#amapiano drums

[kimludcom]

Wanitwa Mos, Master KG, Nkosazana Daughter - Keneilwe (ft. Dalom Kids) (Official Video)

[cuffedhubsessions]

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[audioloops543]

Soul Chef sample Loops Download

Soul Chef" is a musical virtuoso whose creations serve up a feast for the soul. This artist, true to their name, skillfully blends genres and flavors, cooking up a symphony that nourishes the spirit. Whether sampling the rich tones of jazz, infusing the groove of funk, or adding a dash of soulful melodies, Soul Chef crafts compositions that resonate with authenticity and passion. Each note is a carefully chosen ingredient, creating a sonic palette that transcends musical boundaries. Through their mastery of composition, Soul Chef invites listeners to savor a musical experience that not only delights the ears but also speaks to the heart. In the world of sound, Soul Chef is a culinary artist, dishing out a diverse and delectable menu of melodies that leave a lasting imprint on the palate of the soul.

[audioloops12]

Riemann Industrial Techno 8 Sample Loops

If you want to get that underground sound intoy our Industrial Techno productions, this sample pack is for you!

Inspired by producers like Oscar Mulero, Phase Fatale, Blush Response, Schwefelgelb, Kobosil and Berghain style.

In this sample pack, which can be used in all DAWs like Ableton, FL Studio, Logic Pro or Cubase, you can find beat elements like hihat loops, kick loops, percussion loops etc. as well as full drum patterns, drones, atmo and fx loops.

The oneshot samples can be used in software samplers as well as hardware sampler like Akai MPC, Toraiz SP-16 or Elektron analog Rytm.

A very useful feature of this package is the Beat Loops folder in which you can find different patterns so you can build your track with an intro, breaks, main part and outro quickly and add some background atmos and noises as well as a synth line.

The team behind Riemann Kollektion provides you with more than 15 years of experience in Techno production.

All sounds are made for maximum impact on large horn soundsystems like Funktion One, Lambda Labs or VOID.

Download contains:

258 x 24-bit Wav files,

25 MIDI files

[mendingmusic]

Bass Drums - DrummeRTee924, Nkanyezi Kubheka, Drugger Boyz

[kemetic-dreams]

Amapiano, a Nguni word loosely translated to "the pianos", is a South African subgenre of house music that emerged in South Africa in the mid-2010s. It is a hybrid of deep house, jazz, and lounge music characterized by synths and wide percussive basslines.

There is ambiguity and debate concerning its origins, with various accounts of the musical styles in the Johannesburg townships. Because it has a small similarities with Bacardi, some people assert the genre began in Pretoria but it remains uncertain. Various accounts as to who formed the popular genre make it impossible to accurately pinpoint its origins.

The word amapiano is a IsiZulu or IsiXhosa, or dipiano is a word loosely translated to "the pianos", The genre is mostly sang in Zulu and Xhosa, Sotho, Setswana, Xitsonga, one of South Africa's native tongues.

Amapiano is a subgenre of house and kwaito music. It is a hybrid of deep house, jazz, and lounge music characterised by synths and wide percussive basslines.

Amapiano is distinguished by high-pitched piano melodies, kwaito from South Africa basslines, low tempo 1990s South African house rhythms and percussions from another local subgenre of house known as tribal house.

An important element of the genre is the prevalent use of the "log drum", a wide percussive bassline, which was popularised by producer MDU aka TRP. According to amapiano pioneer Kabza De Small:

I don't know what happened. I don't know how he figured out the log drum. Amapiano music has always been there, but he's the one who came up with the log drum sound. These boys like experimenting. They always check out new plug-ins. So when MDU figured it out, he ran with it.

The use of percussive basslines in South African house music predates amapiano, and was possibly pioneered by kwaito producer M’Du (also known as Mdu Masilela.)

