Music
Continentally Speaking: M3nsa
M3nsa has out-lived the childhood genius label that gets tagged onto anyone that achieves great things at an early age.
If I ever nail the sound I'm looking for, I might stop making music and become a chef.
The Ghanaian artist got his start at 15 when hiplife elder Reggie Rockstone brought him into his fold as producer. The ride hasn't stopped since; M3nsa has released solo and group efforts, scored for and starred in movies, and produced music for other people, the latest of which is Nigerian-German vocalist Nneka's as-yet-unreleased EP.
Of note is the work he continues to do with the other half of the Fokn Bois collective, Wanlov the Kubolor. The two artists, whose process and approach and has roused reactionary voices from public commentators and the media in and outside of Ghana, on- and off-line, have a project called Afrobeats LOL that is due at any moment.
We caught up with M3nsa just after he'd released the Amaarae-guesting lead single to his forthcoming solo offering – the follow-up to 2011's impressive No.1 Mango Street – to chat about life, music, and his outlook for 2019.
How have you grown since 2011?
Tremendously musically. I'm definitely more confident in pursuing the sound I've always imagined, and not afraid to bring my own twist on even very complicated music that influences or inspires me. I feel like I have a better understanding of my place in this choice of career. Also, my grey hairs have spread a bit more since. :-)
What's the aim with the new set of songs you've got prepared?
Usually, these solo projects are very personal, so I often keep them very quiet until its all done, so I can stay in my head and execute all these ideas I've been honing. It allows me to share to an audience a very undiluted creative process which means it is going to be a bit different from everything out there.
My aim is it to share my interpretation of what party music could sound like, what vulnerable love songs mean to me, etc., and my take on future afro-pop/ hip hop, or even electronic music.
In terms of getting the music out, I'm hoping it's more efficiently done, in terms of playing more live.
How would you describe your sound in general, and on this album in particular?
I would say it's the result putting Dilla and James Blake on a plane to a village in Ghana for 2 years. Then sticking them in the studio with Ebo Taylor and Pat Thomas for production and writing guidance.
Where were the songs recorded, and who is on production?
Oh man, in January I set up shop producer/ musician/ engineer Andras Weil in the attic of a Montessori nursery school in a remote part of Budapest. With synths, live drums, drum machines, live instruments and a stream of musician friends coming thru to lend a creative hand. Its been at least 8 months of recording and production, and touring in-between, to get here!
Were you aiming for a particular sound? If so, do you feel you nailed it?
If I ever nail the sound I'm looking for, I might stop making music and become a chef.
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