THE CUTS: EP 01 Vol. 9

THE CUTS is your weekly round-up of songs and videos-and anything that has caught our attention and think you must hear or see. The music featured here aren’t genre specific. THE CUTS is delivered every FRIDAY




‘If your first opening lines don’t grab the listener, it ain’t shit’. This was the advice Kendrick Lamar received from legendary rapper Ice Cube. It seems the advice doesn’t only apply to rappers. It applies to the art of curating a playlist (for DJs) and sequencing songs on an album (for artistes) as well.  The above principle is evidently displayed on Leap Of Faith, the new EP by producer and DJ, Juls. The first track, My Wave is as grabbing as any opening track could get. The beat is infectious, the arrangement is literally consuming and the voices drip with moisture.

Enlisting fast rising Nigerian artiste, Odunsi The Engine and Sona, who combined brilliantly (voice wise and energy) to wreak havoc on the brightly made beat that surround the song (the inescapable highlife grooves). The excellently placed guitar riffs and the horns on the on the song is the most appealing element of the song. I give it to DJ Juls for that over 1 minute of ‘dance time’ before the song fades; an odd trick in this era. ‘My Wave’ oozes pleasure. It is the kind of song you play on top volume with your car windows down or when in a drop-top. A full review of Leap of Faith would be up next week.

ELI Muzik & Alex Wondergem: Je M’en Bat Les Couilles

Buying Our Freedom is a collaborated EP between Ghanaian afro neo soul artiste, Eli Muzik and Alex Wondergem released somewhere last week (a full review of the EP out next week). The 6 track EP is an interesting collection of original compositions about life, legalization of cannabis, what it means to be human. In short, it’s a reflection on Ghana, the country. The lyrics of the songs are very blunt and ‘raw’-something I never associated with Eli. Je M’en Bat Les Couilles is an example of the unconventionality (lyrically speaking) displayed by Eli. A soulful tune which sees Eli throwing the F word around. One could hear his frustrations on the opening lines of the song: ‘this is a reflections of how I feel… I don’t give a fuck’. The pain in his voice along with the lyrics on the song makes ‘Je M’en Bat Les Couilles’ a befitting title for the song. If you don’t understand a word of French, the title translate as ‘I don’t give or care a shit’

Poetra Asantewa ft KMRU – Round Pegs

Round Pegs, an expression with a negative connotation. It’s used to describe individuals who don’t fit into a space due to lack of skills.  Sometimes, those we consider as round pegs defy our perceptions; rising to the top of their trade. These are the people poet, Poetra Asantewa is speaking about on her new spoken word piece Round Pegs, a joint work between Kenyan Electronic music producer KMRU (Joseph Kamaru) and herself. Round Pegs criticizes the notion of people forcing kids to pursue certain professions they have zero interest. She instead calls on people to encourage kids to dream and help them pursue their interest since ‘we all can be kings’, as the hook says. This is how she describes ‘Round Pegs’: ‘Moved out of my comfort zone working with KMRU – Kenyan electronic producer. Round pegs is spoken word fused with electronic!’

AKAN – Manhole

AKAN, for the first time is talking about love on his latest single Manhole. He narrates his experiences with unrequited love-where he was treated or felt like a manhole (waste or loser). He weaves a story about how his affection went unrecognized, his state of loneliness (the door to my heart is opened. I need someone to fill it). He begs for the hollowness left by her to be filled by something. ‘I’d be fulfilled if you’d stay with me for just one night). I must confess my admiration at the roll out of this track. Akan and his team teased fans with it, and later released a ‘fun fact’ video (Genius style) about the song. It was a poem written in English which Akan expanded into a song. He translated the English worded poem into Twi. JaySo was on hand to provide the trap beat, helping bring Manhole to life.

Kay-Ara – High On Epiphany.

