All year round Krizbeatz has been one of the producers to watch. He’s been everywhere, from producing a standout off Fave’s Riddim 5 (Obsessed), to handling the majority of BOJ’s acclaimed album, Gbagada Express, and most recently providing the sizzling beat for Bella Shmurda’s propulsive hit song, the Omah Lay-assisted Philo. Krizbeatz has also released his own records, with “Wild Party” and 1da Banton-assisted Abena leading up to a fresh project, aptly titled King of New Wave.

With a decade of experience in the music industry, Krizbeatz embodies the restless experimentation which makes Afropop one of the world’s most exciting genres. Moving from EDM flourishes in his earlier works, he would come to embrace bold percussion and local flavors. He’s highly sought after by musicians who value authenticity and timeless vibes. Those qualities remain top-shelf for him when he gets into his executive creator bag, bringing some of the most exciting artists to join forces over typically colorful production.

On King of New Wave, Krizbeatz’s pan-African vision shines through. He traverses geographical borders as he unlocks a swathe of emerging talents from around the continent. Sharing the stage with Krizbeatz, the artists draw from everyday themes such as unrequited love, getting paid, and being rested. On records like Time And Place and Not For You, the hypnotic quality of Krizbeat’s production shines through. The former features Victony and Terri unfurling seductive lyrics over minimal, skittering drums polished with jazzy splendor. On the latter Jamopyper and Seyi Vibez promise the good life to a lover, their distinct vocals relishing the mellow quality of Krizbeatz’s production which draws an intricate bridge between Highlife’s sonorous guitar playing and the energetic log drums of Amapiano.

Also contributing to the vision of KONW are Bella Shmurda, Rayvanny, 1da Banton, Mbosso, Raybekah, and Lade. The latter duo of artists featured on Time Waster, a stacked record that closes out the project. Trendy crowd vocals and the singers’ melodious inflections only serve to heighten Krizbeatz’s composition. By the song’s end, the listener emerges with a feeling of having gone through the heated mass of bodies at a festival, bathed in the energy of communion.

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