[namor-shuri]

Marvel Studios: Voices Rising - The Music Of Wakanda Forever [Series]

Episode #1: "Nigeria: Past is Present" [available on Disney +] [w/ time stamps to follow along]

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▻ "Soundtrack's like this just don't happen anymore, with the high percentage of the songs that are embedded in the movie, and to this level of cultural specificity." - Ryan Coogler [Director] [0:00]

▻ "Here you have a story that intertwines people [Wakandans & Talokanil] of beautiful, rich ethnicities. What do you do with that as a composer? You use it!” - Letitia Wright [Princess Shuri] [0:14]

▻ We learn that Ryan Coogler and Ludwig Göransson first started off as friends, meeting one another at a film school [USC]. They then hit it off from their joint love of Swedish music. "They make magic together, and they seem to just pick up where the other has left off. They just have this seamless way of getting in each other's heads and hearts, and it ends up creating such incredible music.” - Lupita Nyong'o [Nakia] [1:51]

▻ The first Black Panther soundtrack is heavily inspired by Chadwick Boseman's Black Panther and his overall character. After his passing, they had to go back to square one. "I couldn't really imagine what the movie [soundtrack] would feel or look like without Chadwick in it. So, I'm basically going into this experience starting from scratch." - Ludwig Göransson [Composer] [2:42]

▻ They [Ryan and Ludwig] chose to go to Nigeria, Lagos to recruit artists and composers, it being a major hotspot for music in the world currently. "What Lagos is to music right now is what London was to music in its heyday. What New York was to hip-hop in the 90's. I genuinely believe the most exciting music in the world is being made in Lagos." - Seni Saraki [Music Consultant] [3:16]

▻ "Ludwig came to Lagos, because he, as a creative, understands the need to feed off of the energy of a particular place." - Fireboy DML [Artist] [4:04]

▻ There were a huge mixture of both contemporary artists [ie. singers, rappers, etc] and traditional artists [ie. musicians, instrumentalists for the score such as, but not limited to: Jedalo Percussion Ensemble, Fusion Nigeria] coming together to create this soundtrack. Instruments such as, but not limited to, the: sato drum, sakara drum, iyaálù bata, omele bata, kakaki horn, ojà flute, goje were all used on the traditional side. "Everyday we had different sessions with musicians that would come from different tribes from the Igbo, from the Hausa, from Yoruba and they would have their own instruments and different types of set of drums." - Ludwig Göransson [Composer] [5:57] Ryan and Ludwig are seen workshopping ideas of scenes and where musical segments may exist in the movie during these musical sessions [7:28]

▻ "He [Ludwig] and Ryan had been talking about it for years. ‘Let's write songs just for this film.’ There's no licensed tracks." - Monica Sonand [Score Supervisor] [9:39]

▻ “The generation that I'm in right now is speaking Afrobeats. We are all doing our own things individually, but as a unit together, we are pushing the culture. This is Afrobeats. This is Niger. This is Lagos. We're taking that old culture with us to the world." - Fireboy DML [Artist] [10:48] His song “Coming back for you" was used towards the end of the movie in the scene where Shuri is shown planting the heart-shaped herb [12:15]

▻ Ryan and Ludwig wanted to have artists who sang in Xhosa [the language of the Wakandans] so they did their research and flew out artists from South Africa to Nigeria to meet with them. The music style “Amapiano” had the sound that they were looking for, which plays on most South African radio. "It's so unique and it comes out of the club scene there [South Africa] and it makes you want to dance. What I love about that music [Amapiano] is that it feels futuristic to me." - Ludwig Göransson [Composer] [15:05]

▻ Ryan, Ludwig and artist Bloody Civilian are shown brainstorming Bloody’s beats pack she made for them, discussing where her track may exist. She showed them her song “How to kill a man. “I was very nervous, but the environment felt safe and everyone's creativity was just going. It didn't really feel like work at some point." - Bloody Civilian [Artist + Producer] [23:04] Her final track in the movie “Wake up" ft Rema is about "pushing yourself regardless of the things that try to pull you back." - Bloody Civilian [Artist + Producer] [24:33]

▻ Some of the African producers involved were ecstatic to have representation of a variety of African artists and sounds on this Marvel movie and it’s soundtrack. "I think the album sounds like Wakanda!" - Osarumen Osamuyi [Music Producer] [25:28]

