TATE BUTI AND PDK RELEASE FESTIVE SEASON MASTERPIECES

OMALAETI Music Productions never fails to amaze every festive season from its stable of the finest Namibian top musicians and this time it’s Tate Buti and the youthful trio of Patrick, Deon and Kamutonyo, otherwise known as PDK who have released hot albums.

Kwiku music icon, Tate Buti’s latest scorcher is entitled Ovenda while PDK has come out with the offering Odjulufi.

Tate Buti – Ovenda

Looking for fun African party music? Tate Buti will help you out here, this festive season. You simply can’t help but move when his Kwiku rhythms start to play.

Buti’s new album could be described as sarcastic social commentary that is thought provoking, moralistic and didactic in nature, one meant for the season and everything that comes with it.

Buti is best known for his funny antics both on and off stage and Ovenda is no different only that there is a marked distinction when both lyrics and instrumentation fuse in calm, compact and composed manner—still offering no paradigm shift from his traditional satirical lyrics and danceable Kwiku beat.

There is no doubt that Buti’s magic on this album will land in almost every Kwiku music lover’s household as he manages to carry with him the listener through a journey of the real world of social problems diluted into fun, music and dance.

Ovenda which means “injection” in Oshiwambo is a 17 track masterpiece that is more mature, a slight departure from the previous albums.

Track No. 1, Ndilandila opens up the album with a surprise laid back mix of Kwiku and Oviritje, featuring Onyoka and New Turn. But having a mix of Oviritje does not sound ‘un-Buti’ for me; it actually leaves the question, ‘which other music genre will not be matched into Kwiku?’

From Track No. 2, appropriately entitled Stubborn/Control onwards, it becomes cruise control, the typical Tate Buti that we have come to know!

Buti churns out his lyrics done through the usual hard piercing voice blended with an electric guitar background to do the perfect job.

The title track is on No.3, featuring his long-time friend Chimbuetu.

“If the needle is pressed onto your body up to the bone, you will definitely start limping after that,” says Tate Buti in the song, before asking: “Oshike to ende to shongola” (Why are you limping?), upon which Chimbuetu responds, “It’s because you have been injected into the back”.

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Ricardo and The Dogg collaborate with Tate Buti in a potential Khomasdal night-clubs hit, I’ll b there, which is set to galvanise the trio’s fans into frenzy this season. Foet Check at number 6 follows the steps of yester-year hit Eke Wali Fokol and has certain distinctiveness that makes Tate Buti the star that he is.

Konakona is one track which shows how Tate Buti has grown in both creativity and talent. His message in Konakona is that life is not easy but requires one to be vigilant. It’s a sure shebeen hit across all the informal settlements in Namibia where he is popular.

He leaves the listener to interpret it their own ways, “okaima manga inoka kwata kakonakona,” (before you try out something one must examine it properly).

Ila will be a personal favourite for many with a seductive beat and a unique genre of Kwiku. Sunny Boy brings in his Hikwa style blending into Buti’s style on the track 24/7, although the Kwiku star successfully experiments into the hip hop and rapping world by going toe to toe with Sunny Boy.

Afrika Mama We, sums up Tate Buti’s intentions into 2011 as it raises the heat even more. It’s a tight song of dance and sing along. It’s one you can press ‘repeat’ on your car stereo on a long trip.

Wait until the radio stations and juke-box guys start to play it. Ovenda will definitely get you in the right mood to dance the night away.

Looking at the album cover itself will leave with questions as to what Tate Buti has cooked this time, and indeed he does not disappoint.

PDK – Odjulufi

PDK’s latest offering, Odjulufi, is crafted into an album celebrating maturity, growth and responsibility as the youngsters come of age.

Ndaswaka, the opening song which means ‘I am weak’ is a stark contrast to the strength of the album.

The album takes a lot of lessons from the current wave of Nigerian and Zambian music that is rocking the continent and the trio surpasses in showing that they can now compete at the highest level in Africa in, Be The Best, track No. 2.

Inspiring is how PDK this time distanced from being party-fellas in their last album to talking about real life issues such as crime and are discouraging illegal practices. One of the verses is, “Tamekeni okwiilonga sha” (“…start learning and be the best that you can be).

One would be forgiven to think Be the Best was recorded somewhere in West Africa. It’s a super hit. With an ever growing fan base across Namibia’s high schools and a particular stronghold of die-hard fans among teen girls, PDK remembers their traditional fans in the title track Odjulufi, as they bring their swag back with the beat that made them popular.

Track No. 4, Aamati is a mixture of traditional Oshiwambo beats but with cutting synths and a frog bass baseline similar to one of Tunakie songs. Only that this one has some hip hop spice in it.

Aalumentu will sure rock cultural gatherings, weddings and any other functions in the North this holiday. It’s a fusion of Oshiwambo and Otjiherero traditional practises at the kraal, hence a mooing cow in the background. PDK reconstructs the drum patterns and chord progressions of Aalumentu to make it a cross-traditional music gem.

Ileni features Jossy K and New Turn and is about coming together to enjoy life and have some fun. It’s a fanfare song and puts revellers into a jiving mood; one can imagine how stage performance of this song will be like.

This 17-track album is destined to top the charts.

My Baby is a kizomba love song that is easily captured by the musicians’ use of vernacular, pregnant with English sweet-nothings, a conscious attempt to express matters of the soul, deeper.

One thing that PDK has mastered is blending English and Oshiwambo in their songs. Language is critical for not only celebrating the uniqueness and legitimacy of local communities, but also for maintaining ties between the trio and their modesty youthful audiences.

Another of the defining influences of the group is their connection with the older generation hence the constant presence of traditional beats in the album.

Jump Up & Down at No.12 is also a danceable kwaito song followed by Ekwangwangwa then Eetemba which is already receiving massive airplay on local radio stations.

PDK in Odjulufi is making a brave and bold statement: You can’t touch them as they have been making hit after hit as they get older and better with every album they release. PF