Kieran ‘Four Tet’ Hebden jumps on a tune by Tinariwen, an African blues group formed in Libyan refugee camps in 1982. It’s not long before the track descends into Hebden’s hypnotic rhythms.

Image from There Is Love In You

Doris Ebong provided one of many African boogie jewels on Kon & Amir’s latest compilation with ‘Boogie Trip’—a lovely uptempo track.

The single ‘Endless Spring‘ plays like something out of the Lion King—yes, a Disney-fied, African sunrise, set in Hawaii—and boasts some tactfully vocal editing over the plodding kick drum. It is dreamlike, floating, blissful and like many tracks on the album, it would have fit right in on the soundtrack to Eternal Sunshine of the Spotless Mind.

As more upbeat electronica, ‘Reds‘ stands out with some neat percussion. Starting out bass-less, the closest thing a keyboard will come to the slap bass from the Mighty Boosh kicks in at the first chorus. ‘Soak It Up‘ does not stop at absorbing impressions, the song also gently squeezes that emotional sponge to cause a tranquil outpouring of feelings beyond description. Its disco kick combines with a simple synth loop to make a pretty stunning, minimalist track about savoring our most fragile moments. There is also a beautiful, duetted chorus.

At times, the overwhelming ambience of the album may get the better of the listener. ‘Rose Book‘ weaves through textures in best chillwave-fashion—but for the snare, it would be impossible to get a grip of the track—but it feels like that’s been done better elsewhere. In that case, ‘Sleeping‘ does a better job of recording a stream of consciousness, with the theme once again being the vitality in siezing the moment,

All Night is one to be played in the early hours of the day after a treasured evening. Sure, it may have us overdose on the mishy-mooshy, but doing that is also kind of nice.

Words Sven Carlsson
Buy All Night

———-

Main stage:

Hosts – Broke N £nglish | Love To Fly | Mind On Fire Live | East Park Reggae Collective | Blue Daisy | Anchoesong | Broke N £nglish & Riot Jazz | Benji B | Toddla T & MC Serocee (No Show)

Beach bar:

P4B | Danny Drive Tru | Charlee Brown | Confusion DJs | Nickname, Matman & Druskillz | Mr Thing | Zero7

———-

Imagine this: you’re on the Mediterranean coast, looking out over the steep hills that surround it. It’s warm; so warm that the beads of sweat brought out a setting sun must be accompanied by a cold lager.

Your feet feel soft, slightly weightless. This is probably because they’re perched on a rock under the clear, green water, which is a tad cooler than the air surrounding you.

The sheer beauty of the scene would lead you to hum any suitable tune, but there’s actually no need to. About 15 metres away, there are some DJ decks, and behind them, a handful of world class record junkies that have been paid to make the selection for you. Just now, they threw on ‘That Shit’ by Jay Dee and A Tribe Called Quest. Perfect.

This was exactly how the scene was set for about 3000 blissful souls at the 2010 Soundwave Festival in Petrcane, Croatia.

Linking up with my partner-in-crime Ali, our writer Steve and a couple of friends outside Zadar the night before, I was more than ready for three days of work and three nights of play.

On Saturday, we were joined by our photographers Romain and Nicole, as well as Rob, whose temperament on the pen we knew would deliver something sharp about their experience at the Luton Airport (and it did). Unfortunately for that awesome quartet, they missed most of Friday’s action.

But if you were there then, around lunch time, you may not have been sitting next to us on those rocks. You could well have been playing volleyball, receiving a massage, or recovering from the boat party the day before.

Graff artists united by the wall behind the beach volleyball court, with legendary sketcher Inkie, Sri Mckinnon & Brodie Doyle drawing up something beautiful and improvised.

The wiser among us were already in front of the main stage. Early in the afternoon, while most were swimming, catching up on some down time or on some drinking, Manchester collective Mind on Fire emerged from the DJ booth to the stage, tearing said place down despite the relatively sparse crowd. Sporting their band tees that would many of the visitors started rocking over the next few days they started the party with raps and soulful vocals, wetting our appetites for the glories to come. These boys won new fans with each unique joint.

