Although Abass may be built like an NFL line backer, this barrel chested rapper has one of the most graceful flows in Senegal. His style and mastery of the French language set him apart from many other rappers in Dakar. Abass unlike many MCs in Senegal, began rapping in school rather than the street using his linguistic knowledge to work on his unique rhyming style. After recording his self-titled hit "Abass" with Nomadic Wax he began working on his new album in France which should be available within the year.

© of Nomadic Wax LLC 2004

ALIF – Dakamerap
Attaque Libératoire de l’Infanterie Féministe

Hiphop has had its place in the senegalese music scene for well over 10 years now and it has evolved into an own blend of infectuous music. Just like most rappers from Dakar/Senegal, Alif see themselves as the voice of their generation. They are the Dakamerap: the camera that documents everything happening in Dakar 24 h a day. Alif rap about overloaded minibusses without functioning breaks, careening down the street out of control. Then the camera follows up the story of a businessman who takes people’s money promising to organise them visas. Then he runs away with their hard earned savings. In Porose Bi (the lawsuit) they rap about house servants that are only paid very little but have to work like slaves. If anything happens in the house they are held responsible. Bataxal (the letter) talks about incest a tabu in Senegalese society. A mother sends a letter to her daughter telling her the story of how she was rapped by her father: “I am your mother, but I’m also your sister ...“ Joollaa is the name of the ferry, that sank 2002 off the coast of Senegal; an accident where more than 1000 people died.
There are about 2000 crews in Dakar the center of westafrican hiphop. How influential the voice of hiphop is in Senegal could be seen during the elections of 2000. The Senegalese youth was mobilised to go to vote and after decades in power president Abdou Diouf was finally voted out of office. Women are still exceptions in African rapmusic. The trio Alif are the first all-female rap group in Senegal. The release of their first cassette Viktim caused a big stirr in a country where traditional authorities like parents, religion or age play a big role.
Alif was founded in 1997 and was the first female band to release a tape in Dakar. Lead rapper Myriame was featured on produtions and compilations of many known rappers on the scene. (f.e. Pee Froiss, Didier Awadi of Positive Black Soul a.o.). 2002 Alif went back into the studio to record Fokk a track for the Greenpeace Magazin; their first song to be released internationally on a EP called Dakar Raps. The reactions were overwhelming and they were invited on a first tour to Europe in 2003 and recorded their first album. Support came from the German producer Steven Töteberg who runs a studio (Maison Yes) in Dakar and some of the main rappers on the Dakar scene. Most important: rapper Maxi Crazy, the singer and kora player Lamine Kouyate, Xuman and DJ Gee Bayss (both Pee Froiss), who did the scratches on the album. Musically the album takes hiphop full circle, reconnecting it with its roots in Africa. Songs like Dakamerap, Taspe, Joolaa and Bataxal combine traditional sabar-rhythms and the music of the griots with a contemporary blend of African hiphop.

ALIF are: Myriame (Mariéme Diallo), Mina (Ndéye Aminata Sall), Oumy (Oumy Ndiaye) additional scratches: DJ Gee Bayss (Pee Froiss)

out l here rec represents the growing tide of young urban music from all over the world. The days of regional thinking are over where Africans play the drums and dance all day, India burns incense and Bavarians drink beer. Exotism is for tourists. It’s time to listen to the fully globalised youth telling its story. So wake up & welcome to what’s out here.

Album: Ndekete yoo (1999)

Youssou N'Dour, Senegals grand vedette in music, did much to get the country's mbalax music exposed to the world. Now that he earned enough money to go & live in peace, he still keeps on recording and touring, and what's more - he dedicated part of his time to setting up a record label 'Jololi' which serves to release the work of talented young artists such as Cheikh Lo. It's no surprise that Youssou got involved with some rappers as well. Bideew is the first group that gets a Jololi release, and there is a compilation coming up. Ndekete yoo is an interesting cassette with tight rapping, solid production and a high degree of catchiness, especially in the hit 'Ou-ah'. This song became so popular because of the chorus but the video, showing the rappers getting arrested by a bunch of girls in camouflage suits, helped a lot spreading their fame. There is another song which features a Youssou N'Dour sample for the chorus, although its is not unlikely that You laid his vocals live in the studio.

