Experience the pulsating rhythms of 'Pikiture' by Coco Spherg ft. Ignatius Spooling, a dynamic fusion of Afrobeat and Seben dancehall vibes. Dive into energetic melodies and captivating symphonies on SoundCloud. 🎶🌿"

Jailbird

Pikiture

Embark on a musical journey with Coco Spherg's captivating single 'Round the Bend,' featuring Ignatius Spooling. Immerse yourself in a melodic storytelling experience, seamlessly blending afro-pop, amapiano, and Western guitar influences. Let the rhythm take you on a soul-stirring adventure.

 #CocoSpherg #RoundTheBend #IgnatiusSpooling #AfroPop #Amapiano #WesternGuitar #MusicJourney

Round the bend

Round The Bend

Dutch It by NuVox transports you to another world, a musical voyage where inspiring narration meets groovy, head-nodding beats. This music connects continents and cultures by combining the mesmerising rhythms of Afrobeat with the electrifying charge of Congolese Seben and the roughness of Trap/Hip-Hop.

 With snappy percussion, emotive lyrics, and an addictive bounce, Dutch  It's not simply a song; it's a mood.  Whether you're dancing in Abidjan, partying in São Paulo, driving through Casablanca, or relaxing in Lagos, here is your soundtrack.

Genre: Afrotrap, Seben, Global Fusion. 
Produced by NuVox & Coco Spherg.

Dutch It

Dutch it - Vol 6

Dutch It (6)

Velocity explores the electric intensity of love and desire — that unstoppable force that moves us beyond control, blending passion with tenderness. It’s about surrendering to the moment, feeling the pulse of connection that makes time slow and speed up all at once. The song captures how love can strip us down to our rawest selves, igniting both vulnerability and power in an unforgettable rush.

For anyone who’s ever felt that rush of emotions when two souls collide, Velocity is your soundtrack.

Velocity

Velocity - Afro-Fusion Ballad

YahYah, written by Aime Pandi Bapaga

"Yahyah" is a raw, emotional ballad written as a letter of heartbreak, forgiveness, and unresolved grief, the song reflects on the passing of a stepbrother — a once-hopeful protector whose actions led to years of pain and dislocation.

Carrying the weight of childhood trauma and spiritual reconciliation, Yahyah is not just a tribute but a release — a way to close a chapter when closure was never given. With ambient guitars, rolling hi-hats, and a deep, soulful atmosphere, the track speaks to anyone who has ever loved someone who hurt them... and still needed them anyway.

Yahyah - Vol.10

A NuVox Workout fuelled by Coco Spherg.

O' Where Out Thou:
Lyrics by Aime Pandi Bapaga

Happy were the days I loved my mother like the heavens
Happy were the days I fell in love with Becky Evans 
Happy were the days I rounded numbers to the sevens
Happy were the days I smoked all night in studio sessions
Happy were the days I had faith in first impressions
Happy were the days I joined C4 and pledged my legions.
Happy were the days, Happy were the days
Happy were the days, Happy were the days
Happy were the days, Happy were the days
Happy were the days, Happy were the days

Happy were the days that mum was paid on monthly basis
Happy were the days she’d come home to bright and smiley faces
Happy were the days she could pay dental fees for braces 
Happy were the days we’d read commandments set by Moses
Happy were the days my rabbi taught me to love the masses 
Happy were the days social class was impertinent.	
Happy were the days, Happy were the days
Happy were the days, Happy were the days
Happy were the days, Happy were the days
Happy were the days, Happy were the days

Happy were the days the mind turned darkness into light 
Happy were the days the prophet had the will to fight 
Happy were the days no one would glee at someone’s plight 
Happy were the days outliers were taken off the data 
Happy were the days Bob Marley vowed to Jamaica
Happy were the days stood a man, I called father 
Happy were the days, Happy were the days
Happy were the days, Happy were the days
Happy were the days, Happy were the days
Happy were the days, Happy were the days

