After D’banj made head way with a flamboyant style of Afropop inspired by his inherently larger-than-life personality, Nigerian music saw the rise of uber-confident artists whose style was a direct reflection of their innate charisma. Durella falls into this time and category, for obvious reasons. The singer came into limelight in 2008 guns-blazing with the same bashful self-validation D’banj brought to the game. Direct comparisons with D’banj would later cause Durella to diversify his sound, but only after the singer charted with three solid hits; “My Life”, “Zanga” and the all time turn-up favourite, “Shayo” based off the same style.
You don’t need to look too closely to understand the M.O for strong”Shayo”. Durella chants with an alcoholic’s conviction about how much his life is improved because of his ability to keep the drinks coming. The bass-heavy instrumental produced by I.D Cabasa is a bit of a wonder work. Pianos and violins set tone for riotus baseline peppered with back-up vocals, and a single note guitar riff thrown in the mix for pizzazz.
“Shayo” is reminiscent of the early years of self-absorbed pop celebrity, a testament to an era where the artist’s swag and hardest brags came off the portrayal of an extraordinary lifestyle. There have been great turn-up songs ever since Durella’s “Shayo”, but none of will have the same delivery or focus on subject matter. Because for Durella the art of “Shayo” is more than just a song, it is reflection of his life.
Kendrick Lamar has confirmed the details of his new album. Titled DAMN. the record will be released on April 14. It features the Billboard hotshot single, “Humble” in addition to particularly intriguing collaborations with Rihanna and U2 on the tracks “Loyalty” and “xxx, respectively.
With production credits for bonafide sound-smiths such as Mike WiLL-Made It, DJ Dahi, Sounwave, 9th Wonder and the Alchemist, DAMN. on the surface appears like it may be a departure from the critically acclaimed, jazz-influenced To Pimp A Butterfly.
If you don’t already know Gillian Baci from his two last releases “If You Break My Heart” and “Fool’s Gold”, you would want to check-out his latest heartbreak single,“Nothing”.
His upcoming 5 track EP, Journey To Heartbreak, is taking a more defined form with this new single. “Nothing” explores the emotions of a lover who is undeserving of his partner because he has “Nothing” to offer.
From the get-go, Baci’s lyrics are simmered in despair and as he ponders, “I wanna know why you love me so”. The emotion in his voice builds and peaks at each chorus. Thanks to Baci’s sentimental delivery, the imagery of despair rings loud in the single and it’s easy to imagine the expressions on his face as his voice soars where he chants, “They told me that my love was nothing”.
“Nothing” is the second single off the EP. Listen to it below.
The music industry is infamous for being a cut-throat business over passion world, and hip hop artists often find themselves on the wrong end of the guillotine. Whether it’s Frank Ocean wasting away on the shelves of Def Jam pre-Nostalgia, Ultra, or 6LACK finding himself in label purgatory, counting down the years till creative freedom: the road to stardom is a difficult one to navigate, even more-so with shady record execs and fake friends.
DAP learnt this the hard way, in a year which saw peaks such as jam sessions with Mark Ronson at the world-famous Abbey Road Studios, and lows that saw him splitting from longtime management turned friend turned stranger. He bares it all in the wonderfully composed “Open Letter”, built on an iPhone vocal recording of some friends and some subtle piano keys.
Comic books and animations help keep our inner child alive. Animated adaptations of beloved comics like Super Strikers have helped to build pop culture in Nigeria but ever since Disney bought the rights to air the animated series, the Nigerian names and themes have gradually been filtered out. Thankfully, the Annecy Festival, an international animated film festival usually held in France, is coming to Africa. Organisers will partner with African Animation Network to set up an animation competition within and outside Africa. This gives Nigeria another chance to influence the animation pop culture.
This collaboration will create the first-ever Pan-African animation pitching competition called “Annecy – MIFA Pitches Animation du Monde”. Nick Wilson, Project Manager of AAN describes Annecy as “the animation equivalent of participating in the Olympics”.
In Africa, we’ve long held that we have beautiful and unique stories to tell the rest of the world. This a knocking opportunity for the African animation industry to come together to tell stories that matter and to present the best of African animation projects alongside counterparts like Pixar, Disney, Dreamworks etc. The competition is open to animation producers from all African countries.