Biography:
What hits you immediately when you listen to Daara J’s new album is its great musical quality “In our music, the melody is always the starting point”. At their beginning because of their lack of means, it meant rapping on some instrumental French or American raps compiled on a tape, or with only the backup of a beatbox or of a few percussion instruments. In that case, one of them would sing the melodic parts. Talk about harsh apprenticeship? But in adversity and unrewarding environment, N’Dango D, Aladji Man and Faada Freddy learned to make the most of anything that came to hand. A precious teaching they still currently put into practice. Thus Si La Vie N’est Pas Belle” starts with a harmony borrowed from the zulu music, “Boomerang” with a Mandingo traditional melody and for the occasion, Rokia Traore, one of the greatest divas of Malian music.
They all speak various languages, absorbing all styles of music on their journeys. A mixture of French or American rap, reggae, roots, soul funk and Cuban music.
Their first album, Darra J was released in 1994 and they were the first Senegalese rap band to tackle up front the religious issues as well as other strong social, political and spiritual issues.
Their second album Xalima, was released in 1998 and had a curator from the House of Slaves contribute which is where the boats of the ebony commerce sailed.This dimension has of course not disappeared on this new album. Babylone” recalls the exploitation of the African people, whether visible or invisible. Bopp Sa Bopp is a vigorous exposure of selfishness, yet finds its origin in Africa, whilst Paris Dakar, their duo with Franco Senegalese Disiz Le Peste, reminds us that the wealth of mankind is not necessarily in technological development but more surely in shared well being. Le Cycle is a variation on the question of life, death and resurrection, whilst Exodus obviously deals with the uprooting of exodus. Finally, Esperanza is a song of hope, to not let us sink into the abyss that awaits each one of us.
The great strength of this record is undoubtedly that it forces us to rethink our accepted ideas on Africa and its so called “lateness” compared to the Occident.
“We are the first generation born after the independence. As such, we embody at the same time tradition and modernity. One foot in the past and other in the future”

Discography:
BOMMERANG (2003 Wrasse Records / Harmonia Mundi)
XALIMA (1998 Declic)
DAARA J (1997 Declic)

Appearances on…
Paco Sery - Voyages
Various Artists - Power of Unity (2000)

Né le 30 septembre 1975 à Mont Rolland, Didier Maxim Amar M'bengue, a très tôt abandonné sa bourgade natale, trop enclavée pour aller s'installer dans la zone fraîche des niayes, à Mboro. Après y avoir mené des études primaires ordinaires, cap sur Thiès où, il s'inscrit au collège Saint Gabriel. L'enfant devenu adulte décide subitement d'arrêter son cursus scolaire en classe de terminale. Rempli de hargne, et convaincu de son talent, le néophyte intègre le groupe " Family Mc" où il se fit ses premiers pas dans le rap. Quelques mois lui suffisent pour réaliser enfin que seul le rap ne pouvait plus véhiculer son message et assouvir son inspiration grandissante. Il quitte ses compagnons du grand monde du hip hop, pour créer son propre groupe: "le Big nation Possee", basé à Mboro. Mais cette aventure ne fit pas long feu. Après un bref séjour à l'orchestre des Ics (Industries chimiques), c'était en 1998, il prit alors la ferme décision de voler de ses propres ailes, sous le nom fétiche de "Dread Maxim" qui signifie selon lui: Maxim, l'affreux.

