Which ghanaian musician sang fire

Ghanaian Afrobeats have a distinct flavour from the nation's legacy of highlife -- the musical genre which adapts traditional rhythms of the Ashanti to Western instruments.

Wanlov the Kubolor , a Ghanaian musician and filmmaker, explains the intricate makeup of Ghaniana Afrobeats. If we take East Africa, the music is very four four, it's very straight and when you come to West Africa there are a lot of polyrhythms, there are a lot of grooves. The result: contagious rhythms which, served by a powerful voice, form irresistibly catchy pieces.

But the Ghanaian Afrobeats stand out from their Nigerian big sister in one particular way: the legacy of "Highlife". The genre appeared in colonised Ghana, then called Cote-de-l'Or, at the beginning of the 19th century, by adapting the traditional rhythms of the Ashanti people to Western instruments brought by the colonisers.

Now, alongside Nigerian stars with millions of social media followers -- Wizkid , Burna Boy , Davido -- Ghanian musicians are emerging to take their turn. Shatta Wale 's "Already" featuring Beyonce and Major Lazer was one of the hits of the summer of , securing Ghana a place among the countries which now count on Africa's pop scene.

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You might consider this as kind of like one of those pop-punk covers of turn-of-the-millennium hits gone spectacularly right. But as the barbed guitar riffs and methodical bass plucks give way to a chorus made for a hot-pink dressing room montage scene played at 1. Tamara Lindeman sketches out a villain—the titular thief, silent and cool—before lifting the veil on larger forces at work: laws, banks, a rotten system that forces people to act in their own self-interest.

By the time "Robber" reaches its urgent climax, Lindeman has transformed a personal reckoning with societal failures into a reflective prompt for the listener. Can you blame yourself for ruthlessness if you were never given a choice?

While she luxuriates in the heady, horny stuff of the verses—of perfect symmetry and blown candles—the beat throbs with lockstep control, less feeling love than meaning business.

Bounding along atop a turbo-charged filter-house template, the song gleefully reanimates the ghosts of French touch and harkens back to the days when house producers regularly and rightfully landed in the Top Jazmine Sullivan has a gift for eulogizing relationships that are beyond saving, and even beyond possibility.

The vocal melody encompasses a range you could find under one hand on the piano, just a few notes, while her fingerpicking works its familiar, comforting magic. There were so very few reasons to break out in ecstatic dance this year, but Jayda G offered a sublime exception. Dry, papery beats, synchronized claps, and muffled chit-chat lend the atmosphere of a packed, pulsing nightclub—and the molasses-slow breakdown offers one of the best beat-drop payoffs of the year.

After months of inertia, Jayda G brought the dancefloor to us. Some might find it crass to describe death in the same words as a wiped hard drive, but, well, this is still Grimes. It opens with percussion that sounds like a rapping at the door, a wake-up call. After a raft of heavy breaths, barking dogs, and a pounding-heart bassline that convey the frazzled yet determined energy of finding your footing, the song ends with a twinkling flourish of keys—a playful ta-da underscoring the realization that a broken lock is just the beginning.

Their rich, fluttering harmonies pirouette over trap snares, finger snaps, and wobbling bass, all the while painting a portrait of a perfectly unbothered night out with friends. Meghan Remy wears the perfectionist swagger of American pop like a disguise. Her stylistic shifts might seem willfully evasive, but as she puts it on "4 American Dollars," "It's not personal, it's business. Girls, which revels in the sounds of hard-fought freedom—gospel, blues, Springsteen—utilizing their easy familiarity as a Trojan horse for materialist critique.

Inverting a quote from Martin Luther King Jr. Listen: U. If asked to pinpoint the primary emotional experience of quarantine, you might go with listlessness, or fatigue. But neither quite nails it. Sophia Allison of Soccer Mommy nailed our constant recursion, atrophy, isolation, gall, and grief back in the early spring. Then it floats back down and alights on these days , the great borderless period of time in which we find ourselves.

Following detours into Tony Bennett-style crooning , lightly country-fried rock , and Oscar-winning melodrama , Lady Gaga made her ferocious return to the club with the all-bangers-no-ballads Chromatica.

