Review: Loshh – Feelam

Nigerian, Netherlands-born, London-based polymath Loshh unleashes heady latin-tinged psychedelia via independent label TENNNN Records.

Loshh Aje has played at Afropunk Festival

For some artists, creativity isn’t limited to any particular form or instrument. Indeed, when we think of the most unique or genre-defining artists, this often goes hand-in-hand with a creative ideal that also encompasses fashion, film or photography. David Bowie, Grace Jones or even Marilyn Manson used these mediums to extend their creative concepts into the real world, giving their respective messages real meaning and real implications.

In 2020 this approach has taken on new meaning, as the audience and the means of production have been thoroughly democratised. Through the proliferation of the Internet and smart phones it’s now possible for artists to use social media platforms and self-created content to create a world so real you can almost feel it breathing. Pa Salieu, PC Music and Skepta, to name a few, have all moulded something incredibly tangible that not only accompanies their music, but embodies it, gives it legs and lets it loose in the world.

Loshh Aje is one such rising artist whose ambitions aren’t simply limited to the recording studio. Touted as a multidisciplinary artist with roots in poetry, visual art and sound, his Instagram features images of icons like Andre 3000 and Old Dirty Bastard next to an array of catwalk and street shots, with Aje donning haute-fashion or posing in the street flashing grills.

Following on from a live-streamed performance for the annual Afropunk Festival featuring a full seven-piece band, Loshh has now released the single ‘Feelam’ via independent label TENNNN Records. Working with Latino-American composer Santiago Morales, the duo have created a heady Latin flavoured, psychedelic jam that has roots in both Aje’s Nigerian and Morales South-American heritage.

In interviews Loshh has referenced King Sunny Ade and Fela Kuti as important influences, which manifest themselves in his vocal delivery, recalling the raucous energy of the Nigerian afrobeat sound, engendered with the don’t-give-a-fuck drawl of Ghostpoet or King Kruel. This is set against Morales’ smoky, Santana style instrumental that sets the stage somewhere at the back of a New York Salsa club, the overdriven guitar wailing over the rolling percussion section.

The fusion of these two styles is intriguing, leaving the listener wondering where Loshh plans to take us next – and with the artist showing such a solid grasp on his direction, it wouldn’t be surprising to hear big things very soon.

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