uSanele pays homage to KZN roots and stamps his authority on the game in uMvelase

For many artists, January signals a time for relaxation, hibernating in the studio or going back to the drawing board to review the past year’s hits and misses whereas – for a few – it is the perfect time to take advantage of the relative silence and put out a body of work that may or may not set the musical tone for the year ahead.

Enter uSanele, well known for his involvement with Boyz ‘N Bucks and Spova Gang. He has dabbled in the game as a solo artist for some time now from releasing 2019’s Gangular EP to this year’s uMvelase. The artist does not only warrant a listen due to his confidence to release the project so early in the year but for the musicality of uMvelase – a project that shies away from the noise many ears have been accustomed to in the past year.

Starting off with his clan praises in Inkondlo, uSanele sets the poetic tone of his project and it orates his roots – from the KZN slang, trap and electronic-esque sound, uMvelase reads like a tour of uSanele’s native kwaNongoma but would fit perfectly within the realms of Braamfontein or even Los Angeles and its palm trees (listen to Buyela eKhaya’s tropical influences).

Now. If you’re in tune with South Africa’s street culture, you should know who uSanele is and if you don’t just take a listen to track two, uMvelase. Here, he asserts his presence in the game and answers the streets’ cry for him to take his rightful place in the top 10.

“This project is in honour of my father and family, abakwa Mthembu; all my siblings, extended family and my roots in the heart of KZN, kwaNongoma. It is a calling—if you will—a completion of my journey and all things coming full circle,” he says of the project.

Nguni worlds collide in Mvelase noShembe, here he introduces his first collaborator, ASAP Shembe – the duo warns you of their prowess. Nevermind the braggadocio and charisma, the instrumental sounds like something to be included in a Goodfellas remake.

uMvelase is a follow up to 2019’s Gangular, and uSanele says it is really a message to self (from higher self or spirit) to return home – think of these sentiments on the AyemaProbllem-assisted Phumaphi, an ode to KZN township life – a life that can easily be translated into Joburg township life – picture yourself playing this song as you drive down Roosevelt street in Alexandra.

As with any good project there needs to be a breather-track, a track to let you take in what you’ve just heard and on Studio Gangsta the listener is let in on the praises and lies men tell each other – think of a guy being proud of his thuggish ways and being called out for the façade by his squad. This may or may not be uSanele’s take on the toxic conversations men have with each other.

What would a good ol’ hip-hop album be without some bragging and showing of opulence? The trap-influenced iCoupe, is clearly uSanele’s way of calling out the folks who bit the Boyz ‘N Bucks and Spova Gang swag circa 2014 and made a wave of it – at the same time, he’s hitting back at those who wrote him off as a name to put some respect on.

Buyela ekhaya as the last track suggests, is a call to come home. This is very ironic considering that it sounds like something to play in a tropical island. uSanele is more laid back and draws the listener in with his confidence and lets you know that as much as he continues to push the envelope in his creativity he is still weary of his roots – which clearly continue to influence his sound. OjayDash and Windows 2000’s cameos add the Midas touch and bring the closing track full-circle.

In the midst of a decreased attention span within the digital age, uMvelase is sweet and short but makes a point that uSanele is assertive, musical and can hold his own against the best of them. This is definitely a listen that will resonate organically with the masses, with or without the backing of industries heavy hitters.

Listen to uSanele’s uMvelase below: