Stanley Enow Featuring AKA & Locko – Bounce ( Official Video )

by Phil Chard

South African rapper AKA made his intentions to actively branch out into the rest of Africa and expand his brand beyond his own borders last year. Recently the Supermega has worked with Diamond (Tanzania), LayLizzy (Mozambique),Joh Makini (Kenya), Wande Coal & Burna Boy (Nigeria), and Sarkodie (Ghana)

Cameroon’s biggest rap export Stanley Enow can add himself to that list as the two artists link up with the vocalist Locko on their new collaboration Bounce. Directed by Studio Space Pictures and set in Johannesburg the video sees Stanley rolling around the Gauteng streets in a drop top Bentley where he meets AKA at swank mansion for pool party .

Cassper Nyovest – Skelm

by Phil Chard

For all his success and accomplishments the biggest knock against Cassper Nyovest has been his inconsistency as a rapper. The rapper who is an expert at crafting catchy songs and hooks has often failed to reach the lyrical and rap prowess he displayed on Doc Shebeleza and the Steve Kekana remix.

I see too many rappers and not enough CEOs. By default I am the best in the business

Until now…. On the hard hitting Skelm Cassper takes it back to the high energy, rapid fire flow in English and Setswana that made the whole industry stand up take notice. This is the type of song I have been waiting for Cassper to make. If he can maintain this level of expert delivery and lyricism he will continue to fill up many a stadium and impress Hip Hop heads like myself for many a year.

Produced by Gemini Major Cassper raps about betrayal, and his come up and how shady the game as he delivers lines about he and Carpo once ate Magwinya (Vetkoeks) with artcha, now they are eating sushi for a starter.

BoolZ – The Lo-Fi Tape [Side A] Review

by Phil Chard

In my former naïveté, modern rap showed no lustre, no pizazz, and no apparent value. If and when it was digested, it was all in jest; admittedly, I used to be the type to stoop to the low of listening to something ironically. At age 16, I was expressing my opinions openly on the internet, not at all very enamoured with trap as a genre of hip hop. The vapid lyrical content from hip-hop's commercial elite made the listening process a bit strenuous, while beat makers continued pushing the same club banger over and over again for the sake of selling records (I don't know how well that works out here in SA.) The climate of rap back when I was a younger young-in wasn't much different than it is now; people are still rapping while also acting like they're trapping, all the while not actually trapping (you know who your favourites are.) Authenticity seems to have reached a high point in its relevance to hit records, but oddly enough also not as fans and pundits alike can't discern who's "really out here doing it."

In a culture of bar-raising and one-upping, there's one self-described asshole taking the debauchery of previous genre innovators and maxing it out. Arguably the face of Rudeworld Records (the rap side of things) resident, BoolZ, is finding some of the freshest takes on the party-line "meme-ery" that has encumbered the genre.

A big contrast between 6-years ago and the present state of the South Africa's rap scene, lies within the introduction of different tropes, the level of production quality in relation to budget, the technical ability of up & comers; the modern rapper has access to resources like the Internet, where anyone, ranging from the average listener to the recording artists themselves, can showcase their talent in whatever way they deem fit. Influences are wide in range, and the more adept of the newer generation tends to stray away from age-old swag grabs and intellectually unacceptable lyricism, substituting it out for unique content, new cultural references, and incorporating our multiple languages into it as a whole. Make no mistake though, this hip-hop renaissance has been on the cards for some time. These new ideals are running wild within the minds of rappers, old guard and new guard alike. The genre staples from the artistic surge (e.g. Khuli Chana, K.O, Ma-E, etc ) are still making music consumed wholeheartedly by the masses, while some select young guns are taking risks, some shooting and never missing.

In a culture of bar-raising and one-upping, there's one self-described asshole taking the debauchery of previous genre innovators and maxing it out. Arguably the face of Rudeworld Records (the rap side of things) resident, BoolZ, is finding some of the freshest takes on the party-line "meme-ery" that has encumbered the genre. THE LO-FI TAPE is BoolZ's idea of the "new way to do it," flexing a nihilistic, cynical and overtly sensuous approach to flow, lyricism and instrumentation, all while handling artistic responsibilities completely on his lonesome. Breakout single Apha EKapa is as infectious as it is potent, sporting a backing track that's equal parts club-banger and lyrically enthralling.

Whatever's BoolZ landscape of choice is to produce his work, his use of the ever-famous textures seemingly derives from influences from Dirty South rap in a way which contradicts the industry banger blueprint; He focuses more on the interaction between lyrical content and musical stylings, and in the process he creates a completely unmistakable sound. It's somewhat astonishing how natural he sounds inside these dissociative, syncopated, and often uncomfortably intimate settings. BoolZ sits inside the pocket all day, every day with his music, never trying to be something he isn't. BoolZ is the allegorical depiction of the function, fit with a humorously wry set of punchlines and sample usage as in good taste as it is blatantly sarcastic. This is a conceptual divorce from struggle rapping as a form of keeping it real, while still satisfying those who seek reassurance from the familiarity of subject matter.

Everything about me ? Dope, Everyone around me ? Dope. Langa, Gugx to eNyanga ? Dope

Niggas know I'm fucking dope, bitches say I'm fucking dope, I know that I'm fucking dope

4-years of consistently dropping new material, BoolZ has three more projects, all of which still exist within the paradigm of his snide, trap-derived vision for hip hop. Songs like ON TRIPL3 6 IN THE MIX and KWAITO 2 D34TH (1995), are continuing where Bring Tha Hate tape and the Love That Hate EP left off, all on the same tip that BoolZ wants to be on with his music, contrasting only qualitatively. Admittedly it's hard to compare his projects with one another, as they're all so undeniably significant and unique to the current canon of rap; this tape separates from the rest in its coherency and consistency. Homie gets a little lyrically redundant sometimes, but it's in the spirit of creating a unified project (all of the iterations of amajita, nama medi enu, would make for a dangerous drinking game). Along with the relatively short runtime of 22 minutes, BoolZ apathetic hedonism morphs and twists, switching narratives from outward to inward throughout. This constant shifting of focus in particular makes the EP successful artistically, and any opportunity to vary the content on the tape is taken. THE LO-FI TAPE has the interesting effect of being equally rewarding to the listener regardless of how it's taken in. Each of the songs themselves can hold their own when isolated as well as fit nicely in the tracklist, which is very reflective of BoolZ multiple roles in its conception. BoolZ has an artistic versatility that allows him the luxury of copping any and every stance, whether it be his dirty south trap shenanigans (FOKOLCHANG3D 199014 SYKEDELIKSPIDANS), his affinity for sex and drugs (TRIPL3 6 IN THE MIX), etc.

On SiDope [LOFI REMIX] Lord BoolZ spits some scalding hot bars that feel like a marriage of his usual simplicity;

Everything about me ? Dope, Everyone around me ? Dope. Langa, Gugx to eNyanga ? Dope

Niggas know I'm fucking dope, bitches say I'm fucking dope, I know that I'm fucking dope

reiterating firmly on how confident he is himself and his craft, while sampling Aaliyah's "At Your Best (You Are Love)". Some of the most memorable bars on the EP come with an introspective BoolZ (2:00 AM I been sitting thinking about this cash, fuck being broke, kinda shit just makes me mad // fuck dreaming about all this money that I wish I had, fuck a 9-5 kukho ezinye indlela to get stacks") on the trilled out "Always Kreepin", basically crafting a set of lines that meshes really well with his overall aesthetic.

Ultimately, the rap game has changed; some arguing for the better and some arguing for the worst. This new breed of emcees doesn't really care about what the hip-hop heads think; they're just doing their own thing entirely.

Ultimately, the rap game has changed; some arguing for the better and some arguing for the worst. This new breed of emcees doesn't really care about what the hip-hop heads think; they're just doing their own thing entirely. Whether traditionalists want to knock BoolZ for his apparent lack of technical ability or his happy go lucky, life-of-the-party narrative, the thing that absolutely no one can strip from BoolZ is his ingenuity: his lyrical manoeuvring between synonyms and slang terms, his instantly memorable hooks and one liners; everything displayed here is uniquely and undeniably his own brainchild. BoolZ is just pumping out jams and doing his due diligence for the art form. Perhaps it's correct to argue that rap as a genre is heading south, but it'd be more correct to argue that it's been South for a while: Dirty South that is having the strongest influences on the scene right now. BoolZ has crafted a standout tape that dares to be unique in an otherwise overpopulated and oversaturated climate; he doesn't care for the comparisons or props or the masturbatory fanfare that comes with being in the rap game. Among a convoluted mass of internet rappers, BoolZ is out here carving out a special niche for people sick of the norm.

