One of the go-to terms for anything “tropical” nowadays, Zouk is a music genre born in the late 70’s in the French Antillean islands of Guadeloupe and Martinique. Zouk's first iteration was crafted by the band Kassav’ when bandleaders Desvarieux and Décimus longed for a local "Disco-type music”, thus proudly proposing their own homegrown brand of pop. Carved around the foundation of an infectious pattern carried by hi-hat cymbals, Zouk was created as a weapon to elevate the status of frowned-upon Antillean cultural practices. It was a powerful response to the musical and political domination of France and other regions of the Caribbean. Kassav' paved the way for the groundbreaking genre to become both culturally relevant and commercially viable beyond the Antilles, reaching a career high in 1985 with a global hit in which they cheekily claim that Zouk is "the only medicine they need".

Borrowing elements from the neighboring islands - such as Cadence-lypso from Dominica and Compas from Haiti - Zouk’s signature sound was also shaped by the tools from the burgeoning digital age, as musicians and producers embraced the MIDI technology with its promise of fun through loop-programming. Many of these eager pioneers jumped head in and didn't shy from manufacturing anvil-sounding snare drums, wacky vocal modulations, epic horns, saturated bass and sexy synths... all of it duly drenched in reverb!

Perceived right away by some stiff necks as low-brow entertainment inducing lewd motions of the hips, Zouk was actually the result of incredibly sophisticated recording technology and visionary talent. Although derided in the distant French “métropole” - with hits from bands such as “La Compagnie Créole” and “Zouk Machine” relegated to camping and carnival DJ playlists - Zouk invaded the African continent within a decade. The familiarity of Zouk’s underlying rhythm spoke to many through the deep and complex web of pre-slavery roots connecting Africa to the Caribbean.

Whereas most white French music snobs disregarded Zouk as a synonym for bad taste and cheesy regionalism - sometimes with the racist tinge of colonial contempt - African listeners loved it for what it was: a kick-ass beat to sweat to, especially while dancing close to a partner. Since the early 80’s, African musicians have been paying homage to the couple-friendly genre, quoting words from the creole lexicon (“Doudou”) and blending in their own territorial twists: be it in francophone (Makossa, Rumba, Soukous) or lusophone countries (Tarraxinha, Kizomba, Coladeira). A lot of Afro Zouk legends actually met, hung out and worked in recording studios and DJ booths of the cosmopolitan city of Paris, which has been acting as the cross-pollinating hub of French-speaking black diasporas since the 70's.

Afro Zouk

(Scroll for tracklist with timecodes)

One of the go-to terms for anything “tropical” nowadays, Zouk is a music genre born in the late 70’s in the French Antillean islands of Guadeloupe and Martinique. Zouk's first iteration was crafted by the band Kassav’ when bandleaders Desvarieux and Décimus longed for a local "Disco-type music”, thus proudly proposing their own homegrown brand of pop. Carved around the foundation of an infectious pattern carried by hi-hat cymbals, Zouk was created as a weapon to elevate the status of frowned-upon Antillean cultural practices. It was a powerful response to the musical and political domination of France and other regions of the Caribbean. Kassav' paved the way for the groundbreaking genre to become both culturally relevant and commercially viable beyond the Antilles, reaching a career high in 1985 with a global hit in which they cheekily claim that Zouk is "the only medicine they need".

Borrowing elements from the neighboring islands - such as Cadence-lypso from Dominica and Compas from Haiti - Zouk’s signature sound was also shaped by the tools from the burgeoning digital age, as musicians and producers embraced the MIDI technology with its promise of fun through loop-programming. Many of these eager pioneers jumped head in and didn't shy from manufacturing anvil-sounding snare drums, wacky vocal modulations, epic horns, saturated bass and sexy synths... all of it duly drenched in reverb!

Perceived right away by some stiff necks as low-brow entertainment inducing lewd motions of the hips, Zouk was actually the result of incredibly sophisticated recording technology and visionary talent. Although derided in the distant French “métropole” - with hits from bands such as “La Compagnie Créole” and “Zouk Machine” relegated to camping and carnival DJ playlists - Zouk invaded the African continent within a decade. The familiarity of Zouk’s underlying rhythm spoke to many through the deep and complex web of pre-slavery roots connecting Africa to the Caribbean.

