All music is this playlist are properties of YYMG (Ya' Yo Miziki Global) and subject to terms of use. YYMG is a Plurala Limited company. 

Published Music 2025

“Tesco in Mexico” is a provocative Trap/Drill anthem layered in emotional male vocals sung in C major, exploding with energy and lyrical riddles. The track fuses melodic backing harmonies with a gritty 808-heavy bassline and thundering kick drums, shaking speakers to their core. A raw bass guitar solo crashes through midway, adding rock-edge urgency. Vocals shift between reflective and confrontational, with harmonic layers that echo through the chaos. Lyrically sharp and sonically bold, this is a statement piece—global, ironic, and unforgettable.

Lyrics:

Tesco in Mexico
Written By NuVox

[Hook – Chorus]
There’s no Tesco in Mexico (is that a fact?)
But twins can be identical (is that a fact?)
Like the Voodoo lexicon in Lagos (is that a fact?)
Geese in formation over Laos (is that a fact?)

[Bridge]
Rolling in money—I’m in Davos (is that a fact?)

[Verse 1]
Overloaded, heavy cargo (is that a fact?)
Bentleys pullin’ from embargo (is that a fact?)
Blood washed clean up in Fargo (is that a fact?)
Spirits summoned deep in Congo (is that a fact?)
Drum it out, play the bongo (is that a fact?)
Soukous sways in Lomé, Togo (is that a fact?)
Power stacks by the hour (is that a fact?)
Gold rains down in the shower (is that a fact?)

[Pre-Chorus]
I was born to be prophetic (that's a fact?)
Is that a fact?
Is that a fact?

[Hook – Chorus]
There’s no Tesco in Mexico (is that a fact?)
But twins can be identical (is that a fact?)
Like the Voodoo lexicon in Lagos (is that a fact?)
Geese in formation over Laos (is that a fact?)

[Bridge]
Rolling in money—I’m in Davos (Davos)

[Verse 2]
You flash your feathers like a peacock (is that a fact?)
But that don’t mean you lead the flock (in that effect)
I’ll hold you steady through detox (is that a fact?)
No more hiding—drop the props (is that a fact?)
I could crown you as president (is that a fact?)
Though my mama crossed continents (is that a fact?)
Part Jewish, German, and Indian (is that a fact?)
But don’t confuse loves them Cameroonian (that’s a fact?)

[Pre-Chorus]
Like me was born to be prophetic (that's a fact?)
That’s a fact?
That’s a fact?

[Hook – Chorus]
There’s no Tesco in Mexico (is that a fact?)
But twins can be identical (is that a fact?)
Like the Voodoo lexicon in Lagos (is that a fact?)
Geese in formation over Laos (is that a fact?)

[Bridge]
Rolling in money—I’m in Davos (Davos)

[Outro]
Root it out, cut it out, end the drought—yeah, end the bout,
Screams and shouts come pouring out,
Out loud, out loud, out loud, out loud.
Make it real, make it a fact.

Tesco in Mexico

"Ella" blends Afro-Trap soul with hypnotic guitar melodies, tribal backing vocals, and trance-like ad-libs. Over a moody Bb minor beat, Ignatius Spooling reflects on rejection, transformation, and rising above. Fluid drums and emotional bars deliver a haunting yet empowering soundscape—raw, rhythmic, and deeply personal.

Ella

Ella - Vol 2 (Afro-Trap Version)

🌍✨ Elena — an Afro-Trap love anthem wrapped in warmth and sensuality. Guided by flowing acoustic guitar melodies and crisp, soft percussion, this track blends tribal vocal textures with wavy melodic drums and trance-like ad-libs. Sung in the key of C major, Elena tells a hypnotic tale of desire, emotion, and connection, rooted in Afrocentric rhythm and modern trap soul. Let it carry you into a late-night dance of heartbeat and heat.

💍🔥 For lovers of Burna Boy, Aya Nakamura, Tems, and Afro B vibes — this one’s for you.

🎧 Produced with passion. Written with fire. Delivered with love.

Elena

Elena (1)

NuVox has concocted a highly emotional and spiritual song for you enjoy, like and comment.

Slow Down

Slow Down - Vol 1

“Slow Sown” is a meditation in motion—a patient blooming of sound that reclaims slowness as power. In a world that chases speed, this track dares to plant itself, to grow on its own terms. It speaks not just of waiting, but of becoming—of what emerges when we stop rushing and start rooting.

The groove is unhurried but rich. Afro-fusion drums pulse like footsteps in soft soil. Ethereal synths rise and fall like breath, while warm basslines hug the mix like sunlight through mist. The vocals are reflective, almost whispered—each phrase a seed of thought, falling into the soul's garden.

“Slow Sown” is not background music—it’s inward music. It’s for dusk walks, soft focus, deep breaths. It’s for those moments when you're not performing for the world but listening to yourself.

This is the anthem of the soft warrior—the one who grows without noise, transforms without spectacle, and knows that stillness is not stagnation, but strategy.

Velocity

Slow Down - Vol.6

Dutch It by NuVox is a tune that takes you to another universe — a sonic journey where uplifting storytelling meets groovy, head-nodding vibes. Blending the hypnotic rhythms of Afrobeat, the electric energy of Congolese Seben, and the grit of Trap/Hip-Hop, this track bridges continents and cultures.

With crisp percussion, emotional melodies, and irresistible bounce, Dutch It isn’t just a song — it’s a vibe. Whether you're dancing in Abidjan, vibing in São Paulo, cruising through Casablanca, or zoning out in Lagos, this is your soundtrack.

