Contemporary Afro Synth

Synthesizers have been a great driver of the evolution of African music, but when they first appeared on the continent these expensive new technologies were only available to a select few. Great Nigerian synth experimental artist William Onyeabor for example was reportedly a rich businessman who owned his own recording studio and pressing plant, while Nigerien composer Mammane Sani was able to meet people from all over the world through his work in UNESCO and bought his first “Orlo” organ from an Italian colleague. Other artists, like Francis Bebey and Hailu Mergia, only started experimenting with synthesizers after moving abroad. 

Gradually though, as synths became cheaper and more widely available, their glitzy, futuristic sounds started to bleed into pop music all over the continent, from South Africa’s Bubblegum to Somalia’s electro-funk. But it wasn’t until recently, as synths evolved from analog to digital and finally to computer software synths, that kids in all corners of Africa — like in the rest of the world — have been able to make music using just a computer and free production software. Not only that, but music can now easily be shared all over the globe. 

These new dynamics of music production and consumption epitomize what DJ and writer Jace Clayton calls “World Music 2.0”: “There’s this unprecedented, amazing growth of musical activity all over the globe. It’s a fascinating mix of hyper-localized music and global sharing” he explains in his book, Uproot: Travels in 21st-century Music and Digital Culture.

On the one hand these developments mean that African musicians are increasingly connected to global music networks, and no longer have to rely on gatekeepers (like promoters or record companies) in order to share their music. The Nairobian collective EA Wave for example learned how to make music using “the college of Youtube,” and the five members were able to connect to other artists around the world through social media. Their music is an amalgamation of global influences and local sounds, bringing together anything from airy synth pads to 808s, African percussion and jazzy samples. Access to free production software and sharing platforms, they explain, has given them the freedom to define their own identity without abiding to stereotypes of what “African music” should sound like. “My music is African by virtue of me being African,” says Ukweli, one of the members of EA Wave. 

On the other hand, while the general transition from analog to digital has enabled greater cross-pollination between African music and sounds from all over the world, it also serves as a way for musicians to preserve traditional music and ensure that it lives in the present. As fewer people are playing traditional instruments and hiring traditional bands to play events has become more expensive, local producers are recreating traditional sounds by using drum machines, synths, and software like Fruity Loops. In Bamako, Mali, starting in the 1990s DJs began replacing expensive Balafon troupes at social gatherings with recorded tapes of Balafon or Coupé-décalé music while playing drum pads and synthesizers alongside them, and these “Balani Shows” are still an important part of the city’s street culture. In northern Uganda synths and computers have replaced traditional Acholi instruments, giving birth to the Electro Acholi sound, while in northern Ghana producers like Francis Ayamga are reinterpreting the traditional Fra Fra sound by incorporating electronic production into traditional acoustic performances. In all corners of the continent, even in remote areas, there are thriving electronic scenes that are rooted in traditional sounds.

Many cities too have their own vibrant electronic music scenes (Accra-based Oroko Radio is a great place to hear contemporary music from all corners of the continent): in Addis Ababa, artists like Mikael Seifu and Endeguena Mulu, aka Ethiopian Records, have contributed to the rise of “Ethiopiyawi electronic” by merging traditional Ethiopian music with electronic production; Dakar boasts a bubbling and fast evolving creative scene, which Dakarois electronic music pioneer Ibaaku recently paid homage to on Neo Dakar Vol​.​1 and Neo Dakar Vol.2; and in Nairobi, alongside the more global sounds of artists like EA Wave, local genres like SHRAP (Sheng + Trap + Pop) and Gengetone (Kenyan Pop) are thriving. 

But thanks to growing global connections, diaspora networks, and the development of local music scenes and recording industries, African electronic music is becoming increasingly ubiquitous on dancefloors all over the world. Nyege Nyege has done a great job at “exporting” hyperlocal electronic styles like Electro Acholi or the frenetic Tanzanian Singeli Sound, and in summer 2022 there are few European festivals that don’t feature at least one Nyege Nyege DJ or MC in their lineup. Gafacci has emerged from the underground Accra scene and is quickly becoming a global clubbing phenomenon, while KMRU is widely regarded as one of the most exciting ambient artists of the last few years. 

But by far the biggest African sound on dancefloors at the moment is amapiano, which emerged in the townships of Johannesburg and Pretoria around 2012 and has conquered the world with its log-drum percussion, jazz-inflected keys, kwaito-like basslines, and its euphoric, bright synths. 

A lot has changed since synthesizers were first integrated into African music, but it wouldn’t be an exaggeration to say that their impact has been revolutionary. Technology has evolved from big, expensive analog synthesizers to cheaper digital ones, all the way to production software like FL Studio that enable producers to sample all kinds of instruments, meaning that synths are now at anyone’s fingertips as long as they have a laptop and electricity. This “democratization” of musical technologies, the fact they are available to almost anyone and are being incorporated into an enormous variety of different musical traditions, or aiding in the development of new ones, is giving birth to some truly exhilarating music.

