According to diverse scientists with their theories and postulations, one could deduce that the world depends heavily on energy. No energy is more important than the other, but to us as humans, the place of music is at the pinnacle of our daily activities. From communications to emotions, alerts and signals, education, and more, sound energy holds a special place in our hearts. While the sound is diverse, music is an embodiment of it—an intentional organization for melody, rhythm, and emotions. It is an art as old as man’s existence. The chirping of birds and the whirling of winds, among other natural sound producers, have been in this business long before modern times.
For music to take its course, artistic organization is essentially needed. In Africa, for example, before the introduction of modern technology, music had already been produced. However, music in this age depended on using organic methods and locally available materials, which brought to the fore a focus on raw talent, rhythm, and cultural expression. Colonial rule in Africa influenced its music production, introducing new musical genres along with the use of new musical instruments and recording technologies in the late 19th and early 20th centuries, which changed the course of African music.
The need for sound engineers skyrocketed with this new outlook on music. The increasing complexity of modern music, with its array of instruments and electronic equipment, demanded technical expertise to balance and blend sounds. The rise of professional recording studios equipped with microphones, mixers, and recording devices required skilled engineers to operate and optimize this technology. Moreover, the growing demand for high-quality music for various media, such as radio, vinyl records, and cassettes, necessitated sound engineers to ensure clarity and consistency in recordings. As live performances expanded in scale, sound engineers took on the crucial role of managing live sound systems and optimizing audio quality across diverse venues.
Beyond the technologies known from the start of this decade, AI has further advanced song production and sound engineering. Yet, some sound engineers know their opinions and refuse to compromise on their invaluable standards. One such sound engineer is Whobaadblood. His Afrocentric EP is a testament to his evocative sound production and engineering. The track on that EP, “My Girl,” featuring Spokegizzy, is a solemn sound with a lovey-dovey melody that resonates with the song’s lyrics. Whobaadblood starts this beat with the harmony of some keys on the keyboard, adds the beating of a tom, and then incorporates the rolled drum. This sets the rhythm of the music for evocation. A more intriguing part of the beat is the use of the snare and the kick drum.
“Jukpa,” the second track off the Afrocentric EP, showcases Whobaadblood’s creative evolution with a slightly enhanced tempo, deeper kick drums, and keyboard chords forming the foundation of the beat. A mildly dominant synthesized sound mimicking a xylophone adds melodic depth, while dynamic drum rolls and fills build a solemn euphoria and create smooth transitions. To elevate its dance/club appeal, the mix could feature boosted bass and kicks with EQ for impactful low-end energy, sidechain compression for a rhythmic “pumping” effect, and layers of bright elements like claps or hi-hats for fullness. Reverb and delay on percussion would provide spaciousness, and mastering for loudness would make it a high-energy, bass-heavy track perfect for the dance floor, blending its melodic richness with a club-ready vibe.
“My Girl,” by Whobaadblood ft Spokegizzy was written by Angela Ugiaumbeye Utsu, Blessing Melemu Cornelius Ugwakong Ayabie, George Joshua Godwin Okala, Ikemesit Nkereuwem-Tim,
Liwhundebe Clement Ugbem, Rebecca Agede, and Ayabie Uwaneyin Daniel, with the beat being produced by Slimchi Beatz assisted by Danny Bazuaye Beatz with Whobaadblood recording, mixing, and mastering the track. Zion Beatz served as the executive producer.
“Jukpa” by Whobaadblood ft A6ixx was written by
Abdulmumin Abdulraheem, Angela Ugiaumbeye Utsu, Elizabeth Eze, Fortune lgoru,Ikemesit Nkereuwem-Tim, Munachi Chukwudi Onyeukwu, Odera Alexander, Prince Osei Awuah
Rebecca Agede Ayabie and Williams Akintoye. It was produced by Slimchi Beatz with Danny Bazuaye Beatz serving as the assistant producer. This track was recorded, mixed, and mastered by Whobaadblood. The prolific Rudebone is the executive producer of the track.
“Confam,” Whobaadblood ft Yomi boss, loudspeeka was written by Angela Ugiaumbeye Utsu, Cornelius Ugwakong Ayabie, Fortune Igoru,
Godstime Ebeiga, Godwin Okala
Confam, Ikemesit Nkereuwem-Tim,
Liwhundebe Clement Ugbem, Odera Alexander Prince Osei Awuah, Rebecca Agede Ayabie, Victoria Chidinmma Israel, Williams Akintoye and Yomi Boss. The last track was produced by Slimchi Beatz with assistance from Danny Bazuaye Beatz. It was recorded, Mixed, and mastered by Whobaadblood, with TJ Onoja serving as the executive producer.
If not conversant with the Afrocentric beat, one might mistake it for Afro-R&B, a sub-genre of R&B. However, the Afrocentric beat itself, as produced in the first and second tracks by Whobaadblood, features more drums and no vocals, making them distinct sounds from Afro-R&B. On the third track of the Afrocentric EP, featuring Yomi Boss, “Confam,” Whobaadblood masterfully blends Afro-R&B with Afrocentric beats to create a rich, soulful fusion. The track combines organic polyrhythms with soft keyboard chords and expressive melodies, creating a harmonious balance between rhythm and melody. Yomi Boss’s emotive vocals, infused with Afro-R&B runs and harmonies, seamlessly flow over the Afrocentric grooves, delivering themes of introspection and celebration. Whobaadblood’s production enhances the blend with atmospheric reverb, delay, and a warm, balanced low-end that supports both genres. The result is a dynamic and deeply African track that stands out as a vibrant and introspective highlight on the EP.
In conclusion, the evolution of music—from organic methods rooted in cultural expression to modern technological advancements—underscores its enduring importance in human life. Whobaadblood exemplifies this blend of tradition and innovation through his Afrocentric EP, where he crafts evocative beats that bridge the gap between Afrocentric sounds and modern genres like Afro-R&B. Tracks like “My Girl,” “Jukpa,” and “Confam” showcase his technical expertise and creativity, balancing rhythm, melody, and emotion while embracing both the roots and future of African music. His work not only highlights the artistry in sound engineering but also celebrates the rich cultural heritage and dynamic possibilities of African music.