“Animation du Monde” targets projects from countries where animation is emerging and provides a unique way to discover a different creativity and awareness. The competition will comprise 2 rounds of semi-finals; the first at DISCOP Abidjan (May 30 – June 1, 2017); and the second at DISCOP Johannesburg (October 25 – 27, 2017).
The deadline for the competition is on the 9th of May 2017. See more information here.
Yemi Alade’s flirtations with the African aesthetic came as part of the campaign for her sophomore album, Mama Africa. The resulting album, though critically panned, had an Africa-wide appeal, thanks to alternate language cuts of the album that eased Yemi’s style of Afro-pop into markets outside of Nigeria and Africa.
For her latest single, “Charliee”, she is using the same Ghanaian themed concept that worked so well on “Koffi Anan”. The Afropop hiplife fusion is produced by Fliptyce who has scored credits with P-Square in the past and is rumoured to have worked with Dr. Dre in recent times. “Charliee” is Yemi Alade’s first single of the year and the shift in sound is evident in the lower volumes of vocals and the lesser focus on acoustics.
“Charliee” is a slightly racier Yemi Alade than we’re used to. There is a sleek build up, from flirtation to sex following the logical progression of the song’s sexual undertones. She sings about never letting go of her love but the story is never fully told because drums and synths are there to remind you this was intended for slow whine on the dance floor not for deliberating lovers.
Her habit of sacrificing good lyrics for decent flows once again renders her Mama Africa claim questionable. But this is a noticeable upgrade from her usual inability to tie a song around a cohesive subject matter. Nonetheless, after last year’s wins, including a charting album and an endorsement deal with Shell Oil, Yemi Alade is no doubt on a winning streak. If “Charliee” is hint of anything to come from her third studio album, the self-proclaimed may have another gold record in the pipes.
After “Jagaban” put Nigerians on to YCEE nearly two years ago, his debut project became one of the more anticipated music projects in Nigeria. To fulfill fan expectations, YCEE released his First Wave EP earlier this month. The 8 track EP features lead single “Link Up” featuring Reekado Banks and follow-up single, “Juice”, where he features Maleek Berry. As part of promotions for his new tape, YCEE released the visuals for his latest single over the weekend.
Teekay directs the colorful video starring Ycee with his classic dreads, Maleek Berry in his usual dark shades and a couple popping models so you already know what kind of party it would be. YCEE raps with a loose singing flow on the piano heavy beat produced by Adey. Maleek Berry delivers a clean vocoder influenced verse that Nigerian music lovers can’t get enough of.
Does it get any more ambitious that opening your debut EP with a cover of an impossibly successful Nigerian’s best loved song? Well that’s exactly what Toronto based Nigerian singer/songwriter Tadé does on his debut EP ‘Omo‘. He opens the album with a stretched out acoustic reinterpretation of Asa’s dearly beloved “So Beautiful”, and does it moderate justice, though his version nary holds a candle to Asa’s. But it does set the tone for the rest of the album which has a surprising amount of self awareness and little inside jokes and asides. This is how Tadé describes the album.
Conceptually, it is a 4-song project that touches on life, love, family and growth. Embedded within the EP is a story of a boy coming of age, from birth to discovering love, his idea of life and its meaning, and then building a family so he too can pass down the knowledge he has picked up on – both from the teachings of his mother and of life.
But “Beautiful” is where the World Music references end, the rest of the album is firmly contemporary, we’d even dare go as far calling it Afropop with strains of R&B, especially on the album’s second single “Motions”. He delivers a droning tale of love stuck in the rut of complacency, with uptempo guitar licks and an isolated piano loop that works like an adlib, adding flourish to the dips in the song’s melody. But the mix of Aubrey-esque confessional lyrics, monotonous delivery and the occasional electronic manipulation seems to work to make everything cohesive.
“Donor”, the EP’s strongest song has strong soul roots and Tadé tries his hand at Rap, evoking vibes of contemporary British soul that gained prominence on the 90’s. Guest vocals by Magalie are an unexpected boon to the song and the chemistry between the two is undeniable.
Omo is an interesting debut, with a lofty press packet and decent song, but it seems as though Tadé is still finding himself as an artist. Vocal classes and a little more focus will do wonders for his next project.
