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<\/figure>\n<\/div>\n\n\nLabel: Keznamdi Music<\/em><\/h2>\n\n\n\nText: Volk\u00ader Barsch<\/strong><\/p>\n\n\n\nAfter \u201dBlood\u00adline\u201d (2020) comes \u201dBlxxd & Fyah.\u201d An apt expan\u00adsion of the title, for while his debut long-play\u00ader was large\u00adly devot\u00aded to per\u00adson\u00adal themes, Keznamdi\u2019s new album is far more strong\u00adly shaped by social cri\u00adtique and polit\u00adi\u00adcal state\u00adments. More Fyah, indeed. The open\u00ading track, \u201dI Am,\u201d begins with acoustic gui\u00adtar, per\u00adcus\u00adsion, and touch\u00ades of vio\u00adlin and flute before the strik\u00ading voice of Keznamdi\u2019s sis\u00adter Kelis\u00adsa enters. In recent years, she has oth\u00ader\u00adwise large\u00adly with\u00addrawn from the pub\u00adlic eye, focus\u00ading on pri\u00advate life along\u00adside Chronixx. Kez\u00adnam\u00addi then imme\u00addi\u00adate\u00adly casts a wide arc, mov\u00ading from the mir\u00ada\u00adcle of birth through Adam and Eve, ancient Egypt, and the cru\u00adci\u00adfix\u00adion of Jesus, all the way to Haile Selassie. Kelissa\u2019s recur\u00adring vocals and the song\u2019s rhyth\u00admic struc\u00adtures lend it a dis\u00adtinct\u00adly African vibe.<\/p>\n\n\n\n
For the McDon\u00adald sib\u00adlings, this sen\u00adsi\u00adbil\u00adi\u00adty is nei\u00adther abstract nor affec\u00adta\u00adtion; it is root\u00aded in the fact that they spent part of their youth in Tan\u00adza\u00adnia and Ethiopia. The open\u00ader con\u00adcludes with orig\u00adi\u00adnal audio from a force\u00adful speech by Arikana Chi\u00adhom\u00adbori-Quao, for\u00admer African Union Ambas\u00adsador to the Unit\u00aded States, in which she sharply crit\u00adi\u00adcizes France\u2019s neo\u00adcolo\u00adnial poli\u00adcies and speaks of a secret \u201dpact for the con\u00adtin\u00adu\u00ada\u00adtion of col\u00ado\u00adniza\u00adtion\u201d between France and four\u00adteen African states. (Short\u00adly there\u00adafter, she would lose her post.)<\/p>\n\n\n\n
The theme of \u201dColo\u00adnial Bondage\u201d also shapes the sec\u00adond track, this time with ref\u00ader\u00adence to Jamaica\u2019s present con\u00addi\u00adtion and its his\u00adtor\u00adi\u00adcal foun\u00adda\u00adtions. This calm roots piece, tinged with dub\u00adby, jazz-inflect\u00aded tex\u00adtures, is fol\u00adlowed by \u201dRiv\u00ader Jor\u00addan,\u201d in which the singer revis\u00adits the his\u00adto\u00adry of slav\u00adery in Jamaica, includ\u00ading the absence of repa\u00adra\u00adtions, accom\u00adpa\u00adnied by Nyah\u00adbinghi drums and a back\u00adground choir evok\u00ading tra\u00addi\u00adtion\u00adal slave songs. Append\u00aded to the track is a rea\u00adson\u00ading record\u00aded at Sky\u00adline Lev\u00adels by Keznamdi\u2019s father, Errol \u201dChaku\u00adla\u201d McDon\u00adald, in which he calls on the Ras\u00adta move\u00adment to embrace greater uni\u00adty and more pur\u00adpose\u00adful orga\u00adni\u00adza\u00adtion.<\/p>\n\n\n\n
On the sub\u00adse\u00adquent \u201dNat\u00adty,\u201d Kez\u00adnam\u00addi crit\u00adi\u00adcizes the fact that some schools in Jamaica still refuse to admit chil\u00addren with dread\u00adlocks into their class\u00adrooms, fram\u00ading this as an expres\u00adsion of an endur\u00ading \u201dcolo\u00adnial rule.\u201d After four the\u00admat\u00adi\u00adcal\u00adly inter\u00adcon\u00adnect\u00aded tracks, the Toots cov\u00ader \u201dPomps and Pride\u201d pro\u00advides a cheer\u00adful inter\u00adlude, before the beau\u00adti\u00adful bal\u00adlad \u201dIden\u00adti\u00adty Cri\u00adsis\u201d returns to more crit\u00adi\u00adcal ter\u00adri\u00adto\u00adry. In the Riff-Raff pro\u00adduc\u00adtion, Kez\u00adnam\u00addi con\u00adfronts the destruc\u00adtive effects of the social media world: screen addic\u00adtion, con\u00adstant self-pre\u00adsen\u00adta\u00adtion, cos\u00admet\u00adic surgery, depres\u00adsion\u2026 He does not shy away from remind\u00ading us of the Covid pan\u00addem\u00adic with \u201dSeri\u00adous Times,\u201d a sin\u00adgle that was released three years ago.<\/p>
