Serokolo 7: Maramfa Musick Pro Review – South Africa’s latest club delivery is a constant shot of adrenaline | Dance music

SOuth Africa loves electronic music. From Durban’s eka gqom, Soweto’s marimba-heavy Shangaan electro and sample-heavy 90s house of kwaito, every region seems to be bursting with its own sounds. The latest trend to hit the world’s ears are pantas. Originating in the villages of the Marota people in Limpopo, the high-speed and high-pressure music was once the adrenaline song of early 1980s wedding parties. It faded away at the turn of the century, but the curtains have recently been changed by Serokolo 7, a 27-year-old self-taught audio engineer.

On his first album, Serokolo showcases the skills of the rural folk songs of Mapanta. Combining samples of animal sounds with the sound of marimbas, the sound of gunshots and voices, which are first heard with a clear voice. Opener Naba Ba Papedi sets the tone, his country music mixed with a drum’n’bass drumming that sounds good without reaching a cathartic crescendo or drop. Such an argument continues over the sound of a broken cymbal and the clipped voice of Zoro and the shimmering music of Dinaka’s video game.

While slower numbers like Bonkoko Bagana allow the rhythmic lines to take the lead and convey a more mellow mood, most of the songs on the record run at 180bpm or faster, meaning the production comes in so thick and fast that it’s almost impossible to tell them apart. But Serokolo wins this battle. Instead of creating subplots with emotional arcs, his strategies are driven by clear words; succumbing to this breakneck rhythm is surprisingly liberating.

Also this month

Shye Ben Tzur, Jonny Greenwood and Rajasthan Express releasing their second album, Ranjha (World Circuit). By recreating the old sound of Sufi qawwali music, the group creates a powerful musical composition, achieving the perfect blend of music. Smile-guitar and tabla music on the title track. Korean manufacturer HwxngK-Core (Chinabot) he weaves old traditional music into a seamless mix of hardstyle and techno. Jing gongs and janggu drums add an ominous feel to some cool lights. A self-titled record from an Iranian duo From Lips to the Moon (Akazib Records) It’s a beguiling combination of spoken word and electronic change that exists, as producer Pouya Ehsaei supports Tara Fatehi’s political and post-colonial narrative.