African Americana doesn't simply want to reclaim the white colonial ‘Americana’ in the same oxymoronic terms as the nebulous “Native American” tradition from which it draws. As an aesthetic that appropriates the continent’s indigenous tradition, add the ‘African’ to the ‘Americana’ and you not only have another antithetical term but a subversion of said appropriation while applying, hip hop, anime, cyberpunk and tech noir themes to create a electronic rock soundtrack for a post apocalyptic Great Gatsby.
Find African Americana in the murky depths between a failed Stones and Crystal Castles. Listen to their gauzy, vocoder-heavy number Halloween In July dance around the lines between nu disco and classic blues rock, birthing a signature "if it sounds cool, we should do it" algorithm akin to a what you might find in a Quentin Tarentino film . Recent entries from their forth coming LP (untitled) are enveloped in stadium rock obscurity and vaporwave, with a brand and aesthetic that serves as an almagam of the two.
Relevancy was never in question when Alex & Her Wrath (visual artist/producer) and Tommy $uperior (guitarist/songwriter) embarked on their musical conquest on separate ends of the spectrum in Macon GA, years prior before the bands inception. Formed in Brooklyn, NY back in 2011, African Americana has since become a cult obsession for anyone insensitive to appropriating recurring themes to produce soundscapes- pulling inspiration from internet spawned sub-cultures and actual nightlife shenanigans. Cody Kurth (drummer/producer) and Cameron Johnson (bass guitar) joins them on stage contributing to 5/4 scales that appear just as effortless as apathetic . African Americana, through experimentation, has the right amount of anonymity, synth, vice and Macon music history to uphold their authenticity.