Face the Wall cover

Gafacci’s music has quickly spread from Accra’s underground to festivals and clubs around the world, and listening to this groovy, bouncy set it’s easy to see why. Gafacci blends Ghanaian rhythms with laid back Afrobeats, earworm synths, and deep bass to create the perfect dancefloor mix: “Chale” for example is a feel good club banger, while the little voice on “Kaala” is literally daring you to dance. 

A Minha Face cover

At 140 bpm, all hard beats and infectious grooves, Kuduro is the perfect music to just get lost in and dance to, so it’s no surprise that it’s spread to dancefloors all over the world. But the music was actually a reaction to Angola’s long and bloody civil war, as a distraction and a celebration of life. “A Minha Face,” by renowned kuduro beat maker Killamu, is a typical high-energy, celebratory kuduro record,  but showcases the style’s variety by including harder, instrumental electronic cuts and more melodic kizomba rhythms.

Electro Acholi Kaboom from Northern Uganda cover

The Electro Acholi sound developed in northern Uganda when synthesizers, drum machines, and production software replaced the region’s traditional instruments. Although Otim Alpha and his producer Leo Palayeng were the first to export this sound to the rest of the world, the scene is rich and varied, and this Nyege Nyege compilation gives us a look in by collecting 15 tracks recorded between 2003-2015. Traditionally Acholi music was reserved for weddings and other festive occasions, and its electro version maintains its celebratory spirit, perhaps even elevating it to new, trance-inducing heights with its dizzyingly fast rhythms.

Pretty Girls Love Amapiano 3 cover

The “King of Amapiano” is Pretoria based Kabza De Small, the pioneer of the South African dance style and one of its most prolific producers. Running at 50 tracks and almost 6 hours, you might think “Pretty Girls Love Amapiano 3” is a project by someone who’s blowing their own trumpet. And you might be right, but that doesn’t take away from the fact that this mammoth album is the perfect showcase for amapiano’s variety and versatility, compiling tracks that could work on a restaurant playlist or on a raucous dancefloor.

Qen Sew cover

Endeguena Mulu, aka Ethiopian Records, is one of the pioneers of Ethiopiyawi Electronic, the constantly evolving sound (in fact it refers more to the process of experimentation than to the final outcome) that fuses old Ethiopian music (whether traditional or more recent ethio jazz) with electronic productions. On the record Mulu combines dub-heavy electronica with layered vocals (on opener “Qen Sew ቅን ሰዉ (For My Father),” or the evocative sounds of the masenqo and washint  with relentless drum patterns and dreamy synth pads (on uplifting club banger “Feluha”), creating an album that honors the past by bringing it to the present.

The Angel You Don’t Know cover

The altè scene (which was born in Lagos but spread to other West African cities) is responsible for opening us up to a whole new wave of West African sound. But more than just a genre, altè is a way of life that places DIY attitude and full and free expression before anything else. This openness and self-confidence permeate Amaarae’s The Angel You Don’t Know, where smooth R&B, afrobeats, soul, and experimental pop bleed into each other, tied together by Amaarae’s deceptively sweet yet powerful voice. This is Amaarae’s world and she’s inviting us along for the ride. 

Vexillology cover

Moroccan DJ, producer, and sound artist Abdellah M Hassak, aka Guedra Guedra exquisitely weaves the rhythms and atmospheres of North Africa into his own electronic dance compositions, imbuing them with warmth by incorporating field recordings of nature and cultural events and snippets of conversation. These acoustic elements aren’t just there to garnish the electronic component —  they are its basis and backbone, merging with the sub-bass synth, house-y key riffs and drum-machine rhythms for a truly North African clubbing sound.

Falaw cover

Luka Guindo, aka Luka Productions is one of Bamako’s most sought producers in the hip hop and Balani scenes. On Falaw he enlists a few local musicians and griots to add drums, vocals, and the lush sounds of the ngoni to his productions, with different results: “Bbni” is a fun, afrobeats infused jam, while“Forêt” is a delicate,  hypnotic track built around chopped-up ngoni sounds and repetitive vocals, and closer “Dogonodoon” is a fast paced, techno-tinged cut. Guindo’s naturally experimental approach and disregard for genre conventions make him one of the most interesting and versatile producers in Mali.

God Created Everything cover

Linda Ayupuka is a well known gospel singer from northern Ghana, but unless you speak Fra Fra you might never guess. With her producer Francis Ayamga (who’s one of the biggest players in the Fra Fra music scene and works with King Ayisoba) she creates dizzying, rapid fire tracks whose bright, joyful synths and propulsive energy will definitely draw you to the dancefloor, if not quite to God.

odra cover

The grandson of a legendary Kenyan musician, KMRU is a prolific ambient musician and field and sound artist known for creating meditative, expansive sounds with the sonic snippets he collects. On Odra he layers the sound of birds chirping, buzzing drone sounds and other recordings (including of broken instruments), including the sound of a Lyra 8 synth being run through a MOOD pedal, constructing a sound that is deeply introspective and at once electronic and organic. 

