In his two latest releases, the Mozambican artist continues his tireless quest of shaping the modernity of Mozambique into music.
Nandele used to be a geeky '80s kid. He loved to snoop around the sound system of his father, the general director of the Mozambican National Radio. One day, while poking with the vinyl player components, the little boy accidentally broke the plastic cover that topped the device.
He ran away from home and found shelter at his uncle's house, a solution that only makes sense in a child's mind. "My dad called my uncle and asked to talk to me," Nandele recalls. "He called me back home and when I got there, instead of telling me off, he just taught me how that machine worked. This planted the seed of my interest in this thing called music".
Since that day, Nandele has played the double role of a testimony and one of the main acts in the modern Mozambican music scene. His latest feats in this spectacle are the EP FF (Cotch International) and the LP Plafonddeinst (Already Dead Tapes), released in October and September of last year, respectively.
Both albums coalesce overlapping utterly abstract auras with frameworks that span from bleep techno to eerie soundtracks. They show a prolific production with tracks that lie somewhere between an Aphex Twin bootleg and a cyberpunk RPG video game soundtrack. In this adventure, the lead character is a boy wandering in Mozambique with oozy soundscapes, somber textures, and arpeggios from other dimensions.