They were followed by the slightly more up-tempo and mighty East Park Reggae Collective out of Leeds – crowd movers extraordinaire. The first band bringing the reggae vibe to the festival they were the second of three great bands on the Friday, uniting where Man On Fire left off and Riot Jazz would later begin. Fronted by the uncompromising vocals of Anna Stott, the band boasted a heavyweight 4-piece horn section teasing newcomers from the sea.

Then of course it was the turn of Leeds 10-piece collective, Riot Jazz to instigate movement in everyone, security gards (almost, at least) and bar staff included.

Vocalist MC Chunky could not refrain from entertaining, busting one or two flows while accompanying the band’s neck-jerking cover of Marvin Gaye’s ‘Sexual Healing’ as well as their original material. Trumpets, trombones, sousaphones – you name it, it was in the mix.

As the huge skies faded into some intense shades of purple, fellow Manchester boys Broke’n'English took the stage. The trio’s commanding presence, the kind only shown by MC’s true to their title, added another dimension to the rowdy, rebellious jazz tunes the band had been blessing us with.

That Riot Jazz and Broke’n'English had delivered the best show of the festival became clear when the Manchester band left stage to the crowd’s roar after about 40 minutes, and the trio were left to rock it.

It was a task they undertook with ease–Strategy’s humorous freestyles based on anything from ‘condom’ to ‘Cheltenham’ amused everybody–but the absence of live instrumentation was felt when the brass band left said MC, DRS and Konny Kon to rock on their own, if only a little.

This was the moment when Manchester placed the main stage under seige.

As day finally turned to night, which takes a while to happen on the shores of Croatia in late July, it became clear that Toddla T was one of the many victims of the Luton Airport madness back in London.

But as Toddla suffered in the nightmarish airport, we were all good in Petrcane. Broke’n'£nglish Kon Kunnna spun anything from Snoop’s ‘Gin & Juice’ to Luniz’ ‘I Got 5 On It’ as the already lively crowd turned excessively mobile.

As expected, 1Xtra’s Benji B arrived killing his set but only then to improvise in true style for the next hour as he took the responsibility of filling Toddla’s absence. An infectious mix of house and dub step to soul and hip-hop classics perfectly suited the pulsating dance floor we had all turned the area in front of the main stage into.

For old time’s sake, he capped his rowdy set off with Roots Manuva’s ‘Witness the Fitness,’ rewound several times out of sheer necessity.

Taskmaster burst the bionic zit-splitter / Breakneck speed we drown ten pints of bitter…

The night barely ended before we got amped for day two.

—————————–

Since 2007, UK-based collective Saravah Soul have been on a quest to blend interactive Brazilian influences with Western funk and soul and while at it, throw in African rhythms here and there to add flavour. Saravah’s sophomore album Cultura Impura offers us the upbeat frenzy of West African hilife, the cojo choir music that often accompanies capoeira battles, all underpinned by some Yankee funk and chicken grease chords galore. Yes, the result is ecclectic, but also cohesive and not surprisingly, suited to your dancefloor. Or better yet, a carneval – in Rio, perhaps, or why not Notting Hill.

Singer and guitarist Otto Nascarella is the glue that ties the Saravah musicians together. Kinetic lead single ‘Alforria‘ speaks directly on his being denied entry to the UK and provides a good introduction to the group’s music. Nascarella’s unmistakeable, raspy vocals garnish ‘Funk de Umbigada‘’s vibrant bass and jittery cowbells, and help the band pull off the daring Hendrix cover ‘Fire‘ to great effect. This is no rip off – the Frevo choirs add a fresh, call and-response element to the song to complete a very successful experiment. The coco-flavoured ‘Dá Ne Mim‘ would be fully experienced during a round of Capoeira – the martial art that African slaves brought westwards to Brazil about 500 years ago.

The greatest feat of Culura Impura is that it manages to translate live energy onto a record especially tangibly, a very sought-after quality in music that is seldom captured to full effect. Saravah Soul let that pifano flute run rampant without respite. And that can be forgiven, because these are talented musicians whose plight to make us move removes any need for a break. Live performance, please.