Ce nom assez bizarre du reste, s'expliquerait par la volonté du chanteur de ce qu'il qualifie être son "vouloir paraître comme une affrosité, pour éloigner au loin les forces du mal". C'est ainsi que devenu solitaire, Dread Maxim s'engage dans la voie sinueuse des rastafari, ses semblables inspirés du pays de Bob Marley jamaicain, devenu un jour, le maître des émotions profondes des mélomanes du globe, toutes races confondues. Un journal de la place le surnommait déjà, "le prince Rasta". Caché derrière ses rastas, le chanteur affûte de plus en plus sa voix et taquine de mieux les rythmes saccadés du reggae jusqu'au jour où le pianiste Allemand Steven Toeteberg, propriétaire du Studio Yes de la cité Biagui à Dakar Yoff, tombe sous son charme. Ils misèrent leurs sous dans une production qui est devenue la première cassette d'un chanteur de reggae, originaire de la région de Thiés. Dans "Révèlation", sortie en août 2000, le chanteur polyglotte s'exprime en francais, wolof, anglais et sérère, abordant ainsi et sans aucune retenue les thèmes de la paix, de l'unité et africaine d'abord, de l'amour, de l'enfance déshéritée... Cette cassette portant 8 titres est devenu son cheval de guerre qui lui a permis de se produire en live un peu partout à Dakar, à Thiés ou à Mboro au 5 sur 5. Dans cette boîte aujourd'hui devenu populaire, il devint la star maison. Au coeur de cette atmosphère où Dread a installé son quartier général, les Ics sont devenues selon ces propre termes, "un mal nécessaire". Malgré une promotion ratée d'une cassette qui n'a pas encore de clip, le Mborois, prince du reggae se dit être loin du découragement.

Info © of Nomadic Wax LLC 2004

Biographie:

Né au Sénégal dans la ville de Dakar, Nicolas Omar Diop, alias NiX, se présente comme l'une des valeurs sûres du rap africain. Comme la majeure partie des jeunes de sa génération, Nicolas fait connaissance avec le mouvement hip-hop par la danse. Son amour pour le rap se fait lorsqu'il écoute les albums de Doug E Fresh, Kool Moe Dee, Father MC, Public Enemy…
Il découvre le rap français par MC Solaar, Assassin, NTM et IAM. Ces artistes réveillent en Nicolas la volonté de chercher à se créer une place dans le paysage rap. C'est ainsi qu'il forme le groupe Kantiolis avec Ibrahim, Bap's et GeSer, meilleur groupe de rap sénégalais au CCF (Centre Culturel Français) en 1994 et 1995. Au sein de sa famille, ses parents ne voient pas les choses comme leur fils. Ils veulent que Nicolas se consacre entièrement à ses études. Cette incompréhension dura une longue période. Il lui aura fallu du temps pour changer la donne.
A l'école, ce n'est plus Nicolas mais plutôt NiX. Il passe 10 bonnes années avec Kantiolis. Là, ils se font reconnaître et apprécier dans leurs différents show à travers les écoles et les premières parties d'artistes au Sénégal : Alliance Ethnik, Ménélik, Raggasonic, KDD, Patra, Alpha Blondy, Magic System, Dubmatique…Un petit voyage sur la France leur permet de poser quelques titres sur des mixtapes et de collaborer avec des artistes de la place (Hifi, Movez Lang, Malekal Morte, Oxmo Puccino…)
Dix ans de concert, dix ans de compilation et de participations sur différents albums ont fait de NiX un rappeur d'expérience et de talent.
En Février 2003, NiX sort son premier album solo après que le groupe Kantiolis se soit dissout. Sur cet album nommé ''BLACK CRYSTAL'', NIX tente de réveiller une prise de conscience face aux nombreux maux qui minent notre société et en particulier la jeunesse et ramène une ''vibe'' de sons ''nouvelle tendance'' très ''club''.
Il invite Bap's et GeSer (Kantiolis), Tij et Fléo (EPC), Abass Abass, Goshey (OTD), Fanto (CFA), DJ Gee Bayss (Pee Froiss), Carlo...
A la production musicale, il a fait confiance à ses compagnons de toujours Black Casanova, Diggy et K-iD.
En Août 2003 une version rééditée de l'album incluant des remixes et des inédits, ''BLACK CRYSTAL : Summer Edition'', voit le jour.
En décembre 2003, le travail de NIX fut couronné par son élection en tant que meilleur rappeur solo de l'année au SENEGAL.
Aujourd'hui, il est temps de compter avec cet artiste dans le paysage du rap car ce n'est rien d'autre que sa volonté, sa force et sa détermination qui ont incité les medias à le surnommer:
'' LE TIRAILLEUR DES TEMPS MODERNES''.