🎧 Genre: Afrotrap · Seben · Global Fusion
🎹 Produced by: NuVox
🌍 For fans of Burna Boy, Innoss’B, Pop Smoke, and Aya Nakamura

Dutch It (Vol 11)

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)

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.

Lyrics:

Yahyah
Written by Aime Pandi Bapaga
 
[Verse 1]
So many years drifted by without a whisper,
Summers, winters, springs turned cold and bitter.
I filled my heart with silence and resistance,
Letting the gloom grow where love met distance.

[Pre-Chorus]
I don’t know your reasons, I may never understand,
But I’ve stopped chasing answers written in the sand.
Time took you away before we made amends,
So I’m sending peace to you — wherever this ends.

[Chorus]
To the man I called—
Yahyah, Yahyah, Yahyah (my brother),
Yahyah, Yahyah, Yahyah (my protector),
Yahyah, Yahyah, Yahyah (you were my hope).
Yahyah, Yahyah, Yahyah (I forgive you),
Yahyah, Yahyah, Yahyah (I’m sorry too),
Yahyah, Yahyah, Yahyah (still restless in my soul),
Yahyah, Yahyah, Yahyah (I needed you).

[Verse 2]
All I ever wanted was a gatekeeper,
Different mothers, same blood, a silent seeker.
You stood so tall, but turned away,
While we wandered, house to house each day.

[Pre-Chorus]
I don’t know your reasons, I may never understand,
But I’ve stopped chasing answers written in the sand.
Time took you away before we made amends,
So I’m sending peace to you — wherever this ends.

[Bridge]
Last I heard, your health was fading,
I held my breath, still hesitating.
Prayed for grace to find our ending,
But grief returned, unrelenting.
The world kept turning, I kept burning,
Made my brother into my burden.

[Chorus]
To the man I called—
Yahyah, Yahyah, Yahyah (my brother),
Yahyah, Yahyah, Yahyah (the first I knew),
Yahyah, Yahyah, Yahyah (my lost truth).
Yahyah, Yahyah, Yahyah (I forgive you),
Yahyah, Yahyah, Yahyah (I’m sorry too),
Yahyah, Yahyah, Yahyah (this wound runs deep),
Yahyah, Yahyah, Yahyah (I needed you).

[Outro – Prayer]
One day I’ll walk the promised land,
No darkness, no walls, no reprimand.
We’ll share a hug beyond the grave,
No more running, no one to save.
Oh, Yahyah, Yahyah, Yahyah,
Oh, Yahyah, Yahyah, Yahyah,
Oh, Yahyah, Yahyah, Yahyah,
My brother…
I release you now, and I rise.

YahYah

🔥 FEVER 🔥
A syncopated storm of sound — deep 808s, bongo off-beats, and that Afro-trap swagger! 🌍⚡️ Congolese rumba guitars flirt with lush synths while vocal adlibs echo like street chants from Rio to Cairo.

The beat catches you, but the message burns deeper:
💸 When money drives you mad, what’s left to save?
💔 When love slips away, who’s the real thief?
👁‍🔥 “Fever” is a warning, a vibe, a vibe with teeth.

Bridge goes full carioca-funk x Afrobeat fusion — just TRY not to move.
If you’ve ever chased success only to feel the heat rise from within... this one’s yours.

🎧 Best served LOUD.
🌍 Made for the dancefloor and the soul.
💀 Side effects may include: head nods, truth chills, and spontaneous rewinds.

Fever

Fever - Seben / Afro-Trap Mix

Fever (4)

This is the most experimental song composed by NuVox in his strategic production partnership with Coco Spherg.

Maddie

Maddie (7)

Maddie (Sukali)

Maddie (5)

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 - Afro-Trap Ballad

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

“Chickens” is not about poultry—it’s about perception. It’s a coded street sermon, a swaggering allegory on survival, cowardice, flexing, and freedom.

Over a beat that snaps with dancehall intensity and Afrocentric bounce, “Chickens” unpacks the pecking order of life: who’s clucking, who’s flying, and who’s just squawking with no wings to show for it.

The track blends rhythmic heat with lyrical shade—punchlines flap fast, baritones thump heavy, and the hook comes for necks. Yet underneath the humour and heat, there’s philosophy: Are you moving like a chicken—easily scattered, easily scared—or are you building flight?

It’s part satire, part sonic slap, and fully alive with attitude. The kind of track that struts into the room, dares the dancefloor, and calls out anything fake.

In this coop, only the bold lay legacy.

Chickens

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

“O’ Where Out Thou?” is not just a song—it is a soul’s dispatch from the edge of longing. Anchored in baritone melancholy and wrapped in a cinematic blend of ambient Afro-soul, gospel, and spoken word, this track is a meditation on presence, absence, and the mystery that lies in between.

It poses the question we dare not always voice: Where is the ‘you’ I once knew? The me I used to be?

The vocals are raw, almost prayer-like. Each phrase falls like a footstep in a darkened cathedral, echoing with the weight of memory. The instrumental layers unfold like a slow-burning dawn—ghostly harmonies, warm pads, ancestral percussion—offering the listener a spiritual map back to self, to God, to meaning.

The track does not promise answers. Instead, it holds space for the holy ache of searching. “O’ Where Out Thou?” is a sonic reckoning—a reminder that even when we are lost, we are still on the path.

This is music for the moments between. For silence after prayer. For walking alone. For the questions that change you.

O' Where Out Thou - Vol. 4

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)

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:

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