JUPITER & OKWESS - Ekoya

In a context where the stories of African musicians often follow the cliché of grassroots redemption, the story of Jupiter Bokondji stands out for its singular reversal of perspective. Born in Kinshasa to a family of diplomats and raised in East Berlin, crossing the Wall every day to go to school in the West, he doesn't emerge from nowhere, but builds his cultural and political awareness out of hybrid, cross-border experiences. This eclectic, attentive vision has never wavered in his music, born of a deep bond with his Congolese roots and a pull toward a global dimension that often translates into social commentary and poetic reflection.

With "Ekoya", Jupiter and his band literally cross the ocean to engage with distant cultures and histories, recording the album in Mexico with Camilo Lara of the Mexican Institute of Sound at studios in Guadalajara and Mexico City. The result is a work that sounds as proudly Congolese as it is profoundly international, embodying an authentic dialogue between African and Latin American influences, evident in lyrics sung in eight languages and in collaborations with South American guests such as Brazilian singer Flavia Coelho and Mexican indigenous Zapotec rapper Mare Advertencia.

The album is made up of about a dozen fairly short tracks that never overstay their welcome, presenting themselves instead as vivid, dynamic sketches, each brimming with energy, meaning and sonic colour. The first track to grab attention is "Selele", an opener that immediately establishes how charged with civic and cultural commitment the project is. The voice of Soyi Nsele, a leading figure among the Congolese artists featured, calls for the protection of the environment and indigenous communities in tones reminiscent of the prophetic dimension of artists like Fela Kuti, ethical as much as rhythmic in his appeals. Her words are woven together with guitar solos and a frenetic, clattering rhythmic texture.

In "Les bons comptes", the elegant softness of Flavia Coelho's voice creates a fascinating timbral contrast with the African artist's rough, deep tone. The song's theme is an invective against the rich and powerful, and its lyrics, full of proverbs and sayings, are mirrored in an equally accessible musical tone. The title track, though brief, showcases one of the album's most intriguing qualities: driving rhythms, interwoven melodic lines and shimmering percussion that explode into a finale where soukous and Afro-Latin rhythms lend energy and colour to Jupiter's voice.

The collaboration with Mexican rapper Mare Advertencia on "Orgullo" is particularly striking, playing on the contrast between joyful African polyrhythm and the angry, direct attack of the artist from Oaxaca. "Hay que escuchar" sounds at times a bit contrived, with its overly paternalistic tone. Far more successful are the tracks rooted in Congolese tradition, such as "Nkoyi Niama", a superb soukous number, fast and festive, with clipped guitars, hammering bass and relentless percussion.

Okwess dominate the scene, weaving together irresistible grooves and radiant melodies in a triumph of rhythm and dance. "Ndanda" explodes into a dimension closer to Western rock than to Latin rhythms: powerful, explosive guitars, a solid bassline and a surprisingly well-calibrated rhythmic structure bring out an intense, fully realised track, capable of fusing African energy with a more international imprint.

Yet even in its most experimental moments, the album firmly retains its bond with its roots: "Ekoya" remains deeply Congolese in its themes and culture. Jupiter doesn't merely explore new sounds from outside Africa: he integrates them naturally, strengthening the band's ties to its own roots and artistic identity. The result is a compact, vibrant and original album, arguably one of his best works to date.

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28/01/2026