{"id":112105,"date":"2022-09-29T10:42:29","date_gmt":"2022-09-29T08:42:29","guid":{"rendered":"https:\/\/pan-african-music.com\/?p=112105"},"modified":"2022-09-29T10:42:40","modified_gmt":"2022-09-29T08:42:40","slug":"batida-neon-colonialismo","status":"publish","type":"post","link":"https:\/\/pan-african-music.com\/en\/batida-neon-colonialismo\/","title":{"rendered":"Batida takes a post-colonialist stand"},"content":{"rendered":"\n

Named after the name of his show on the London radio Worldwide FM, the Luso-Angolan activist presents Neon Colonialismo, <\/em>Batida\u2019s first album since 2014 and latest post-colonialist endeavours in the Afro-electronic scene.<\/strong><\/p>\n\n\n\n

\u201cI could talk about a new Lisbon that blinks and shines, but that\u2019s not the idea. Acknowledging history is the only way to honour its beautiful natural light<\/em>\u201d, says Batida. Nothing surprising coming from Pedro Coque\u00f1ao, the Angolan born, Lisbon-raised artist\/activist (who rejects both terms as revealed in an interview given to PAM back in 2017<\/a>) known for his revolutionary spirit and punk attitude towards conservative societies. With Neon Colonialismo<\/em>, Batida sought to provoke a reflection on Portuguese colonial heritage.<\/p>\n\n\n\n

Throughout the ten tracks of the album, Batida injects personal and biographical elements and aims to question social changes through an historical approach. To do so, he explores different genres, from Afro dancefloor music to kazucuta, to semba house, to hip-hop, to benga and more. Alternating between vocal and instrumental songs, created during travels between Luanda, \u00c9vora, Berlin, Recife, London and Lisbon (which explain the ever-so diverse influences), he used real instrumentation and electronics. The result of which is \u201cintended to be danced to, to think to, and probably also to smile to\u201d.<\/em><\/p>\n\n\n\n

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