Artist Interview: Aubrey Wenya Banda, The Next BIG Thing?

“All things work together for good for those that love God and are called according to His purpose”, so the bible reads and is evidenced in Aubrey Wenya Banda’s life. Born 7 September 1988, he was raised by a strong single mother who passed away when he was only 9 years old. Adopted by his aunt and uncle (a minister of the gospel), God had provided for Aubrey a family that gave him the foundation he himself needed to become a minister of the gospel. Although he will tell you that growing up in church was “exciting”, he will add that he and his cousin Emmanuel didn't know much about God but they were never too far from the church or helping in their dad’s ministry in Kawale. If you ask Aubrey to describe himself he will tell you: “Am in the business of reaching out to lost souls, healing broken hearts and encouraging people in the faith.” I first took note of Aubrey on the social networking sites being promoted as a newly signed artist to 1 Lord. Immediately after this was the release of his first single “Ndi chikondi” and only recently was the second release “Nkhosa yosochela” (please find these tracks [and a bio] at http://www.reverbnation.com/aubreymusic265 before you continue reading if you have never listened to his music before). I particularly love the fact that 1 Lord continue to transform themselves and are able to branch out into different genres, in my opinion they are one of three labels that I recognize that are pioneering the “record label” scene in Malawi – they should continue conducting themselves in a manner that would enrich the music scene: signing, promoting and managing artists; directing their projects; developing production processes; organizing country-wide tours, events and shows; paying salaries etc. Aubrey’s voice is dynamic and his music is mature but his style is very reminiscent to Boyz II Men, in fact you will be able to pick it up in Aubrey’s music if you were ever a fan of that group. I believe that as he continues to add to his discography he will find a style that is original to him – I expect that his project will be a reflection on his vocal and songwriting abilities and less about his original style. However, the fact that he seems to be very influenced by Boyz II Men doesn’t bother me much on two points: 1) the target audience that his music is directed towards probably won’t care anyway, and 2) I guess this is where singing and rap are similar: I have seen many new rappers emerge with a style very similar to other rappers they used to listen to, but eventually shed that identity and forge their own – I believe that Aubrey will reach that place.  As you read this Artist Review, pay close attention to the part that Christian community plays in nurturing talent and God’s call; how people are able to come together into one person’s life and pour financially, spiritually, and motivationally into him.

What Was Your First Experience With Music?

Growing up, my big brother loved to listen to international RnB ,soul, and contemporary Gospel music and I would sit and listen with him. I loved to listen to Boyz II Men, Joe, Stevie Wonder and Smoke Norful…that's how I became a music addict hahahaha if that is the right way to put it. But, the older I grew, the more the Christ-centered type of music began to sink in me.

Who Do You Look Up to Musically?

When Rudo Chakwera came back from the USA, I was invited by her husband, Pr. Nick Chakwera to learn more about the music craft.  Pr. Nick is someone who saw greatness in me; both he and his wife are musical geniuses. We became great friends through time, and I am always excited and honored to learn from her. I remember and cherish the times I have spent with them; it has helped me to grow musically and spiritually. Whilst at Kawale – because now I worship at International Christian Assembly - I met someone who became my bestfriend, Yankho Mbidzi, and we spent much time with Gold Nyali who also introduced us to Thatcher – both of whom are also musical geniuses. These two people have taught me a lot of things about music. Gold Nyali and Thatcher introduced us to music like Jazz, Afro Jazz, pop, and piano lessons…I will always respect them. They shared their heart of music with me.

What or Who Inspired You To Start Your Project?

My producer, Sam Mjura Mkandawire, a true brother and friend and Pr. Nick influenced me on this project the most. I remember it like yesterday, Pr. Nick told me in front of a lot of young people at the national youth camp meeting that: “…it is high time you work on your solo gospel albums”, and I was convinced that it was the right time to get to work. God started opening up doors and we managed to raise some money. I and Sam Mjura Mkandawire got to work immediately; Sam played every major role financially, and he gave out his best and for that I am so thankful to him. Sam, who is also my manager, introduced my music to DJ Kali and he was impressed so he wanted to meet me and that's how I was introduced to one 1 Lord. DJ Kali is a wonderful man with a great vision and I have confidence that as we work together we will achieve more for the Kingdom of God. I was signed as a 1Lord artist and the rest is history. I expect the album will be out in January 2013. The title of the album is “Ndi Chisomo”.

Last Words…

I have been called to do many things but I have been created for one thing and that is to worship Him, and that is what I live and die for. He deserves the glory, not me. Every musician or artist must understand that when God calls you it is for his glory and we shouldn't grow wings but as He exalts us then we should be humble ourselves more.

A LETTER TO MALAWI HOLY HIP-HOP AND RnB

Dear Malawi Holy Hip-Hop and R’n’B,

            First and foremost, I love you. I only want to see you grow beyond our borders. I want people who speak Swahili to sing songs in your tongue. I want to hear people who speak Bemba and Nyanja become familiar with your voice. Remember we went from Malawi to Bolivia, Latvia, Indonesia, and even Malaysia? That is only the beginning. I believe that out of you shall flow rich revival into the rest of Africa and even the world, that’s how good you are.  

            I may have been harsh towards you sometimes but I was always truthful. I know that you will get better through time, you already are. That gown of quality you wear is looking clean but wrinkled; that beautiful necklace of creativity shines but some gems are missing; that crown of determination fits only on your head if it is propped up just right; but the shoes of the gospel of peace fit your feet perfectly and for that I celebrate. However, I think that the gown could be immaculate, and that necklace can be re-jeweled. Others are happy with you as you are, but I am not satisfied because I know you can be so much more. See how when I brush your hair people will say “but her hair is already straight”, and when I wash your face people will say “but you have been wiping that spot ever since”. It is not unspiritual for anyone to say you must improve, but I have been called ungodly for pointing out blemishes, spots and wrinkles; and I have been patted on the back for highlighting your mascara, your beauty and your grace. Some say there is nothing wrong with you, but if there is nothing wrong then why is there such insecurity harbored in your heart? Why do you fight yourself? Why doesn’t your music grow outside of us? However, I am glad that many see you as I do and desire for you to look beautiful for your Maker, his name is “The Maker of Music”. Remember when we went to Russia and India? I hope people there managed to capture pieces of you and keep you close to their hearts. Remember when we told people about Nyali Musik in America? Or the time we spoke to listeners in the U.K about 1 Lord’s mix-tape? Those were great times.

