin and therefore outsource their music’s productions to dedicated producers with the exception of a few like DJ Snake, DJ Drama and the likes. DJ Tunez has teamed up with Aristokrat’s foremost music producer, LeriQ for new single, “Cotton Candy”. And with Burna Boy on the vocals, the reason is quite obviously to get the dancefloor rocking.

https://www.instagram.com/p/BWsJj8NDEPi/?taken-by=dj_tunez&hl=en

Burna Boy who recently also recently appeared on DJ Jimmy Jatt’s “Chase” features to deliver his in-demand (hello summer parties) and infectious dancehall harmonies.

The mid-tempo synth based melodies on “Cotton Candy” is produced by LeriQ using spacious riffs that peak at a base drop. DJ Tunez makes his entry with a siren sample which serves as a pause for Burna Boy to show off his Patios and really induce the feeling of being at a club in the Caribbeans.

Listen to the new single below.

https://soundcloud.com/killersongs/leriq-x-dj-tunez-feat-burna-boy-cotton-candy

Featured Image Credits: Instagram/dj_tunez


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 Burna Boy on DJ Jimmy Jatt’s “Chase”

The Shuffle: Revisit “1er Gaou”, Magic System’s eternal hit from your childhood

One of the understated narratives in history of popular African music is the transformational global leap Francophone Afropop took in the late 90s. Championed by Awilo Logomba, Koffi Olomide and Papa Wemba amongst others, Francophone Africa created the first set of acts that tilted towards universal appeal, with select names in such ranks bagging international recognition, awards and nominations in process. Perhaps the strongest indication of how influential the Afropop of Francophone Africa got is “1er Gaou”, a piano-based Zouglou song by Ivorian group, Magic System, that became a continent-wide anthem, despite being primarily rendered in Ivorian-French patios

“1er Gaou” which loosely translates as the ‘First Fool’ is based on a true life experience of lead singer, Salif “A’Salfo” Traoré. Traore details a seemingly personal experience about a lover who left him due to his clumsy financial situation at the time. The catch however is that Traore doesn’t feel cheated for being left, instead “1er Gaou” he states clearly what would make him a fool would be taking his lover back for a second run at their problematic relationship.

The group’s former manager and official producer, Angelo Kabila, initially worked “1er Gaou” for a primarily African audience, with synths added to traditional Ivorian Zouglou music for a touch of modernity. The single was released in 1999 as the lead track off group’s sophomore album of the same name. However, the far-reaching success of “1er Gaou” bought Magic System their ticket to international acclaim. After over two years of touring the single across the continent, Magic System moved to France where the track was reworked to embrace more Soca elements. The move worked for the group, with “1er Gaou” landing Magic System spots on the French, Belgian, Swiss and Euro charts respectively. Today, Magic System are celebrated as one of Africa’s most successful contemporary musicians. A title duly earned by how they have continued to consistently chart across Africa, Europe and the West Indies with their unique style of traditional Zouglou music (which they have increasingly fused with electronic dance music in recent times).

African millennials however will remember “1er Gaou”, as a piece of nostalgia from every birthday party and pretty much celebration of any scale. Back then, If there is food and people in a good mood, you can also bet your ass the DJ would be playing “1er Gaou” till nightfalls.

Stream “1er Gaou” by Magic System via Apple Music below

Listen to “Taijitsu Jazz” by tGM featuring Bio and Wenger

While Hip-hop fans can’t quite decide if they should call for a code blue or an autopsy, many agree that Hip-hop’s messiah is going to come from the underground. This essentially cuts out Kendrick and any other rapper signed to a major label—yes that includes Jay Roc. This logic has carried Chance The Rapper so far but he is also losing his underdog status with every industry accolade he acquires. In Nigeria, Ibadan isn’t the hotbed for Hip-hop but WeTalkSound is set to change that through their frequent releases on Soundcloud. The pop culture collective has been building a dedicated fan base by putting out singles showing the talented MCs in the community and if underground hip-hop is your forte, then you need to listen to their latest release, “Taijitsu Jazz” by tGM, Bio and Wenger.