▻ "I've been able to travel here [Nigeria] with Ryan, one of my closest friends. Doing something like this together where we can share this experience has been such a blessing." - Ludwig Göransson [Composer] [25:52] "It was really important for us [Ludwig and him] to come to West Africa. Myself being African-American, a lot of my heritage is from here like most African-Americans. The biggest take away for me is the personal connection that I have myself. I'm constantly looking at people saying ‘that person looks like my cousin, that person looks like my friend, that person looks like my brother.' That experience is one that's very different from being a black man that was born and raised in a predominantly white country. Folks born on the continent often take for granted to just walk down the street and everybody looks like them. That wasn't my truth. That wasn’t my reality. It's a very strange experience to fly for thousands of miles and land somewhere you've never been, but it feels like home. There's a beauty to that, but also a sadness that comes with it.” - Ryan Coogler [Director] [26:06]

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Soundtrack: [tracks referenced in this episode]

ʀɪʜᴀɴɴᴀ: ʟɪғᴛ ᴍᴇ ᴜᴘ / ʙᴜʀɴᴀ ʙᴏʏ: ᴀʟᴏɴᴇ / ғᴏᴜᴅᴇᴏ̨ᴜsʜ + ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴄᴏɴ ʟᴀ ʙʀɪsᴀ / ᴛᴇᴍs: ɴᴏ ᴡᴏᴍᴀɴ ɴᴏ ᴄʀʏ / ᴀᴅɴ ᴍᴀʏᴀ ᴄᴏʟᴇᴄᴛɪᴠᴏ + ᴘᴀᴛ ʙᴏʏ: ʟᴀᴀʏʟɪ’ ᴋᴜxᴀ’ᴀɴᴏ’ᴏɴᴇ / ғɪʀᴇʙᴏʏ ᴅᴍʟ: ᴄᴏᴍɪɴɢ ʙᴀᴄᴋ ғᴏʀ ʏᴏᴜ / ʙʟᴜᴇ ʀᴏᴊᴏ: ɪɴғʀᴀᴍᴜɴᴅᴏ / ʀɪʜᴀɴɴᴀ: ʙᴏʀɴ ᴀɢᴀɪɴ / ᴛᴏʙᴇ ɴᴡɪɢᴡᴇ + ғᴀᴛ ɴᴡɪɢᴡᴇ: ᴛʜᴇʏ ᴡᴀɴᴛ ɪᴛ, ʙᴜᴛ ɴᴏ / ᴅʙɴ ɢᴏɢᴏ + sɪɴᴏ ᴍsᴏʟᴏ: ʟᴏᴠᴇ & ʟᴏʏᴀʟᴛʏ [ʙᴇʟɪᴇᴠᴇ] / sɴᴏᴡ ᴛʜᴀ ᴘʀᴏᴅᴜᴄᴛ + ᴇ-40: ʟᴀ ᴠɪᴅᴀ / ᴀᴍᴀᴀʀᴀᴇ: ᴀ ʙᴏᴅʏ, ᴀ ᴄᴏғғɪɴ / ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: ᴀ́ʀʙᴏʟᴇs ʙᴀᴊᴏ ᴇʟ ᴍᴀʀ / sᴛᴏʀᴍᴢʏ: ɪɴᴛᴇʀʟᴜᴅᴇ / ᴏɢ ᴅᴀʏᴠ + ғᴜᴛᴜʀᴇ: ʟɪᴍᴏɴᴄᴇʟʟᴏ / ᴄᴋᴀʏ + ᴘɪɴᴋᴘᴀɴᴛʜᴇʀᴇss: ᴀɴʏᴀ ᴍᴍɪʀɪ / ʙʟᴏᴏᴅʏ ᴄɪᴠɪʟɪᴀɴ + ʀᴇᴍᴀ: ᴡᴀᴋᴇ ᴜᴘ / ᴀʟᴇᴍᴀ́ɴ + ʀᴇᴍᴀ: ᴘᴀɴᴛᴇʀᴀ / ᴅʙɴ ɢᴏɢᴏ + sɪɴᴏ ᴍsᴏʟᴏ: ᴊᴇʟᴇ / ᴄᴀʟʟᴇ x ᴠɪᴅᴀ + ғᴏᴜᴅᴇᴏ̨ᴜsʜ: ɴᴏ ᴅɪɢᴀs ᴍɪ ɴᴏᴍʙʀᴇ / ɢᴜᴀᴅᴀʟᴜᴘᴇ ᴅᴇ ᴊᴇsᴜ́s ᴄʜᴀɴ ᴘᴏᴏᴛ: ᴍɪ ᴘᴜᴇʙʟᴏ

Score: [tracks referenced in this episode]

ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴡᴀᴋᴀɴᴅᴀ ғᴏʀᴇᴠᴇʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴛ’��ʜᴀʟʟᴀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ʏɪʙᴀᴍʙᴇ! / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ɴᴀᴍᴏʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ʙᴀᴀʙᴀ ᴍᴀᴀʟ: ᴡᴇʟᴄᴏᴍᴇ ʜᴏᴍᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ʙᴜsɪsᴡᴀ: ᴡᴇ ᴋɴᴏᴡ ᴡʜᴀᴛ ʏᴏᴜ ᴡʜɪsᴘᴇʀ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ᴊᴏʀᴊᴀ sᴍɪᴛʜ: ʜᴇ ᴡᴀsɴ’ᴛ ᴛʜᴇʀᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ + ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: sɪʀᴇɴs / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ɴᴀᴍᴏʀ’s ᴛʜʀᴏɴᴇ / ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ʏᴜᴄᴀᴛᴀ́ɴ / ᴠɪᴠɪʀ ᴏ̨ᴜɪɴᴛᴀɴᴀ: ᴀ́ʀʙᴏʟᴇs ʙᴀᴊᴏ ᴇʟ ᴍᴀʀ [ғɪʟᴍ ᴠᴇʀsɪᴏɴ] / ғᴏᴜᴅᴇᴏ̨ᴜsʜ + ʟᴜᴅᴡɪɢ ɢᴏ̈ʀᴀɴssᴏɴ: ᴄᴏɴ ʟᴀ ʙʀɪsᴀ [ғɪʟᴍ ᴠᴇʀsɪᴏɴ]

Episodes: 1 2 3

[afrobeatsindacity]

ASAKE - WORK OF ART REVIEW

“But una know I no dey waste time” is Asake's pre-written answer to questions bordering around why his sophomore album is out barely 9 months after his scintillating debut. Not that anyone is less than thrilled to see him back so soon, mind, but we are all too familiar with the  compromises to the production process that may aid an artist to achieve these hurried release schedules. Asake, however, does not sacrifice quality on the altar of speed, so that what is traditionally a sticky point for establishing artists—the second album slump—is turned into a flamboyant, braggadocious display of his extent of pliability of his Fuji-Amapiano creation, and then some.

Doubts have persisted for nearly as long as he has been mainstream of his ability and/or willingness (or lack thereof) to explore music styles outside his patented scope, but Asake does not intend Work Of Art to be a definitive end to this conversation. So while he does push even further from the conventional in a bid to conquer sonic territory, he plants his base firmly in the music that has brought him thus far—the rhythmic familiarity of log drums and shakers, the ethereal resonance of crowd backup vocals and his own euphonic, Fuji-recalling delivery.

For “Yoga”, his 2023 opener which now closes the album, he sets himself sonically somewhere between Indigenous Egun music of Badagry, Lagos and the Sega genre of Mauritius, weaving together diverse cultures. His message here is clear; he is in his own lane and it would be pointless to try and catch him—but this time he goes for sombre self-identity over overarching superiority. Not to say he does not have some of the latter in his toolbox. On “Lonely At The Top”, the track from which this article’s opening quote was carved, he may appear to get ahead of himself—this is, afterall, only the second year since his proper breakout single, and there are others who have secured and maintained a top-flight status for much longer—but Asake’s time has always run a little faster. 

That is the reason why, still struggling to find a footing in music and life in general, he announced himself “Mr Money” in his 2020 single of the same name. On Work Of Art, boastful predictions for his future can carry the extra backing of his conquests from last year, and he knows it. On “I believe”, the optimistically upbeat joint which Magicsticks reworks from Amapiano’s log drums, Asake proclaims “Nitty-gritty of ‘22, I’m the one”, casting back to a year ago when he thrilled the country with a conveyor belt of hit singles before his debut album landed the final blow. He rewords and translates this on “Awodi”, stating “2022 mo gbe wan trabaye”, another claim that can be self-promoting without being exaggerative. On this chiefly Yoruba song, his honours Pasuma both in words and in the Fuji-ogling framework the track is crafted on.

