#gqom song

[frankieunscripted]

music don't be musicing like dis no mo

my official request to anybody possibly seeing this post to send me good music of the genres in the tags ⬇️

[blogofreverence]

Who are you?? What's Happening?!

don't worry about that it's still binnie we binnie all day.

OCT 4, 2024

Our latest obsession has manifested itself as a series of attempts of advancement on our abilities as a power user of the www... Website development and RSS feed aggregation have suddenly found themselves intertwined in a result that has prompted me to private nearly all posts on this blog in an attempt to make a nice little embedded widget . I wish to share this blog on my website and make it more friendly to feed readers, by creating posts more akin to articles, albeit you're still getting that dipshit schiz bitch bloggirl at the end of the day.

Umm...

College has been a pleasant experience, we've been reinvigorated thru an introduction to Gqom music, a South African variation on house.

"they took my favorite song off wikipedia"

Umm what else... We released an album that would make us so delighted if you took the time to listen to, find it here:

Got some press with @dogteethlitmag had a little writeup (with an interactive section?!)

I also got a new blog @infoblog100

Wrap-up? Wrap-up! What's up? Wrap up!

Things planned: Further work on my website ... Build hype, engagement, and plans for Media Creation For Dogs again (If you are an artist, a musician, a writer, a photographer, any kind of creative that wants to build some interest, please feel free to contact us) ... Got some collabos with music on the way... Hit me up on soundcloud for that feature request ...

[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 ]

[fakazanet]

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[ghpops]

Samsong – I’m a Miracle

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This song should also be on your top playlist because it gives fans amazing rhythms and vibes. Kindly check on our latest updates from hip-hop/ afrobeat Dj Mixtapes Mp3 Download, we trend even more better on celebrity news with Gossip's. Without further ado, listen to this brand-new song and don’t forget to leave your comments below.

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[music-industry-updates]

The Evolution of Music Streaming in Africa: A Focus on Simfy Africa

The global rise of music streaming has revolutionized how people consume music, offering a vast array of songs at their fingertips. In Africa, the journey to widespread adoption of music streaming services has been unique and faced several distinct challenges. Among the key players driving this transformation on the continent is Simfy Africa, a platform that has not only provided access to music but also shaped the growth and evolution of streaming in Africa.

The Early Days of Music Streaming in Africa

Music streaming services have become the primary mode of music consumption globally, but in Africa, the journey has been gradual. For years, the continent relied heavily on physical media like CDs and radio broadcasts as the primary means of accessing music. With the advent of digital music, piracy became rampant, limiting the ability of artists to monetize their work properly.

In the early 2010s, many parts of Africa were still grappling with limited internet connectivity, expensive data costs, and low smartphone penetration. The idea of streaming music online was therefore seen as something reserved for affluent, tech-savvy individuals in urban areas. Global platforms like Spotify and Apple Music were accessible to a small section of the population but were out of reach for the vast majority.

Simfy Africa entered the market during this period of transition, offering a localized solution that was designed specifically for the needs of African users. By focusing on affordability and accessibility, the platform began making strides in reaching areas that other streaming giants couldn't.

Challenges Faced by Early Streaming Platforms

Africa’s unique challenges in terms of infrastructure and socioeconomic factors meant that early streaming platforms had to adapt quickly. One of the key barriers to widespread adoption was the high cost of data, which made streaming expensive for users. In many African countries, data packages are metered, and streaming music could quickly exhaust monthly data allowances, making it an unattractive option for many users.

Another challenge was the lack of locally relevant content. Global platforms often prioritize international music catalogs, which did not resonate with African users looking for regional or national artists. Music lovers wanted to hear local genres like Afrobeats, Kwaito, Gqom, and more, but global platforms were slow to curate this kind of content.

Simfy Africa recognized these pain points and aimed to provide solutions. The platform focused on curating content that was relevant to African audiences. In addition to offering international music, it made local music a central part of its offering, helping bridge the gap between local artists and listeners. Furthermore, Simfy Africa allowed users to download music for offline listening, reducing the reliance on constant internet connectivity, which was a game-changer in regions with unreliable or expensive internet.

