Imagine Lenny Kravitz’s charisma, Joni Haastrup’s psychedelic grooves, Fela Kuti’s unapologetic energy and Ceelo Green’s soulful flair coming together to create one explosive musical force. That’s Egosex, a Barcelona-based Afroelectronic group who are redefining the music world, with a sound that defies genre boundaries.
Their latest EP, “15 Minutes of Fame” is an immersive experience that delves into the alluring, yet fleeting nature of fame and the way it shapes our identities. Through an impressive blend of afro-electronic, gospel, trance, jungle and soul, this unconventional musical journey explores the intricate layers of our generation’s obsession with fame and popularity.
“Our idea of success is now symbiotic with fame. You can convince someone to do something if that success is guaranteed”- Wekaforé tells me.
Led by the enigmatic Lagos-born singer and producer Wekaforé, saxophonist Joseph Epere and drummer/producer Will Ross, Egosex offers a mesmerizing blend of melodies, poignant lyrics and infectious rhythms.
In this interview, I got up and close with the frontman of Egosex, Wekaforé as we explore the band’s eclectic sound, thought-provoking lyrics and their unforgettable message to the world.
Congratulations on your latest EP! It’s definitely an interesting concept of weaving society’s obsession with recognition. What brought about the idea to explore this?
It’s a very natural conversation because we all go through it. Dating through the concept of that public persona because everyone is in this hustle to be successful. Our idea of success is now symbiotic with fame. You can convince someone to do something if that success is guaranteed. It’s kind of morphed our personal relationships on how we view love. People want to date someone who is a fan of them which they view as that highest form of love. It’s a sort of sociopathic way.
Can you share a bit about the creative process behind the songs on “15 Minutes of Fame”? How do you approach songwriting and production?
”Yes, we are in love” is the most energetic track of the EP. The journey of the song explains the journey of the EP. It felt like this euphoria of happiness and passion of when you fall in love; kind of like an obsessive state. It’s almost heavenly in a way. It breaks down into this melancholic state of euphoria which does not feel real. It’s like falling out of love. It’s very straightforward. It’s the only song on the EP that did not take a lot of thinking.
”Not Enough Satisfaction” is a bit sentimental. During the process of making the EP, a friend of mine passed away. It was sudden and unexpected. Although I don’t speak about it literally in the song, it comes out in the beginning, “don’t know so i don’t decide// don’t know how my brother died//just heard about it off the line”. The chorus became some sort of prayer. It’s a bit hopeful but still down to earth.
“Same mouth” is my favorite one. Based on the complexity of the instrumental. It’s dreamy and has a fusion of styles in the beats. It feels futuristic and nostalgic. It’s very Afrobeat-inspired. It has that Fela touch. If Fela was into tech, this is how he would approach it. Its like a cynical taunting in relationships on deception and arguments.
”Can you make me feel” is the most live. We found out the arrangements of the song through playing it live. We wanted to still feel how it did on stage. It feels experimental. I met up with the drummer, Will who has a sonic perspective. He was able to see what it needs.
Your music is definitely a blend of different styles – Afro electronic, blues, soul to name a few. Was there intention in going down the route? Has there been any challenge in being experimental?
I listen to a lot of electronic music. When we started Egosex, it was clear on the style we wanted to project which was trance jungle blues. It’s this sort of trance rhythms and hooks. That was the base of the music we used to make. It is like a mantra. By jungle, we mean chaotic percussion. Blues is typical blues like R&B, melancholic style. By trying to simplify the vision to make it direct, it ends up being Afro-electronic. I am Nigerian and still want to make the music sound Nigerian or African in some way.
In the beginning, it was hard getting that African sensation in it. I only did writing and arranging. I had to start producing and making the beats from scratch. It was challenging having the confidence. I know what I like but started thinking that does this talent meet my skill level. Thankfully, Will and Joey were there. Joey with the saxophone and Will with the production gave me confidence. I learned how to make this real and authentic.
How has having both saxophonist Joseph Epere and drummer/producer Will Ross influenced the sound and dynamics of Egosex?
Will comes from that education background in sound and engineering. Also, he works in the movie scene. Joey is expressive and raw. I met Joey three years ago, he is my third cousin and was surprised I had family here. He had not even started learning the saxophone. Fast Forward now, he can play. Just that journey is sentimental to me. That brought a different sense of determination to the whole thing. In that way, it has influenced me to be assertive and a goal-getter. Will’s system of working is way more organized. It’s a good mash-up. It’s a new energy and I am happy to know them.
Now that you mentioned chaos, how do you manage to tame this beautiful chaos?
It’s difficult. I am maturing to that place to be more strategic and functional. It’s good to have Olamide, who is our manager. Will and Joey help keep that chaos down.
How would you say your last EP, “Spirit Disco” differs from this latest project?
It was very abstract and minimal. Most of the songs had like 3-4 layers or more. It was way more experimental. It’s more of letting yourself free. Spirit Disco was made one-time; we did not spend a lot of time in production. It was more of expression. 15 Minutes of Fame’s production is more complex and specific with the sound we wanted. The directiveness in 15 Minutes is there.
Can you share any particular experiences or moments during the production of 15 MINUTES OF FAME that were especially memorable or impactful?
I did some production in Amsterdam. I was going through the end of a relationship during the production of the tracks. Also, spending time with Will was an experience to how we got it done. Using this process to get to know each other and myself was an important part of the process.
Are there any particular artists or genres that you take inspiration from?
“Do you luv me 4 real” weirdly takes inspiration from Gnarls Barkley and Ceelo green. “Not Enough Satisfaction” was very 2000’s prodigy imaginarium. A lot from the Afro 50’s and 60’s like Joni Haastrup. Inspiration too were from some other artists who were making Afro funk and Afro psychedelia during that time.
Do you have any favorite tracks from the EP, and if so, could you explain why they stand out to you?
My favorite track so far is Same Mouth. It’s just organic but also still has that psychedelic, Afrobeats and Electronic feeling.
As a Barcelona-based afro-electronic band, how has the city’s vibrant culture and music scene influenced your sound and creative process?
The city has become diverse and experimental for projects and collectives. It influenced the way we see music and the global identity of the tracks. We don’t put a lot of Spanish in the song. I won’t say we convert all that inspiration to be distinctively Barcelona. It’s definitely in the skeleton of the songs we make.
I am comfortable if they feel confused. That’s all we feel when we come out of passionate relationships. It’s also relatable for people who were famous and came out of it. I hope they are able to feel every part of the journey. It will make them hold who they love close.
What’s the next phase?
We are developing an album called “The Underground Spiritual Game”. We are also going to start making shows. Our main strength is the live shows. Most of the people who know us knew us from our shows. We are showing people that this is us. By some point next year, we hope to put out the album.