Whether Asake’s outsized self-image is primarily a function of belief in himself or trust in a higher power is debatable, but it certainly is some combination of both. He definitely has the spiritual strength to justify the latter, as he embraces, in the popular Yoruba polytheist ideology, both Christianity and Islam, and delves into African Traditional Religion when the situation requires it, when there is need to tie ese ile bo. But where Mr. Money With The Vibe regarded these religions, like most people do, as a means of covering all bases in the search for material upliftment, Work Of Art has Asake transcend beyond this and ponder on the afterlife. 

He weighs in turn a Christian (“Mr. Money with the vibe ‘til the devil say my name”) and then a Muslim (“Koni wa le lai lai till we reach Al Jannah”) aftermath, but reaches a consensus in either case that he will live to the full until that moment arrives. And while these musings might seem somewhat premature for a 28 year old man in apparent robust health, Asake has never faltered in his preference of an impactful existence over a lengthy one. So today he will drown in a variety of substances from alcohol to colorado, before burying his head in the thighs of the woman he loves. “Let’s stay all night looking as the star shines/ Make love till the sunrise” he sings on the now-decadent, now-affecting “Mogbe”. 

Romance flickers brightly in other corners, even if it is a rare sight on the album and is often easily contorted into lust. “Remember” has a chorus that wants to negotiate affection with money, not an uncommon love language in a country with so little of it. “I wanna love you forever, baby o/ I just want to spend all my chеddar on you”, he says at first, but what comes next unmasks his carnal intentions. “Sunshine” shares all of this blissful radiance, but, without its romantic overtones, Asake intends it to be a pat on the back to the weary soul, equal parts motivating and reassuring. “Sun’s gon’ shine on everything you do”, he says, and if those words appear familiar it is because they were borrowed from Lighthouse Family’s “Ocean Drive” of 1995, and Asake transports this iconic line across time and genre without losing any bit of its eupeptic essence.

Asake uses himself and his incredible journey, as successful people often do, as a guiding light to those still stuck on the lowest rungs of the ladder, but material success is only a small contributor to his euphoria. For Asake, the process is just as important as the result, and like every true artist he prides himself even more in the art that has brought him thus far. 

“Basquiat” throws down the gauntlet with the arrogance of a man that knows it won’t be taken up, and while he is aware of similarly sounding artists that the media will try to force into comparisons with him,— “Studying me is an honour jeun lor/ I get many pages like songs of Solomon”—he will superciliously point out the futility in reading a master’s textbook to try and be better than him. “What's the chances, what's the probability/ To see a bеtter version of me with agility”, he asks on the spunky Blaisebeatz-produced “2:30”, but it is only rhetorical. He has his answer.

If he is any worried about deposition, he hardly shows it, and more importantly, he will not let it bog down his brilliant new creation. “Basquiat” is also the closest thing to a titular track on the album, whose cover art is depiction of Jean-Michel Basquiat by Nigerian artist, Ayanfe Olarinde. While Asake sees similarities between himself and the talented, troubled, visual artist, he has long established to have no greater weapon in his arsenal than his individuality and sense of self. A few fans may clamour to see him try on new trends and sounds, but Asake insists that he is the template, the “work of art” that should be studied. And he probably is right. Supreme ability and a unshaking confidence in it are always a devastating match, and his blend of indigenous cultures from fifty years ago and trendsetting house music of the future makes him one of the easiest bets for the next great Nigerian star.    

This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)

Afrobeats City doesn’t own the right to the images - image source: Instagram - @Asakemusic

[thesinglesjukebox]

DLALA THUKZIN, ZABA & SYKES - "IPLAN"

Amapiano is probably our most consistently high-scoring genre. Joshua Kim explains how it's evolving...

[8.25]

Joshua Minsoo Kim: The greatest musical development in South Africa this year was 3-step, a style of house music coined by Thakzin that bridges AfroTech and amapiano. He isn't the first to have made songs in this zone (the earliest I've found is Prince Kaybee & Nokwazi's "Ebabayo" from 2021), but he did produce numerous tracks that made him its current poster boy. The genre's most clear, defining feature is the presence of a kick drum on the 1, 3, and 4 of a measure (and less commonly the 1, 2, and 3), which grants each song a more rigid foundation than the typical amapiano track. It's a perfect fit for Dlala Thukzin's "iPlan" and its hopeful lyrics. Zaba sings about not having money or a job, and his voice weaves in and out of the song, like the still-small voice inside your head that tells you to stay calm. And really, it's only fitting that "iPlan" functions as an EDM song without an all-consuming drop; what arrives instead is steady, comforting relief. Its clanging percussion has felt like a multitude of metaphors to me: the pounding beat of your heart, a sign that you're still alive; the sound of repetitive toil, like the promise of something coming from all your hard work; even a desire for reprieve amid life's constant suffering. Here is a song that acts as an invitation to grieve and to celebrate. The beat keeps going, and as I look back on another year, this serves as a nice reminder that somehow, miraculously, I'm still here too. [10]

