Wait A Minute And Check Out BOJ And Olamide’s New Video

Posted on by The Native

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BOJ has been the topic of a lot of conversations for a while as most people have wondered why he has been behind the scenes for so long but it appears he’s ready to quit the Frank Ocean ‘I hate the fame’ shtick and bring his A-game. He has been really busy this year, collaborating with street-rap King, Olamide back in January to release “Wait A Minute” and today, the visuals for “Wait A Minute” directed by Moe Musa dropped.

In the video, BOJ, Olamide and the rest of the gang are the cast ready for a relatively PG-13 house party where everyone’s playing monopoly. Next thing, everybody’s getting all couple-y and Olamide is talking about making someone’s pum-pum pop while holding on to his signature red cup. Really did not see that coming. All in all, BOJ looks cool af twirling around in his Pablo jacket and signature hat and glasses while singing about hitting on a girl.

Check out “Wait A Minute” below:

Header Image Credit: BOJVEVO/Youtube

 

 

Watch AT Look Cool AF In This Video

Listen To Eva Address Us and Herself on “To Self”

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https://www.instagram.com/p/BQNj3C5A8uf/

After last year’s failed retirement, Eva Alordiah returned to the game re-focused on making as many appearances as possible, some of which included the limited release of her long-awaited 1960 album and headlining her own ‘Live and Unplugged’ concert.

“To Self”, her first single of the year is a self-love anthem. Eva discusses realising the futility of existence and making the most out of the only life she has.  Her flow is screwed on tight and concise enough to remind us all why we fell in love with her in the first place.

Listen to Eva’s “To Self” on MusicPlus.

 

 

Featured Image Credit: ievaalordiah/Instagram

 

 

Listen To Sinkane Sing About Life And Livin’ It

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https://www.instagram.com/p/BQBLFd1DbEE/?taken-by=sinkane

Though artists whose music reflect multiple influences are many, very few have managed to straddle that sweet line between creating a totally unrecognisable mash of noise and a beautiful blend of sonic and cultural influences that catches your ears and soon after, your heart. Sinkane managed to do the latter with their new album, Life and Livin’ It, the ultimate feel-good music for trying times, celebrating what makes life good without ignoring what makes it hard.

The London-born Sudanese lead singer Ahmed Gallab, worked with the rest of the band to create a funky blend, heavily influenced by sub-Saharan pop, Afro-funk, Highlife, Electronica, Krautrock and unified by his gentle vocals. Sinkane’s sound is clean, infused with the spirits of his Sudanese pop forefathers. Ahmed Gallab also drew inspiration from the works of Nigerian Electro-Funk Legend, William Onyeabor.

On “U’Huh”, Gallab keeps asserting, “Everything is fine/We’re all gonna be alright” and “Kulu shi tamaam,” an Arabic phrase that means “everything is great.” It’s hard to say whether it’s an optimistic affirmation or a desperate mantra to console himself which isn’t far fetched given the terrible times we’re in. The tone switches up on “Telephone”, a throwback to the psychedelic era where he sings about being left on the ledge by a lover who only calls him when she’s alone.

Listen to “Telephone”

Life And Livin’ It drops 10th February but you can pre-order the album on BandCamp.com

 

 

Header Image Credit: Sinkane/Instagram

 

Listen To Dami Oniru’s New Single “Falling”

Omar Sur Le Son Qui Tue (Vol 1) is the raddest instrumental EP you’ll hear today.

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Canada has been good to Nigerian culture, too good. It has given us Afrocuban singer Falana, Spoken Word poet Titilope Sonuga, renowned swimwear designer Andrea Iyamah and now Omar Faleyimu, or Beats by Omar as he is known in music circles. Thanks to the success of artists like Drake finding ways to commercialize African and Caribbean sounds, traditional Afrobeats artists are getting more attention and the market for African inspired sounds in Canada has skyrocketed exponentially. Omar, a singer, producer and Dj,  is part of the afrobeats community in Canada capitalizing on that growth, interested in splicing afrobeat influences into contemporary pop and R&B. He’s been really active in the last two years and has collaborated with several emerging artists on a number of songs as well as releasing his own music. His last single, Ka Soro was released two months ago and is heavily influenced by Drake.