Simfy Africa’s Adaptation to African Market Needs

Simfy Africa quickly understood that affordability was a key factor in gaining traction in Africa. By offering lower subscription rates compared to international platforms, Simfy Africa made it easier for users to access its music library. Additionally, payment solutions were adapted to suit local preferences. While global platforms rely heavily on credit cards for subscription payments, Simfy Africa integrated mobile money payment options, which are widely used across the continent. This innovation lowered the barrier to entry and made the platform accessible to a larger user base.

Simfy Africa also adopted a mobile-first strategy, recognizing the growing importance of smartphones as the primary device for internet access in Africa. Many users in the region bypassed traditional desktop computers and accessed the internet exclusively through their mobile phones. By focusing on a mobile-friendly interface and low data usage, Simfy Africa was able to cater to this segment of the population effectively.

In terms of content, Simfy Africa emphasized the importance of local music. From Nigerian Afrobeats to South African House, the platform provided a rich collection of African genres, making it a go-to destination for those seeking regional music. By promoting homegrown talent, Simfy Africa not only catered to the tastes of African listeners but also helped boost the careers of local artists.

Simfy Africa’s Comparison with Global Platforms

While global platforms like Spotify and Apple Music have significant brand recognition, their ability to penetrate the African market has been limited. These platforms, while offering an extensive catalog of international music, often fall short when it comes to providing affordable services and relevant local content. Furthermore, their subscription costs remain relatively high for many African users, and their reliance on internet connectivity for streaming makes them less practical in regions with high data costs or unreliable connections.

Simfy Africa, on the other hand, stands out by focusing on the needs of African users. Its ability to integrate mobile money payments, provide affordable subscription plans, and offer offline listening are key differentiators. Additionally, its extensive library of local music gives it an edge over global platforms that often overlook regional content. Simfy Africa’s commitment to showcasing African talent allows it to remain culturally relevant in a way that international platforms struggle to achieve.

The Future of Music Streaming in Africa

As internet infrastructure improves and smartphone penetration increases, the future of music streaming in Africa looks promising. Simfy Africa is well-positioned to capitalize on these trends. Its deep understanding of the African market, coupled with its ability to offer affordable, locally relevant services, makes it a key player in the continent’s streaming landscape.

While international platforms will undoubtedly continue to make inroads, the success of platforms like Simfy Africa demonstrates the importance of localized solutions. By addressing the specific needs of African users, Simfy Africa has not only helped to popularize music streaming on the continent but has also played a crucial role in shaping the future of African music.

Conclusion

The evolution of music streaming in Africa has been marked by challenges, but platforms like Simfy Africa have been instrumental in overcoming them. By focusing on affordability, local content, and mobile-first strategies, Simfy Africa has positioned itself as a key player in the African music streaming market. As the continent continues to embrace digital music, Simfy Africa’s role in shaping the future of music consumption in Africa cannot be understated.

[hiphopza123]

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[thesinglesjukebox]

SHO MADJOZI - "CHALE"

With David, we revisit an old favorite...

[8.33]

Will Adams: Immensely fun, from the ensemble cast of sound effects -- mad scientist lightning zaps! big fat FM bass! gym class whistles -- to the call-and-response hook. Like any good party, it makes you lose track of time, and you don't even notice you've been grooving to the same song for six minutes. [8]

Crystal Leww: Where Tyla felt like a showcase for amapiano's potential to showcase something sexy, "Chale" is Sho Madjozi's showcase for the genre to show energy. This feels faster than amapiano really is -- I'm really struck by the fight atmosphere created during the chant of "You wasn't there when we was shooting in the gyyyyyyyym!" So much more charming coming from Sho than Fucking Drake. [6]

Frank Kogan: Sho Madjozi and the rest of the music are lifting each other (as opposed to back on "John Cena," when she and the beats were more in combat). The lyrics seem ambivalent about fame -- an ambivalence that was all over her last video, "Toro" -- but in this vid she's totally at ease with the fans, inviting them and their selfies into the dance. The sound of gqom/amapiano is a suspense-film buildup, rising tension yet a groove you can relax in forever, "Chalé" doing it about as well as it can be done. [9]

