Ngamla325 – Haike 808(Nandipha’s Feel) [Single Review]

Today’s music scene is strangely dynamic, to say the least. With music being more accessible and international platforms making it easier for both visibility and inspiration to transmute, more possibilities can be dreamed of compared to the past. Think of the way certain movements of music have completely taken over the world, even surpassing native musical traditions. This can be a double-edged sword. Globalism can lead to a certain standard across the board, but it can also lead to conformity when it comes to an artist being willing to explore new genres and perhaps, even create their own.

This current decade has seen the rise of African acts to a level never seen before. Previously, especially in the 90s and early 2000s, specific acts from Africa had to be sought out by specific people to have a platform for their art. It was completely up to probability, even, with the infrastructure for music publishing and record companies barely there in a grassroots sense. Globalisation and increased living standards has certainly changed that, but even that statement is a gross over-exaggeration. African countries have had different stories and instances characterising their role in the modern music industry. Nigeria has had many ups and downs, so has Ghana- but I find South Africa’s role in this extremely fascinating.

South Africa, including the neighbouring countries in its region: Botswana, Lesotho, eSwatini and Mozambique, have all had degrees of varying histories as well as instances of similarity in their history, but they are all shaped with extremely rich musical and cultural traditions. Fast-forward to the 90s and we’re in the anti-apartheid age, where South Africa takes on the guise of house music. Influenced by up-and-coming house scenes from the Americas in the same time, it was quickly infused into local subgenres such as kwaito. These early songs may have sociopolitical lyrics and braggadocios visuals, but the essence of 90s house is quite apparent in all of these songs: the four on the floor beat, the use of electronic organs as well as the vocalisations. This did not fade away, as South Africa continued to follow the soundscape of electronic dance music as well as deep house as the years went on. Artists would go on to emulate deep house acts in the early 2000s, through geniuses like Black Coffee as well as Thula, and further their expertise in the field.

However, the late 2010s and early 2020s marked a crux in which instead of merely following genre lines, they started to invent new genres. Even though artists from the region were extremely proficient in following the standards of existing EDM acts, the creativity of the new generation, accessibility, and focus on an underappreciated instrument all bloomed together and culminated in the latest lovechild of South African electronic music: Amapiano. Amapiano was initially shunned by the establishment of European electronic dance music, being labeled as ‘too boring’ and simply not up to standard, as artists used to share and market tracks through WhatsApp. However, beating all odds, the sheer uniqueness of amapiano and the edge it presented seemed to not faze audiences. I admit, I am an ardent consumer of electronic dance music but everything that amapiano contains does make it seem superior to releases today. The depth and severity of the log drum give it a technological and militaristic edge. The melodies and chords seem to also be influenced by jazz, neo-soul, deep house as well as traditional Zulu syncopation. This leads to melodic variability with no metaphorical end.

In fact, South Africa’s sister countries have also come up with their variants of amapiano. One of the biggest names in the genre now, Uncle Waffles, is a Swazi-born DJ who produces all of her tracks. Her sound is simply distinct, combining all that is serious with the groove of amapiano itself. In Mozambique, another variant of amapiano emerged, within the boundaries of subgenres called Bique, Mozpiano as well as Sgija. Compared to regular amapiano, these subgenres involve more manipulation of the log drum, a higher degree of swing, as well as a willingness to experiment and go beyond the boundaries. I find that in most market-friendly amapiano acts, there is a lesser degree of experimentation, but when it comes to underground amapiano acts the level of musical variability as well as novelty matches that of the Mozambican variants. In fact, in today’s review, we will analyse a song from an underground amapiano artist called Ngamla325. The title of the track is Haike 808 (Nandipha’s Feel).

The song starts off with shakers characteristic of the average amapiano song. It gives the song an ethnic feel, but the prolonged introduction is usually stylistically placed to build anticipation. Shiny, calming chords enter the song every few measures, before the soundscape gets built up with more details and instrumentation. Slight swing gets integrated, before hypersaws subtlely paint a technological tone with the backing track itself. A chopped vocal sample is used to add more of a rhythm to the song itself, with the bass bouncing and giving the song a full sound. The log drum then enters the song- the star of the show.

I find the log drum in this particular track extremely significant as well as innovative. Not only is it layered and deep, the notes it uses also turns dissonant. This technique to me, really reminds me of Voodoo Ray by A Guy Called Gerald. The hypersaw in the background almost sounds like as if it is bouncing off of each other in a virtual plane, and this ‘back and forth’ bounce gets supplemented with an additional synthesized instrument that mimics the sound of a physical ‘twang’. There are also additional synthesizers in this track that amp up the dreaminess of the song due to its timbre, before it reaches another apex to the next choral sequence.

The combination of the slightly dissonant log drum, hyperfuturistic synth clips and the non descript vocals really give the song an edge besides its typical relaxing flare. The use of juxtaposition in this track makes it quite mesmerizing to my ears. The harsh ends of the track aren’t too harsh, and the dreamy/lounge flair of the track seems to work well with the dissonant aspects of the track. I also have not heard this particular combination of traits in any other amapiano song, which makes it very innovative.

Overall, if you’re someone who is deep in electronic dance music, prefer deep house and are exposed to regular aspects of amapiano, you are sure to love this track. I feel like this track even has potential crossover to certain audiences in the realm of classical music. It may seem far-fetched, but the only other genre that I can think of that pulls off such a ‘juxtaposition’ with themes of calmness and futurism as well as strictness is indeed, classical music. The stylistic dissonance also makes it where it is begging for such a comparison.

This track is a wonderful addition to the world of amapiano. I highly recommend this track, and this artist as well.

Score/Outstanding: Ngamla325 does a wonderful job with innovation and pushing the boundaries of amapiano by infusing musical and melodic aspects that are not usually done in amapiano songs. The song itself, is a testament to the core phenomenon of amapiano: infusing elements of strictness with elements of lounge. The song is very well produced, and a treat to your ears.

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