Surfing the waves of heartbreak with music

words by Ehimenem Agweh

Sundays should be the most unassuming day of the week. No screaming, no fighting, no shouting, no breathing. Just rest and relaxation. Yet, I picked Sunday to be the day I wrestled the devil. The devil in this case is an actual human not the supernatural figure we know and marginally fear.

Wait.

I’m not telling this story right. Let me start over.

My story begins with a phone call and an argument on a Sunday morning. My first love and I had made plans for this particular Sunday, particularly to take our first communion together as newly inducted adults of the church. Unfortunately, my dearest had lost all faith in the institution of the Church and as a result, caused me to run late and engage in a pissing contest with him.

The next few days were a tightrope walk. I refused to call him, believing that he would have the good sense to pick up his phone and grovel for my forgiveness. I, in turn would grant it to him after stalling for two days and making him swear never to repeat such a disastrous performance ever again. Once again, I was disappointed. But the real kicker came when my family opened my eyes to the wreckage that was my relationship with Victor dearest.
It was silent. Everywhere was silent. He was silent and it was damning. Even if he had never spoken the words, he had wanted me to choose. To decide if I was on his side or sticking to my loyalties. In his silence, I saw the truth of the words we never said. He didn’t love me. He didn’t even respect me.

A few days later, a girl who identified as his girlfriend tagged me in a picture on Facebook. I hadn’t even known who she was; I just accepted her friend request as it came in. She knew about me and she was mocking me. The battle lines had been drawn and I snapped.

That night, determined not to waste my tears on him, I scrolled through my music library looking for something to soothe my wounded spirit. Tired, I picked a song at random. To my horror, it was Michael Bolton’s “How am I supposed to live without you”. That just did it and the waterworks started.

I cried so much through each verse Michael Bolton must have pitied me. My heart was not just broken, it was obliterated. Just as I thought it was over, I stumbled on Gabriel Afolayan’s “Kokoro Ife” in the same period. “Kokoro Ife” was probably intended to do no harm, but the languid pain in Gabriel’s voice blurred any emotional respite the mid-tempo upbeat instrumental could have held. But it didn’t stop me from hitting the replay button, something about our mutual misery oddly comforted me.

For the next two years, these two testaments to the power of a broken heart became my anthems. By day, I was a snapping basket case lashing out at everything. By night, I was transformed into a mess of tears as I played them over and over and over again. I apologize to my family in case they have been traumatised by the constant replay. There was a complete heartbreak playlist which I had prepared months before Black Sunday. I thought I would never need it but well, shit happens.

I’ve grown out of those two songs now. At least, I’m putting K-Pop on repeat this time. I cannot even remember the last I heard Michael Bolton or Gabriel Afolayan. I’d cringe if I heard them again. But there was a time when such mood based music allowed me surf the waves of emotions without sailing away.

Featured Image: Seye Doregos

Laura Mvula’s “Generation Anxiety” shows the dark cost of talent

Riton Releases New Video For “Money”

After last year’s “Rinse And Repeat” featuring Nigerian vocalist Kah-Lo, British DJ has stuck with the afro electronic formula for his newest single “Money”. This time he teams Kah-lo up alongside Davido and Mr Eazi. The subject matter of searching for a better life is not specific to any region but in Nigeria, Lagos is notoriously known for being the perfect place to hustle for money. “Money” however places more emphasis on the message of enjoying the free things in life which is also in line with the Nigerians lifestyle.

https://www.instagram.com/p/BSycye1lAkZ/?taken-by=ritontime

A promotional video was released earlier showing animated paper cuts of the artists but the official video has finally been released and it is shot in Lagos, Nigeria. Mr Eazi is shown traveling in the classic yellow Lagos bus to meet up with Kah-lo under a bridge. Everyone is seen having a good time as kids play soccer and Riton looks pleased to be in Nigeria for the first time. Davido presence in the video was felt over a television set that Riton switches on with a remote but it comes off as apt for his short contribution to the song.

The video for “Money” captures the context of the song as well as the Lagos’ hustle and bustle.

