{"id":40917,"date":"2020-02-21T18:55:20","date_gmt":"2020-02-21T17:55:20","guid":{"rendered":"https:\/\/pan-african-music.com\/7-albums-to-hear-this-week\/"},"modified":"2020-04-27T03:32:58","modified_gmt":"2020-04-27T02:32:58","slug":"7-albums-week-fev-3","status":"publish","type":"post","link":"https:\/\/pan-african-music.com\/en\/7-albums-week-fev-3\/","title":{"rendered":"7 albums to hear this week"},"content":{"rendered":"

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In this week’s program: the\u00a0first part of \u00a0Moses Sumney’s diptych\u00a0<\/b><\/span>gr\u00e6,\u00a0<\/i><\/b>\u00a0Libyan reggae by\u00a0Ahmed Ben Ali, DJ Diaki Balani mix style and more to hear this week.<\/b><\/span><\/h4>\n
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\"moses-sumney-part-1\"<\/p>\n

gr\u00e6: part 1<\/i><\/b><\/h5>\n
Moses Sumney<\/h5>\n

Two years after his acclaimed first full-length album\u00a0Aromanticism<\/em>\u00a0in which he questioned the concept of love, Moses Sumney shares the first part of his double album. Sumney\u2019s new album,\u00a0gr\u00e6<\/em>, is an assertion that the undefinable still exists and dwelling in it is an act of resistance. By breaking up\u00a0gr\u00e6<\/em>\u00a0into two multifaceted, dynamic pieces, Sumney is quite literally creating a \u201cgrey\u201d area in-between space for listeners to absorb and consider the art. According to the artist,\u00a0gr\u00e6<\/em>\u00a0is \u201ca conceptual patchwork about greyness\u201d.<\/p>\n

Listen\u00a0here<\/a><\/span><\/p>\n

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Jour avant caviar<\/em><\/h5>\n
Meryl<\/h5>\n
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The Martiniquais rapper has come a long way from her March 2019 release, “Beni”; a single that placed her as one of the most promising artists of her generation. Since the releases of “La Brume”, “D\u00e9sol\u00e9”, and most recently “TCQDOF”, Meryl at last delivers her first mixtape,\u00a0Jour avant caviar<\/i>. Known for her top shelf skills, Meryl\u00a0shows that she’s grown into a multiple dimensions artist no longer reduced to her singular capacities with her first twelve-track project.<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Listen <\/span>here<\/a><\/span><\/p>\n

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\"Habibi<\/p>\n

Subhana<\/b><\/em><\/h5>\n
Ahmed Ben Ali<\/b><\/h5>\n
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Founder of Habibi Funk Jannis St\u00fcrtz, discovered the existence of Libyan reggae and is devoting this release to work of Ahmed Ben Ali.\u00a0Speaking on his own style Ben Ali noted \u201cThe Libyan folkloric rhythm is very similar to the reggae rhythm. So if Libyan people listen to reggae it\u2019s easy for them to relate because it sounds familiar. This is the main reason why reggae became so popular here. [\u2026]We played the reggae Libyan style, it\u2019s not the same as in Jamaica. We added our oriental notes to it and if you mix both it becomes something great<\/i>.\u201d<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Listen <\/span>here<\/a><\/span><\/p>\n

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\"Kamaiyah-Got-It-Made\"<\/p>\n

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Got It Made<\/b><\/i><\/h5>\n
Kamaiyah<\/b><\/h5>\n

Kamaiyah (collaborator with the likes of Quavo, SchooloboyQ, Tyga and Travis Scott) is back with Got It Made<\/em>; a 10 track album including producers Kenny Produced It and DJ Banks who produced the cut \u201cSet It Up\u201d with Trina.
\nGot It Made<\/em> is a follow up to Kamaiyah\u2019s Before I Wake<\/em> (2017) and A Good Night in the Ghetto<\/em> (2016). The 25 years old artist is carving out her own style and took it upon herself to create her own sound lightyears away from the current rap trends in the West coast.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Listen here<\/a><\/span><\/p>\n

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\"DJ<\/p>\n

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Balani Fou<\/em><\/h5>\n
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DJ Diaki<\/b><\/h5>\n
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DJ Diaki, balani show Dj, and radio host in Sanakoroba, Mali is one of the originators of Balani Show sound system.\u00a0\u201cBalani Show\u201d is a Malian phenomena that began in the late 90s, as DJs with sound systems began to animate social ceremonies.\u00a0DJ Diaki plays in the Balani mix style with high energy balafon samples, crashing drums, and live remixes that he calls Balani Fou (Crazy Balani). By looping samples borrowed from the soukous or the coup\u00e9 d\u00e9cal\u00e9, DJ Diaki’s over-charged balani show style echoes the Tanzanian singeli, a trademark of the Ugandan label Nyege Nyege Tapes.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

Listen <\/span>here<\/a><\/span><\/p>\n

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\"Medhane<\/h4>\n

Full Circle<\/em><\/h5>\n
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Medhane<\/h5>\n
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Brooklyn MC flaunts his impressive evolution on new EP\u00a0Full Circle entirely<\/i> self produced. Medhane (pronounced “meh-donny”) has kept busy since the release of his\u00a0his debut album\u00a0Own Pace<\/i>\u00a0last November. Here he makes an emotionally charged comeback with eight new introspective tracks that he self-produced under his alter ego AFB, showing his willingness to experiment in all directions.<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Listen <\/span>here<\/a><\/span><\/p>\n

\"I<\/p>\n<\/div>\n

I Don’t Feel Like Going Outside<\/em><\/h5>\n
Bryan The Mensah<\/h5>\n
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Ghanaian rapper Bryan the Mensah is finally out with his much-awaited EP\u00a0entitled\u00a0I Don\u2019t Feel Like Going Outside<\/i>.\u00a0A 4-track EP\u00a0featuring Kidd Fresh and Tulenkey,\u00a0I Don’t Feel Like Going Outside<\/i>\u00a0is an all-inclusive conversation \/ mini-album that touches on the day-to-day happenings of urban youth and the socio-economic challenges faced by young adults trying to make ends meet in Africa.\u00a0<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Listen <\/span>here<\/a><\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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\u00a0Read next:\u00a0The 80 best albums of the 2010s<\/a><\/span><\/strong><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

\u00a0 In this week’s program: the\u00a0first part of \u00a0Moses Sumney’s diptych\u00a0gr\u00e6,\u00a0\u00a0Libyan reggae by\u00a0Ahmed Ben Ali, DJ Diaki Balani mix style and more to hear this week. gr\u00e6: part 1 Moses Sumney Two years after his […]<\/p>\n","protected":false},"author":10,"featured_media":37280,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3944],"tags":[5696],"location":[],"yst_prominent_words":[],"acf":[],"_links":{"self":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts\/40917"}],"collection":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/comments?post=40917"}],"version-history":[{"count":0,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts\/40917\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/media\/37280"}],"wp:attachment":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/media?parent=40917"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/categories?post=40917"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/tags?post=40917"},{"taxonomy":"location","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/location?post=40917"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/yst_prominent_words?post=40917"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}