Omar might have shown his chops as a singer but his new EP, Omar Sur Le Son Qui Tue (Omar and the killer sound)  is really just Faleyimu flexing on all of us. His work as a producer isn’t tethered by the need to be commercially viable, so it is leagues ahead of his commercial work both in references, scope and ambition. Sur Le Son Qui Tue is a more than just a portfolio of sounds, it is a statement that speaks to the cosmopolitan nature of Faleyimu’s upbring and adolescence and how vast the influences he can draw from are.

He draws on nostalgia in the somewhat unimaginatively named Sound of Music (16 – 17), sampling the most angst ridden song off the famous Julie Andrews led musical and puts it through a figurative sonic blender, the the trap heavy result more accessible to a generation that might otherwise have seen it as kitschy.  He also samples classic Bollywood show tunes in Afro Tech, layering it over with heavy afrobeat percussions and padding its blind spots with synths to create an impressive wall of sound. Simi might have done it first but Omar does it better. Abstract Trap throws an otherwise generic trap beat into a spin with sci-fi-esque electronic tweaks, Broken is a homage to classic 90’s R&B and Lust and Love, the EP’s opener (and in my opinion, it’s best instrumental) instantly reminds of the genius of Timbaland’s production genius, as evinced by the hard to miss classic windows function sound used as percussion.

Omar Sur Le Son Qui Tue shows Faleyimu’s talent need a bigger platform, a bigger stage.

In 2017, we hope he gets it.

Listen to the EP here.

‘Afro Lover’ singer Jilex Anderson, Returns With New Single ‘Wave’

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https://www.instagram.com/p/BQP4nGohEse/?taken-by=jilexanderson&hl=en

It’s not unlikely that you missed it, but towards the end of last year the internet was abuzz about Jilex Anderson’s “Afro Lover”. The single literally blew up out of nowhere, racked thousands of plays on SoundCloud, and enjoyed moderate level mainstream success—including a refix by Sean Tizzle—enough for the release of adjoining visuals.

This year, the singer is intent on captalising on his previous wins and his growing public appeal with new single, “Wave”. For “Wave”, Anderson ditches the mellow feel of his earlier single for a faster mid-tempo club vibe, but not without the soft kicks, low synths and acoustic touch that characterises much of the African new wave.

Granted, neither his voice nor his songwriting is especially distinctive, but this is an artist that knows how to work a beat and we don’t get a lot of those anymore.

Listen to Jillex Anderson’s “Wave” below.

https://soundcloud.com/jilexanderson/wave

ICYMI: Dammy Krane is gearing up for a comeback EP and Concert

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Dammy Krane, remember him? Protege of 2Face and first artist signed to his label Hypertek Entertainment. Dammy Krane struggled through a series of sub hits that earned him a core fan base but failed to go mainstream. Then he made Amin, a gospel-tinged feel good song (sorry Korede Bello, he did it first) that endeared him to everyone and generated the steam he needed to launch his debut album The Enterkraner. After his debut album,  he left Hypertek Entertainment and started to make the news for things other than new singles and eventually fell out of favour after a publicized fight with Wizkid at Quilox.

Well, since going underground it turned out that the rumours that Dammy Krane signed to Davido’s new label Davido Music Worldwide are true and the artist is making a proper comeback in the coming weeks, starting with a post valentine concert called the Amin Concert. When asked about the concert this is what Dammy Krane said.

I will be dropping an EP a week before the Amin concert; a body of work I have been holding on to for a while now. The concert will serve as a means to celebrate the release of the EP, as I will be entertaining the guests to some of the songs on the EP. But asides that, I should be dropping my full album this year too. So watch out for that.

