Lyrics

Successful marriages, which tell the love of the music. The text and the rhythmic of Bantunani let us go in the heart of every song:

Africanslam, calling for a unit Africa or a new a revolution....this song is conceived as a movie dedicated to the peace where through different slams of all the languages, every citizen of a dictatorship brings his testimony and eventually hums this hymn in the peace ' to koma mutu moko', forming single people, listening to the convergence which rings near the humanity because many threats weigh on our consciousnesses, as so well seems to say it this violin which comes to challenge the fickle guitar of the tyranny. We hear a danger, people on the march in choirs, slammers is transformed in the fur with measure into rappers, the message becomes clearer, the African revolution.

Mister Peacemaker, remember the last colons
We are always in Africa, in Europe, or then in South America ,the dumb power is summoned to answer. The Congolese culture hides a lot of wealth others than ores. He so goes away little investigated musical tones that discovered some colonists without their knowledge.having exploited the music of import, we turn to the roots of the rumba. For this song to the message of besides grave, for the current world, it was necessary to sing in English on the background of traditional music: the mutuashi of Kasaï, the makuandungu of Bandundu, the zambele ngingo of Kinshasa (dances and rhythms of the young Inhabitants of Kinshasa) or the zebola of Ecuador to carry a strong message against a sort of moral order of North Peacemaker.There is in this song a subtle game in the singing, we pass in a story rather naive voice even puerile which sends back to us to the colonial mythology of the good autochthon, to the voice of the man evil of freedom; the one who does not support any more this losing game where he is always last we sometimes believe to recognize a lyric reggae but rhythmic exchange constantly of period quite as this oppression denounced here.

Rumbafever, when Bantu meets the disco
RumbaFever, we go into the jungle to challenge the former rhythms to tempt a rumba disco experience with a light groove of the bass that, in the writing has to bring an uncertain and agitated climate. Rumbafever sends back to the rumor or to the chronicle of a death always announced by the Negro music but which never comes. This song is doubtless a perfect illustration of the trinity, in an atmosphere of dance sensual and macabre, the text reminds the political consciousness, which carries the music; the fever remains a necessary plague.

Bantugroove, when a Bantu faces passion love the Bantu lives in the North henceforth, in the world where the meetings sometimes lead in love at first sight strange where get involved desire of possession, shouts of distress and eternal collection of an one in a blues spleen warmer than languishing. the Bantu appreciates the adversity and avoids ceaselessly the melancholy by roads of dances sometimes going to the groove that it discovered in the North and all the strength of which it tries to restore. Bantugroove expresses a terrible duality, a painful shock of culture embodied by a mysterious subversive woman inviting the solitary person in a sex which he cannot name, him who to look above all for a dance.

M .Heartbreaker, a Bantu lies to change for being in love
Unpublished journey of the Bantu in the gypsy culture jazz. In this song, we reach the paroxysm of the interbreeding so wished by the author where the place is made for the violin, which, at first in limited guest gets the upper hand little by little over a bass and a guitar guarantors for a structure. On a bottom of jazz reggae with pushes rock with certain places, we go into a strange sentimental quarrel where the doubt glides over the sincerity of each of the protagonists; we feel the shady game of the love in this duet of hunting crusaders where leads becomes confused in instruments. The dominant bass embodies the male while the feminine shout is granted to her in the sound of the violin.
In the tune, we guess the shadow of the people which intervenes then as the third protagonist, the one who distributes the disadvantages, reminds the custom without going without a certain irony, following the example of the choir in the Greek theater. There is in Heartbreaker, a fusion of genre was introduced in 'Peacemaker' and in 'Bantugroove'. We cross gladly a Louis Armstrong humming for Ella Fitzgerald, as we can understand a pop duet in the style of Michael Jackson and Sieddiah Garrett.

Lokumu,where the ancestral anger of Bantu leads to proud
In major component of the device of assertion of the one ' Bantu ', the dignity to have been and to be the fruit of this history. Lokumu expresses by an almost cacophonous and hard reproduction of guitars on a beat very Street approaching borders of Hip-Hop and of Jungle, the song) of the oppressed so much it is question to be accountable to a ceaselessly scoffed dignity. We are as taken in the set, play of the lead which cannot contain an ancestral anger leaving the slavery in without papers, and which, not while naming nobody takes himself violently to the falsifiers of the History. There is a new cause for a Bantu, which sings frankly a history of theblack people to the infinite wounds. Such an oracle, he hears the intergenerational despair until make show this American youth or of islands by this bridge of 'jungle' in English associated with the howling of wildcat which sends back to us at the time of the segregation of Black Panther '. Who are we ? Sons of Martin Luther King or of Malcolm X, us who saw dying Lumumba?

Makambo,trouble means dance 4 a Bantu
Bantunani in deserving son of the capital does not forget the popular culture where only the intoxicating guitar solo can amuse the strange everyday life of an inhabitant of Kinshasa where the problems in quite kinds are legions. We state here the psyche of the Bantu from Kinshasa, which will soon be a Parisian in the mass that, in spite of a different geopolitical context, sees itself still pursued by problems. In a pure tradition, the Nu-rumba owed respect this musical structure, which showed its ability without falling in the faults of M ’dombolo Not. We insist on the lead where the voice doubled in grave contrast with the high sound color of the Congolese guitar. All the instruments contribute to this invitation; it is necessary to dance in the infinity to flee sometimes thehardness of the existence.

Ponarumba, national tribute for Rumba
How could the Congolese child honor this culture, which so much rocked and gave rhythm to its childhood? The first one was written for the album, this song appears as a ballet rumba where every interpreter of the group brings with his stamp and his rhythm, her testimony, his camera of the rumba. We recognize or we believe to cross Latin tempos in this festive rumba which wants to redraw through various glances, what was exactly this birth the singing is punctuated by a guitar which finds place in these moose’s of groove aroused by the young wave but the fall of the guitar redefines the decoration.

Bobbyclarck, how a Bantu plays a Gigolo
The amateurs of "Mario" from Franco" would be happy to know that this legendary character was able to be reborn in the clothes of a young person misled Bantu and in search of identity in a west where the being asserted itself as lifestyle. Here is as a matter of fact the slogan of Mister Clarck; happy tramp dreamer, it is really only the image of a schizophrenia bound to a risky assimilation of a luxurious world. On a rhythm very dance floor the song is very modern and propels a rather new tone enter an underground jazz and this guitar rumba that looks for itself in these Pan European influences. The depiction is surprising, we grant ourselves gladly a journey between jazz and club with this felted voice which announces a climate of seduction, flight forward to a character who seems rather mysterious.

ThisTime, even a Bantu shed a tear for a beauty
After so many dances, the course of the nu-rumba needed a ballad just like the musical trinity. Having exceeded the artistic complexes, which often forbids the African music a liberation of melodies, we enter the French and Italian cinema where we discover a strange romance out of breath punctuated by tears and sobs. The music reserves some surprise in its structure, if the violin drains a melancholy; the guitar and the bass emphasize the arrogance past of a sorry man. The journey is linguistic here because we attend a rare meeting between Asia, Congo and Spaniard of a gypsy little worried about the grammar.

BISENGO,the disappointment of the too cold North
The disappointment of an exile. We affect with this classic piece, in its structure rumba, a very realistic painting of the African immigration in search of an El Dorado which is still similar to this so well sold North by certain expatriates. The story of this man is sad, he leaves an eground of war, poverty there where no more God dares to give the hope, for this distant world, which announce so happy. But very fast he realizes that the other fights wait for him, the musical ensemble is purified enough such a folk song in accents rumba and reggae.