Words Sven Carlsson
Buy Cultura Impura here

Throughout the Medicine Show series, Madlib has brought us psychadelic and progressive rock from progressive African rock to Brazilian, with occasional detours into the piles of beat tapes the man created in the 1990’s. Halfway through the year and the series, we arrive at The Brain Wreck Show, a journey into the lefgacy of prog- and psych-rock in the US, all perceived through the Madlibber’s abnormal flair for digging through dusty record crates.

Once inside the realm of independent music’s Gyro Gearloose, it becomes clear that there are two sides to the schizophrenia: that of the music being played and that of the mind mixing it. While encountering fragments of psychadelic free jazz, Eazy-E is telling us to “shut the fuck up,” and at some point Daffy Duck lectures us on substance abuse. Throughout, Madlib is testing our conception of sound; frantic, irregular hi-hats and frequency distortions are as integral to the music as knocking drums and drug-fused guitar solos from way back when.

By ‘Track 5‘ (unnamed, of course) we’ve arrived at something resembling a coherent song (not to worry – the levels are all over the place). If Madlib’s mission is to make a mockery of the act of listening in an ever-shuffling musical world, he has got his point accross. Like much of his music, the sixth instalment of the Medicine Show series explores the contrasts between fragments of American popular culture and the tangible experiences of those living adjacent to it. And while he’s at it, we’d better leave him be.

“Will you ever stop digging?
Shut the fuck up!”

words Sven Carlsson

——————

Pre-order the collector’s edition of The Brain Wreck Show at Stones Throw.
Madlib’s MySpace

In 2009, Jabulani, who rapped under the name Hip-Hop Pantsula (he was more informally referred to as HHP or just plain Jabba) was putting together his seventh album Dumela. He wanted a big international collaboration on it, and he’d been a Nas fan since the days of Illmatic. So Jabba went to the States, found Nas and paid him nearly $10,000 for a hot sixteen. The resulting track, a heater called ‘Keledimo’, took pride of place on the new Jabba album.

At the same time, Nas was in studio working with his good buddy Damien Marley to put together a project called Distant Relatives. The album, which featured people like K’Naan, Lil Wayne, Joss Stone and Stephen Marley, came out in May this year. On it was a track called ‘Leaders‘ – a track which featured the same verse that Nas had already sold to HHP.

Jabba’s paid-for exclusive had become an also-ran.

Rappers shank each other all the time with verses – it’s not acceptable, but it’s not unheard of either. But what’s galling is that Nas and Damien are full of concern for Africa; the entire album seems to be themed around the power and potential that the continent has, and the love the two principal artists have for it. This seems a little hard to swallow when, behind the scenes, Nas is selling old verses to African MCs. And unfortunately, that’s Distant Relatives as a whole: rock-solid production and excellent performances wrapped around a core that, when tapped, rings very hollow indeed.

Of course, if you don’t give a fig about this sort of thing, then you’ll love Distant Relatives. Because what is annoying is that it is a genuinely good album, bursting with great moments like the ominous ‘Tribes At War’ and the bouncy ‘Count Your Blessings‘.

It’s the kind of project that clearly has a lot of time and love invested in it, and it’s being quite rightly proclaimed by all and sundry as one of the better albums you’ll hear this year.

But when Joss Stone sings about her generation making a change, over some saccharine raps from Nas and Weezy, it’s tough not to cringe. Which generation would that be, Nas? Because so far, when it comes to Africa you’re doing a pretty piss-poor job.

Words Rob Boffard

Personally like so many I was hooked to Nneka’s accented vocals the day she dropped the The Uncomfortable Truth EP back in 2005. The dominant horns and clap of self-titled single ‘Uncomfortable Truth’ ringing in my ear I knew instantly a fresh talent had emerged, offering more substance and beauty than the current drone marketed pin up dolls singing revamped soul.

Later that year she released her worthy debut Victim of Truth independently, before being signed to Sony Music and dropping the magnificent No Longer at Ease in 2008. It was an album that received critical acclaim, award nominations and won her a MOBO award for Best African Act the following year.

Unfortunately I’d have to wait yet another year to finally meet the petite and striking singer/songwriter to give her my congratulations.

