Editors Pick

The true Message behind Falz’s “This is Nigeria”

This Is Nigeria – Falz

Nigeria: sweat, tears, and blood. This is what Falz has very accurately captured in his This Is Nigeria video. The song which is a cover of Childish Gambino’s This Is America is graphic in its depiction of the injustices and struggles faced every day by the average Nigerian.

Stiques is back with ‘Exposé (Kiraní)’

Stiques is an independent artistic organic musician. Last year he collaborated with a Grammy-award winning audio engineer from Solange’s team to bring us his debut “Lamba” which was premiered on the PGM Radio Show. This year, he and his newly synthesized afro organic band ‘The Dark Assassins’, bring us this gentle vibration, recorded live, Titled “Exposé (Kiraní).

Stiques emphasizes on his newly found organic ideology as the future of Afrobeats and African music as a whole. He believes that in a highly technological world, the depth and spirit of music are in its most elementary form, that concentrates on capturing the actual vibrations of physical instruments as opposed to software use which is highly common these days.

The International Council For Infinite Articulate Lambastiqulation presents Stiques & The Dark Assassins in ‘Exposé (Kiraní)’, the live recorded version.

We at the PGM Club recommend you update your playlist with this amazing tune!

Who is Zarion Uti?

Zarion Uti is an Afro-soul artist that has sparked listeners interest with his emerging sound and with over 200,000 streams on his debut 6-track EP, ZARADISE released in November 2017 on all major platforms.

The new single, titled “Finito” featuring AYLØ, is a sensual mid-tempo song sure to make you fall in love while catching a vibe in the club.

Zarion expresses his love for his girl, with a groovy hook that says how important his girl is.
Follow Zarion Uti on all social handles.
Twitter/Instagram: ZarionUti

 

Wavy TheCreator Releases Official Video for “H.I.G.H” & Second Single “STAY”

In 2017, the PGM Club was introduced to multi-talented artist Wavy The Creator who made an unrivaled burst on the music scene.

Wavy has kicked off the new year with the release of her official video for her breakout debut “H.I.G.H” as well as a new single “Stay.”

H.I.G.H, which stands for (Her In Greater Heights) takes viewers through a psychedelic experience captured by a bunch of young people having the time of their lives. Look closely and you can see the waves move through the visuals and ultimately transcend viewers into greater heights!

The new single ‘Stay’ is a story of a love once had, lost and all the pain that it entails. On this record, Wavy delves into more melancholy themes, showing her versatility as a musician

 

Be sure to follow Wavy on:

Instagram: @wavythecreator

Twitter: @wavythecreator_

Watch – H.I.G.H Official Video

H.I.G.H Audio:

STAY Audio:

…Spazz Man, Watch Them Clap! (Editor’s Pick)

 A Chat with Kyrian Asher by Adedayo Laketu

Presented with the opportunity, we get a rare peek into the life of a mysterious artist that we’ve all looked up to.

Honestly, I didn’t know him but it seemed every kid in Abuja that grew up within their transformation era knows this elusive figure. He’s something like Kanye before “I hate Kanye” became a thing. I don’t know if you get that but this was special.

I am pleased to write this piece.  I want to explore his mind, but considering his elusive nature, he seems to know what to say, and what not to say. Yet, I craved a deeper understanding of this man who speaks of things I’d mostly dreamed of.

Yes, he’s a model for those who see beyond. A self-sustaining light; shining by virtue of his own strength, and our ears give him hope to bleed more and say more for us to be more. At least that’s how I felt when I heard his song “Ravager’s Gambit” and his new goth-trap “30,000 Ft”.

I first gave him leave to vibe as much as he could and it’s probably the most you’ll hear him say outside of a song.

“A starting point. Let me vibe as best as I can. Somewhere between my days of dreaming and years of doubt, I actually saw the Kyrian I did not want to be. It is something hollow, borrowing experiences from people who never experienced anything extraordinary themselves. A breeze of a life that does nothing but carrying dust. You know, it’s a curse to live but not be alive. Somewhere here, introspection was seeded. I’d always looked within myself, but not like this. This was rather different. For you to understand this tiny phrase clearly, we have to dial back a little. Like most children, the world revolved around me. My good and bad were there to serve me and my interests. It was all a rollercoaster that I built for myself. And then I started to dream.