Watch the Riton’s “Money” below.

Featured Image Credit: YouTube/RitonTimeVEVO

Listen to the Native Mix: featuring Dj Wayne

NATIVE MIX 002: featuring DJ Wayne

Words by Fisayo Okare

Following the sprawling inaugural NATIVE Mix by SMOKING INDOORS, DJ Wayne brings it home on the second episode. Based in Lagos, Wayne regularly plays at island spots – Vapors and 355, as well as various private gigs. Before relocating to Lagos last year, he was a popular jockey in the Hull community, spinning songs at dances nearly every weekend.

In this episode of the NATIVE Mix, Wayne gives listeners a starter park for the new class in West Africa. From the hip hop/soul hybrid of Genio Bambino to the infectious breakout tracks from Santi and Nonso Amadi. The current wave of Nigerian music is eerily similar to the post-House of Balloons sound that took over Toronto, but the catalyst isn’t so clear as it was in 2011. This new school of artists all breaking out at the same time is a great thing for afropop music, and their embrace by relative OGs like Boj and Adey is a refreshing sight.

Listen to Wayne’s mix below, and peep the tracklist.

Sweetest Taboo – Genio Bambino
Gangsta Fear (feat. Odunsi) – Santi 
Coconut Lips (feat. Tomi Thomas) – GMK 
The Other Side (feat. Odunsi) – Genio Bambino
Insecurity – Bridge
Wateman – GMK
Radio – Nonso Amadi
Lovers Riddim (feat. Genio Bambino) – Santi (feat. Genio Bambino)
One More (feat. AYLO) – King Zamir 
Tonight – Nonso Amadi
For Sure – Boj
Tinko Ko – D-O
Bruk It Down (feat. Ayo Jay) – D-O 
Dirty Diego – Adey
Wait a Minute (feat. Olamide) – Boj (feat. Olamide)
Move On (feat. David Meli & Minz) – Famous Bobson
Novice (Remix) (feat. Falz) – David Meli
Regards To Your Mumsi (feat. Ajebutter 22 & Fresh L) – Falz
Vanilla – Odunsi The Engine
Purple – Teffy
Adura – Odunsi The Engine
Vibrate – Odunsi The Engine
Jungle Fever (feat. Genio & Odunsi) – Santi

Revisit the previous Native Mix feat. Smoking Indoors

Stay Calm, but it looks like Playboi Carti’s debut is officially dropping at midnight

Playboi Carti, infamously known for the pump fake when it comes to release dates, may actually dropping his debut project tomorrow. Due to an apparent glitch in the New Zealand iTunes store, the album was available for streaming for a short period of time. It also appeared on Spotify.

 

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With features from Lil Uzi Vert and ASAP Rocky, it looks like his self-titled debut project will finally hit the e-streets at midnight via AWGE/Interscope Records.

Watch Teaser Trailer for Orange is the New Black Season 5

Words By Fisayo Okare

 

Inmates keep fans on the edge with a new trailer for “Orange is the New Black” season 5. The Netflix’s award winning hit series is set to premiere on June 9th 2017. The series is based on Piper Kerman’s 2010 memoir, “Orange is the New Black: My year in a Women’s prison”, which documents her time at FCI Danbury, a minimum-security federal prison. After its first season, it became Netflix’s most watched original series and has since gone for five seasons with a projected run of seven seasons. It’s the first to score Emmy nominations in both comedy and drama categories and has gotten Uzo Aduba, American born Nigerian actress, two Emmy awards.

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Although the plot details for the 5th season have not been disclosed, the 13 episodes to air will take place over the course of 3 days. It will be a tense season, with Poussey (as played by samira willey) dead, and returning actors including Uzo Aduba, and Laverne Cox amongst others.

