Country God Or the Girl: A review of K’Naan’s latest album

Somalia hasn't had a functioning government for over 20 years. In addition to the terrorism instituted by the prominent Taliban groups and the infamous pirates, life in Somalia has rapidly deteriorated and resulted in millions of refugees fleeing to find better life outside the dysfunctional country. Among these are Somali born Canadian poet, singer, and rapper K'Naan who left his homeland at the tender age of 13 on the last commercial flight from the country. This has undoubtedly been the most reoccurring subject matter of his music. His debut album, "The Dusty Foot Philosopher," is an unconventional hip hop record, strongly influenced by ethio-jazz and Somali melodies and rhythms. His second major release, Troubador, despite its increased western commercial appeal, was still unique and strongly influenced by these African roots. This is befitting since  Somali and African life and culture has been a strong and recurring subject in his music. On this album, however, K'Naan has veered away from not only his usual subject matter, but also his entire sound and style.

His latest release, "Country, God, or the Girl," is almost worlds away from his previous albums. Whereas his previous projects were seamlessly eclectic, melting traditional east african chants, poetry, and melodies with hard hip hop vocals, cinematic strings and driving rock guitar, saxophone solos and American jazz and soul, this album falls a little short. It is still as eclectic and stylistically dynamic but it seems more of a confused jumble than a seamless harmony. It is obvious with tracks like “Is Anybody Out There,” “Sound of my Breaking Heart,” and “Alone,” that K’Naan is going for a more poppy commercial appeal. Besides the occasional tribal drums and the Somali verse on “The Wall,” (one of the more K’Naan-esque tracks) it is hard to find any African influence on this album: something that had become typical of him. In addition to a greater ratio of singing to rapping, fans might find that K’Naan’s artistic evolution has resulted in the loss of his uniqeness.


That being said,this album still has a lot going for it. The Dusty Foot Philosopher managed to lock down one of the most diverse list of features, including Will.i.Am, Nelly Furtado, Nas, Mark Foster, Bono, and Keith Richards. (looks like a “we are the world” reunion) The Nas assisted “Nothing to Lose,” offers the grime and edginess that hip hop fans will enjoy, and “Bulletproof Pride, featuring Bono,” is an insightful and relatable ballad which chronicles a typical relationship. Other than these two, I think the features significantly detract from this album. Earlier in his career, K’Naan was opposed to collaboration, saying that it interfered with his own artistic vision. (his first album had only one feature) If he had stuck to these sentiments, this album would’ve been much better. 

Some of the more ‘K’Naan-esque” moments on the album are the piano lead “Waiting is a Drug,” the jingly “Hurt Me Tomorrow,” the melodic 808 centered “Gold in Timbuktu” and “More Beautiful than Silence,” the soulful “On the Other Side.” My personal favorite and perhaps most nostalgic for many fans are the hard hitting “The Wall,” which features world dance drums, jubilant acoustic guitar,african chanting similar to those on “In the Beginning,” of his first album and political, intro and outrospective, poetic rap. My other favorite is “70 Excuses,” an equally introspective track featuring spacy pads and choir vocals, as well as an impeccable jazzy saxophone riff reminiscent of “Fire in Freetown,” of his second album.


All in all, K’Naan’s album for overcoming political, spiritual, and romantic obstacles, is typical of a K’Naan album in dynamism but lacks in kinship, primarily due to an attempt at commercial appeal and ineffective features. It will also leave fans confused as he strays away from more Somalia-centered political subject matter.

Polishing the Pearl

Uganda at 50: Call for Celebration or Critical Rethinking

Smiles and cheers were all around last week as Ugandans worldwide toasted to the fact that their small African country had finally turned fifty. But as I say in the midst of blind celebration and overwhelming patriotism at an Independence day picnic, I could only wonder weather Uganda's Golden Jubilee is a call for celebration or critical rethinking.

Uganda, which fifty years ago was one the fastest developing Sub-Saharan African countries has undoubtably spiraled backwards over the decades. Riddled with genocide and perpetual corruption, the picturesque "Pearl of Africa" has gradually lost its glimmer. Rather than revel in its decadence, Uganda should strongly question the vehicles that have driven its rapid deterioration. Among these are the series of greedy, corrupt, and ruthless leaders that continually overstayed their welcome.

On October 9th 1962 Milton Obote became the first post-Independence Prime Minister under the nominal President King Edward Mutesa II of Buganda. It was less than four years later on the night April 15th 1966 when the Obote Administration raided the King's palace, forcing him to flee to London and thus making Obote the executive President of the country. This marked the beginning of a corrupt authoritarian rule. During his first term Obote banned all opposition parties and unlawfully jailed and killed political opponents, instituted a secret police unit that tortured and terrorized millions.
His socialist policies gave government 60% share in all private companies which was often laundered and granted to governmental officials and his persecution of Indian traders caused mass food shortages that substantially raised prices.

