The other day I was listening to Till I Collapse by Eminem (from the album The Eminem Show) and I remembered how great it was to hear Nate Dogg on the chorus. This thought led me to one that had actually always been there, since the beginning of the millennium: Nate Dogg was the best hook specialist in hip hop.

At this point, it is important on the one hand to point out that, although I believed this when I was 13, I was not the only one to think so – he is known as the ‘King of Hooks’ – and on the other hand to clarify this statement as personal as it is universal, since in the world of hip hop there have been and always will be great hook specialists. Especially from the late 90s onwards, when rap became much more pop with names like Puff Daddy and others much closer to soul or R&B, where female voices such as Faith Evans, Mary J Blige or Ashanti stood out in the 2000s.

Like a large majority of rappers of the time, Nate Dogg also flirted quite a bit with R&B, but we can find most of his greatest hits in songs closer to gangsta rap, to the more mainstream fun and rap with a street conscience, as I will try to demonstrate in this article that includes a playlist. Was there anyone who was at least a little like him? Maybe Jadakiss, although he usually added some rapped verse in all his collaborations.

Nate Dogg’s date and cause of death

First of all, to answer the question that gives title to this text, I tell you that Nate Dogg died on March 15, 2011 when he was only 41 years old. A pioneer of G-funk and West Coast rap, he is, in 2024, the rapper with the most collaborations or featurings in history.

As for the cause of his death, Nate Dogg died due to complications from multiple strokes – there is also talk of congestive heart failure. Apparently, it is something that had been going on for a few years. The man had already suffered a stroke that left the left side of his body weakened in 2007 and another in 2008.

Although Nathaniel Dwayne Hale, which was Nate Dogg’s real name, managed to recover almost completely, his life ended a few years later, without enough time to prepare his comeback in the form of a solo album. This was announced as a post-album and was apparently scheduled for release in 2013, but to date no one has heard anything more about it.

In between, in addition to her musical career, she has been accused of multiple charges and arrests for gender violence, harassment and drug use.

Nate Dogg, or how to use a chorus to turn a song into a hit

Nate Dogg will always be known for his deep, melodic voice. His style, imitated but inimitable, was mainly influenced by the gospel music he performed in the church choir as a child, as well as the music that was heard in his home at the time. From Marvin Gaye to Stevie Wonder or Maurice White of Earth, Wind & Fire. Some of his greatest musical influences confirmed by himself.

With those materials, how could he not almost always improve the songs he collaborated on? And I especially highlight the collaborations, because as a solo artist his songs tended to be rather monotonous and lacking something. I’ll let you check it out when you get to the playlist.

He, who did a mix between hip hop and R&B thanks to his vocal range between tenor and baritone, is considered the inventor of ‘gangsta singing’, a style of singing that consists of the mix of R&B and soul vocals with gangsta rap lyrics and that had a great influence on urban culture and on great abusers -and more things- of R&B like R. Kelly or Chris Brown.

Where have you heard the King of Hooks, even though you may not remember it?

In the playlist you will see that within the collaborations there are even more collaborations than those I highlight below, such as Kurupt or WC in many of them. It is like a Russian doll that also ignores 213 as a group and offers it as a trio collaboration.

I have done everything I could to make it make as much sense as possible. But anyway, the most important thing is that you listen to the songs and let yourself be carried away by them like a good rap lover.

Singing solo

• I Got Love
• Nobody Does It Better
• Music & Me
• So Fly (J. Period Remix)
• These Days
• Never Leave Me Alone

With Dr. Dre

• Your Wife
• The Next Episode
• Xxplosive
• Deeez Nuuuts

With his cousin Snoop Dogg

• Ain’t No Fun (If The Homies Can’t Have None)
• Lay Low
• Crazy
• Don’t Tell

With Warren G

• Regulate
• Game Don’t Wait
• Party We Will Throw Now!
• Do You See

With Xzibit

• Multiply
• My Name
• Been a Long Time
• Keep It G.A.N.G.S.T.A.

With 2Pac

• All About U
• Skandalouz
• How Long Will They Mourn Me?
• Thugs Get Lonely Too

With Eminem

• Till I Collapse
• Bitch Please II
• Never Enough
• Shake That

With members of G-Unit

• 50 Cent – 21 Questions
• Lloyd Banks – Til The End
• Lloyd Banks – Warrior Part 2

With The Game

• Special
• Where I’m From
• Too Much

With other rappers (not so often)

• Westside Connection – Gangsta Nation
• Mark Ronson, Ghostface Killah, Trife & Saigon – Ooh Wee
• Houston – I Like That
• Anderson .Paak – What Can We Do?
• Ludacris – Area Codes
• Fabolous – Can’t Deny It
• Jadakiss – Time’s Up
• Shade Sheist – Where I Wanna Be
• Mos Def – Oh No
• Obie Trice – The Setup
• Jermaine Dupri – Ballin’ Out of Control
• Shyne – Behind The Walls (East Coast Gangsta Mix)
• Mobb Deep – Have A Party
• Roscoe – Girls All Pause
• The Notorious B.I.G. – Running Your Mouth
• SNBRN – Gangsta Walk
• Tha Dogg Pound – Let’s Play House
• Tha Eastsidaz – Cool

The entry Why does no one remember Nate Dogg anymore? was first published in Muros de absenta.

Leikeli47 is a rapper and producer who is visually known for her constant use of a bandana or balaclava to hide her face, as a mask. Her most recent album, “Shape Up”, released in 2022, was possibly one of the ones I listened to the most during that year and the next.

Her eclecticism and her ability to fuse genres such as R&B, hip hop, electronica and techno have kept me on tenterhooks ever since. Hoping that during these two and a half years she is experiencing a good creative moment that will allow us to hear something new from her soon.

As I was saying, Leikeli47 started her career in the hip hop world by maintaining a mysterious identity, always wearing a mask in public. Her goal is to have the attention focused on her music rather than her appearance. Before releasing her studio albums, she caught the attention of the public and critics with several mixtapes and singles that showcased her talent in production, writing, and flow.

Her ability to switch between fast and slow beats, and to integrate elements of ballroom culture and electronic dance music (EDM), sets her apart from other artists in the hip hop scene. In fact, although I have mentioned that she has not released anything new since 2022, the truth is that she has, but much closer to these last two musical styles and without including vocal parts.

“Wash & Set” (2017) and “Acrylic” (2018), the beginnings of Leikeli47

Leikeli47 first gained attention in the music scene with the release of her first two albums: “Wash & Set” (2017) and “Acrylic” (2018). These works marked the beginning of her trilogy focused on themes of beauty and self-expression. From the beginning, Leikeli47 has always displayed a dynamic and stimulating style.

“Wash & Set” (2017)

“Wash & Set” is Leikeli47’s debut album, which combines elements of hip hop, R&B, and electronic music. This album was positively received for its freshness and Leikeli47’s ability to integrate a variety of styles and themes.

In fact, even today, it is the most popular album by the American rapper in terms of listens according to sources such as her profile on Spotify or Last.fm. Big hits such as “Money”, “Attitude” or “Wash & Set” attest to this.

“Acrylic” (2018)

“Acrylic” is Leikeli47’s second album, which continues to explore themes of identity and culture with a special focus on the African American community and the perception of beauty and aesthetics. This album solidified her position in the music industry, presenting music with an accessible yet deeply personal style.