The first episode picks up where season four left off. Inmate, Daya (Dascha Polanco) is pointing a gun at officer Thomas Humphrey (Michael Torpey) while chanting prisoners urge her to pull the trigger. While this is happening, Piper Chapman (Taylor Schilling) and Alex Vause (Laura Prepon) are discussing their decision to refrain from being troublemakers when they come across the uproar going on. “Is this a real riot?” Piper asks. “If this is a real riot, do you think this is a step forward or backward for equality?” Alex pulls Piper away from the scene as she asks all her questions. The teaser ends with Daya still pointing the gun at Humphrey and while the scene fades a gunshot is heard.

Watch the teaser trailer of “Orange is the New Black Season 5” below

Featured Images Credits: YouTube/Netflix US & Canada

See Nigerian born hollywood actor, Yetide Badaki in steamy teaser trailer for “American Gods”

AV Club: “Rouge”, Fisayo Osilaja’s new short film mines poetry from heartbreak

Fisayo Osilaja’s short film “Rouge” is entirely distinguished by its poetry. With clear crisp delivery, the kind that you only hear in the best of short films, Osilaja’s narrator Jzov Najea voice is like a lighthouse on the shore of treacherous waters, focused, singular, projecting calm and guiding you through the metaphoric images through which Osilaja tries to weave her story of heart break. It is her voice that I keep coming back to the entire six minutes run of the film, her voice that stays in my head long after the images of a blond haired silent protagonist Rouge (played by Riauna Nevels) and her room of balloons have faded from memory. It shows with quiet confidence that voice over narrations aren’t always bad.

Spawned by a true story, Osilaja’s Rouge, follows two main characters, Rouge and Bleu (pardonnez moi) and their intense but somewhat volatile love affair. Using lighting, a lo-fi film filters and different coloured balloons, Bleu and Rouge meet and fall in love, and settle into the rhythm of a relationship. Then discord sets in, creating a rift between them and widening it till Bleu is gone and Rouge is left with a metaphor sliver of him. Rouge has to let him go to truly find herself.

The film’s preoccupation with metaphorical representation is its most intriguing feature but also its biggest handicap. The film’s leads phone in their performances, never showing any real immersion in their characters, that flicker of emotion that is the shift between acting and being. There’s always a metaphor to substitute for any proper portrayal of emotion, and the actors spend the entire film in a pantomime of what the trajectory of a relationship should look like. That in itself becomes a metaphor for the film where perhaps the subject is too painful or personal for the filmmaker that she never really engages it with unabashed honesty, and instead substitutes symbolism for candor.

Rouge is a fascinating first film, but Osilaja is not there yet as a filmmaker.

Watch Rouge here.

 

AV CLUB: Nasty C’s short film “Bad Hair” is a pretty picture that lacks cohesion

Watch “To Self”, Eva Alordiah’s Latest Video

While fans waited for the rapper’s debut album last year, Eva released Because You’ve Been Waiting, a compilation of old previously recorded songs, freestyles and studio cuts on her soundcloud. The “playlist” kept fans entertained till she eventually released 1960 and boy, was the album worth the wait. One of the most acclaimed tracks on the album, “To Self” has gotten an adjoining video and asides showing Eva look cool as fuck, it also marks the first official statement that our favorite female rapper is working on a new ‘project’.

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She added on her YouTube page that ““TO SELF” is off Eva Alordiah’s next rap compilation for the fans”. The untitled project is expected for release later this year.

While we wait for the EP, enjoy Eva’s video for “To Self” below.

Featured Image Credit: Instagram/ievaalordiah

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Hear “Give It To Me”, a potential lead single off Eugy’s upcoming EP

The success of last year’s hit single, “Dance For Me” featuring Mr. Eazi spilled into 2017. Considering it easily has the most plays on Eugy’s soundcloud with over 4 million plays, it goes without saying that the British Ghanaian producer’s growing profile will only metastasize if there’s project to solidify his place in the game.

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These days, Eugy is taking a more frontal approach with his music, as a producer and artist. His latest single is a follow up to his appearance on producer, Juls’ “Bad” alongside Not3s and Kojo Funds. “Give It To Me” is Eugy’s first official release of the year and it features rapper, YCEE, who is currently on tour in the U.K.

