Ahsayn The Beatmaker Unapologetically Criticizes Urban Grooves

A common saying says, “The truth hurts,” well Ahsayn The Beatmaker has decided to go ahead and use the truth despite the casualties associated with telling it in a series of status updates he labelled #musicmode.  Ahsayn is a Zimbabwean music producer who has been at it for a minute, he produces a lot of exceptional exportables yearly. Bringing relevance to songbirds such as YoCa and Princes such as Jonathan among others, the virtuoso decided to give his 2cents on the music industry in Zimbabwe.

I believe this ruffled many feathers and people with contradictory opinions attacked him in the comments. However as much as truth may hurt, it will set us free.

Why I don’t like Urban Grooves (personal opinion, and collection of personal observations and experiences as a music producer):

so round about the year 2000, a policy was created. this policy stated that there would be 75% local as compared to external music content on radio/tv

a certain style of music emerged, which was later named urban grooves – the style of music made by the likes of sanii, roy n royce, maskiri, xtra large and so on…

the word style is used here because urban grooves is a mix of several already existing genres – mostly hiphop n rnb, with a pinch of local influence in the form of, in most cases, both language and chord progression (mainly on the major scale).. so because urban grooves is mostly on the major scale, it feels very repetitive, monotonous and bland.

the monotonous and bland nature came from the demand for more content, which wasn’t available at the time (well, the good quality, pegged against international standards), causing producers to produce more substandard work to meet the demand..

music of the same genre is of the same form and style of – but it doesn’t have to sound the same.. back in the 2000s, lyrical content was awesome, but we became victims of a lack of creativity in production.. and many producers gained fame mostly due to the prowess of the artists themselves, who overshadowed or overpowered or took focus off of the bland production.. you cant blame the then popular producers – they had too much to do, and released premature work

a few producers in the current days face the same challenge of being stifled and cornered day and night in the studio with countless artists, depleting creative energies, and releasing premature work.

so the difference between UG and any genre is artistic maturity, and that one (ug) is a mild product of the other.

the fault in urban grooves is mainly the producers’. – Ahsayn

He went on to post yet another one

Why I don’t like urban grooves (part 2)

The horde of talentless producers keeps growing. Like a terrible unmanaged weed it chokes out possibilities of recognition of the brilliant ones, more so the ones still in the incubator. The horde is charismatic, intimidating and oblivious of the obvious constant need to improve in skill through respectful, private, and patient consultation of these here ‘internets’; too proud to learn from the fallen giants too. The horde proudly claims a few good ones of premature potential, like Oyar. Others are mostly victims of the illusion of the gentle learning curve of loop-based DAWs (((you hear them say “what software do you use!?” – then you know hapana hapana… the brilliant ones will never ask about the tool first but the methods and how to acquire the skill)))

The horde is possessed by a common legion of demons that thrive in self gratification, pomposity and excessive pride.

Watch out for the horde. Be a part of the congregation.

Well that’s his opinion, I don’t know if you do or don’t agree. Follow @Mcpotar across all social media platforms that matter.

You can View His Soundcloud Here

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