Whereas most white French music snobs disregarded Zouk as a synonym for bad taste and cheesy regionalism - sometimes with the racist tinge of colonial contempt - African listeners loved it for what it was: a kick-ass beat to sweat to, especially while dancing close to a partner. Since the early 80’s, African musicians have been paying homage to the couple-friendly genre, quoting words from the creole lexicon (“Doudou”) and blending in their own territorial twists: be it in francophone (Makossa, Rumba, Soukous) or lusophone countries (Tarraxinha, Kizomba, Coladeira). A lot of Afro Zouk legends actually met, hung out and worked in recording studios and DJ booths of the cosmopolitan city of Paris, which has been acting as the cross-pollinating hub of French-speaking black diasporas since the 70's.

00:00 · Kibwe - La Nuit des Noces (D.R.C.)
05:08 · Angelina Tezanou - Poison (Cameroon)
07:29 · Tunis de Lálá - Cabo Verde (Cabo Verde )
10:02 · Sekouba Bambino - Irréprochable (Guinea)
12:51 · Zo Gang International - Bébé Bonbon (Ivory Coast)
15:11 · Petit Tchadien - Pauvret (C.A.R.)
19:04 · Saluky System - Silvia (Guinea Bissau)
21:47 · Elvis Kemayo · Les Divorcés (Cameroon)
24:47 · Projecto Universo - Zouk Love (Ivory Coast)
27:39 · Kanda Bongo Man - Nzambe (D.R.C.)
30:24 · Americo Gomes - Indijan (Guinea Bissau)
33:14 · Júlio Silva Band - Mozambique a Xonguile (Angola)
35:48 · La Diva Samra - Yenaladha (Comoros)
38:28 · Idi Sarki - Rouwan Zouma (Niger)
41:07 · Shakira Shakiraa - Teriba (Uganda)
43:01 · Nimon Toki Lala - Fous Moi Le Camp (Togo)
45:18 · Bétika - Je l'aime (Ivory Coast)
47:13 · Boy Ge Mendes - Kompa Semba (Cabo Verde)
50:40 · Keke Kassiry - Bakwonon Zo Gnimadere (Ivory Coast)
52:22 · Kumbi Saleh - Eku Egbemi (Ghana)
56:42 · Tchico Tchicaya - Escale aux antilles (D.R.C.)
1:00:22 · Woya - Êwê (Ivory Coast)
1:02:53 · Lady Isa - Kuteleza Si Kwanguka (D.R.C.)

Afro Zouk, Vol. 2 • Bonded By Beat

(Tracklist with timecodes below)

One of the go-to terms for anything “tropical” nowadays, Zouk is a music genre born in the late 70’s in the French Antillean islands of Guadeloupe and Martinique. Zouk's first iteration was crafted by the band Kassav’ when bandleaders Desvarieux and Décimus longed for a local "Disco-type music”, thus proudly proposing their own homegrown brand of pop. Carved around the foundation of an infectious pattern carried by hi-hat cymbals, Zouk was created as a weapon to elevate the status of frowned-upon Antillean cultural practices. It was a powerful response to the musical and political domination of France and other regions of the Caribbean. Kassav' paved the way for the groundbreaking genre to become both culturally relevant and commercially viable beyond the Antilles, reaching a career high in 1985 with a global hit in which they cheekily claim that Zouk is "the only medicine they need".

Borrowing elements from the neighboring islands - such as Cadence-lypso from Dominica and Compas from Haiti - Zouk’s signature sound was also shaped by the tools from the burgeoning digital age, as musicians and producers embraced the MIDI technology with its promise of fun through loop-programming. On top of the exciting new effects offered by other music-making machines, it opened up a whole new world of experimentation. Many of these eager pioneers jumped head in and didn't shy from manufacturing anvil-sounding snare drums, wacky vocal modulations, epic horns, saturated bass and sexy synths... all of it duly drenched in reverb!

