Nigeria Special Volume 3: Electronic Innovation Meets Culture And Tradition 1978-93
Various Artists
Nigeria Special Volume 3: Electronic Innovation Meets Culture And Tradition 1978-93
Boomkat Product Review:
Plugged-in West African doozies racked up by expert cherry-pickers Soundway, hailing the point when fingers met circuits in Nigeria’s hotbed of swingeing rhythmic traditions alloyed with arps, producing heat-seeking hybrids of highlife and boogie, blinding bits of cosmic Afrobeat disco, and dubbed out psych meets machine funk.
In the decade following independence from British colonisers, Nigeria, like many other countries formerly occupied by imperialist nations, began expressing their heritage and contemporary individuality thru the modernist lens of pop, rock, and the newfound promise of affordable electronic music equipment. The assembled 18 artists on ‘Nigeria Special Volume 3: Electronic Innovation Meets Culture And Tradition 1978-93’ characterise that new lease of identity and vitality, against a backdrop of civil unrest left by the vacuum of governmental control, with a stunning tour de force of energies unleashed in the following decades, at a time when the best Western artists were, directly or indirectly, often looking to the global south for inspiration.
The showcased music encounters synths and drum machines with a mix of wide-eyed optimism and purposeful intent, perhaps epitomised on the likes of Chimex G. Udensity and His African Band’s 9 minute stunner ‘Okpoko na Azo Eze’, where liquid fire guitars and thee slinkiest, rattling machine grooves and needlepoint synth crystallise in deadliest dance like some Patrick Cowley meets Arthur Russell and Prince salvo, or the likes of Jap Band & Feladey’s wicked jump up jazz-funk sparker ‘Japadodo’, and the tricked-out steppers disco trot of ‘Highlife (Dub version)’ from Sonny Okosun.
You can’t shake a stick here for overproof levels of funk dicing with the ductility of electronics, variously tucked tight in the pocket in Sammy Obot’s piquant boogie swag, for like a Francis Bebey custom built for the Paradise Garage in ‘Farofa dancer’ by Eppi Fanio, or Etiene T. Boy’s plugged-in Afrobeat pearl ‘Jealousy’, whilst Ayo Manuel’s opulent ‘Do Good (Dub)’ hears them keeping abreast, tight in step with ongoing US dance movements of the time, as does Mannix Okonkwo’s sinuous electro-soul and an outstanding scene of synthesised cicadas and dusky reggae jazz-funk adjacent YMO and Sly & Robbie on ‘(G#) Thanks and Praises’ by B.G. and Fibre.
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Boomkat Product Review:
Plugged-in West African doozies racked up by expert cherry-pickers Soundway, hailing the point when fingers met circuits in Nigeria’s hotbed of swingeing rhythmic traditions alloyed with arps, producing heat-seeking hybrids of highlife and boogie, blinding bits of cosmic Afrobeat disco, and dubbed out psych meets machine funk.
In the decade following independence from British colonisers, Nigeria, like many other countries formerly occupied by imperialist nations, began expressing their heritage and contemporary individuality thru the modernist lens of pop, rock, and the newfound promise of affordable electronic music equipment. The assembled 18 artists on ‘Nigeria Special Volume 3: Electronic Innovation Meets Culture And Tradition 1978-93’ characterise that new lease of identity and vitality, against a backdrop of civil unrest left by the vacuum of governmental control, with a stunning tour de force of energies unleashed in the following decades, at a time when the best Western artists were, directly or indirectly, often looking to the global south for inspiration.
The showcased music encounters synths and drum machines with a mix of wide-eyed optimism and purposeful intent, perhaps epitomised on the likes of Chimex G. Udensity and His African Band’s 9 minute stunner ‘Okpoko na Azo Eze’, where liquid fire guitars and thee slinkiest, rattling machine grooves and needlepoint synth crystallise in deadliest dance like some Patrick Cowley meets Arthur Russell and Prince salvo, or the likes of Jap Band & Feladey’s wicked jump up jazz-funk sparker ‘Japadodo’, and the tricked-out steppers disco trot of ‘Highlife (Dub version)’ from Sonny Okosun.
