Ayuu’s “Murderer” is a dream pop experiment that soars

Posted on by The Native

It’s easy to fall for the assumption that all the great music coming out of Nigeria is restricted to mainstream genres like afro-pop, Afro-trap and jollof music. But artists are well and truly experimenting with genres and expanding the outer limits of what constitutes Naija music. Multi-genre singer Ayuu is definitely not limiting his explorations of music to these genres. His last single released in March was a dancehall hit, and now he’s crossing the pond to the very apex of dream pop with his new single “Murderer”.

Enlisting the help of Odunsi The Engine (whose career as a producer, though not as prominent as his incarnation as a singer but just as established), who replicates the ambiance that characterized his own debut EP Time Of Our Lives is a huge boon to the single. Distorted organ notes, and an electronic-y, melody create this textural sensation of lightness of mind, with the bass heavy percussion working like a ballast to keep the listener from becoming too taken with the atmospheric dreaminess that the miss the story that Ayuu weaves entirely. And man, does he weave a yarn, switching between decent vocal work and rapid fire bars, confessing to us his dalliance with a femme fatale whose wiles prove much to powerful for him.

Many will come to “Murderer” for the mood it conjures, and will stay for Ayuu musical dexterity. And who looks down on a twofer. Definitely not us.

Listen to “Murderer” here.

Watch Wizkid pick which is better between Nigerian Jollof and Ghanaian Jollof

Falz makes a random and hilarious appearance on Arsenal Fan TV

Posted on by The Native

Robbie, host of the Arsenal Fan TV had Nigerian rapper, Falz The Bahd Guy on his YouTube vox pop. The host didn’t realise who Falz was at first, but a Nigerian in the small crowd introduced Falz (to Robbie) as one of the biggest artists in Nigeria in the presence of other Arsenal fans exiting the home stadium after a 2-0 victory against Sunderland.

Falz however, didn’t seem as excited because he immediately switched to serious questions about the game, asking “To What End?”. Clearly he was not impressed by the scoreline as it wasn’t enough to secure the fourth League position Arsenal has become synonymous with. When asked how he feels about playing in the Europa League, he blamed Wenger for Arsenal’s woes and discussed on other comical Arsenal troubles, including how he’s finding it hard to remain an Arsenal supporter.

Watch the full Falz interview below.

Featured Image Credits: YouTube/ArsenalFanTv

Watch Falz go from Bahd Guy to Baby Boy in “Baby Boy” video

The Shuffle: Revisit the peak of modern Afropop of the 2000s with eLDee’s “Big Boy”

Posted on by The Native

After the ominous intro by Olu Mantain, eLDee’s “Big Boy” kicks in with an auto-tuned chant, allowing loud drums set in with the ambient type of synths common place with today’s trap music. You would have bopped your head to the rhythm that results for a few minutes before you realise the song you’re listening to was recorded over eight years ago and so much has changed since then.

Eventually dated references, tiring length and corny materialism give away “Boy Boy” but it doesn’t change much about the relevance of the single for its time and era. “Big Boy” was released in the later parts of eLDee’s career, after a considerable time spent in the United States. The single came in 2008, a golden era where all affirming status as a ‘big boy’ took was a show of taste in the finest things.

Of course that didn’t mean even back then such a bawdy claim can come from just anyone. To solidify his self-proclaimed status, eLDee features Olu Maintain, who was fresh off his Yahooze success from the previous year and newly signed Etisalat ambassador (the first ever actually), Banky W. From hard brags to a bouncy beat, there is very little that doesn’t work on “Big Boy”. And it gets even better with Banky W’s final verse, where he highlights celebrity realities while giving the first hint of what became a career penchant for killing hip-hop instrumentals.

There are probably a thousand and one songs from Atlanta (where eLDee was based in America at the time), that sound like “Big Boy”, but the single holds evidence of peak modern Nigerian music as the 2000s began to come to an end. And of eLDee’s place as one of the few veterans from the early noughties who pointed to the direction of where the sound was going.

Stream eLDee’s “Big Boy” via Apple Music below

Listen to the song picked as the Best New Music for this week

PatricKxxLee Wears His Heart On His Sleeve On “Broken Boys Break Toys”

Posted on by The Native

Emo artists come in all forms. Though rappers are usually too immersed in their ultra-masculine lifestyles, a few have the presence of mind to bare their hearts on their songs. The fear of being exposed as vulnerable makes confessions of feelings a daunting task but PatricKxxLee has shown in previous released single, “Pocahontas” that he’s a walking ball of conflicts and contradictions—depressed from heartbreak one moment, bragging about his carefree nature in the next. He is driven by his emotional side but like Lil Uzi Vert’s “XO Tour Life”, he makes it look gangster.

https://www.instagram.com/p/BUE_Vs5lNHl/?taken-by=patrickxxlee

His latest single, “Broken Boys Break Toys” features Saint Klaus who joins PatricKxxLee on for the emo number that plays devil’s advocate, exploring Lee’s disregard for commitment. As the title hints, “Broken Boys Break Toys” is an introspective, minimal electro-pop song steeped in pain, flaunting and more confessional lyrics than we’ve seen from any African rapper. His decision as a rapper to sing through auto-tune would have been a bad one a few years ago but lately, everyone from Future to Kanye West is getting on the trendy accessory. The recent embrace of the studio aid is like pro wrestling producers saying, “Well shit, none of this is real anyway” and making more obviously scripted fights that are more popular.