Discographie:

ALBUM : BLACK CRYSTAL
SORTIE : FEVRIER 2003
TERRITOIRE : SENEGAL

1. INTRO : RIEN QU'DU STYLE (f/ BAP'S + GESER)
2. J'SUIS LA
3. BLACK CRYSTAL (f/ CARLO)
4. KARDA LIVIN' (f/ TIJ + FLEO + KRYNA)
5. TROP D'SUPPORTERS
6. FUCK IT UP (f/ BAP'S)
7. C'EST QUI CA ?!
8. MAUVAISE EPOQUE
9. TOUT C'QUE J'AI
10. RAP DE MAUVAIS POIL (f/ TIJ + GOSHEY + BAP'S + ABASS + FANTO + BUGZ)
11. LION NEVER FALLS [BONUS TRACK]


ALBUM : BLACK CRYSTAL SUMMER EDITION
SORTIE : AOUT 2003
TERRITOIRE : SENEGAL

1. J'SUIS LA
2. KARDA LIVIN' PT. II (f/ TIJ + FLEO + EYMY)
3. C'EST QUI CA ?!
4. SOUND SYSTEM (f/ FREDDY V)
5. FUCK IT UP (f/ BAP'S)
6. RAP REK
7. RIEN QU'DU STYLE
8. BLACK CRYSTAL (f/ CARLO)
9. TROP D'SUPPORTERS
10. MAUVAISE EPOQUE
11. TOUT C'QUE J'AI
12. FUCK IT UP remix (f/ BAP'S + TRIGGA)

Participations:

1998:
Participation dans l’album Xalima de DAARA-J
Participation à la compilation Sénérap Act II du POSITIVE BLACK SOUL (PBS)

2000:
Participation à la compilation DA HOP de DELABEL
Participation à la mixtape Bâtiment B d’Oxmo Puccino
Participation à la mixtape Da Ebenezer de la MIFA
Participation à la mixtape Oscar Volume I et II

2001:
Participation à la compilation YES

2002:
Participation dans l’album Zibizaba de ABASS ABASS

2003:
Participation dans l’album Afreeka de Doug E Tee du PBS
Participation dans l’album Diog Daanou de KEYTI, ex-membre du groupe RAPADIO
Participation dans l’album Parole d’Honneur de Awadi du PBS
Premier album solo “BLACK CRYSTAL”

2004:
Participation dans l’album d’OBC
Participation à la mixtape La Cité de Dieu d’Acid de La Brigade
Participation à la mixtape Rap Attentat de La Brigade

Nomadic Wax is a mobile "guerilla-style" production company dedicated to recording, producing, and developing hip-hop talent in Africa’s urban centers. Nomadic Wax was conceived by Benny Herson, (AKA Nomad), who stumbled upon a thriving underground hip-hop scene during a trip to Senegal in the summer of 1999.
In 2000 Benny returned to Senegal to write "Fat Beats, Dope Rhymes and Thug Lives" a scholarship-wining thesis documenting the rise of Senegalese hip-hop and the power of hip-hop as a means of political/social expression. In 2001 Benny returned to Dakar with no more than a hard disk recorder, a laptop computer and a couple of mics. With engineering help from ASCAP award winning engineer Dan Cantor (Notable Productions) and 14 of Benny’s dopest beats, Nomadic Wax recorded "African Underground:" Senegal", the worlds first African hip-hop compilation produced for international release. Today Nomadic Wax has successfully produced over 54 of West Africa’s most talented hip-hop groups. With the advent of portable digital studio technology, Nomadic Wax is able record on location, thus reaching artists in the most remote of locations. With the immense success experienced in Dakar, Nomadic Wax will continue in its quest to seek out and produce hip-hop talent around the world.


