In Ndikutambire, Thomas Mapfumo & The Blacks Unlimited revel in the melodic rumination of an oppressive status quo, being unafraid to say it as it is.
TAKUDZWA HILLARY CHIWANZA
In the re-mastered single release titled Ndikutambire—a sneak preview into the 2023 album—we see Thomas Mapfumo & The Blacks Unlimited immersing Zimbabwe’s consciousness in a radical critique of the debilitating status quo; the typical Shona protest song but laden with unique new elements.
The title track is a serious tune eliciting honest introspection and contemplation regarding the concrete material conditions in our epoch of domination, while retaining all its enjoyable entertaining aspects in a way that exudes Mapfumo's maturity as a veteran singer-songwriter.
In the classic and undying evocative tone of Chimurenga Music, Mukanya seems to prevaricate (to some); but we are acutely aware of the truism that the only reason why he lives in exile in the United States is because of his unflinching criticism of the establishment. This in itself is self-explanatory.
But before one even delves into the substance of Mapfumo’s potent lyrical content—which rightfully exudes a revolutionary tone and aura indispensable to our times—the unrivalled excellence of instrumental arrangement is a timeless sonic experience to marvel at.
It is what makes Thomas Mapfumo & The Blacks Unlimited the embodiment of unparalleled supremacy as far as meaningful [protest] music is concerned.
Ndikutambire’s instrumentation—long enough (7 minutes) to make the quintessential aspect of protest songs for which Mukanya affectionately known for—is an apt representation of how organic art railing against the system transcends the lyrics. It is holistic art in its unfettered profundity.
It is such instrumentation (the genius of the re-master) in which Mapfumo’s potent lyrics snugly and comfortably fit with immense reverence for the people’s struggles. Or something of that sort.
The remastering gives off a smoother, prettier production on the overall. Such fastidious attention to detail is what makes Mukanya the “Lion of Zimbabwe”. And this is not up for debate.
Ndikutambire is an apposite glimpse into his upcoming album—and the album is named Ndikutambire. We see Thomas Mapfumo unwavering in his resilient commitment to truthful messages.
The use of allegorical language (being ruled by a “snake”), accentuated by the first-person narrative of pervasive demoralization (stoically endured by the masses), lay bare Mapfumo’s critical reflections of our material conditions.
The re-mastered version leaves no stone unturned: perennial suffering, reminiscence on relative times of stability, suicidal mindsets, alcoholism/substance abuse; generally (yet without being generic), existence in our current epoch of domination favours the rich and subjugates the poor. There is just no “zororo” [no rest] whatsoever.
Being ruled by a snake is a stinging moral indictment on the self-aggrandizing ruling elites: “tinotongwa nenyoka …”
We are only left wondering what the whole album will sound and feel like. Mukanya’s voice is and will always be the voice of reason—the voice of protest.
One can thus hazard a sketchy prognosis—the latest upcoming album Ndikutambire will be an eclectic, poignant, and confrontational smorgasbord of [socially conscious] prescient warnings; if we don’t change our ways, our past, present and future are obliterated into nothingness.
Organic art elicits the will to change; without being obtuse. Mapfumo is a veteran at that. His message reflects the scattered hopes of old and new generations alike: protest in art that mirrors progressive, organic, contextual advocacy.
Perhaps—rather, undoubtedly—that’s the quintessential essence of Chimurenga Music. Recalcitrant art that provokes critical thoughts, with powerful entertaining merit.
Without saying anything further, listen to the 2023 new release Ndikutambire by Thomas Mapfumo & The Blacks Unlimited below;
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