Though PatricKxxLee raps as much as Saint Klaus does on “Broken Boys Break Toys”, PatricKxxLee’s singing makes Saint Klaus look like he’s doing the bulk of the rapping over the broody synths. The entire theme of the single is dismal, with cavernous production that gives PatricKxxLee’s auto-tuned vocals more of an echoing desolation than a pop sheen.

Listen to PatricKxxLee’s “Broken Boys Break Toys” below.

https://soundcloud.com/patrickxxlee/broken-boys-break-toys-feat-saint-klaus

Featured Image Credits: Instagram/patrickxxlee

Listen to PatricKxxLee search for a free-spirited “Pocahontas

Jidenna, One Africa Music Fest and how we are getting this African Time thing all wrong

Posted on by The Native

Words by Fisayo Okare

“If we truly believe it is OUR time, as Africans, we need to be ON time”

The above is a trending statement made by Nigerian-American singer & rapper, Jidenna. For a comprehensive analysis on that, it’s probably best if I back up, rewind and explain.

On Saturday, 13th May, some of the biggest names in African music gathered at Wembley Arena in the UK, for One Africa Music Fest 2017. Jidenna was set to headline the event among other mega African artists who also featured at the event including Tiwa Savage, Banky W, Cassper Nyovest, M.I Abaga, Falz and more. As the headliner, Jidenna was deliberately and respectfully held back stage before making a grand entrance to round up the day’s performances, unfortunately Jidenna never actually made it on the stage. After the event, he courteously took to twitter to air his views in a 1-minute-clip to apologize to his fans who waited to the last minute to see him perform.

But it didn’t end there, still miffed about not getting to perform at OAMF, Jidenna gave an interview to Factory78, where his statement below, has yet again begun another trend.

“People make jokes about African Time but the truth is that everyone is laughing at us. We are out here joking about it but every other continent is laughing at us.”

It’s been fair enough to see him give comments on his disappointment and on the substandard time management of the organizers and performers at the show, while not exactly pointing fingers at anyone in particular. But, where he really hits the bump on the smooth road is where he remarks that the world is laughing at us. Now, this can’t be generally regarded as fair. This African time thing is an old African cliché. Let’s all just first agree that anything can go wrong, anywhere in the world.

This is not to say that we as Africans do not have a well documented history of lateness but this is giving a deceptive presumption that non-African artists and non-African event organizers do not delay or even cancel highly anticipated performances. Let’s recall in June last year when an expected concert by Kanye West drew thousands of fans in Webster Hall, Manhattan, and after hours of waiting on blind faith, it never took place.

So, it’s not just anything to say other continents are laughing at us, when similar, even worse things of this kind happen on these other continents. Lets talk about the pitfalls of human beings –and not Africans.

Check out the two video’s where Jidenna aired his views below.

https://youtu.be/KNBPUNruq4U

Feature Image Credit: Twitter/Jidenna

Read up: Jidenna gatecrashes ex-girlfriend’s-wedding in bambi video

Wunmi Mosaku Wins her First BAFTA TV Award for Best Supporting Actress

Posted on by The Native

Words by Fisayo Okare

We’ll never not celebrate an African at home or in the diaspora, who is doing great things or who has been acknowledged in a grand way for their hard work and efforts. As is the case of Olu‘wunmi’ Olapeju Mosaku, a 30-year-old Nigerian-Born British actress who just won a Best Supporting Actress award at the annual British Academy of Film and Television Arts (BAFTA) TV Awards. Essentially, see this as a UK rendition of the Primetime Emmys in the USA.

Wunmi Mosaku earns the Best Supporting Actress Award for her role in the BBC One movie, “Damilola, Our Loved Boy.” As it is both her first nomination and first win, there is definitely a lot to look forward to as she continues to raise the bar of her career higher.

It is especially important to note that Wunmi is winning her BAFTA for her part in the portrayal of the life and death of Nigerian born pre-adolescent Damilola Taylor, who was stabbed to death by street kids in London while he was coming back from a computer class. His death spurred stricter laws around violence against minors in the British Parliament.