Many people are not yet ready for the changes that have to be made, but then I remember that you once held my hand and encouraged me to live a godly life; I remember that through you many people have been saved including those that want you looking beautiful just like I do; and I remember that The Maker of Music made you to glorify Him, and so you must improve. If you continue the same way you are then I doubt you are as alive as you claim to be. We can’t be content with you as you are, especially since you have so much potential. These salons (others call them studios) where you go to get yourself together can learn new and different ways of dressing you up, ways to bring out the detail  in your beauty. A friend once told me “these days it is not expensive to get good service – it takes a willing heart.” I have seen small hair-dryers do just as good a job as great industrial hair-dryers. You don’t need lots of money to look good; you need enough money but a lot of determination.

I am glad your lips are lined with so many artists draped in the deep red blood of our Maker like lipstick. I am glad that even though I couldn’t find a spot on your mouth, I found a place on your finger like your ring. Sometimes you raise me up towards your lips to remove the smudges and blotches, but only so that you look as beautiful as you really are. All these “labels” that you wear account for nothing. Some call them Record Labels but I call them designer. They look good on you, we need them, but they could be better. You don’t have to impress me with your Gucci and Prada, impress me by having the capacity to humble yourself and being accountable while you wear your labels.

            Thank you for reading my love letter, my dear Hip-hop and r'n'b. Please make more music. I will be there to enjoy you, hear you, commend you, encourage you, but also correct you. I will be there to honor you with truthful reflection as a mirror. I will be there to take you where I can. I am here to pray for you, to bring more people to "The Maker".  Forgive me when I wipe too much or too little. Forgive me if sometimes I am too lazy or too enthusiastic – I make mistakes. “The Maker of Music” says you are doing a good job and my only hope is to serve you well. Every one of you who is lined in those lips, God has anointed you, never doubt that. Keep to him and He will keep to you.

Yours in love,

Concerned…

THE GOOD, THE BAD, THE UGLY of DAVID'S EXODUS:THE PREVIEW

Lyricism: 3.5 / 5

Style of Delivery: 3.5 / 5                                                                                  

Content: 4 / 5

Musical Production: 4 / 5

Quality: 2.5 / 5

Arrangement: 2 / 5

Concept: 3.5 / 5

Originality / Creativity: 3.5 / 5

This is an in-depth review, it is approximately 1800 words “too short” but I do not babble about, I offer my best evaluation of what I think is a defining album in Malawi right now both in the secular and gospel spheres and in the international and local circles. It will take you 10 minutes to read but i am sure it will enlighten you. Please enjoy and be informed…

The Good…

Before we begin, you might have noticed that the first single released for this project does not make it on the album, a track titled “The Return”. David had it removed so as to avoid controversy that had been circling it and would have clouded the overall message of the album which is far more important, and I agree. First of all, the intro prepares you well for the musical diversity of the album. A hip-hop album that kicks it off with rock is far from conventional; it’s original in Malawi, and creative. James Ryle’s hoarse voice captivates the listener for a crucial message: the new generation shall reach out to many through music. The second prophecy is by David himself that through Malawi, the warm heart of Africa, shall flow rich revival. The intro was 3 minutes too long, having said that I cannot foresee it being shorter than what it is without watering it down but an intro is supposed to be sweet, short, and preparatory. “Exodus pt.4” and “Redemption” are two songs in this album where David exercises great story-telling ability. In “Exodus pt.4”, David kills off Stix in dramatic fashion but the song with the greatest depth if you have the insight to see it is “Redemption”. A story of a young bright man named Taucha (a play on the word Chauta meaning “God”) who has a son born to him, his “one and only begotten son” Sankho whose mother, Mary, dies in childbirth. Taucha’s son, is brutally murdered on his 33^rd birthday and at this point in time the listener should realize that the murderer is you and me and Sankho is a play on Jesus (Sankho meaning Chosen One or Messiah or Christ). Taucha the judge clears the murderer of all charges and forgives him for killing his son who “looked just like him” and did everything his father used to do. Taucha goes one step further and adopts his son’s murderer as his own son – this is quite simply a story of…redemption. YOU READ IT HERE FIRST: there will be a Redemption pt.2 and pt.3 including a book that David himself will author.

David also shows us he is a capable songwriter. He wrote all the music that you hear in the project and enlists the voices of Lawi, Jonathan Tembo and Tarrita to convey messages that are wholly his own. In “Euthanasia” more than 75% of the song is sung by Tarrita and in “Your presence” David’s words are well sung again by Tarrita; David does not even feature at all vocally on the song but his input is first hand. “Your presence” has a powerful message throughout but towards the end of the song: “how will they know that you love us? /how will they know that we are your children? /how will they know that you chose us? /how shall they see that we are your children?” (sang in Chichewa) is simply answered by the phrase “Your presence”. It is God’s presence with us that separates us from everyone else. In an industry where many can sing wonderful gospel music but not be in a relationship with God, it is only those artists who have the presence of God with them that are validated as God’s own children and chosen ones. Furthermore, David himself sings in the concluding parts of “As you grow” and on the hook for “Alipo” where he is backed by Tarrita. Artists should push the envelope when it comes to their art. I personally know that David had vocal training sessions so as to carefully express himself musically. Even though he kept to low notes it showed artistic variety. David also switched it up with his rap style in “Alipo”; and he altered his tone for his first verse as “Joseph” in Exodus pt.4 enough that my 13 year old nephew asked me who Joseph is – that’s good “rap acting”.

Listening to projects like “Amped” by 116 Clique, you will see that the concept of taking music that has been previously released in other projects and re-releasing them with different instrumentation is not new and is a successful means of conveying messages. Whilst not many will like the fact that at least 30% of the songs in this album are not “new” we must realize that there is a much bigger audience now than when they were first released approximately 5 years ago, and David’s target audience is also international hence the cameo appearance by MC Jin. There are newer listeners who are listening to Exodus pt.1 for the first time! Furthermore, the creativity of the instrumentation is clever and I absolutely appreciate it although I do not want to encourage “track-recycling”. 116 Cliques “Amped” is different because it was exclusively a remix project so you knew what you were getting, but a new project with old material is like sewing an old patch on a new pair of trousers, or new wine into old wine-skins. David upholds he didn’t want to call this project an album in the first place but a “preview” into him as an artist and what you can expect from him in the upcoming years.

