Lv

Sebenza Lv

On 'Sebenza', meaning ‘work’ in the Zulu language, South Africa meets South London as the LV trio of producers hook up with three of their favourite South African MCs, Okmalumkoolkat from Dirty Paraffin, Spoek Mathambo and MC / producer duo Ruffest. The first sessions from the album started two years ago, when one of LV went over to Jo-burg to DJ and hooked up with Spoek Mathambo on a tip off from a mutual friend. One thing led to another and they were introduced to Okmalumkoolkat, and on a later visit, to the duo of Sello and Max who make up Ruffest. Their talents as MCs and infectious characters are what drew LV to them, and by happy coincidence, the synthesis of their vocals and LV's music form something fresh, unique and playful. Across the album, LV's music is 'zingy'; analogue synths digitally propelled by multisided rhythms, that take off from the interzone between UK funky and kwaito house's bouncy rhythms, but detour much wider through the spidery, digital soca / kuduro of title track 'Sebenza', the afro-garage of ‘Animal Prints’, the scuttling triplets of ‘DL' and ‘Limb’, the half speed grime of ‘Zulu Compurar’, the old school electro hip hop of ‘International Pansula’ and the Prince-like synth melodies on closer 'Ultando Lwaka’. The album shares a palette of sounds, but each track stretches those sources into different templates, each custom built with the MC’s flow and topic in mind, slowed down and sped up where needed. The three MC’s styles differ from each other dramatically. Okmalumkoolkat shifts schizophrenically through different characters; he’s an Afro-futurist tech nerd on ‘Zulu Compurar', a wired gangster on ‘International Pansula‘, and on ‘Spitting Cobra’, a shapeshifting bad man. Ruffest mix shout outs to the thugs on ‘Hustla’, boast their uniqueness on ‘Nothing Like Us’ , bring the party on ‘Thatha’ and get love sick on ‘Uthando Lwakho’. On ‘Limb’ Spoek Mathambo’s rhymes dissolve into the rhythm like a holographic James Brown, while ‘Work