Afro-Futurist Project - Onipa

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Afro-Futurist Project - Onipa

Onipa is an Afro-Futurist project from Ghana/ London founded in 2018 by K.O.G (founder of K.O.G and the Zongo Brigade) and Tom Excell (founder of Nubiyan Twist). Alongside bandmates Finn Booth (Nubiyan Twist) and Wonky Logic (Steam Down).

Afro-futurist sensations Onipa combine deep afro grooves, electronics and fierce energy in an effervescent celebration of cultural and musical encounters. ONIPA means ‘human’ in Akan, the ancient language of the Ashanti people of Ghana. It’s a message of connection through collaboration: from Ghana to London, our ancestors to our children. Bringing energy, groove, electronics, afrofuturism, dance and fire!

Jeeni’s mission is to support artists just like Onipa, showcasing their talent and support them to reach their full potential by having a showcase on jeeni.com.

Since their debut showcase at The Great Escape festival, Onipa have gone on to sell out the Jazz Cafe, London and play 40 summer shows around the UK and Europe in 2019. Including, Glastonbury (Truth Stage), Shambala (Dance Tent), Fellabration (Paradiso, Amsterdam) and headline shows in Zanzibar and La Reunion Island in 2020. The group performed in Australia in front of a 5000-strong crowd during a celebration of Nelson Mandela's 100th birthday. As well as Damon Albarn's 'The Circus' in Leyton, London.

Their debut album We No Be Machine has a 4* review from MOJO and UK radio play from Benji B, Tom Ravenscroft and Gideon Coe. However, coverage and touring were all badly hit by the pandemic. Despite this, Onipa still managed to record an immersive live performance at Peter Gabriel's Real World Studios for WOMAD as well as showcasing at SXSW and We Out Here online. Additionally, they are currently working on their next record.

JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience.

• We give creatives, independent artists and performers a showcase for their talent and services. And they keep 100% of everything they make.
• We empower our audience and reward them every step of the way.
• We promise to treat our members ethically, fairly, honestly and with respect.

Check out Onipa's showcase here on Jeeni: Onipa | Showcase | JEENI. Along with other showcases to add to your playlist. jeeni.com.

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04
Jul

Alice Milburn - ‘Not Yours’ Single Review

Alice Milburn continues to perfect her innovative blend of glossy jazz chords with empowering upbeat pop with the new and improved version of 2019’s ‘Not Yours’. Alice has only just begun to expand on a variety of Jeeni’s channels, including but not limited to: jazz, pop, indie and lounge. Fresh, new talent is what powers Jeeni and with artists such as Alice, Jeeni couldn’t wish for much better fuel for our mission of uplifting and supporting unrepresented artists. Check out Alice’s young and expanding showcase on Jeeni here. On this redesign of ‘Not Yours’, Alice displays her flexible and adaptable comprehension of musicality clearer than ever. The willingness to broaden both the understanding of jazz and pop whilst also incorporating rock elements without resulting in a confusing mess of a composition is an absolute feat. Alice’s attitude to music is totally refreshing and it’s more often the attitude and approach to creation that separates the greats from the rest, not just superb musicianship. Immediately, this re-telling of Alice’s popular 2019 single holds more atmosphere and impact than its predecessor. The guitar cuts through so much cleaner thanks to less muddy settings on both the amp and after effects during the mixing process. And this fresher, more attentive approach isn’t limited to just the guitar parts; the bass guides the harmony much more seamlessly, the drums snap harder and as a result of these perfected parts, Alice’s soulful, impassioned vocals sit in this new arrangement so much nicer. Her voice is never drowned out, overshadowed or squashed, although the guitar solo certainly takes its fair portion of the limelight, and rightly so. Another key improvement can be found in the addition of the horn parts. Tasteful trumpets can be heard reinforcing the chords in the choruses and do so well to glimmer and shine up the composition’s instrumentation. The key difference between the 2019 version and the new 2022 version is the brightness and rejuvenation in the tone of the track and not much brightens up a mix as well as horns. A live performance where the horn parts get their own moment to solo and shine would surely be breathtaking. It could possibly be argued that a song about a romantic betrayal shouldn’t be so bright and that maybe the first, slightly darker version is more apt for heartbreak, however this song is more empowering than it is hopeless. The title itself, ‘Not Yours’ is a triumphant announcement that Alice can’t be owned or manipulated, especially not anymore. It’s not always easy to perhaps acknowledge that a previously released track could be realised and finished in a more polished way, however Alice is the type of artist to take that brave step in improving her sound and raising the standard of her craft up another notch. Check out more of Alice Milburn’s fantastic work here.