Wunmi was born in Zaria, Nigeria before moving to Manchester in England. She graduated form the Royal Academy of Dramatic Art in 2007. Since then she has appeared in a number of works almost every year. To see some of Wunmi’s recent works, she has appeared in “Playtest”, an episode of the anthology series “Black Mirror” and Showtime’s John Ridley series, “Guerrilla”. Also, for anyone who has watched the 3-hour extended cut of “Batman vs Superman: Dawn of Justice”, you will remember Kahina Ziri (as played by Wunmi Mosaku), an actual character from the DC Comics universe who is blackmailed by Lex Luthor to testify against Superman. Well, Wunmi’s character may seemingly be a minor, but she even has powers of her own in the superhero film.

Asides Wunmi’s recent BAFTA awards win; in 2010 she was named one of “The Seven Fresh Faces” of Toronto International Film Festival (TIFF) for her role in “I Am Slave”. Wunmi plays the character of Malia, a girl kidnapped from her hometown in Sudan and sold into slavery. For her performance in the movie, she bagged a couple of awards including “Best Actress at the Birmingham Black Film Festival”, “Best Onscreen performance at the Cultural Diversity Awards” and “Best Female performance at the Screen Nation Awards”.

Check out her acceptance speech at the just concluded 2017 British Academy of Film and Television Arts (BAFTA) TV Awards below. And you can also see the trailer for “Damilola, Our Loved Boy” here.

Feature Image Credit: Instagram/BAFTA

Incase you missed it: David Oyelowo is to star in another true-life drama after Selma, “Arc of Justice”

AV Club: Yomi Ososanya breaks down Nollywood’s new obsession with webseries

Posted on by The Native

If you follow our culture reporting on Native, then you know we are very interested in the film industry, especially its digital mediums. We’ve covered a lot of culturally relevant short films and especially web series, which have proliferated from one in 2010, to several independent web shows, series and short films from several independent ‘studios’ with big budgets and interesting ideas on what is possible in Nigerian cinema, otherwise known as Nollywood. But we’ve always wondered why digital is exploding for Nigerian filmmakers who have traditionally preferred the length and flexibility feature films give. Well, Yomi Ososanya has all the answers.

Film maker Yomi Ososanya has been exploring different concepts in cinema through a series of micro-documentaries on his personal Youtube channel and in the latest installment on the site, he turns his focus to the Nigerian Webshow. There are many reasons he posits as possible reasons for why the digital media channels have gotten so popular in the last five years. There is of course, the brevity of digital projects which less of an emotional commitment for a director/producer, the flexibility of short serialized content and the potential to find funding quicker as sponsors can easily gauge if an idea will go mainstream or not. We at Native would like to add, that you cannot ignore the upward mobility that democracy has brought to Nigeria and Nollywood, the accessibility technology has given millions to curate and consume the kind of content they want.

Ososanya doesn’t answer all the possible questions, but it is a good place to start the conversation.

Watch the documentary here.

Watch Yomi Ososanya’s break down of ‘Blocking’ as a film making tool in ‘The Encounter’

AV Club: Uche Aguh deifies the Nigerian woman in “Azuike | The Strength Of Your Back”

Posted on by The Native

One of your fears is that you will grow up to be your mother.

Many say that the true measure of any film is the quality of its writing and the poignancy of its story. Others swear by cinematography, the power of encapsulating nature and beauty, the transience of a moment in 3mm amber. But the new short film by Uche Aguh’s 55 Media postulates something else, that the perfect film marries these two schools of thought, finds a confluence between them. It has taken Aguh a while to get here, he has spent the last three years releasing a small cache of experimental short films including his ambitious debut I Still Do, and the visually compelling but conceptually crippled Sambisa, each one fine tuning the process that would create The Strength Of His Back, the film that will probably define a shift in the director’s style.

The new film opens with a single character centered in the frame, not a hair out of place. The scene is opulent, the film’s leads resplendent in their finery as a mother and her daughters pose wordlessly for a photoshoot. Words flow with an earnestness and a clarity of expression that is completely alien to what we’ve come to expect from the director’s work. They are attributed in part to memoirist Keside Anosike who has gained a following on social media for his raw, confessional prose and collaborated with Uche Aguh on writing the monologue for the film. Anosike’s words give new meaning to the sidelong glances and the hesitant smiles that the leads offer each other as they pose for photographs and preen in front of lit mirrors.

By the end of the film the matriarch is posed with only two of her daughters and a third, always dressed differently, always slightly apart from the rest is absent from the final photograph. The film doesn’t explain her connection to the matriarch or her very obvious absence in some scenes, neither does the film’s monologue. But perhaps that is the point, you have been drawn in to their resplendent world, but you have to connect the dots yourself, to tease out your own epiphanies. You have to craft them inner lives out of your own.

When the narrator finally asks you to exhale at the end of Strength Of Your Back, it is only then you realise you’ve been holding your breath the entire time. And perhaps that is all that needs to be said for Uche Aguh’s new film.

