The goal of Umoja Sounds, industry leaders in music production with decades of experience, is to raise standards in the entertainment industry by empowering people through empowering and uniquely collaborative audiovisual creation experiences.
After months of rigorous production schedules, Umoja Sounds have released their superbly put together EP, appropriately titled “Out of the Comfort Zone.” Kevin Prvk, Akula ‘Dunga’ Akwabi, and Robert Jakech’s dynamic trio had already released songs and tracks with various artists from Eastern Africa before this, necessitating the release of an EP.
Without getting into speculation, one can only assume that synthetically, “Out of the Comfort Zone” would be outside of our solar system, but Umoja Sounds chooses to adjust knobs without confusing or alienating their devoted listeners. Charity starts at home and is bursting with East African urban flavors and sensibilities while instilling a global adherence and sentimentality as well. They collaborate with chosen artists from East Africa and Zambia to bring wonderful fusions of Afro-Caribbean, AfroPop fused with RnB and Soulish soundscapes, and Classical realms to the public’s consciousness. Listeners can take part in the diversity curated in an audio flow of activity by diving into Umoja Sounds’ wholesomely, making the journey worthwhile. Out of the Comfort Zone is a continuation of Umoja Sounds’ mantra, “Vibe-Collaborate-Reciprocate,” which brings together artists from rap, dancehall, swarnb, swahili soul, spoken word, and other genres. The listener is free to interpret and determine for themselves the music’s inherent beauty, which isn’t always obvious. Check out the EP and the exclusive interview below:
1. Can you tell us a bit about where you come from and how it all got started?
UMOJA SOUNDS: We are all cut from that 90s era fabric and 2000s global pop cultural canvas. Robert grew up humbly in Uganda while Kevin and Ambrose were in what you would call ‘FM Music’ era.. Music happened to us in distinct ways. However we had been ruminating on how to materialize the visions each one of us had. Conversations started taking place over their years as contemporary producers and colleague Ambrose and Provoke (who had been interacting over the years) engaged in conversations centered on how best they would actualise their efforts as producers in their industry. The code was cracked mid last year when Provoke linked up with Robert Jakech, a technopreneur whose pexpertise and experience with startups became a fitting piece to what became Umoja Sounds.
2. Did you have any formal training or are you self-taught?
UMOJA SOUNDS: Ambrose, being from a musical family, started off by interning as a studio assistant and engineer at renowned production houses in Nairobi like Sync Sound studios, AudioVault studios, Samawati Studio B, Soulchild Productions, Joharicleff, HomeBoyz Productions amongst others.
Provoke, as an aspiring rapper, had been visiting Ambrose during his High School years. He later on learnt a lot on music production from him which laid the foundation for his future career as a music producer and artist. Later on Provoke and Ambrose linked up to combine their experiences to do music from a business perspective applying an intricate balance between spontaneous creativity and deliberate music business knowledge and much needed gut feeling.
3. Who were your first and strongest musical influences and why the name ‘UMOJA SOUNDS’?
UMOJA SOUNDS: Plenty! Notably 70s to 90s RnB, Afro Pop, Afro Fusion, 90s to 2000s HipHop, Dance Hall, etc We’re collectively interested in anything that aesthetically fits pleasantly into the grid of rhythmic, melodic, and harmonic tastes from diverse cultures. However we tend to incline towards urban native experiences and inclinations. We are collectively interested in anything that aesthetically fits pleasantly into the grid of ‘ popfluenced’ rhythmical melodies and harmonies. We, however, are inclined towards urban native experiences.
‘Umoja’ is Swahili for ‘oneness’, In our case coming together out of frustrations of having to play big roles in lots of artists’ careers and not being able to achieve beyond certain levels due to either the artists not understanding what music business is or what roles every team member in the ecosystem plays. More than anything it’s the hunger and yearning to come together as worthy contemporaries, practitioners, and apprentices of music in the spirit of creating art that transcends the times through vibing together collaboratively and reciprocating the synergy that emerged from it.
4. What do you feel are the key elements in your music that should resonate with listeners, and how would you personally describe your sound?
