Father Creeper
The South African-born rapper/singer's second album, his first for Sub Pop, attempts to make a virtue of its own messiness.
The South African-born rapper/singer's second album, his first for Sub Pop, attempts to make a virtue of its own messiness.
Soweto’s Spoek Mathambo situates his music amidst contemporary collisions between traditional African styles and hip-hop, dubstep and house. Opener Kites begins with bouncing highlife rhythms before swerving into bleepy dubstep, as Mathambo raps furiously over the top; here and throughout Father Creeper, the omnivorous absorption of styles reveals unexpected connections. Put Some Red On It, with its luscious synths and minimalist scattershot snares, could be a Pharrell production.
Soweto’s Spoek Mathambo situates his music amidst contemporary collisions between traditional African styles and hip-hop, dubstep and house. Opener Kites begins with bouncing highlife rhythms before swerving into bleepy dubstep, as Mathambo raps furiously over the top; here and throughout Father Creeper, the omnivorous absorption of styles reveals unexpected connections. Put Some Red On It, with its luscious synths and minimalist scattershot snares, could be a Pharrell production.
The South African singer raids western styles for this thrillingly disjointed soundtrack to township life, says <strong>Killian Fox</strong>
The South African singer raids western styles for this thrillingly disjointed soundtrack to township life, says <strong>Killian Fox</strong>
<p>Spoek Mathambo's fusion of African sounds and indie guitars is a cold, uncomfortable mix – but all the more intriguing for that, writes <strong>Caspar Llewellyn Smith</strong></p>
<p>Spoek Mathambo's fusion of African sounds and indie guitars is a cold, uncomfortable mix – but all the more intriguing for that, writes <strong>Caspar Llewellyn Smith</strong></p>