Now that I think of it, it was agony, agony that made me smile. Among many things, I wanted simply to understand why people were the way they were. Why certain things were just different. I was so fixated on growing up that I forgot to learn about my own damn self. Can you imagine? I won’t go into detail, but let’s just say I wasn’t the most open person, so no one could really ask me anything worth replying. I did not learn about myself until I had nowhere else to look.

My mother probably does not remember this. I’ll be surprised if she did because she was half asleep when she said it. She said something that echoes in my head till date. “You can smell food. You want it. You’ll go far to get it. But the real question is, are you hungry?” Now, I know what she meant by that, but it triggered something else then. I think, perhaps, that it was the very first time I asked myself if I do things because I want to or I need to.

It is a very heavy thought for a child, especially for one who never understood the importance of consequences very well. Even after the introspection, I had trouble accepting structure -or prioritizing- but I knew who I didn’t want to be.

The question now was, what was I willing to sacrifice? What “wants” was I willing to turn into “needs” and vice versa? Almost everyone wants the same things really, but me, holy sh*t, I NEED to be the version of ‘me’ that I dream about. What comes next will be my lesson to learn. And I’ll proudly say I went out there and learned it, instead of sitting beside the fire and listening to other people’s stories.  Now here I am with a full understanding of myself first, and it’s been a f*cking journey, I’ll tell you that.

Lol, I’m rambling, but don’t get me wrong. I love a good story. I love learning what needs to be learned. It’s all part of it, I guess. I just don’t want to be a guy who doesn’t look inside himself as much or more than he looks at what’s outside himself. My life revolves around that right now.”

After this, he asked me to direct a question his way, and thus, our interview began. Things became a bit quiet, but the spark wasn’t lost as you’d expect from him.

 

The PGM Club: What’s music for you as a creator and as food for the soul?

Kyrian Asher: Ah, not a very easy question to answer. For me, music is a universal gift, if you know how to use it well. I can’t give you the blood in my veins or the bones in my body, but I can give you music, humble and undemanding. As a creator, music is a cure in my case, really. At a time, it was the only way I could let some things out, and in return, because of how I honor my ability to communicate that way, I find myself feeding off the stories of others. Music can define how my day goes. It’s that powerful.

 

The PGM Club: What’s going on when you create a project because each one seems so intimate and pure?

Kyrian Asher: I can’t remember the last time I wrote what I didn’t feel. They seem intimate and pure because I write exactly what I’m feeling at that moment. Same thing happens with my composing unless I’m engineering for someone else. And even in that, I like to know exactly how my client is feeling, and I vibe with that. I make myself feel it like they do.

The PGM Club: People shy away from intimate and real topics but you surround your sound with it, this has somewhat given your music a slower reaction, but you go on, why?

Kyrian Asher: Because I need to. For myself; if it’s no one else’s medicine, it’s mine. I can’t write what I don’t feel. It takes a bit of weight off my shoulders.

 

At this point in the interview, I pressed on but I was calmed by his wind, he had his plans to share himself on his own. Basically, it felt like the end of the interview but we came back, it was “meow” and I understood his direction, readjusted mine and we went on.

An Abuja resident, he holds contrasting views to the everyday urban youth in Lagos, “A lot of Abuja artists I know go to Lagos to get work done. According to them, everything’s fast paced there and is somewhat beneficial to them. So, to me, there’s some mixing going on. Culturally though, Abuja and Lagos differ, but not as much as people think. I personally think alternative music is rooted deeper in Abuja.

 

The canvas is still being filled. Artistically Abuja is similar to many young things; it’s a culture that’s still somewhat unsure of itself. But the vibrancy is crazy. There’s a producer for almost everything here. EDM, Neo Soul, Trip Hop, Punk Rock, you name it. Fashion and lifestyle are witnessing their own rebirth as well. Unlike Lagos where things roll pretty fast and are out the door, Abuja is leisurely to either overhaul the craft or leave it altogether. The former happens more, but it still needs a buffer.” My mind was planted to his words, to his environment and I seemed to navigate in the tempo of his heart and that of the Abuja youth.

