Though based in Massachusetts, Gokh-Bi System is an African (Senegalese) hip-hop band, and one that is at least as loyal to its traditional, griot roots as to any sort of modernity. That sets them apart from the likes of Daara J, Awaadi, and most West African rap acts to date. As much as these musicians borrow and channel, they never completely shed the village vibe, and that’s a good thing. Gokh Bi makes explicit the tie between the griot and the MC or rapper, sharing “musical expertise and political commentary.” But as they sing and rap in African languages, French, and occasionally English, the music persistently conveys the roots message. The banjo-like ekonting, a griot instrument found in southern Senegal and Gambia, is a near constant presence, accompanying Sana Ndiaye’s plaintive vocal on spare, acoustic “interludes,” and working its spiky, percussive plunk into the weave of full-on dancehall, pop, and rap tracks.
The four Senegalese principles sing and rap well. (They are also terrific on stage with dance moves and up-ful energy to spare.) And the band they’ve assembled in America cooks along nicely, without getting in the way of the 21st-century griots’ roots agenda. “Yeremande” builds an ambling dancehall groove around a traditional folk riff, and ends with a soulful, 4-part vocal breakdown. “Mama Africa” peppers a rap-laden backbeat with cracking, sabar percussion. Memorable melodies abound in a repertoire that happily merges singing and rapping. The funky and melodious “Cheri,” a standout track, strikes a magical balance between celebration and edge, and culminates in a welcome English rap.
Elsewhere, one occasionally longs for translation, notably on the driving rap number “Palestine,” which clearly has a lot to say, though about all an English speaker will catch is “Peace and love.” This is, of course, the difficulty with rap music in any foreign language. Rap puts a premium on communication, thus emphasizing the language barrier, rather than eluding it as the prior generation of Afropop genres often managed to do. The good news is that Gokh Bi’s approach is so musical, that they manage to split the difference arriving at a sound that feels fresh and modern, but contains enough authentic African musicality to enchant and intrigue the outsider.
Though based in Massachusetts, Gokh-Bi System is an African (Senegalese) hip-hop band, and one that is at least as loyal to its traditional, griot roots as to any sort of modernity. That sets them apart from the likes of Daara J, Awaadi, and most West African rap acts to date. As much as these musicians borrow and channel, they never completely shed the village vibe, and that’s a good thing. Gokh Bi makes explicit the tie between the griot and the MC or rapper, sharing “musical expertise and political commentary.” But as they sing and rap in African languages, French, and occasionally English, the music persistently conveys the roots message. The banjo-like ekonting, a griot instrument found in southern Senegal and Gambia, is a near constant presence, accompanying Sana Ndiaye’s plaintive vocal on spare, acoustic “interludes,” and working its spiky, percussive plunk into the weave of full-on dancehall, pop, and rap tracks.