Among the most popular songs that I would like to highlight, you can find:

• “Girl Blunt”: with a strong rhythm and empowering lyrics, this song quickly became an anthem among her fans, being the second most listened to song of her career so far.
• “Roll Call”: stands out for its mix of electronic and hip hop rhythms, showing Leikeli47’s versatility.
• “Tic Boom”: with an aggressive and energetic style, it is one of the most recognized songs on the album.
• “Post That”: a perfect example of the bold and uncompromising style that Leikeli47 usually shows.

“Shape Up”, Leikeli47’s recognition and the end of the beauty trilogy

“Shape Up” is the album that marks the culmination of the beauty trilogy that includes the aforementioned albums — “Wash & Set” (2017) and “Acrylic” (2018) — in Leikeli47’s career.

This album, unlike the previous ones, in addition to offering reflections on the aforementioned themes and alluding to beauty in general, is also a reflection of her life and experiences in an intimate and direct way, with lyrics that combine bravado and vulnerability, again mixing genres as if it were nothing.

Leikeli47 shows an astonishing depth and variety here, defying expectations placed on her music after two such mature and fresh albums, but she manages to come up with an album that is both fun and provocative.

Personally, I love this album because it innovates within rap and knows how to use the best elements of trap, consolidating, in her eclecticism, Leikeli47 as a unique force in hip hop.

Featured songs from “Shape Up”:

• “Chitty Bang” – This song, as I’ve hinted at, is a perfect example of Leikeli47’s ability to fuse genres.
• “LL Cool J” – A more laid-back track that highlights her vocal versatility and ability to tell personal stories through her lyrics.
• “Hold My Hand” – An emotional ballad that showcases her ability to create moving and melodic songs.
• “Zoom” – On this track, Leikeli47 explores themes of personal empowerment and self-affirmation, with lyrics that reflect her determination to keep going no matter the circumstances.
• “Carry Anne” – The song has a thumping beat and lyrics that celebrate independence and autonomy.
• “Free To Love” – One of the most emotional ballads on the album. This song has a more melodic tone than most of the songs, with a message in favor of emotional freedom and self-acceptance.
• “New Money”: a great song that, if only for the line “my ex called me trying to talk again, but I don’t negotiate with terrorists”, is worth a mention here. It would also be worth it for the “mention” to Method Man and C.R.E.A.M., but that’s another story.

Chitty Bang, the song from Apple’s iPhone 13 and Madden NFL 22 commercial

While “Chitty Bang” is part of “Shape Up” and I’ve already mentioned it among the highlights, the fact that it was released a year earlier as a single, coupled with the story behind it, deserves a separate mention.

In August 2021, a Reddit thread topic read “Does anyone know where I can find Leikeli47’s song from the Madden 22 soundtrack online?”. At the time, the mysterious hit from the Madden ’22 video game soundtrack was nowhere to be found. “I think it’s called ‘Chitty Bang’… The song is great, but I can’t find it anywhere… Does anyone know what’s going on?” commented another user. After a few months, the rapper with an unknown face gave an answer (in the form of an official release) to those patient hip-hop-loving gamers.

Later, hence the title of this section, “Chitty Bang” also appeared in the iPhone 13 TV commercial. The advertisement for Apple’s umpteenth smartphone surely had greater visibility in Europe than the official American football league game, given the popularity of the product and the fact that it appeared on our televisions. It’s been a while since it was launched and you may not even remember, but it’s well worth a reminder from here.

The entry Leikeli47, a great faceless rap promise was first published in Muros de absenta.

Doechii, stage name of Jaylah Ji’mya Hickmon (born 1998), is one of the most dynamic and versatile artists on the contemporary music scene, standing out in the world of rap, but evolving in her sound to the point of touching on many other genres.

With an admirable ability to fuse genres and styles, many of us have been following her career for some years now, eager for everything she has to offer.

The evolution of her career from her first independent releases to signing with Top Dawg Entertainment is a testament to her talent and determination.

We are faced with a complete artist, who makes us feel, especially among fans of black music, things that we had not felt in music for some years. Especially if we look at it about a single person.

“Girls” (single, 2016), “Coven Music Session, Vol. 1” (2019) and “Oh The Places You’ll Go” (2020), her first works

Doechii began her career in 2016 with the release of her first single “Girls” on SoundCloud while she was in high school. This initial release allowed her to begin building a fan base. In 2019, she released “Coven Music Session, Vol. 1,” a project that combines autobiographical elements with raw, experimental sounds, cementing her place in the underground scene.

“Yucky Blucky Fruitcake,” Doechii’s first big hit

In 2020, Doechii released the aforementioned “Oh The Places You’ll Go.” This EP includes the track “Yucky Blucky Fruitcake.” A song that went viral on TikTok in 2021 and racked up millions of streams, attracting the attention of major record labels and marking a turning point in her career.

Regarding the song’s references, “Yucky Blucky Fruitcake” takes its title directly from the books of Junie B. Jones, the main character of a series of children’s books written by Barbara Park. Junie B. Jones is known for having a vibrant personality, for her curiosity and for a rather direct way of seeing the world, characteristics that are also reflected in Doechii’s song.

But the singer goes further. In “Yucky Blucky Fruitcake,” Doechii brings back elements that evoke school and college, alluding directly to experiences and doubts typical of youth. This parallel not only highlights the naivety, anxiety, or energy of age, but also connects the song’s lyrics with exploration and self-expression, recurring themes in both the book series and Doechii’s music.

The song (and the video) stood out for its narrative, something that, in the end, if you’re lucky, gives much more play on social media. The mix of luck and talent made it viral on TikTok, which not only increased its popularity, but also led her to sign with Top Dawg Entertainment, home of artists such as Kendrick Lamar (at the time) and SZA.

It was from this moment on that many began to see in her an artist capable not only of composing and performing great songs, but also with a great personality and the ability to show herself artistically as someone unique.

2022, the year of confirmation with “Persuasive” (with SZA) and creative control with “Crazy”

2022 was a pivotal year for Doechii. Signing with Top Dawg Entertainment, she released the single “Persuasive,” a collaboration with SZA that celebrates marijuana use. Noted for its laid-back beat and witty lyrics, the song cemented her unique and distinctive style, despite not being particularly different from other female rappers or R&B singers.

Shortly after this single, Doechii released “Crazy,” a much bolder song that mixes rap, trap, and rock, showcasing her versatility and creative control. Both releases reaffirmed her position in the music industry and showcased her ability to innovate and surprise.

Visually, “Crazy” is a work that challenges the viewer to look at stigmatized images and asks them to see beyond the first impression: to see the female form not in moments of sexuality but in moments of truth, intensity and power; to see a woman express vivid and honest emotions.

Narratively consciously chaotic, it conveys a refreshing and very powerful energy. Like a kind of This Is America (by Childish Gambino), but in a female version and as a complement rather than an imitation or homage. A video that, despite starring naked women, does not exude sexuality. It exudes intensity, emotion and empowerment.

It is from this point on, when she does nothing but songs from different genres, that it seems that Doechii has found her sound, that it is no longer as important how she does it as what she does. It is from this moment that whenever we hear one of her songs we will know that it is hers, regardless of the genre or subgenre she plays. Even visually, where she also puts a lot of interest.