Perhaps the most musically creative song and the one with the greatest probability of emotional transference is “Ulendo”, a most fitting tribute to the late Wisdom Chitedze. A fusion of at least 5 different songs coming together effortlessly, providing one of the best songs of dedication I have ever heard. In addition to this, David utilizes very few but effective features with Lawi, Tarrita and K.B.G. These artists match David artistically and I’ll use this opportunity to talk about haphazard features. Much of the features in Malawian music are poor, you have inconsistency that is not stemming from style but inconsistency in delivery, content and discipline. There are very few features in Malawi music where we can say that the artists complimented each other. Features also have the ability to break or make a project.

..The Bad and The Ugly…

The first thing I noticed is that track-transition is not smooth. The change from one track to another is hurried and as a result the track you are listening to ends prematurely and the next song starts with a chunk of the previous one. The track transition on I-tunes was easy but poor on other players like VLC and even worst on Windows Media Player. An album should have a universal nature: I played this album in the car and it was “drastically” different from when I played it off my ipod and although the quality is far improved from “The Lost Tapes”, there are still quality woes and most of them are evident in the older songs which were revamped for this project. Some of the problems are too technical and maybe only other producers will pick them up, things having to do with decay methods, periodic effects, equalizers, 3D sound-fields etc are things that I won’t look into but certainly needed work on some of the songs on this album. David is still an unsigned artist and I believe that there will be international record labels out to sign him and when they use his music as demo’s they will be able to discern and expose the smallest of quality blemishes with their expensive speakers, this could determine a lot for him. Apart from that, we as listeners also deserve the best. Others will feel as though all this noise I make about quality is too much and they will say: “at least the message is being preached”. I think that particular attitude reflects how you feel about this “message” you preach. The secular industry gives out their message with such care and due diligence but our message is more important and highly esteemed! I think we must capture an aspect of God in our music, and that aspect is excellence. I am not too happy with song arrangement. Personally, I prefer an excited high tempo start to an album and it progresses towards a slower paced melodic conclusion. Psychology plays a large part in song arrangement and it prepares a listeners mood and levels of apprehension. “Redemption” is the 2^nd track on the album but it is slow tempo and very deep – I think it should have been placed mid-way through the album. I imagine after having jived to “Alipo” and “Psalm 51”, for example, I would be mentally and emotionally ready for “Redemption”. Another idea I want to talk about is the idea of “the launch” versus “the release” and I am not playing with words because they are not the same thing. Malawi is characterized by the “mix-tape launch” or “the album launch” and we need to gravitate away from that “culture”. A healthy release looks like this: the album is submitted to the public and disseminated, along with tour details for tour dates and concert venues. At “launches” we are introduced to music that is new to us and we are expected to sing along! The rapper stands in-front of a crowd that can’t sing along or fully enjoy the music because it is foreign to the audience. As a result, concerts are dry. Thereafter, the project is forgotten after a month and expected to gain public ground by itself. The release acquaints people with the music before concerts so that when the tour begins people know the music and can give artists sufficient feedback on stage. I am glad this project was released in a professional manner. Lastly, it is just as well “The Return” never made it onto the album because all the songs will NOT fit onto audio CD as it surpasses the storage capacity range. I suppose this is poor foresight on the part of planning on CD production especially since there were plans to include skits onto the CD version of the album.

I offer words of commendation to David for his work ethic. For being completely in control of the creative direction of his album including its technical aspects – sitting down and telling his producers and engineers exactly what he wants and being present for the engineering processes behind the music. This is work that shouldn’t be surrendered into the hands of people who are only there for support service, if you are an artist you must be wholly in charge of your project development. I am waiting for his up-coming projects, if you do not know them yet then Sharp Iron gives it to you first: The Lost Tapes Vol.2; Spirit Filled Vol.3; and the Sleeping Giant (not to be released in this order). I hope material in these projects will be wholly new which will offer David the opportunity to show us that he is able to continue setting standards in music, secular and gospel, international and local.

To download music from Exodus: The Preview:  http://www.malawi-music.com/artist/D/167

To view the Arise Inc. Website:  http://www.ariseincmw.com

SOME INFO BEHIND THE SONGS ON DAVID'S EXODUS:THE PREVIEW

Check out who was behind what on Exodus: The Preview while I continue typing up a very difficult review! lOOK UP YOUR FAVORITE SONG and see who produced it, mixed it, and where it was recorded. Sharp Iron Review Exclusives…

1.       After His Own Heart – Ft. James Ryle & Scott MacLeod (prod. & mixed By Scott Macleod. Vocals by James Ryle)

2.       Redemption – Ft. Taritta – prod. Michael “Dynamike” Munthali. Mixed by Q Malawezi. Vocals by Lemekezani Phiri

3.       Euthanasia – Ft. Taritta – prod. Lawi. Mixed by Q Malewezi. Vocals by Lemekezani Phiri

4.       Exodus Pt. 1 – Ft. Taritta & Lawi – prod. by Lawi. Vocals by Yosephe at MC Studios (area 36). Mixed by Lawi

5.       Nyambo – Ft. K.B.G – prod. Divine Sense. Guitars by Habib Koite. Recorded and mixed by Dominique “Dominant 1” Sangalakula.

6.       Exodus Pt. 2 – Ft. Lawi – prod. Lawi. Vocals by Yosephe at MC Studios (area 36). Mixed by lawi

7.       The Ultimate Leader – prod., Recorded and mixed by Dominant 1

8.       Exodus Pt. 3 - prod Arthur Phiri. Recorded and mixed by Dominique “Dominant 1” Sangalakula.

9.       Community – prod. God’s Favorite. Recorded and mixed by Dominique “Dominant 1” Sangalakula.

10.   As You Grow – Ft. Lawi & Taritta – prod. Lawi. Recorded by KBG and Lawi. Mixed by Lawi.

11.   Your Presence – Ft. Taritta – prod by Q Malewezi. Guitars by Sam Mkandawire and Faith Malemya. Mixed by Q Malewezi. Recorded by Lemekezani Phiri.