 

“Well, what I see as the music culture in Africa is a bunch of divides that are only now being bridged. A potential grid of sorts, a melting pot of tones, messages and melodies that is finally realizing what it is. Long before now, you’d hear or read about artists, activists, and/or writers speaking about African unity, but without much of that unity taking form. With modern music, allied with the Internet and the need to be respected, African culture is recognizing itself as one massive force.

 

And music from the New Age paves a way but it’s not just a thing to cover yourself with, it’s more of what you wear with your sound, an identity becoming an expression really. I like to believe the new age gives way for other genres to shine and find their market, instead of keeping one standard. A spider catches more flies with the web than with one silk strand, after all. As a culture, we will do a lot better with Africa infused into other genres, instead of only Pop.”

Kyrian Asher is a quotable man with a lot of heart, beating in the direction of change for his people while using his art as the tool for this private warfare.

The PGM Club: Ravager’s Gambit, can we have a minute to talk about that song. It really inspired a lot in me; your words, the delivery, the form, the education. Can we talk about it, the title, and the conception?

Kyrian Asher: of course. The title is simpler than people think. For days after I released it, people kept asking what it meant. It’s exactly what the title says. The destroyer’s scheme or stratagem. An advantage, a deal to move beyond the current station.

The conception is pretty simple too. Doubt; our worst enemy. Beings who destroy things faster than they build them tend to do the same things to themselves. That destruction comes in the form of doubt. The song points out that this can be suppressed, for the sake of one’s soul, or hope. I’m glad it inspired you. That was the intention.

 

The PGM Club: Who inspired your musical journey, allowing your music to morph into what it is today? Also, how would you define that influence?

Kyrian Asher: Oh, I listened to a crap load of records. Momma had stacks, and I started building my own collection not long after. Billie Holiday, Led Zeppelin, Pink Floyd, Joni Mitchell, Queen, Sade, Kurtis Blow, Run DMC, Howlin’ Wolf, The Everly Brothers, Bob Dylan, Stevie Wonder, Bongos Ikwue, Jay Dilla, and a lot more. Basically, I connected with the sentiment of the time and mixed it with the grittier sound that came after. I found myself enjoying the work of Common, Clipse, Kanye West, Kings of Leon, Florence + The Machine, and many others not long after.

But the definition of my music is something I haven’t settled on. It’s a harder question to answer than folks think. Lol. At a time, I was just a rapper who was lucky enough to find favor in a world full of millions like me. I was that way because that’s what the people wanted me to be. As time rolled on, I shed that approval thing, and became the Kyrian of irregular stripes, searching for his own sound.

The PGM Club: Listening to your music throughout the years, you haven’t featured a lot of artists.  Surprising, as there are a lot of brilliant talents that reside in the political capital. Why haven’t you collaborated with them?

Kyrian Asher: Oh, that’s about to change. Just you wait. My issue with collaboration is finding something for the other artists to actually do apart from just sing a chorus, or just being on a song because they could. I’ve started forming bonds, so the wave is about to change.

The PGM Club: You make all the artworks for your sounds, how did that process begin?

Kyrian Asher: I was just tired of getting sh*tty deals and less-than-average work. I started practicing, but the resources that make my work what it is did not come until a little later. I used to paint, so I didn’t have a hard time picking my colors. The rest is nature and practice.

The PGM Club: Were you ever pushed to go a bit commercial?

Kyrian Asher: Pushed? I was damn near forced. But that’s a story for another day. Never let it happen again. I make my art on my terms, and that’s no joke.

Things appear balanced again so I used his words to fuel some more rage. His last words to me:

“Religion is a business. Society is cruel. Politics is a game. And here we are, under the lash of it all. What’s on my mind is resistance. First with self, then with those, I surround myself with. I came into this knowing nothing. No real plan. I just wanted to be me. It’s what I’ve always wanted. I knew, however, that no matter what I choose, the fans, those who really need my music, would find it.