Micha Cavaseno: I hit a place of personal burnout somewhere in the mid 2010s with the different regional dance scenes of the world made available for all of us by the internet breaking down geographic restriction. Part of it was the fast & loose fashion mentality that made sub-genres go from underrated to overrated within a span of mere weeks, and how any artist could go from essential to disposable before you'd truly had a chance to digest it. To this day, plenty of lingering questions haunt me: did I "miss out" when bubblin' was a thing (maybe)? Was Zomby right to get banned from a message board because people thought bassline and niche were the same (yes)? Did Resident Advisor's coverage specifically get worse when they eliminated the comment section and thus prevented proangelwings from lighting their ass up all the time for pedestrian summaries (no, but it didn't help)? Now I look at an artist like Dlala Thukzin and sigh that I can't in any good faith claim to have a real comprehension of the differences between gqom, afriampo, afrotech, kuduro, kwaito, so on and such... Though I know that it's there, and I need it in order to know what makes a song like this particularly good beyond how muscular yet gentle it is. It's great to admire something for spectacle, but I would like to know the brilliance (or even the clunkiness) of form one day. [8]

Ian Mathers: There's a pleasing graininess to some of the synths here that remind me of other amapiano I've heard, but I'm less familiar (but still taken) by the stiff percussion that sometimes sounds like it's slightly phasing in and out. Both play off the high, sometimes keening vocals very well. The end result is both propulsive and, especially on headphones, subtly disorienting - it can make your head feel like it's swirling. And I haven't even tried listening to it baked yet! [8]

Kat Stevens: Like finding a couple of ibuprofen in the drawer when you were looking for codeine: grateful they exist but missing that extra oomph. [7]

Katherine St Asaph: In isolation, this is a bit too muted for a desensitized tension-enjoyer like me to be drawn to. I'd probably love it in the right DJ set. [7]

Michelle Myers: Romanticized melancholy works beautifully in dance music. I want to cry in a club to this. [9]

David Moore: Just when I start to have a handle on some of the formal characteristics of South African dance music, it evolves again into 3-step. Thakzin describes adapting his AfroTech sound, broadly popular with international audiences, to South African audiences during the amapiano zeitgeist and hitting on a novel formula that involves a three-beat pattern. Anyway, that's as best as I can understand or describe it. Dlala Thukzin -- not to be confused with Thakzin (as the interviewer in the clip above jokes, but you should absolutely listen to Thakzin, too) -- created a wildly popular take on this sound, which ruled the South African charts for months starting in September. [8]

Nortey Dowuona: Zaba was hijacked, injured one of the robbers and escaped with his hand stabbed in June of this year. 3 months later this song goes number 1 on the Official South African Charts. Somebody was praying for that fool. [10]

Will Adams: Over the course of my dilettantish experience with amapiano, I've come to expect a few qualities: a) impossibly gorgeous; b) a luxurious slow build that carries the risk of; c) never fully reaching a destination. "iPlan" possesses all three, but has a bit more of Column C than usual, which keeps it at a mild distance. The low-mixed vocals might be to blame. [6]

Brad Shoup: I love how pensive this is, how Dlala Thukzin submerges the vocals until they're barely visible from the surface. It resists any easy soar the whole way through: a fantastic transition track, I'd imagine. [8]

Jacob Sujin Kuppermann: Less a song, more a full night on the dancefloor compressed into six minutes -- some artists' entire careers have fewer moments of transcendental jubilation than "iPlan." There's this tea kettle noise that Dlala Thukzin works in the second time Zaba & Sykes go through that chorus that feels like ascension -- and then the song keeps going for three more minutes! [9]