After \u201dBlood\u00adline\u201d (2020) comes \u201dBlxxd & Fyah.\u201d An apt expan\u00adsion of the title, for while his debut long-play\u00ader was large\u00adly devot\u00aded to per\u00adson\u00adal themes, Keznamdi\u2019s new album is far more strong\u00adly shaped by social cri\u00adtique and polit\u00adi\u00adcal state\u00adments. More Fyah, indeed. The open\u00ading track, \u201dI Am,\u201d begins with acoustic gui\u00adtar, per\u00adcus\u00adsion, and touch\u00ades of vio\u00adlin and flute before the strik\u00ading voice of Keznamdi\u2019s sis\u00adter Kelis\u00adsa enters. In recent years, she has oth\u00ader\u00adwise large\u00adly with\u00addrawn from the pub\u00adlic eye, focus\u00ading on pri\u00advate life along\u00adside Chronixx. Kez\u00adnam\u00addi then imme\u00addi\u00adate\u00adly casts a wide arc, mov\u00ading from the mir\u00ada\u00adcle of birth through Adam and Eve, ancient Egypt, and the cru\u00adci\u00adfix\u00adion of Jesus, all the way to Haile Selassie. Kelissa\u2019s recur\u00adring vocals and the song\u2019s rhyth\u00admic struc\u00adtures lend it a dis\u00adtinct\u00adly African vibe.<\/p>\n\n\n\n
For the McDon\u00adald sib\u00adlings, this sen\u00adsi\u00adbil\u00adi\u00adty is nei\u00adther abstract nor affec\u00adta\u00adtion; it is root\u00aded in the fact that they spent part of their youth in Tan\u00adza\u00adnia and Ethiopia. The open\u00ader con\u00adcludes with orig\u00adi\u00adnal audio from a force\u00adful speech by Arikana Chi\u00adhom\u00adbori-Quao, for\u00admer African Union Ambas\u00adsador to the Unit\u00aded States, in which she sharply crit\u00adi\u00adcizes France\u2019s neo\u00adcolo\u00adnial poli\u00adcies and speaks of a secret \u201dpact for the con\u00adtin\u00adu\u00ada\u00adtion of col\u00ado\u00adniza\u00adtion\u201d between France and four\u00adteen African states. (Short\u00adly there\u00adafter, she would lose her post.)<\/p>\n\n\n\n
The theme of \u201dColo\u00adnial Bondage\u201d also shapes the sec\u00adond track, this time with ref\u00ader\u00adence to Jamaica\u2019s present con\u00addi\u00adtion and its his\u00adtor\u00adi\u00adcal foun\u00adda\u00adtions. This calm roots piece, tinged with dub\u00adby, jazz-inflect\u00aded tex\u00adtures, is fol\u00adlowed by \u201dRiv\u00ader Jor\u00addan,\u201d in which the singer revis\u00adits the his\u00adto\u00adry of slav\u00adery in Jamaica, includ\u00ading the absence of repa\u00adra\u00adtions, accom\u00adpa\u00adnied by Nyah\u00adbinghi drums and a back\u00adground choir evok\u00ading tra\u00addi\u00adtion\u00adal slave songs. Append\u00aded to the track is a rea\u00adson\u00ading record\u00aded at Sky\u00adline Lev\u00adels by Keznamdi\u2019s father, Errol \u201dChaku\u00adla\u201d McDon\u00adald, in which he calls on the Ras\u00adta move\u00adment to embrace greater uni\u00adty and more pur\u00adpose\u00adful orga\u00adni\u00adza\u00adtion.<\/p>\n\n\n\n
On the sub\u00adse\u00adquent \u201dNat\u00adty,\u201d Kez\u00adnam\u00addi crit\u00adi\u00adcizes the fact that some schools in Jamaica still refuse to admit chil\u00addren with dread\u00adlocks into their class\u00adrooms, fram\u00ading this as an expres\u00adsion of an endur\u00ading \u201dcolo\u00adnial rule.\u201d After four the\u00admat\u00adi\u00adcal\u00adly inter\u00adcon\u00adnect\u00aded tracks, the Toots cov\u00ader \u201dPomps and Pride\u201d pro\u00advides a cheer\u00adful inter\u00adlude, before the beau\u00adti\u00adful bal\u00adlad \u201dIden\u00adti\u00adty Cri\u00adsis\u201d returns to more crit\u00adi\u00adcal ter\u00adri\u00adto\u00adry. In the Riff-Raff pro\u00adduc\u00adtion, Kez\u00adnam\u00addi con\u00adfronts the destruc\u00adtive effects of the social media world: screen addic\u00adtion, con\u00adstant self-pre\u00adsen\u00adta\u00adtion, cos\u00admet\u00adic surgery, depres\u00adsion\u2026 He does not shy away from remind\u00ading us of the Covid pan\u00addem\u00adic with \u201dSeri\u00adous Times,\u201d a sin\u00adgle that was released three years ago.<\/p>
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