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Tshepang Ramoba’s Sešate is like a wash of azure

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Tshepang Ramoba’s EP, Sešate, in the words of Ntozake Shange, “fell over my day like a wash of azure”.
Tshepang Ramoba’s EP, Sešate, in the words of Ntozake Shange, “fell over my day like a wash of azure”.

Sešate by Tshepang Ramoba
Available on all streaming platforms
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The worst way to start an EP review is probably by admitting that this is the first EP review you’ve written. And in true Rebecca Bloomwood style, I’m googling “good angles for an EP review” to impress my editor.

On my better days, I’m an Afro-jazz, Cabernet Sauvignon and chill kind of girl. An Alice Coltrane, Mulatu Astatke, Philip Tabane, João Gilberto and Fela Kuti kind of girl.

So, an EP seducing sound by layering African folk songs over softened alternative rock drum lines and groovy guitar tunes that capture your attention like the blues jumping out of BB King was truly up my alley.

Tshepang Ramoba’s EP, Sešate, in the words of Ntozake Shange, “fell over my day like a wash of azure”.

I found myself uncontrollably chanting the repetitive and catchy phrases from childhood folk songs.

Although the music is sung in Sepedi, even as a southern Sotho speaker I found the music relatable, understandable and nostalgic.

Tshepang Ramoba

The four-track EP starts with Nonyana, similar to the nursery rhyme Two Little Dickie Birds, which turned out to be my least favourite song.

Ramoba’s rendition of the nursery rhyme was too safe and simplistic musically. The drum and guitar work bring a rock’n’roll twist, but after a while it just becomes monotonous. He could’ve taken more risks and liberties with this one.

Ramoba isn’t much of a singer, but there’s a charm and sincerity to his voice that grows on you.

The second track, Mapula, is at the top of my playlist. The production and instrumentals are impeccably done.

Ramoba transforms a childhood folk song into an emotional journey that brings psychedelic instrumental texture and justice to the story of a rural girl named Mapula, who takes care of the elderly in her family.

In the upbeat Kgoši, Ramoba reminds listeners of his signature BLK JKS drumming style, complemented by other musical elements in the background that tickle your auditory nerves without taking away from the focus – the drum.

Sešate concludes on a high note, literally and figuratively, with Baesekela, a beautiful love song with light and fun instrumentals that prompt listeners to not take themselves too seriously.

I found it fascinating that when he performed the songs live he put more emphasis on the drums, whereas on the recorded version they are quite faint and often safe for the kind of reputation “RMBO” – as he is fondly known – has created as a prolific drummer.

Perhaps this was done intentionally to bring out the eclectic and psychedelic feel that the guitar grooves give and retain some of the character of how the African folk songs were originally sung.

Sešate isn’t just an EP, it is a monumental body of art preserving our history and telling our stories.

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