12.   Psalm 51 – Ft. Jonathan Tembo – prod. Ralph “Crossover” Nyirenda and Dominique “Dominant 1” Sangalakula. Mixed and Recorded by Dominique “Dominant 1” Sangalakula.

13.   Hold Me – prod. Bassick. Recorded and mixed by Dominique “Dominant 1” Sangalakula.

14.   Exodus Pt. 4 – prod by Dominique “Dominant 1” Sangalakula. Keys by Taritta. Recorded and mixed by Dominique “Dominant 1” Sangalakula.

15.   Alipo – Ft. Taritta – prod. Arthur Phiri. Recorded by Lemekezani Phiri. Mixed by Q Malewezi.

16.   Ulendo – Ft. Lawi – prod., recorded, mixed by Lawi.

17.   The Epilogue – Ft. Taritta – prod. Lan’ga “L-Boogie” Maplanka. Recorded by lemekezani Phiri mixed by Q Malewezi.

Li-Wu, Malawi's IGNORED Treasure

Artist: Li-Wu

Album: Word Was Born

Lyricism: 4 / 5

Style of Delivery: 4 / 5                                                                                      

Content: 2.5 / 5

Musical Production: 2 / 5

Quality: 1.5 / 5

Arrangement: 1 / 5

Concept: 2.5 / 5

Originality / Creativity: 1.5 / 5

Li-Wu in Chichewa means “word” and when “word was born” was released in 2009 the whole of Malawi fell asleep and missed it altogether (including me). In-fact, when the “Word” was born over 2000 years ago “His own did not recognize Him” either. But can you blame Malawi for having missed this album? Poor promotion probably led to its downfall. With features from a younger Delegate (who apparently sounded like Swoope), and a bi-lingual K.B.G providing one of Malawi’s important but largely ignored albums.

Jeremiah “Li-Wu” Chienda is a lyrical genius with almost little musical creativity, and I will explain why. I made a personal decision not to review any project older than 3 to 6 months ago, but “word was born” is different. Malawi failed to get a hold of one of its most pivotal projects to date but can you blame her? Whilst the album was on a different platform entirely when it came to lyricism and delivery, it was poor creatively with at least 60 or 70% of the songs not having any hooks. In-fact the first track with a hook is a track titled “Read your books” and comes in only at track 7; a crunk beat with a chopped and screwed hook which is unclear to understand but you forgive it because you’re relieved there is a track with a hook. I do not know if he is intentional in not having hooks to his music but there is a reason why I believe it is poor creativity: despite his awesome lyrical ability it becomes mentally exhausting trying to keep up with him; and while it is impressive to hear him unravel bar after bar consistently without missing a beat with punch-lines that actually accomplish their purpose in conveying the message without being corney, the song doesn’t feel finished because it lacks something to keep you coming back. And you really don’t come back. You’re liable to hear the album through once and therester VERY selectively. The idea of the “hook” is very important because as the word suggests it is something that “catches” the listener. Another reason I feel as though Li-Wu is not musically creative with hooks is because of his mix-tape “before the answer” (released 2011) which is similar in that way too: it has no or very few tracks with hooks!

“Presidents elect” (track 5) has a great concept where he uses presidents the world over to illustrate the point that Jesus is president of presidents – very nice, you must listen to this. There are also some great features in this album: “Victory anthem” features Delegate, and “Maganizo anga” which features Purpose - both are good for tweaks and re-releases. However, the best feature in the album goes to “Why we do” with K.B.G who delivered well in both English and Chichewa – this track certainly has to be tweaked and re-released! A back and forth between K.B.G and Li-Wu about two rappers, one “secular” and the other a “gospel rapper” provides a humorous but insightful song into values and priorities and where you lay them. There are also very dreadful songs (and I don't say that lightly) like “Morning star” which has less than standard vocals from Lu and dizzo, and the instrumental doesn’t fit at all with the content, mood or attitude – a fly in the ointment for what is otherwise a jaw-dropping album! “Nthawi zina” is another victim of poor vocals although I think this track has to be re-released with better vocals and at least a 2^nd and 3^rd verse, it has to be given more flesh because it has the greatest potential to blow a listener away. Li-Wu gave a very great rap on this track and the instrumental fit like a good shoe.

This album shouldn’t be missed and that’s why I review it, so that you can get it and own it for you, it’s a collector’s edition because you can trace it back to some important Malawi hip-hip gospel roots. The second reason is that it is a "rappers textbook" - if you are a rapper you ought to own this album for an educational experience. Finally, I also write this review assuming that Li-Wu is reading so as to encourage him that his lyrical gift shouldn’t be quenched and I eagerly anticipate his up-coming album “Yankho” (still awaiting release dates for that). I believe he needs to get in-touch with some very creative people which is why it is good he is label-mates with K.B.G and Delegate, but I think input from Q and Lawi is something that could give this phenomenal lyricist suitable creative direction. If you have never listened to “word was born” then get it now!!!

DAVID TALKS ABOUT THE "CONTROVERSIAL" ON THE UP-COMING ALBUM "EXODUS THE PREVIEW"

                 David is never one to shy away from controversy; sometimes you might think he actually aims for it, and when he shoots he doesn’t miss. However, hip hop music is at its best when it is infused with life experiences and whilst some aspects of it might be deemed “controversial” I am sure that David doesn’t intend for it to be that way. David started making music at the age of 15, and on 26 December 2012 He would have turned 30 and this project serves as a “preview” into David as a believer and an artist as he vows to begin to express himself fully in a musical sense. This project, especially the “Exodus” themed tracks, speak on David’s growth as a Christian and showcase his walk with God through the years: from opportunities that he let go for the purpose of gaining God, to the ministries he let die for the Living God. In this INTERVIEW David talks about 6 songs that are on his up-coming album "Exodus: The Preview" on the basis that they may be looked at as “controversial”. The reason behind the interview is to liberate them from the weights of controversy because the songs carry important messages that might be missed if they are looked at as controversial. The songs include:

·         Exodus Pt.2

·         Exodus Pt. 3

·         As You Grow

·         Exodus Pt. 4

·         Ulendo

·         The Epilogue

This is not a review; this is an interview and it is the most “in-depth” I have had. The content is rich, extensive, and insightful and you are in for a good but informative read. At its conclusion you shall have other important information like a sneak peak into initial Tour Dates, selling points for the album C.D’s, and information concerning the Arise Inc. website to be launched Friday 16 Nov at 12PM.