Kay-Ara is covering a lot of grounds since his 4-year hiatus-which, according to rumors saw him seeking God’s face. That rumor is what Kay-Ara partly addressed on his latest song/video ‘High On Epiphany’.  The opening note to this Yaw P directed video plays humorously on this rumor: Rukie didn’t find God or faith. He was hiding in an uncompleted building. And that’s where the two-in-one video began-in an uncompleted video with Kay-Ara taking a piss. The video is raw and energetic with Kay-Ara on his worst behavior-action wise and lyrically: ‘I used to chill in the back/left space now back to fill in the gap’. It’s like watching an uncut version of the video. It has no storyline; just Kay-Ara showcasing his lyrical prowess before he ducked for 4 years.  ‘High On Epiphany’ is Kay-Ara proving to all he still has bars for days. He hasn’t lost his skills on the mic cos he’s ‘God’s Son, I bleed Hova’


Throwback Thursday: MAUDY M feat Deeba – Aware Pa

Raunchy lyrics are not the preserve of only male musicians. The ladies could be as ‘bad’ as their male counterparts. I know a few names would roll off the tongues of people if they were asked to name a few female musicians with a ‘bad’ persona. I’m not here to bore you with a list. Within the Ghanaian context, women being raunchy in their lyrics continue to raise eyebrows even today.

What account for this could stretch from the conservative nature of our society- influenced by religious principles and the accepted norm that women are supposed to live and act within (a) certain boundaries (be ladies). Any woman who openly displays her liberation especially in sexual terms is deemed ‘spoilt’. This construct end up stifling women’s actions.

In an industry, like the music industry, where female artistes (those within the secular music stream) are usually offered a pass to display their sexuality either lyrically or via videos, it’s not the same in Ghana. Even today, certain artistes or songs are viewed through questionable lenses.

One female artiste, who broke the glass ceiling and stepped into the light despite the criticism that was to come her way was Maudy M. Maudy M released her lewd-ful tune ‘Aware Pa’, in the early 2000s.  The big afro wearing songstress literally broke the grounds for other female singers like MzBel and Ebony. Her daring song (at that time) celebrated love in an unconventional way. The unconventionality of the song was in the sexually heavy lyrics.

One of the beauties of the Twi language is that, you can wrap certain lewd words in proverbs to concealing their meanings from the ears of a young listener. Maudy M didn’t go that route. She was as blunt as a butcher’s knife. The bouncy drums and xylophone heavy song had Maudy M moaning over it before posing the question “good marriage, who wouldn’t desire?’. She proceeds to cite the sexual prowess of her partner as one of his admirable traits.

Rapping over the catchy beat, she further details how she isn’t left starving (sexually) because his ‘food’ is tasty. Deeba, who at that time was reigning high on the music scene, makes an appearance on this song. His verse, like those of Maury M, did celebrate the attributes of his lover. He, unlike Maudy M, coded some of his words. 

The 4mins 23 second song, made some rounds on a few radio stations at that time. The lyrics of the song made it hard to permeate the not too liberal major stations . It however, was a favourite at parties and other outdoor events. The accompanying video for Aware Pa, made rounds on Metro TV’s Ad Cycle around the 2000s.

Maudy M may not be remembered by many for very obvious reasons. ‘Aware Pa’ was by far her biggest single during her active years as a singer. Sadly she exited the music scene in a puff. But in Aware Pa, she shall be remembered. She indeed, broke the glass ceiling for female singers who wanted to sound ‘raw and uncensored’ in their lyrics.


The Ghanaian producer behind Nigeria’s favorite hits


The year 2013 was a revelation for afropop. At the time, Nigerian artists such as Davido and P-Square were releasing infectious club tracks that emanated directly from the high energy of life in Lagos; songs like “Skelewu” and “Personally” dominated local airwaves and then spread globally, waving the flag for Nigerian pop. But 2013 was also the year that a new wave emerged: Mr Eazi, a Nigerian artist who had been promoting shows in Kumasi, Ghana, sent the vocals for one of his songs“Bankulize” to a British-Ghanaian DJ and producer in London. The two had just met on Twitter, and Juls, born Julian Nicco-Annan, reimagined the song. He slowed down its tempo and pared the beat down to a minimal, hard set of drums, contrasted with high melodic notes playing on emotions of longing.