O’ Where out thou?
Happy, happiness
Happy, happiness
Happy, happiness
Happy…

O’ Where out thou?
Happy, happiness
Happy, happiness
Happy, happiness
Happy…


Feeling too grown up here without you 
Feeling too grown up here without you 
Feeling too grown up here without you 
Feeling too grown up here without you 
Feeling too grown up here without you 
Feeling too grown up here without you 
Feeling too grown up here without you 
Feeling too grown up here without you 

2025 YYMG

O' Where Out Thou

A powerful futuristic afro-fusion to dancehall banger with baritones infused with samba energy, designed to animate the speakers and electrify the floor. Heavy 808 kicks punch through the low end, hitting the stomach and making the heart race. Congolese seben solo guitar riffs dance on top of deep, wobbling basslines, adding melodic fire. Syncopated percussion locks in the groove, layered with fast-paced drums, crisp claps, and energetic synth stabs. Sharp brass accents lift every transition with explosive flair. A fierce, commanding female lead vocal cuts clean through the mix, intensifying the heat and setting the dancefloor ablaze.

Philosophy
“Yellow Hat (Falla on da Dancefloor)” is a celebration of liberation through rhythm, a joyful rebellion wrapped in sound. At its core, the song is about showing up fully—alive, unapologetic, and loud—in a world that often tries to shrink us. The yellow hat itself becomes a metaphor: it’s not just an accessory but a radiant symbol of visibility, optimism, and individuality. It signals that the wearer has chosen to dance instead of despair, to shine instead of shrink.

The dancefloor, in this context, is more than a place—it’s a sanctuary. It’s where speech gives way to motion, where people reconnect with their bodies, and where emotion translates directly into movement. The repeated instruction to “Falla on da dancefloor” is both literal and spiritual; it’s an invitation to release control, to stop intellectualizing everything, and simply surrender to the beat. In a world where over-talking and performative confidence are often currency, the song strips all that away, asking the listener to talk with their body instead, to communicate through basslines and sweat.
Even the term “postcode,” used to reference the body, is intentional and philosophical. It suggests that the body is its own geography, its own space worth mapping and celebrating. To “dutty wine my postcode” is to revel in one’s physical identity, to declare with movement that “I exist, I take up space, I belong here.”

Every percussive hit, every kick and boom, mimics the pulse of a body in ecstasy—not just the ecstasy of dancing, but the ecstasy of survival, of resilience, of feeling joy despite the weight of the world. The staccato rhythm and Congolese seben guitar evoke not just musical tradition but ancestral memory, threading together the sacred and the everyday.

In the end, the philosophy of “Yellow Hat” is simple but profound: we dance not because we have nothing to say, but because some truths can only be spoken with the body. It is a manifesto for those who choose to recalibrate through rhythm, who reclaim joy as their resistance, and who wear their yellow hat like a crown in motion.


Falla on da Dancefloor (Afro-Fusion/Dancehall)

🔍 1. Central Theme: The Paradox of Power and Poverty
The song presents an intense desire for wealth ("Gotta make money…") not merely as a material pursuit, but as a survival mechanism and psychological balm. Money becomes:

A symbol of self-repair ("reverse-engineered from a gangster to a kitty")

A defensive shield against humiliation, betrayal, and powerlessness

A voice, especially when the world ignores you (“can’t hear what you sayin’”)

This echoes a Nietzschean will to power—not domination for its own sake, but a necessary assertion of agency in a chaotic, indifferent world.

🌀 2. Lucidity vs. Madness: Conscious Delusion
The bridge ("Actin’ stupid, blamin’ Cupid, but the mind’s still lucid") explores the duality between emotional impulse and rational awareness. It suggests:

An intentional embrace of chaos or irrationality (stoic absurdism)

A Camus-style revolt—living with absurdity but refusing to be consumed by it

The persona is self-aware, but chooses roleplay (“blamin’ Cupid”) as both critique and coping mechanism

💰 3. Money as Existential Justification
Throughout the track, money is not just currency, but ontological validation—a reason to exist in a hostile world. It reflects:

A post-capitalist identity trap—existence is only legitimized by accumulation

The corruption of spiritual hunger into consumer obsession ("sweeten the honey", "movies made by Landy")

A tragic recognition that value is outsourced, not internal

The hook’s repetition reinforces how obsession numbs communication, isolating the self in a feedback loop of ambition.