Exodus Pt.2

                After I became Christian I stopped making music for about 2 years (2004-06). I was completely isolated from music – music videos, radio, C.D’s, everything; I burned my whole C.D collection which at that time amounted to more than K50, 000. This for me was like when Moses went up the mountain to be alone with God, just to have intimate fellowship with Him. I let go of the very thing that I had idolized. After 2006, God allowed me to step back into music and I was encountered with the secular rap scene and I was devastated, in fact, I was infuriated. I was face to face with the very thing that I knew God called me away from. I saw the secular scene which had now become the golden calf and all these rappers were worshiping it. Like Moses, I sought to bring people back to the love of God and I decided to do that through Exodus Pt.2. The point of contention in that song is that I mentioned the names of people that God had laid on my heart to reach out to. People thought this was a diss track but it was far from it; I sought to help people see the truth. If I wanted to do a diss track I would have done it properly because I used to live like that as Stix before I was saved: I battled N.I.C on radio 101, I took part in many ciphers and countless rap-battles; I used to sharpen my skills lyrically in rap battles, so this was nowhere near a diss track. A diss track is supposed to destroy someone’s reputation but in Exodus pt.2 I sought to build them up and bring these people to the love of Christ. The reason why I re-released Exodus Pt.2 is because the attitude and the message behind it is timeless even though the situation surrounding it has changed.

Exodus Pt.3

                Many people thought I should never have done this song because it was an apology to the people I had mentioned in Exodus Pt.2. Jolly Bro, a secular rapper in Malawi actually said to me: “Exodus Pt.2 was the truth and the truth needs no apology and 90% of secular rappers in Malawi are sinful and sad and need someone to tell them the truth”, and many others shared this sentiment. However, I had a conversation with Physix, another Malawian secular rapper, and he told me that many felt judged by Exodus Pt.2 including The Daredevils, and Tay Grin. In fact, Insight had opened a Facebook group page so as to discuss the song and he felt as though I had condemned many to hell and myself to heaven. So I told Physix why I made the song in the first place: I felt like Moses who grew up in pharaoh’s palace which to me was hip hop. Thereafter, God took me away from it and into a “dessert”, and then when he brought me back I was able to see hip hop for what it really was: God-blaspheming, lustful, sinful etc. So I made the song so as to help these people see secular for what it is. After that, God took me back up to the “mountain” to be alone with Him again; God reminded me that I was just like them: blaspheming God and worshiping the hip-hop idols. But Romans 5:8 says whilst we were yet sinners God showed his love for us in this way: he sent His son to die for us. So Exodus Pt.3 is a song that highlights God’s love for the people who felt judged by God. I personally went and visited everyone I mentioned in Pt.2 and told them the truth and how I felt. Just like Moses, I turned to God to intercede for these people.

As You Grow

                When I applied to the African Bible College (ABC) I pulled out of music again and Heart- Core Music was laid to rest. Heart-Core Music was a record label that I had set up earlier and it consisted of artists like Dj Kali, Crossover, K.B.G, Gino, Kinetic, Marvel in Christ, Taritta, Grace Alumni, and a Live Band called “36-26” (from the book of Ezekiel). Whilst the label was at its peak, God convicted me that it had become an idol and so God had me sacrifice it. In my time of isolation when I had just joined ABC I saw that this time it was the gospel hip hop scene that had deteriorated – music ministry had become the golden calf, including the gospel music scene where people were doing it for money, fame, to entertain etc. So this song is to the Church what Exodus Pt. 2 was to the World. In fact, As You Grow is really like another Exodus Pt.2. Whilst I got into trouble with Exodus Pt.2 for mentioning names, I got into trouble in “As You Grow” for not mentioning names. But this time the song was a reflection upon me also and Pastor Sean addresses the issue perfectly. (Please find Pastor Sean’s quote in the Sharp Iron Review dated 06/11/12 “Da Litespeax – Points Fingers and Mentions Names).

Exodus Pt.4

                I remember a specific “Gang-It-Up” outreach in 2007 where Songe Madise, Gome Saka, Chim Chisiza, Slessor and more than 50 others came to Christ. The following day after the event, we were having counseling sessions and a young guy approached me and said that I was his idol and that he followed me since my old days as Stix, but God used me to tell him that Jesus is the one to be idolized and emulated. On that day I realized that I had hurt many people as Stix, and this was source of inspiration for Exodus Pt.4. In the song there is a fan named Joseph who writes a letter to Stix in the first verse. Stix features on this song on the second verse and he responds to his fan. On the third verse I, as David, respond to Joseph and all the other fans as represented by Joseph. MC Jin concludes with a message for all the young people in Malawi (he was signed to Ruff Ryderz under DMX and label mates with Swiss Beatz and E.V.E; he featured in movies like 2 Fast 2 furious, and has recently done songs with Da’ Truth and Ambassador). Mc Jin wrote an email to me on the 22nd of October 2012, telling me that he listened to As You Grow and is praying for the gospel hip hop movement in Malawi and could hear my heart in the song

Ulendo

                                Ulendo is a song dedicated to Wisdom Chitedze as a tribute to him. Many people asked me why I did not do a tribute to him during the time of his death, but one thing that people don’t realize is that I was going through a grieving process too. It was an emotional time where people would not have received the tribute as it would have been intended – it would have been forgotten as soon as it was released. Musically, this song is going to outdo 95% of the other songs in the project and it is 5 different songs in 1, a fusion of different genres, including songs by Wisdom like “Linga Langa” – I am very excited about this song. Wisdom even discusses things that happened to him two or three weeks prior to his death. I have been in talks with his mother and wife and there will be a huge memorial concert next year with Peter Mawanga, Q malewezi, Shadreck Chikoti, God’s Favorite, Sally Nyundo, Barry 1, and many more, including Wambali Mkandanwire (whom I am yet to approach). All proceeds from the event will go to his mother, his wife and his two sons. In addition to that, there is a book that is going to be published that Wisdom wrote before he died and there are unreleased songs that are going to be released at the event as a Compilation Album featuring “Wisdom and friends”. If there are any who want to be involved with this event then please let me know. You can email me at jkalilani@hotmail.com or twitter me @everviday. 

