Melodigging

afropop

Afropop

Nigeria · 1980s

Dancing Happy Romantic Chill Sentimental

Your level

0/5

🏆

Listen to this genre to level up

Description

Afropop is a pan‑African umbrella for contemporary popular music from the continent that blends African rhythmic traditions with global pop, R&B, hip hop, reggae/dancehall, and electronic production. It favors infectious grooves, memorable hooks, and vernacular lyrics (often in Nigerian Pidgin, Yoruba, Twi, Swahili, or English/French), with guitars, synths, and polyrhythmic percussion at its core.

While rooted in post‑independence urban styles such as highlife, juju, soukous, makossa, and mbalax, modern Afropop is studio‑driven, hook‑forward, and radio/streaming‑optimized. Its bounce typically sits around the 95–115 BPM range, with syncopated kicks, off‑beat shakers, crisp claps, and bright melodic riffs. The result is music that is danceable, warm, and cosmopolitan, yet unmistakably African.

History

How to make a track in this genre

Main artists

Influenced by

Afrobeat is a horn-driven, polyrhythmic, and politically charged style that emerged in Nigeria, spearheaded by bandleader Fela Kuti and drummer Tony Allen. It fuses West African highlife and juju with American funk, jazz, and soul to create extended, hypnotic grooves. Typical tracks revolve around interlocking guitar and keyboard ostinatos, elastic bass vamps, dense percussion (shekere, congas, agogô, cowbell), and tightly arranged horn riffs that punctuate the beat. Vocals often use call-and-response and socially conscious lyrics, delivered in English, Nigerian Pidgin, or Yoruba. Harmonically sparse but rhythmically intricate, Afrobeat prioritizes feel: long, evolving arrangements, richly syncopated drum patterns, and sectional dynamics that spotlight solos and collective interplay.

Highlife is a popular music genre that originated in coastal Ghana and spread across West Africa. It blends indigenous Akan and Ga rhythms with Western brass-band harmony, Afro‑Cuban dance grooves, and jazz phrasing. Two classic strains developed: dance‑band highlife with horn sections, lush arrangements, and ballroom tempos; and guitar‑band highlife centered on interlocking guitar riffs, percussion, and call‑and‑response vocals. In both, a buoyant 4/4 pulse, syncopated bell patterns, and diatonic I–IV–V progressions drive songs designed for social dancing and celebration. Highlife is sung in local languages (such as Akan, Ga, Ewe, and Igbo) as well as English and pidgin, often using proverbs and storytelling. From independence‑era dance halls to modern fusions, its upbeat feel and lilting guitars remain emblematic of West African urban life.

Jùjú is a Yoruba-rooted popular music from southwestern Nigeria that blends indigenous percussion and call-and-response vocals with guitar-driven dance grooves. It is characterized by interlocking electric and steel guitars, talking drums (dundun family), shekere shakers, and long, flowing performances built on cyclical vamps. Often performed at weddings, ceremonies, and social gatherings, jùjú features praise-singing (oríkì), proverbial lyrics, and a warm, uplifting atmosphere that invites communal dancing.

Soukous is a high-energy dance music that evolved in the Congolese region (Kinshasa–Brazzaville) from Congolese rumba and Afro‑Cuban styles. It is defined by interlocking electric guitars, buoyant bass lines, bright horn stabs, and long, fast "sebene" instrumental sections designed for dancing. Vocals are often in Lingala with French interjections, and themes frequently revolve around romance, urban life, and social commentary. The music emphasizes forward motion and joyful release, pairing Afro‑Cuban rhythmic logic (clave-informed phrasing) with signature Congolese guitar picking that creates a shimmering, cascading texture.

Makossa is a popular urban dance music from Cameroon that blends local Duala coastal rhythms with highlife, Congolese rumba/soukous guitar lines, and the brass-driven punch of jazz and funk. It is characterized by tight, interlocking guitar ostinatos, syncopated bass grooves, bright horn riffs (often led by saxophone), and call-and-response vocals delivered in Duala, French, or Cameroonian Pidgin. The groove sits in a driving 4/4 meter with a buoyant, forward motion that is at once relaxed and irresistibly dancing, making it a staple of parties and nightclubs across Central and West Africa and the diaspora.

Mbalax is a popular dance music from Senegal that fuses traditional Wolof sabar percussion and tassu (praise-chant) with Afro‑Cuban and Western pop idioms. It is defined by fiercely syncopated, polyrhythmic drum patterns, bright electric guitars, punchy horns, and emotive vocals, most often sung in Wolof. The style foregrounds live percussion, especially the sabar drum family and the tama (talking drum), and uses sudden, cued breaks called bak that drive dancers into energetic responses.

Hiplife is a Ghanaian popular music style that fuses the melodic guitar lines, horn riffs, and danceable grooves of highlife with the beats, rhyme schemes, and production aesthetics of hip hop and R&B. Performed largely in local languages such as Twi, Ga, and Ewe alongside Ghanaian Pidgin English, hiplife balances storytelling rap verses with catchy, highlife-inspired sung hooks. Its rhythms often blend programmed hip hop drums with live West African percussion (e.g., kpanlogo), producing a feel that is both club-ready and rooted in Ghana’s musical heritage. The genre became the voice of urban youth culture in Ghana from the late 1990s onward, providing a platform for social commentary, humor, and everyday narratives, while also laying groundwork for later West African pop movements.