Frank Kogan: Halfway through a People's Pop Poll, when we've finally gotten through the quallies and into Round One, Tom will grab a sentence from every track's YouTube comments and tweet out four of them at a time, one for each track in a heat. Often he'll find comments that are hilariously obtuse, though sometimes they're poignant and evocative. Anyhow, for Emma Bunton's "Free Me" (you probably knew Emma as "Baby Spice") the YouTube comment that Tom lifted was, "It's very soothing and edgy." I stared at this for a minute's worth of nervous self-recognition and then tweeted back, "'It's very soothing and edgy' are what half my reviews come down to." So "iPlan" is cutting up beats in a way that pushes beyond amapiano but is also digging back into late '10s gqom, which is edgier and more driving and more gripping hence more soothing than amapiano, so's the same 90% overlap you get in amapiano's typical soothing-edgy Venn Diagram, but with a bigger circle. Is about dogged determination, is about gliding dance moves across shards of glass, dark beauty, sharp beats. [9]

[Read, comment and vote on The Singles Jukebox ]

[hardynwa]

Download Mixtape: DJ Davisy - Piano & Chill Mixtape

Talented disk jockey, DJ Davisy has releases a brand new mixtape titled “Piano and Chill” The new mixtape is a 72 minutes long of mind blowing and trending amapiano songs that will get you in that party mood. Listen and download below TRACKLIST - TNK Musiq - Woza La - Stormzy ft. Rema - Hide & Seek Remix - Wizkid - Bad To Me - Vinny06 - The Drum - Blaqnick & MasterBlaq - La Mezcla (Remix) - Dawolinga ft. Mellow & Sleazy & MJ - Abo Mvelo - DJ Maphorisa ft. Tyler ICU & Dawolinga - Izolo - DJ Maphorisa ft. Visca - Ba Straata - DJ Spinall ft. Olamide & Kemuel - Bunda - Junior De Rock ft. Lady Du - Catalia - Mellow & Sleazy ft. Justin99 - Chipi Ke Chipi - Niniola - Want - Officxi Rsa - Yah Yah Yah - Young Stunna ft. DJ Maphorisa & Kabza De Small - Adiwele - Vigro Deep - Piano King - Felo Le Tee & Myztro - 66 - Toss, 9umba & Mdoovar - Umlando - BNXN ft. Kizz Daniel & Seyi Vibez - Gwagwalada - Costa Titch ft. Banaba Des, Sdida, Alfa Kat - Big Flexa - Deep London & Boohle - Hamba Wena - DJ Spinall ft Reekado Banks, Phyno & Ntosh Gazi - Top Mama - Lojay - Availabu - Musa Keys ft. Sir Trill & Nobantu Vilakazi - Vula Mlomo - Myztro ft. Focalistic, Dawolinga - Tobesta Remake - Rema - Holiday - Smuk DJ ft DJ Panther - Dance Grenade - Musa Keys ft. Victony & Loui - Selema Popo Remix - Uncle Waffles ft Tony Durado - Tanzania - Mr Luu De Stylist ft. Kabza De Small, DJ Maphorisa, Dawolinga - Svat Kabra - Busta 929 - Miano Paradise - Busta 929 ft. Mafidzodzo - Gqoz Gqoz - KayGee DaKing ft. Bizizi - Hello Summer - Rexxie ft. Skiibii & Naira Marley - Abracadabra - Poco Lee ft. Hotkid - Otilo - Zlatan ft. Seyi Vibez - Let There Be Light - Seyi Vibez - Alaska DOWNLOAD HERE Read the full article

[iamdeejayuntouchable]