It makes sense that Dammy Krane is choosing to release a full EP sometime this weekend before his concert. The new material will lure a much larger audience than his core crowd. And it makes up for the time that has passed since he got attached to DMW records when his label mates were releasing songs and being actively pushed to the Nigerian market. Using live concerts will help him sell merchandise and establish his bonafides as a performing artist. Krane also suggests he’ll be releasing his sophomore album later in the year.

It’s about time.

For a refresher, here’s Amin.

Luvvie Ajayi’s “I’m Judging You” Set To Become Shondaland’s First Comedy Series

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Grey’s Anatomy, Scandal, How To Get Away With Murder and now I’m Judging You? You got that right. Shonda Rhimes and Betsy Beer’s Shondaland recently acquired the rights to Luvvie Ajayi’s debut novel, I’m Judging You: The Do Better Manual to develop a cable comedy series. The series, which will be part of Shondaland’s overall deal with ABC, according to Deadline, will be Shondaland’s first foray into comedy (ABC previously passed on Shondaland’s proposed project with Insecure’s Issa Rae. Sadly.)

The Nigerian-American writer of the New York Times bestseller, Luvvie Ajayi first got noticed by Shonda for her with her online Scandal recaps, then Rhimes revealed she was reading the book and the rest is history yet to be made. Her book, I’m Judging You is a hilarious guide to doing better — a novel you might need to bump up to the top of your reading list.

Luvvie has been totally stoked about this news as she shared on Twitter last night.

We might not get to see the show anytime soon but we’re still pretty excited at this development too.

 

Header Image Credit: Luvvie/Instagram

 

Watch Out For Insecure’s Yvonne Orji On Jane The Virgin

Davido teams up with Young John on Biggest Backside

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Is there ever not a good time for New Davido? Well Davido doesn’t think so, and that’s why six months after the release of his sophomore album, a new manager and the announcement that he’s done with the international push, he has released his first single of 2017, with old label mate and long time collaborator B-Red called Biggest Backside. YBNL producing prodigy Young John takes the production and mixing reins on this classic afrobeat heavy song.

Davido delivers a standard offering and B-Red delivers what could easily be one of his best verses after going underground for a while, but the song is ultimately Young John’s as he offers interesting drops and realistic trumpet solos. Biggest Backside will obviously go on to become a club banger, but releasing this before his rumored collaboration with American trap group Migos says a lot.

 

Does this mean Davido is done experimenting with new sounds? Or is he trying to consolidate his core audience before he starts offering the more adventurous songs of the post Son Of Mercy era? We’ll just have to wait and see.

Listen to Biggest Backside here.

You should bump DOZ’s ‘4Eva’ featuring Mafeni

Posted on by The Native

All I want is hella hoes, ring ring pussy telaphone

Easily the best hook we’ve heard all week, and the trust us, the last seven days have been amazing for underground Naija music. Which is why we’re not quite sure how we feel that DOZ’s 4eva is not really a proper commercial single, more like a sonic experiment that takes an instrumental sample from Santi’s Jungle Fever and the vocal efforts of singer and consummate hitmaker Mafeni (Mafeni was also on WundaB’s stellar) For The Winter and creates the catchiest of hooks.

Dozie Oduah’s production skills are the true revelation of 4eva, and is largely very subtle, except for the flashy cross-genre transition that references Frank Ocean on Blonde. Other than that, its mostly smooth synth melodies that make you want to move your feetand provide the perfect springboard for Mafeni’s vocals to soar. There is also the heavily autotuned adlibs referencing 90’s R&B greats Mack Morrison and Nate Dogg. Oduah is part of artist collective 80’s sounds which explains the definitively retro sound. The bars are pretty weak though, just thought we’d point that out.

Is there an EP in the works? We certainly hope so.