Nortey Dowuona: TBOY Daflame opens the song with an ominous synth riff, then punctuates it with bouncy log drums Sho rides expertly. When they take over the mix and even slide off key, Sho slips out, and as a soccer whistle enters the mix, tinny and shrill, it takes the center. The drums drop out except for the hihats, and Sho pops back up, her chorus bigger and prouder, a sharp aphorism from the Friggin Canadian suddenly alive and a gleeful taunt. "Chale" blurs until it becomes a brick, hard, solid, frozen in the mind. [10]

Tim de Reuse: Under the horror-show drone of a single hazy supersaw, she flexes, relaxes, paces, and chants, but only just enough, lest she appear to try too hard; her own voice is a sparse, percussive element, the rest of the space filled with a meaty, developing beat. An excellent strategy to self-celebration: make the party do the work. There's no other way you could get away with a track like this being six minutes. I could listen to a loop of that shuffling, syncopated bass-breakdown for sixteen. [8]

Micha Cavaseno: Nearly every Sho Madjozi single feels like the synths have to be close to as playful as her own rhymes while also seeming like they're lurking in an unwelcome manner. It's kind of astonishing as to how many songs a person can make that sound close to tricksy without the artist coming off as anything more than bright and sunshiney. Somehow you don't even think Tboy Daflame's freakout breakdown of subs and whines is anything more than fun & games in spite of its industrial calamity. Can't begin to describe how confounded that makes me, and how fun it is to be so taken aback. Maybe that's the point! [7]

Joshua Minsoo Kim: Something I didn't know I needed: an amapiano track that functions as a contemporary American jock jam. [9]

Brad Shoup: I know it's provincial, but I keep trying to figure how the WNBA can put this into a commercial while ignoring the original Kobe joke. I love how Sho's blithe and kinetic, and how you can hear Tboy Daflame mashing the pads. [7]

Ian Mathers: There are a lot of different little sonic flourishes I love here, but the mad scientist electricity sound might be my favourite. Then there's the bits where it keeps sounding like a Squarepusher song is about to break out, and how good both the title refrain and the "shooting in the gym" bits are every time they come back. I was genuinely shocked to finally notice it's over six minutes long -- the whole thing practically flies by. You pull a salt and pepper diner on me with this one, and I wouldn't notice for a good long time. [9]

Katherine St Asaph: Infectious joy in a generous portion. [9]

Alfred Soto: The walls of this single keep expanding with each second, and the combination of ruminative, brassy, and mysterious that I love in good Neneh Cherry and Rosalía doesn't quit. When it yields to beeps and chirps, it reaches peak sublimity. No, I wasn't there when she was shooting in the gyyyyyyym. [8]

David Moore: 2023 was the year I managed to drag myself out of a nasty little pit I'd been growing uncomfortably accustomed to, and subsequently I started listening to and writing about music again. My lodestar was Sho Madjozi, an artist I had brief but serendipitous encounters with in the past through the Jukebox and then Tom Ewing's People's Pop Polls. On "Chale," she augmented the deluge of amapiano that I was starting to understand at a technical level with an infectious pop call-and-response chorus, inviting the whole world to the party with a personalized golden ticket. And there was Sho Madjozi herself in the center, incandescent, always on the verge of bursting out in laughter, and you could feel yourself breaking, too, like you're sharing an inside joke. I carried the "shooting in the gym" line like a talisman guarding me against the hundred leaden Drake songs I would encounter later, hiding like sneaky little fungus trolls in my playlists. The song came out and February, and I never stopped listening to it all year, beaming, hardly believing my luck: I was finally open to something wonderful, and this was the gift I received. [10]

[Read, comment and vote on The Singles Jukebox ]

[fakaza2022]

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[hiphopafrikaorg]

TBOY DAFLAME – UBABA KA DUDUZANE (GQOM EDITION)

uBaba ka Duduzane (Gqom Edition) Mp3 is the newest song from the South African singer whose name is Tboy Daflame. https://hiphopafrika.org/tboy-daflame-ubaba-ka-duduzane-gqom-edition/

[djhamaradio]

My Journey with Electronic music

In truth Hip Hop is fundamentally electronic music, and things like House, Techno, or Dubstep fall into the same category as these modern forms of electronic music that stand in contrast to analog-based Rock N Roll, or Jazz derivatives. My first so-called electronic song from memory is the track Pump Up The Jam, which is a hybrid of House, Techno, and Hip Hop.