2023 and 2024, the last singles from the most versatile Doechii

Rap, trap, rock, house, representation, jazz fusion and gospel. In 2023 and 2024, Doechii has continued to prove her versatility with a string of successful releases. “What It Is (Block Boy)” featuring Kodak Black reached high positions on the charts and received platinum and gold single certifications.

Other notable singles for me are “Alter Ego” featuring JT and “Pacer,” which showcase her ability to fuse rap, trap and rock in innovative ways. Aside from these big hits, I don’t want to forget Booty Drop or her collaboration with Sminoy Fatman Scoop on Pro Freak, but especially the Mixtape Alligator Bites Never Heal.

For me it’s clear, and even more so if we talk in international terms, given that Doechii is already an entity in the United States, but in Spain and other Spanish-speaking countries perhaps not so much. So, if you’ve come this far, give her a chance (or several).

There’s no doubt that she deserves to be more recognized, she has the creativity, the art, the stage presence and the energy, as well as all the talent in the world, to be able to achieve what other rap greats have achieved before. Her flow, her lyricism, her style… they say that the music industry wasn’t ready for someone like her… because she’s remaking the canon.

Other Doechii’s collaborations and awards

Doechii has collaborated with several prominent artists and has been recognized numerous times for her talent. She has worked with artists such as Isaiah Rashad on “Wat U Sed,” and her collaboration with Babyface on “Girls Night Out” showcases her ability to cross genres and styles. She has been nominated and won several awards, including the “Rising Star” award at the 2023 Billboard Women in Music Awards.

Her participation in “The Scarlet Tour” with Doja Cat and Ice Spice has further expanded her popularity and with the energy she displays on stage she has gained more fans than she already had. In fact, she has not only grown in number of followers.

In interviews, Doechii has spoken about the importance of community and connecting with other artists. Her artistic vision is very collaborative and her desire to support other women in the industry highlights her character and artistic vision, as seen in many of her songs and most of her music videos.

The entry Doechii, the most versatile rapper of the moment was first published in Muros de absenta.

Pongo, the Angolan artist who made a name for herself on the Kuduro scene in 2008 by collaborating with Buraka Som Sistema on the track “Kalemba (Wegue Wegue)”, then under the stage name PongoLove, released her new single “Katana” in June 2024.

The song, which marks the singer’s return after the album “Sakidila” (released in 2022), stands out for its energy, a devilish freshness and above all for a personality that looks like it will transcend the live stage, showing Pongo’s ability to fuse traditional African sounds with modern elements of electronic music.

The single Katana

The single “Katana” is a reflection of Pongo’s strength and energy. The song combines raw rhythms with modern production, highlighting Pongo’s powerful presence. He intertwines commercial sounds with others less consumed by the general public with an enviable naturalness, thereby creating a sound as striking as it is catchy.

The lyrics, as in the non-romantic songs that were part of “Sakidila” and “Baia” (EP released in 2018), are another example of Pongo’s power and character as a performer, a testament to his growth as an artist and his commitment to his cultural roots.

Song credits

Producer

Koko

Composers

Aaron Komenski and Engracia Domingos da Silva (Pongo)

Synthesizer, programmer and drums

Aaron Komenski

Mastering Engineer

Dee Key Waddell

Sakidila, Pongo’s first LP

Since I have mentioned the album “Sakidila” twice, I take the opportunity to strongly recommend it from here, dedicating a few lines to it in passing. Released on CD and digitally in 2022 (let’s see if someone publishes it on vinyl and gives it to me one day), it established Pongo as one of the most dynamic voices of Kuduro. But it did not stop “only” there: the album is quite an experience, vibrant in its fusion of traditional African rhythms with modern elements of electronic and pop music, elegant, beautiful and danceable depending on the occasion.

On “Sakidila,” Pongo presented an eclectic mix of sounds that reflected both his Angolan roots and his experiences in Portugal. The songs on the album are a celebration of life, resilience, and joy. With clean, polished production and Pongo’s ability to innovate within the Kuduro genre, it’s impossible not to recommend it to anyone who considers themselves a music fan.

The album includes several songs that I would like to particularly recommend. In addition to Bruxos (which he sang on A COLORS SHOW), Doudou, the vigorous Bica Bidon (with Tica) and Hey Linda stand out, although I could add more that are also worth listening to. Each track offers a unique experience, maintaining a thematic coherence that reflects Pongo’s personality and style. The title track, “Sakidila”, is another one worth highlighting for its contagious intensity and positive message.

The entry Pongo – Katana (single, 2024) was first published in Muros de absenta.

While I personally think I will single out or remember 2024 in musical terms as the year of Macklemore –daring to denounce Israel’s genocide in Palestine and the total complicity of the United States during the university protests with HIND’S HALL and HIND’S HALL 2 (alongside Anees, MC Abdul, & Amer Zahr)– it is impossible not to think of Californian Kendrick Lamar as the artist of the moment even among those who don’t listen to rap.

And it is still surprising, because I honestly think that nobody expected that 2024 would be remembered as the year of Kendrick Lamar. Beyond his collaboration with Future and Metro Boomin’ on the song Like That (from the album WE DON’T TRUST YOU), the end of the cycle that Mr. Morale & The Big Steppers represented in 2022 left many of us wanting to know what was coming next, but in a way satisfied.

Mr. Morale & The Big Steppers: a closing that marked the beginning of a new stage

With that album, the contract and professional collaboration with the label Top Dawg Entertainment, for example, came to an end. At the same time, the title and the concept invited us to meet two alter-egos of the rapper as an artist and as a person. A closing with a production that seemed to sublimate all the previous works. Careful samples, elements more typical of jazz and a relaxed style in most cases to contrast with the urgency of the singer in other stages, sometimes from the same song (how can we forget the collaboration of Sampha in Father Time or Amanda Reifer in Die Hard).

The feeling I had after listening to that album for months, being already a faithful follower of Lamar for many years, was that he had emptied himself. Faced with the emptiness that comes after releasing everything, it is often difficult to “start over”, and that is perhaps why I did not expect to hear anything new from him beyond the usual collaborations in rap and trap. However, as of December 16, 2024, I can safely say that Kendrick Lamar has been the most successful artist of the year, culminating in the Super Bowl finale, where he will become the first artist to perform solo during halftime.

Kendrick Lamar’s year: undisputed success in 2024 “thanks” to Drake

And, at least in part, it’s all thanks to Drake. Or in spite of him. I don’t want to go into the whole beef, because I find it absurd and more a question of egos, but it’s true that it’s through this battle that Kendrick Lamar responds to the Canadian rapper who heads the fashion brand OVO (key to understanding some of the Californian’s answers) with new songs that, in addition to giving more context to the past friendship of both (which also included J. Cole), serve to get us to the previous step before the arrival of GNX (the title of the album taken from the Buick GNX car that went on sale in 1987, the same year Kendrick Lamar was born): Euphoria and, above all, Not Like Us.

Because Drake made a huge mistake, given what we’ve seen: attacking Kendrick Lamar’s origins and using 2Pac –recreating his voice with artificial intelligence– for it. The uproar in the US was such that even 2Pac’s heirs came out to say that they were siding with Kendrick Lamar, whom they believed 2Pac would respect much more than Drake, given his musical career and vital position.

