Giving up is something that happens to you. It is an encounter that confronts almost everyone. The progression of vulnerability is perpetuated by our lack of identifying the within-reach and context-specific capacities. Nothing is impossible with skill and a strong will. That is a step into the complexities of mental health which seem to be apparent in the recently dropped Life of Muvhimi album by Voltz JT.
Though it is politically justified, opinionates normalized intentional delays to create a respectable standpoint regards to work of art. It is a technical cosmetic in the bid to solidify the respective opinion as well thought out. Stupid it may sound but there’s a grain of sense in madness. Supporters of objectivism back this line of thought because we all seem to have allowed a valid perception leaving room for an independent reality. And so forth. Perceptions are technically constructed which entails timing as a crucial factor. I would not enjoy writing in the first-person voice. On the other hand, I am working tirelessly to be sufficiently trusted in that market like godfather Robson Sharuko. The music industry is however a difficult turf to be found calling yourself an authority. It’s madness to use an individual taste as the yardstick for what is good and what’s terrible.
These reflections are born out of spite, frowns and curses for those who cast malice on The Life Of Muvhimi. For what seems to be the biggest album of 2022, the hullabaloo has been nothing short of barraging amongst ourselves on who has got better hip-hop taste. But what is the message in the lyrically rich compilation? What about the behind-the-scenes? Is the game-winning? Erase all that you think you know about Voltz JT. What do you know about hunting?
Voltz JT could have been counting years as a ‘big’ artist from the day he dropped ‘Masinhi’. He fumbled it and affirms to this in an interview at Shoko Festival with Zezuru. Esteemed followers of Zimbabwean hip-hop jammed this track and the talent became no matter of doubt. The terrain at those times was uneven with ZimDancehall locking every gate. You would hate it to be in a place where the music is great but the audience is adamantly stuck in the riddims. Yesteryear icons of hip-hop are to be celebrated for their indelible contributions in cultivating a culture of co-existence to pave way for the new school rappers, emcees and hip-hop artists in the broader package. How on earth would you have expected a Dobba Don verse featuring Voltz JT in the album? That is perfectly plausible co-existence. Even more, Dobba Don has been a victim of overly projected stigma because of not a moral failure but defiance in his private battle with mental health. The idea to include him in the album is heavenly as the song is titled ‘Uri Wangu’.
We always demand the competitive edge for the greater cause of constantly improving our art but when mishandled a lot of talent succumbs to the ill-fated dungeons of ignorant hate. What is apparent in the hip-hop industry right now is the everyday thought of hip-hop ‘OGs’. The late connoisseur Donald ‘Dodger’ Marindire warned us not to bridge the generational gap. It has proved rightfully so and we continue dining to the prophecies of the word, that which is written stays forever.
Dambudzo Marechera left his fair share of reflection that: I think writers are usually recruited into a revolutionary movement before that revolution gains whatever it’s seeking. Once it has achieved that, writers are simply discarded, either as a nuisance or as totally irrelevant.
Not exclusive to writers but the fate as reserved in unforeseen posterity is how arts grow into whatever they become when it comes to human relations. The hip-hop revolution is at that time when gains are beginning to show. Voltz JT made a mark with tracks like Nyaya Dzemari which summarize the dark side of the industry where it is no longer news to hear that an artist has been duped. The theme covers a larger chunk of the album’s subject matter. He is at a stage where conversation must end with ‘Dollar Deals’.
The Intro signifies the direction of his hunt which he might or might have not shot the big catch. This is the energy that our young brothers are obsessing about. Forget the rhyme scheme which is the cheapest excuse by fly-by-night critics – ‘Jesu ngaasasvike wakarara’. Because we tend to forget that consumers want what they want and that is not negotiable – a customer is always right as clearly shown by the numbers. The hip-hop movement is a trial-and-error hypothesis of music as a hustle. The music has to pay bills by any means before ‘kuJamba MaNumber’.
The biggest highlight of the message written in the album is the mental health card. Voltz JT’s relatable lyricism is confirmation that he too, like every other youth has external pressures threatening peaceful well-being. Any type of target audience can be drawn back by the track Mangwana. He reactivates today’s tragedy, tomorrow’s memory, which was an album title by A-Reece. Our lives are brutalized daily by infinite demands, incessantly, some of which have ripped our souls and are a burden on our aspirations. This message is complemented by Slick Pastor whose rise as a public speaker is now overdue. The interlude articulates the blueprint of the album as the upcoming generations are living under the shadow of a bomb which is the failure to be content with what is there and what is there to have.
The track Rerukai is a combination of melancholy and vicious lyricism. He allows himself to be laid back and stick to his truth. There cannot be hip-hop without emotions being provoked. JT buoyantly claims the top 5 to rejuvenate the needed energy in the jungle before other vultures prey on you, him or what, us? Other tracks like Kwedu Tiri Two featuring Tamy Moyo, Pfuurai Nekuno pt2 without Emtee and Kure with Galis Kush complete the hunting expedition. Suhn has so far proved to be a fan favorite with his raps receiving positive feedback. The usual culprit Jax DaBeatBully produced most of the tracks as he continues to be the main engineer in the course.
The album is a debut for Voltz JT but also a celebration of independence from Mula Nation who were comrades in his breakout year. The album has given character and unmasked the personality behind the hip-hop superstar. And back to the politic, is this classic debut that painful? Nothing has been taken away but more has been given. The Jecha Trap army is in the deep ends meditating on the message. Rhyme schemes and punch lines? Haisi pressure haisi sterek! Teach the customers what to consume. If the game has been about breaking rules then here we go!
Another Dambudzo Marechera dose for our troubled media conscience:
Writing can always turn into cheap propaganda. As long as he is serious, the writer must be free to criticize or write about anything in society that he feels is going against the grain of the nation’s aspirations.
Lighters up from night time till morning for the culture! Peace to the downtrodden and depressed!
Enjoyed reading this entertainment news report? Support Greedysouth by buying the team a cup of coffee. Your support assists in the production of such quality reports. Thank you.
well written.
ReplyDelete