The Epilogue

                This is my favorite song on the album. Epilogue means “last word” and these are my “last words”, my last will and testament recorded on a song; it embodies all that i could ever say in any song at the end of my life. It discusses my funeral. I feel like the apostle Paul when he said “to live is Christ and to die is gain”, when to die is to go and be with Christ. It’s my best work to date. Culturally as Malawians we have a fear of death and I know many people will see this song as contentious because I talk about it as though it were a welcome thing. The very traditional and the very religious are not going to agree much with this song but I  feel I have come to it with a fresh biblical perspective.

EXODUS: THE PREVIEW DROPS TOMMOROW FRIDAY 16 NOV AT 12PM. WATCH ALL YOUR SOCIAL NETWORK SITES FOR THE DOWNLOAD LINK!!!

Tour Dates

·         23 Nov Exploits University (Lilongwe)

·         24 Nov Chanco (Khetwayo “Character” Album Launch)

·         23 Dec Blantyre youth centre

Selling Points (Only Available From 23 Nov 2012)

·         Blantyre: Blantyre Baptist Church (Lusayo Mhango 0999298171); Word Alive Ministries.

·         Mzuzu: Word Alive Ministries (Pr. Reuben and Zohra Matundu’s home Church 0999989991/0991833475)

·         Lilongwe: City Centre: Flavors Café @British Council; Lilongwe Market; Crossroads BP Filling Station; Bwandilo Barber Shops; Mtendere Superette Area 47 sector 5 near Zodiak.

C.D’s will include 3 hidden tracks and skits that the digital download will not have. Also, the C.D will have an in-lay containing song lyrics and other information.

Website Launch

        The link to the new website will be put out on all social networks on Friday 16 Nov at 12PM along with the link to the album download. The new website will have features like exclusive material on Arise that you won’t get anywhere else: music video, pictures, concert dates. Also there is a promo for Spirit Filled Vol. 3 where the front album cover is going to be showcased…and it is coming soon. David’s bio and eventually all the other artists being managed by Arise will be uploaded; an exclusive interview with David; and a bonus track that wont be on other sites will be available for download. For now please visit:

·         www.malawi-music.com

·         www.Davidkalilani.bandcamp.com

LEAKED!!! "EXODUS: THE PREVIEW" TRACKLIST

PLEASE KEEP WATCH FOR THE EXCLUSIVE INTERVIEW TO BE PUBLISHED TOMMOROW!!! ALL HERE ON SHARP IRON REVIEW FIRST!
THE "???" MEAN "HIDDEN TRACKS"

Zambia's Pompi - Is He Any Good For Africa?

                Good music is like a good African meal. The fungo from the spices, the red-orange colors in the msuzi, the textures, the flavors, and the consistency. Think of the nsima as the songwriters lyrics – this is the main dish and preferably the nsima has no lumps. Think of the nyama as the beat and each cut of beef are the instruments; the nyama compliments the nsima. Think of the msuzi as the vocals: the alto, soprano, bass, and tenor. The msuzi doesn’t run and it doesn’t stick. You also need masamba: boiled just right – that’s the quality in the mix and master that ensures that the beat and the vocals blend effortlessly into…POMPI!

                Chaka “Pompi” Nyathando is making waves in his country and the ripples are being felt here in Malawi. He has topped the itsretunes chart recently (please check out http://www.itsretunes.com), and I am sure he is topping other charts also. I first heard of him in “Chipolopolo” which was an ode to the Zambian football team that won the Africa Cup of nations. More precisely I watched the video but I took no notice of him because he disappeared thereafter only to re-emerge with a new single titled “Packaging” (a song that expresses that the “quality” is inside the package and not the package itself). Whether or not he released other singles between the two is something I do not know. Packaging, however, was not enough to turn my attention. Certainly a very mature song with great creative direction but I think if someone seeks to make their presence known then you do it with a sucker punch of a song that completely takes everyone by surprise. Packaging lacked a certain “sting” in its punch; it was too mellow for me. But I did notice that the response around me was mixed: others felt the way I did, but the majority absolutely loved it and couldn’t stop talking about it. After this he released two more tracks: “No rent” and “Giant killer” off his up-coming album “Mizu” (drops 8 December 2012) and that’s when my ears perked up (go to http://www.soundcloud.com/pompi to get free downloads of these tracks). These two singles that follow up Packaging are the right and left uppercut on my chin that I was waiting for. Giant killer had a reggae flavor to it with an atmosphere of spiritual assurance that in God you are an over-comer or more than a conqueror. With lyrics like “Cool, calm, collected, standing in-front of a charging army/ooh yes I reckon 007 got nothing on me” and “Paliponse posanka ndeu ungasankhe ine?” had me feeling strong in God indeed. His other single “No rent” featuring Magg 44 is for the love birds. I absolutely loved the mood. and Magg 44’s rap stayed true to the easy flow of the track. I think Pompi’s lyrics somewhere had referred to the girl as a “chithumbuwa” so you understand that the song is also supposed to be charming in its humor. For a more in-depth review into the two singles please see kifalme’s website which helped excite me for Pompi (check out http://www.kifalme.com).

                Chichewa is very similar to Zambia’s Bemba and more so with Nyanja so people here have the luxury of understanding much of what Pompi raps and sings in his songs. Although I do believe that even with a language barrier listeners would still love the feel of the music. Kifalme writes in his blog that Kenya is dancing to Pompi’s music even though they do not understand some of the words that he is saying. I honestly believe the world over is ready to embrace, and are already embracing music that isn’t in their own language. I encourage Malawian artists to embrace their mother tongues, there is no approved formula that your music will go international if you sing or rap exclusively in English, especially if you are not comfortable with it. Concerning Pompi’s content, in Malawi's perspective many will feel as though it is not easily identifiable as “Christian”. Which is not wrong per se, it is just where our contemporary urban gospel music roots are laid: we are a didactic type oriented people (albeit the music scene continues to transform with new and exciting ways of expressing the Good News in music). In-fact, Geo Musiwa writes and I agree: “Many tend to criticize and protest that Pompi’s message is not the “Gospel”. I find it necessary to object such thinking because I believe it is not mandated for every Christian music artist to be an evangelistic preacher “in your face”. Are not some teachers and others encouragers?” (Please check out http://www.geomusiwa.wordpress.com). I have found that his music is Christ influenced, very encouraging, and I am able to enjoy it as Gospel music through and through. I am afraid that his album might be thoroughly mellow and therefore monotonous. Pompi has found himself musically as a “low-note” singer and seems to favor laid back instrumentation. If the album is thoroughly mellow it might be “boring”, but if he mixed it up as he did with singles like Giant killer and used features like he did with Magg 44 then we are all in for a great time. I want Malawi to get excited for Pompi’s project and for Africa to become united musically. I want to see our music spread across the continent and one of the first steps towards that is to embrace the rest of Africa’s music.