Kendrick Lamar’s response? The aforementioned Not Like Us. The song of the summer, the fall and whatever else comes next. Initially released as a diss, it was so successful that Lamar published a video months later and even so its validity placed it among the most viewed of the year. A song that served both to criticize Drake (calling him OV Ho and a pedophile for his relationship with Millie Bobby Brown when she was 16) and to pay homage to the popular culture of the West Coast in general and Compton in particular.

GNX: Or how Kendrick Lamar returns to the roots of West Coast hip hop

And that’s how we get to GNX. A surprising album because it totally breaks with Kendrick Lamar’s previous work, both in terms of production –here apparently more basic, less spectacular– and themes –here, let’s say, more rooted, although still offering his personal touch. It’s surprising, more than anything, because, in addition to having been an album released by surprise, without prior announcement, it is like a true beginning in his career; fresh and that really feels like the beginning of a new stage. With a much simpler, more “classic” production (with nineties samples like the one from Use Your Heart (1996), by SWV, for heart pt. 6), the rapper from Compton comes spiritually closer to The Documentary (2005), by The Game.

This “new beginning” is full of symbolism. The title, GNX, taken from the iconic Buick GNX, not only connects with Lamar’s year of birth, but also evokes a feeling of speed, power and nostalgia. It’s as if Lamar wants to remember where he came from as he moves forward into an unknown, yet exciting future. Is this car a symbol of his personal and artistic journey? Listening to the album and not knowing anything about cars, I’m willing to bet yes, but this is obviously a guess.

But listening to GNX gives the impression that the beef with Drake is a catalyst that has helped this new direction. The “homage” to West Coast hip hop that began in Not Like Us continues in the 12 songs that make up this album and that stands out for its thematic coherence and lyrical quality.

With a calm style that transmits a lot of peace –man at the garden, luther or gloria, the last two with SZA– or with a vocal rage more typical of Gangsta rap like 2Pac –using a sample of his Made Nigazz in reincarnated– or a more energetic version of himself –tv off or squabble up–, you always have the feeling of listening to Kendrick Lamar, which confirms yet another album that he is the best rapper of his generation and, given the facts, of these times we live in.

Ultimately, while GNX doesn’t focus on the Drake feud, it seems to have been instrumental in Lamar re-evaluating his artistic direction, and that’s something we have the other freak out to thank for. The veiled criticisms and implicit homages to Compton/California figures reinforce the sense that Lamar is charting a path away from superficial feuds and toward a more lasting legacy with an album that stands out for its freshness and the artist’s ability to balance the mix of classic and modern.

Whether it’s pop or rap, his flow and delivery are unsurpassed right now, and names like Doechii are getting closer and closer to his level. Linking back to the beginning, I would say that Macklemore stood out for his political courage and message, while Lamar has done so for his artistic mastery, proving once again why he is considered the best.

In any case: “I want a ceasefire/Fuck a response from Drake.”

The entry Review of GNX, Kendrick Lamar’s surprise album was first published in Muros de absenta.

When I started this review, I thought about talking about the plot of Here, the latest film by Belgian director Bas Devos —known for films like Violet (2014) and Ghost Tropic (2019)—, but I soon came to the conclusion that, although I could summarise it, in essence, there is no clear plot. On the surface, it is about a construction worker who, before going on holiday and while getting back to his daily routine, decides to empty the fridge by cooking. This leads him to share soup with several of his friends. I could also say that it is about beginnings or the importance of walking, but I don’t think those are really the focus of the film. And perhaps this is where my mind began to wander.

Tenderness in small gestures: the contemplative approach of Here

What caught my attention the most is that the title in Spain included an appreciation of the protagonist that does not exist in the original title (Here), adding that he is “a good man”. For a good part of the footage I could not stop thinking about Georges Perec’s The Man Who Sleeps and its film adaptation by Bernard Queysanne. I imagined that Here was as if Perec had written—and filmed—a new version of his work, but shifting the perspective toward a different kind of social isolation, not necessarily sought, but palpable. Unlike The Man Who Sleeps, here there is a tenderness that runs through the story, shown in the moments of human contact that the protagonist shares, transmitting an empathy that is appreciated.

In this sense, Here is a more poetic variant, equally patient, but warmer and more pleasant. Although both films share themes such as loneliness in the city, the tedium of modern life and a certain sense of emptiness, Devos’s film immerses itself in an ethereal atmosphere composed of trees, plants and moss, moving away from Perec’s urban coldness. The film begins by showing buildings and constructions, then submerging itself in a natural environment that surrounds the protagonist, something that reinforces its contemplative character.

Here’s minimalist journey: The Man Who Walks vs The Man Who Sleeps

While it may seem like there is no clear “plot” or character development, Here explores the small moments of connection and disconnection in everyday life. The protagonist, Stefan, doesn’t seem to be in an overt existential depression, but there are hints that his life is not going all that well. His dialogue is sparse and his actions seem to indicate a certain inner emptiness, but the film doesn’t plunge us into suffocating nihilism. Quite the contrary. Devos invites us to find meaning in the small details of life, like when Liyo Gong’s voiceover describes the feeling of waking up one morning and feeling panicked at not being able to remember the names of everyday objects: “I saw my alarm clock on the bedside table and I knew what it was, but I couldn’t remember the names of the things around me. […] I lay there looking up at the nameless world.”

While Perec and Ludmila Mikael’s voiceover in The Man Who Sleeps immersed you in a kind of existential desolation, reminding you that “you are alone, and because you are alone, you should never look at the clock or count the minutes,” Devos suggests that while life can be overwhelming, there is also room for sweetness and tranquility. The film does not require us to bear the existential weight of the protagonist, but invites us to observe him from a distance that, paradoxically, brings us closer to him.

When a piece of moss is a forest

Bas Devos here demonstrates a deep understanding of spatiality and how bodies and objects occupy space. In Here, the folds, fissures and small arrangements take on a poetic dimension. We, as viewers, are tempted to wonder what will grow from the seeds the director has planted. If a small patch of moss can be a miniature forest, this film is equally tiny in scale, and it will be up to the viewer to decide how much depth they find in it, depending on their own perspective.

Ultimately, Here reflects aspects of our own lives. The silences and small interactions we share may not be as mesmerizing as those in the film, and our personal passions may not be as deep, but the people we share these moments with still matter, whether they are lifelong friends or strangers we meet by chance. In the end, Devos reminds us that even in apparent simplicity, life can be full of meaning.

I watched and rated Here ★★★½ on Wednesday Oct 9, 2024

The entry Here (2023) directed by Bas Devos was first published in Muros de absenta.