To dream is to wander. To wander is to see. But to turn your dream into something tangible is to use what you see. Plant your seeds instead of simply hoping for trees.”

Lots of wisdom shared in this refreshingly insightful conversation with Kyrian Asher, a man of introspection and an artist of unparalleled depth. Minds like his signal hope for New Age Africa.

Edited By Douglas Jekan

Johnny Drille premieres new single ‘Romeo and Juliet’

On Thursday, July, 13th Johnny Drille’s latest single Romeo and Juliet was premiered on my Nite Show #OnAir with Douglas Jekan on the Beat 99.9.FM

The single was received with great reviews from the Nightcrawlers (good music lovers) who wasted no time to show their love and admiration for the new Mavin-signed folk-music star. 

 

Though a cliche, Romeo, and Juliet as a metaphor would always be considered a strong expression of one’s undying love for someone and Johnny Drille did just that in this new single.

It was also on the back of high expectation to see if Johnny Drille will stick to his original sound, since signing to the Mavins or get watered down by the pressures of pleasing a renowned Mavin sound and audience, that his fans all took to twitter ready to express their thoughts on the song once it was played.  Luckily, Johnny is a man of his word and his new single says it all and a lot more.

We at the PGM Club highly recommend this song to all good music lovers!

https://soundcloud.com/user-237137992/johnny-drille-romeo-juliet

A Chat with Jazzz.

I don’t know why Jesse Jagz went back to Chocolate City; he already left the home and formed a new one, one crafting incredible art through Jagz Nation. He created something thoroughly brilliant, an anomaly on a realm of its own. Still, he gave it up to be normal once again. That’s my train of thought as I transcribe my interview with Atta.

 

The scene is different now, and we’re not going to let the gems in our society down this time. This is a new age; we are evolving to recognize talent and skill when we see it, and there is never going to be a moment we ignore brilliance in the art. We appreciate the heroes who came before, ventured into different sounds and experimented with the Nigerian sound.

 

It’s a new age for celebrating the unique, to unbundle our drive for what is different; one can say our curiosity is glaring now. The world is aware of us and we’re connected to it through our phones, the information being created by Africans entirely from our own understanding of what’s happening around us.

 

We bring a different perspective to the existing plane.

 

The culture is connected, we’re all one. The music has no barriers; it’s free to ride on our impulse. That’s what I feel while conversing with Atta, the atmosphere that allows her mind breath an air of greatness, a mind filled with conscious thoughts about her craft, her sound, her vision, and brand as an artist in this new Africa.

 Jazzz Atta, a neo-soul/jazz singer, and songwriter, decided to push forward with the music in 2014.  A time she was with a bunch of other musicians inspired by their vibes to make music her thing, and she’s not looked back since. ‘Somebody’ in 2014 was her first single followed by another titled ‘Aboki’ in 2015 and her third single ‘Body and soul’ in 2016 before releasing her first EP ‘Practice’ in 2017, about a week ago.

 

A regular performer at Bogobiri & the 90s baby sound off, she’s an indie artist. An indie artist, she explains, means “Well, to independently work & publish your projects without any influence from a major label, or any label. This was the process I went through whilst working on the Practice EP. So you are basically running the whole show by yourself. Thank goodness the internet and social media has made things a bit easier. As an indie artist in the Nigeria scene, my first true fans got to know about me through the Internet, Soundcloud, Twitter, etc. So yeah, I depend heavily on the internet to push my projects. Through the internet & social media, I have been able to get information on shows I’d like to be part of and watch the culture grow. We don’t have the resources of a major label but I am constantly working, practicing, you know, just basically staying ready. I’m also trying to collaborate more, working harder on content, really good content to push on social media.”

 

This had me intrigued and curious to find out more about her, we had a little back and forth:

 

The PGM Club: The culture, it’s exciting. Everything feels possible now, right here in Africa. How does that affect the music you create, being in such a creative and vibrant African culture that is pushing boundaries?