Unless you don’t have access to the internet and you’re living under a metaphorical rock, you’ve probably heard about the TED Events and know of at least one TED talk. Technology Entertainment and Design (TED) was founded in 1984 as way to discuss change and innovation from all kinds of perspectives by inviting innovators and changemakers from different fields to come network and give talks about their insights, achievements and research.
Because TED saw they simply couldn’t organize enough events to reach all the people who wanted to attend and accommodate all the speakers who had something to say, they decided to license the franchise, creating TEDx (the x standing for independent) as a way for small communities to celebrate their own innovators and inspire others.
There have been quite a number of TEDx events in Nigeria, TEDxPortharcourt, TEDxLagos, TEDxUnilag, TEDxGbagada. There has even been a proper TED event in Lagos, February’s TED Lagos event. And now there’s TEDxSurulere.
A group of Nigerian Millennials has come together to organize the first ever TEDxSurulere talk to unveil Africa, the Motherland in its true, rich light. The African narrative to the rest of the world is a mash up of untold and fairly accurate stories and they want to write a new one with TEDxSurulere. The theme of this year’s TEDxSurulere talk is “Ibosam”, which is an Okirika (a tribe in the southern part of Nigeria, West Africa) word for “welcome”.
I am definitely interested in the line up for this event which features A LOT of young people who have made a name for themselves in their fields. There’s Haneefah Adam whose Hijarbie Instagram challenged religous stereotypes around the iconic doll, Kola Tubosun one of the country’s foremost Yoruba translators, Itua Iyoha the Naija Vegan Chef who is trying to encourage us to eat healthier, treat the planet better and get super buff while we’re at it. Add to that Amanda Iheme, a clinical psychologist who advocates for mental health and recently partnered with Bailey’s for a phenomenal mother’s day ad and several others and you have a truly diverse roster.
The talk will hold on Saturday, April 15, 2017 at Princeton Schools, 9/33, Olatunde Onimole Street, Surulere. It starts by 10:30 am and you can register to attend the event here. Registration and attendance is totally free. Visit tedxsurulere.com for more information.
Singer and spoken word poet Davina Oriakhi is the kind of consummate creator often gets overlooked for more flashier, short fused pop starlets because she is so focused on the craft. Oriakhi has been in the industry for a very long time, her name occasionally popping up in the most unexpected of places. Her last single “Content” was produced two years ago by Nonso Amadi (the one you’re thinking of) and she lent supporting vocals to Tim Lyre’s debut EP as well as an EP of her own, made up entirely of spoken word poetry.
Seeing Oriakhi pop up on our Soundcloud feed with a new song was a surprise, but even more unexpected was that the song was a ska/rocksteady style reggae song.
After a two year musical hiatus, Ska/rocksteady seemed the last genre where Oriakhi would turn up but she makes light work of the beat, heavy with simple synth melodies, the occasional wash of unintelligible electronic sounds and a persistent four count. By layering her vocals, she beefs up her decent vibrato, creating minor harmonies and she sings of an unforeseen love interest and the gradual disintegration of their relationship. But we doubt this “Silence” would be this lush without the production work of Mfonobong “Nobong D’Synth” Inyang whose predilections for synths and synth work shines through and gives the song that extra oomph.
As far as comebacks go, this is as solid as they come and I want to see Davina Oriakhi explore this sound and genre more thoroughly, her voice is definitely suited to it.
Rap is deeply trenched in all things tough and macho, but there is a radio-friendly grey line very few pop rappers have managed to thread confidently. Atop that roster sits artists like Big Sean, whose Billboard-charting, “IDFWU” subsumes his braggart exterior for a squad anthem about hustle, loyalty and skepticism for anyone outside his immediate inner circle. YCEE takes this cue for “N.O.U.N”, the last track off his newly released First Wave EP.
YCEE’s intent for most of First Wave, is apparent in the early moments of the project. For starters, having a track-to-track narrative is less of a priority to YCEE when leveled against his desire to ride the Afropop rap wave he has owned succinctly since his Jagaban debut in 2015. Other observations to take in along with the tracklist, is the relaxed mid-tempo range of YCEE’s Afrotrap and as the EP closes with “N.O.U.N”, his inclination for synth-based bubblegum pop production.
