Dereck and Cynthia’s romance
By Silence Charumbira
Showbiz Editor
When Ammara Brown and then little known Tytan released their collaboration Mukoko; or at least the reverse, they indeed achieved a great fete.
They made their mark on every other worthy chat and like a good number, the track is now nearing 1 million hits on You Tube four months down the line.
Yet what may have been forgotten, apart from all the shortcomings that include a shoddy video quality when they could have nailed it once and for all, is that the track had a free reign.
From an overdose of the somewhat monotonous Zim dancehall riddims that always flood the various platforms; suddenly came the vivacious Ammara with an exceptional vocal presentation and brought the much needed change.
But it too was a solitary voice and for far too long was the only different sound worth noting.
Now Dereck Mpofu and Cynthia Mare have stepped out of their cocoons with an alternative in Dzoka kumba.
The track released two weeks ago presents a different perspective of both artistes as they are thrust into a different space altogether and come up with an interesting track.
A fusion of reggae, afro fusion and other African sounds, the track is probably the first serious challenge for Mukoko.
Dereck told Showbiz the track was about what normal couples go through.
Dzoka kumba is a sad but funny love story of what normal couples go through every day. The fights, the separation, the pride especially when it comes to reciprocation on who should make the first positive overture,” he said.
“In this case the man can’t take the new entrance into bachelor hood anymore and it turns out the issue that they argued about was a small issue.”
He said the track was also about the celebration of true love that conquers all challenges.
On the fusions he said: “The drum is on a bossanova/kazumba feel but backed up by reggae chops and bass line. My opening line “aaaawe” has a mbumbe/mbaqanga way of singing including the chorus. Cynthia comes in with a husky ‘Alicia Keysesque’ line of singing and at the end there is the interactive argument that is artsy.
“The song is representative of me and my background as half Shona and Ndebele but also brings in our afro feel with producer Clive Mono Mukundu.”