Listen to DOZ and Mafeni on “4 Eva” below

See Mafeni, Tunji Ige and AT on our list of five Soundcloud artists making the jump to Mainstream.

Jidenna Taps Migos’ Frontman, Quavo For New Single, “The Let Out”

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Wondaland’s self-acclaimed classic man, Jidenna recently announced his upcoming debut studio album, The Chief. The new album is slated for a February 17th release and a few days ago, he offered us a hint of what to expect with a new single, tagged “The Let Out”, produced by Wondaland’s Nana Kwabena and featuring Migos frontman Quavo.

https://www.instagram.com/p/BQDjh2IDulm/?taken-by=jidenna&hl=en

Jidenna and Quavo detail a high class lifestyle on “The Let Out”. From tastes in super fine women to occasional gangster livin’ thrills and nights when club lights come up and the crowd heads out.

Listen to “The Let Out” via Itunes here

Feature  Image Credits: Jidenna/Instagram

Migos talk culture and performing In Lagos

 

Samurai Jack Is Getting a Bloody, Adult-swim Reboot

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Rumours of Cartoon Network’s Adult Swim reboot of cult classic, Samurai Jack have been swirling across the internet since last year. Last night, the studio released an official trailer with Jack in a darker, apocalyptic future where mega-mystical archvillain Aku seems to have won a decisive victory over him. Jack has stopped aging and is facing down what looks like a final battle against a female villain sent by Aku.

Much of Samurai Jack’s art remains consistent with its earlier seasons, only the ideas seem to have shifted. The trailer gleans themes of eternity, mortality and the much-needed gore, a show about a badass sword wielding Samurai should have always had anyway.

The highly anticipated fifth season of Samurai Jack will premiere on March 11th on Adult Swim.

 

Five Cartoons to Help Re-awaken Your Inner Child

 

The Shuffle: Revisit MoHits peak era hit ‘Pere’

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Becoming a pop culture icon in Nigeria is a slight between impossible and act of God.

Impossible because, many of the dominant subcultures in Nigeria are heavily influenced by foreign culture, so thought leaders never live long enough to become icons before they are erroded by younger generation trendspotters (and the cyle continues). Act of God because, occasionally you find rare exceptions like MoHits, a super-group that transformed and dominated the Afropop genre before disappearing after one acclaimed album, Curriculum Vitae.

Off that experimental project and peak of power for the now defunct MoHits crew is “Pere” the second single off the 2007 album. “Pere” loosely translates as “Once” or “One time” and it’s based off a simple instrumental concept; dancehall drum-kick-snare meets toungue drum taps, a piano baseline and Wande Coal’s breezy vocals on chorus.

On “Pere”, Mohits frontmen, Wande Coal and D’Banj unknowingly profess love to the same woman Don Jazzy has already scored. The woman’s perspective is obscured through the track, but it’s not unclear why she chose a visibly richer Don Jazzy over Wande Coal and D’Banj who both make bizzare promises, but also admit they would bail if her boyfriend crashed the party.

“Pere” comes from the same line of near classics that made up MoHits debut and only album, but its greatest highlight till date remains Wande Coal’s Fuji-inspired bridge and song closer. EDM may be doing it now, but in the past may Afropop club bangers did not come with heartfelt lyrics like Wande Coal creased on “Pere”. It’s nearly odd when it first kicks in, but Wande stays on beat, eventually easing out of the abruptness of his entry into an ultimate vocal finesse for an already fire song.

If you want to feel the nostalgia of the good old days when the sky was sunny and MoHits ruled, you should listen to the group at their creative peak on “Pere” below.

 

D’Banj, Wande Coal and Don Jazzy on our Top 5 list of worst Artist-Producer breakups ever.