Since “Bankulize” (named for the Ghanaian corn and cassava dish “banku”) was released quietly on a few Ghana radio stations in 2013. Since then, Eazi and Juls have collaborated on a number of hits that have helped propel Eazi tolegitimate stardom. Juls’ production combines highlife, dancehall, and hip-hop and can be credited with launching a new, minimalist afropop sound. Its influence can be heard everywhere today, from Runtown’s “Mad Over You”(arguably the biggest track in Nigeria last year) to Wizkid’s “Come Closer”featuring Drake. In crafting a singularly Ghana-influenced sound, Juls has succeeded where many others have failed: stealing a bit of afropop’s spotlight away from Nigeria.

We spoke with him over the phone from his home base in Hackney, East London, where he was gearing up to launch his first solo album, Leap of Faith, on May 8.

Tell me more about your background and how you first got into music.

Juls: My parents are Ghanaian immigrants who settled in the UK in the ’70s, so I was born in Hackney, East London, was raised there for a bit and then I moved up north to a place called Stevenage in Hertfordshire. My dad got a job, moved back to Ghana, so I did my junior high and secondary school there. During that time is when more musical experiences started happening. My dad was a big musichead, and all his brothers as well. Jazz, highlife, reggae were the kind of things we used to hear when I was young.

Did he play music as well?

No, but we used to go to all these jazz concerts, so music was quite big. My mom as well — her side is where I get more of the afro vibes because my mom listened to a lot of African music. She grew up in the western region of Ghana, and the sound out there is quite different and it’s an influence to me.

My production really started in my third year at the University of Legon in Ghana. I started messing with old-school samples and just trunking it up and trying to be like Kanye West or Just Blaze. And then I decided to get a bit different: I decided to sample African music like Fela Kuti or Tony Allen, or Ghanaian records like C.K. Mann, E.T. Mensah, or Gyedu-Blay Ambolley, just messing around, you know.

When did your work first start taking off?

In 2012 I did a song called “Feel Alright” with a group based in Nigeria called Show Dem Camp, which had a very highlife sound. That’s when the break happened. I think when I became more popular myself was when I connected with Mr Eazi. At the time, in 2013, he was doing the music thing but he wasn’t taking it as serious. I came across one of his old mixtapes called About To Blow, and I listened to a few songs and was just like, “Yo bro, I think you’ve got the potential to be something great. I want to remix this song called ‘Bankulize.’” So he sent me the vocals, I remixed it and that’s basically when things began. I was able to speak to my people back in Ghana so it could get radio play.

We connected on Twitter, and the first time we met was in 2015 at a party that I did in Ghana. After that, we did “Skintight” and “Hollup.”

Which are massive hits. How did you react when they blew up?

It was quite overwhelming. As a producer, you get tired of your songs, but those ones are still ringing bells. The songs I produced: “Bankulize,” “Skintight,” “Hollup,” “Shitor,” “Annointing” — those five records took him to the level that he’s at. It’s a proud feeling.

We were just riding the right vibe, which was mellow afrobeats, that minimalistic vibe. The average afrobeats song is quite fast, so I thought, “Let me slow down everything.” It’s still a vibe and you can jam to it as well.

When you first slowed down that afrobeats sounds and made it more mellow, how did that happen?

It was my girlfriend who made that happen. Because when we met, I was doing beats that were just rap music, and she’s never really been a fan of rap music. She loves to dance and have a good time, so she said I need to make music that people can dance and vibe to because that’s the only way that I’ll make a name for myself. She’s actually the one who influenced the production for “Bankulize” and “Skintight.” So I actually owe all this production to her.

Do you get mad at the label “afrobeats” to describe the music?

It’s just African music. We don’t have a genre in the major music platforms like Apple or Spotify, so everything is under “world music.” I’m hoping that one day we can create [a distinct tag for] “African music” but I think with this album, I’m putting it under the world because I want everybody to hear what Africa has to offer.