Nomad (aka Benny Beats) Bio:
Benny Herson (AKA Nomad) began studying music at age five. Beginning with percussion, he quickly excelled at his craft and began studying drumset. At age 16, Benny took his skills to the stage as a founding member of legendary ska kingpins Skavoovie and the Epitones. For the next 10 years, Benny toured the United States, Canada and Europe over a dozen times, released three internationally acclaimed albums and recorded dozens of singles on compilations world wide. In 2000 his drumset skills led him into the studio playing drums for reggae legends Yabby U, Sugar Minott, Glen Brown among others.
After a life-changing trip studying West African drumming in Senegal, Benny discovered a vibrant hip-hop scene in Dakar, Senegal’s main capital. Enthralled with the political and social message of the group’s lyrics he began producing and making beats for Senegal’s top MCs. After over 2 years of steady production work and beat making, Benny has become the most sought after producer in the Senegal. In only 2 years, Benny has amassed an impressive roster of artsists having produced 54 of West Africa’s most talented hip-hop groups.
As to why he has spent so much time focusing on African hip-hop talent he says, "African hip-hop is the next logical step. We’re living in an era where everything you hear on the radio sounds the same. There’s no meaning in the lyrics anymore. All over Africa there are thousands of MCs with a powerful message just waiting for the opportunity to be heard. African hip-hop is like a lyrical time bomb just waiting to go off… and it’s only a matter of time".

Contact:
Ben Herson
486 Jefferson Ave
Brooklyn, NY 11221
917 225 8472
http://www.nomadicwax.com
http://www.shiffai.com

Info © of Nomadic Wax LLC 2004

The men from Sicap Amitie, Dakar have been the first African Hip Hop crew to attain international succes with their 1996 album 'Salam' which was released by Mango records. Their subsequent tour through West-Africa, Europe, America and beyond has given them a lot of credit and the status of ambassadors of West-African Hip Hop. The group has been together since 1989 when Doug-E Tee and Awadi met after their original -rival- crews split up. It was the song 'Boul Fale' (a Wolof word meaning 'don't worry'), appearing on their first cassette, that got them well-known among Senegalese youth.

One year later, a remix-album featuring alternative versions of 'Boul Fale' appeared with guest-appearances of fellow rappers MC Leader and Pee Froiss, also starring the famous singer Omar Pene. From then on it was clear that Hip Hop in Senegal was not going to lead an underground existence as it has in so many other countries. A few concerts in France and Belgium made the international record business aware of the groups capacities, and with the help of French (Senegal-born) rapper MC Solaar PBS signed to Mango (Island) label. More recent developments have been the cooperation of PBS with other Senegalese musicians (mbalax-group Dieuf Dieul, Hamet Maal who is the brother of Baaba Maal and the living legend of Senegalese percussion Doudou Ndiaye Rose) and American trumpettist David Murray, who used to perform with Miles Davis.

Reason for this unusual gathering was the project Fo Deuk ('Cest ou chez toi') which aimed to bring urban youth worldwide together by cultural exchange. For the purpose, PBS and these musicians performed on stage in New York, Paris and Dakar in early 1996. Next they went to do some recordings which finally have been released on cd. Then came the cooperation with KRS-One, Supernatural (both from US), RAS, MC Claver and RAS from Ivory Coast (which see) on their album 'New York-Paris-Dakar. Many songs were taken from Daw Thiow which came out first, and then given a remix which in most cases did nothing good as Dwa Thiow was a superb production. In 1998 PBS spend much of their time touring all around the world, going to America, Europe and other places.