For some reason, the energy and pulse of this song really gravitated to me and grabbed my attention back in 1991. This song that played on a state-run radio station in Zambia opened the floodgates to a universe of sonic possibilities, also dominating the airwaves you had these beautiful Jazzsoul fusion cuts in the form of performers like Soul-II-Soul.

Dance music as a deliberate act first came into my life around high school, when a series of CDs proliferated my high school, CDs that represented a paradigm change that came from South Africa that would be passed around at my boarding school. The compilation was made up of House, Techno, and Dance music coming from the USA and Europe. Please reference the below which is a whole video rip of what one of those CDs sounded like, in 1999.

It was an eclectic mix of dance styles from New York 90's club style to stuff reminiscent of DJ/Producers like Armand Van Helden or decadent garbage pop shit like The Venga Boys, Alice Deejay, or Darude, all shit that you would never catch me listening to now but back then we would go nuts too in our boarding rooms blasting this shit while doing errands on weekends. Some good stuff trickled in that I am not as embarrassed to say I fucked with like Daft Punk, I liked Modjo, and the group Stardust.

By the time I left High School and came to college in the USA, i was still listening to a lot of that stuff but in my first few years here it all fell to the side and I was locked in listening to Jazz, Hip Hop, Soul and Afircan old stuff, the change came when all the electronic blogs started really giving me a lesson on the true history of dance music and letting me know the rure origins of this music Before that I always sort of just assumed Europeans invented this shit, when in fact it all was born in the black clubs in New York, Chicago and Detroit, it was around this time that i first heard Underground Resistance, Moodymann and heaps of all this beautiful stuff that just blew my mind. At the same time UK garage which I had heard of back home but hearing morph into harder agresesive dubstep, and post step sounds again had me fully immersed in these stylings. I loved record labels like Hyperdub, and at the time I would download radio shows by DJ Mary Ann Hobbs out of the UK and hear all this surreal sounding dark dubstep, and experimental stuff. And of course all the lef- sounding stuff coming out of theLow- End Theory parties, only added to my complete embrace of a far bolder and edgier conception of electronic music and this was happening in my early 2'swhene I was jamming this stufi at my college radio show to the confusion of a few people in the college town I was at who thought I was nuts.

It was also at this time that Planet Mu released Bangz and Works a compilation of a new frenetic sound coming out of Chicago a reworking of Detroit Ghetto Tech into a style that had Hip Hop's architecture but in favor of the dancefloor. This took me in yet another direction, and trying to connect the dots with all manner of black electronic sounds be it Jooking in Memphis, Footwork in Chicago, or New Jersey Club, it is an exciting time to listen to electronic music because you have it coming from black people and in all forms from around the world be it Gqom, Amapiano, Bailie Funk or Kuduro type stuff coming out of Portugal. I got to thinking about this because someone i know brought up that I really liked Alice Deejay, and I was like wow I used to love that crap and you couldn't catch me listening to that ever, but it speaks to how to taste for some is an every changing exploration of sonic possibility.

For most folks, this tireless exploration of new styles might seem tedious but It is very rewarding to come upon some fresh music you didn't know existed that completely changes how you hear a particular sound and style. Reading through the article below on DJ Rashad you get the sense that these guys in Chicago went journey of their own, vibing with Detroit Ghettotech, and experimenting until they found a sound that was all its own.

I have friends who have never quite left what they used to listen to in their 20s or relly on Spotify algorithms or radio to hip them to new shit. For me music is about immersing ones self in the culture of music. Meaning when I get up in the morning I check my favorite blogs, record stores, youtube and discogs tirelessly looking for my next fix. It can seem intense but its very grattifying.

[djbeu321]

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[hiphopza123]

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