🔄 4. Rhythmic Rhetoric and Tongue-Twisters: Fragmented Reality
The tongue-twister verse functions as a metaphor for the mental disorientation of survival:

Rapid rhymes = fragmented memory, impulse, surveillance-state paranoia

Wordplay mimics the chaos of modern urban existence

The syntax mirrors Zeno’s paradox: endless motion, but no final arrival

It’s a performance of philosophical confusion masked as bravado.

⚖️ 5. Death as the Final Judge
The outro ("next stop: hearse for the body") implies that no matter the hustle, the end is equalizing:

Hints at memento mori—remember death, even in pursuit of glory

Presents a cyclical nihilism: grind → violence → death

Possibly critiques the gangsta myth by showing its inevitable conclusion

It confronts the Sisyphusian loop of the hustler: always grinding, never arriving.

✒️ Conclusion: A Lyrical Existentialism
"Mode Gangsta (MG)" is not just a trap anthem; it's an existential protest song, disguised in bravado. It blends:

Rhetoric of dominance with a subtext of despair

Hypermasculine identity with philosophical lucidity

The aesthetics of wealth with the poverty of meaning

In short, it’s a meditation on how to be seen when the world only sees money.

Mode Gangsta

A haunting anthem of defiance and fate.

“Sera Sera” blends ethereal female vocals from Caeli August with Fabz’s cold harmonics over a brooding, trap-influenced beat. Driven by a pulsing synth bass, sharp snares, and melancholic high-register synth lines, the song captures the energy of resilience in the face of chaos.

-----
Written by Aime Bapaga

Title: Sera Sera

Blood has been spilt,
 Bones have been broken,
 Que sera,
 Sera.
 When all roads lead to hell,
 I scorch earth,
 What will be,
 Will be.

I am not going down alone, yeah,
 Alone, alone, yeah,
 I am not going down on my own, yeah.
 On my own, my own, yeah.
 Ooh whoo ooh ooh whoo, ooh,
 Whoo ooh, whoo ooh, ooh,
 Ooh whoo ooh ooh whoo, ooh,
 Whoo ooh, whoo ooh, ooh.

 You pushed.
 I learnt. 
 You swung.
 I turned.
 You hit.
 I burned.
 I rise.
 You fall.
 I rise.
 You fall.

Blood has been spilt,
 Bones have been broken,
 Que sera,
 Sera.
 When all roads lead to hell,
 I scorch earth,
 What will be,
 Will be.

I am not going down alone, yeah,
 Alone, alone, yeah,
 I am not going down on my own, yeah.
 On my own, my own, yeah.
 Ooh whoo ooh ooh whoo, ooh,
 Whoo ooh, whoo ooh, ooh,
 Ooh whoo ooh ooh whoo, ooh,
 Whoo ooh, whoo ooh, ooh.

 No fear.
 No doubt.
 You scream.
 I shout.
 Stand up.
 Lights out.
 My turn.
 Your end.
 No break.
 I bend.

 Hit back.
 Stand tall.
 My name.
 I call.
 I win.
 You fall.

Blood has been spilt,
 Bones have been broken,
 Que sera,
 Sera.
 When all roads lead to hell,
 I scorch earth,
 What will be,
 Will be.

I am not going down alone, yeah,
 Alone, alone, yeah,
 I am not going down on my own, yeah.
 On my own, my own, yeah.
 Ooh whoo ooh ooh whoo, ooh,
 Whoo ooh, whoo ooh, ooh,
 Ooh whoo ooh ooh whoo, ooh,
 Whoo ooh, whoo ooh, ooh.

 Still here.
Que sera, sera.
 Still me.
Que sera, sera.
Not going down alone (alone, yeah)
I am not going down alone (I am not, I am not)
Not going down alone, yeah… 
I am not going down alone, yeah…

Sera Sera

'Purple Sky' is more than a love song; it is a meditation on the sublime nature of infatuation—that moment when personal reality shifts entirely.