Perceived right away by some stiff necks as low-brow entertainment inducing lewd motions of the hips, Zouk was actually the result of incredibly sophisticated recording technology and visionary talent. Although derided in the distant French “métropole” - with hits from bands such as “La Compagnie Créole” and “Zouk Machine” relegated to camping and carnival DJ playlists - Zouk invaded the African continent within a decade. The familiarity of Zouk’s underlying rhythm spoke to many through the deep and complex web of pre-slavery roots connecting Africa to the Caribbean.

Whereas most white French music snobs disregarded Zouk as a synonym for bad taste and cheesy regionalism - sometimes with the racist tinge of colonial contempt - African listeners loved it for what it was: a kick-ass beat to sweat to, especially while dancing close to a partner. Since the early 80’s, African musicians have been paying homage to the couple-friendly genre, quoting words from the creole lexicon (“Doudou”) and blending in their own territorial twists: be it in francophone (Makossa, Rumba, Soukous) or lusophone countries (Tarraxinha, Kizomba, Coladeira). A lot of Afro Zouk legends actually met, hung out and worked in recording studios and DJ booths of the cosmopolitan city of Paris, which has been acting as the cross-pollinating hub of French-speaking black diasporas since the 70's.

00:00 · Ibro Diabate - Nnamè Nnamè (Guinea-Conakry)
02:46 · Mathey - Nzoutio (Ivory Coast)
05:02 · Tshala Muana - Kokola (Congo-Kinshasa)
07:57 · Angelina Tezanou - La Vie (Cameroon)
11:50 · Mossia - Mowa (Ivory Coast)
15:03 · Chacha di Charmi - Tempo Urgente (Guinea-Bissau)
17:44 · Monique Seka - Ôkaman (Ivory Coast)
20:50 · Oliver N'Goma · Bane (Gabon)
23:01 · Alice Sofa - Yalé (Ivory Coast)
25:42 · Michel Moutouari - Albertina (Congo-Brazza)
28:24 · Loony Johnson ft. Zéca di Nha Reinalda - Homi Grandi (Cabo Verde)
30:14 · Papa Wemba - Moyi (Congo-Kinshasa)
32:23 · Tam Tam 2000 - Zouk en Avant (Cabo Verde)
38:51 · Empire Bakuba - Zouke Zouke (Congo-Kinshasa)
41:34 · Koffi Olomide - Tcha-tcho du sorcier (Congo-Kinshasa)
45:51 · Woya - Atépé (Ivory Coast)
48:28 · Joelle Seka - Chimoin (Ivory Coast)
52:10 · Patience Dabany - Chéri Ton Disque Est Rayé (Gabon)
55:17 · Abby Surya - Tant Pis Pour Toi (Congo-Kinshasa)
59:18 · Mayaula - Doudou A Mwen (Congo-Kinshasa)

(Thanks to @afrozouk in Toronto for letting us use their design!)

Afro Zouk, Vol. 1 • Homages Across Oceans

French-born & Berlin-based Boris Paillard a.k.a. Mixanthrope has been shaking up dancefloors from Canada to Ghana since 2015 with African, Afro-diasporic and Afro-Caribbean songs & sounds. After working for the label "Akwaaba Music" in Accra, he created the monthly event series "African Beats & Pieces" in Berlin in 2017, inviting passionate DJs and underground live acts to explore specific musical themes.

► djmixanthrope@gmail.com

Resident DJ & organizer of regular Afro-centric music parties in Berlin since 2017: "African Beats & Pieces"
╚» https://www.facebook.com/AfricanBeatsAndPieces/

♬ ♬ ♬

P A S T     G I G S

Berlin: Monarch | Badehaus | Gretchen | MAAYA | Humboldthain Club | YAAM | HAU | Prince Charles | ACUD Macht Neu | ZK/U | Schrippe Hawaii | Haubentaucher | Crack Bellmer | Artistania | Suicide Circus | Alte Kantine
France : Connexion Live | Intermédiaire | Bric à Brac
Accra: Republic | Tea Baa | Rockstone's Office
Toronto: Alliance Française | Radio-Canada | Supermarket
Antananarivo: Chez Papa

Afro Zouk

Mixanthrope (African Beats & Pieces)