UMOJA SOUNDS: The individuality of every song or track that we produce. The fun in it. The simplicity of melody and rhythm. The inclusion of modern methods and approaches to sound engineering and production. A hidden ‘swing’. For the keen ears, you will discover something fresh were you to indulge in it.
5. For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you? How would you describe your own development as an artist and music maker, and the transition towards your own style, which is known as POP?
UMOJA SOUNDS:
We went through that same learning curve. Growing up in the 90s FM stations of repute would massively play Hiphop and Rnb from the US. This shaped our initial understanding and appreciation of Pop culture.
Out of these foundations, Ambrose became a hitmaker and a trendsetter of a producer, notably as one of the pioneers of 2000s hit records across East Africa – he was always known for ‘The Bounce’. Provoke improved on the skills he had learnt, later on carving a niche for himself as the master of Hip Hop/ Eclectic music and. Later on Provoke and Ambrose linked up to combine their experiences to do music from a business standpoint, inculcating an intricate balance between spontaneous creativity and deliberate music business acumen with an adherence to ‘not following trends’ being deliberate ingredients of our approach to the arts.
6. What’s your view on the role and function of music as political, cultural, spiritual, and/or social vehicles – and do you try and affront any of these themes in your work, or are you purely interested in music as an expression of technical artistry, personal narrative, and entertainment?
UMOJA SOUNDS:
It’s a pivotal role that music plays in these spaces, however we don’t believe in music activism as a business. To us that is social responsibility and much required common sense to the extent that society does not need music to be kind to itself, to be organized, to be in appreciation of the Supreme Being. Political, spiritual, and cultural sentiments expressed through music have to be viewed through the lense of the author, who will shape and design the desired effect of the messaging. As to the receivers of the message, it’s up to them to rationally do what they deem fit with it.
7. Do you feel that your music is giving you back just as much fulfillment as the amount of work you are putting into it or are you expecting something more, or different in the future?
UMOJA SOUNDS:
Our aim is clear. Umoja Sounds is already a going concern looking to grow into a global music business entity. Our fulfillment comes from knowing that this is headed towards something that’s bigger than any of us; that icing on the cake that will have emanated from deliberate moves we are already making towards securing that future for us and generations to come.
8. Could you describe your creative processes? How do usually start, and go about shaping ideas into a completed song? Do you usually start with a tune, a beat, or a narrative in your head? And do you collaborate with others in this process?
UMOJA SOUNDS: We are always making beats so there’s a beat bank with different ideas and drafts. When we identify a suitable artist to a particular beat, they come up with wordless humming sounds that are saved either as audio files/voice notes for reference. Then words are formulated to fit these ideas that are then built into a complete song.
Arrangements, mixes, and mastering follow at different stage and subsequent sessions.
9. What has been the most difficult thing you’ve had to endure in your life or music career so far?
UMOJA SOUNDS:
Being massively talented, popular, doing what we love passionately yet financially incapacitated, and betrayal from artists and unreliable colleagues.
10. On the contrary, what would you consider a successful, proud or significant point in your life or music career so far?
UMOJA SOUNDS:
Last year when we started Umoja Sounds, and the collaborative regional and continental trips we took enabling us to have a bird’s eye view of Africa’s entertainment industry. This position is the best place for us to be in as it qualifies our deliberate moves towards bettering our grind as musicians and music industry practitioners.
11. With social media having a heavy impact on our lives and the music business in general, how do you handle criticism, haters, and/or naysayers in general? Is it something you pay attention to, or simply ignore?
UMOJA SOUNDS: We take criticism in stride. We value being constructively critiqued. It strengthens our approach towards being producers on the move.
12. Creative work in a studio or home environment, or interaction with a live audience? Which of these two options excites you most, and why?
UMOJA SOUNDS: As creatives the studio for us is the ultimate haven. We do like live audiences but our major preference is being in the confines of a controlled studio environment that allows us to create and explore freely.
13. Do you think is it important for fans of your music to understand the real story and message driving each of your songs, or do you think everyone should be free to interpret your songs in their own personal way?
UMOJA SOUNDS: Like art, carvings , or architecture, everyone should be free to interpret music from their level of understanding and interpretation. Misrepresenting our art is where we draw the line.
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