“Taijitsu Jazz” starts with Bio’s singing over a somber piano led instrumental. The hunger for accomplishment in his lyrics are amplified by the grim in his voice and the horns in the beat that sound more emotional than harmonic. It accurately paints a picture of the point tGM is trying to make before he even says anything at all. tGM raps with a laid back flow though his lyrics are anything but; “I’ve been choking on the gases that the country got me breathing/ I’ve been sinning”. The haunting beats mixed by Gravity Bars switches to a more lively boom bap half way into the single but the jazzy piano and trumpet cuts mixed by Sorple ensures the somber ambience isn’t lost. tGM spits with a more assertive flow that allows deliver god level brags likes every rapper ever. Wenger’s outro to “Taijitsu Jazz” is even more of an downer saying, “When the reaper wants to take me/ I hope he doesn’t procrastinate”.

Ibadan’s hip-hop scene still has a lot to catch on forcing WeTalkSound releases to exist in a sort of cocoon. Unaffected by the mainstream’s saturation with showy  rappers, their music leans heavily on depth of lyricism and the conveyance of emotion.

Listen to “Taijitsu Jazz” below, if only to prove that talents don’t have to cross boarders to be successful.

https://soundcloud.com/user-833359593/taijitu-jazz-by-tgm-feat-bio-wenger

Featured Image Credits: Twitter/thegeekymidget


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: Check out Bio’s sleeper hit, “Melanin”

Odunsi The Engine swaps China Town for Beachside greenery in “Vanilla freestyle”

Odunsi’s gravy train doesn’t seem to be letting off any time soon, and as he’s taking this new wave of attention, he’s seeing to revisit his seminal project, the Time of Our Lives EP and introducing us to some of its lesser known gems. Odunsi announced last weekend he was putting out visuals to “Vanilla Freestyle”, which was released last August.

https://www.instagram.com/p/BWqqLjjBUDr/?taken-by=odunsitheengine

When an artist is ascribed the ‘alternative’ title, there are some expectations that his/her audience comes to expect. We expect alternative artists to push the boundaries of what is possible sonically and visually and tell stories that we can see ourselves in. So it’s unfortunate when strongly lauded projects fall short of this mark. Odunsi’s video for “Vanilla Freestyle” is directed by Kay-T and is pretty straight forward. The entire premise of the video revolves around  beach-side greenery and how the video team digitally manipulates the vegetation to produce vibrant purple lawns in which Odunsi frolics and preens.

And preen Odunsi does, for the entire 3 minutes 30 seconds of the video. It is visually appealing, but ultimately unimaginative. After the preen fest that was the Desire video, the lack of any discernible storyboarding or attempt at telling any cohesive stories or interpreting the song’s lyrics literally or figuratively  becomes glaringly obvious.

The problem isn’t that Odunsi’s videos have thus far been small budget, it’s that they are clearly lacking creative/artistic initiative. Independent artists like Bjork’s who often shoot one-(wo)man music videos prove that a little money and a lot of imagination can go a long way (her “Venus As A Boy” is a typical example) “Vanilla Freestyle” just pales in comparison.

Take a moment and peep Odunsi the engine’s “Vanilla Freestyle” visuals below.

Featured Image Credit: Instagram/@Odunsitheengine


Fisayo is a journalist who thinks writing is hard and reading too. But her journey somewhere reveals, words are like pawns on chessboard when writing. She wants to see, create and share with the world, experience & communicate these experiences. Tweet at her @fisvyo


ICYMI, Read Up: Essentials: Here are five of the most definitive tracks by Odunsi

AV Club: Olu Ososanya’s takes through Hollywood’s stereotyping of Africa.

In the late 2000’s writer Chimamanda Ngozi Adichie put into words something that had only begun to coalesce in the minds of Generation Y’ers; the niggling doubt that the Africa we saw beamed into our homes through our precious cable network channels was less than accurate. In the TED Talk “The Danger Of A Single Story” now played over 2 million times on Youtube, Adichie explains how her early influences from Western Literature might have sparked her interest in literature but it also gave her the strong impression that her own lived experiences and realities were not as valid as Western ones. Finding writers like Chinua Achebe, Flora Nwapa and Buchi Emecheta helped change that provide an alternate reality for her, permission if you will, to tell stories that closely mirror her own lived experiences.

