By Ike E.

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IWA - YANJU

(Kadupe)

Yanju Shodipe, simply known as Yanju, is a Nigerian percussionist who has definitely been more than just "influenced" by techno music. His album, Iwa, is a contemporary mix of full-blown electronica with African drums & percussion, complete with meaningful vocals that give life to his arrangements. Yanju does a good job straddling the line between Ethnic Fusion and danceable, catchy techno.

Iwa is filled with fast paced club songs, but Yanju is careful to give each song some vocal meaning. The title song starts off with robust tribal drums, and distant chants, working up to unveil a vibrant dance hit. Yanju’s vocals on this track in particular are classic “call and response” in Yoruba. Regardless of the embroidered production, this song shows how similar techno and African music can merge seamlessly.

The next track, Koseru, is pumped up with Yoruba talking drums, and laced with sharp techno beats; Yanju shows that he can craft thumping tribal house music. The message of Yanju’s synthesized vocals is deep: about the evil of western “aids” on Africa. (Yes, there is a subtle interchange of aid and AIDS here).

Likewise, Every Yesterday keeps up a brisk pace all through the song. The drumbeats initially lean towards Femi Kuti-type afrobeat, combined with hyper-synthetic textures, & stirring vocals that push a message of peace and harmony.

Africa Arise is definitely one of the better dance tracks in the album (even though it’s placed near the end of the album). It starts off with a grand, moody buildup, interrupted by rapid, bold tribal drums. Sparse African folk calls (in Yoruba), grand themes and the calculated electronic sounds all wrap up this song as a tight club track.

One thing: You might miss out on the vocals while trying to appreciate the tight arrangements all through the album...Luckily, this album doesn’t drown in club songs. Yanju’s flavor can only be truly appreciated when one listens to the softer songs on Iwa. Eyo is an African folk song, with choir-type vocals, and tingly percussion. The result is a dreamy, light, new age track.

Benedicta must be the typical definition of afro-techno-pop, if there’s anything like that. It’s a relaxed, loveable pop track. The simple lyrics, xylophone-type sounds and catchy chorus make this song ear candy.

Just as I was about to fault Yanju for letting the electro-tribal formula run too long, he tones it down with Loke Loke. This time, the electronic beats take a second place to more solemn, moving vocals and African percussion. Did someone say a Youssou N’Dour? Yanju shines here.

Sunkino provides the only collaboration that Yanju does in the album. He sings with a soft-sounded angelic female vocalist. The singing and the soft drums take center stage, minimal (or no) electric beats, and this produces heavenly results.

Iro is definitely the funkier song in the collection. If there were any song on Iwa that might sound closer to anything that his Nigerian world music contemporaries are doing, (i.e. the funky afrobeat of performers like, say, Lagbaja) it would be this. Of course he doesn’t have a funky live band, but the arrangements are equally as vibrant.

Lonely Lady is mostly about Yanju’s charming voice, with simple xylophone type percussion. The electric keyboard is definitely toned down in this one, but he more than makes up for it with a graceful use of soft Yoruba calls & chants, & ends the song elegantly.

Yanju’s album Iwa is breaking ground here, in an age where most of his contemporaries are obsessed with funky jam sessions, Yanju provides yet another way of merging African beats and themes with modern music, with stunning results.

Email Ike at kechola@hotmail.com