Watch Strength Of Your Back here.

 

 

AV Club: How laura Mvula’s “Generation anxiety” shows the dark cost of talent

Tekno, Wizkid, Mr Eazi and Davido up for BET Award

Posted on by The Native

This year’s BET nominations have rolled out and some of the usual suspects are up again this year for another set of awards. Beyonce leads the pack with 7 nominations followed by Bruno Mars’ 5 nominations. Chance The Rapper, Solange and Migos tie at four nominations.

Among Beyonce’s nominations include, Best Female R&B/pop artist (where she has been pitted with her sister, Solange), Album of the Year, Best Collaboration with Kendrick and Video Of the Year. Best male R&B/Pop artist would be decided between Usher, Chris Brown, Bruno Mars, Trey Songz and The Weeknd while Chance The Rapper, Drake, J. Cole, Future and Big Sean vie for best male Hip-hop artist.

https://www.instagram.com/p/BUIHQCMDH3F/?taken-by=bet

For a few years in a row, BET has ensured international representation and this year, the UK leads the nominations for the Best International Act: Europe with 6 of 8 the nominations. Craig David, Emeli Sande, Giggs, Wiley, Stormzy and Nigerian born Skepta compete alongside France’s Booba and MHD for the BET award. For the Best International Act Africa category, Nigerian artists, Mr Eazi, Tekno, Wizkid and Davido are nominated alongside AKA and Babes Wodumo from South Africa and Stonebwoy from Ghana.

The BET award will hold on the 25th of June at the Nokia Theatre, Los Angeles, Carlifornia, where winners would be announced.

See the full BET nominations below.

Best Female R&B/Pop Artist
Beyonce
Kehlani
Mary J. Blige
Rihanna
Solange

Best Male R&B/Pop Artist
Bruno Mars
Chris Brown
The Weeknd
Trey Songz
Usher

Best Group
2 Chains & Lil Wayne
A Tribe Called Quest
Fat Joe & Remy Ma
Migos
Rae Sremmurd

Best Collaboration
Beyonce Ft. Kendrick Lamar – Freedom
Chance The Rapper Ft. – 2 Chains & Lil Wayne – No Problem
Chris Brown Ft. Gucci Mane & Usher – Party
DJ Khaled Ft. Beyonce & Jay Z – Shining
Migos Ft. Lil Uzi Vert – Bad and Boujee
Rae Sremmurd Ft. Gucci Mane – Black Beatles

Best Male Hip-Hop Artist
Big Sean
Chance The Rapper
Drake
Future
J. Cole

Kendrick Lamar

Best Female Hip-Hop Artist
Cardi B
Missy Elliott
Nicki Minaj
Remy Ma
Young M.A

Video of the Year
Beyonce – Sorry
Big Sean – Bounce Back
Bruno Mars – 24K Magic
Migos Ft. Lil Uzi Vert – Bad And Boujee
Solange – Cranes In The Sky

Video Director of the Year
Benny Boom – Kehlani “CRZY”
Bruno Mars & Jonathan Lia – Bruno Mars “That’s What I Like”
Director X – Zayn Malik “Like I Would”
Hype Williams – Tyga “Gucci Snakes Ft. Desiigner”
Kahlil Joseph & Beyoncé Knowles-Carter – Beyoncé “Sorry”

Best New Artist
21 Savage
Cardi B
Chance The Rapper
Khalid
Young M.A.

Album of the Year
24K Magic – Bruno Mars
4 Your Eyes Only – J. Cole
A Seat At The Table – Solange
Colorung Book – Chance The Rapper
Lemonade – Beyonce

Dr. Bobby Jones Best Gospel/Inspirational Award
Cece Winas – Nver Have To Be Alone
Fantasia Ft. Tye Tribbet – I Made It
Kirk FranklinFt. Sarah Reeves, Tasha Cobbs & Tamela Mann – My World Needs you
Lecrae– Can’t Stop Me Now (Destination)
Tamela Mann – God Provides

Best Actress
Gabrielle Union
Issa Rae
Janelle Monáe
Taraji P. Henson
Viola Davis

Best Actor
Bryshere Y. Gray
Denzel Washington
Donald Glover
Mahershala Ali
Omari Hardwixk

Young Stars Award
Ace Hunter
Caleb Mclaughlin
Jaden Smith
Marsai Martin
Yara Shahidi

Best Movie
Fences
Get Out
Hidden Figures
Moonlight
The Birth Of A Nation

Sportswoman of the Year Award
Gabby Douglas
Serena Williams
Simone Biles
Skylar Diggins
Venus Williams

Sportsman of the Year Award
Cam Newton
Lebron James
Odell Becham Jr.
Russel Westbrook
Stephen Curry