 

Virgil Abloh is rumoured to be Riccardo Tisci’s successor at Givenchy

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French Fashion hasn’t been exactly open to black creators, in fact European fashion as a whole hasn’t been very good to creators of colour. In the last decade only one high profile black designer, Olivier Rousteing of Balmain has helmed a major French fashion house. Save for him, Stella Jean and her eponymous label, Armando Cabral and his eponymous label and British Nigerian designer Duro Olowu, there are barely any black designers at the helm of European labels. But that seems poised to change now that Ghanaian American designer Virgil Abloh, creative director of Milan based high end designer label Off-White is in talks to take over at Givenchy.

Abloh is a creative success on par with Demna Gvasalia of Vetements and Balenciaga, starting his Milan based label only in 2014 and growing it from relative obscurity to one of the biggest alternative labels in the world. Combined with his work for Kanye West design label Yeezy and his work Kanye West and Jay-Z’s collaborative album Watch The Throne (which won him a grammy) and a nod from the internationally acclaimed Louis Vuitton Moet Hennessy (LVMH) Prize for emerging designers, after only one year of running Off White. The last time a designer gained this much critical acclaim from design peers, it was Hedi Slimane at Dior, praised effusively by Karl Lagerfeld.

The opening at Givenchy comes as the label’s last creative director the inimitable Ricardo Tisci leaves, possibly to take over the reins at Italian design house Versace, which has been run for nearly two decades by Donatella Versace.  Tisci’s shoes will be very hard to fill, but with Abloh’s defined aesthetic, he seems up to the task.

If Abloh is chosen he will become the second designer to head a Haute Couture Fashion house, and the first to do so without any formal training or apprenticeships under European designers. Raf Simons may have to eat some humble pie very soon.

For a crash course on Abloh. start here.

and here.

Dapo Tuburna’s “Nothing” gets the street anthem video it deserves

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Tinny Entertainment doesn’t play. Fresh off announcing that it has signed rapper Bella Alubo and afro-pop singer Dapo Tuburna, the label has put out the first video release for Tuburna’s single Nothing, the first off a yet unnamed EP. It is interesting that Tinny Entertainment is partnering with The Zone Agency, Tuburna’s previous agency to release the video. It stands to reason that this unlikely collaboration will extend to the rest of the EP, which was most likely recorded under T.Z.A.

The video for Nothing directed by Avalon Okpe, doesnt stray too far from the effective but well worn trope of street anthems that showcase the artist in the grittier parts of Lagos, they even thrown in a live band just for kicks. Some animation keeps things interesting and Avalon Okpe is a genius with drone shots but ultimately thematically this a video we’ve seen a thousand times before. Dapo Tuburna needs not worry, Nothing will find it’s audience. But he needs to bring it for his next song.

Listen To Olawumi Sing About Being “Alone”

Posted on by The Native

https://www.instagram.com/p/BP5ZnAPD2vi/?taken-by=olawumiii

Olawumi’s voice is the ice cold pitcher of water we need on hot summer afternoons, the blissful sigh of relief after traffic frees up. The Nigerian-American photographer-turned-R’n’B songstress recently released a bouncy new single “Alone” produced by NBHD Nate, her fellow New Jersey native.

On “Alone”, Olawumi sings about a lover she is ready to take it above and beyond with on a bed of bubbly synths and thumping bass. The total effect is a perfect seamless production that’s nothing short of amazing.

She tweeted she’d be releasing her saddest song yet on Valentine’s Day. Well though we’d rather be happy, it’s okay to be still and go through the motions knowing we’ll be fine. Eventually.

Listen to her latest offering:

https://soundcloud.com/theolawumi/alone-olawumi-prod-nbhd-nate

Wizkid And Drake Reunite On “Hush Up The Silence”

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Oliver El-Khatib premiered Drake and Wizkid’s third collaboration on  OVO Sound Radio  last night.  He also gave an update on Drake‘s forthcoming project More Life, assuring fans that “everything’s moving along nicely”, and we should all stay tuned for more”.

“Hush-Up The Silence” comes after Drake’s “One Dance”, Wizkid’s “Ojuelegba” remix and many months of speculation that the duo are sitting on unreleased joint material.