“I don’t know why it’s just Ghanaian and Nigerian music that we talk about.”

It seems like all sounds across the diaspora are merging. It’s hard to tell whether the sound is coming from London, Accra, Jamaica, or New York because everything is mixing.

I think it’s kind of our fault because we never really claimed what was our own. There’s a lot of people listening to all sorts of genres and it’s good to listen to all sorts of music but I feel like we entirely do not support our own music as much as we should. It’s only when some big artist like Beyoncé and Drake is talking about it, then that’s when people want to say well, “African music is this, this, and that.” Because I guarantee you, from when I was raised in London, there was a point where Nigerians and Ghanaians, or Africans in general, were even shy to say that they were African. They would say they were Caribbean or just say they were British. The identity factor was so much of an issue, and then all of sudden it’s like Africans are doing alright now.

It’s kind of messed up that that’s how it is, obviously. But these people have heard the sounds that they feel they can capitalize on and make money on. It’s good for us because they will want to come to the source for that authentic highlife music. The thing is, there are some people who genuinely like the music for what it is, and there’s some people that are trying to make money from it. So those are the people that we need to be careful of, because we just met those people, they came into our lives to push this thing that we’ve created. They’re going to take ownership of it and there’s nothing that we’ll be able to do about it apart from complaining.

Afrobeats is big in the UK now.

Afrobeats gets played on the radio now. For example, my new single “Bad” — which is not really an afrobeats song but has that afrobeats vibe and that Caribbean vibe — is getting played, and a lot of other songs are on mainstream radio in the UK.

Will that happen in the US as well?

Yeah! When I came to SXSW, there were a lot of people who came out and supported our afrobeats show. And I feel like they liked it, but there’s liking it and there’s really liking it, because people just jump on waves and when the waves dies they just leave you to dry. Afrobeats is the new wave, and it’s up to us Africans — the musicians, the producers — to take ownership of that. We shouldn’t let the same thing that happened to our forefathers happen to us.

There’s so much good music out there now, and everybody’s doing as much as they possibly can. Myself, Maleek Berry, Sarz, Legendury Beatz, MasterKraft — there are so many producers out there now who are doing so much for the African or Afrobeats genre. And of course Wizkid, Mr Eazi, Burna Boy, Davido, UG. Even in the UK, Yxng Bane, Kojo Funds, Ray Blk, Wretch 32, Nadia Rose, and Nonso Amadi. All these guys are bringing different vibes to different sounds and they’re being recognized.

Is there a difference between a Ghanaian sound and a Nigerian sound?

I think we just bite off each other. If you listen to Nigerian and Ghanaian music from the ’70s, it was pretty much the same. The only real difference is that we have our own slangs and the way we play our instruments. For example, you have the Lagbaja sound, which is a Nigerian sound, and you have the Amponsah sound, which is Ghanaian. They all sound African, but they’re different. So just combine the two and it works. I’m not really for the Ghana versus Nigeria music thing. That’s not my thing.

“We’ve seen a lot of musicians come and go.”

Mr Eazi said that “Ghana’s influence on present day ‘Naija Sound’ cannot be over-emphasized.” That caught a lot of heat.

I mean, what he said is true. But what Nigerians also need to remember is that it got to a point where Wizkid did a song called “Azonto,” and Azonto is a Ghanaian term. Ghanaians as well, we started saying “sha” and all sorts of Nigerian terms in our music. We bite from each other, it’s not about whose music is better and whatnot. It’s just good music, and I don’t know why it’s just Ghanaian and Nigerian music that we talk about. South African music is crazy, Zimbabwean music is crazy, Kenya and Ethiopia. Africa in general, the sounds are similar, we all have the same instruments, it’s just the style we play [that varies].

Where do you see yourself in five years? Where do you see the culture in five years?