Seku Ndo, through the visceral Pidgin lyrics originally inspired by the poetry of Aime Bapaga, explores the concept of total loss of self-control ("I dey lose control of myself") when confronted with profound connection.

The "Purple Sky" acts as a symbolic threshold: a rare, surreal, and beautiful moment that plunges the singer into a world where reality bends ("Walking through the sandstorms under the deep seas"). It's a journey into the fantastic, where the love object becomes the very thing that gives form to the internal chaos ("You enter my fantasy / Like cinema wey person draw").

Masterfully produced by Coco Spherg, the soundscape mirrors this descent into the fantastic, offering a rhythmic journey that is as intoxicating as the emotion itself.

-----
Written by Aime Bapaga, 2025
-----

Title: Purple Sky

When sky turn purple, na den I close my eye
Go sleep, make I ginger (entice) to love you
When sky turn purple, I wan hold you well-well
For my hand (in my arms), carry our feeling reach infinity

Babe, I dey crazy for your matter
I dey lose control of myself
I no know wetin I go do
When sky turn purple, purple...

This feeling don dey run tey-tey (for a long time), e dey run steady
E dey hang (hovering) like plenty small bird dey play
Inside and outside the cloud
You enter my fantasy (fantasy-fantasy ooh yeah)
Like cinema wey person draw (surreal storyboard)

I dey waka (walking) inside sandstorm under deep sea
One sculpture dey burst like the big Pyramid
I pull the moon one inch closer to Human being (Mankind)
I fit explain the way I dey feel about you
From the emotion wey dey roar (howl) inside my body
Abeg (please) make somebody tell me wetin I go do

I just want to feel your breath near me
I just want to touch you and smell your hair
Make I hold you for my hand dis special time

This feeling don dey run tey-tey, e dey run steady
E dey hang like plenty small bird dey play
Inside and outside the cloud
You enter my fantasy (fantasy-fantasy ooh yeah)
Like cinema wey person draw

When sky turn purple
I wan hold you
For my hand
Carry our feeling reach infinity
When sky turn purple...
Purple...

I dey waka inside sandstorm under deep sea
One sculpture dey burst like the big Pyramid
I pull the moon one inch closer to Human being
I fit explain the way I dey feel about you
From the emotion wey dey roar inside my body
Abeg make somebody tell me wetin I go do


OUT SOON 

Purple Sky

YYMG (Ya'Yo Miziki Global) is the full-service solution for pro-musicians, A&R, and commercial producers. We specialize in custom theatre compositions, jingles, and professional songwriting in any language. Inquire about a licensing/leasing or our high-impact music packaging services. Let's amplify your sound @yayomiziki in Instagram

YYMG (Ya’ Yo Miziki Global) is a pioneering international record label dedicated to producing and releasing premium, boundary-pushing music for the global stage. Specializing in world music and genre fusion, from Afrotrap and Afrofusion to Samba, Dancehall, and unexpected experimental blends, YYMG brings a bold, innovative sound that resonates across cultures and continents.

At our core, we believe in the transformative power of music. Through high-quality production and genre-defying artistry, we aim to elevate listening experiences, stimulate cultural curiosity, and contribute to the mental and emotional growth of our audience.

Whether we’re developing emerging voices or collaborating with global talents, our mission is clear:

> To craft timeless music that challenges borders and sets new standards for creativity and sonic excellence.



YYMG music is globally distributed and available on all major digital streaming platforms, including:

🎧 Spotify, Apple Music, iTunes, YouTube Music, Amazon Music, Tidal, Deezer, Boomplay, Pandora, iHeartRadio, Saavn, Tencent Music, NetEase, ClaroMusica, Yandex Music (beta), Triller (beta), MediaNet, Twitch Soundtrack, and more.

Socially engaged and digitally active, you can also connect with YYMG via: 

📱 Instagram, Facebook, TikTok, Resso, and YouTube

New tracks tagged #CocoSpherg