Kysekbeatz earnestly believes you can travel freely around Africa, with the sound. Look on 2021, a defiant year. Under KCK Publishing, he collaborated with Hibross on their debut release, Aquick Music 4 Ever, eponymous for the label they would launch the following year. The cover is evening sky, balanced powerline, tree lines at the bottom. We still on a boy focused on a cloud. Pushing his tire along, the departing sun has entranced him.
The sonics is all motion, mid tempo linguistic affirmations kicking Ma raison, Jamais reculer (Never back down); Yves Ellise emerges as KYSEK, delightful slugger mixing makossa, coupe decale. Harmony largely influenced by patterns intimate to the casual afrobeats listener. Indeed, Kysek on the beats does produce sonic atmospheres Victony as soweto. Something like creating Sokei’s big moment at the start of the rains in 2025. Mata Crazy Kpalo, the music video racked 3.5 million views on Youtube, of which clips went on to have their viral runtimes on Tiktok. Then a remix alongside Lil Jay Bingerack and Dorty later that year.
God, the man goes native on string synthesizers. Looping drill drums. His faithful understudy of afrobeats dynamics proves a case for a united Western Africa beyond linguistic boundaries. Black music moves beyond skin deep, that is our thread of salvation. I mean, we’ve always known of his trap edge, every opportunity on the coupe decale debut joint, lurking beyond self delighted riff guitars lacing Siboy’s melodies on
God, the man goes native on string synthesizers. Looping drill drums. His faithful understudy of afrobeats dynamics proves a case for a united Western Africa beyond linguistic boundaries. Black music moves beyond skin deep, that is our thread of salvation. I mean, we’ve always known of his trap edge, every opportunity on the coupe decale debut joint, lurking beyond self delighted riff guitars lacing Siboy’s melodies on Twapplife, notice the lokole log drum breakbeat while Ghanian Bisa Kidei raps on Hilary’s Mon Delire. Unsurprisingly, Himra noticed it.
God, the man goes native on string synthesizers. Looping drill drums. His faithful understudy of afrobeats dynamics proves a case for a united Western Africa beyond linguistic boundaries. Black music moves beyond skin deep, that is our thread of salvation. I mean, we’ve always known of his trap edge, every opportunity on the coupe decale debut joint, lurking beyond self delighted riff guitars lacing Siboy’s melodies on Twapplife, notice the lokole log drum breakbeat while Ghanian Bisa Kidei raps on Hilary’s Mon Delire. Unsurprisingly, Himra noticed it.
In Abidjan, during and after the last war, psychic coping responses developed into Coupe Decale. The genre fuses French hip-hop, Zouglou rhythm, very percussive like popular Zairean soukous of the 80s and 90s. They jocularly reproved, in nouchi, of farot farot; those, usually diaspora Ivorians who flaunted ostentatious wealth, maybe they had suspicious means? This music was nationally popular into the 21st century in the hands of its pioneers, Douk Saga, the Jet set, DJ Lewis, Afrika Reprezenta, Magic System.
Rap Ivoire is the rage present day, isn't it? All that spinning stripped to bones: hip-hop. Here? You work the hardest and then some to have something of a survival chance, while we wait on the days of smart governance. Here in the street junctions of this storied capital, we can’t afford to share that self satisfied cheeriness of Jul or Alonzo, or Seyi Vibez for that matter. Hold my coupe from that decaf. I wonder how the English brothers can laugh over these million dollar streetlights sentrying over mud water pot holed through the road to Dachiba Koumgba Tchaiba’s premier rave. Big Akai exclusive. Out here, Himra is a local drill god. Well he used to be. Dachiba chiba Koumgba Tchaiba, one ingredient away from shooting out the pot; /Il me faut le plus gros contrat d'Afrique./ (I need the biggest contract in Africa).
So Himra's numero un in Ivoire. Like Kysek, he never gravitates far from the drill. His interpretation of it; nouchi
lyrics, Afrobeats influenced, bonds smoothly against Minz’ vocals track one on Big AKA 4 AKA KAI Ep. He's
damn nearly gotten it, on his way surely. A signing with Tieme Music, licensed under Warner France, from 2024.
Deluxe of his gold certified album, Dachiba Koumgba Tchaiba remained faithfully samurai chopping, raw
Deluxe of his gold certified album, Dachiba Koumgba Tchaiba remained faithfully samurai chopping, raw
hardcore drill, Pa Salieu’s fan base would be head bopping along indecipherable lyrics. He looked to Kysek’s
beach and sun aura- a bit like Juls’ trademark- to complement the grungy album. A speed bump; Wallaye Billaye.
Kysekbeatz weaves ahead the dance on the preceding track where Himra sings 'Tiens ma Monie' to Stonebwoy's flow over reggae bop-decale. Then restrains to a digging kick accent. Bright chords. 'Wallaye Billaye' (By Allah). Himra is by himself. Kysek allows him to get soulful; lays upbeat sanguine chords over trap thump. A steady
record. J′ai rien à perdre (I have nothing to lose)/Wallaye billaye/.
He raps about the other side of actualizing self prophesied success; /Allô le soleil/Je suis au sommet (I’m at the top)/ Là où y a pas de sommeil(where there is no sleep)/
It implies that lonely at the top feeling Olamide used to think those far down the pyramid won't relate to. Kysek could tell you about it, just another 1:09am in a closed studio. You don't become Abidjan’s most sought after producer if you don't steal more hours than you are given.
He raps about the other side of actualizing self prophesied success; /Allô le soleil/Je suis au sommet (I’m at the top)/ Là où y a pas de sommeil(where there is no sleep)/
It implies that lonely at the top feeling Olamide used to think those far down the pyramid won't relate to. Kysek could tell you about it, just another 1:09am in a closed studio. You don't become Abidjan’s most sought after producer if you don't steal more hours than you are given.
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