It’s unclear if this is the first song off Wizkid’s EP, “Sounds From The Other Side”, but the Starboy has been hinting working on new music for a while. The next few weeks should come with more details on any upcoming projects and if we’re lucky music. (Bless us Daddy Yo!)

Listen to “Hush Up The Silence” at the 60.15 mark:

Dami Oniru is a total babe on new single, ‘FALLIN’

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You haven’t heard about Dami Oniru? Okay, you need to crawl out of that hole you’re under let us educate you. She put out her first official single Iyawo mi late 2015 quickly following it with a less played but more popular cover of Sam Smith’s Stay With Me. Since then her profile has grown, helped along by a string of other singles experimenting with different styles, all buoyed by Oniru’s vocal proficiency and mellifluous voice.

After a five months hiatus, Oniru is back with her first single of 2017 and a decidedly different song. Gone are the afro beats leanings and in is a stripped back sound allowing her vocals to stay the focus of the new project. FALLIN follows the tradition of all great R&B torch songs, simple metaphors, repetitive lines for emphasis and adlibs that take the place of instrumental solos. The riffs on Oniru’s new song FALLIN will immediately remind you of the chord progressions on Rihanna’s hit single Stay, but she makes it her own with a base of heavy trap-esque percussions.This might not be the song that Oniru wil break into the mainstream with, HassBass disappoints on the production side of things, the sound is grainy and electronic sounding, especially the piano synths which on a ballad like this, needs to be crisp and understated. But this sonic grittiness will find it’s audience anyway.

All we need to do now is pray that Dami Oniru finds a  producer truly worthy of her talents. Then we’ll see magic.

Listen to FALLIN here.

Olma Records just dropped the PGM project and it’s lit

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If you believe the signs and the media, it is the end of the traditional record label. Streaming and subscription services like iTunes and Netflix has taken a lot of the power of producing and marketing an artist out of the hands of labels and put artists directly in charge of their revenues. Youtube and social media has also added to this phenomenon, allowing artists do their own PR and build their own brands without interference without a publicist hovering over their shoulders. Labels are finding out that they have to adapt to the times, abandon rigid but widely accepted methods of artist acquisition and management for flexible, tech influenced alternatives. That is why new Nigerian record label Olma Records‘ new project Push Good Music is very interesting to us.

Olma Records

The label is pushing out a collective EP pairing artists from multi-genres with different producers to create one of a kind music. The collective idea isn’t exactly new in Nigeria, Temi Dollface, Ikon, Funbi and Poe were all part of last year’s The Collectiv3 EP, easily one of the best pieces of music to come out of the country in a while. While the album was merely a press kit for the contributing singers/rappers and lacked any form of cohesion, it managed to introduce all the artists to the wider audience and Funbi and Poe have gone to become underground darlings. This might be what Olma Records is trying to recreate.

The Push Good Music EP itself is quite impressive for a roster of emerging artists, the music zig-zagging wildly from contemporary Jazz to classic R&B to Nu wave Afropop and Fela heavy afrobeats. Celebrity producers like IBK Spaceship Boi (who has produced and toured with Bez Idakula), Charles Uko and AV Magik sprinkle magic on the tracks, drawing the best out of the singers. The songs are all sonically superior but Fizzy K’s Fela inspired tribute Woman Wrapper and Jable’s Eternal Valentine put them both as our clear cut favorites to gain a mainstream audience. Fizzy K especially, it is time we found another alternative singer to continue in the niche expanded by Simi and Yemi Alade. Tim Lyre’s Fake is speaks to his experience in the industry, a carefully crafted, self published, radio friendly hit. Mykle, Joyce Olong, Chidi, Paul B and Isah all have some growing to do as artists before they truly own their sounds, but they’re off to a good start.

Olma Records has a pretty interesting roster, and we’ll be watching to see how things turn out for them.