You can’t shake a stick here for overproof levels of funk dicing with the ductility of electronics, variously tucked tight in the pocket in Sammy Obot’s piquant boogie swag, for like a Francis Bebey custom built for the Paradise Garage in ‘Farofa dancer’ by Eppi Fanio, or Etiene T. Boy’s plugged-in Afrobeat pearl ‘Jealousy’, whilst Ayo Manuel’s opulent ‘Do Good (Dub)’ hears them keeping abreast, tight in step with ongoing US dance movements of the time, as does Mannix Okonkwo’s sinuous electro-soul and an outstanding scene of synthesised cicadas and dusky reggae jazz-funk adjacent YMO and Sly & Robbie on ‘(G#) Thanks and Praises’ by B.G. and Fibre.
Boomkat Product Review:
Plugged-in West African doozies racked up by expert cherry-pickers Soundway, hailing the point when fingers met circuits in Nigeria’s hotbed of swingeing rhythmic traditions alloyed with arps, producing heat-seeking hybrids of highlife and boogie, blinding bits of cosmic Afrobeat disco, and dubbed out psych meets machine funk.
In the decade following independence from British colonisers, Nigeria, like many other countries formerly occupied by imperialist nations, began expressing their heritage and contemporary individuality thru the modernist lens of pop, rock, and the newfound promise of affordable electronic music equipment. The assembled 18 artists on ‘Nigeria Special Volume 3: Electronic Innovation Meets Culture And Tradition 1978-93’ characterise that new lease of identity and vitality, against a backdrop of civil unrest left by the vacuum of governmental control, with a stunning tour de force of energies unleashed in the following decades, at a time when the best Western artists were, directly or indirectly, often looking to the global south for inspiration.
The showcased music encounters synths and drum machines with a mix of wide-eyed optimism and purposeful intent, perhaps epitomised on the likes of Chimex G. Udensity and His African Band’s 9 minute stunner ‘Okpoko na Azo Eze’, where liquid fire guitars and thee slinkiest, rattling machine grooves and needlepoint synth crystallise in deadliest dance like some Patrick Cowley meets Arthur Russell and Prince salvo, or the likes of Jap Band & Feladey’s wicked jump up jazz-funk sparker ‘Japadodo’, and the tricked-out steppers disco trot of ‘Highlife (Dub version)’ from Sonny Okosun.
You can’t shake a stick here for overproof levels of funk dicing with the ductility of electronics, variously tucked tight in the pocket in Sammy Obot’s piquant boogie swag, for like a Francis Bebey custom built for the Paradise Garage in ‘Farofa dancer’ by Eppi Fanio, or Etiene T. Boy’s plugged-in Afrobeat pearl ‘Jealousy’, whilst Ayo Manuel’s opulent ‘Do Good (Dub)’ hears them keeping abreast, tight in step with ongoing US dance movements of the time, as does Mannix Okonkwo’s sinuous electro-soul and an outstanding scene of synthesised cicadas and dusky reggae jazz-funk adjacent YMO and Sly & Robbie on ‘(G#) Thanks and Praises’ by B.G. and Fibre.
Boomkat Product Review:
Plugged-in West African doozies racked up by expert cherry-pickers Soundway, hailing the point when fingers met circuits in Nigeria’s hotbed of swingeing rhythmic traditions alloyed with arps, producing heat-seeking hybrids of highlife and boogie, blinding bits of cosmic Afrobeat disco, and dubbed out psych meets machine funk.
In the decade following independence from British colonisers, Nigeria, like many other countries formerly occupied by imperialist nations, began expressing their heritage and contemporary individuality thru the modernist lens of pop, rock, and the newfound promise of affordable electronic music equipment. The assembled 18 artists on ‘Nigeria Special Volume 3: Electronic Innovation Meets Culture And Tradition 1978-93’ characterise that new lease of identity and vitality, against a backdrop of civil unrest left by the vacuum of governmental control, with a stunning tour de force of energies unleashed in the following decades, at a time when the best Western artists were, directly or indirectly, often looking to the global south for inspiration.
