Tape Review : Kalakuti Vol. 1 By Illgod

Fela is the epitome of a Black Sheep who goes so far left and pans from the norm so hard that he ends up on the right side of history.

Although the rendition of an Egypt 80' performance draws upon elements of jazz and African folk to create a new form of music called Afro beats. The overall theme of his music : societal struggles, political struggles, acceptance of self, hedonism, allegories, personal beliefs and even the poetics in his use of language identified with us.

These values, or tenets, as the case may be, also constitute the bedrock of the Hiphop movement. Most are familiar with how Hiphop started as a politically polarising genre that defied pop of culture, but the thing about going punk and being successful with it is that the multitude would also want to go punk and this nullified Hiphop's punk status.

Kalakuti Vol. 1 is the direct follow up to Food by Illgod (Babatunde Moses), who has produced for Mode 9, Ruby Gyang, Oladips, PlasthicSlash, X-plain D Don, Timi Kay, Deelokz among others.

Illgod like Fela, an unapologetic boom bap producer whose sound finds its place in the golden era of Hiphop. An ever gritty feel that would feel at home in the boroughs of New York, waxed with heavy soul samples that are borne from numerous hours spent digging through crates of old Burlesque talents.

Fela's music and Hiphop are not strangers, J.Cole's self reflecting Let Nas Down featured a Fela's saxophone riff that taunted the drums and chords in its excellence. Accentuating his lyrics, spiced with the occasional 'migbo' that was sampled along with the riff.

Unlike Fela's energetic presence on stage, the beat tape takes a more relaxing but still thoughtful approach to his legacy and beliefs.

Illgod strips down Fela's instruments to progressive chords and hand percussions (Shekere), the occasional saxophone and trumpets blaring into your speakers. But almost never in unison to create a complete Afro experience. Rather, the drums fill the missing holes bringing a different vibe to the story. Did it work? Most times it did.

Kalakuti, a play on Fela's house 'Kalakuta' represents the process of music making, which, rather than the bustling magic witnessed on stage is mostly a therapeutic and slow process that is almost necessary for any creative process. 

So many women but still relaxing, an oxymoron in the making

Black Man's Cry reminded us of why Fela was admired by all. With mainly percussion that sounded like a peaceful protest of a million foot, the track features a sample of Fela smiling in the face of adversary, opening both wounds of nostalgia and a window to reminisce about this Abàmì Èdá.

Kalakuti remains urgent today as it was when Fela was alive. The image of Fela is frequently resurrected in our society, we have failed to eulogise him or even bury him for that matter. Rather we evoke him in our moments of civil disobedience, reflection and political insurrection.  And the relevance of this beat tape today comes with the sad realisation that we still fight the same problems Fela did in his short lifetime.

Score - 7.8/10

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Listen to Kalakuti Vol. 1