Team Salut produces a mid-tempo beat for “Give It To Me” using pianos and drum kicks that rise to a peak and drop with a sleek thump. Eugy’s ability to strike perfect balance between afropop and rap is well known and “Give It To Me” will boost anticipation for his debut EP, Flavours. expected to be ready sometime this year.

Listen to “Give It To Me” below.

Featured Image Credits: Instagram/eugyofficial

The New Age needs to throw away the outdated rule book

Nova goes the lo-fi route with King Zamir for ‘Maddness’

The current standard and obsession for Nigerian music videos right now is a South African directed, celluloid quality video footage rife with Tumblr-esque, hyper pigmented built sets or opulent locations, with rappers airbrushed and edited to their ‘best’ selves. It was only a matter of time before that aesthetic became the mainstream, in line with international standards. So when Rapper Nova spun things on it’s head with a new lo-fi video for his song with King Zamir, “Maddness”, we took notice.

Nova’s been teasing a new EP Heat Wave, in collaboration with producer DoozyBeats, and “Maddness”  seems to be a teaser single to get us hyped for the main project. And Doozy is at the top of his game with the beat, conjuring a fire trap beat. He grounds the instrumentals percussion loops with an otherworldly sample of a vibrato scat singing a riff a la Kanye West. Zamir and Nova deliver rapid fire bars, hounding the beat and owning it, even showing off with an impossible to forget hook.

For the video treatment Nova goes retro, forgoing high res videography for grainy betamax style lo-fi, mimicking the ‘street’ videos of early hip-hop, complete with tube-light marquee names and 90’s hip-hop fashion, hoodies and baggy jeans included. Somehow it works, it all works, the ambience, the emphasis on the rappers, the lo-fi aesthetic. It shouldn’t but it does.

Nova seems in control of the image he wants to project for his forthcoming EP, and if Doozybeats can pull off a whole EP of beats this swaggy, we might have a hit on our hands.

Listen to “Maddness” here.

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

British singer Laura Mvula earned global acclaim in 2013 for her cerebral debut album Sing To The Moon, distinct for its superior orchestra arrangements and Mvula’s expertise as a composer, getting nominated for many global music awards and winning quite a few. Mvula seemed to publicly be living her biggest dreams but few that privately Mvula’s life was falling apart. Her marriage was failing and the anxiety which she’d experienced occasionally growing had worsened under the stress of fame and performing into a full blown disorder. Mvula took some time away from music to address and understand her disorder which she calls “Generation Anxiety” and took some steps to ensure she put her health first, finding and re-centering herself before beginning work on 2016’s The Dreaming Room. 

But now Mvula is doing more than just living with her illness. She is speaking out about anxiety and demystifying the disorder. First she did an extensive interview chronicling her personal struggles with Anxiety for British Media The Guardian, then she partnered with the BBC to produce a documentary shedding light on the disorder and how it has affected her and other high profile musicians and creators.

Mvula’s documentary flits between her personal struggles and the struggles of others, especially ordinary people and how they are advocating for Anxiety and other mental disorders to publicly addresses and acknowledged and hopefully eventually treated. It is important this documentary was made, especially a female musician of colour, because there is this misconception that mental illness is a ‘white’ thing, and there is intense pressure on musicians and creators to maintain an impeccable public presence. Added to the intense pressure to outdo one’s self with each new project, the expectations of fans and management and loss of privacy and identity, creators and artists of colour in the public eye need to especially take care of their physical and mental health.

Laura Mvula’s documentary is starting the conversation, especially around anxiety and how many musicians who fall of the radar do so not because their talent has waned, but because they simply did not have the support framework to handle the pressure that comes with their talent. It also asks us fans, to not be complicit in pressuring the creatives who admire into self harm or neglect in a bid to satisfy us.