Centric Award
Fantasia – Sleeping With The One I Love
Kehlani – Distraction
Mary J. Blige – Thick Of It
Solange – Cranes in The Sky
Syd – All About Me
Yuna – Crush Ft. Usher

Coca-Cola Viewers’ Choice Award
Beyoncé – Sorry
Bruno Mars – 24k Magic
Drake – Fake Love
Migos Ft. Lil Uzi Vert – Bad And Boujee
Rae Sremmurd Ft. Gucci Mane – Black Beatles
The Weeknd Ft. Daft Punk – Starboy

Best International Act: Europe
Booba(France)
MHD (France)
Craig David (UK)
Emeli Sandé (UK)
Giggs (UK)
Skepta (UK)
Stormzy (UK)
Wiley(UK)

Best International Act: Africa
AKA (South Africa)
Babes Wodumo (South Africa)
Davido (Nigeria)
Nasty C (South Africa)
Stonebwoy (Ghana)
Tekno (Nigeria)
Wizkid (Nigeria)
Mr Eazi (Nigeria)

Featured Image Credits: Instagram/akaworldwide

Davido’s “If” got an R. Kelly remix

Kiss Daniel Debuts In 2017 With “Sofa”

Posted on by The Native

After New Era‘s success and acclaim, Kiss Daniel knew Nigerians will be anticipating his next release with feverish anticipation. But considering how satisfied singles like “Woju” left our taste buds, anything short of classic would have been unpleasant. The G-Worldwide Entertainment front man recognizing this handicap has taken his sweet time before returning with new single, “Sofa”.

https://www.instagram.com/p/BUHh9FFDLLh/?taken-by=iamkissdaniel

In the early moments of “Sofa”, Kiss Daniel swallows his creative pride to bite Gyptian’s 2010 single, “Hold Yuh”. Thankfully, his distinct singing style and producer, Killertunes’ fusion of EDM-reggae on the production quickly veers Kiss Daniel away from his inspiration. The beat has a reggae baseline layered with violin riffs and synth notes that tips the single into dancehall DJ sets despite Kiss Daniel’s emotive voice. “Sofa” is meant as an aphrodisiac but you’ll never guess from the beat’s dance rhythm.

“Sofa” was released today as promised by the singer in celebration of his debut album’s anniversary. It’s been a year since New Era was released to kick start a career that has now proven would not go down yet. At least not without a fight.

Listen to Kiss Daniel’s “Sofa” below.

Featured Image Credit: Instagram/iamkissdaniel

Remember when Kiss Daniel said he didn’t want no booty twerking women

David Meli And Minz’s “The One” Shows How Hard It Is To Go Wrong Making Love Songs

Posted on by The Native

What are the odds that anyone has anything new to say on matters that affect the heart? From randomly stumbling on your soul mate to reckless heart breaks, it seems the entire theme of love and loss has been milked for all it’s worth. There are whole boy bands whose entire catalogue is dedicated to the exultation of the break up and  TV shows (think Empire), there’s an endless flow of new songs addressing love themes.

https://www.instagram.com/p/BT_5UovFH6f/?taken-by=daviid_meli&hl=en

David Meli is a Nigerian Afropop singer based in the UK and he too has something to contribute to the pseudo-romantic playlists. He has followed up his “Novice” remix featuring Falz with another decent Afropop single, “The One”. This time he features upcoming artist, Minz. Talking about all the things he can do for his love interest, David Meli flexes his vocals and music producing skills for the single he produced himself. When he eventually gets around to acknowledging what he likes so much about his lover, he describes her physical features with the same tired imagery every one has already used at least once. Minz’s verse isn’t big on lyrics either but his melody is succinct enough to let flaws slide

Listen to David Meli and Minz’s “The One” below.

Featured Image Credits: Instagram/daviid_meli

Guess who our Best New Music for this week is

Essentials: the standouts from J Hus’ ‘Common Sense’

Posted on by The Native

As cultures mesh thanks to the internet and globalisation, genre experiments are increasingly holding hint of future sound evolution. And since Afropop is a direct marriage of American pop and African folk music, J Hus’ Afropop-Grime fusion doesn’t seem too much like an oddity. To prove the point, J Hus debut album, Common Sense dropped at the end of last week and a rave of positive reviews have been pouring in since.

https://www.instagram.com/p/BTywmoIlCi1/?taken-by=theuglygram&hl=en

Common Sense starts with title track, “Common Sense” and it’s a different J Hus from what we heard on pre-released singles, “Did You See” and “Friendly” where he did more pop than rap. For “Common Sense”, J Hus settles for an assertive Hip-hop flow, steering clear of the grittiness of British Grime and Afropop combined. Produced by long-time collaborator, Jae5, Hus raps over a jazz orchestra with drum patterns for what sounds like the hardest Jay-Z-Pharrell collaboration ever. J Hus picks up on the vibe and works lines referencing his violent lifestyle and how he stays winning.