After mulling over and digesting ME for over two months, it’s clearer to me than ever that this is one of the most complex works by one of the most interesting and unique filmmakers of recent times. Almost always existentialist, Don Hertzfeldt’s cinema seems to delve deeper and deeper into our finite cavities to reflect on the meaning of life, turning the most trivial details of everyday life into moments of pure humor —either as an initial premise or as a result— or into scenes of strange beauty and sadness in equal measure. His worldview, which is not unique, has transcended cinematographically in part due to his particular visual style, even within animated cinema —a medium known for its creative freedom and imaginative potential— but also thanks to a kind of narrative, auditory, and creative gift that, combined with the aforementioned, has led to the fact that in most of his films, viewers find ourselves embracing life in all its deformity. The attention to detail and attraction to absurdity in It’s Such a Beautiful Day, which makes one think about life not to be happy, but to live it intensely, as a stimulus for memory, despite (or perhaps because of) its bitterness, or the biting, occasionally melancholic, and almost always luminous World of Tomorrow (including the entire —so far— trilogy), which presents a fatalistic future full of possibilities (ones that are either frightening to imagine or quite amusing), under the notion that feeling sadness makes us feel more alive, and from the joyful, naive perspective of childhood. These are two of the most gratifying examples of a filmography that has passed through all kinds of twists and tribulations, which have been both the cause and consequence of the creative processes and technical learnings that shaped, for example, the last mentioned “trilogy” and, of course, ME.

Let’s not forget that the author of short films like Billy’s Balloon or Rejected (over 24 years ago) first started experimenting on a tablet in 2014, three years after both he and his nearly 60-year-old animation camera collapsed, leaving behind a series of (unintentional) flashes and light leaks that further enriched the last of the three parts that make up It’s Such a Beautiful Day. Empty, both of ideas and familiar tools, the exercise in a digital medium helped him conceive the concept of World of Tomorrow and allowed him to animate the first part at record speed, fitting each piece perfectly (including the unscripted audio of his four-year-old niece) and naturally, unlike the process of working on the second part. Because, although it may seem so from the previous example, developing an idea is not always an easy task. When imagining World of Tomorrow Episode Two: The Burden of Other People’s Thoughts, Don Hertzfeldt almost forgot the fun that the entire creative process of the first part had entailed (which, like this second part, included drawing and looking through books with his niece while recording her voice). Here, that narrative development once again became a puzzle, especially when he realized that in the second part, the spontaneous audios from his niece, now a year older, stopped being short and expressive reactions (easily editable) and turned into long, uninterrupted monologues. A bunch of wild ideas and imaginary lands that didn’t fit into the story he had planned to write gave way, with his niece’s help, to a freer experiment that, even so, still fit within the imagination of the first part.

And we arrive at the third part, World of Tomorrow Episode Three: The Absent Destinations of David Prime, key to partially understanding ME. Don Hertzfeldt himself recounts how, in the “homemade” traditional animation he worked on, moving the camera while filming was a painful experience that involved calculations, manual adjustments, and numerous precautions to avoid even the slightest mistake, which would mean redoing countless scenes frame by frame for hours. To avoid complicating things —as he himself describes it— he limited himself to a few zoom-ins now and then, using a flat and simple staging, which also affected the color and the “richness” of the backgrounds in his films. He accepted the strange fate of directing without being able to move the camera for 20 years, relying on other resources (such as splitting the film frame so that the frames within the frame could move and be manipulated). With the leap to the digital environment, all these problems disappeared; it was time to break old habits and reignite his interest in animation, which had been exhausting him constantly. For Episode 3, he decided to learn some basic principles of directing that he had never been able to apply to his work with the tools he had. Although limited, breaking through this mental block inspired much of the writing of this short film and, in turn, marked the first step for Don Hertzfeldt beyond what he calls his “silent film era,” leading to a truly silent film, ME, which is, at the same time, a musical.

In ME, Don Hertzfeldt chooses to shift gears a bit, and although once again undeniably observant and existentialist, he distances himself even further from the humor that characterizes him and from questions like transcendence or memory, diving headfirst into operatic grandeur, musical odyssey, and darkness, exploring themes like trauma, technology, and humanity’s isolation from itself, all under the umbrella of art as something to be felt rather than understood. Because, although his new film continues to reflect on the meaning of our existence, here he doesn’t want to focus so much on the meaning of life or death (or on whether we are as much as we remember), neither from a metaphysical nor a more earthly perspective. This time, instead of leaving phrases like “you will only get older,” “you’ve been dead before,” or “now is the envy of all of the dead” for posterity —and Tumblr— he has decided to create a film without dialogue, and as in other instances, he gives great weight to music (here original), leaving it up to the audience to decide what dialogues they want to have with his work and what it means. Let them be the ones who decide, in most cases, what they are watching (although I personally believe this has always been the case).

ME is a project initially conceived as a collaboration with a famous and respected musical group that was derailed by a series of sexual abuse allegations against one of the members, leading Don Hertzfeldt to cancel the original idea and start developing the project solo. Rumor has it that the group in question was Arcade Fire, as around the time the film was conceived and later released, the band put out the album WE (and if you rotate the letters… ahem), and in the physical format, you can see, if you look closely, both a frame from World of Tomorrow and a drawing of a giant eye with arms and legs that appears to be the work of Hertzfeldt and looks quite similar to the one in ME. Along with all these creative changes, after the possible delays (perhaps including those caused by COVID, which certainly had its own share of disruptions) and the crises stemming from having half of a project thought out (as the album was released in 2022), possibly already developed and scored with a story adapted to the album’s lyrics, we learned on November 30, 2022, about the announcement of artificial intelligence entering our lives, something that has significantly affected artists, though other professions as well. To what extent has all this influenced the final result of ME? It’s impossible to know (unless the author tells us), but the existence of this work and the fact that we’ve been able to see it and reflect on it has already made it worthwhile.

Don Hertzfeldt’s visual simplicity once again transcends, in a story that begins as a dark and vulnerable self-critique and evolves into something much larger, like a reflection on humanity’s limited capacity for beauty and unlimited capacity for horror. This can be applied to the moment we are living in as much as to the one that took place during the planning of ME —COVID, lockdowns, denialism, countless deaths, the economy, mental strain, and other consequences— or to any other possible future. It includes Forbidden Planet as the germ and seed of ME, encapsulating his concerns about the universe’s secrets, thoughts on traveling through the vastness of the stellar oceans and knowledge —even if it’s from the couch—, the contrasts between fleeting life and the infinity of worlds, and so on. Because the present, the past, and the future are part of the context accompanying ME‘s release in 2024, which in some ways synthesizes the mess left behind after the pandemic tragedy, rising fascism, and the technological deterioration that has undoubtedly characterized recent years. Just think of the millions of dollars, euros, and all sorts of currencies rushing to invest in and fund large language models (LLMs) that consume endless planet resources, not to mention heating it further, or the urgency of the rich to travel to other planets or dive to the ruins of the Titanic until they implode. Just thinking about this, I said, allows one to see in this 20-minute short film a reflection on the repercussions of technological advances that, while seemingly intended to improve our lives, allow us to stay connected or even get rich by investing in cryptocurrencies, laundering money, or using them for transactions related to various illegalities, while the severe consequences of their use become invisible or too normalized to notice.