AV CLUB: Read our review of Nasty C’s short film, “Bad Hair”

Laura Mvula Busts myths around anxiety disorders in her “Generation Anxiety” Documentary

The British soul singer-songwriter asides being a known for her brilliant orchestra worthy voice, she is also known for being quite vocal about her panic attacks and anxiety disorder. She shares her experiences and how she copes with the ailment on her twitter any other platform that allows her relate with people going through similar problems to show them they aren’t alone. She was featured on Woman’s Hour, a BBC program primarily for women discussing health, education, cultural and political topics. The show turned out an inspiring documentary by Laura Mvula titled “Generation Anxiety” where she examines anxiety disorders and looks at why women and 35 year olds and under are prone to the ailment.

Laura’s “She” plays subtly as she explains her fears and how she has survived. The goal of the documentary is to increase the awareness of mental health challenges so that people suffering from it are confident enough to seek the help they need.

Watch the inspiring documentary below.

https://youtu.be/pSq746E43fI

Featured Image Credit: YouTube/lauramvulaofficial

Hear Tiwa Savage’s first official single of the year “All Over”

See Nigerian-born Hollywood actor, Yetide Badaki In Steamy Teaser Trailer For “American Gods”

Words by Fisayo Okare

https://www.instagram.com/p/BSKmNnygYtp/?taken-by=yetide

Nigerian born female actor, Yetide Badaki has come under spotlight for her role in upcoming Starz series, “American Gods”. “American Gods” is an adaptation of a best-selling Neil Gaiman novel of the same name and Yetide bagged the role after she was reported to have given a spellbinding audition for the part of Bilquis, an ancient goddess of love from the novel.

The scene Yetide re-enacted for her audition is one of the most talked about; Bilquis, Queen of Sheba swallows a man through her ‘Tunnel of love’ (aka, her vajayjay) during a sex/worship session. Bilquis is an African goddess in the novel and Yetide’s re-enactment of the role as a woman of African descent fits neatly.

Although having very few scenes in the novel, her role in the series is more elaborated upon. Yetide’s Bilquis is an expansion of the original and is going to play a more active role in the events, which lead up to the final war between the Old and New Gods in America.

It’s almost impossible to understand how the writings of Gaiman will be pulled off in the series, but speaking about this key scene, Bryan Fuller says “One of the most amazing sequences for me when I was reading it was the Goddess Bilquis eating a man with her vagina! I think it’s beautifully written in the novel … we’re going to do it exactly as written…lift that right out of the book and drop it right into the show”.

After teasing a snippet of the series with a mysterious visual earlier, Yetide Badaki is shown in character, the only one in a red room with candles lit, she gives a cry in a sultry, scratchy tone “Worship me, pray to me like I’m your god…your goddess.” This major project can either be made or broken but with the release of this teaser; it may be going steady on a captivating path. The series is set to begin airing on the 30th of April 2017.

Other TV shows Yetide Badaki has featured in include “Masters of sex”, “Aquarius” and guest spots on “Criminal” Minds and “NCIS: New Orleans”.

Watch Yetide in “American Gods” teaser below.

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AV Club: Olu Ososanya tracks the growth of Nollywood through its cinematography

One of the spill overs of technology and digital media democratizing the process of content creation and taking away the power of the former gatekeepers is that we’ve seen more independent film makers turn away from commercial film and into research and documenting the result of said research into easily accessible media. Documentaries have been the missing vertical in Nigeria’s media and film industries, long form news investigations, shedding light on often ignored aspects of our creative industries. This is why filmmaker Olu Ososanya’s new mini-documentary “The Evolution of Nollywood’s Aesthetics” is so fascinating.

Ososanya who is already a mainstream filmmaker and whose short film Honey was one of the most interesting short films we’ve reviewed in recent times takes on the history of Nollywood, tracking it through the changes in production values and a shift from seeing filmmaking as a short term commercial option to artistic expression. He manages to cover a lot in three minutes, referencing classic Nollywood, whose superior writing and acting managed to overcome its substandard production, the precision of current film making and how Nigerian returnees have helped push this shift.

Though there is a lot that he doesn’t even broach and we hope that Ososanya actually takes this idea and properly explores it to its logical end, expanding it into a proper longform documentary that actually asks the right questions and involves industry professionals. We’d certainly pay to see that.