DELEGATE RELEASES NEW MUSIC VIDEO AT 7PM TONIGHT!!!

Artist: Delegate

Directed by: Jeremiah Chienda and Jeremiah Chikhwaza

Nyali Musik Mix-tape #breakthesilence 2012

“EXTRA EXTRA – READ ALL ABOUT IT” yells the boy who stood by the corner of the street selling newspapers. Earlier that morning before he left for the vending stand he asked the newspaper editor “Sir, do people really want to know?” The newspaper editor looked back at him candidly and replied “Son, people want to know.” That morning the little boy sold all his newspapers in an hour and he wondered why. He couldn’t read so he didn’t know what people were excited about so he asked a passerby what the news read and that’s when he learned that the Berlin wall had fallen! Generally, people want to know something new! That’s what every one chases after: new information; different information; exciting information. This information that Delegate (and every other minister of God) wants to put out is, as Delegate says: “all about Jesus”. People have been sharing the Good news for centuries, others with the best of motives and others with the lack thereof. People have also been excited by this news; it has changed lives and brought peace and fulfillment to hundreds of millions. In addition to this, no one can disclaim the fact that this news is very different. Yet the question remains: “Why are people resistant to it?” and I offer my best explanation about this by using the illustration of “the brick wall” but that explanation is for the second paragraph. However, I am glad that I get to review another music video; it really is a welcome change of pace to our Malawian music scene and my hectic week. The video really pumped me up and got me excited again for Malawian hip-hop gospel. On this occasion its Blantyre based rapper Jeremiah “Delegate” Chikhwaza who puts together every possible resource to dress up his solo effort on the Nyali Music Mix-tape with basic but hard-wrought visuals. Why should you see this video? Because it is new, different, and exciting news.

                The first scene to catch my eye is an effect that tinges everything deep red as the sun passes in the background just a few seconds into the video. Initially, it’s visually fantastic, so much so that I wanted to read something spiritual into it (ha-ha-ha), but I really shouldn’t read anything into it that wasn’t intended by the creative directors who just so happen to be Li-Wu and Delegate himself. The effect is not complex but it is effective to catch your attention if you’re excited for the video like I was. There is, however, another element to the video that I shall read into and I briefly made reference to this in the first paragraph: “the brick wall”. The brick wall features in almost half the scenes in the video that was shot entirely at Sunny-Side (with some scenes featuring blue screen backgrounds); the wall has raw graffiti sprayed across it. A really artistic set prop that will help me support my point that whenever this “news” people should know is preached [sometimes] there is a “wall” which has stood for years with raw lettering and even steel re-enforcing that keeps the receiver from truly understanding the news that he has been given. This wall like the Berlin wall is also capable of falling. 

                Unfortunately, there are very few scenes in this video and when you see 1 screenshot you will feel as though you have seen them all. There was a need to capture different scenes because it provides freshness. People want to see a video that has variety. Also, this video needed to have many cast members involved other than the number that was available so as to nicely solidify the atmosphere of “people” wanting to know. In-fact, the original plan was to have a sizeable cast, but there was a lack of human resourcing. To have put off shooting for a day or two to allow for favorable circumstances would have been better.  A music video is still an exclusive thing in Malawi; therefore, they should still be a product of better planning. Also, there were shots that created a distance between viewer and actor – looking into the camera lens is important because the viewer feels engaged and I felt disengaged at different points of the video because of unnecessary looking ahead or away from the camera. Finally, the concept wasn’t properly communicated hence my long illustrations in the first and second paragraph: I sought to compensate on what they couldn’t communicate. The “telling people news” concept is inexhaustible and very plenty ideas could have been pursued other than the simple concept they gave us. Screenshots of a busy Blantyre city market, or scenes where Delegate walks around Shoprite car-park speaking to different people, for instance, would have been great. I really do appreciate the grind they threw into this video, I encourage more artists to follow in their suit. It had no complicated and expensive equipment to produce it into what it should have been but you can be pleased with what it is anyway. On an international level, it isn’t a standard that best captures what I know Delegate stands for; but nationally, it should go viral and spread. I do believe people will want to see this video: TAKE MY WORD FOR IT: IT IS GREAT IN IT’S SIMPLICITY, IT IS NEWS RIGHT OFF THE PUBLISHERS DESK! Please keep you eyes out for links that will be put out for the "People Wanna Know" music vid TONIGHT @ 7PM!!! (you can see the Nyali Musik Mix-tape review for the songs in this project on this same blogsite dated 27/10/2012)
*p.s afana sax was upset that he wasn't in the music video... 

Da Litespeax - Points Fingers and Mentions Names

Born 5 July 1980, Timothy Kailedzi never thought he’d become Malawi Hip-hop Gospel’s most controversial figure. He joined the rap community because he sensed that Christian Mc’s don’t put a lot of the Word into their rap songs “even though they claim to”, says the apprehensive Kailedzi as I ask him how he got into rap. Timothy’s claim, which by even the laziest of evaluations, is hard to believe as the gospel community is saturated with content conscious artists than most African countries that I have heard music from. So the question that begs is this: “what does Timothy mean?” In response, Timothy says “songs are becoming more personal and directed at persons”. His favorite rappers were Gosple and David, and he says that Exodus part II is one of his favorite songs. The second question that I ask is: does he still feel the same about these rappers? Perhaps you would doubt it if he said he still respects them due to the manner in which he speaks of them. Maybe a social network like facebook allows one too much freedom to say things they wouldn’t say in any other circumstance, but “in the fullness of the heart, the fingers do update”.