Thematically, “N.O.U.N” carries all the familiar bars you would expect from a squad anthem (see first paragraph for reference). But there is also a strong indication that no one could have pulled it off like YCEE without sounding corny and the reason is obvious. YCEE has flouted his brand of hip-hop as an art solely determined by where he wants to take the music. His slurry pronunciation of words and laid-back tone may be a reflection of trap music’s tendency for codeine rap, it’s however also indicative of YCEE’s veteran-level confidence in contrast to the reality of his actual up and comer status in the game.
Squad anthems always make great aux chord gems for vibing out. But perhaps another way to parse a song like “N.O.U.N” is as YCEE’s refusal to politic with industry square pegs and genre conformity. After all, if a man creates a wave, he should be fit to ride it in any direction he desires, even if it’s with “none of you niggas”
78 days ago, 12 participants walked into the Big Brother house certain that their lives will not remain the same. They all competed to win the 25 million naira cash price and a brand new Kia Sorento SUV car but the fame from merely being a part of the show was already sure to open doors for all participants.
Between the house tasks, beef with housemates and big brother surprises, only 5 participants made it to the finale after Kemen got disqualified and the others were evicted by votes. Efe, Bisola, T-Boss, Debbie-Rise and Mavis were left to campaign for the shows finale.
With 2Baba as the performer for tonight’s finale, the reality TV series came to a dramatic end. Housemate, Efe was announced as the winner of the show against favourites, Bisola and T-Boss, who were both touted as the most likely winners of the show based on popularity. Efe won by a landslide popular votes, with 57.61%, a wide margin from Bisola’s 18.54% and T-Boss’s 13.60% of votes respectively. Debbie-Rise and Marvins who also both made it to the finals, could only both manage to get 8.78% and 1.47% of the total votes.
Big Brother may be coming to an end, but the brighter look of things is that, the most popular finalists of Big Brother Nigeria, are expected to become the new faces of Nigerian entertainment. We have seen in the past with Melvina Longpet, Ebuka Uchendu and Uti Nwachukwu amonsgt other past winners who went into TV production and Nollywood respectively. This year, all eyes will be on Bisola, a comedienne prior to her stint in the Big Brother house. She may not have won the 25 million naira payload, but coming in second place is near-enough to get her into Nollywood. It is not unlikely that we will be seeing more of T-Boss either, but considering how unpredictable she was during the show, it’s hard to tell what comes next for the leader of the #BossNation.
Over the last couple of weeks, Big Brother Nigeria has entertained millions of Nigerians with the dramatic lives of the participants, the occasional celebrity guest visits to the house. After all hashtags and votes have been tweeted and casted, perhaps what will be sorely missed as Big Brother comes to an end, will be weekly music performances that saw artists like Davido, Simi, DJ Xclusive, 2 Face and Tiwa Savage amonsgt others take eviction stages.
In the meantime, we will be looking out for the faces of our new celebrities.
Fresh L of DRB was previously one of the most polarising figures on social media. Whether it’s discussing the latest releases in the rap world on his snapchat, to sharing his opinion on his perfect partner, he always seemed to ruffle a few feathers. While some of his views were more riot-inciting than others, an artist being so transparent was a welcome change in a music industry where everyone seems to be playing a gimmick.
However, it seems that even Fresh L himself grew tired of being the talk of the timeline, for any reason other than music. So, a few months ago, he took a self-imposed leave from both Snapchat and Twitter and went into the kitchen. Already known for his high work-rate during the formative DRB days, he went back to basics. We are now seeing the rewards of that, with the first release from his #NoService series putting rap at the forefront once again. A solid start to a series he hopes will have people talking, for the right reasons.
Hitmakers are every DJ’s best friend and DJ Xclusive has made it an habit to feature artists only cream of the crop chart-toppers. For his latest single, “Sexy Girls” he taps Runtown. Runtown’s massive summer anthem, “Mad Over You” is still fresh on the minds of music lovers and he doesn’t disappoint on DJ Xclusive’s “Sexy Girls”.