But then again, it makes just as much sense to think of that interpretation as it does to consider another possibility, because there’s a chance that ME, in its dystopian view of the world, will remain relevant despite the passage of time and the changes it brings. First of all, because its cryptic and abstract montage, which includes a healthy dose of science fiction, opens the door to multiple interpretations. But also because, in the history of humanity, ethical dilemmas will always arise from progress that puts the planet at risk, whether from advances that have been used to annihilate millions of people in wars or genocides, or others that have triggered climate change or pose a risk to public health and the depletion of Earth’s resources (that now much more technological Gaia, which will also eventually shut down at some point). Even in terms of the pursuit and realization of personal dreams in the current neoliberal context, which implies a total commitment to those dreams, there’s room for interpretation. What’s more, even in the “I don’t get it” there will be merit, because in not understanding, there’s often a need to analyze a film even more. And despite not being among Don Hertzfeldt’s most well-rounded films, it’s rounded in its own way and contains some visual and sound moments that will stay with you for a while, even for those who think the meaning is “too obvious.” In any case, Hertzfeldt himself gives us a clue: it’s not about your phone.

I watched and rated ME ★★★★ on Wednesday, June 12, 2024, at the Condeduque Center for Contemporary Culture in Madrid.

Watch ME by Don Hertzfeldt online

The entry ME (2024), by Don Hertzfeldt. Review, interpretation of its meaning, and where to watch online was first published in Muros de absenta.

Portugal, with its rich history, picturesque landscapes, and melancholic yet vibrant soul, has long been a source of inspiration for writers across the world. The country’s cobblestone streets, golden beaches, and sun-drenched cities provide an evocative backdrop for tales of love, mystery, and self-discovery. Whether you’re a traveler looking to immerse yourself in the spirit of Portugal before your visit or simply a lover of literature, these novels set in Portugal capture the essence of the country and its people. Below are some of the best books where Portugal is not just a setting but an integral part of the narrative.

Recommendations for books set in Portugal

As said before, Portugal’s allure as a literary setting lies in its rich history, diverse landscapes, and a culture deeply rooted in both joy and saudade. These book, set in Portugal, offer readers a chance to experience the country’s many layers, from the bustling streets of Lisbon to the quiet villages of the Alentejo and the mysticism of its northern mountains. Whether historical, philosophical, or magical, each of these books provides a unique window into the heart and soul of Portugal.

If you’re looking to be transported to this beautiful country without leaving the comfort of your reading chair, these are the books that will take you there.

“The Book of Disquiet” by Fernando Pessoa

No list of books set in Portugal is complete without mentioning “The Book of Disquiet”, a masterpiece of introspection by one of the country’s greatest literary figures.

Set in Lisbon, the fragmented narrative, told by the semi-fictional character Bernardo Soares, reflects Pessoa’s melancholic and philosophical musings on life.

The city of Lisbon, with its ever-changing moods and timeless beauty, becomes a character in itself, embodying the existential unease and quiet contemplation at the heart of the book.

“Night Train to Lisbon” by Pascal Mercier

This international bestseller takes readers on a journey both literal and philosophical. After a chance encounter with a Portuguese woman, Swiss professor Raimund Gregorius becomes captivated by the work of a Portuguese doctor and philosopher, Amadeu de Prado.

He spontaneously boards a train to Lisbon, where he delves into the mysteries of Prado’s life and the political turbulence of 20th-century Portugal. Through Gregorius’ quest, Lisbon and its history unfold, with the city’s streets and atmosphere vividly portrayed.

“Baltasar and Blimunda” by José Saramago

Nobel Prize-winning author José Saramago’s “Baltasar and Blimunda” is a quintessential Portuguese novel. Set during the construction of the grandiose Mafra Palace in the 18th century, this magical realist story intertwines love, mysticism, and history.

Through the lens of its two unforgettable protagonists, Baltasar, a one-handed soldier, and Blimunda, a woman with supernatural powers, Saramago paints a detailed portrait of Portugal’s past. The novel offers a sharp critique of power and religion, all while celebrating the resilience of the human spirit.

“Alentejo Blue” by Monica Ali

Set in a small village in the Alentejo region, this novel brings the quiet beauty and slower pace of rural Portugal to life.

“Alentejo Blue” is a collection of interconnected stories about the lives of villagers and the tourists who pass through. Through these varied perspectives, Monica Ali explores themes of isolation, tradition, and the clash between old and new, while offering a rich depiction of the landscapes and culture of Portugal’s rural heartland.

“Requiem: A Hallucination” by António Tabucchi

Italian author António Tabucchi, one of the foremost European literary voices, had a deep connection with Portugal. His novella “Requiem: A Hallucination” is a surreal journey through Lisbon, where the protagonist spends a single afternoon meeting the ghosts of his past and pondering life’s mysteries.

The novel captures Lisbon’s otherworldly atmosphere, with its narrow alleyways, the melancholy sound of fado, and the slow flow of the Tagus River. This novella is a meditation on memory, loss, and the city’s poetic soul.

“The High Mountains of Portugal” by Yann Martel

From the author of “Life of Pi”, “The High Mountains of Portugal” combines magical realism, humor, and tragedy to create a deeply imaginative narrative. The novel is divided into three interconnected stories spanning the 20th century, each tied to the rugged region of northern Portugal (Trás-os-Montes).

With elements of adventure, philosophical reflection, and mystery, Martel’s portrayal of Portugal’s remote landscapes is vivid and transporting, making the country an essential part of the novel’s emotional resonance.

“The Last Kabbalist of Lisbon” by Richard Zimler

Set during the Lisbon Massacre of 1506, this historical thriller follows the life of Berekiah Zarco, a young Jewish manuscript illuminator. In the chaos of anti-Semitic violence, Berekiah embarks on a dangerous journey to solve the murder of his uncle.

Zimler’s novel is rich in historical detail, offering readers a glimpse into the life of Lisbon’s Jewish community and the turbulent religious conflicts of the time. The city’s history is woven deeply into the fabric of this gripping and darkly atmospheric narrative.

“A Bridge with a View” by Alberto Mulas Caballero

Originally published in Spanish as “Un puente con vistas”, this novel written by one of the members of Muros de absenta offers a contemporary take on the romantic journey of Lucas, a young man who embarks on an Erasmus exchange to Portugal.

Set in Coimbra, the story explores themes of personal growth, emotional turmoil, and the search for meaning in a globalized world. Lucas’ experiences in Portugal are not just a backdrop but integral to his self-discovery. With a mixture of romance and existential reflection, the book vividly portrays life and study in Coimbra​.

“Journey to Portugal” by José Saramago

While this is not a novel but rather a travelogue, Saramago’s “Journey to Portugal” deserves a place on this list. The book chronicles the author’s travels through his homeland, offering insight into the landscapes, people, and history that shape the country.

Saramago’s poetic prose and thoughtful reflections make this an essential read for anyone wishing to understand the deeper soul of Portugal beyond the touristic façade.

The entry A list with some nice books set in Portugal was first published in Muros de absenta.

There was a time in the music history when the concentration of music groups with shaky singing voice singers was overwhelming and I miss their existence a little in my weekly discoveries. There was something in them that transmitted fragility, tears, joy… Emotion, indeed, and above all the sensation of listening not only to singing, but also to performing (although sometimes it may sound shrill).

For me, the peak of this musical trend “invented” by Neil Young with his hesitant vocal style perfected by Jello Biafra or Robert Smith and their, to put it somehow, wobbly voice, took place between 2004 and 2007 (at the same time that emo was triumphing in rock), although many of the bands I have chosen already had a long career behind them and continued releasing albums during the following years (still active in 2024). Which means that maybe that period of time coincided with the moment when I was listening to them and maybe before and after there were hundreds of similar bands that I have not been able to know.