P.S: Bimbo Akintola has always been head and shoulders above the competition, there’s less than 20 seconds of her in the documentary but we still were enthralled.

Watch ‘The Evolution of Nollywood Aesthetics’ here.

AV CLUB: Nasty C’s short film, “Bad Hair” is a relly pretty picture that lacks cohesion

YÖöfi’s “Road” is only 3 minutes long but it packs one hell of a punch.

Listening to Ghanaian rapper YOofi’s new single instantly transported me back to May 2010, exactly where I was mentally when I first heard the Nas and Damien Marley collaborative album Distant Relatives. Sure Jay-Z’s collaborative album with Linkin Park which featured mash-ups of both of their songs from their last albums introduced Linkin Park to a whole generation of rock and rap fans and Run DMC and AeroSmith’s “Walk This Way” invented the rap-sung collaboration sub-genre, but it was the Marley/Nas collaboration that elevated the genre and had us off our feet. This is why YOofi excites us so much.

Produced by Jump Off (who also features on the song) YOofi enlists the help of Jump Off, Jordan Juma and Mac M to deliver a diverse litany of rap styles, all tied together with a sparse instrumental beat that features a simple but compelling base riff and aggressive percussions. There is some bilingual rap thrown in and a slick reggae hook and verse melds everything together, smoothing out the transitions between rappers and styles. Road is the kind of song that gets your blood pumping, upping the energy with every minute till you tip over the edge at the three minute, blissfully spent.

Add this to your workout playlist this very minute.

Listen to “Road” here.

Maka’s “Sinner” is a plea for redemption

Words by Fisayo Okare

Maka writes her songs with the intent for listeners to find aspects they can relate to. Her latest single, “Sinner” talks on the weakness of individuals and the imperfections of humanity. We often fall into temptation and our vulnerability makes us inclined to fall into sin. Maka rips the band-aid off, exposing the deepest of her fears and bringing them to the light in “Sinner”.

The sound of the guitar serves as her anchor as she sings soulfully. She begins with a thought provoking “Who are you when no one’s watching? Are you pretending to be who you are not?”. Humanity’s toiling to be perfect or at least, just have a flawless public façade that masks who we really are is Maka’s narrative on “Sinner”.Sinner also houses bars from Hennessy Artistry headliner Boogey, who is haunted by his sins even though his intent is to seek some sort of redemption but rather raps in search of a release.

Tech-Zilla’s well-synthesized production captures aptly the switch between Maka’s crooning and Boogey’s rap. “Sinner” listens like a solemn cry for help doused in hip-hop and soul.

Listen to “Sinner” below.

Featured Image Credit: Instagram/theofficialmaka

Saving the New Age from the sins of its predecessors

Tyson Noir’s “Can I” is afropop run through with strains of 90’s R&B

Tosin Oki, or Tyson Noir has been in the Nigerian music industry for a minute. With a well received EP put out in 2015 and a handful of singles since then, Oki has managed to stay on the fringes of the New Age music movement while remaining relevant in the industry, even performing at the King Sunny Ade 70th birthday tribute concert in 2016. The singer has just put out his first single of 2017, “Can I” and it couldn’t be sooner.

Tyson changes genres again, this time looking towards the now distinct sounds of classic 90’s R&B for inspiration for the new sound. There is a flush of saxophones solos and adlibs, heavy electronic sounding bass beats and a vocoder is used to fray the edges of Tyson Noir’s very distinct voice, as he sings about consent and politely seducing a potential lover and the chase of wooing her. Vocally this is the best we’ve heard from Tyson, his delivery is crisp, his songwriting is less cluttered than in previous efforts and stripped down instrumental allows his vocal work remain the focus of the song.

And I can’t help but come back to the saxophonist and the magic he brings to the song. The solo saxophone was a huge trope of the 90’s with instrumentalists like Kenny G and Yanni gaining crossover popularity from it. Many older music lovers will glom onto “Can I” because of this, and that, any way you slice it, is a good move.

Listen to “Can I” here.