Film maker Olu Ososanya is coming to this realization and expounding on it in her latest Youtube, mini-documentary. Ososanya reviews many ‘classical’ Hollywood films about Africa and dissects the common  tropes that define these films. Classics like Out of Africa that had no three dimensional characters and treated the continent as a an untamed, savage paradise instead of a complex network of 57 sovereign countries in various states of development, the exploitation films like Leonardo Di Caprio that takes an African crisis and centres a White person as a saviour in the heart of the conflict. He postulates that these tropes have become so deeply ingrained into the ethos of Hollywood regarding films made in or about Africa, that even African filmmakers, when given the opportunity to tell a different, more inclusive story cannot divest themselves of these tropes.

It is interesting to see an indigenous filmmaker introspectively explore these historical injustices and learn from them.

We can too.

Watch “Africa Vs Hollywood” below.


Edwin eats his rice and cabbages. Tweet at him @edgothboy


AV Club: Episode One of Lagos Big Boy is basically a showreel for IG celebs

7 emojis that ruined the innocence of smileys forever

Show me someone who’s never used an emoji before and we’ll show you the rock they’ve been living under. Over the past few years, the yellow  anthropomorphic heads conceptualized from messenger smileys have largely shaped interaction in today’s digital age. Though initially created by Japanese developers as a way to add a more personal touch to everyday digital communication, we have since incorporated it into our daily lives, changing how we relate. Emoji’s have come to imply other meanings, beyond what was initially intended for them. While a rose remains a rose, and cake remains cake, in honour of world emoji day, here are some of the smileys that have taken on a life of their own.

The smile

Beyond the genuine happiness it’s intended for, the smile emoji is just used as a soft blush that may indicate more sinister reality. From the “just withdrew the last penny in my account 🙂” to “Been waiting at the ATM for an hour and counting 🙂”, the smile has made rounds with social media posts as a misomner for how humans internalise chaos by putting up a smiling face.

The Egg plant

Sexting is a pastime for many with and the egg plant is often used to denote the male penis due to its phallic shape. In 2015, the American Dialect Society actually declared the eggplant to be the ‘Most Notable Emoji’ in their Word of the Year vote. For an emoji to gain that kind of traffic, it means millennials’ talk a lot about sex , because the big question remains how an innocent vegetable inadvertently became an emblem for our collective perversions.

The Peach

Coming in second to the eggplant, is the peach emoji, also used in the same context with the former. While the eggplant represents the male genitalia, the peach emoji is symbolic of the backside. The peach usually prevails in conversations about exchanged nudes and thirst traps.

Black moon

The Black moon smiley has got to be one of the most suggestive smileys ever. The very cynically dark deceptive looking face, is expressed as the playful look you give to a friend when they are guilty of a crime. Butthe Black Moon has come to be associated with emphasizing sexual suggestions, usually common in morning after texts between two people who just had sex hours prior.

Three droplets of water

Just maybe we shouldn’t question the corruptible human mind but the creator(s) of these emoji’s instead. I mean people couldn’t have begun alluding to any raunchiness, if not for such picturesque symbolisms why should anyone think of anything beyond raindrops. One can still innocently assume these three droplets as simply water related inferences but that’s only if you can get past what the idea of ‘wetness’ or ‘thirst’ it unambiguously connotes to two people coyly propositioning each other for sex.

Tongue

Of a billion emojis sent worldwide, a million are the Tongue emoji sent through smart phones for raunchy reasons. This emoji has gone from an innocuous human tongue 👅 to sexting’s favourite shorthand to play pool, fellatio and foreplay involving wet kisses and sticking tongues in strange places.

The eyes

Among the most notable of the smileys is the eyes emoji glancing slightly to the left— and almost certainly the most important signifying a deceitful act or used to indicate pervy eyes. The eyes emoji 👀 is  a go-to way to describe uncomfortable or provocative social situations to unmannered, reflexive reactions. It’s also used for questioning, it says “See what I did there?” It’s interesting not just cause it suggests emoji convo can be truly intimate but also because emojis play on ambiguity in a way that implies an altered mental state.