Afropop might be responsible for J Hus’ feature on DJ turn tables at the club but on Common Sense, he tries  other different dancehall genres. “Plottin”, the 8th song on the 17-track-album listens like an EDM grime fusion. Using an economic paring of synth piano keys adorned by artificial vocal hums and spacious drums played at double speed, J Hus delivers a full set riddled with London Grime flows and slurs. Despite his dark and brooding themes, he manages to slip in a few chuckle-worthy lines: “She said she don’t do this often. Same thing she said to my brethrin. Can You Imagine?”.

Among the four features on Common Sense(Tiggs Da Author, Mo Stack, MIST and Burna Boy), Burna Boy’s presence on “Good Time” is the most prominent. J Hus’ already signaled his fascination with Burna Boy on his 15th day EP with a shout out where he raps “Man like to party like Burna”. “Good Time” is the first track both artists are doing together and their connection is almost palpable. J Hus’ allows Burna Boy’s to take reins on the chorus, while he raps about hustling, partying and a bit of romance.

Common Sense balances underground rap styles with genuine pop chops and that places him in a uniquely strong stead that other UK artists are yet to achieve. It’s too soon to predict how well his new album would do but with the rise of Afrobeats in the London scene, the sky is the limit.

Stream the album below.

Featured Image Credits: Instagram/theuglygram

J Hus discusses Lagos and other influences

 

Best New Music: Minz’s “Story” is everything you have heard lately and nothing you have ever known

Posted on by The Native

In the past few months we have heard a wave of songs crafted with uber-minimal production and focus on vocals over instrumentals. This trend was culminated by the combined success of Tekno’s “Pana”, Runtown’s “Mad Over You” and Mr Eazi’s “Skin Tight”, the reactionary result being the proliferation of a hybrid of high-life and neo-Afropop sound wave, everyone (literally everyone) has tapped for inspiration and re-purposed as a new music in the past weeks.

Minz comes in at the peak of popularity for this crisp style of Afropop with “Story”, a low synth-based single, peppered with guitar strums, soft kicks and steel-pan drums. Minz’s voice is aided by auto-tune but it doesn’t take away much from how he glides over the lush instrumentals, eases into a meek chorus and welds everything together with adlibs, that colour every grey line with bright mumble melody.

“Story” falls into the same category with every woman-adulating song you have heard in the last few years. Minz praises his lover’s features with comparisons to jewelry and promises to remain in the relationship against all odds. The seemingly undying quality of his love is limited by an unwillingness to give his love to a dodgy woman. But the calm tone he sings with, makes one wonder if this a type of reverse psychology flirting or if Minz really has no time for a woman that talks too much.

Minz’s “Story” will immediately draw comparisons with everything you have probably heard on the radio in the past couple of months. However, Minz’s save is that none of the songs that come to mind will boast of songwriting and producer credits. Agreed, with “Story” the newcomer is tapping into pre-existing wave, but nothing says he cannot make it wholly his own.

Hear Minz’ “Story” via Apple Music below.

Featured Image: Instagram/@MinzNSE

Listen to Minz’s Odoyewu here

Maleek Berry, Nonso Amadi to feature on Banky W’s EP

Posted on by The Native

Words by Fisayo Okare

In a couple of years from now, Banky W will be a well-grounded veteran in the music industry. Ahead of his upcoming EP, Banky W has teased a tracklist titled, Songs About U, a 10-track-playlist, half of which is solely performed by Banky himself. However, a few verses off the EP features contemporary artists who have been steadily dominating the airwaves, Maleek Berry and Nonso Amadi.

Asides being a playlist openly dedicated to Adesua Etomi, his fiancée, his collaboration with Maleek Berry and Nonso Amadi should bring nostalgia of what we used to hear and what we now know of, or maybe both, depending on who decides to feed off of whose sound. So, we are just going to sit back in anticipation of what maybe a meeting of the old and new gods.

While the release date for the Extended Play is still being kept under wraps, below is a post from Banky W’s Instagram, revealing all the collaborators and track list.

https://www.instagram.com/p/BUG3qFElrq3/?taken-by=bankywellington

Feature Image Credit: Instagram/BankyW

Read Up: Juls lets Maleek Berry and Nonso Amadi shimmer on “Early”

Watch L.A.X’s music video for his new single “Run Away”

Posted on by The Native

Words by Fisayo Okare

An earlier Instagram post from L.A.X tagged 2017 ‘Year of Rasaki’, hinting the singer’s big plans for the year. This has directly reflected in a series of back-to-back roll-outs to keep L.A.X in conversation and rotation.

After releasing his first and second single of the year, “Big Daddy” and “Stay With Me”, King Rasaki returns with a music video to his third single, “Run Away”.

