Trippy Trap connoisseur and Davido collaborator Hym drops a new neo-soul deep synth afro trap single he calls “sober” which takes you on that smooth 90’s R&B ride infused with a perfect sample and pumping groove pattern. “Today’s woman wants that high guy. ‘High’ could mean social status, financial stability or even knowing what you’re about and being on the high side of positive life;” the Trippy Trap musician states.


The artiste breaks down the story of the commencement of his style by frantically elaborating; “it all started with curiosity. Your experiences dictate what you put out. If you want to live a lifestyle different from the message in your music, there will be a resulting identity crisis. The industry is filled with a lot of people who don’t want to figure out things for themselves. It is filled with a lot of people who are dependent on others, expecting them to do something for them.

An independent artiste for some reason has more clarity than the guy who is signed onto a label. The independent artiste intuitively knows what to do with a beat as soon as they get the chance while the signed artiste has to go through all that tiring process of thinking about his contract, the content that the masses are used to or whether it would be a hit song or not.”


It gets more interesting getting to hear an artiste describe what he does as “not work” because “work has some certain formalities to it.” Access to space for music production and productivity have a common link interconnecting in Ghana. In Accra, several musicians end up sharing a common music recording studio at a time, and the problematic realities of joining queues and being easily distracted are frustrating facts.

“Inspiration comes to me in the form of a conversation or when I hear something interesting. The process becomes more realistic too because we have a studio in the same apartment we live in, so it’s more like go in there and make a hit. With the labels, the creative process is usually dragged. Also when one visits the studio, there’s always a queue and you’d hardly be the most important person in there even if it’s your own session.”


The artiste reveals his background as a homely place where every member of the family was into a different genre of music. “My real name is Mohammed Nasir and I’m a Hausa. I grew up in a relatively large house in Lagos where each person had their own taste in music. My dad could be playing country music. On my way home from school, the driver may choose to play reggae music. Michael Jackson was everybody’s favourite at the time. I started music in a small studio with very few equipment. It was in Davido‘s house.

That was my first session ever. We were in high school then. We had the passion. We saw the picture. We wanted to make music. Davido bought the mic. He knew how to connect it to the computer so the sound was always good. I learned a lot from how he operated the software. I was lucky enough to start with and learn from somebody who had a lot of vim. I started writing music for the girls then. I got to see every sign of the perks in high school. One way or the other, everybody who was popular was exposed to the girls and also because you wouldn’t even have to spend your own money any more because there was so much support.”


About what artistry really means for the society, Hym declares; “I feel that being a musician is a social responsibility and could be used to open minds about what could help the people. I don’t want people to think that I am all God with my music. I make music for club-goers too. It’s all about the feeling. I grew up in Lagos with the plan to go all out with the music. Along the way, people gave up, some even died. That meant I had to move and take the message elsewhere.

People that know me back in Lagos have seen my music channel from party-type to conscious music. I’ve realized that it’s best for musicians to keep pushing. Even if it’s two radio stations for promo. Even with videos, over there(in the West), some people shoot with their phones. But we are socialized to think that we only need the red camera to make it because we saw Jay  Z and co use it.


Hym calls Trippy Trap “the dope cousin” of Afro Trap. One Afro Trap rapper worth mentioning here is Dex Kwasi, who plots stories and sound moods about experiences, struggle, culture, drug politics etc over Afro Trap beats. The rhythm is not too far from an Afro Hip hop and Trap hybrid. Dex Kwasi first got a strong response when he dropped a satirical trap anthem and video “Africa (Trappin’)” featuring Wanlov.

To Hym, Trippy Trap is “the genre I mostly easily connect to. I used to call it Afro trap. My music is for people who have not figured life out yet. Almost every black man feels the need to cut his hair once it gets to the afro level. The afro signifies blackness or black mentality. The best part of the creative process is when I’m listening to the piece recorded. I like to take the music from a different angle.”



Ghana’s ace rapper, label owner, controversial social commentator, entrepreneur and creative wordplay talent; C-Real hits the airwaves and eardrums again this Friday 12th of February, 2016 with a love-themed piece he calls “Still”.


This time, he features a budding artiste called Sedem, intentionally or mildly hinting an intent to bring “freshness” into the Ghanaian and African music industry. Over the years, C-Real’s artistry has grown from young lyrics connector, then battle and TV showmaker, to controversial industry activist, even till the moment he told us to “Shine” and after, we’ve noticed he’s never lost his essence of being a conscious poet with a message.

“The song is about love and the reality that comes with it. Society seems to be fixated on the pleasantries and pleasures of love not realizing that there’s more to loving someone than being happy with them. As far as this year, I’m currently working on my second album, with an international producer. Well-Acclaimed producer. No toys…lol. Features as well, we are holding nothing back. We are doing best to secure mind blowing talent to make the album not one just for popularity sake, but one that is artistic enough to be timeless.”

There are the green rich content making rappers on these Ghana sound streets and there is the thick grey undergrowth spoiling it for everyone else. A particular group of listeners and event goers are catching up with the real. Others will grow to understand that the few storytellers who are consistent with their passion are the ones who will endure.

Starting from humble roots, hip-hop has grown from the creative outlet of underrepresented black teenagers [..] in the late 1970s to a highly successful commercialized business that in 2000 grossed over $1.8 billion in sales in the United States. (Kun, 581). Africa has as well had its roots, looking at Gyedu Blay Ambolley’s simigwa-do music and African Bambaataa‘s rhythms.

No wonder the art has matured into a global creative and economic force with its influence unfolding on the entire planet. Whether the culture is representative of the voice of the black community or the streets, we as consumers and enthusiasts are left to guard the substance of hip-hop music and not allow for dilution of the message.


The radio and TV plays a lot of the Ghanaian music but as to whether they are all out with support for young talents like C-Real, is something we’re curious about. The best tool to share content is now social media. As such, musicians go on online campaigns to get people ready for their music. MUSIGA; the Musicians Union of Ghana, even though they receive millions of cedis from the government is doing little to push or give grants to hip hop artists or poets, how much more seminars and residencies. There are only a few Accra social spaces which are friendly to hip hop including Champs and The Republic.

Because we know the Real Team simply offers the best, we can’t wait to listen to C-Real “still.”