Feature Image Credit: Twitter/@moonemojii


Fisayo is a journalist who thinks writing is hard and reading too. But her journey somewhere reveals, words are like pawns on chessboard when writing. She wants to see, create and share with the world, experience & communicate these experiences. Tweet at her @fisvyo


ICYMI, Read Up: World population day: Do millennials already have overpopulation figured out?

Get into “Weekend Vibes” with Seyi Shay and Sarkodie

Two months after the release of her very sensual single, “Weekend Vibes”, Seyi Shay links up with Ghanian rapper, Sarkodie for a melodious remix and for maximum airplay of course.

https://www.instagram.com/p/BWp8bK-g_8K/?taken-by=iamseyishay

In the video directed by Moe Musa, the first scene sets the tone for the rest of the video, reclining in sexy lingerie in bed, clothes scattered on the floor from the night before, all suggesting a significant other. This shot captures the already raunchy lyricism of the song and the following shots show Seyi Shay in the club and later in a garden with Sarkodie, where he delivers his verse in Twi slightly bridging the language gap with some bits of English when he utters phrases like“You be my medicine,…nobody should come between me and my baby”. 

With lines like “Every weekend baby, kpansh kpansh kpansh”, Seyi Shay tells all of it, albeit she does so discreetly. Producer Krizbeatz who we’ve been very familiar with on Tekno’s tracks, does his usual magic.

Just in case you’re wondering why bottles of Martini miraculously appear in every possible frame in the video, here’s the tea.  The video stars the three Martini ambassadors, Seyi Shay, Brian Okwara and Sarkodie, making this “Weekend Vibes” a thinly veiled Martini ad. As a reminder that whatever weekend vibes you’re going to be having, whether it’s with the bae in bed or a night out at the club, as shown in the video too, they want you to party with a bottle of M too. We’re not complaining though, we’ve seen way worse marketing strategies.

Check out Seyi Shay’s “Weekend Vibes” remix featuring Sarkodie, starring Brian Opara below.

Feature Image Credit: Instagram/@seyishay


Fisayo is a journalist who thinks writing is hard and reading too. But her journey somewhere reveals, words are like pawns on chessboard when writing. She wants to see, create and share with the world, experience & communicate these experiences. Tweet at her @fisvyo


ICYMI, Read Up: Fasina teams up with Higo for “5 Star”, a meta afropop experiment

Best New Music: Bucie and Wizkid are an SA House power duo on “All For Love”

Ayodeji Balogun’s had the kind of year any Nigerian musician struggling to make it into the mainstream global market would call a perfect one. A year in which he was vital to helping create the biggest song on the planet in 2016 and being nominated for a Grammy long before anyone thought he was due, signing with RCA records and becoming the unofficial avatar of Nigerian Afro-pop. In 12 short months, Ayodeji Balogun went from part of a class of contemporaries to being bested only by himself. And if the events of 2017 are any indicator, Wizkid is determined to continue besting himself.

First he put out “Come Closer” featuring Drake but with him finally at the helm and steered it into becoming an international hit; necessary considering the backtalk that had swirled that his input on “One Dance” had been minimal.  He followed with a handful of singles and international performances, the apex of which was headlining 2017’s Wireless Festival, the final spot before the promotion for Sounds From The Other Side, his debut mixtape under RCA began in earnest.

At this point, there is no genre that the Starboy hasn’t dabbled in. Afrobeats, Afropop, Hip-hop, R&B, Dancehall, even Hip-life; Wizkid has done them all, putting his voice and charisma to the test and coming through for his fans. But on his debut LP under international label RCA records, Wizkid has had to reach into places otherwise unexplored and push even further. South African House seemed the next natural progression for several reasons. Artists like Yemi Alade helped championed a new model for albums that reference all the major music hubs on the continent and a major part of RCA’s push will be in South Africa, where an established music distribution network will greatly ease his entry into their market/industry. SA House singer Bucie, also an entry point for Yemi Alade, lends her svelte vocal work and ineffable charm to “All For Love”. 