It’s not enough to release a song and not strategically promote it. To keep up the hype for the release, L.A.X has been using the #RunAwayChallenge similar to the #Unameitchallenge, #Jujuonthebeatchallenge and a host of other, social media dance competitions that require participants to make videos of themselves and their friends dance and lip-syncing to the song.

Although, L.A.X’s music video for the song features none of those who have stood up to the challenge, “Run Away” is directed by Labi and features popular British Model and Youtuber, Jenney Paula.

Watch L.A.X’s “Run Away” below.

Featured Image Credit: Izzlax/Instagram

Read up: L.A.X’s riding hard on this synth-Afropop wave

“For Life” is basically “Mad over you” 2.0 but we don’t care

Posted on by The Native

Words by Fisayo Okare

There is always a tendency for African artists to milk their own success to the point of over kill. And as the saying goes, ‘Fool me one time, Shame on you; fool me two times’, you are probably out of ideas. It is however important to remember that in customer service, consistency does create loyalty. Especially since it’s what the people want to hear anyway. If it is, then you’ll enjoy listening to Runtown’s new music release, “For Life”.

Based on this premise, fans who loved Runtown’s “Mad Over You” would either cringe on the lack of inventiveness on what came to be “For life” or appreciate it as an update of the biggest hit of his career.

Produced by Krizbeats, “For Life” rides on the wave, which has become the signature sound of Krizbeats since the dawn of “Pana”; a baseline dominated by drums and intermittent synth patterns. However, the instrumentation doesn’t overthrow Runtown’s influence on the song. Similar to his last single, “Mad Over You”, Runtown sings on the theme of love. Except this time, he is lovesick. As he sings,

“My doctor say my cure dey on top your body oh”.

It’s easy for “For Life” to overwhelm us with the nostalgia of “Mad Over You” days, but here is hoping that his next release after this will be more than just both.

Listen to Runtown’s “For Life” below.

Featured Image Credit: Instagram/Runtown

Watch Runtown’s Live medley on The Compozers’ Encore Studio Sessions

What R. Kelly’s “If” Remix Really Means For Davido And Other Nigerian Artists

Posted on by The Native

Once upon a time, it took a miracle to protect your favorite American song from sonic abuse by Nigerian artists riding on the free publicity. They remix hit songs outside the Nigerian soundscape with, or (usually) without proper permission from the owner of the song to achieve similar success within Nigeria. If there were still any doubts that those dark days are now behind us, the snippets of R. Kelly’s “If Remix” on Davido’s Instagram is a game changer.

https://www.instagram.com/p/BT_f9SpFH2x/?taken-by=davidoofficial

So how did we go from the Banky W struggle days of “Ebute Meta” to Wizkids’ “Come Closer” remix with Popcaan, and Korede Bello’s “Do Like That” remix with Kelly Roland? Well a number of things are responsible, starting from easily accessible streaming sites that made geographical location a non-factor in soundscape, to the minimalist direction Neo-Afropop is taking. Afropop has morphed into a desirable genre since the taste makers turned more attention to song writing and less on the noisy beats. Recent releases tend more towards a calming mid-tempo baseline, and despite it being almost repetitive at this point, we can’t complain because it works, if it ain’t broken, don’t fix it right?

R. Kelly earned his place on the RnB wall of fame but his “If” remix doesn’t sound like it would do him any good. The only thing it does is confirm what many already know: Afropop is global, “If” is a jam, and Nigerian artists must now be more careful about the legality of sampling foreign artists, because the whole world is paying attention to our music.

Featured Image Credit: Instagram/davidoofficial

Watch Davido perform “If” live in Chicago

Odunsi (The Engine) makes video debut with “Desire”

Posted on by The Native

There are a few things you must know about Odunsi’s first video; it was filmed and shot in Lagos, Nigeria, co-directed by Odunsi himself and it’s perhaps the prettiest blend of colours and aesthetic to come out of Nigeria’s internet-savvy new generation caucus yet.

“Desire” brings pretty images to life with red accents and beige tints across shots filmed in Chinese Village, Ojota, Lagos. There are no cameos from Funbi or Tay Iwar whose guest verses are retained in the video, but the loose narrative of longing and need can be seen in wide-angled shots and close-ups to blank faces of Odunsi and his female co-star.

This is Odunsi’s first appearance on screen after building an expansive underground portfolio on the internet. “Desire” is not heavy on symbolism and subtexts but it’s proof of dedication to craft that has been absent in the work of local cinematographers in the past. It also holds premise of what we will come to expect from Odunsi’s brand in future.