I hope that I can be in music full-time and I’m able to feed my family with music full-time. I hope to be written about in the books as a producer who brought a different wave to the genre, that I’ll get opportunities to work with other artists genuinely for me, and not because other forces want me to do it. To take on things for me, and not the other way around.

My dream job is have my own label where African music is big. So that we can all do this for a lifetime. Because we’ve seen a lot of musicians come and go, and they’re not doing music anymore, they’re doing odd jobs. I want to remain in this industry as long as I possibly can. If it’s not production, it’s management or A&R, but music is my passion and that’s what I want to do for the rest of my life.

culled from

Black Star International Film Festival slated for August, 2017

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BLACK STAR INTERNATIONAL FILM FESTIVAL (BSIFF) is an International Film Festival which is focused on the Business of film. This festival is held in Ghana every year with its Maiden edition coming off in 2016.

The maiden edition which was held in 2016 saw a screening of 40 films, shortlisted from 3400 submissions. 70 countries participated and the movies were screened in various locations (Silverbird Cinemas, Jamestown, Blackstar Square etc.) We look forward to an even more exciting event in 2017 under the theme – for the young at heart.


Juliet Asante, Festival Founder

BSIFF is a bridge between African Cinema and the world and gives the opportunity for cultural engagements, networking, learning and simply having fun. Film festivals also serve as an important cultural diplomacy tool among nations.

BSIFF happens in late August and whether you are a filmmaker, film lover, or just looking for an opportunity to engage, we invite you to put this on your calendars.

BSIFF is a NON PROFIT Organization committed to working with the local film industry to make it a more robust environment. In working to achieve our mandate, advocacy features strongly.  Nana Ama MacBrown,  Adjetey Annan and Elikem Kumordji were our brand Ambassadors for the 2016 edition.

Follow the link below to watch a video of last year’s event.

To support our work, email info@blackstarinternationalfilmfestival or call 0289113500 or 0249488416

Learn more about BSIFF at

Our social media pages.

Facebook : Black Star International Film Festival.

Twitter : bsifilmfestival

Instagram : blackstarintfilmfest


Beat Bang: NeL Magnum (NLMGNM) Talks his Top 5 Produced beats


‘Roger That!’ Henceforth, whenever you hear this signature tag on a song, be informed the song is produced by Nel Magnum (NLMGNM). A brilliant young producers whose productions are as soulful and lush as you’d hear, Nel has earned himself respect among some artistes.  As production credits goes, NLMGNM has worked with artistes like EL, C-Real, Gemini, Feli Nuna, Quayba and Alexia. He’s one of the sampling heads in the game. His song productions aside, Nel has extended his gifts to movie scoring. He scored for the Pascal Aka directed movie Interception. In this post, NLMGNM talks his Top 5 works and how it came together.

 EL – Don’t Let Me Burn

The production for this song was composed primarily in Propellerheads Reason 5. It began with a funk electric guitar loop from Reason Soul School Refill.

Don’t Let Me Burn is one of those songs that makes me understand that we have amazing talents in Ghana in the sense of EL’s ability to create a sound that is fit for a Hollywood produced movie. The production for this song was composed primarily in Propellerheads Reason 5. It began with a funk electric guitar loop from Reason Soul School Refill. The horns and the organs were programmed in FL Studio along with the drums and the percussions. Originally this beat wasn’t meant for EL. The instrumental went through a number of musicians who seemed interested. However, at the end of it all, EL was the one who rose to make claim of this beat. The recording, mixing and mastering processes were done by EL.


C-Real – Make It Work

The beat was originally called Homeland Glory. The horns inspired the name. This instrumental was produced in 2013. There wasn’t any story behind this production. However, the beat has been through more studios and through the headphones of more rappers than I can imagine. At a point in time, it was the very first beat I played to anybody looking to work on a hip-hop anthem, but none was able to make it theirs until C-Real stepped up to it in 2014. The process for this instrumental began with the horns. However, the most notable element in this production is the uplifting spiccato strings from Edirol Orchestral that is prevalent in the chorus. The drums, and the muted guitars in the pre-choruses, are from Propellerhead Reason 5. In the chorus, there’s this guitar that plays and that comes from Sample Logic Cinematic Guitars. The song was recorded and mixed (by NLMGNM) at MixDown Studios and was mastered by Waxi. The final song was released on C-Real’s 2016 mixtape Business Ties & Dress Shoes.


