Name: AFOGA #2 by SEMBE
Duration: 2 min 7 s
Description: This track is the second installment of a series of 4 Freestyles entirely produced by Myself and my friend, engineer and Co-producer Chineze. This is to mark my return to the music scene after being absent for a year.

Bass, guitar, keys, organ - Fat Pockets / @fatpockets
Verses and hook - Fat Pockets / @fatpockets
Bridge rap - CALiFORNiA / @california-000

Mixed and mastered by Fat Pockets.

This is a Mega Royal production. Don't sleep!!!

Hello Hangman feat. CALiFORNiA (prod. Fat Pockets)

This track is the second installment of a series of 4 Freestyles entirely produced by Myself and my friend, engineer and Co-producer Chineze. This is to mark my return to the music scene after being absent for a year.

AFOGA #2

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facebook.com/danii.servus

tiktok.com/@r3x_sss

identification

Don't Dare Question Me

“I’ve known by best friend since we were aged 10. We are really close, like brothers. We tell each other things we’d never tell anyone else – not even our other halves!
When we were kids, on occasions, we get in trouble together and that kind of helps to forge that close long-lasting bond with each other. I know that if I was in trouble now he’d be there for me and really support me.
I think everyone who has a best friend genuinely appreciates that special relationship that you can only have with that person. For me, having written this song, is a small way of thanking my best friend and genuinely showing him how grateful I am for his enduring friendship.” John Cristal - singer/songwriter

My Friend For Life

Interstellar Spectacle

Che farai?

Contains elements of Lyn Collins- Put It on the line

3 hours challenge made in 5 hours... stems combined with lp/hp filters old way

lots of fun!
mpc rocks!

LDSR1482

Spider

UNDERCURRENT.wav

Marco Lucchi, based in Modena, Italy, and Henrik Meierkord, based in Stockholm, Sweden, have a lengthy collaboration to their reciprocal credit, and they accomplish it far and near alike. A testament to the interplay of their work together is that a listener might be hard-pressed to discern which of their recordings are the result of long-distance file-trading, and which occurred when the two managed to be in the same place at the same time.

Several aspects of their respective music-making serve them well as creative partners. First of all, both tend toward the ambient, given as they are generally to a slow pace and to a sensibility that manages to be at once radiant and intimate. Secondly, while both are multi-instrumentalists, there is a complementary nature to their specialties, Lucchi being more of a keyboardist, Meierkord more of a string player. Thirdly, and perhaps most importantly, they are both immersed in techniques drawn from electronic music.

In particular, both men are experienced with live multitrack recording, in which they process and layer their own performances in real time. Meierkord is fond of layering sinuous tones to create scenarios of unique dimensions. It becomes uncertain — even unimportant — to the listener what preceded what, so intricate is his deployment of interplay. Lucchi likewise finds parallels between classical orchestration and the opportunity for drones lent by modern synthesizers; in a small room he can create a vast space. There is often an oceanic depth to such efforts, part composed and part improvisatory, in which playing is a tool toward composition, rather than the other way around.

Throughout their new record, there is an underlying melancholy, a nostalgic beauty, and a reflective consideration — a virtue that is foundational to their ongoing collaboration. The result is particularly rich in plaintive scene setting, as on the glacially paced “La bestia umana,” which emerges from a neighborly field recording of a dog barking, and “Kosmisk Strålning II,” which maintains a dream-like quietude, more shadow than light. One “Like tears in rain”, what sounds like a synthesizer is, in fact, a piano, a recording of which has been stretched beyond the point of it being readily identifiable.

On first listen, their leaning toward unimpeachable steadiness can seem uniform, but listen more closely and you’ll recognize how explicitly they emote on a track like “The Third Stage,” due not just to the reaching melodic surges (which, in turn, match the sampled recordings of bird calls) but to the slight discordances that suggest trouble and tension. In a different manner, there is “A warm and golden October,” which balances breaking-dawn hush with piercing overtones. That track features a motif at the end, played on a celesta; those bell-like tones edge the piece out of dreaminess without entirely breaking the spell.

The greatest outlier — dog barking notwithstanding — may be on “Oändlig,” not just for its fierce pulse, but because of its more immediately electronic vibe. “Oändlig” is an exceptional piece, bringing to mind the minimalism of Terry Riley and the rave classics of Underworld.

Marc Weidenbaum 


Produced and mixed by Marco Lucchi and Henrik Meierkord
Marco Lucchi: mellotron, piano, celesta and synthesizers
Henrik Meierkord: cello, viola, zither, piano, organ and FX
Mastered by Dionis Afonichev (Dionisaf)
Cover picture by Dionis Afonichev (Dionisaf) with AI
Artwork and cover design by Dionis Afonichev (Dionisaf)

https://www.chitrarecords.com

Lieder Ohne Worte

Marco Lucchi & Henrik Meierkord - Oändlig

Born from Senegalese parents, I was rocked during my childhood by my father's jazz and Afro music records. I was preceded in the rap movement by my older brother Ibaaku who was my first influence. During my teenage years I frequently attended rehearsals of the LZ3 collective of which Ibaaku was one of the founders, which increased the attractiveness of hip hop to me. I started listening to French rap until I discovered American rap through Jay-z who became the icon of my rap influences as well as Nas, Lupe Fiasco, and later Kanye West, J Cole and Kendrick Lamar.
I began writing my first English lyrics while pursuing my high school studies in Ziguinchor, Casamance. This is where I developed my talent and rocked my first stages.

I later formed the legendary Rap Group Skillaz with two of my best friends. We were introduced to each other by a common friend. Together, we started recording and from there it was ON… we released two projects together between 2013 and 2015, a Mixtape and an EP that earned us the respect and admiration of the Senegalese Rap scene, even got us a citation in the book of Senegalese Music... Yes we made history. 

But then came the time for me to go solo. So in 2018 I released FTheWorld my first solo body of work. A cry of rage, an opposition to the world, to society as a system of immutable norms. But also a crucial search for identity. I had been in a group for the most part of my career and wanted to prove myself that I could make a solo album and my teenager dream of being like Jay Z come true (Lol). 
FtheWorld is still available on all platforms and still going strong two years after its release. You should Check it out if you have not yet. ;)

Today, I am a new and improved human and artist. Cut out the F Manel and now you have SEMBE which means strength, Spiritually, mentally and physically (about to hit the gym soon..lol) yes strength to be patient, strength to get back up when I fall, strength to work harder than the day before, strength to believe in GOD, strength to OVERCOME. That's what I am, an OVERCOMER I keep coming, I go the distance, I will always come back, I always rise and THAT is my brand. I improve and evolve for eternity. That's what my music is about. Are you down to ride ?

AFOGA #2

SEMBE

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