01
Feb

Maple Sky, ‘Vision’ Single Review

The already multi-faceted smooth jazz outfit, Maple Sky broaden their sound once more with this explosive, brand-new funk banger, named ‘Vision’. Maple Sky have been a key component of Jeeni’s jazz channel (https://jeeni.com/channel/all-channels/jazz/) since last September and after a few different iterations, it seems that the group have found their most effective formula of members and mindsets. Maple Sky have evolved. Their sweet lounge jazz tracks have their place and are performed and written superbly however, the control and dare I say, vision contained in this piece is so far, unparalleled in their work. Each instrument expresses individuality and flows with different breathes and personalities, yet they still exist solely in the context of each other and act as a part of a dynamic and expressive synergy. Maple Sky told Jeeni that drummer, Ed Jordan handles the production of the group’s latest work and he’s done a fantastic job handling all of the energy that Joel, Olivia, Christian and of course, himself brings to this track. Ed gives more space to the instruments via natural-feeling reverb which creates physical dimensions and atmosphere to the funky soundtrack. Keyboardist, Joel Bamigboye also has a hand in production and produced the entirety of the group’s self-titled EP from 2020. The group’s consistent musicianship has meant that this change-up of producers has so far not created any kind of conflict or contradictions in their tone and sound. Following ‘Free Her’, their new EP, set to be released later this year is shaping up to be their strongest yet. ‘Vision’ is set to be released on Saturday, the 5th of February. Follow Maple Sky on socials: Twitter: https://twitter.com/mapleskyband Facebook: https://www.facebook.com/MapleSkyBand/ Instagram: https://www.instagram.com/mapleskyband/ Check out Maple Sky’s showcase on Jeeni here: https://jeeni.com/showcase/maple-sky/ How can Jeeni support artists like Maple Sky? JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience. • We give creatives, independent artists and performers a showcase for their talent and services. And they keep 100% of everything they make. • We empower our audience and reward them every step of the way. • We promise to treat our members ethically, fairly, honestly and with respect. • Access to artist liaison and a supportive marketing team.

01
Jul

Zeeteah Massiah - ‘Bad Guy’ Single Review

Zeeteah’s newest release is a genius reggae reimagining of Billie Eilish’s breakthrough hit, ‘Bad Guy’. Jeeni ambassador and long-term supporter, Zeeteah Massiah has now provided Jeeni with 21 individual pieces of her unique brand of jazz and reggae, all of which are available at her showcase. Her husband, Paul Caplin acts as both songwriter and producer for Zeeteah and the two of them have released two albums together, ‘Juice’ and ‘Maybe Tomorrow’. A certain level of musical depth and understanding is needed to undergo a stylistic transformation of an existing song. To some, it’s merely a process of downgrading the intensity and presence of the piece to a slow, acoustic setting. However, in a lot of these cases, the essence and arrangement of the pieces are largely unchanged. On the other end of that spectrum of effort and passion, you’ll find artists like Zeeteah Massiah who listened to the ‘Old Town Road’ dethroner and heard a hidden stylistic potential held in Billie’s hit that she knew would effortlessly make sense to any listener. Zeeteah set out to not just echo Billie’s Grammy-winning hit in a slightly different accent, but instead, wanted to transpose it into a completely different musical language. The result is a rejuvenated and refreshing take on ‘Bad Guy’ that has a vivid coat of Caribbean-styled paint applied to just about every element of the source material. Where the original was dark, somber yet playful, Zeeteah’s keeps just the playfulness for her rendition. The slow, creeping tempo compliments the lyrics and performance from Zeeteah in a way that could make you think that this might actually be the original. This almost sinister embrace of the villainous title is enhanced by the harmony that dips in and out of jazzy minor chords that keep the listener in a subtle state of unsettlement, and curiosity. As is to be expected from Zeeteah and her artistic proclivities, bright and colourful instrumentation commands the tone of this arrangement. Being the first component heard; a classic reggae drum roll makes the genre-shift immediately apparent. This Caribbean staple is then joined by its good friends; short offbeat guitar stabs and deep, bouncy basslines. In this introduction, we also hear a brilliant alteration from Billie and Finneas’ original arrangement. The quirky, recognisable synth melody heard after Billie’s isolated ‘Duh!’ is instead taken up by a muted trumpet, heard before the vocals even enter. This is a clever embrace of the fact that Zeeteah’s choice of cover is of course a colossal hit, so there’s no sense in shying away from its most recognisable moments. That melody is also expanded on later for a phenomenal trumpet solo towards the end of the cover that acts as a sort of replacement for the sudden shift in pace, heard at the end of the original. Considered a part of Billie Eilish’s brand as both a performer and a person, her vocals are often intentionally sleepy and low-energy, something that Zeeteah decided not to adopt for her interpretation. The vocal performance here is mischievous and rebellious to the core as opposed to Billie’s more disinterested and indifferent approach. Zeeteah also uses next to no effects on her voice compared to the first version, which is just as well because it would be a shame to distract from the raw talent and personality held in Zeeteah’s performance on ‘Bad Guy’. This task of reinventing one of the biggest hits from the last 10 years was a tall order, however, unsurprisingly, Zeeteah Massiah’s ‘Bad Guy’ is nothing but a triumph.

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