Listen to the EP here.

 

Best New Music: Paradise Motel’s “Holy Ghost” is Indie Rock with an undercurrent of Naija

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There aren’t many things you’d expect to come out of Spain; sweet red wine, Matadors and conquistadores and of course the Flamenco. What you wouldn’t expect is a Gospel inspired indie rock band with a Nigerian lead singer. Paradise Motel (or Motel Paradiso, not to be confused with the Australian band of the same name) is a new direction in Spain Basque region, traditionally associated with white-led Metalcore bands.

Nigerian born Spaniard Wekafore Jibril is Paradise Motel’s lead and songwriter, and together with Ruben Matoes and Sendoa Cardoso, he brings Negro Spirituals and classic sixties bop sounds to a new generation of listeners, following paths that black musicians have trod on their way to pop stardom for decades. Singers like Amy Winehouse and Florence Welch of Florence + The Machine have also grown a massive following from making choral style music accessible to pop audiences.

Their debut single “Holy Ghost” is heavily influenced by Gospel inspired music and it would be easy to pigeonhole the band as a gospel band but while Jibril’s music repeatedly references Christian iconography and imagery, the band asserts that they are an indie-rock band whose lyrics merely draw inspiration from personal struggles. Jibril’s voice reminds of Death Cab for Cutie’s Ben Gibbard, as he sings of despair and a pervasive darkness that he seeks escape from, a higher power to come change things. It’s definitely going on our playlist.

The band is releasing their debut EP, EgoSex, later in 2017.

Check out the music video here.

And a stellar acoustic version if that’s your thing.

‘Best New Music’ is a new column we will be publishing every Monday to bring you a review of our critics’ choice-pick. 

Best New Music: Listen to “The Theory of (some) women by Shabazz ft. Trix and Otis Price”

Listen to Two New Singles From Mr Eazi, ‘Tilapia’ and ‘In The Morning’

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Ahead of peaking levels of feverish anticipation for its February 10 release, Mr Eazi has released “Tilapia”, a third single off his upcoming Accra to Lagos mixtape.

https://www.instagram.com/p/BP9m_LuAOiC/

To accentuate the cross-border theme of Accra to Lagos, “Tilapia” is a high-life inspired number featuring Ghanaian rapper Medikal and produced by Nigeria’s Del B.

“Tilapia” comes after the release of his debut set’s lead single, “Leg Over” late last year and “In The Morning” featuring Big Lean at the end of last month.

https://youtu.be/TE3HeZTPV30

Mr Eazi’s Accra to Lagos is now available for pre-orders via iTunes.

Listen to “Tilapia” featuring Medikal below

https://soundcloud.com/afro-songz/mr-eazi-tilapia-ft-medikal

5 essentials from Mr Eazi’s “Accra to Lagos” you should listen to right away

Modus Vivendii return in their Church Clothes

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“Our Way of Living” is the literal translation of Modus Vivendii, and rarely has there been a more apt description of a line and brand as a whole. Over the last two years, Modus Vivendii has morphed from a clothing line that was seemingly just extensions of the larger than life characters of the three founders (Ola, Jimmy and Anthony), to a high-end streetwear brand with a clear demographic and an evolving identity.

Building on their militia-inspired previous collection, Modus Vivendii present: These Are My Church Clothes ’17. As the name of the collection suggests, the boys from Nigeria are looking invent their own Sunday’s Best. “These Are My Church Clothes came about in an effort to break away from a traditional mindset & not [to] allow convention to dictate mindset,” co-founder Jimmy Ayeni told The NATIVE via email. “It was chosen to represent the youth’s freedom of expression in a new age.”

Modus Vivendii are making significant strides to position themselves in a rapidly evolving African fashion market, and their youth-first approach will be sure to reap rewards if they remain consistent in quality.

Modus Vivendii’s latest collection, These Are My Church Clothes, is now available for purchase here.

Model: Alfred Obande

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