Teenage Dreams cover

Amapiano music follows a pretty simple recipe: bright synths, looped log-drums, jazzy keys — the “piano” in amapiano. Yet, in the hands of different producers, these elements can build vastly different atmospheres, from sunlit, blissed-out grooves to darker, hypnotic tracks that go deep. On Teenage Dreams Kgothatso Tshabalala and Zakhele Mhlanga, the two young producers who make up Native Soul, mostly focus on the latter style, keeping vocals to a minimum in favor of relentless percussive patterns and ominous synths. But it’s not all doom and gloom: the jazzy keys and tension-building chord progression create an uplifting, carefree energy that keeps you moving.

Kilumi cover

Coco Em is all about community: she’s the founder of Nairobi-based womxn collective Sim Sima, and is actively involved with Santuri Safari, a Nairobi-based non-profit organization that supports East African producers and DJs through workshops and other projects. Her debut EP Kilumi continues with this collaborative approach, enlisting six emcees, producers, and singers from different communities in Kenya to shape her electronic sound. By including traditional instrumentation, field recordings, and different Kenyan languages, Kilumi is a reflection of the country’s rich mish-mash of cultures and traditions, and an exploration of Coco Em’s own Kamba roots. But even if you don’t get the references or lyrics, this is a superb set that stands on its own.

Fongola cover

Congolese music has a long history of experimentalism and punk attitude (just think of Konono Nº1, who were formed all the way back in 1966), and KOKOKO!  carry on this tradition with their DIY instruments, frenetic rhythms, and politically charged lyrics. While the rhythmic element remains the backbone of KOKOKO!’s music, on Fongola the group adds a bed of synths that at times take the lead, creating sweet melodies that offset the hard, sped-up soukous rhythms and yelped vocal interjections. The collective marries all these different elements perfectly, creating an ecstatic, joyful record. 

Houmeissa cover

On Houmeissa, Nigerién keyboardist and composer Hama reinterprets the timeless sounds of the Sahel using his trusty synths and a “hacked copy of FruityLoops,” with stunning results. In his hands traditional Tuareg songs and ceremonial wedding chants become cosmic journeys to outer space and back, capturing the expansiveness of the desert, the drama of its brooding sandstorms, and the ancient traditions of its people.

Phases cover

Despite the record’s serious subject matter — toxic relationships, breakups, female empowerment — Moonchild Sanelly maintains her irreverent, fun style while creating something of a roadmap of South African dance music past and present as she moves with ease between gqom, amapiano, afro house, kwaito, and hip-hop, switching between English and Xhosa. The album is a celebration of women, and it’s the sound of an eclectic artist refusing to conform and confidently stepping into her multifaceted identity.

Limpopo Champions League cover

Bouncy bright synths are set against relentless electronic beats as Sho Madjozi raps and sings in Swahili, English, and Tsonga on “Limpopo Champions League,” her 2018 debut album.  Across the record Sho Madjozi incorporates various South African styles, for example offsetting the gloomy gqom rhythms with more pop-oriented sounds and her own playful vocals on “Huku,” or offering a dose of Shangaan electro from her native Limpopo province on “Kona.” Just like her fashion style, Madjozi’s eclectic approach to music is a celebration of South African (and Pan-African) identity in all its different shades.

The Afrorack cover

This record is remarkable for many reasons: Ugandan artist Bamanya Brian, aka Afrorack, built Africa’s first modular synth, the Afrorack, from scratch, trawling through local electronic and spare part shops. But this isn’t a novelty record, and even without the interesting origin story the music is a revelation. Using his modular synth, Afrorack weaves surprisingly melodic jams that sound completely fresh, but are still imbued with the region’s traditional sounds. 

Plafonddeinst cover

Nandele has been a pioneer in Maputo’s alternative music scene since the 90s, pushing boundaries with his trap, hip-hop, and psychedelic beats. He’s at his most experimental on 2020’s “Plafonddeinst,” on which he combines glitchy electronics with cosmic synths on a bed of natural and industrial sounds — chirping birds, background chatter, clanging metal. It’s an incredibly textured record that sounds both extraterrestrial yet profoundly warm and human, with Adrian Diff’s poem on “Nnê” offering a poignant reflection on the past.

Ngbaka cover

Founded in 2003, the Kinshasa music and eco-activist collective Fulu Miziki are known for their instruments made out of trash and scavenged materials, with which they are nonetheless able to build surprisingly complex polyrhythms and melodies. On their debut EP Fulu Mziki add electronic textures into the mix, further building their high-energy party sound (not that their music ever lacked energy) and officially becoming a part of the well established East African electronic music scene. But Fulu Miziki don’t lose any of their original punk attitude, and their music and message remain as urgent as ever.

Ama Gogela cover

The Durban-based trio —  Khera, Makan Nana, and Malathon —  draw on the powerful sounds of the Toyi Toyi protests, during which music was used as a weapon to intimidate security forces, to create their brand of frenzied, gritty gqom. Capturing the anger and intensity of Phelimuncasi’s activist work, Ama Gogela brings together local producers to create propulsive, irresistible club tracks, laying call and response vocals over incessant bass and repetitive polyrhythms. It’s a dark and sometimes overwhelming sound, but it’s hard not to get swept up in it. 

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