South Africa’s self-styled “auti esharp” Mas Musiq—born Thabo Ngubane—is set to unveil his fourth studio album, Lane Yam, on the 13th of September 2024, flanked by singles such as “Ubuhle Bakho” and “Abafana”. The producer-cum-DJ of Thembisa extraction has already whetted the appetites of his listeners after sharing the project’s stacked guestlist including deck masters like DJ Maphorisa, Kabza De Small, Musa Keys, and Major League DJz, as well as vocalists such as MaWhoo, Nia Pearl, Aymos, Daliwonga, Mlindo the Vocalist, and Aymos.
Lane Yam is a nineteen-song private school amapiano opus fletched with stylistic elements of tribal afrohouse, jazz, and afrosoul. A product of a producer blessed with an engineer’s ear, the collection is armed with a sonic arsenal of different-sized log drums, a gamut of acoustic guitars fine-tuned to the mood of each song, entrancing piano loops, and the aeration of velvety woodwind. Mas Musiq’s understanding when it comes to blending ingredients from other genres is evident not only in the cleanness of the output but the oneness of the album’s sound as a unit.
Themes touched on in Lane Yam encompass but aren’t totally limited to the soft life of ambition (“Lane Yam” and “Amanxeba”), the two-edged complexities of romantic love (“Uzobuya”, “Ngi Moja”, and “Adrenaline”), the fickleness of life (“Jikeleza”), and the treachery of people (“Mali Ye Phepha” and “Anginandaba Nabo”).
Mas Musiq | SUPPLIED
The album is a carefully executed juggling act on the thematic side of things; however, its sheer length – coupled with the inflated track length average – is the project’s only ostensible weakness. Going back and forth between depth and dance, the LP staggers every now and again because of this. It’s not the music that errs at this juncture but the direction and the power of the subject matter next to other songs. Subtracted from everything else, this inconsistency is Lane Yam’s Achilles’ heel.
The crests of the album all come when it takes serious turns. With songs such as “Jikeleza” (a cautionary tale warning against karma and rejoicing over another person’s misfortunes) and “Mali Ye Phepha” (a song which dissects jealousy and envy which possesses people to wish ill over others), Lane Yam positions itself as a mouthpiece for the everyday struggles ordinary folks navigate in social settings. It’s in these pockets of thought-provoking music that the album not only aspires for euphonic exellence but for timeless music overflowing with virtue.
Mas Musiq also permits himself some good ol’ fun, too. “Ubuhle Bakho”, infused with tribalistic drums clapping like watersplashes, sinewy guitar strums, and a hard-hitting bass, and “Adrenaline”, one of the standouts written in English and turgid with sax treatment, are two exhibits which showcase Ngubane’s playfulness.
Listen to “Ubuhle Bakho”:
Another curious souvenior worth collecting from the first listen is the way the New Money Gang signee pays homage to Mzansi classics and amapiano roots via slick interpolations. It is only in the opening track where the ghost of the iconic Lebo Mathosa can be heard in the cadence of the vocal performance inspired by “Au Dede”. The same tactic is later employed on “Umlilo”, lifting some lyrics from Big Nuz’s 2010 kwaito smash hit of the same name. The tidbits of old music are endearing easter eggs hidden in the project, an attribute sure to trigger nostalgia for many.
Lane Yam is a body of work which Mas Musiq does well in not straying from his signature sound. That doesn’t make the acclaimed producer a one-trick pony, though. If anything, him sticking to his guns is just another sure step on the immortal path to the gates of mastery. A few flaws can be pardoned when an album shows as much thought, diligence, and soul as Lane Yam does.
Mas Musiq | SUPPLIED