Lvin Red – On Top Of The World

Working with Lvin Red has been one of the purest forms of musical compositions ever. He’s always pushing the boundaries. And even though he recognizes the limitations in the Ghanaian music industry, he never forgets the limitless potentials he possesses within himself.  Quayba with her extraordinary voice delivered an award winning vocals on the chorus which was written by Lvin Red.

The production for this song began with a piano riff from Nii Kpakpo Thompson (best known as GAVET) and host of Tonight with Nii Kpakpo Thompson. Upon hearing the riff Nii played, I sought to produce a song Coca-Cola or Pepsi will buy to use in their marketing campaigns. The acoustic guitars are from Native Instruments Session Guitarist. For the electric guitar, I manipulated an electric guitar preset in Steinberg’s Hypersonic 2 and I ran it through Native Instruments Guitar Rig to give it that dirty distorted feel. The uplifting spiccato strings I got from Odirol Orchestral. On Top Of The World was recorded at MixDown Studios (mixed by NLMGNM) and mastered by Waxi.


 Alexia SunGold – Dance Tonight

As with most of my productions, this beat wasn’t meant for Alexia. It went through a few signers before Alexia SunGold made a classic out of it.

Alexia is one of those singers you’d want to work with after hearing her voice. She has grace and her voice range is quite impressive on a lot of productions from my camp (REGAL MUSIC). The instrumental for this song was made in the final quarter of 2016, and I was looking to make it a happy tune for the Christmas season. If you should listen very well you can hear the jingles of sleigh bells in the beat. However, plans did not go as one imagined. The process began when I was playing around with some piano chords. With a solid tune from the piano chords, I proceeded with percussions. Once that was done, the rest of the instruments followed up so effortlessly, especially the horns. The horns from Native Instruments Session Horns gave the production a victorious and uplifting sound.  As with most of my productions, this beat wasn’t meant for Alexia. It went through a few signers before Alexia SunGold made a classic out of it. The song was mastered by Waxi.


Modulo TGB X NLMGNM – Shito

This song is one of the most incredible songs I’ve produced in my career as a record producer. This production was a challenge thrown to me by a friend to produce a song with as little melody as possible. Being an African, and to be able to produce such a song with little or no melody, I went back to my root instruments, percussions. Making this the Ga song it is I decided to visit the gome, a traditional Ga instrument. At a tempo of 123bpm, I began with the traditional “ka-ka-ka–kaka” rhythm.

This song is one of the most incredible songs I’ve produced in my career as a record producer.

The congas from Discovery Series West African Drums threw a little “busyness” on the tune. Displacing the kicks by shifting it to the second and the fourth beats, I threw the instrumental into an unprecedented kick pattern.

After the beat was done, the chorus came to me when I decided to freestyle to the beat. For the reason why it is Shito, I don’t know. After the chorus was recorded, I invited Modulo TGB to do justice on the beat. The recording (NLMGNM), mixing (Waxi) and mastering (Waxi) was done at Mr. Waxi’s Studio at Labadi.


THROW BACK: EFYA feat Sarkodie – Jorley

This song doesn’t qualify as a proper ‘throwback’ (according to the working definition of this blog. Throwbacks should be 5 years old and above). But, as with every human curated activity, the use of discretion is very allowed, sometimes. This is why ‘Jorley’ by EFYA has been considered as a throwback.

Released on August 5, 2015 under the One Nation label (which EYA belongs), Jorley is a song that hit and consume you at first hearing. The composition is fire (where the emoji at?). The beat is riveting. The lyrics area breath of life courtesy the way EFYA hit those notes. Each listen leaves you appreciating the song even more.