#WHATATIMETOBEALIVE VOL 3 Track List: 1. INTRO 2. Asake - Dull 3. Olamide - Nati Soonest 4. Asake - Joha 5. AdeWale Ayuba - Koloba Koloba 6. Kizz Daniel & Tekno - Buga 7. Crayon - Ijo 8. Naira Marley - Coming 9. Asake - PBUY 10. Poco Lee & Hotkid - Otilo 11. Asake - Sunmomi 12. Carter Efe - Machala 13. Asake - Dupe 14. Lil Kesh - Don’t Call Me 15. Davido - Champion Sound 16. Asake - Terminator 17. Fireboy - Peru Amapiano Remix 18. Mr Eazi - Patek 19. Vinny06 - The Drum 20. The Therapist Ft Mayorkun - Nack Remix 21. Blaqnick - La Mezcla 22. Baybayfay - Unondiketa 23. Costa Titch - Big Flexa 24. Dj Karri - Trigger 25. Felo Lec Tee - 66 26. Musa Keys - Vula Mlomo 27. 𝑫𝑹𝑼𝑴𝑩𝒁 - Path 28. Focalistic - Sjepa 29. Jr Vigro - Serious Anger 30. Virgo Deep - Untold Stories (Untouchable Intro) 31. Dj Maphorisa - Izolo 32. Mellow & Sleazy - Bopha (Untouchable Intro) 33. Daliwonga - Abo Mvelo (Untouchable Intro) 34. Blaqnick - The Whistling Man 35. Blaqnick - Berete 36. DBN Gogo - Bells 37. Baybayfay Love Language 38. Sje Konka - Bambela 39. Uncle Waffles - Tanzania 40. Busco SA - Corruption 41. Mista Silva - Come Le Le 42. Costa Titch - Superstar 43. Goya Menor - Ameno Amapiano Remix 44. Eugy - Gimme Some 45. Eltee Skhillz - ODG 46. Zinoleesky - Kilofeshe Remix 47. Lojay & SARZ - Monalisa Remix 48. L.A.X - Faster 49. Asake - Organise 50. Moelogo - Soft Life. ‼️MIXTAPE NOW OUT ‼️ (at London, United Kingdom) https://www.instagram.com/p/CkL071XoESr/?igshid=NGJjMDIxMWI=

[kimludcom]

Kamo Mphela, Khalil Harrison & Tyler ICU - Dalie [Feat Baby S.O.N] (Official Music Video) - Amapiano

[cuffedhubsessions]

⿫Hey There , Please do like 👍🏾, Comment 💬, Subscribe🔒 and Hit The Notification Bell 🔔In order To Be Notified Each Time We Drop 

 _🎧🎹 Tots Sa - 4444  Tap the link below to listen to our latest Drop! 🍷 https://youtu.be/oMFoWZC6Db4

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#sgija  #amapiano  #sgidongo #groove #trending #grootmanpercussion #newmusic #grey #soul #cuffedhubsessions #therapist #music #tech #totssa #4444 #groovist #trending #drums #hubsessions

[pushermania]

(Pushermania Network) Heads ain’t ready....

Track List:

Kitoko Sound - Jingle Bells Remix Kanyisa Ntwanambi - Amapiano Jingle Bells Ajimovoix Drums - Christmas Dance Beat Mariah Carey - All I Want for Christmas (Jamie Black Amapiano Bootleg) Mariah Carey - All I Want for Christmas (Mide Naike Remix) Wham! - Last Christmas (Adikalie Remix) Gotfried Adams - Feliz Navidad The Beat Oven - Merry Christmas Alderman aka Pacemaker - Izinto Za 25 Dezember Hony Kesh - Xmas Party Leedo Beb - Bronya Dr. Drilla - Bronya MerryGo Kids - A Christmas Love Song

ENJOY WHOLE WORLD!

[hwingnet]

2wo Bunnies, Thuto The Human & Jay Music Bring Amapiano Vibes to Inner City’s Classic "Big Fun"

South African duo 2wo Bunnies, alongside Thuto The Human and Jay Music, have revamped Inner City’s 1988 house anthem “Big Fun” with a modern Amapiano twist. This reimagined version injects the iconic vocals and synths with the genre’s signature basslines, rolling drums, and rhythmic energy, offering a fresh take on a dance classic. The track is part of the Amapiano to Ibiza EP, where various…

[istyleblaq]

OSKIDO AND SCORPIONKINGS FEATURE ON NEW GROUNDBREAKING EP ‘ONE DRUM’

CANEX CREATIONS Incorporated recently released a new EP titled "ONE DRUM" featuring prominent African and diaspora artists. The EP aims to celebrate African musical heritage and cultural ties between Africa and its diaspora. It features Afrobeats, Amapiano, reggae, samba and rumba. Notable artists include #TheScorpionKings, Oladum Stephen Marley Jo Mersa Marley and Sofiya Nzau. The first single "Afro-Wave" is a collaboration between The Scorpion Kings, Oskido , TmanXpress and Phila Dlozi mixed with Olodum's Bahia sound