Jazzz Atta: This affects me & my music positively. When I started pushing forward with my music, a lot of people tried to exert the negative influence. They went on about Nigerians not having the ability to appreciate good music. I’m happy I stuck with the dream of the culture changing. And now, that I’m seeing and even gaining so much from just the possibility. I am so humbled and inspired to do even more.

The PGM Club: Tell us about your music. Why do you create? What do you create?

Jazzz Atta: I am a really awkward and shy person, which makes it a tangible challenge to speak what I feel. Singing, songwriting, and music are power tools that I use to express myself, to reflect and heal. I am very aware that there are a lot of people who feel the same way I do, who go through pain or pleasure but don’t how to express it all. So I constantly do this for them, and I do this for me too.

The PGM Club: Jazz? Afro-Jazz? Let’s talk about that and your new EP ‘Practice’?

Jazzz Atta:  Okay so Jazz… I fell in love with jazz as a child, I had listened to Ella Fitzgerald’s Someone to Watch Over Me… I just couldn’t get her voice outta my head; it was the most beautiful thing I had heard. In any kind of music, I am most interested in the style of the vocalist, then the sound. So Ella Fitzgerald, Sarah Vaughan, Billie Holiday and Nancy Wilson became my go-to source for jazz music. I also listened to Luis Armstrong, Nat King Cole and Frank Sinatra.

 

The jazz vocal form is heavily infused with my singing. When I decided to push my music I began researching on jazz and discovered that it had influenced a lot of music all over the world. It was one the reasons I chose the name, or rather, the name chose me because with jazz you are always improvising and creating beautiful music. My music is all about emotions and feelings, it is real; it comes from a very vulnerable part, so I really don’t follow rules like ‘this is how this should be or a bridge or a chorus should be this way’. I improvise and allow it become what it can, especially when the sound is good.

 

So, I don’t think music has to fit in a box.  If it sounds good and it feels good, then so what?  To me, that’s how I understood jazz. It had so many parts that came together to make it beautiful. Afro-jazz I feel is basically afrobeat. And I really think that the exemplification of Fela and how great he is. We still do not fully appreciate what he did. He gave us jazz in a form that anyone from anywhere would enjoy and appreciate. To simplify something so vast is pure genius, and that is so amazing. The EP ‘Practice’ has been the project I had always dreamed about, but whenever I got close to success it all fell apart. Now I think that, yeah, this time was actually the right time. Why? Because I have grown into my sound and will only evolve from here. So yeah, practice, I have been practicing, still practicing and I’m enjoying the journey. There’s so much freedom in discovering yourself and loving what you discover.

The PGM Club:: What did you discover about yourself and your art while making Practice?

Jazzz Atta: Strength and a will to keep pushing. I also discovered an ability to accept the bad times with the good times, without resentment.

 The PGM Club: You’ve been creating more with your performance at the 90’s baby Soundoff, a song with Idris and Boogey off your ‘Practice’ EP, a photography series with TSE… what do you think of the new creative scene and how it’s helping reshape Africa?

Jazzz Atta: I think it’s really amazing and exciting. It’s like being a part of history in the making and I am really hoping we keep pushing the culture. I believe in all these visionaries… TSE, Boogey, Idris etc. and I believe that this is a process that will create a new age in Africa. We need this; we really need this to survive. Our people and land are abundantly blessed with natural and human resources. There is so much raw talent here that deserves to be discovered and to shine. Africa is on a path of discovery and everyone is needed to make this discovery successful, most especially our youth.

The PGM Club: The new age really is amazing.

I want to talk about the two features on your album as they’re both minds we love here at the PGM Club, Boogey, and Idris. How did they land on your tape? What’s the vibe like working on music with them?

Jazzz Atta: Yeah, so I got through to Boogey through my manager, they had worked together previously. So I had heard some of his music and I really loved his style and penmanship. I love that he’s really intelligent and has so much soul in his artistry. So when I had finished writing and voicing ‘Pill’, that’s the name of the song Boogey and I did together, I knew I just had to have him on that song because he would get it and put in the extra bit the song needed. When he came into the studio and recorded his part, I just knew that yeah, finally ‘Pill’ was done.

