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Author Archives: Shaine

J. Castell, Gimme a chance

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‘Chilled’ resides in the narrow chasm between being laid back and being a mild sedative, a vibe that makes sense only when you’ve acquired the taste.

The song is definitely beyond passable but not much has been done in the way of backing the claim that it’s actually an Afrobeats jam – but then again, what genre is not a spectrum nowadays? the song exudes more of Amvis than anyone else on it, it’s hard to overlook that Amvis has certainly come a long way from the early days of his career when he dabbled more on the less tranquil side of the hip hop spectrum; maturity is definitely one way to describe his transition of style and “less is more” is the moral of his story. The general vibe of the production is effortlessly calm and groovy and could’ve gone a long long way in the hands of wider-ranged vocalists – you can almost swear Kim and Adrian are the same people!

Chance is your typical “track 7” in a 12-track album, a kind of good song you only love because you’re now biased towards the entire record!

Obi Davids is a dark tourist exploring the ruins of what used to be his happy place

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Obi Davids is a dark tourist exploring the ruins of what used to be his happy place, and he’s acutely aware that he can never will it back into existence.

No Air is a somewhat tragic mosaic of memories, meticulously pieced together in such a way that both affliction and contentment can be heard, all for our auditory pleasure. The song is a calm and refined version of how most of us would carry ourselves in the midst of such a scenario, a scenario to which we all relate – hence the lack of need for translation. The production is expectedly grim but still within the confines of an Obi Davids kind of vibe; groovy and tonic but still quiet and steady, with the necessary pinch of ‘Trapsoul’ to balance things off.

No Air is not a tale of romance, but rather that of how even the happiest of memories can be tainted by the one which marks the end of it all.

Tanto Wavie, John vhura gedhi

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Tanto Wavie’s John Vhura Gedhi is exactly what you expect; a wildly amusing joint that’s also a hollow vessel to pass through without accumulation of anything substantial (not that anyone ever anticipates the opposite from songs of this nature).

Like the original version, John Vhura Gedhi is a highly charged and light-hearted ditty rooted in frivolous and fun-loving grounds. You reach for this lay, not when you’re in your feels, but when a groove playlist is demanded of you.

With his beyond passable rap skills, Tanto Wavie certainly does a lot of heavy lifting in the way of adding a body to John Vuli Gedi’s bare chassis, making it sound a little less gimmicky – who saw that coming?

KAE CHAPS – JUZI

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As a result of its bitterish disposition, Kae Chaps’ Juzi is extremely relatable. Oftentimes we are haunted by the very same thing that was once intended for our joy; strand by strand, our happiness unraveling away.

Heartbreak sounds amazing on Kae Chaps, and that is honestly why this song is not just another whining session fuelled by a crazy-quilt of emotion. Juzi is a slightly melodramatic and slightly laid back agreeable jam, especially if it doesn’t send you down the rabbit hole – from where it is not as easy to appreciate the steady vocals, the crisp production, and the well-positioned wisp of cold air. The song details how “things”, by the power of association, lose their inanimateness – from mere lifeless wool and polyester to being a force that won’t let you sleep at night.

But really, what’s February without a few shuttered hearts here and there?

Rachel Chinouriri, Darker Place

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If we’re being honest, the brouhaha about traditional pop is almost completely dead, and finally, the age of perfunctory songs is giving way to a more intriguing kind of sound. A kind of sound that involves more than just coaxing your vocals against a melody that many could claim have heard elsewhere. We’re now living for a “Darker Place” kind of sound.

This appropriately named song appears to capture certain darkness that is trapped inside Rachel Chinouriri, and is violently demanding to be let out – this is especially apparent on the song’s dance break. What’s gratifying is that even with the several layers of spine-chilling effects that seem to serve as a cloak to her vulnerability, Rachel’s stellar vocals gleam throughout the song.

“Darker Place” is bound to be accused of being a little too FKA Twigs-y but that just translates to it being the gold standard of dark pop/electropop songs everywhere.

“91” explores all the altitudes associated with love

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In as much as it feels like a more refined version of 2021 is stuck in traffic and our only option is to hang on to this insipid rough draft, let’s appreciate that certain pleasures, such as genuinely good music, are still within our reach. Award-winning vocalist, Tina Masawi has always been known for her distinctive art direction and virtuosity, and although it has taken longer than anticipated, the world finally gets to witness all of her might in the unfaltering light that is “91”; an album that just might be the surefire avowal we’re carrying with us this year.

HOW FAR

Unflinchingly, Tina hurls us into the conflagration and there is no turning back at this point. “How Far” is an affecting opener, and with it, she is asking all the right questions. The song points out to the looming anarchy of a world that aims to dispirit just about anyone in pursuit of theirs. As per prerequisite, she is resolute in her delivery and she is in absolute control. “How Far” is a natural descendent of tropical dance and tribal sounds, and only a handful of producers are capable of coupling both worlds facilely and with such grace.

NYARARARA (FEAT. FUNGAI NENGARE)

The song’s lovable tepid island breeze comes from that all its components snuggly fit together. Despite its actual context, it’s as if the song is communicating to us that regardless of how the year has been, it’s summer now and we should chill the heck out. Competition in R&B circles has never been pliable, but Tina is not the kind you worry about, especially when you consider her vocal abilities. “Nyararara” is an unavoidable fusion jam and it’s worth noting that both Fungai Nengare and Tina’s vocals impeccably complement their rhythmic backing track.