As always, below I leave you a playlist with the songs that I like the most from these groups or singers with shaky voices (without autotune) and then my favorite bands of the time. Some of them, as you will read, share vocalists or other members of the band.

List of bands with singers with shaky voice, wobbly vocal style or wavering

Modest Mouse

Modest Mouse, the band led by Isaac Brock, is one of the longest-running (and still active) bands on the list. A benchmark for introspective indie rock, Brock’s shaky voice is a hallmark that adds a vulnerability that perfectly matches the bittersweet lyrics of most of the group’s songs, often related to existential despair, uncertainty and the contradictions of modern life.

Their most emblematic album (and my favorite of their career), Good News for People Who Love Bad News (2004), includes the hit “Float On,” which stands out not only for its upbeat rhythm, but also for Brock’s signature vocals, a mix of babbling, screaming and wavering tones that bring the lyrics to life, but on the playlist you can also find “Ocean Breathes Salty,” “The World At Large” or “Dashboard.”

Bright Eyes

Conor Oberst, the soul behind Bright Eyes, is probably one of the most representative examples of the wavering vocal style. His voice fluctuates between absolute fragility and moments of raw desperation, which gives his music a deeply emotional character.

On the album I’m Wide Awake, It’s Morning (2005), these sudden changes can be heard in songs like “First Day of My Life”, where tenderness and vulnerability are reflected in every phrasing. Oberst channels melancholy and existential doubts in a way that makes each word feel like a personal confession, a trait that defines both his work in Bright Eyes and in his other projects.

Other samples that you will find in the playlist are “Bells and Whistles” (released in June 2024), “Road to Joy,” “Old Soul Song (for the New World Order),” “Lua,” “Persona Non Grata” or “We Are Nowhere and it’s Now”.

Wolf Parade

Canadian band Wolf Parade, with key figures in this style of singing such as Dan Boeckner and Spencer Krug alternating on vocals, is an example of how the wobbly voice can heighten the emotional intensity of a song. Boeckner brings a more direct and strident voice, while Krug gathers his vocal lines in more ethereal and wavering ways.

The album Apologies to the Queen Mary (2005) is a perfect example of how both vocal styles complement each other, with songs such as “I’ll Believe in Anything,” “Shine a Light,” or “Modern World,” where the voices not only narrate the lyrics, but also perform them with an almost palpable desperation.

CocoRosie

Sisters Bianca (Coco) and Sierra (Rosie) Casady, better known as CocoRosie, brought a whole new dimension to indie with their mix of folk, electronica and opera, fused with dreamlike lyrics and fragile vocals. Bianca, in particular, has a vocal style that seems to be bordering on amateurish, with a shaky tone that intertwines with the unusual rhythms and lo-fi production arrangements.

This unusual approach is part of what makes CocoRosie so fascinating: their music always seems on the verge of falling apart, but it works as a whole, generating a bittersweet and deeply emotional atmosphere in songs like “Noah’s Ark,” “Beautiful Boyz,” “Lemonade” or “Werewolf.”

The Spinto Band

Although The Spinto Band didn’t reach the level of fame of some of their contemporaries, their youthful energy made them an essential part of the mid-2000s indie scene with a virtual One Hit Wonder.

But how could I not mention them, when all of their tracks feature vocal styles that often sound as nervous and hesitant as the voices we associate with adolescence. Songs like “Oh Mandy” from the album Nice and Nicely Done (2005) demonstrate their ability to balance energy and excitement with a hint of vocal instability, adding layers of emotion to their playful songs.

Anohni

Anohni is one of the most unique vocalists of her generation. Her trembling voice, combined with her unusual vocal range, creates a deeply moving mix of fragility and power.

Anohni has spoken openly about the importance of vulnerability in her music, and this is evident in her work with both Antony and the Johnsons and in her solo career. Her album I Am a Bird Now (2005) is an ode to identity and transformation, with her trembling voice at the centre of it all, navigating between pain, hope and resignation.

Manos de topo

This Spanish band Manos de topo is known for the distinctive voice of its vocalist, Miguel Ángel Blanca, which many describe as a mix of lament and crying. His exaggerated style, which parodied the romantic song genre with ironic themes based on failures, often divides opinions, but there is no denying that there is an authentic vulnerability in his singing that few can replicate.

In songs like “Es feo,” “Mentirosa,” “El cartero” or “Morir de celos,” Blanca’s tearful voice is intertwined with lyrics full of sarcasm, humor and sadness, creating a unique and memorable listening experience.

Interpol

Paul Banks, Interpol’s vocalist, is known for his gravelly, somewhat shaky voice, which fits perfectly with the post-punk revival that the band made its name on.

On their most influential record, Turn on the Bright Lights (2002), Banks mixes the severity of the baritone voice with moments of vulnerability that manifest in subtle tremors at the end of certain phrases, such as on the song “NYC.” This vocal approach, while less extreme than others on this list, still adds a layer of emotionality and authenticity to the darkness of Interpol’s music.

Destroyer

The prolific Dan Bejar is the mastermind behind Destroyer. His voice is a reflection of the emotional vulnerability he conveys in his lyrics, which are often poetic and surreal. On the album Destroyer’s Rubies (2006), Bejar exploits that shaky tone of voice that often sounds like he’s on the verge of emotional breakdown.

His voice, though soft and melodic, displays a nervousness that makes each word seem loaded with meaning.

Clap Your Hands Say Yeah

Alec Ounsworth, vocalist for Clap Your Hands Say Yeah, has a voice that is almost impossible to ignore. His singing style, somewhat similar to that of Nick Krill of The Spinto Band, helped the band stand out in the crowded indie scene of the mid-2000s.

On their self-titled debut album (2005), songs like “The Skin of My Yellow Country Teeth” feature a mix of off-key and quavering that, far from detracting, add an emotional urgency to the music.

Swan Lake

I conclude the list with Swan Lake, the Canadian supergroup formed by Dan Bejar (Destroyer), Spencer Krug (Wolf Parade, Sunset Rubdown) and Carey Mercer (Frog Eyes), three musicians with very distinctive vocal styles, but all of them wavering.

The contribution of each of them to the band brings a unique layer of shakiness and vocal fragility. On their album Beast Moans (2006), the voices of Bejar and Krug in particular, with their wavering and often erratic style, provide an emotional depth that may sound chaotic, but is full of nuance.

The entry Singers with shaky singing voice was first published in Muros de absenta.

Afrobeats is, in the words of South African singer-songwriter Tyla, a tendency to group all African artists under one name. That is: a label to simplify as a single contemporary musical genre originating in Africa, specifically in Nigeria and Ghana, any genre close to pop that emerged on the largest continent in the world, between the late 2000s and early 2010s. This musical style is an eclectic fusion that incorporates elements of dancehall, hip hop, R&B, funk, electronic music, and various traditional African music styles such as highlife and fuji.

Unlike Afrobeat, an older, politically and jazz-driven genre founded by Fela Kuti in the 1960s and 1970s, Afrobeats (with an “s” at the end) focuses more on rhythm and melody, aiming primarily at entertainment and dancing. Although, as you will see in this article, for many there is no Afrobeats genre. There is only Afrobeat, passed down from generation to generation as an African identity.