The showcased music encounters synths and drum machines with a mix of wide-eyed optimism and purposeful intent, perhaps epitomised on the likes of Chimex G. Udensity and His African Band’s 9 minute stunner ‘Okpoko na Azo Eze’, where liquid fire guitars and thee slinkiest, rattling machine grooves and needlepoint synth crystallise in deadliest dance like some Patrick Cowley meets Arthur Russell and Prince salvo, or the likes of Jap Band & Feladey’s wicked jump up jazz-funk sparker ‘Japadodo’, and the tricked-out steppers disco trot of ‘Highlife (Dub version)’ from Sonny Okosun.
You can’t shake a stick here for overproof levels of funk dicing with the ductility of electronics, variously tucked tight in the pocket in Sammy Obot’s piquant boogie swag, for like a Francis Bebey custom built for the Paradise Garage in ‘Farofa dancer’ by Eppi Fanio, or Etiene T. Boy’s plugged-in Afrobeat pearl ‘Jealousy’, whilst Ayo Manuel’s opulent ‘Do Good (Dub)’ hears them keeping abreast, tight in step with ongoing US dance movements of the time, as does Mannix Okonkwo’s sinuous electro-soul and an outstanding scene of synthesised cicadas and dusky reggae jazz-funk adjacent YMO and Sly & Robbie on ‘(G#) Thanks and Praises’ by B.G. and Fibre.
Gatefold 3LP. Includes an 8 page booklet with detailed liner notes, record scans and photos.
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Boomkat Product Review:
Plugged-in West African doozies racked up by expert cherry-pickers Soundway, hailing the point when fingers met circuits in Nigeria’s hotbed of swingeing rhythmic traditions alloyed with arps, producing heat-seeking hybrids of highlife and boogie, blinding bits of cosmic Afrobeat disco, and dubbed out psych meets machine funk.
In the decade following independence from British colonisers, Nigeria, like many other countries formerly occupied by imperialist nations, began expressing their heritage and contemporary individuality thru the modernist lens of pop, rock, and the newfound promise of affordable electronic music equipment. The assembled 18 artists on ‘Nigeria Special Volume 3: Electronic Innovation Meets Culture And Tradition 1978-93’ characterise that new lease of identity and vitality, against a backdrop of civil unrest left by the vacuum of governmental control, with a stunning tour de force of energies unleashed in the following decades, at a time when the best Western artists were, directly or indirectly, often looking to the global south for inspiration.
The showcased music encounters synths and drum machines with a mix of wide-eyed optimism and purposeful intent, perhaps epitomised on the likes of Chimex G. Udensity and His African Band’s 9 minute stunner ‘Okpoko na Azo Eze’, where liquid fire guitars and thee slinkiest, rattling machine grooves and needlepoint synth crystallise in deadliest dance like some Patrick Cowley meets Arthur Russell and Prince salvo, or the likes of Jap Band & Feladey’s wicked jump up jazz-funk sparker ‘Japadodo’, and the tricked-out steppers disco trot of ‘Highlife (Dub version)’ from Sonny Okosun.
You can’t shake a stick here for overproof levels of funk dicing with the ductility of electronics, variously tucked tight in the pocket in Sammy Obot’s piquant boogie swag, for like a Francis Bebey custom built for the Paradise Garage in ‘Farofa dancer’ by Eppi Fanio, or Etiene T. Boy’s plugged-in Afrobeat pearl ‘Jealousy’, whilst Ayo Manuel’s opulent ‘Do Good (Dub)’ hears them keeping abreast, tight in step with ongoing US dance movements of the time, as does Mannix Okonkwo’s sinuous electro-soul and an outstanding scene of synthesised cicadas and dusky reggae jazz-funk adjacent YMO and Sly & Robbie on ‘(G#) Thanks and Praises’ by B.G. and Fibre.
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