French-Congolese duo TSHEGUE return with video for ‘The Wheel’

Rackety, rhythmic junkyard productions with nods to punk and techno, of which The Wheel is a grimy and exhilarating paradigm” – The Guardian


TSHEGUE today release ‘The Wheel’, the first new music from formidable Congolese singer Faty Sy Savanet and French-Cuban producer Nicolas Dacunha since 2017’s debut EP, ‘Survivor’. The EP drew the band fans amongst Mura Masa and Noisey, also spawning the video for single ‘Muanapoto’, which was shot on the Ivory Coast and went to be nominated at the UK Music Video Awards alongside tUnE-YaRdS and Chaka Khan. You can watch the new video for ‘The Wheel’ over at The Fader here. The Line Of Best Fit also made it their Track Of The Day, you can see what they had to say here.

Filmed amidst the chaotic traffic of Faty’s hometown of Kinshasa – TSHEGUE also taking their moniker from her childhood nickname, slang for the Congolese boys who gather on the city’s streets – the dynamic video for ‘The Wheel’ was directed by Renaud Barret, also behind the Africa Express documentary featuring Damon Albarn, Peter Hook and Tony Allen. A juggernaut of ricocheting beats, Dacunha’s insistent production on ‘The Wheel’ couches the rise and fall of Faty’s imperious flow – ‘Just keep your eyes on the road / Don’t Look Back / The last shall be /First’ – picked out in billboard black-and-white in Barret’s accompanying video, which tails teenage skaters hitching rides on the backs of buses, cars and motorbikes through the heaving megalopolis’ crowded streets.

Speaking about the video – which stars Club Etoile Rollers, a mixed-gender collective, some as young as 13, who skate the city’s streets – Renaud says; “An ordinary day in Kinshasa. I’m in a taxi on Lumumba boulevard, when suddenly I’m in the middle of this gang of kids slaloming between cars. We exchange thumbs up, signs of complicity, rolling side by side for a moment. One of them spots my camera, & comes closer to shout “Hey sir! Do you wanna shoot something crazy?” I couldn’t refuse. This is the magic of a limitless city where each and every day brings incredible spontaneous possibilities. Now as I watch the beaming faces of these kids, thrown at full speed on their crumbling rollers, almost out of control, intoxicated by danger and only protected by their faith in good luck; I can only see a metaphor for the Congo’s situation. But also a middle finger to a society trying to maintaining an illusion that everything should be controlled, supervised. These free riders remind us that life must be lived in the present.”


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