On Bring Backs the musician revisits his youth in Newham, his home borough in East London.
Alfa Mist is deeply attached to Newham, a place that plays host to an infinite variety of musical types, including grime and hip hop. He defines his album, Bring Backs, as a way to explore his musical education. Alfa Mist has been producing hip hop beats since he was thirteen years old, claiming to have been inspired by the London rapper Kano, as well as the American hip hop group Little Brother. This multi-instrumentalist also feels a sense of nostalgia, recalling his past as a drummer on the streets of London.
In Bring Backs, Alfa Mist wants to combine all this with the depth and intricacy of jazz, one of the greatest revelations of his life. Indeed, it was while searching for useful tracks to sample that he happily stumbled upon the jazz tradition and proceeded to fall into a world of jazz musicality. As a result, he felt a “need to learn how to play the piano.” In the video for “Run Outs,” captivating representations of the Underground pass by, just like the passing of time, which carries with it our memories, many of them tinged with bittersweet sensory nostalgia.
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For his second album, the Cameroonian guitarist Indy Dibongue delivers Bebey Blues, a perfect symbiosis between jazz-rock and African heritage.
Francis Bebey’s musical soul runs through the whole of this album, in which Indy Dibongue rearranges the pieces, accompanying them with his own compositions. Francis Bebey is one of the most influential musicians of 20th Century Cameroonian music. Deeply inspired by Tony Allen, one of the pioneers of afrobeat, who unfortunately passed away in 2020, the guitarist brings together different eras and cultures in his music. He is notably influenced by Cameroon and Paris, where he trained in a jazz school dedicated to professional musicians.
After spending several years as an accompanying musician, he released his first album, Squatting at Neverland, in 2014. His challenge on Bebey Blues? To honor the beautiful eclectic and cosmopolitan musical heritage of Africa. It is a true tribute to Francis Bebey, who said: “Africa today is at the crossroads of many cultures. We Africans of today carry it within us. We are the North/South dialogue before the letter!”
The album will be released on February 1 and will be available on all digital platforms, via Iroko Sound.
After becoming the guardian of traditions, the Malian rapper disregards slander and safeguards against misinformation. “Je gère” is the first single from her album, to be released at the beginning of next year.
Manabou, the main character and the guardian of traditions, criss-crosses the region, making sure that messages and information, wherever they come from, are spread in their exactness, without any distortion along the way. Ami Yerewolo uses her striking flow to denounce slander, distorted words and fake news. This first cut from her album (on the Othantiq AA label, founded by Cameroonian artist Blick Bassy) is enough to make the patriarchy tremble with fear. The feminist rapper and activist blends her own style with hip-hop and trap sounds, provingonce again that the future of African hip-hop is female.
In this new video, Ami once again deals with the gossip that breaks up friendships, family and relationships. “Misinterpretation, gossip and the distortion of out of context statements can sometimes lead to irreversible conflicts,” she adds. This is no easy task for a woman from a conservative family, one who wasn’t blessed to come from a line of griots. To achieve her career and become one of the first Malian rappers, she had to create her own status, to spare herself the “rotten men of the Malian music industry” who rarely programmed her in balani shows. Independent and ambitious, the slinger fights sexism on the ground and has spoken her mind from the beginning.