This review originally appeared on Rapfornincation and was authored by @Malume_uJayv

Lynxxx – Serve You

by Phil Chard

Story of my life. God first everything else comes second

New single from Syndik8 Records frontman Lynxxx. On an instrumental laced with a saxophone and live drums prpduced by Spax, Lynxxx raps about all God has done for him.

Falz – 406 Na D Code Featuring Tekno & Skales

by Phil Chard

Nigeria’s Falz aka FalzTheBahdGuy links up with Tekno & Skales on the up-tempo Hiplife inspired 406 Na D Code.

Dee Moneey Is Giving You A Shot To Be On His New Single Shots

by Phil Chard

Queens based Ghanaian artist Dee Moneey just dropped his new song Shots. The song has a hard knocking up-tempo beat with heavy 808s but only has one verse. That is because Dee is letting fans submit their best 24 bar verses for the song. If you would like to be part of the song and have Dee Moneey release it via his platforms, download the song and add your bars on the second verses slot and then submit it on Dee Moneey’s Facebook page.

Karizma – Shisha Pipe

by Phil Chard

UK based Zimbabwean rapper Karizma just dropped a mellow and laid back tune produced by Team Rehab beat maker Young Nash. The song titled Shisha Pipe plays off the laid back tempo and synths of the beat as Karizma uses some symbolism to and metaphorical delivery to seduce a woman “that can’t wait to light up his Shisha pipe”

Teamwork Makes The Dreamwork: Solo South African Hip Hop Artists and Squad Goals

by Phil Chard

Throughout our youth, we've all probably been bombarded by numerous idioms regarding the company you keep! Some of the usual idioms go along the refrain of birds of a feather flocking together, the closest people around you defining who you are and, of course my favourite, how since you can't choose your family you best make a success of the friends you choose.

In a hip hop context, decisions of this nature are perhaps more important to get right; as the team an artist chooses plays a major role in the kind of persona they develop. I've always been fascinated by where it all began for some of the most successful rappers. After witnessing an ugly twitter exchange between two old musical colleagues, I was prompted to harken back into the past to see just how many solo South African hip hop artists started out in the fold of a group. Granted, both friends or crew members don't always last forever but they're still influential in shaping the solo artists we see blow up! So... how are a few of these former group members faring today? Let's take a look:

Like a few people my introduction to Motswako came via Morafe, who remain one of my favourite groups. This Mafikeng based ensemble introduced a younger me to a new sound and challenged my claims of being bilingual with witty bars and clever punchlines delivered in vernacular. Made up of KG, Towdee Mac and Khuli Chana; they provided head-nod inducing tracks such as The Whole Thang and the Letta-Mbuli-sampling Letter To Motswako.

Arguably Khuli Chana has been the most successful in a solo capacity, with his second album Lost In Time being the first hip hop album to garner a SAMA award for album of the year. He has continued to build his solo brand but the contributions of his former partners towards his own work has kept both Towdee Mac and KG firmly on the scene. In spite of the dissipation of the group the bonds formed previously remain strong amongst these three. A classic example of a reunited Morafe was them appearing on Khuli Chana's Hape Le Hape Pt 1 alongside AKA, Zeus and Reason. Starved fans can look forward to more material soon as the group's long awaited reunion is slated for sometime this year.

Most recently in his own capacity Towdee Mac has contributed to the DJ Lemonka and Tattoo Lefoko helmed 2744 Mixtape, with a feature on the standout track North West Party. Meanwhile KG remains the sturdy right hand man; serving as Khuli Chana's music director during the album recording process. He also had a hand in AKA's sophomore album Levels by helping pen the hook on Let Me Show You where he also gets a shout out affectionately referred to as 'Kaygism'. Still on the topic of AKA: he, in turn, had his start out with a crew called Entity. He appeared alongside two other rappers named Vice Versa and Greyhound.

This youthful trio owed their breakthrough to their catchy songs First Gear and Touch and Go. These two singles catapulted them into national stardom before they suffered a disbandment just as rapid as their rise was. Whilst Vice Versa chose to go the academic route and is currently at Oxford University, sadly not much has been heard of Greyhound. Apart from his penchant for rap, AKA's often overlooked production skills helped him form another trio in what threatened to be a production powerhouse in South African Hip Hop. IV League is the partnership that crafted the sound of his debut album Altar Ego and included AKA, Kamza and Buks. Whilst Kamza followed a different path as a television presenter, Buks resurfaced as one half of BETRGANG alongside Solo. This critically acclaimed duo released their project We Need a Title which was released via their website http://www.betrgang.co.za/.

