Swami Sound’s 'It Is What It Is' Celebrates The Black Diaspora

‘It Is What It Is’ front cover by Akiba Haiozi

Bronx-born producer and multi-instrumentalist Swami Sound’s latest offering, ‘It Is What It Is’, highlights the incredible talent of the black diaspora. On this collection of works inspired by a trip to Nairobi, Kenya, Swami enlists a squad of up and coming East African creatives across Nairobi and NYC: musicians Mr. LU* (Nairobi), Chevy Kev (Nairobi), mau (Kenyan-born, NYC based), Maya Amolo (Kenyan-born, NYC based), and mwami (Ugandan-born, NYC based); and Nairobi based digital artist Akiba Haiozi.

The EP’s titular track, ‘It Is What It Is’,  which features long-time collaborator and good friend Mau, samples the first song the pair ever made together. Swami and mau pay homage to the viral Kenyan meme video that has become synonymous with submitting to the uncertainties of life by aptly create a sonic metaphor for this reality through the songs laid back, groovy vibe; you can envision mau shrugging his shoulders and bopping along as he nonchalantly croons, “It is what is”.

Characterized by a funky walking bass line and peppered with hypnagogic pop, it’s hard to picture yourself anywhere else but the dancefloor when the following track on the EP, ‘Feel It’, comes on. Featuring Chevy Kev, Mr. LU* and mau, it was created during a session at the latter’s house in Nairobi: “I was listening to a ton of French pop duo Paradis on the plane to Nairobi...I was inspired by Channel Tres and Martyn Bootyspoon”, explains Swami. Chevy Kev switching out his usual punchy bars for humorous ad libs is definitely the cherry on top.

Swami Sound with Kenyan rapper/producer, Mr. LU*

‘Mad Ting’ feat. Chevy Kev, Mr. LU*, mwami, mau and Maya Amolo is a club hit. Produced in collaboration with Mr. LU*, the track pulls heavily from UK garage. Swami comments, “ Sampling yourself is one thing, but when another producer samples you, and shows it to you like, ‘Hey, I found this it sounds sick’ - the game changes”. Lamenting the heartless actions of a girl who didn’t deserve him, mwami employs his signature croak-like flow

The EP’s final track, ‘Lower Kabete’, is an experimental fusion of bedroom pop with afrobeats and serves as a representation of Swami reacting with Kenya as a space. He brings us down from the previous two club bangers by leaning into polyrhythmic drum patterns and manipulating his vocals with synthesizers to create a hypnotic, slightly subdued soundscape. 

The EP serves not as a reshaping of African musical narratives, but as an example of the unbridled versatility of Kenyan artists. At a time like this when so many across the world are declaring enough is enough against white supremacy and are coming together to fight for black lives, projects such as this one are healing and needed. As Swami stated in a recent Instagram post, “This is our time to take up space; it is what it is.”

Swami Sound with Nairobi-based digital artist, Akiba Haiozi

Firstly, for those who are unfamiliar with you, who is Swami Sound?

I’m a producer/songwriter from the Bronx. While studying Social Work at NYU, I learned Ableton Live from the ground up - performing my beats at backyards and DIY shows hosted by a local collective. My early production and performance styles were very influenced by The Avalanches & Panda Bear and they still inspire the way I approach my music to this day. Since my formative years as a musician, I’ve made a name and living for myself as a mix engineer and producer for artists. 

The word Swami is a hindu noun for a religious teacher - but truth be told it was bestowed upon me by a name generator online.

‘It Is What It Is’  is both the name of the project and the titular track. What about this phrase, which has become a staple in Nairobi culture, stuck with you? Why pay homage to the video?

I named the project title to solidify the fact that this is a curation from my trip to Nairobi. Tatsuro Yamashita has a two-part record called “Songs from L.A.” that were 90’s remakes by American Artists of his hit records from the 80’s during Japan’s citypop wave. I thought it’d be corny for me to call the project “Songs from Nairobi” - even if it is what it is.

Kamau and I reference the meme on a daily basis because for us it’s an admittance to the hands that are dealt. “It is what it is” - it’s as cryptic as it is comforting in casual conversation. The weeks anticipating the project’s release, I came to realize how ubiquitous the phrase is. Seems pretty agreeable.

Had you set out to create a project during your trip to Nairobi and did you already have these collaborators in mind? Or was this more a product of spontaneous interactions?

I didn’t. Kamau told me about the Ubunifu Place event Tangaza was holding and I thought, “there’s no way I can afford the trip.” But, we move. 

I brought my usual performance equipment with me to Nairobi, but what really set things right for me was that I decided to bring my Shure SM57 which I use to record things on the fly.

I remember meeting Lu face to face during soundcheck and the first thing he says to me, “I can’t believe you’re here.” And I was like “man for real this is crazy.” i met Kev at the same time. The day after we all just kicked it at Kamau’s for a much needed cookup. What came about was spontaneous and what made a timeless experience tangible.

mwami writes, “the aspect of the EP that most resonated with me was how organically the collaborations came together and how interconnected all the collaborators are. I had always wanted to work with Chevy and mau and Swami’s provision of MAD TING made that possible. I feel humbled and grateful to appear alongside a list of black collaborators I deeply respect.”

Swami Sound performing at Tangaza Magazine’s The Ubunifu Place event

What are you hoping people will feel and, or take away from the project if anything?

I want to quote the collaborators as an answer, as those are the initial takeaways that were had in the first place:

Cover artist Akiba Haiozi writes, “I vibe with the project feeling that as much as the music represents a timestamp of various interactions, it conjures timeless connections as well. That was the whole aesthetic of creating the art piece”.

mwami writes, “It might not seem like a big deal at face value but the widespread presence of the diaspora both sonically and in reference to the involved personnel is something that I think will be profound to look back on once this body of work ages finely”.

Do you have a favourite track? If so, which one?

MAD TING - easily my most favorite production by far because there are so many details. When I brought it back to the states I had help from Yourszlf, mwami, and Theo Shier on solidifying the drum patterns and overall feel. Big ups to Nat Jenkins for enlightening me to the details on how to get that pocket.

When you’re not making music, what are you up to?

Zelda and Zoom.