Timothy accepts that he is not a good rapper, an amateur with no lyrical skill but has a heart to serve the Lord. He asks one thing: to serve the Lord with the space to express himself without being told how bad a rapper he is. However, he is becoming more known on his facebook brawls, controversial status updates, and offensive comments than anything else. He has created himself the image of “the oppose”. He calls himself “Da Litespeax” while others call him Mr. Low-Fat on account of his updates carrying the hashtag: “#lowfat”. Amongst different social circles, he is the subject of debate, mockery and props; but perhaps his presence in the music scene is absolutely needed. In-fact, to say that he has “stirred up the mud” and brought us out of a sense of complacency in certain things would not be a wrong assumption. He has given us the right to ask questions. He has stimulated thought and brought to light subjects that only others imagined about but never dared to utter. On the day of his very first #lowfat status update, there were others who did agree with what he was saying, and the question is: would these people have had the guts to raise any questions had he not raised them first? However, IT’S NEVER WRONG TO ASK QUESTIONS, BUT IT’S ALWAYS WRONG TO ASK THEM IF YOU ALREADY HAVE THE ANSWER FOR YOURSELF.”  The aim of this interview was to somewhat CLEAR THE AIR – and though there are always two sides to every story I believe you will find my interview to be as objective as possible. Unfortunately, that meant the interview was short as much of what is happening is sensitive (but not damaging to the Christian community) and I will not publish out of professional courtesy save for 3 questions. However, at the end of the interview I will offer 5 points of what I think will be a correct evaluation of the situation. Please enjoy and be informed.

The Interview

What is #lowFat?

When I came up with the #lowfat concept, I was sitting at home drinking 2% low fat milk and I wondered why it wasn’t “full-cream” milk…shouldn’t that be the healthier option? I checked it out and found that fat is good but not in excess, so hence, #lowfat. So there are three types of songs for me:

1.      Full-fat milk: where the rapper is on war-mode. Always pointing out other artists and personalities and trying to use them as examples without ever mentioning their names.

2.      Low-fat milk: balanced music where the rapper reaches out in love, he doesn’t veil or mask who he is talking to or about but plainly states it as it is.

3.      Fat-free: pointless rap, music that does not enrich at all.

(For more on #lowfat check out http://soundcloud.com/malawigospelhhsongreview

What prompted your response to David’s “as you grow”

I saw the link, I downloaded the song, I played it and I remember being shocked. Soon after that, five other people came to me expressing the same shock. We all believed it was a hit at 1 Lord. So I posted up on facebook so as to see who else thought the same and some did think the same. I only put it out in a public place because the song too was out in a public place. My intention was not to divide but to bring out the truth. I respect David, and I love Lawi’s contribution to the track, but my beef was that if David meant 1 Lord then why did he not just mention 1 Lord? Listen to the 1st minute 15^th second of the track, that is 1 Lord.* Listen to the 3^rd minute 10^th second of the song, that too is 1 Lord.*  *[1 min 15 sec: remember ‘gang it up’ youth-fest oh-six?] However, 1 Lord was not in existence during 2006, neither was Kali there ministering with David at that time.*[3 min 10 sec: these days shows are happening every 2, 3 weeks] However, there are many shows taking place country-wide by ministries other than 1 Lord.

How do you feel about being the centre of controversy?

I’m not proud to be famous for what many call “evil or beef”… I just do what I do to try to end hate and misunderstanding even though I know I am paying a costly price in being open and direct.

Tim’s Final word

I got no beef with anybody. If you think I had beef with anybody then you are wasting your time. Secondly, I don’t issue my statements as 1 Lord, but as Timothy, they are not a reflection of the ministry / record label I am affiliated with. Thirdly, I sincerely apologize to anyone I may have hurt during this time: I am sorry.

Rowland’s thoughts

1.      Facebook is no platform to discuss any of these matters, neither is it appropriate to bring them out in songs. I applaud Timothy for having voiced his concerns publicly, but I also applaud those immediately involved for not responding publicly. People are out of touch and have become impersonal – business deals, employment interviews, spouse selections are all done over social networks and no one is ever really known. I suggest this discussion moves off the social sites and into neutral, physical environments where problems can be well resolved. (Sharp Iron Summit coming soon).

2.      Concerning whether or not David referred to 1 Lord in his song “as you grow”, I quote a man more senior than I, Pastor Sean Kampondeni (Timothy’s pastor at Flood Church): David Kalilani says "These days [Christian] events are happening every two or three weeks, and people go into these shows and come out the same. We don't even see the power of God anymore...It's just a reflection of how far WE've fallen, how far WE've drifted from God...And I've made up my mind to go back to being on fire for God.” The Christian community in Malawian cities is being overrun by…music shows that have more to do with crowd-entertainment and self-promotion than bringing people to Christ for transformation. It is only because David sees that he himself has drifted from God in this way that he confesses a personal desire and decision to go back to God. You have to be blind to your own pride to think that his confession is targeting you, and blind to your own contribution to this culture of turning God into an amusement to think that this assessment is targeting someone else. David is not talking about you or someone else. He says "WE" because is talking about himself…” (Timothy requested David responds to his question, but David affirms that the above statement is one that he stands by as his own and he would issue no other statemement than the one above as it is most relevant).

3.      I say this to anyone it might help: “don’t get bitter, get better.”

4.      This time has prompted the public and the Christian community to look at the characters and works of artists / ministers and I am glad to say that their characters and works speak for them in affirming that they are indeed “low fat”.

5.      In our ministries let us ensure to “give no offense in anything, that our ministry may not be blamed,” (2 Corinthians 6:3), and “let us not judge one another anymore, but rather resolve this, not to put a stumbling block or a cause to fall in our brother's way,” (Romans 14:13).

6.      We must rejoice due to all that is happening because it proves that our music scene is alive, vibrant and has a tangible existence.

7.      Youthfest ’06 was indeed a supernatural manifestation of God’s will and plan for His people. Many were saved during that time including ministers like K.B.G, Li-Wu, and S.A.M.U.E.L in Blantyre; and Gome, C.H.I.M, and Set-Free in Mzuzu. It is without a doubt that this event serves as precedence for our Malawi hip-hop gospel because the “spiritual harvest” from that day has grown into capable ministers. To desire to see God’s hand again in this way would be a heart-felt prayer come true.