Henri Dikongué

Henri Dikongue (pronounced “On-ree Dee-kong-ay”) continues to be among the spearheads within the revival from the acoustic noises of Cameroon. As opposed to the African country’s high-spirited, intensely electronic dance varieties of zouk and makossa, Dikongue provides taken a far more introspective and melodic path along with his music. While his debut 1995 record, Wa (You), was proclaimed by outspoken commentary in regards to the armed forces routine, racism and complications of post-colonial lifestyle in Cameroon, Dikongue had taken a far more reflective strategy along with his second record, C’est La Vie, that was released in 1998. Focused on the past due Nigerian vocalist Fela Kuti and past due American professional Robert Mitchum, the record reached the very best slot machine on music graphs in European countries. Although Cameroonean rhythms stay the building blocks of Dikongue’s music, his music reflect affects as different as reggae, samba, salsa, spirit music and jazz. Dikongue cites past due Cameroonean composer Eboa Lotin, vibrato-heavy vocalist/poet Pierre Akendengue and Armenian-born France singer-composer Charles Aznavour as affects. Born to some upper middle income family in the administrative centre town of Yaounde, Dikongue spent many years in South Africa, performing within an Anglican cathedral choir. Shifting to Paris in 1989 with programs to attend laws college, Dikongue decided rather to enroll within a music college. Your choice displeased his parents, who withdrew their economic support. Dikongue continued to be in Paris, helping himself being a dishwasher and mover while learning music and structure. Although Dikongue sings within the Dovuala vocabulary, he writes his music in French and works together with a translator. His cousin, Cathy Renoir, provides played a significant function in his audio, performing harmonies on 1995’s Wa, 1998’s C’est la Vie, and 2000’s Mot’a Babe.