Sneaking ten minutes that turned into an easy thirty before her London gig at Scala I eventually get my chance to meet the fresh-faced Nneka. There that afternoon during sound check, as she sipped on warm water and Beatnik’s Paul Bence snapped away she intimately gave us a run down of her astonishing life so far.

Born to an Igbo Nigerian father and a German mother, who she states has no connection with her, Nneka grew up with her father and stepmother in Warri – a beautiful and rural community in the Delta region of Nigeria. And although in her late teens she briefly yo-yoed between living in Lagos and Hamburg, It was having lived two thirds of her life in Warri that had the biggest effect on her early humility.

Both her albums The Victim of Truth and No Longer At Ease are a winning creation of African beat mixed with a heavy dose of roots culture genres like Soul, Hip Hop and Reggae. Talking of the plight of the Niger Delta and the corruption in Nneka’s homeland, No Longer at Ease is the most vocal of the two about injustice, combining her political and personal feelings in perfect song.

“Everything about Nigeria is inspiring.”

Patriotic Nneka smiles. Amongst accusations of inequality, poverty and political corruption that riddle the country she relishes the opportunity to highlight in a prominent but clear Nigerian accent her homelands best quality – its people and their love.
“Amongst the poverty the happiness within that calamity and chaos is beautiful.”

A young and naive Nneka at first she didn’t enjoy the attributes of the capital, Lagos.
“I left Warri for the first time when I was 16. I thought even then Lagos is like being abroad, it’s not Nigeria.

“There were Skyscrapers, roads, traffic lights, casinos, night life. I came from a village and I never knew these things existed. “

“I saw White people for the first time, despite the fact I’m half white, I never had that relationship to the white side. All these things blew we away when I moved back.”

“Lagos didn’t have the biggest impact on me though. It was the way I was raised -simple and strict. The people of the Delta appreciate life more then the negotiations and money hungry environment of Lagos.”

It wasn’t until she migrated out of Nigeria that her political conscience was truly awoken however. At twenty she left one continent for another, settling in Hamburg, Germany. Here she built a long-standing friendship with local beatmaker DJ Farhot and while juggling a degree in Anthropology begun to be a regular force on the Germany Hip Hop scene.

“There was time I was playing a lot of gigs hustling, nobody really new anything about that. And I decided to take my break”

The reason why she left Africa for Europe is one she not comfortable sharing.
“It was never my decision. It’s a story I’m not able to talk about.”

But on reflection she identifies how the contrasting culture of German society awoke a new love for her homeland and her greater political awareness
“I wouldn’t say I was very politically active whilst I was in Nigeria. I thought about these things – but I think I didn’t have enough knowledge to understand what was going on. I knew from intuition that the way we lived there was so much going wrong (in Nigeria) – That it wasn’t freedom. I knew they should be more to it.”

“So when I went away I had the opportunity to get outside of Warri, going outside of Nigeria and seeing Africa from a different perspective. Understanding who I am and understanding where I was – when I was – where I was”

For most of the interview her stance has been relaxed, arms open with one hanging behind the chair. But now she sits up and leans forward keen to emphasis her biggest passion.

“Then I gained an identity outside of Africa. I never new I had colour until I felt prejudice in Germany. All these things, triggered me to be more conscious about what Africa is, what is Nigeria all about.”

“There is so much we can learn from each other but that’s good thing about the western world. Westerners know how to keep libraries, you know!
African history is in the white mans land. We don’t know anything about ourselves. We sell our history because we are ignorant.”

“I live in Lagos now” – she travels between her home in Hamburg and Lagos. “But I am from the Delta and that’s where that boy came from – Erick”

Nneka reverts back to our brief fun off the Dictaphone earlier that day discussing recent events.

That boy in question, Erick , is one of many brilliantly charismatic real life characters in a recent three part BBC documentary called ‘Welcome to Lagos’.
A series that lifts the lid on the life of everyday Nigerians in one of the worlds most populated capitals, overcoming poverty and hardship with humour and shocking determination.