Jorley, a Ga word which means ‘Sweetheart’ or ‘Love’ is the fifth collaborative effort between EFYA and Sarkodie. The two have shared voices on singles such as I’m In Love With You Now, Success (Sarkcess) Story, Devil In Me, Whatever You Do, I’m In Love With Your Girlfriend (off the unreleased joint JaySo and Sark TMG album).

The Song

There’s always some magic that happens when you put a song through the ‘speaker experience’ (hello Decaf). Hearing this song through a good speaker left me appreciating it even more. Jorley, a love song which sees both artistes confess and appreciate their love for each other. They also itemize the importance of respect for one another as well. Jorley has a place on EFYA’s all-time best songs list.

EFYA confesses her state of intrigue by the love she’s experiencing. ‘This love. Never, ever quiet like this love/ I try to understand this love’, she utters at the beginning of the song. She proceeds to talk of the power the love has over her whiles eulogizing her lover. Hitting notes isn’t a tasking chore for EFYA and on the song, she came hit those high notes with perfection; making the timbres reverberate through the listener’s soul. The infusion of a very familiar lyric in the hook –sima jorley-helps in making the hook an easy to hum to.

There’s honesty behind her words. There’s vulnerability in her voice. If there’s a quality EFYA possesses, it’s her ability to drag the listener along with her words. That’s the listener feels an ownership of her words. Taking his turn, Sarkodie not only drop ad-libs all over the song but also offers a verse where in similar fashion, sound appreciative of finding love and promising to forever be with her.

The Beat/Composition

Killbeatz killed this beat in many ways. Within the simple beat are many elements worth praising. These elements are the reason this song has its splendor. First, the thumping drum beat that opens the song is catchy; an invitation to listen to what is about to unfold. Part of the beat sound as if they were recorded live (the crushing snares). Killbeatz employs the 5-tap technique (clap, clap, clap, clap, clap), which is the foundation of many African rhythms. The fontromfrom drum sound (computer generated notwithstanding) is lively. It hands the song its Ghanaian (African) identity.

Jorley is a jam. From the production-which is stepped in deep Ghanaian musical rhythms-to the enthralling vocal delivery of EFYA, right to Sarkodie’s performance, Jorley earns a place among the best songs in the catalogue of EYA. And a place on the roster of songs that reflect the Ghanaian rhythmic sound.


DRILIX bids farewell to fans



The life of Drilix was not just a journey but an experience. From His early days in school through to university, To a few Drilix has been an advocate and a rising pillar in the Hip-Hop community in Ghana even though the credit is not openly given,

From “The Solution Mixtape (2010), “Urban Mixtape (2012) to “HipHopLives (2015), his uniqueness in style has been a hallmark with excellent lyrical content and versatile delivery and till date has never disappointed his fans and it’s no doubt that many hearts have been won since the birth and nurturing of the Drilix brand.

But Today, Drilix is no more. He is not dead. A new persona has been born. A reincarnation formed.  Be informed, a brand new package in-form. Drilix no more, Ntelabi is the norm.

Ntelabi which is his native Konkomba name meaning “My Father Lives”, will be used officially now by the artist. Ntelabi has disclosed that recent engagement in the study of African History & other related studies have given him a new insight and perspective of life, which will massively reflect in his worthwhile career ahead.

Ntelabi seeks to bring out an Urban African Hip-hop feel in his music thus entertaining both new and old audiences by using his adaptability and versatility to make music in any Genre at heart. He hopes to break through the international market and gain a firm ground in his geographical setting as well.

His manager Samson Osei hinted that Ntelabi is currently working on an LP titled “Settings” which is due to be released in mid 2017 powered by His Independently owned label Ill Haven Records, He disclosed and I quote: “It’s beyond the music for Ntelabi now and we the team at ill haven are working tirelessly to push his brilliance across international borders.” Ntelabi hopes to use his influence to make a positive impact in people’s lives around him.

Get connected with Ntelabi and his music:






Snapchat: Ntelabi