Audio

The 6 Songs You Need to Hear This Week

Check out the best tracks, videos, mixtapes and releases that came across our desks this week.

At the end of the week, we’ll be highlighting the creme of the crop in music and rounding up the best tracks, videos, mixtapes and releases that came across our desks throughout the last few days.


Check out this week’s selections below.

Wizkid and DJ Henry X's "Like This"

Nigerian Starboy ("the 'real' Starboy") Wizkid keeps his hot streak going with the music video for “Like This,” a collaboration with Amsterdam-based Ghanaian producer DJ Henry X.

The track, which was produced by DJ Henry X, pairs breezy synthesizers with a sturdy back beat and Wizkid’s carefree vocals about enjoying his holiday lifestyle. The new video follows Wizkid doing just that. It features cameos from Efya, Hayley Marie Norman, Nastasia Griffin, Reka Rene, Salmannsa, Heather Paige Cohn, Leah Girma, and Heart Hayes.

Tinariwen's animated video for “Ténéré Tàqqàl”

Tuareg desert blues group Tinariwen announced their new album Elwan (The Elephants), due 10 February via Anti-. It'll be the band's follow-up to one of our favorite records from 2014.

The new album was recorded in California’s Joshua Tree and M’Hamid El Ghizlane, an oasis in southern Morocco, and will feature guest appearances from Kurt Vile, Matt Sweeney, Mark Lanegan, and more.

The band shared a beautiful animated music video for "Ténéré Tàqqàl," directed by Axel Digoix, this week. "The word Ténéré means empty land or desert in Tamashek. The clip... vividly depicts the contrast between the desert's lack of hospitality and the love its inhabitants feel towards it," the band mentions.

Dex Kwasi brings the "Bass"

Ghanaian-American rapper Dex Kwasi just dropped his new album Akata ¥€$U, which roughly translates to "Black Jesus." The title's a tongue-in-cheek play on Dex's "larger-than-life persona and his popular 'Jeezoss' ad-lib," Dex's camp says.

The new Accra-shot music video for "Bass" sees the MC fine-tuning his afro-trap sound and sprinkling in a few dancehall flavors for a straight head-nodder. Check out other videos for album tracks "Ghost" and "Avenor."

Wyclef re-ups "If I Was President" for the 2016 election

Wyclef revisits his 2008 acoustic hit "If I Was President," which came out during Barack Obama's first presidential campaign.

For the 2016 version, Wyclef changed the lyrics to reflect the craziness of this American election, (kind of) call out Trump, and sing about race relations, gun reform and more.

"Her t-shirt says Black Lives Matter, the media is screaming All Lives Matter," Wyclef sings in this new version.

Afro-Cuban hip-hop meets J Dilla in El Tipo Este's new video

Alexey Rodriguez aka El Tipo Este is one-half of Obsesión, one of Cuba's most popular hip-hop groups who've been around for 20 years. For his latest mixtape, Misión Dilla, Rodriguez pays tribute to the legendary beat maker J Dilla by rapping over his beats.

"Regla," one of the highlights from that Dilla tribute, is a song dedicated to his neighborhood, Regla in Havana, Cuba.

Afrobeats meets grime in Atumpan & Big Narstie's "We Like It"

Ghanaian singer Atumpan returns with a new video for “We Like It,” an afrobeats meets grime dance floor collaboration with UK grime star Big Narstie.

The track is a hotpot of dance rhythms that build on Atumpan’s West African influences—there’s mentions of azonto and shoki in there—with Big Narstie sounding right at home over the afrobeats and dancehall concoction.

Interview
Image: Courtesy TIFF

Jenna Cato Bass is Capturing the Horrors of an Unhealed Nation

The film marks the South African director's third debut and stride towards making a name for herself in the international film circuit.

Ever since premiering her debut film, Love the One You Love, which won the Best Feature Film at the Jozi Festival in 2015, Jenna Cato Bass has been a name to watch on the international film festival circuit. Her 2017 feature, High Fantasy, was the first of her films to land on the Toronto International Film Festival (TIFF) lineup, followed by Flatland in 2019. Her latest offering, Mlungu Wam (Good Madam), debuted at TIFF in September of 2021 — marking her third time at the esteemed Canadian film event.