“Like Erick’s song man”

Nneka giggles as she recalls the heart-warming story of budding rapper Erick. Living on a rubbish dump he patiently saves all his money to record his demo and continue searching for that illustrious dream to be a music superstar.

Amongst the laughter though it’s clear his story hits a nerve. Being from the same region, Nneka’s own tale can relate to Erick’s struggle but more importantly his dream – from bare beginnings to worldwide fame.
“People of the Delta are tough, we know how to be happy with little things, but at the same time people know how to hustle.”

And how Nneka has hustled.

Here amongst Erick’s undoubting self-belief in the face of daily prejudice, poverty, long working hours in appalling conditions, humiliation and exploitation we find the real roots of Nneka’s music.
Take her critically acclaimed Hearbeat for example. Her greatest selling record to date, it was inspired by theses very topic’s.

“Ever since pre-colonial times. People of the Niger Delta have always been deprived of their resources. They have always had to prove themselves more then any other tribe of Nigeria.”

“So we have all those resources in our area yet we are not given the opportunity to use them. People come, exploit and take without giving anything back.”

Heartbeat was filmed in Warri and though the emotional video may say otherwise the song is actually an uplifting offering.

Within it, like so much of her music, Nneka’s words arouse political idelness. A sensitivity fans globally have fallen deeply in love with.

Yet for all the worldly poetry and political protest the obvious fact still remains. If you want to get someone to listen as Nneka does, you have to start with a great beat. Soulful harmonies, seductive Afrobeats and rhythmic percussion intertwine with Reggae, Soul and Hip Hop influences drawing the listener sonically.

“If all I showed was that unhappiness, poverty, oil spillage no one would listen.”

Broadening her accent she raises and opens her hand revealing slender fingers decorated with huge traditional rings.

“You must dance with the devil to win his soul…. When you have him you can then show him you’re true colours.”

While current critics may make obvious comparisons to Erykah Badu or Lauryn Hill, she has become one of the few artists to make it cool to care. And for that reason alone she belongs in the same sentence as Bob Marley, Jimi Hendrix or Bob Dylan.

With a new album on the way and a huge tour schedule pending it seems it’s only really the beginning of a promising and exciting musical dominance from one of Africa’s most prolific musicians.

Nneka Myspace
Nneka Website

Mixing English, pigeon English, Yoruba and Igbo languages, Nneka uses catchy syllables to weave out her feelings of plight for Nigerians. But in particular those from the Delta State (Suffri, Niger Delta) – the dominant subject matter of the album.

Hearing the strong ‘Streets Lack Love’ she’s not afraid to call out those she deems responsible for Nigeria’s ills, a bravery we applaud. Yet her ability to balance the negativity by offering hope through songs like the uplifting ‘Kangpe’ and ‘From Africa 2 U’ are the real key to her charm and musical beauty.

Every so often Nneka surprises by switching up her flow. Like on the old skool Hip Hop/Trip-Hop intonation of ‘Halfcast’ she unrestrained bares her soul by rapping about how she wants to be seen as a Nigerian, not half black or half white, just belonging. This change in flow makes another appearance on ‘Running Away’ where Nneka goes sensual on us to express her love for music. More evidence of her versatility is heard on the reggae vibes of ‘Something To Say’ while ‘Focus’ has a rock edge.

In short, No Longer At Ease is a truly five star album with a brilliant blend of Hip Hop, Soul and conscious lyrics. Her Passion for life and the defence of those in need stringed with beautiful harmonies and catchy African inspired rhythms makes her music all the more important without the political fatigue.

If Fela Kuti and Ken Saro-Wiwa had a child together, Nneka would be that child.

Words Chinwe Ojielo

Sure you don’t miss the London release party for Kon & Amir’s new compilation Off Track Vol. III: Brooklyn on Saturday evening, 8th May, at Vibe Bar on Brick Lane  (nearest Tube Liverpool Street).
Proudly brought together by the good people at ZOO, from 8pm the decks will be switched on playing the best and rarest in ghetto Disco, Funk and African Boogie. So with crates deeper then Alice’s rabbit hole expect some funky ass vibes.

It’s only £5 entry too – mad silly cheap!
For more details hit up the Zoo Facebook Event Page.