THE reigning Namibian Artist of the year returns with a new album titled Ekiya (thorns) which is obviously explicit, danceable, sing-along and above all, a dynamite.
The 17-track album expected to hit the streets today according to Omalaeti, features several guest artists among others Olavi, Jerico and Kondja.
The title-track is typical Kwiku although pregnant with a message of the HIV/Aids pandemic, has little distance from the artist’s comical lyrics.
“Ekiya sha leku tu oti ti halala...” (If a thorn pricks you, you scream ouch) sings Buti.
Then there is Mopula, it’s a Jukebox must. Mopula will remind many of Eke Wali 4Call and has promises of being a festive season hit despite its distinctive message.
In the song, Buti goes poetic talking of how ‘things’ easily go out of fashion after being overused.
Contrastingly, in Ove Auke Jesus featuring Pedrito, the 29-year-old artist takes time to worship his creator. It’s an old hym-book song but modified with Pedrito’s Oshimbundu and a strong Kwiku beat, a song that you can repeat while driving a long distance journey.
You don’t need to listen to know what to expect from Track 13, ‘Ostory’ or Tolungwa, Track 17 before judging the artist’s comical nature.
But Ekiya, which also has a remix, brings a more mature Tate Buti where his Kwiku music, a fusion of DRC’s rhumba beat and Oshiwambo traditional music genre diluted with a mix of Kwaito music from South Africa, is rich.
Real name Teeleleni Mumbangala, Tate Buti has produced one of the country’s best selling albums.
Ekiya, his seventh album is expected to follow the steps of Ondombolo (2004), Oshitenda (2005), Osuuka whose title track won the Best Kwiku Song of the Year in 2006, then Otendeela, in terms of demand and popularity.
Buti has often argued that the controversies surrounding the explicitness of his music are only created by “the fans and those who chose to interpret his messages the other way”.
Some of his songs have been banned on national radio but still his albums have sold-out defying the explicitness on them which is also on Ekiya.
“Tate Buti is very creative. It will be difficult to remove him from where he is because he will also keep on keeping on,” the Kwiku star says, referring to himself in the third person.
The pioneer of Kwiku music in Namibia, Buti’s teenage days influenced the creation of Kwiku. He said he was heavily intoxicated with South Africa’s Kwaito music, the days when the male Kwaito group Trompies dominated.
Then, an active member of a Kwaito dance group while at secondary school in the North, Buti said listening to SA music became so monotonous that he got inspired to start his own genre.
Thus, he made a recipe of traditional Oshiwambo percussion beats fused with DRC’s rumba genre mixed with a fade feeling of Kwaito to brew a genre that has taken Namibia by storm - Kwiku music.
Track 9, will remind many of the late South African, Peter Teanet’s Township vibes, but you easily feel Kwiku domineering as Buti talks about Eshondolo.
“Tate Buti is very creative, comic and a really out-of-this planet character. Something just comes upon him. I am a normal. I listen and learn a lot and then I forward it to Tate Buti.
“People who see me for the first time often ask why I am so quiet yet the voice they hear on songs sounds like a weird character, but that’s the nature of the talent I have. I have someone inside me. That’s’ Tate Buti. I am just Teeleleni Mumbangala.”