Runtown sings a pleasantly melody, giving strong indications of a potential club banger that may ease into summer playlists in the coming weeks. Adasa Cookey directs the “Sexy Girls” video and shoots the artist in a Caribbean themed party with models wearing carnival clothes and leis. “Sexy Girls” is produced by Burna Boy collaborator Spellz.
Watch the video for DJ Exclusive latest single below.
Featured Image Credits:Youtube/Superstar DJ Xclusive
Anyone who knows Kenzo Takada’s French based label, knows that they make the best fashion films. They’ve worked with some of the biggest names in film and interpreted some really complex concepts and approached global cultures from which Kenzo has drawn inspiration for it’s collections with the respect they deserve. This is why when Kenzo approached Nigerian born photographer and ‘Igbo/Yorkshire warrior’ Ruth Ossai and filmmaker Akinola Davies to make their next fashion film inspired by the avantgarde expressions of fashion by young people from Eastern Nigeria, I personally expected that something amazing would come out of it.
However, the first images from the collaboration have just dropped, what I see may just be the ugliest, most inaccurate representation of contemporary Nigerian youth that I have ever seen. Not even the SS17 Kenzo pieces these people are wearing can save the series. And trust me, I have seen some seriously atrocious interpretations.
I mean look at this mess.
Photocredit: Ruth Ossai via Dazed Digital
As a Nigerian living in contemporary Nigeria, I feel personally insulted that we will be represented as a people with these pandering images. Nigerians are some of the most stylish people in the world and go to great lengths to look their best no matter where on the poverty line they exist. The PR material for the film suggests that this photoshoot in some way representative of the way Nigerians dress to ‘celebrations’ and ‘rituals’, whatever that means.
I’m not going to even deign this with a robust response, other than the fact that when a person with Nigerian heritage delegitimises the lived experiences of Nigerians and reduces them to harmful stereotypes of illiterate noble savages, they harm all of us. This is the first image of Nigeria some people will ever interact with and this in no way represents even the poorest parts of Nigeria.
I understand that this is the ‘aesthetic’ with which Ruth Ossai has made her name as a photographer, passing off nostalgia from the 80’s as current trends in Africa but she could have asked advice from local photographers, done justice to what it must be like to be a young person in 2017 influenced by the internet and global trends.
The only reason the ‘village’ people on Eastern Nigeria dress the way they do is because they don’t have the economic privilege to afford any better. It is not an aesthetic they are aiming for, like the Harajuku Barbies of Japan or the & Native American nations. Their poverty denies them access to even the cheapest clothes, this is why they dress in second hand clothes from the 80’s and 90’s, because no oneelse with means willingly buy them. To commodify their poverty and package it to appeal to western audiences is the worst kind of representation, devoid of context, empathy or respect for these people’s circumstances.
Even if you claim this is an aesthetic from the 80’s and 90’s, you must then grapple with the fact that the people who lived through these aesthetics in those times were victims of decades of corruption, military oppression and consequential oppressive poverty. Even privileged people cooked with what was called ‘Abacha’ stoves, because they were too poor to afford cooking gas or Kerosene, let alone fancy clothes. How then is any of this truly representative of our history, or our contemporary if it is presented without context.
How can anyone justify this kind of tone deaf representation just when our indigenous designers like Maki Oh are gaining international respect for their representations of contemporary Nigerian life with wit, dignity and respect. We deserve better, a lot better.
Music works best when artists with vastly different styles singing in different language medium collaborate on a single project. One of the ways to stimulate creativity is to find harmony or tangential connections in the most unconventional of sources. In “Buy The Bar”, Zoro plays his very traditional Igbo off Falz’s Yoruba inflected pidgin and creates a hit.
“Buy the Bar” is of course about money. Why settle for a drink when you can own the bar? Clarence Peters directs, and his work on the video is engaging enough to keep you glued all through the 3:33″ video but nothing we haven’t seen before. Video vixens accessorized in Gold, lots of literal money shots, non-narrative montages of opulence, sequences framed with disco lights as the artists brag about chains and cars, you know, the usual
Hard to dislike to be honest.
Watch the video for “Buy The Bar” below
Featured Image Credits : YouTube/Official Zoro Music
So, before we begin this review of OBFW. a caveat.
I’ve been saying it since episode 2 (episode one of OBFW was perfect) that the show was going to end up a clusterfuck. With every successive episode, instead of resolving subplots and glaring omissions, the show runners and writers chose instead to focus on IllRhymz who basically spent the entire season acting like he’s a jock in a high school movie instead of a smart adult. So I came into this finale with zero expectations, after all if you have none, you cannot experience disappointment, or so they say.
Well, it turns out, you fucking can.
SPOILER ALERT
What the fuck ever, see the episode at your own peril.
I won’t bore you by giving a blow by blow of the OBFW finale, when in all honesty it can be summarized into three lines.
Charles’s mother doesn’t have cancer so he doesn’t have to marry the first girl that is foolish enough to give him face.
Jade is in love with Charles but is marrying Tunde because first to produce engagement ring.
Kemi says she didn’t fuck Charles, but that bitch is lying, she most certainly did.
See, English is easier than they tell you.
Now let’s get to the good stuff; shit that made no sense, abandoned subplots and a general disregard for our sensibilities as data consuming fans.
SHIT THAT MADE NO SENSE
So I know we are all masochistic, for fucks sake we all watched the horrific mess that On The Real (someone please konk the people behind that show for me) but there is nothing we did do deserve having to watch Tolu grovel in front of Tunde and expect him to ‘love’ her back because she fills out his daily planner. Baby girl, that thing you’re doing is called a JOB. Doing your job don’t guarantee you no penis. If you are pressed, quit for the love of God. QUIT.
As if that wasn’t enough, we had to watch Charles as well, in a hoodie sweatshirt and joggers the universal uniform of the depressed, track Jade down to a Cafe Neo and grovel in front of her. After ten episodes of pretending he wasn’t catching feels we are supposed to care that he wants to love her now?
Then there was the whole ‘we were drunk and naked but didn’t do anything’ story Kemi and Charles were touting. The entire season of OBFW we have seen a much older and supposedly more mature Charles, consistently make bad decisions once even the smallest amount alcohol was introduced into a situation. He slept with more than half of his exes after a drink, but somehow when he was even more reckless we’re supposed to believe he did the right thing?
About that big reveal scene. So this entire show is basically built on the premise that Charles’s mother supposedly had cancer. So you’d think the showrunners would take extra care to give us a airtight, foolproof resolution. But NOOOOOOOOOO! After all they’ve stumbled through everything else, why not botch this one too. Everyone conveniently converges at Mama Charles’s house, including her excuse for not having cancer, a new boyfriend. Charles appears in the house, Onome in tow and first thing starts to announce that he’s knocked her up. And next thing they’re explaining that the Doctor is her new boyfriend, and the cancer drugs were for another patient and he conveniently forget them in her bathroom cabinet.
You know what ehn…
Ignored Sub Plots.
PROMISE
Promise is a drug addict. What the hell is going on there? We aren’t told where he found money to pay his rent because last time we check rehabilitation is fucking expensive in Nigeria. Then the drug dealer who put a package of drugs in front of his door with the explicit suggestion that he deliver it. We are supposed to forget all of that?
ONOME
Whatever happened to the money she scammed from Charles? Did he conveniently forget that once she started throwing back pussy? And seriously for someone who lied about a pregnancy and tried to pin it on Charles, Onome was pretty casual in her apology? We know at least one of the people Onome has been sleeping with, and we know Charles’s boss helped Onome scam Charles out of his commission. Since Charles only paid half of the money to Onome, and the man supposedly beats her, how come he just quietly accepted half money?
KEMI
Sure Kemi’s captain husband came back, but we never got to see his face. I know you people want to make him the father of Onome’s baby in Season 2 of OBFW, that much is obvious, but seriously? You tease him for an entire season then not show his face?
THE LEAGUE OF EVIL EXES
So Chioma comes and gives half gist (according to Kemi and Charles), one ex is wombless, another is getting married, another is married with a kid, blah blah blah. If you guys were never going to actually tease even the semblance of compatibility why drag us through episodes of that? WHY?
BONUS ROUND
What the fuck is going on with the back of Jade’s wedding gown?
What?!
Jesus, what a mess of finale.
Of course this is supposedly to set us up for a second season of OBFW but Jesus! What is wrong with having a great first season? What? Is that too much to ask of you people?
