{"id":53613,"date":"2020-06-16T15:03:46","date_gmt":"2020-06-16T14:03:46","guid":{"rendered":"https:\/\/pan-african-music.com\/?p=53613"},"modified":"2020-06-16T17:51:42","modified_gmt":"2020-06-16T16:51:42","slug":"yinoluu-and-the-alternative-frequencies-of-nigeria","status":"publish","type":"post","link":"https:\/\/pan-african-music.com\/en\/yinoluu-and-the-alternative-frequencies-of-nigeria\/","title":{"rendered":"Yinoluu and the alternative frequencies of Nigeria"},"content":{"rendered":"\n

Though Yinoluu may have spent time studying architecture in Ghana and Canada, the last 6 years the artist has been developing a prominent career in music to say the least. The beatmaker has collaborated with famous artists such as Odunsi, Amaarae, Teezee, Boj, Prettyboy D-O and many others. His work can be fitted in the “Alt\u00e9” movement, an alternative Nigerian scene having an increasingly strong impact on West African youth. Alt\u00e9 artists are defined by a sound that\u2019s rich with diverse influences, a certain look, and above all, a willingness to overturn norms they consider too conservative. These new leaders dare to openly talk about sex, display an androgynous appearance and demonstrate self-mockery in the tough and rigid Nigerian industry. Two years ago, Yinoluu produced “Alt\u00e9 Cruise”, the movement’s unofficial anthem, and put a name on this new trendy movement. He himself plays a role by producing instrumental beats for the singers of the genre, though he doesn’t limit himself to that alonet. Indeed, he is also known to have released instrumental projects without singers like DayDreamer <\/em>(2019), an unusual approach in the Lagos megalopolis. The beatmaker almost lost his project Lost Files(<\/em>May 2020) due to a technical tragedy and recently had his laptop stolen with all his music on it (a fund has been created to help him buy one back); nevertheless he agreed to answer our questions.<\/p>\n\n\n\n

<\/div>\n\n\n\n

What are the main challenges faced by producers of your kind in Nigeria?<\/strong><\/p>\n\n\n\n

I think there is a bunch. One of the things is just respect. Producers get the short end of the stick a lot of the times. On a track, the artist is the focal point, he is the star, and the producer is just in the background, so sometimes there is a bit of a power imbalance when you are trying to work with an artist. There are a lot of great people out there but I\u2019ve also worked with a couple of selfish artists. Sometimes you approach an artist with an idea, and they will be like \u201cwell I\u2019m just going to take that idea and turn it into mine\u201d. <\/p>\n\n\n\n

Beyond that, a lot of Nigerian producers do get a decent amount of credit. A lot of people recognize that in many songs they like, the beat plays a big part. But it also takes a long time to get that recognition, to get to a point where you can actually leverage on your name. especially being a young producer. When I started there were a lot of older artists who felt like because I was young, they could take advantage of that.<\/p>\n\n\n\n

The Alt\u00e9 scene is a bit better because we have almost created a family. Because we all got into music around the same time, there is a feeling of camaraderie. We all rise together and we rise by lifting each other. If you make a beat for someone and it does well, their profile is raised and yours as well. At the end of the day, the culture is known for having a unique sound. You can\u2019t remove the contribution of the producer of that. <\/p>\n\n\n\n

<\/div>\n\n\n\n

Do you think there is a place in the Nigerian industry for electronic solo producers? <\/strong><\/p>\n\n\n\n

I started with instrumental projects and I realized that instrumentals alone are a very niche space, even beyond Africa. There are a lot of channels on Youtube about chill hip-hop instrumentals, and I wanted to bring that to Africa, with like chill afrobeats instrumentals. The first time I did that and played it to a friend, halfway into the first song, she asked me when was the artist singing. So it\u2019s going to take a while. From the solo producer angle, I think in Nigeria, there is a level you have to get to before you can release your own music. Lately it has been more popular. Sarz did that with WurlD, Mut4y from Legendury Beatz did it, E-Kelly did his as well\u2026 Its starting to look like something possible. But even then, I doubt it would work if you are a young producer, even if the music is really good. Sarz did an instrumental project but before he could do that, he had to be Sarz. He had to produce for over 10 years. <\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/figure>\n\n\n\n
<\/div>\n\n\n\n

Do you recognize yourself as an Alt\u00e9 producer? <\/strong><\/p>\n\n\n\n

Honestly, I think so. The place my music comes from is in line with the general Alt\u00e9 stylings. Alt\u00e9 is a blend of influences. We grew up as Nigerians so there is already the Nigerian aesthetic in us, but then by exposure or experience we\u2019ve also had other influences pulling into whatever we were doing. We are still making African stuff, but we are pulling influences from so many other places. Odunsi\u2019s first project \u201cRare\u201d is definitely influenced by Nigeria, but you can also hear the 80s\/90s influences, you can hear the older afropop influences, it\u2019s almost out of time. That\u2019s how I would say my music comes about.<\/p>\n\n\n\n

<\/div>\n\n\n\n

Do you think there is something common between all the artistes you have worked with? <\/strong><\/p>\n\n\n\n

Yea, I would say there is an openness to try new things. Because of the producer I am, a lot of times I send beats to artists and they are like \u201cthis is great to listen to but I have no idea of what to do with this\u201d, or they just think it\u2019s too weird. But I can send something really strange to Odunsi, and he will give it a try, he will know what to do. There is a willingness to test it out, to see what can come out of it, to experiment. I really appreciate it. And another thing is I think I learn from a lot from them. Because of that family thing we have, there is a lot of feedback and exchange of ideas. I\u2019ve learned so much from artist who are also producers, like Odunsi or AYL\u00d8. I send them a beat and they look at it from an artist and a producer perspective. I remember Odunsi telling me that my beats are sometimes too complex, too complete. That was a lesson I really took to heart, and I love to learn. <\/p>\n\n\n\n

<\/div>\n\n\n\n

Is Alt\u00e9 only limited to music? <\/strong><\/p>\n\n\n\n

It goes really beyond music. It\u2019s in fashion, lifestyle, filmmaking\u2026 I don\u2019t want to call it a resurgence, but it\u2019s a breath of fresh air, it\u2019s a new wave. Things have been going a certain way for a while, and here\u2019s a new path to take. And it cuts across so many elements. It\u2019s fashion, streetwear, it\u2019s the skate scene in Lagos, the music videos, the photography. It\u2019s a completely different style of doing things, and its branching out into so much. You have photographers putting their own spin on the representation of the scene. You have fashion clothing the scene a different way with those new styles that were not present in Nigeria: goth influences, platform shoes, weird makeup, accessories, crazy hairstyle\u2026. It\u2019s new wave expressionism, and that\u2019s my architect background speaking. <\/p>\n\n\n\n

<\/div>\n\n\n\n
\n