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Essentials: HeadBridge’s ‘At The Moment’ Debut EP is a new classic

Ever since the failings of 90’s hip-hop crew, REMEDIES, we’ve grown to look at reincarnations of rap groups with skepticism. The startling number of failed Nigerian rap duos/groups mean that when one emerges we engage with equal parts skepticism and hope.

However the HeadBridge music collective has us stoked with their debut project, At The Moment. HeadBridge consists of Realtalk, Soto Nwobi and his cousin, Chuba. All three have been into music for a while but despite the obvious talent and drive to succeed, their music, individually and collectively have remained underground, until now.

Soto’s music group in university, ‘GSC’ split-up and left him to pursue a solo career in music but the solo gig didn’t work for him after singles like “Hustle” got little recognition. Soto and the rest of the team formed The HeadBridge music group in 2015 and with Reflex Soundz, Kay X and Jabz production, their debut project, At The Moment could turn out to be the springboard that launches these rappers to public acclaim status.

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At The Moment is a mixture of 90’s hip-hop, trap and a bit of urban Afropop. They pull this off masterfully with since their rap draws inspiration from legends like Nas, Jadakiss and 50 Cent and their producers have worked on Afropop songs. The EP plays like a literal first time introduction of the artists first to each other then to the listeners. The have a lot of recorded conversations spread across the 11 track EP.

The first song “Ride Round Music” was the first song the trio ever recorded together but you could never tell with the coordinated and almost conversational flow they display on the track. Kay X takes production credits for the song spiced up with disc scratching noises that takes listeners back to the Nas and Jay Z days of hip-pop. The synth guitar and piano baselines are also straight out of Dr. Dre’s handbook and Realtalk, Chuba and Soto give hard bars that reminds us of the TDE rap group from Compton. “Ride Round Music” embodies the current aesthetic of the group as Soto raps “You don suppose to blow. I hear it everywhere that I go” “I’ve been on this gig forever” “2016, We ride this year. We put a bullet in a dream”.

“Konsono” is the 4th track on the EP and it starts off like your regular jollof-rap song that the YBNL crew have made commercial. The up-tempo beat and designed by producer, Reflex Soundz to get people dancing was used by The HeadBridge to pass a politically conscious message. Rappers like Joey Badass have used beats that sound like they belong in the dance clubs to deliver lyrically conscious verses on songs like “Devastated” and that’s what Soto, Realtalk and Chuba do on the urban-Afropop beat that switches from Afropop to Trap without missing a beat. They rap about the backward economic position of the country and blame corrupt politicians.

Jabz produced “Abeg”, the 6th song on the EP and he gives the group their most somber track using the flute instrument that has gotten very popular lately thanks to D.R.A.M’s “Broccoli” and Future Hendrik’s “Mask Off”. The slow tune works for The HeadBridge’s emotional verses written to address moms, ex lovers and “new friends”.

Despite the Afropop hip-hop mash-up attempt in At The Moment, the EP is still plays like a niche 90’s hip-hop playlist that only rap-heads would enjoy. Also, the EP is limited by it’s lack of visual representations for the three voices who are relatively new to a lot of listeners. All that being said, the talent in The HeadBridge group is tremendous and with proper management, could become take Chocolate City’s place as Nigeria’s TDE.

Listen to HeadBridge’s At The Moment EP below.

Featured Image Credit: Instagram:@soto_eon

Saving te new age from the sins of its predecessors

The Isomers’ “I No Get” is a demand for love in spite of the recession

Words By Fisayo Okare

https://www.instagram.com/p/BSn2JraAO2f/?taken-by=theisomersmusic&hl=en

Loving imperfections is easier said than done, but the hankering for a lover who will do this is what has inspired Isomer’s “I No Get”. On “I No Get”, Isomer presents love as accepting though not entirely blind from flaws.

The story is told through the eyes of a man, who is trying to prove himself as a worthy lover. He hides his true emotions behind a sense of humour that is decidedly quirky as he chants “I still eat akara, no fancy shoes, I pick my nose, rumpled clothes, that’s how it goes.” However, he believes she can accept him through his “hustle days” because he isn’t lacking where it counts. He goofs around about all he doesn’t have but the goal is to show that he’s honest about being in love.