No tears left to cry? It begins like a faithful car being jump-started to make the last leg of a long trip; a spark of life followed by relief. But it also wears a graceful disguise. On her debut album Stranger in the Alps, Phoebe Bridgers stopped analyzing her dreams. When you are swallowed into the pitch black of your misery, who do you reach for? Eventually, he emerges from the wreckage into a clearing, holding still in the soft glow of the final minutes.

The most pristine love, he suggests, is found as a whisper back in the dead of the night. That means fully inhabiting their newfound rock star persona and doing away with the thin line between art and artifice. This is a love song at its core but, facing down the barrel of this year, its sense of longing resonates further than that. His American tale is one of distraction, humor, and endless curiosity. The meaning of it all is right there in plain sight. With the energy of an intuitive DJ mix, producers Tainy and DJ Orma pieced together a whirlwind of a track as evocative for longtime fans of the genre as it is educational for newcomers.

Standing confidently at the center of the saga is Bad Bunny himself. Some were against the genre's candid depiction of violence, but this was the real world these rappers lived, and thus rapped about, a world borne of conditions that racism helped to create.

Pinpointing drill's genesis is difficult, but many credit Pac Man, a rapper from Chicago's South Side, as the first to use the term in a musical context. In Pac Man released his one and only mixtape I'm Still Here, featuring a song called It's a Drill, its title a play on the word's many possible meanings. As a slang term, "drilling" meant attacking a rival gang with gunfire. The stories told by drill artists were unbelievable. Lots of them were true.

But drill's rising profile was soon hampered by the very violence it had been named after. Pac Man was killed in Lil Jojo, an year-old drill rapper and known adversary of Chief Keef, was killed in Inevitably these events overshadowed the music. Commentators called on record labels to drop rappers who encouraged violence, echoing the censure of gangsta rap in the s and 90s.

The entire hip-hop genre was born from urban disenfranchisement, kids in the most derelict sections of the Bronx, in New York, congregating at block parties in the street because they were too young or poor to get into discos. Once hip-hop's popularity had spread to the west coast, artists like the California crew NWA began making what came to be known as gangsta rap, which viscerally depicted the gang crime on the streets where they lived without judgement. As the music's popularity grew throughout the s and 90s, so did police interference , building tensions epitomised on the NWA single Fuck Tha Police.

But while NWA described notional anti-establishment violence in their tracks, drillers rap about specific violent incidents in which they themselves are the perpetrators. The veracity of such lyrics is the subject of debate in internet forums and, recently, court rooms.

From the genre's birth, the belief that drill music has to be linked to real-life killing has maintained a sinister presence in the scene. As the genre becomes more mainstream most listeners and artists have broadened their definitions, but even today it doesn't take much searching on message boards or social media to find fans arguing that music isn't really drill if the rapper isn't really drilling. Offica is a drill rapper from Drogheda, a tiny Irish town 30 miles north of Dublin, who believes "violence in drill is kind of departing" Credit: Offica.

Street Newz TV, a YouTuber who posts videos about the chaotic inner conflicts of the Chicago drill scene to nearly , subscribers, defines drill in largely non-musical terms. By "work", he means drilling, ie murdering. He identifies , a track in which Atlanta rapper Gucci Mane purportedly referenced an incident where he shot and killed someone, as the first ever drill song most fans believed the victim apparently referred to was an associate of Young Jeezy, a rapper embroiled in a war with Gucci Mane.

In spite — or perhaps because — of the controversy, drillers like Chief Keef attracted widespread attention. But the drill sound now permeating the globe is markedly different from that of the early Chicago artists. Before reaching a truly international audience, drill spawned a vibrant London scene, where the music underwent a number of crucial developments.

Among them were production techniques that became key to the updated formula, most notably the addition of deep surges of bass — variously described as revs, growls and slides — at the end of each bar, playing out quick mini-melodies rarely heard at such low register in other genres.

Corey Johnson, a former rapper and veteran of the British rap scene who witnessed much of UK drill's earliest iterations at his Defenders Entertainment studios in south London, says producers and engineers added these sounds to compensate for rappers not providing enough lyrics to fill bars. UK drill is also linked with gang conflict, though in London "drilling" gained a new meaning.

In a report in Fact magazine , a teenager from a Brixton youth centre is quoted as saying: "If Chicago drill is a gun, ours is a knife".