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Nyege Nyege Tapes' revelatory first Singeli series culminates with a rush from scene bossman Mohamed Hamza Ally, aka Sisso, whose studio in Dar-Es-Salaam, Tanzania is the epicenter of the world's most thrilling, punkish new dance style. Arriving after incendiary instalments in 2018 by Bamba Pana (NNT 008LP), Jay Mitta (NNT 010LP), and Duke (NNT 011LP), and the introductory Sounds of Sisso compilation in 2017 (NNT 005LP), the Mateso album pulls focus back to the scene's lynchpin with eight none-more-compelling cuts of breakneck loops and helter-skelter riffs on vinyl, supplemented by a tape with equally exhilarating bonus material awaiting quick clickers and dancers. The collected 16 tracks chronicle Sisso's work over the past four years, spanning a period after his informal studio in the sprawling ghettos of Dar-Es-Salaam grew from a small shack selling DVDs and MP3s, to come to catalyze countless new releases from local producers such as Bamba Pana, DJ Longo, and Balotelli, as well as a wave of new MC's, including Makavelli, Cad Reedah, Anti Virus, Dogo Muchi, Dogo Mjanja, Rehema Tajiri, and Yung Yuda. Sisso's productions epitomize Singeli's hyperlocal scenius, distilling the vitality and struggle of life of the fringes of the Swahili-speaking world's most populous city, into a unique music which seems to reflect the idea of keeping a cool head in frenetic situations. Between his ratchet rhythms and pitched-up melodies there's a sublime, unresolved tension at play, where the music feels to accelerate so fast that dancers are gliding, sustaining a breathlessly "up" effect that uncannily recalls mid '90s UK happy hardcore as much as Chicago footwork, Caribbean Soca, and Shangaan disco, yet with a psychotomimetic appeal all of its own. The tracks on Mateso are no doubt some of Singeli's most potently direct and crafty, circling from proper knees-up whirligigs to hyper, laser-riffing funk, ecstatic choral cut-ups, and hard but super-sweet steppers that will spark off any up-for-it dance the world over. Mastered and cut by Matt Colton. Pressed on emerald green vinyl.
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