The Isomers band have a laid-back delivery on “I No Get” making the song play like an Indie-folk song with plucky acoustic guitar crisscrossed with light clap-rhythm gong beats and vocal harmonies. The lead singer strings together witty expressions on “I No Get” down playing the somber mood of the instruments. It is a free release from the quartet’s 2nd EP, tagged The Valentine.

The EP is intended to narrate the different emotional love story of each of the band member and judging by “I No Get”, the individuality of each member would be expressed on each track.

Listen to “I No Get” below.

Featured Image Credit: Instagram/theisomersmusic

The New Age needs to throw away the outdated rule book

Zilla’s “Hot Hot” Is Hardcore But Smooth

Rodzilla’s debut EP, NEG:RO was released last year and it defined the rapper’s sound as an hip-hop and Afro fusion artist. Lately, the Abuja based rapper has been on a row, releasing new music consistently and delivering on guest verses. His latest single, “Hot Hot” a similar multi genre aesthetic heard in the rapper’s prior releases.

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The Kanaty produces a mid tempo beat hanging on a piano baseline but the beat picks and drops for a more pacy beat on the chorus. Synth sounds and guitar strums appear at different intervals on the beat and they tie together to form a nice platform for Zilla to show how adapt he is to any type of beat. He switches between rapping with Grime flows and Afropop singing with practiced ease. “Hot Hot” discusses the subject of sex using coy metaphors but his delivery makes the song play like a dancehall jam instead of a hardcore rap song, even though his preference for the latter is evident.

“Hot Hot” sounds like a perfect blend of everything pop and could very well be his break out single to the Nigerian mainstream music.

Listen to Zilla’s “Hot Hot” below.

Featured  Image Credit: Instagram/zilla__oaks

The New Age needs to throw away the outdated rule book

All The Essentials From Ycee’s ‘First Wave’ debut EP

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Most relatively new artist would crumble under the pressure but considering YCEE’s Sony distribution deal, First Wave was never in too much danger with regards distribution. He still got more than a substantial amount of attention with the assistance of the videos for “Juice” and “First Wave Documentary”, a short film explaining the process that went into making the EP. First Wave emphasizes the YCEE’s artistry as a versatile rapper that can handle different genres of music. He convincingly branches out to RnB, trap, grime, Afropop and rap on the 8 track EP which featured artists like Reekado Banks, Calibrii, Seyi Shay, Falz, Maleek Berry and Ghanaian Kly.

The EP starts with “Wavy”, an hip-hop track produced by Thai. The beat is bouncy and bass-heavy with. YCEE continues his braggadocios rap theme that made “Jagaban” a hit. He makes all the right brags, from reminiscing on how he went from ‘Nothing to something’ to stealing everyone’s girl.

“Bubbly” features fan fave, Falz who joins YCEE to gloat about how they still buy expensive drinks at the turn up in spite of the recession. Karma beats produces the track with a synth piano baseline. YCEE raps with his Porsche English but that doesn’t hinder Falz’s Baba Taju alter ego from slipping a few Yoruba infused lines into the mix.

Seyi Shay comes in for “Need To Know”, the lone RnB track on the album. It plays like a R. Kelly classic thanks to the pianos and horns in the song’s instrumental produced by Adey.  YCEE does his best singing impersonation with a druggy vocoded effect. Seyi Shay delivers a beautiful sonic RnB verse and that inspires the rapper to hit high notes for the bridge that followed. The raunchy chemistry they share on the track brings out a more emotional side to YCEE that hasn’t been seen prior to the First Wave.

The First Wave EP won’t disappoint YCEE fans and could even earn the rapper more fans with the wider appeal in multi-genre EPs.

Listen to YCEE’s First Wave here.

Featured Image Credit: Instagram/iam_ycee

 

 

Best New Music: Brush your vibe-out playlist with Ycee’s new squad anthem, N.O.U.N