Is keyboard-player Obama Makaba’s child ?

They need the change their rhythm like the way Victoria Eleison & Nouvelle Generation did when they left Viva La Musica.

Is keyboard-player Obama Makaba’s child ?

Indeed he looks like that! 

thats a nice strategy to make people know the musicians

thats a nice strategy to make people know the musicians

Other groups need to use that same strategy.

They need the change their rhythm like the way Victoria Eleison & Nouvelle Generation did when they left Viva La Musica.

Why do you think Extra Musica NH doesn't change their rhythm?

Maybe they want to show that they are the real Extra Musica, like the way Zaiko Familia Dei with Ilo Pablo, Djerba Manzeku, Beniko Popolipo, Petit Poisson, Jimmy Yaba & Jose Piano Piano who made the Zaiko-rthym of 1982-1988. Claiming that they fired Nyoka Longo and that they were the real Zaiko. But they ended up by losing after multiple problems and leadership-wars and Zaiko winning. The Zaiko of Nyoka Longo developed their way of playing sebene by recruiting Shiro Vuemba who also entered the distortion sebene and adopting animations of Boketshu 1er who used to make folklore of the Mongo-tribe, while before 1988 when were mostly doing animations of the Humbu-tribe. Until this day Zaiko Nkolo Mbokonever changed the sebene-style that they started to play in the 1988-1992 era, only the animation who went more in the way of the Kongo-tribe folklore.

The difference of Extra Musica Zangul & Extra Musica Nouvel Horizon war about the is that, Sonor Digital didn't create the Extra Musica-rhythm. It was Roga Roga, Durell Loemba & Espe Bass and Sonor Digital being their understudy. Sonor Digital just need to create another style as guitarist to show his artistic maturity, otherwise he will stay in Roga Roga's shadow. 

Maybe they want to show that they are the real Extra Musica, like the way Zaiko Familia Dei with Ilo Pablo, Djerba Manzeku, Beniko Popolipo, Petit Poisson, Jimmy Yaba & Jose Piano Piano who made the Zaiko-rthym of 1982-1988. Claiming that they fired Nyoka Longo and that they were the real Zaiko. But they ended up by losing after multiple problems and leadership-wars and Zaiko winning. The Zaiko of Nyoka Longo developed their way of playing sebene by recruiting Shiro Vuemba who also entered the distortion sebene and adopting animations of Boketshu 1er who used to make folklore of the Mongo-tribe, while before 1988 when were mostly doing animations of the Humbu-tribe. Until this day Zaiko Nkolo Mbokonever changed the sebene-style that they started to play in the 1988-1992 era, only the animation who went more in the way of the Kongo-tribe folklore.

The difference of Extra Musica Zangul & Extra Musica Nouvel Horizon war about the is that, Sonor Digital didn't create the Extra Musica-rhythm. It was Roga Roga, Durell Loemba & Espe Bass and Sonor Digital being their understudy. Sonor Digital just need to create another style as guitarist to show his artistic maturity, otherwise he will stay in Roga Roga's shadow.

I suspect that Sonor is good guitarist, but not creative rhythm player. You'll notice a significant difference when Durrell used to play rhythm and when Sonor took over. It's like how Felly Tyson gets so much credit as a guitarist, but Ramazani and Lebou Kabuya are much more creative soloist.

I prefer Sonor as rhythm-player and found him very creative as rhythm-player. His sebenes or Kindoki and 242 were ok, but not excellent. Most sounded like remixes of the sebenes Roga Roga played in all the albums of Ouragan until La Main Noire. I'm not a big fan when he uses the distortion sound. I also didn't like how those sebenes were often suddenly interrupted by Telcel's rhythm-guitar and Etat Unis or the other atalaku who's with them in Nouvel Horizon (I forgot his name) comes in. Btw the way of Telcel's playing rhythm (its a shame that he stayed in Europe) and Stade Eboue who replaced him are really the way Coupe Decale sounds. Its weird that they copy the style of people who were inspired from them and wrongly copied them.




These were good sebenes, but messed up by those interruption. On 242 it was worser, those rhythm-parts all sounding the same and not having any difference. 242 was a good album (except the generique), but another thing that messed the whole album up was that all songs had the same message and them sounding like beggars of the streets, which already showed indirectly how most musicians were suffering in Extra Musica.



Good song, good structure, good sebene until that it gets interrupted.



Sonor's style of playing rhythm is not the same as Durrel, but its still excellent. Durrel's style is good, but it sounds old if you compare Nouveaux Missiles, Confirmation and Ourgan to the albums Shalai until La Main Noire (Sonor didn't play rhythm on Etat Major, because Roga Roga wanted to play it, like the way Makaba played both rhythm and lead on Kin E Bouge). I liked the way Sonor played rhythm on La Main Noire & Obligatoire and the way Roga Roga added the mi-solo guitar on Trop c'est Trop & Shalai made it sound more special. My favorite songs of Sonor as rhythm players are Redoutable, Eternite d'Amour, La Main Noire, 72 Minutes de Silence, Mban Antoine, Laissez Passer, Honorablement, A Vous de Voir, N'Julie, Tu Me Manques, Gambala and Sisi l'Imperatrice









Both Sonor Digital & Durell Loemba were really important for the early Coupe Decale style (2002-2007) that copied their rhythm. Back when Extra Musica was touring in West-Africa in the days of Obligatoire, DJ would often complaing about doing mabanga, because of them not being able to sample those part were only the rhythm-guitar plays on their instrumental.