Often provocative, always thought-provoking, Bass' films have come to establish her as a director who looks at South Africa's youth, the lives they're living and the future that awaits them, with a nuanced, open-minded lens. For the first time in her career, Bass uses the genre of horror to dig into an enduring mark of the country's past — that of the fraught, complex relationship between madam and domestic worker, in Mlungu Wam (Good Madam). Set in Cape Town, the film follows the unusual, disturbing things that start happening when a young woman moves back in with her estranged mother, who is the longtime caretaker for a rich, white household.

Bass also co-wrote the film Tug of War (Vuta N'Kuvute), which became Tanzania's first film to be selected for TIFF this year, and she co-wrote Rafiki, which was Kenya's first film at TIFF in 2018.

She spoke to OkayAfrica about playing in a new genre and her hopes for African cinema.

Still from Bass's film Mlungu Wam Image: Courtesy TIFF


This story revolves around the relationship between a domestic worker and her 'madam.' What made you want to make a film about this subject?

When I make films, I like the concept to revolve around something that we all have in common - because, despite the many fractures in our society, these shared places exist. And in South Africa, we felt that everyone - in some way or another - has been deeply affected by domestic work and domestic workers, who are a keystone in our society's structure. Additionally, the 'maid' and 'madam' relationship is the ultimate symbol of race relations in South Africa - as well as how they haven't changed significantly, despite almost thirty years of democracy. So a domestic worker was the perfect character around which to centre a South African horror.

The genre of horror works really well to explore this subject and tell this story — when did you know it would be the genre you'd want to use?

The early stages of developing a film aren't always linear for me. I'll be thinking about a genre I'm interested in, and then parallel to that I'll have an idea for a story or a character, and later on, will realize that these pieces all fit together. In this case, I'd been wanting to make a horror film for ages, but hadn't found the right story… until I had the idea for Mlungu Wam, and I realized I was finally ready to try this genre.

What challenges did you face in making a horror?

It was my first time working in this genre, and it was intimidating because there's no saving you if you fail. We were also working on a very, very limited budget, so it wasn't possible to show as much as we'd like to - but then again, this story was all about the subjective and the unseen, so I did as much research and planning as we could, and just had to trust it would work.

Where did you film, and did that have any impact on the process at all?

We filmed in a house in Cape Town, in a gated community in the Southern Suburbs. The house and the environment had a major impact on the film - especially because we were also quarantining there for the full 7 weeks of rehearsal and shooting. The house was our set and our accommodation, so it was very intense, very claustrophobic, and very triggering for many of our team members.

How did you and co-writer Babalwa Baartman work on the story? You've included cast members in the writing process in your previous work — did you do that here too?

Mlungu Wam was made along similar lines to my first two films, Love The One You Love and High Fantasy, where we started with an outline, cast actors, then workshopped the characters collaboratively before completing the story breakdown and using improv for the dialogue. Babalwa and I had worked together using this method on a short film we made in 2019 called Sizohlala. She really understands the process, and it was a really rewarding experience exploring the story with her and our cast.

How did Kristina Ceyton, who produced the excellent acclaimed horrors The Babadook and The Nightingale, through Causeway Films, come to be involved in this film?

I had met Sam Jennings, who is also a producer with Causeway Films, several years ago at a festival. We really connected and kept in touch over the years, sharing our work, and hoping there'd be a chance to collaborate. So when we were developing Mlungu Wam, I pitched her and Kristina the concept and they were immediately supportive. It has been a massive pleasure working with them both.

Your films are known to venture into themes of identity and healing from the past — how does this film speak to that?

Mlungu Wam is definitely about this too - it's a story about three generations of women (actually four, if you include Tsidi's grandmother, who is an unseen character in the film), how they are haunted by the past and eventually refuse to remain chained any longer. Their healing is collective, linked to each other, and wouldn't be possible for them alone as individuals.

Still from Bass's film Mlungu Wam Image: Courtesy TIFF


You've been at TIFF before - how has your experience of it been this year, with it being a hybrid of virtual and in-person?

Things have been quieter and a bit harder to navigate, but the TIFF staff have done incredible work getting the festival off the ground, despite endless challenges. It has felt very surreal to be here, and a privilege - and inspiring too, that we can still get together to celebrate films, even though our world is in such a mess. We had over 200 (socially distanced) people at our last screening, and that was an amazing feeling.

Yours is one of few African films on this year's line-up - is there anything you'd like to see happen to try improve that?

Regarding African cinema, TIFF has a real range of films this year, across several sections. Compared to many other festivals, they seem really invested in supporting cinema from the continent. Of course, this could be better, but it's also an example to other festivals who claim there aren't enough African films, that this is clearly not the case.

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