HAUNDIDARO

The appropriately named “Haundidaro” hews to the themes of dishonest intentions in relationships. The frustration in Tina Masawi’s voice is quite palpable, but she is somehow able to retain the dance elements of the song. “Haundidaro” is that buoyant kind of Afrobeats song that makes you retrieve your Poco dance skills from some box with the things you thought you won’t be needing this December.

RIDE FOR ME

Self love doesn’t just end with posting spa pictures on Instagram, it also means shrugging off lacking suitors and riding for yourself from time to time. “Ride For Me” has a slower seductive tempo and marks the point at which the record switches from Sports mode to Cruise Control. The song is also an exploration of the higher side of Tina’s vocal range; here, her voice is mildly tinged with Helium and is slightly airy; a combination that earns her a spot in the bloodline of the likes of Nao, vocally speaking.

BE ALRIGHT

Albeit on the lackluster side of things, the song is gratifying in the sense that it indicates that it is not all morbid for Tina when it comes to matters of the heart. The song is generally laden with positive vibes and represents a love that has gone right. “Be Alright” is laid back by design and sort of ties the whole record together with its exploration of the brighter side of love affairs. Not only does this song prove that Reverb7 knows his way around instrumentals, but it also shows that his rapport with Tina Masawi is that of an intimate nature; an element that is always key in the studio.

I LOVE IT (FEAT. SYNIK)

Despite its slightly sadistic nature, this jam can brighten up any morning with its deliberately high-spirited arrangement. “I Love It” relates what most of us try to conceal in the name of being the bigger man as if there’s a trophy waiting for us at the end of it all. “I Love It” is significantly empowering, because in all honesty, what could be more emboldening and cathartic than reclaiming your power from the very place you parted with it. Synik’s rap set is one to be reckoned with, and the aggression in his bars is rightly positioned. It goes without saying that the song is beyond passable and is a pretty standard way to end the album.

91 explores all the altitudes associated with love, with a slight bias towards the negative experiences. The album has particularly been made memorable by Reverb7’s production skill set. The two have prominent collaborations in the past, and it sounds just about right that they entered this venture together. Tina Masawi has one of those peculiar voices that carry delightful unconventionality…

Lil’ Hood Lover

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The whole Zimbabwean music industry is going through an upturn of powerful and formidable vocalists, and its only a matter of time till they engross the market.

In her very affecting voice, Tana relates a not so unusual love scenario. I mean, we’ve all had that one love encounter that inspired in us thuggish and unruly behavior; anything to hold on to the superior emotion.

On this song, Lil Hood Lover, Tana gently coaxes her smooth vocals that possess just the right amount of refinement, and she becomes the embodiment of the term “raw talent”.

Lil Hood Lover is nothing short of a passable contemporary R&B song; it is soulful, somewhat sensual, and has a steady agreeable beat. But like most songs nowadays, it’s more about the vocals than it is about the content – and that makes some of us feel some type of way.

The song is a powerful and indispensable tool for female social empowerment in as much as it a groovy December playlist unit

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Behind every successful woman is a tribe of other successful women, fervidly emboldening her to change the world.

Shelea is an empowering song for every queen out there, making significant strides, changing her narrative; and it has nothing to do with class.

The song is a powerful and indispensable tool for female social empowerment in as much as it a groovy December playlist unit. On Shelea, Anita does not only prove to us all that she has a firm understanding of the concept of range, but she does it while retaining her original essence. This song is a gentle “Hey, let’s all be feminists”.

Despite the world literally going to rack and ruin all around us, this has been a good year for Anita Jaxson. She’s taking up space in the market, filling up gaps we didn’t even know existed.

Mitch Uta dares to be different

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Mitch Uta stands out because he cannot be sorted, he is benevolent and abrasive at once. Gracious yet somewhat insensitive.

The appropriately named song was dropped on Halloween and has been slept on since. Voodoo is the kind of song that creates in you a sense of relation; even if you don’t actually relate to it, it’s easy to find yourself conjuring non-existent love lost situations in your head. The song’s production is crisp and moody and for once, Mitch doesn’t feel the need to conceal his vocal abilities. He sings with conviction, and that’s probably why the song is, dare I say bewitching.

In a world where most music is of a cylindrical nature, something hollow to pass through without any accumulation of inspiration or anything valuable, Mitch Uta dares to be different. And it’s only a matter of time till that results in his big break.

Dax takes us on a tour of this closed neighborhood called Fame

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Dax takes us on a tour of this closed neighborhood called Fame, where everyone who lives in it has been placed on a pedestal and is faced with the inevitable fate of being rudely yanked from it. It is a place where you cannot go bumbling in a carefree way, here caution is paramount.

Gotham’s message is as plain as a pikestaff, as is the irony that Dax too, is famous. However, the man has always been known for his proclivity for relevant conversations that most people would refrain from, and on this particular subject, he only uses dark notes and godly rap skills to convey the truth.

Just like the city, the song is as dark as it is alluring. Its charm is undeniable.
But because we are an inherently obdurate people, this song will mostly land as entertainment rather than the giant warning sign it actually is. 

UNSAFE AREA. DO NOT ENTER!