Straff is the eternal hipster. Everything the rapper releases is drenched in that Tumblr aesthetic, suggesting a perpetual state of trippy vibes and drug addled benders. Jesse Jagz has been our most successful trippy rapper, dominating genres like trip-hop, dancehall and alt-pop. Other rappers have tried to mimic this stoner vibe but none have quite gotten as good at it as Straff, especially on his new single “Hotel Tokyo”. Singer Orinayo Ojo is featured on the song and he uses the opportunity to debut his new incarnation as JethroFaded, shedding his good boy image. Straff employs the captivating singer for “Hotel Tokyo”, his follow-up single to Vanilla SkyEP.
Remy Baggins who worked on Vanilla Sky produces the relaxing guitar riff heavy beat that Straff and JethroFaded have no trouble singing melodiously on. Straff sings the chorus and even his verse isn’t as serious as we’ve grown to expect from the rapper. He takes a more melodramatic tone on “Hotel Tokyo” with JethroFaded taking the second verse. Both artists describe the low buzz effect of drugs and JethroFaded’s soothing voice accomplishes that while Straff’s voice is given a vocoda make-over to help emphasize the song’s hippie vibe. The lyrics don’t materialize into any sort of scripted story but they contain enough buzz words and help decorate the single enough to play like a light-weight trip.
Listen to Straff and JethroFaded on “Hotel Tokyo” below.
DJ Juls is currently defining the scope of music in Ghana and on a greater scale, Africa. Over the last two years, the producer and Mr Eazi became a power pair, championing the cause of Afropop and other neo-Afrobeat sibling sub-genres. The British born Ghanaian Producer asides being credited for most of Mr Eazi’s song has worked on other hit songs including Nonso Amadi’s “Radio”. Juls latest single, “Bad” features British rappers, Not3s and Kojo Funds who are known for their occasional detour from hip-hop to Afropop. The single also features producer and Mr. Eazi collaborator, Eugy who infuses Jamaican patois on the last verse.
“Bad”, like most songs produced by Juls plays on a slow tempo and has a primary piano baseline. Not3s mans the front line taking the first verse and the hook while Kojo Funds takes second verse and Eugy wraps up the song. The collaboration adds up to another classic Juls chill reggae infused Afropop song meant for the club and the accompanying video directed by Mira Jebari runs with that narrative. The video is set in a club with the singers and models bath in disco dim lights while slow dancing.
Wale has been working on his fifth studio album Shine for quite a while, and by his own admission, a lot has changed since then.
Wale’s previous releases have been met with fluctuating reviews and levels of apathy from certain spheres of the Hip Hop community, but most can agree that his last LP, Album About Nothing was a step back in the right direction, building on the phenomenal works that came before it in the same series (Mixtape About Nothing & More About Nothing, respectively).
His latest album Shine is slated for release on May 5th under MMG. Peep the tracklist below, with some eye-catching features from Davido, Olamide, Lil Wayne, Wizkid and more.
The NATIVE Mix is a weekly fusion of African and Alternative vibes from all over the world. Hosted on Thursdays by SMOKING INDOORS & DJ WAYNE with special guests.
The inaugural episode features London-based Nigerian producer SMOKING INDOORS. Having worked extensively with Focus The Truth in the past, he has turned his focus to mercurial R&B talent Tau Benah (formerly known as Tobenna). In his NATIVE Mix, SMOKING INDOORS takes listeners through sounds that are inspiring his own production. Transitioning from Sampha deep cuts to Korede Bello, and back to a Myth Sizer remix of “Bad & Boujee”, the producer/DJ showcases his eclectic music palette.
2 Things About Di Bombs (SMOKING INDOORS EDIT) – Ikwunga vs Basket Mouth
Finally ft. Flavor & Sarkodie – Masterkraft
Do like that – Korede Bello
SLUSHY – Tau Benah
Under – Sampha
Feds Did A Sweep – Future
Dionne – Osunlade
승무원 – XXX
Situationship featuring Aylo – Odunsi
Outta Sight – D.R.A.M
Bad and Boujee (Myth Sizer Remix) – Migos
Hot Sauce In My Bag Swag (Lenny & Jarreau Vandal Edit) – Beyonce vs Kanye West