Featured Artist: Batida – black beat tribalism

Batida bring us the street vibes of Luanda’s neighbourhoods full of raw Angolan percussions combined with the most modern hard beats of global bass music

‘Batida’, apart from a Brazilian cocktail with cachaca, it is also a musical style that emerged during the late 1980s in Luanda, Angola. Back then producers started fusing samples of African percussions with soca rhythms. Batida is the progenitor of the nowadays Batida Albumworld-renowned Kuduro sound, which came into form as young producers in Luanda kept on experimenting with harder beats from Western house and techno as well as with native styles like Semba and Zouk.

Batida is also the carnivalesque musical project of DJ Mpula, aka Pedro Coquenão, which extends to dance, graphic art, video and radio as broadcasted by Fazuma collective. Batida brings into the fore the massive African percussions as heard in the original batida tradition revamped with cutting-edge electronic beats and hammering basslines.

Watch Batida’s music video ‘Alegria’:

Batida are emerging amidst the Kuduro craze, their self-titled debut came out just earlier this year via the Soundway imprint.; however, unlike their Kuduro peers, it is the goal of the project to keep intact and enhance the roots to traditional Angolan music. Batida are Batida Mama Africanamore tribal and politically provocative campared to the ravey Kuduro (which means “hard ass” in Kimbundu language) slackness, a direct adaptation of Jamaican dancehall culture.

Their music unearths 1970s Angolan samples, laden with rough tribal percussions and drops some heavy riddims on top relevant to contemporary bass enthusiasts – their style stands in the frontlines of today’s ‘Global Bass’ or ‘New World Music’, a pool of new music that rejects all those strict Western/non-Western cultural divides. It represents a more densely networked generation beyond borders, made possible with the advance of communication technologies.

Batida’s electronic tribalism is exploring more underground routes; it carries the carnivalesque aesthetics of Semba and the boisterous Kizomba street party attitude of Luanda’s neighbourhoods. Batida appear on stage with live dancers, percussionists, MCs and visuals, both new and archival, of Angola, war and tribal life.



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