It seems there's practically no chance of either one of these AKA aligned trios reforming or collaborating as frequently as the Morafe members do, but AKA clearly has a new musical collaborator in the form of the self-proclaimed 'North God' Da L.E.S.

Da L.E.S first broke out onto the scene with the foursome Jozi that included Ishmael, a veteran of the South African music scene, Bongani 'Bongz' Fassie and Crazy Lu. As time went on Jozi shed members until the duo of Ishmael and Da L.E.S remained. Eventually the two decided to go their separate ways with both artists still keeping afloat. Conversely, both Crazy Lu and Bongz have failed to leave a lasting mark on the game in recent times. Bongz did release a diss track not so long ago, but the less said about that the better! In a lesson of how to remain integral to the fabric of South African music Ishmael featured on Arthur's summer hit Summa Ya D'Summa whilst Da L.E.S has racked up some solid bangers off his two independently released albums Mandela Money and the still hot off the press North God.

Coincidentally AKA and Da L.E.S both share musical journeys similar to that of Maggz; an artist they've accompanied on tracks like Heaven and the highly anticipated Real Stuff. Having been groomed by ProKid (now simply Pro); Maggz came up alongside L-Tido, Morale and Sean Pages to form what can only be described as the rap super group Glitz Gang. Fortunately for this crew, all these rappers have healthy careers with releases such as Dlala Ka Yona, Lotto and Blind charting well for the respective acts. Now focused on building a solo career that includes a much awaited follow up album; Maggz is affiliated to Cashtime Life which is also the home of fellow rappers K.O and Ma- E. These two first came to our attention as members of Teargas which also featured Ntukza, who declined the move into the Cashtime family. K.O's solo success was cemented with the Lunatik Beatz produced, kwaito-infused track Cara Cara; that provided my soundtrack to many a memorable night. Ma-E has recently spread his wings with the release of his solo offerings including uGogo and his AKA assisted Lie 2 Me off his Township Counsellor album.

Viber Public Chat: How To Build An Electronic Press Kit

by Phil Chard

The African Hip Hop Blog was chosen as one of Viber’s launch partners when they launched their new Viber Public Chat feature a few months back. Since it began we have experienced tremendous growth and engagement on the platform. We use our Viber public chat as a forum to allow for discussion and debate cantered around the African music industry and the culture. We encourage anyone interested in getting the latest news and opinions from influential voices across the continent to follow along. If you would like to be part of the debates and contribute, please get hold of me on twitter @PhilChard.or the blog @africanhhb

The African Hip Hop Blog was chosen as one of Viber’s launch partners when they launched their new Viber Public Chat feature a few months back. Since it began we have experienced tremendous growth and engagement on the platform. We use our Viber public chat as a forum to allow for discussion and debate cantered around the African music industry and the culture. We encourage anyone interested in getting the latest news and opinions from influential voices across the continent to follow along. If you would like to be part of the debates and contribute, please get hold of me on twitter @PhilChard.or the blog @africanhhb

C-Real – Boss Featuring Sarkodie

by Phil Chard

C-Real the EMCEO just surprised he innanets with this incredible joint. The single Boss features Sarkodie as the two Ghanaian lyrical heavyweights deliver hard hitting bars like;

“Now I’m back in the zone, rattling raps and I’m packing a flow,

Grappling facts that my act can control,

Feel it in every spec of my soul now respect me I’m dope

And I’m bad to the bone……

If I conceive it, I’m birthing it period!”

Stogie T fka Tumi – Big Dreams & Diamond Walk

by Phil Chard

I make it real she taking pics in off season vacations

Wasn’t big in crustaceans, now every fish dish coming Michelin validated- Big Dreams

Tumi Molekane is no more, well at least for his new project. The South African lyricist has just announced a pivot in his sound and a new moniker. Now going by Stogie T , the artist formerly known as Tumi said this about the new name and style via a press release

“.. Tumi represented an idealistic young black male emphasizing the nest of human nature and yearning for a netter world, Stogie T simply represents the world as it is whilst retaining peerless lyricism”

After providing us with a short snippet of what he and Tweezy were working on the studio, Stogie T has released two singles produced the young beat maker. The R&B- Soul influenced Diamond Walk and the synth heavy aspirational anthem Big Dreams.

