As a body of work Tash BNM is a totem of Gafacci’s dexterity as a producer and his ear for magnificent sound. However, it’s crowning glory comes from its refreshingly textured approach to a lush yet familiar sonic atmosphere. For the 17-minutes in which you engage the project, you are in a world unlike any other you have ever been in. The music is a trip that transports you to syrupy fields of radiant joy by alloying similar yet unassociated sonic elements. Whilst Gafacci makes sure to tip his hat towards the foundation of his signature Asorkpor aesthetic, he makes sure to ensure its growth by introducing this new layer into the zeitgeist, an interrogation of what low fidelity sound is.
1958 is not a project I would miss if you are interested in contemporary African music. Blick Bassy presents a heavy magnifying glass that appears weightless at the first glance, however it does offer a terrific exposition of his master of music which indeed is all a backdrop for his sombering reflections on the history and condition of his home.
As the African contemporary sound continues to grow and change, it is also important to be reminded of the brilliance that brought us to where we are, and celebrate that excellence. Albums like History are bespoke for this purposes, filling you will the satisfaction of nostalgia yet guiding you into the future.
Tresor’s Nostalgia is definitely up there with some of the very well written and composed bodies of music reviewed on this website. The project is a testament to the diversity of the contemporary African sound as it offers an alternative joy to the pulsating and algorithmic “afrobeat” sound. Much like Pierre Kwenders, Chino Amobi and Beatenberg, Tresor via Nostalgia expands the scope of what our lives as Africans can sound like. Indeed, this is made possible by grounding the album in the music of his childhood drawing of the intrinsic rhythms and melodies that are enveloped in his memories of the past, made fresh by the voice of the present.
**Editors note: This month we have a special featured mix for International Women's Day 2019 by moshood. one of our fave guest writers.** struggle is arguably prime among the innumerable uses for music; and, because a people in struggle do not cease being human, music, in that very realm, is also for sheer listening... Continue Reading →
It is hard to argue against the fact that Salif Keita’s voice is one of the most recognizable African voices in recent history. The Malian vocal juggernaut has been an ever-present force of bliss in the constantly evolving afropop scene since the 1970s, creating eccentric blues melodies that continue to swirl through airways around the... Continue Reading →
The synthesizer will always be one of the most important inventions of all time, opening up creators to limitless opportunities that radically altered the course of music production. African artists brought their own maverick genius to manipulating electric current to produce sound, creating some of the most spellbinding rhythms ever! African Electronic Funk is a... Continue Reading →
South Africa’s darlings on indie-pop, Beatenberg, are back after 4 years with glistening and serenading grooves from Cape Town. The South African trio, made up of guitarist Matthew Field, Robin Brink on percussion and Ross Dorkin on bass, follow up the highly successful major label debut, The Hanging Gardens of Beatenberg (2014) which exposed the world... Continue Reading →
The 16th edition of globalFEST is scheduled to take place on January 6th 2019 at the historic Copacabana in Times Square, New York. This global celebration of music and arts seeking to highlight contemporary traditions and budding innovation in the world of music is great way to kick off the new year. With four stages... Continue Reading →