The Wakh Feign 'hors series' tape came out to celebrate their ninth birthday. Its cover design closely resembles 'Boul bes', the second-ever PBS tape, but the tracks are a world apart. The newly recorded 'Wouyouma' appeals to both pop listeners and the real hiphop heads, with its soulful & catchy chorus and tight rhyming. Other tracks are left-overs of earlier recording sessions and indeed resemble the style that PBS came up with earlier. Now there's one track on this album that has some of the best recording artists in Senegalese rap put together on tape: 'Wakh free' features Da Brains, Peace & Peace, Melokan, Kantiolis, Yat Fu, Pee Froiss, Xelmi Jo and Boul-n-Bai.

Don't forget to listen to some of their music at the Rumba-Kali sounds page, and watch the realvideo broadcast of the concert that they gave in Montreux in 1998.

Info © of Nomadic Wax LLC 2004

Simon is another Senegalese rapper who has begun to make moves abroad. After many years rapping with Dakar's "Bis Bi Klan", he now is working on his own. Simon has the kind of flow that you donít forget. Simon's rhymes are slow, deliberate and intense, and are fueled by his deep religious commitment and spirituality. By writing about his faith and the problems he sees around him Simon will continue to speak from the heart and win audiences over worldwide

© of Nomadic Wax LLC 2004

© of Nomadic Wax LLC 2004

Signifation et Philosophie: "Ceux d'un milieu populaire, défavorisé, là où se rencontrent le mal et le bien" (Wolof: "Nii bawo thi bëreb bu rëb bu ëmb, lu bax ak lu bone")

Gëblëen: Tout être positif, vrai et naturel et fier de sa situation tout en se battant pour l'améliorer.
Gëblement: Vivre en restant vrai et naturel, réel et toujours fier. WAGËBLË prône la paix dans la vérité (peace and right)

Idéologie: "Rester toujours vrai, réel et naturel"

Philosophie: "Faire savoir au monde entier le noyau de ce qui est caché pour pouvoir préparer l'avenir" (Wolof: "Wakh Aduna Gëddu Ëttu Baatin Lému Ëlek")

Concept: "Apprendre du passé, parler pour le présent, se préparer pour l'avenir" (Wolof: "Diang thi DEMB, Wax thi TAY, Lému Ëlëk")

Historique: Né en 1997 à THIAROYE, l'une des banlieues les plus défavorisées de DAKAR, capitale du Sénégal. Le groupe de rap africain WAGËBLË de son wolof, est une vraie école de vie pour ces milliers de jeunes banlieuzarts, sans repère vivant dans une société où les valeurs morales ont été sacrifié par une génération d'ignorants. Aujourd'hui, cette école de vie WAGËBLË s'enracine dans la culture hip-hop sous toutes ses formes d'expression. Ainsi, les sept membres de ce possee (3 rappeurs, 3 encadreurs et un conseiller) vont s'investir pendant deux ans sur les plateaux et concerts organisés dans les lycées de DAKAR. Entre 1998 et 2000, ils eurent à assurer les premières parties des concerts de groupes célèbres tels que WA FLASH de Thiès, PBS, Pee Froiss, BMG et DAARA-J. WAGËBLË fera ainsi partie des premiers groupes à initier le style hardcore: musique soutenue par une rythmique dont les thèmes puisent l'essentiel dans les réalités des banlieues darkoises. Leurs textes conçus en wolof, en français ou en anglais, sont par ailleurs de bonne facture, ce qui leur a valu de participer activement dans un album de WA FLASH en 2000, à la compilation "Yow ëlëk Sénégal" du studio "Yes", en 2001 à celle de Green Peace "Dakar Raps" qui est sortie sur le plan international en 2002 et enfin à la compilation "Sénégal Dufi Yem" toujours du studio "Yes" en 2002. Aujourd'hui, WAGËBLË a créé une autre structure : DIPPI DËPP spécialisée dans la décoration et les graffitis.

Info © of Nomadic Wax LLC 2004

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