Album lore

Testimoney, issued by Tjoe Records in 2013, gathers a broad palette of West African dance music styles under the direction of Wizboyy. The album’s 18 tracks move through zouk, azonto, kizomba, and kompa, alongside hiplife, afrobeats, afrobeat, and coupé décalé, reflecting a Lagos-based fusionist’s grasp of regional club sounds and R&B-inflected hip-hop. The featured track “Lovinjitis” exemplifies this blend with its rhythmic interplay and vocal phrasing that nods to Nigerian popular music while embracing diasporic grooves.Though the record’s reception remains modest — as indicated by its Last.fm audience — Testimoney offers a document of early 2010s African urban music’s polyglot impulses. The varied track titles hint at a personal narrative thread, with songs like “Mama’s Song” and “Anam Acho” suggesting intimate themes amid the dancefloor-ready cuts. This artifact stands as a testament to the porous boundaries of African contemporary music scenes, where local and global influences entwine.

Album lore

Testimoney, issued by Tjoe Records in 2013, gathers a broad palette of West African dance music styles under the direction of Wizboyy. The album’s 18 tracks move through zouk, azonto, kizomba, and kompa, alongside hiplife, afrobeats, afrobeat, and coupé décalé, reflecting a Lagos-based fusionist’s grasp of regional club sounds and R&B-inflected hip-hop. The featured track “Lovinjitis” exemplifies this blend with its rhythmic interplay and vocal phrasing that nods to Nigerian popular music while embracing diasporic grooves.Though the record’s reception remains modest — as indicated by its Last.fm audience — Testimoney offers a document of early 2010s African urban music’s polyglot impulses. The varied track titles hint at a personal narrative thread, with songs like “Mama’s Song” and “Anam Acho” suggesting intimate themes amid the dancefloor-ready cuts. This artifact stands as a testament to the porous boundaries of African contemporary music scenes, where local and global influences entwine.