As if they hadn't had enough, in 1971 an even more ruthless dictator, General Idi Amin Dada took power by military coup. His regime saw increased governmental and militaristic control, over 90% average salary drop, and the government orchestrated deaths of 100,000s. Often considered the "worst African dictator" to date, his regime instilled not only fear in government but a very dystopian fear of foreign culture and influence.  Amin constantly stressed the threat of bordering Tanzanian invasion and the importance of strong military power. He ridiculed many foreign customs and banished all Asians which caused for virtual economic collapse.

Towards the end of the 70s the regime saw a significant shrink in influence, which caused the country to cycle through various provisional heads including a second term by Obote, until Uganda was introduced to incumbent and longest serving President, Yoweri Kaguta Museveni.

Unsurprisingly, he also forcefully attained power by the gun on January 26th 1986. His presidency like those of his predecessors, can best be described as an amalgam of hypocrisy and contradictions. Upon his inauguration he served as a symbol of hope for the people and change from power hungry tyrants that they knew all too well. In 1986 Museveni was wildly regarded as one of the most progressive African leaders as he brought stability to a war torn nation. In his inaugural speech, he explicitly decried leaders who over stay their welcome as they only detract from freedom and progress, and now 26 years later Museveni has turned into the very thing he swore to destroy. In 2007 he repealed term limits from the constitution and at one point, banned all political opposition, clearly expressing  his plans of virtually eternal political domination.

Museveni, once regarded as one of the most progressive leaders in Africa, has lost sight of the people in his ruthless cling to power. "Uganda has made great strides," says Ugandan political scientist Frederick Golooba. "But, having said that, I think that we have reached a point where Uganda no longer needs Museveni. Most people would say that."

There is no question that Uganda's presidents have accomplished a significant amount of good for the country. Under Museveni, security has improved, the army is more disciplined, and the economy has gained traction, more children attend school, and the fight against HIV/AIDS has made significant progress.  Under Amin and Obote, the country experienced rapid urban growth, solid infrastructure, and a strong, positive global presence, especially in sports, but their profound negative social and economical effect on the country makes it difficult to praise Uganda's presidents.

Too often their governments have lied and broken promises to the Ugandan people and it's time they caught on to the cycle. So, after half a century of violence, corruption, deceit, social, and economic decay, it is time for Ugandans to think hard about the future of their country and break the chains that have held them for so long.  After barking up the same tree for 50 years, it is quite evident that Uganda is in grave need of political reform. It is time for the "Pearl of Africa" to regain it's glimmer and it is up to its people to polish their pearl. So as they celebrate this 50th Independence Day, I urge Ugandans to strongly assess exactly, what it is they have to celebrate. 

Dr. Dog's Wild Race EP Review

The Philadelphia group "Dr. Dog" who have been captivating audiences since their 2001 release,"Phsycadelic Swamp," with their electryfying leads, bluesy guita licks, and Beatle-esque vocals. Their latest release "Wild Race'" is a 5 track EP realeased on October 5th is nothing shy of their incrediblereputation.
Within the first few second listeners will be struck by bouncy hip hop tinged drums, Del Shannon-esque keyboard hits, dirty guitar stabs,a and jangly folk rock vocals that will overwhelm them with jubilance and oneness in the carefree opener, "Be the Void."
 It is followed by the equally jubilant "The Sun," which takes you back to the 80s with its hard and monotonous baseline. The layered gang vocals are reminiscent of the Beatles, inevitably creeping into your mind engulfing you with happiness.
Next, canine medical practitioners showcase their dynamism as they slow it down with the unconventional "What A Fool." The short soulful and dreamy track is lead by an 808 drum loop that is geniusly layered over driving piano chords and rootsy vocals.
After leaving you in a complentative mood with "fool," the album speeds up a little with more driving pianos, harmonies reminiscent of Neil Young and incredibly bluesy guitar licks in "Exit for Sale" before crashing into the final and title track, "Wild Race." This bass heavy road trip song salutes Dr. Dog first release as it channels your inner hippy with its Phsycadelic guitar and chanting gang vocals. As it races to an end with its quick driving chorus, this track serves as a perfect close a truly "wild" EP.

DystopianTrailer Role (Video)

Below is one of my selections for music in my group's dystopian trailer. It is very solemn and orchestral so intended to use in a quieter part of our trailer where the main character is alone coloring.   I like it because even though it is quiet calm, it is not really sad. The other one I found was and intense guitar and string sound that sounded kinda drone-y. I liked that one to be used in sme of our more intense scenes. I think the second one is more ominous and would be nice to while depicting the  antagonist.