Spoek Mathambo is a 24 year old post-Apartheid jack of all trades (rapper/DJ and graphic designer/illustrator) from Soweto. Through his Afro-futurism Spoek sees himself as a part of a new wave of energy in Africa, where a new breed of African artists are progressive while maintaining a pride in culture. As front-man for electrorap outfits Sweat X and Playdoe, Spoek has risen to become one of the foremost recognized exporters of the new South African club music (which he has coined as Township Tech). “Spoek” is South African slang for “ghost”, and Mishini Wam, his debut solo album released by BBE, has its name from a famous Zulu song called Umshini wami (my machine), often sung by members of the military wing of the ANC and the South African president himself whenever they are in trouble. In their version it means: “bring me my machine gun”, but for Spoek Mathambo “Mshini Wam” has quite a different meaning; my machine – a way to express a new wave of electronic African music.

The genre defying Mishini Wam opens up with “Gwababa (Don’t Be Afraid)”, and the dark, angst-ridden and dubby production sets the tone for the rest of the album. The mix of the South African sounds of kwaito (DJ Mujava anyone?) and the low-fi weirdness of Fever Ray makes an irresistible recipe. The track sounds similar to the Style of Eye vocal remix of Riton & Primary 1’s “Who’s There?”. Title track “Mishini Wam” with its machine gun lyrics reminds of an updated version of “Little Drummer Boy,” with rave synths and wobbling bass. “Don’t Mean To Be Rude,” is the album highlight, and it’s a brilliant leftfield piece of deep house and dubstep sprinkled with some Hercules and Love Affair pop. The combination between male and female vocals and energetic rhyming gives it a catchy balance. “Gunboat” with its hardcore production and sharp drums makes u wanna dance in a dark sweaty alley not worrying about your own safety. “War On Words” sounds like a post trip hop track, something Massive Attack would’ve dubbed out to back in the 90’s. Album closer “Tonite” sounds like gender-bender Chelonis R. Jones doing some goth pop, complete with a British accent.

This is how M.I.A.’s album should’ve sounded, and at times it sounds like an updated Pharrell Williams both in production and vocals. Mishini Wam is a fascinating piece of otherworldly music filled with unlikely combinations, tribal rhytms, soulful vocals, flawless rhyming and minimal club beats. An album drenched with global dance influences, but anchored with a local identity. If only this was the sound of the 2010 World Cup instead of Shakira..

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