It is an excellent duet, marrying their very distinct styles and paying homage to the House scene. The song’s horns remind of Afrobeat and Wizkid is more earnest than we’ve seen him in years, spurred to keep up with Bucie’s almost effortless delivery. It almost makes us wish Wizkid would properly explore House on an EP or at least a few more songs.

Wizkid is bent on world domination, but first he’ll take South Africa.

Listen to “All for love”.


Edwin eats his rice and cabbages. Tweet at him @edgothboy


ICYMI, Read Up: Essentials: Of “Sounds From The Other Side” and the place of Wizkid in African music

Hear Straff’s new single, “Trounce”

Trap music has become more popular with African producers over the last few years. However, much like the mumble rapper distinction in American hip-hop circles, trap artists weren’t exactly taken seriously because they usually get too lost in their showy narratives to have much substance. But lately more artists are emerging with a proficiency with the ambient genre. Even more mainstream artists like YCee and Falz have tried their hands on the niche genre to prove that genres don’t necessarily dictate an individual’s tastes.

https://www.instagram.com/p/BWnzNuhFrP-/?taken-by=straffitti&hl=en

Straff’s debut EP, Vanilla Sky already marked him out as a rapper with as much confidence as any boastful rapper. His new single, “Trounce” however sees him venture into trap music with the spacious synth harmonies on the beat produced by GCL3F. The drums introduces a bouncy rhythm which Straff uses to deliver two verses telling everyone who would listen how good he is and what he thinks of those who call him “wack”. Though it might be hard to defend a lot of Straff’s words; “Ain’t a man/I’m a god” his flows bare a remarkable resemblance to the Drake.

“Trounce” features nobody as if to emphasize Straff’s confidence to defy the established norms. Only the Travis inspired ad-lib chants serve as additional vocals as he performs both hook and verse with a slightly auto-tuned effect. Here Straff is cheeky and asking critics to step up to him and say how they feel to his face but it’s not exactly clear if he wants a fight because he follows up with lines like “Not my fault/ Don’t fight me”.

Listen to Straff’s newest single, “Trounce”

Featured Image Credits: Instagram/straffitti


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


Watch Straff’s trippy hipster love story in his video for “Cherry Game Girl” here

Fasina’s “Tomorrow” proves affection is a vital means of survival

If ever we need proof that affection is a vital means of survival, surely we could find it in music. When you’ve listened to quite a number of songs, you’ll easily bond with the told narrative, especially when love lies underneath the story. And even when it’s told with different perspectives, it remains a universal experience because there’s this emotional necessity to connect with other people. Here on Native, we’ve spoken of a number of love songs, a few are Eugy’s “Prize”, Kyrian Asher’s “30,000 ft”, Ric Hassani’s “Marry You”, Vanessa Mdee’s “Kisela”, BankyOnDBeatz’ “Good Loving”,and Daramola‘s “So Good”. Fasina’s new release “Tomorrow” is also tied around the theme.

https://www.instagram.com/p/BWfqfemAFZd/?taken-by=fasina28

Fasina chronicles his relationship with a lover he implored never to let go on “Tomorrow”. He sings softly, “Said you’ll call when you’re alone, I’ve been ringing off your phone, second time I’ve rang you know but I’m not calling you anymore, feelings change you know the drill, I’ll still call you then tomorrow.” While Fasina may still be living in the past, it seems his lover’s moved on and he is left longing for her love because he is seeing better days at last.

It takes Fasina roughly 3 minutes and 30 seconds to tell of his emotions on “Tomorrow”. He recently created a playlist on his Soundcloud Orange Juice, which he intends to update regularly through the last days of summer. “Tomorrow” is the second track on Orange Juice, after  “5 Star” released in May.

“Tomorrow” is produced by Yinoluu, have a listen at it below.

Feature Image Credit: Instagram/@fasina28


Fisayo is a journalist who thinks writing is hard and reading too. But her journey somewhere reveals, words are like pawns on chessboard when writing. She wants to see, create and share with the world, experience & communicate these experiences. Tweet at her @fisvyo


ICYMI, Read Up: Fasina teams up with Higo for “5 Star”, a meta afropop experiment