Stogie will be launching both singles at the Sandton Diamond Walk later today

The AHHB Podcast Featuring HHP fka Jabba Man, Shane Eagle, Flex Boogie & Wiseman Ngubo

by Phil Chard

The best African hip Hop podcast is back with what could be our best episode to date. In this episode Phil features music from Reminisce, Alikiba & MI, Ice Prince and DJ Switch.AHHB Podcast V 2

Phil also speaks to Jabba Man fka HHP in an open conversation where Jabba shares his frustrations and his new outlook on life. Look out for the full interview to be in a documentary that we are doing on HHP dropping soon.

While at Back To The City The African Hip Hop Blog partnered with Siphiwe Zwana aka S Dot to interview a number of artists regarding the significance of the festival and Hip Hop’s place in social movements. We play two interviews that were done with Shane Eagle & Flex Boogie

Phil also interviews Wiseman Ngubo from COPASA who discusses the SABC’s new 90% content rule and how this will affect the South African music industry.

Yanga – Not Enough

by Phil Chard

Sill counting my paycheques, y’all so impatient.

I mean if you did this would you get paid?

Last year I skipped Christmas and 2 birthdays.

My lil’ sis wants shoes all day,

And if this kills me who gonna pay?

I have been anxiously waiting for the release of Yanga’s Touch Is A Move EP like the second coming of Jesus. As it stands the project is 2 months overdue and Yanga seems to have been hard at work on finishing it or just adding more songs to it as he alluded to in this clip below.

If Not Enough serves as barometer for what the PE native will be delivering on his project I will gladly exercise a little more patience. On the high energy tracks Yanga delivers another incredibly catchy verse and series of bars that display just how far his rap skills have improved.

Ko-Jo Cue & iPappi Beatz – Kumasi Freestyle

by Phil Chard

Ko-Jo Cue

Ghana's Ko-Jo Cue links up with producer iPappi Beatz on Kumasi Freestyle

Bizzy Salifu – Take U Feat. E.L & Bils Rayoe

by Phil Chard

@bizzysalifu @ELrepGH @BilsRayoe

Belgium based Ghanaian artist, Bizzy Salifu just dropped the Hip Hop – Electro fusion track Take U featuring E.L and Bils Rayoe.

Bizzy switches in between a delivery in English and French while E.L lends his auto tuned vocals to the chorus.

Ice Prince – Chike Feat Korede Bello

by Phil Chard

Ice Prince has been teasing and hyping the release of his new single Chike featuring Mavin Records artist Korede Bello. The C Kay produced song is a fast paced offering with live instrumentation and sees Ice Prince delivers a set of rapid verses in a monotonous 2 beat flow while Korede delivers his signature R&B – Pop vocals.

Are you Chike?

A.T.F. – EX All

by Phil Chard

A.T.F is the three man collective of AbNorm, TRK & FTR. The crew has planning their eventual release and possible world domination for close to two years now. The trio once recorded an incredible song for this blog that we might just release soon. But I digress, on Ex All the three lyricist hop on a trippy trap beat and lay waste to it with impressive deliveries and punchlines

Tio Freezy – Eu Sei Feat. Sodoma

by Phil Chard

The Mozambican duo of Tio Freezy and Sadomo hop the slow and emotional Eu Sei where they speak of the painful tale of a woman stuck in a loveless relationship.

Submission | Young Cardamom & HAB – Sidda Mukyaalo EP

by Phil Chard

Young Cardamom & HAB are a Ugandan rap duo based in Kampala, their music covers topical issues that resonate with Ugandan nationals while retaining influences from the sounds "of Atlanta, Juba and Lahore, among others." (That's what they typed) Sidda Mukyaalo is their debut EP and addresses a wide range of issues, from the deep roots of Uganda’s current political crisis to the place of South Asians in Uganda, with a rap battle along the way. My highlight from the project thus far is Askari with its uptempo beat and tag team raps on socially conscious issues.

QualiBeatz – Major + Mfan’a Limpopo (Prod. by QualiBeatz)

by Phil Chard

Polokwane based producer QualiBeatz submitted his new single Major featuring Slash & Syk. While I was going through his Soundcloud page I also came across Mfan'a Limpopo which has such a hard baseline I couldn't ignore it