Sisso & Maiko put on a show at the S.A.T. like nothing we’ve ever seen before in electronic music. Originators of the new Singeli sound, the Tanzanian producers have not only invented an entirely new genre, but a new way of experiencing electronic music- at least here in North America. Its novelty is comparable to Baile Funk’s, but Singeli is even more culturally remote, forming its own insular world of sound. Supported by the Ugandan experimental music label Nyege Nyege, Sisso & Maiko epitomize this new wave of music that breaks ties with previous stereotypes of music coming out of Africa. Their sound is a technological embodiment of dance itself, where the body is the final instrument in a chain of digital creation.
At first listen, the rhythms may sound overwhelming, repetitive, but that’s the point, and over time, this impression wears off leaving in its place an ecstatic joy. Through dance, the body melts into the odd geometry of Mchiriku inspired rhythms, the ears tame the percussive sirens of vintage casio keyboards as a kind of cartoonish embellishment. Singeli sound is rich, but also unserious. After 2 songs we were hooked, not just by the uniqueness of the sound, but by the showmanship which gradually converted the initially dazzled crowd into fans.
Whether being blindfolded, playing the keyboard with their feet, or taking their shirts off and dancing a Chura through the crowd, Sisso & Maiko did not hold back one bit when it came to having fun. It was contagious. They could have played all night and we wouldn’t have noticed time go by. And as we danced, jumped, and ran from side to side, our fatigue was transcended. I recalled in my research the origin of Singeli sound which was in the Kigodoro parties, Kigodoro meaning “small foam mattress”, as dancers would collapse after sleepless nights of dancing. If the show hadn’t been stopped at 1am, it is easy to imagine how even a piece of cardboard would have seemed comfortable at 7am.
