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Toronto based @Dacou serves up the latest instalment in the Sinchi Edits series.

Words from the man himself…

‘Kenedougou Foly’ is a song kindred to its composer, Neba Solo – both are rooted in the historical and cultural legacy of Mali and Western Africa. Hailing from the Kenedougou region of southeastern Mali, Solo and the balafon (modified xylophone) masterclass he provides on the title track of his debut album are a fitting tribute to his homeland, the historic Kenedougou Kingdom of the Traorè dynasty.

The song begins with an invocation or call to attention “Ayeh Na”, as Neba Solo begins to provide commentary on the socio-economic issues faced by the people of Kenedougou. The song also speaks about the environmental degradation of the land and acknowledges the struggles faced by its people, while calling for collective action from the world to address these issues facing Western Africa.

I chose this particular song because I’ve always appreciated the sound and emotional response of West African music, Mali in particular. From Oumou Sangare and Fatoumata Diawara to the Tuareg sounds of Bombino and Tinariwen, Malian sounds resonate worlds over despite people not immediately understanding the words being spoken. Kenedougou Foly is such a track that just elicits a heartfelt feeling, stemming from Neba Solo’s infectious vocals, a call and response from backup vocalists, as well as his prodigious bafalon playing that is at the core of his genius.

My approach was quite simple. As folk songs of this archetype are usually bereft of electronic or Western dance elements, I added what I felt was necessary to provide a high-energy and hard-hitting version to be played out and played loud. Starting and ending with Neba Solo’s call for attention seemed fitting, sandwiched between Italo-style arp bass, some 303 acid sounds, and a 4/4 beat to tie everything together.