Afrobeats music has become popular in recent years, largely thanks to artists such as Wizkid, Burna Boy, Davido, Tiwa Savage and Mr Eazi, who have brought this sound to the global music scene. Given its origins and global reach, it is a genre that celebrates the diversity of African music while also being influenced by a mix of global cultures, making it accessible and appealing to audiences around the world.

Differences between Afrobeat and Afrobeats

Although both terms sound similar and share African roots, there are significant differences between Afrobeat and Afrobeats, at the same time these differences may be due to the simplification by other cultures of African pop music, which has many musical genres and none of them would be Afrobeats (and yes, however, Rumba, Highlife, Makosa, Mapouka, Amapiano, Jazz, Juju or Fuji).

Origins and pioneers

Afrobeat

Afrobeat was created by Fela Kuti in the 1960s. This genre fuses traditional African music, jazz, highlife, funk and Cuban cha-cha-cha. Fela Kuti used Afrobeat as a tool for social and political protest, his lyrics were often critical of the government and colonial policies in Nigeria and Africa in general.

Afrobeats

As I said at the beginning, Afrobeats was born in the late 2000s and early 2010s as a mix of various contemporary black music styles such as hip-hop, dancehall or electronic music. Unlike Afrobeat, Afrobeats is not primarily used as a means of protest, but rather as festive music and intended for pure entertainment.

In fact, the term Afrobeats was coined in the UK by London-based DJ Abrantee. For some experts, it is a reductionist neologism that has spread in the international media and that offers a foreign and convenient way of classifying African popular music, when in reality it is more of a revision of the original Afrobeat but in the 21st century, exchanging the influences of the 60s and 70s for the influences of Western rap and contemporary pop music from Ghana and Nigeria.

In any case, you will always find artists with a more committed aim in that sense, although dance or the desire to be happy are also, in their own way, a form of social struggle.

Sound and composition

Afrobeat

Afrobeat has a complex musical structure with long instrumental passages, saxophone and trumpet solos, and polyrhythmic drum patterns. It is known for its use of big bands with prominent brass sections.

Afrobeats

Afrobeats, on the other hand, tends to be shorter in length with more conventional song structures (verse-chorus-verse), uses synthesizers, digital production, and catchy rhythms that are easy to dance to.

However, those who argue that Afrobeats is a generic way of referring to all African pop music made by Africans defend their argument on the basis that there is no particular musical percussion that defines the sound, unlike in Afrobeat, where there is.

It is, in short, a genre that is mostly intended for mass consumption, mainstream, pleasant, and, in a way, summery. The kind that cools you down in the hottest periods. The lyrics, like in rap or R&B, often focus on party, love, nocturnal, and somewhat gangsta themes.

Cultural influence

Afrobeat

It is deeply rooted in the political and social culture of Nigeria and West Africa. It is a reflection of the fight against oppression and corruption.

Afrobeats

It represents a new generation of globally connected Africans. It covers lighter themes and has a more visible influence from modern Western music.

Playlist with recommended music from Afrobeats

To delve into the world of Afrobeats, I leave you a Spotify playlist that I created for the occasion and that mainly includes songs released between 2020 and 2024 by African artists and those of African origin, since, as we are dealing with a genre that is becoming more and more popular, it has taken hold strongly in countries like France, Brazil or even in Italy with Mahmood on Ra Ta Ta and in Spain with people like Hard GZ on Afrohard or like Afrojuice 195 and his hit José Mourinho, albeit in the form of Afro trap, whose rhythms are mainly influenced by African musical genres such as coupé-décalé, soukous and Afrobeats.

Keep in mind that, as a genre, Afrobeats also offers such an amalgam of musical opportunities that it brings together within itself a multitude of styles that combine its sound and its relaxed and melodic rhythms with important elements of other genres such as amapiano, alté or Afropiano, which can vary by having more exuberant, jazzy and relaxed atmospheres that often include light piano chords.

In fact, as dancehall and reggae are two influential genres in the development of Afrobeats, there is also a tropical mix in the end which prevents limiting the selection of songs in some cases and you will also find some artists of Jamaican origin.

In addition to the above, apart from artists such as Asake, Amaarae, Rema or Ayra Starr, I also wanted to highlight here some recommended songs and artists that reflect the diversity and richness of the genre:

• Wizkid – “Ojuelegba”. This song is considered a classic within Afrobeats and helped popularize the genre worldwide. It is a tribute to the experience of growing up in Lagos, Nigeria.
• Burna Boy – “Ye”. A blend of traditional African rhythms with a modern twist, this song is yet another example of Burna Boy’s unique style and ability to fuse genres.
• Davido – “Fall”. This single helped Davido gain recognition beyond his country with its catchy chorus.
• Tiwa Savage – “All Over”. One of the leading female voices in Afrobeats, Tiwa Savage shows her personality in the mix of African and Western influences.
• Mr Eazi – “Leg Over”. A track that combines the soft rhythms of highlife with the modern vibes of Afrobeats.

The importance of dance in Afrobeats

Afrobeats has evolved to become a predominant genre worldwide. The mix of traditional and modern rhythms, with deep roots, but at the same time young, diverse and dynamic, has given rise to a whole relationship of diverse elements that converge into one.

Because Afrobeats is a cultural phenomenon that has deeply influenced contemporary dance with unlimited body expressiveness. Afrobeats choreographies are full of energy (which is transmitted), often incorporating movements that reflect traditional African street style.

Most popular dance styles

Some of the most recognized and especially very rhythmic dance styles of Afrobeats are the “Amapiano”, “Shaku Shaku”, “Zanku”, “Gwara Gwara” and the “Azonto”. These steps are usually vibrant, using a lot of movement of feet, hands, and the torso, and are designed to be performed both by professional dancers (in choreographies) and by the general public in clubs and parties.

Impact on popular culture at a global level

These dance styles have transcended beyond Africa, finding their way into music videos by famous artists on social media platforms such as TikTok and Instagram, and international dance competitions. They have built a cultural bridge between Africa and the rest of the world, demonstrating the universality of joy and expression through dance.

Burna Boy’s remarks on African identity and Black Americans spark controversy

To close this article on Afrobeats, I wanted to talk about one of the main controversies that Burna Boy has been involved in in the United States, related to his comments on African identity and the relationship between Africans and Black Americans. In several interviews, Burna Boy has made statements about how Black Americans should reconnect with their African roots and has discussed issues of identity and cultural heritage.

In a 2020 interview on the radio show “The Breakfast Club,” Burna Boy spoke about, among many other things, the disconnect between African Americans and their African history, suggesting that Black Americans have been “disconnected from their roots.” These statements sparked a mixed response; some supported him for encouraging reflection on the connection between the African diaspora and Black Americans, while others criticized him for what they saw as a lack of sensitivity to the unique and complex experience of Black Americans.

At the same time, some critics in the United States have accused Burna Boy of appropriating Black American musical styles without fully acknowledging the influences or collaborating with artists in the same way he wishes African music to be acknowledged. These criticisms have been part of a broader debate about cultural appropriation, authenticity, and how musical influences coexist and emerge across different cultures within musical genres that reach across the globe.

The entry What is Afrobeats music was first published in Muros de absenta.