Tuesday, May 28, 2024
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Review: Lerato le nfetolang lekhoba by Mahlanya

Business

Chris Theko

This week’s review tune, Lerato le nfetolang lekhoba is a song performed by Mahlanya, runs for 6 minutes and 48 seconds.

The famo joint was built on 91 beats per minute (BPM) and was laid on a 16/16 time signature.

When it comes to instrumental arrangement, an accordion, bass guitar and drums are the basis of the track’s rhythm.

With the genre of famo, there are instruments that a song cannot have due to their significance to it. Most songs produced under the category have the bass guitar, drums and the accordion while other musical gadgets are slightly omitted from the arrangement. 

Not taking anything away from the custom or significance of the genre, the muso could have incorporated additional instruments like the keyboard and maybe an electric guitar amongst others so that the song’s melody has dimensions and layers as the tune progresses.

No doubt that Mahlanya is one of the most lyrically gifted famo musicians.  The song’s lyrics and message is straight forward as the title says. 

To those unfamiliar with the Sesotho lingo, the track’s title ‘Lerato le nfetolang lekhoba’ can be loosely translated to “Love that turns me into a slave.”

He pours his thoughts out in this song from a perception of someone who is sick and tired of having been turned into a slave by someone that he loves.  He sang from the perception of someone who is scorned by their partner particularly in a toxic relationship.

His lyrical assembly of the song is one ruing the relationship after realising that they were manipulated by either a spouse or partner. 

He encored the melody’s core theme at the chorus “Le nfetolang lekhoba lerato ha kena le mamella, le nketsa matono mapesa ke se popoiki, ha re khorametsoa o nkareng ke hloloa ho ikhoramolla ke motho oa nama le mali le nna ke utloa bohloko”.

Ha kena ho hlorisoa ke motho moeeng ha nkeke ka itabola litlhabela ha nkeke ka iketsa sono eaba ke lula leshoteng la qenehelo kea hana…”

Transitioning to the verse, Mahlanya’s use of figures of speech idioms, metaphors and personifications were structured successfully and progressively to depict the lyrical picture. He flexed his knowledge of the Sesotho language on the second and last verse. 

Backing Mahlanya is a cluster of male vocalists heard in the background, infused to accompany the lead vocalist, the group complements the lead perfectly.

The group’s vocal arrangement has been broken down into two voice types which are the baritone and bass range. 

Their singing is remarkable as per harmony in the song’s tone and pitch. The different voice textures have been aligned, well-matched and when listened as a collective have been portrayed in unison. 

The track rates at 7.5 out of 10.

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