“I started this song and spent a day with Matt writing it over Zoom. They live in the moment and are always having so much fun, breaking into dance any instant! They capture things really fast, and that’s beautiful because it’s so spontaneous!” The production is amazing and so was their approach. I just sat in the room and watched Maphorisa and Kabza at work. It gives me the feel of being on a camel somewhere in the Sahara Desert.
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“On ‘Soro’ you can hear a lot of West African elements. It’s also a celebration of the beauty of African women.” This song is inspired by those eras and their sense of pride and unapologetic youthfulness. Though it wasn’t well-documented or celebrated, that’s been the source for global culture, be it the hairstyles, fashion, choreography or sounds. It comes from what I call the golden era of African pop culture. When you look at the fashion and how we carry ourselves, most of it is not new. I believe those eras paved the way for the incredible pop culture moments we’re having in Africa at the moment. I’m also very passionate about the ’70s and ’80s nightlife eras of vibrant cities like Kinshasa and Lagos. “I’ve always liked the name Sade, who is one of my favourite African musicians. She always told me to find beauty in chaos and that life belongs to the bold.” My mother's resilient spirit and life advice has kept me going throughout my journey. This led me to South Africa, after months of travelling by foot and bus. From then on I started a journey to find myself and build my own path. We experienced wars and armed conflicts in which I lost both my parents at 16.
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It’s written in the words she used to tell me: ‘Life belongs to the courageous and you must keep going.’ I grew up in Goma-a small city in eastern DRC, a rough part of the country. This is the most personal song on the album and is a dedication to my late mum, Elisabeth Mulegwa. Here I sing about perseverance and overcoming your hardships in French and Kiswahili.
Young money we are young money album zip google drive movie#
It’s very iconic: the first movie he ever did in Congo. “Papa Wemba has a beautiful rags-to-riches movie that goes by this title. The beauty of storytelling is people can relate to a love song where you’re trying to ask for a ceasefire.” The response to this has been amazing, and even though people don’t understand the language, they connect with the music. I imagined that this would be such a cool song to be playing while Malick Sidibé took black-and-white photos of people dancing. “This was the last song I recorded for this album, and you can hear Bamako and Dakar in it. They’d come back a few years later and find that their wives or the women they loved had started new families, fallen in love and basically moved on.”
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Maybe they were newly married or had just fallen in love, but had to leave home because you couldn’t be spending your days out on the streets. Bra Hugh Masekela used to tell me about mine workers who used to go far out to look for a better life. “This is pretty much a tale set in the late ’60s or early ’70s of a man taking a train back home to try regain his love. It brought the continent-and Black people from all over the world-together.” He talks through each song below. “I’ve gotten to really understand the cultural importance of that fight. “The title references the massive fight that happened between George Foreman and Muhammad Ali in Congo,” he says. “You’ll find a treasure of your own on this record.” True to form, TRESOR positions the album in a fitting historical context that suggests the coming together of African cultures will reverberate across the world. “ RUMBLE IN THE JUNGLE is a sonic roar and cultural bridge bringing people together through music,” he continues. We time-travel to South Africa’s late ’80s on the disco-leaning “Starry Night” before teleporting to Rio’s shores on “Angelina” and capturing Bamako’s dance floors through the lens of Malick Sidibé. That embrace sees South African rhythms meet Congolese percussion, intertwined with East African melodies and West African chants. “This is special for me because it represents a statement of pride in our diversity and embraces the rich musical landscape of our home.” “We went back to the source and tapped into sounds from all over the continent for this album,” TRESOR tells Apple Music.
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Dovetailing his iteration of pop into amapiano soundscapes, he references Afrobeats, bubblegum, salsa, kwasa kwasa and rumba with expressions both deeply rooted and kaleidoscopic. Singer TRESOR joins forces with Scorpion Kings-a production duo consisting of DJ Maphorisa and Kabza De Small-for an amapiano-powered extravaganza of pan-African melodies.