Watch OdunsiTheEngine’s video for “Desire”

Listen to Nonso Amadi and Odunsi’s ‘War’ EP here

Seyi Shay Is Confident That Her “Weekend Vibes” Is Exactly What You Need

Posted on by The Native

Afropop is all about riding waves that borrow sounds from more established musical genres. One of the pioneers of the recent trends in the soundscape, KrizBeatz is really doubling down on that classic South American afro-latino vibe with his recent string of successful releases. Seyi Shay joins the league of artists like Mr Eazi, Tekno and Runtown who are helping the producer take this sound mainstream.

https://www.instagram.com/p/BT_olz3g1gG/?taken-by=iamseyishay&hl=en

A few years ago, “Weekend Vibe” would probably be called alternative high-life but we’ve grown to accept that trumpets, kick drums, claps, pianos and guitar strums when added together at the right progression can make for very good Afropop songs. Mix that with Seyi Shay’s vocals and you get quite the treat.

Seyi Shay singles have a prominent dance hall rhythm regardless of the theme. Her latest release, “Weekend Vibes” has lyrics that suggest that it would make for good background music to set the mood for sex but the tapping beats and guitar strums only make you want to move your feet. Then again it’s the weekend so dancing shouldn’t be ruled out of possibility.

Listen  to Seyi Shay’s “Weekend Vibes” below.

https://soundcloud.com/afro-songz/seyi-shay-weekend-vibes

Featured Image Credits: Instagram/iamseyishay

Listen to Seyi Shay’s “YOLO”

Listen to Lady Donli’s “Ice-cream” featuring Tomi Thomas

Posted on by The Native

Words by Fisayo Okare

Either by giving love a name or metaphor as Justin Timberlake did with his 2013 release “Strawberry Bubble gum” or Nigerian singer, Ebisan this year with “Ice Cold Water”, musicians try to capture just how mysterious love is. They try to convey their emotions of love through comparisons and story lines. Lady Donli’s is choosing sweeter metaphor for her new single “Ice Cream”.

https://www.instagram.com/p/BTtp8P_BOu4/?taken-by=ladydonli

Lady Donli’s Ice cream begins with some vocal work, setting the pace with what reminds of a-cappella harmonies like the ones from the Treblemakers in “Pitch perfect”. She uses the harmonies as segue into the meat of the song, written by herself and co-singer, Tomi Thomas. Lady Donli sings, “you are sweet like ice cream baby, you do me like ice-cream baby, but you know, we both know, that you are no good for me.” Ice cream may seem a cheesy way to describe love but it’s actually more elaborate than you think.

Ice cream comes in many flavours, just like love. There is Agape, Storge, Philia, and Eros. And to top it off, there are many fillings that you can sprinkle on it. Anything can be used to elevate a bowl of basic flavoured Ice cream. But then, even with every topping you add, you increase the risk of losing that delicate balance. Your cashew might be a little too…cashew. Even your gold leaf might be a bit much.

And inevitably, all ice-cream melts. It looses that firmness; it becomes warm and messy, and upsetting to watch. Soon all your sprinkles are afloat on a sea of sorbet coloured sludge, nothing to hold on to. By that point you have two options. You throw that melted ice cream out and leave it to the swine, or you grab your spoon and make what you can of your ice cream. Dig in and scoop that shit up. Because it’s ice cream and good ice-cream shouldn’t be wasted, sludge or not.

Now, It’s not so hard to imagine love like ice cream, is it?

Nosa Apollo and Mr O. produce, DJ Woske offers additional vocals, perhaps the other voice you hear that isn’t Tomi Thomas’s faster paced verse, but the subtle bass-voice that chirps in monosyllabic sounds and words from time to time. The song ends with some sparing use of Hausa, in an attempt to cleverly tie up the song’s narrative.

The video for “Ice Cream” displays footage of Lady Donli, Tomi Thomas and friends in summery laid back scenes. the video’s director, Kuddi chooses colorful backgrounds and filters to further emphasize the delightful playfulness conveyed through the characters in the video.

 

Listen to Lady Donli’s “Ice cream” featuring Tomi Thomas below.

Featured Image Credit: Instagram/Ladydonli

Charles Nkanga’s “Against The World” is a modern retelling of Romeo and Juliet

Bemyoda’s “I Told You” is a little ditty with outsize emotions

Posted on by The Native

Alt folk singer Bemyoda doesn’t put out much music, which is a crying shame because his music is so personal and the themes he explores universal that he could put a song every day and it would find a loving home in our hearts. But he has spoken at length about being all about the craft instead of volume. The droughts between mean that when he does release music, they come from an intensely personal place.

Bemyoda has just released “I Told You”, announcing via Instagram that it is going to be the first single from his long anticipated debut album Stark. Inspired by a personal experience with depression, his little ditty contemplates as simply as possible the vastness of finding one’s self in a period of strong self doubt. Composed entirely of piano solo and Bemyoda’s smoky vocals, the song lulls and comforts and extends far beyond its modest two minute, fifty four second mark. A understated opener to the album, but then again, the biggest waves start as a quiet wind.

Watch “I Told You” here.

Maleek Berry and Nonso Amadi make Juls shimmer on our Best New Music