I got to know Idris King through 90’s baby, and yeah, we had invited TSE to listen to the songs on the EP, so he suggested Idris King for ‘Ice.’ And it clicked. Idris King really came through and gave the song “Ice” that very classy and polished feel. I really learned a lot from Boogey and Idris king, hoping we do more music together because it’s just simply amazing what they do.

The PGM Club: Your music is very personal to you and you’ve also created a visual element to it, what’s the approach you have for your video. I’m curious.

Jazzz Atta: The approach we are working with, is to be as real and as creative with that reality as mind and machinery would allow. Like I said, I am very awkward till maybe, I get comfortable and safe. Though even with that awkwardness, I’m still a very sensual person who isn’t ashamed of that but just needs her own space and way to express that. So, we are really trying to make something out of that… It wouldn’t be like in your face sexy or whatever, just subtle enough to express what it needs to.

This was a unique conversation; I felt something emanate from her mind; a purity of some sort as I listen to her EP ‘Practice’, it’s something I can’t judge alone.

This is what we drive at the PGM Club, the minds creating good music. Sounds created genuinely for the love of music, deserving of that center-stage and how it transcends to both listener and creator alike.

 

Interviewed by Adedayo Laketu for THE PGM Club

Edited by Jeffery Kalu / Douglas Jekan

(Review): The PGM Live with SDC

The sixth edition of the PGM Live came with a ‘bang bang’ that was better than ever.  Showcasing (SDC) Show Dem Camp as our headliners, the show was lit from the get-go, but before we dive in, here’s a bit of reintroduction of the PGM Club.

The Push Good Music Club (PGM Club) comes with love to help unearth, nurture and promote emerging and established talents across the world.

The PGM is an idea that exists to Push Good Music; To be liberated within oneself to do amazing things, and create great content.

Now we are here at the sixth edition of The PGM Live staring Show Dem Camp (SDC) with support from Boj, Funbi, Ajebutter, Tomi Thomas, Idris King and other great acts. The show was the first premiere live performance of SDC’s new project Palm wine Music Vol.1, an EP with a mix of highlife and afrobeat.

The show brought together a great audience that mingled with the artists before they took the stage and yes, the energy in the room was epic!

It was indeed a night to remember.

Below is a one-minute video that gives you a slight hint of what took place on the night.

Stay tuned for the next PGM Live!

Ice Cream: Lady Donli Featuring Tomi Thomas

Lady Donli, a name that has been on D’Watchlist ever since she put out her Wall Flower Ep, has just put out a new record called Ice Cream featuring Tomi Thomas, who just shared a stage with Cobhams Asoquo at the 4th edition of the PGM Live.  And by God, he was amazing!

In this new single, Lady Donli uses ice cream as a metaphor to describe a love that is addictive yet not healthy.  A love that is so sweet, it comes in various flavors making it even harder to resist.

Certainly, we have all found ourselves in such a situation at one point in life.  But just like the saying goes, Life is like an Ice Cream, enjoy it before it melts,’ sometimes we need to just indulge ourselves and enjoy it while it lasts. Even if it’s just for a moment.

The song also buttresses her versatility as she fuses in a stint of disco which seems to be the new rave right now (i.e Drake – Passion Fruit & Odunsi / Nonso Amadi – Don’t).

We at thePGMClub recommend this song to all good music lovers. (PGM)

https://soundcloud.com/ladydonli/ice-cream-feat-tomi-thomas

War (EP) – Odunsi (The Engine) & Nonso Amadi

Music lovers, (nytcrawlers) the cat is finally out of the bag!

Odunsi (The Engine) and Nonso Amadi have an EP together!

For some time now rumors have been brewing about these two talents working together. Little did we know that this collaboration was not just on a single, but an actual EP.

If you are a fan and as eager to listen to the War EP, as we are?  Well, here it is!

Have a listen,  share your thoughts, but more importantly share it with fellow music lovers.

Let’s all push good music!

(PGM-Club)

 

https://soundcloud.com/warpart1/sets/war-ep-odunsi-the-engine-and-nonso-amadi/s-vkBSz

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