Hip hop is a cultural and musical movement that emerged from Black, Latino, and Caribbean communities, centering around rapping (MCing), DJing/turntablism, sampling-based production, and rhythmic speech over beats. It prioritizes groove, wordplay, and storytelling, often reflecting the social realities of urban life. Musically, hip hop is built on drum-centric rhythms (from breakbeats to 808 patterns), looped samples, and bass-forward mixes. Lyrically, it ranges from party anthems and braggadocio to political commentary and intricate poetic forms, with flow, cadence, and rhyme density as core expressive tools. Beyond music, hip hop encompasses a broader culture, historically intertwined with graffiti, b-boying/b-girling (breakdance), fashion, and street entrepreneurship, making it both an art form and a global social language.

R&B (Rhythm and Blues) is a vocal- and groove-centered popular music tradition that blends blues tonality, jazz harmony, and gospel-inflected singing with a steady backbeat. It emphasizes expressive lead vocals, call-and-response, lush harmonies, and danceable rhythms. From its 1940s roots in African American communities to its later evolutions, R&B has continually absorbed and reshaped surrounding sounds—from jump blues and swing in the early days to soul, funk, hip hop, and electronic production in the contemporary era. Today, R&B ranges from intimate, slow-burning ballads to club-ready tracks, all tied together by a focus on feel, melody, and vocal performance.

Dancehall is a Jamaican popular music style that emerged in the late 1970s as a rawer, more stripped‑down offshoot of reggae. It centers on the "riddim"—a shared instrumental backing over which multiple vocalists (deejays/singers) perform—toasts, melodies, and hooks, often in Jamaican Patois. Compared to roots reggae, dancehall favors punchy, syncopated drums, deep sub‑bass, sparse harmony, and call‑and‑response energy rooted in sound system culture. From the mid‑1980s onward, digital instrumentation transformed the genre (the "Sleng Teng" era), ushering in the raggamuffin sound and paving the way for global crossover in the 1990s and 2000s. Lyrical themes range from party and dance (“bashment”) culture to social commentary, romance, bravado, and soundclash rivalries.

Reggae is a popular music genre from Jamaica characterized by a laid-back, syncopated groove, prominent bass lines, and steady offbeat “skank” guitar or keyboard chords. The rhythmic core often emphasizes the third beat in a bar (the “one drop”), creating a spacious, rolling feel that foregrounds bass and drums. Typical instrumentation includes drum kit, electric bass, rhythm and lead guitars, keyboards/organ (notably the Hammond and the percussive "bubble"), and often horn sections. Tempos generally sit around 70–80 BPM (or 140–160 BPM felt in half-time), allowing vocals to breathe and messages to be clearly delivered. Lyrically, reggae ranges from love songs and everyday storytelling to incisive social commentary, resistance, and spirituality, with Rastafarian culture and language (e.g., “I and I”) playing a central role in many classic recordings. Studio production techniques—spring reverbs, tape delays, and creative mixing—became signature elements, especially through dub versions that strip down and reimagine tracks.

House is a dance music genre that emerged in Chicago in the early 1980s, defined by a steady four-on-the-floor kick drum, off-beat hi-hats, soulful or hypnotic vocals, and groove-centric basslines. Typical tempos range from 118–130 BPM, and tracks are structured in DJ-friendly 16–32 bar phrases designed for seamless mixing. Drawing on disco’s celebratory spirit, electro-funk’s drum-machine rigor, and Italo/Hi-NRG’s synth-led sheen, house prioritizes repetition, tension-and-release, and communal energy on the dancefloor. Its sound palette often includes 808/909 drums, sampled or replayed disco/funk elements, filtered loops, piano/organ stabs, and warm, jazzy chords. Over time, house diversified into many substyles—deep house, acid house, French house, tech house, progressive house, and more—yet it remains a global foundation of club culture, known for emphasizing groove, inclusivity, and euphoria.

Pop is a broad, hook-driven style of popular music designed for wide appeal. It emphasizes memorable melodies, concise song structures, polished vocals, and production intended for radio, charts, and mass media. While pop continually absorbs elements from other styles, its core remains singable choruses, accessible harmonies, and rhythmic clarity. Typical forms include verse–pre-chorus–chorus, frequent use of bridges and middle-eights, and ear-catching intros and outros. Pop is not defined by a single instrumentation. It flexibly incorporates acoustic and electric instruments, drum machines, synthesizers, and increasingly digital production techniques, always in service of the song and the hook.

Afro house is a percussion-forward branch of house music that blends four-on-the-floor club rhythms with African polyrhythms, timbres, and song forms. Typical tempos sit around 118–125 BPM, with deep, warm kicks supporting interlocking hand drums, shakers, and claps. Producers often incorporate instruments such as djembe, congas, marimba, balafon, kalimba, and kora, alongside lush pads, soulful vocals, and modal or minor-leaning harmonies. The result is dance music that feels communal and earthy yet modern and atmospheric, balancing hypnotic grooves with emotional, often spiritual, themes. While the sound is global, Afro house is strongly associated with South Africa’s house lineage and Lusophone networks, and it emphasizes long DJ-friendly arrangements with evolving textures, call-and-response hooks, and dynamic, drum-led builds and breakdowns.

Mahraganat (often called electro-shaabi or "festival music") is a high-energy Egyptian street style that fuses traditional shaabi party music with DIY electronic production, rap-like vocal delivery, and booming dance rhythms. It grew out of working-class wedding scenes and neighborhood celebrations, where portable sound systems, cracked software, and affordable microphones enabled a raw, urgent sound. The music is built on pounding darbuka-style percussion, sawtooth and reed-like synth leads that mimic mizmar timbres, heavy sub-bass, and heavily Auto-Tuned, shouted vocals. Lyrics mix humor, social commentary, bravado, and everyday slang, creating a direct line to the lived experiences of Cairo’s peripheries. The result is a gritty, infectious, and unmistakably local club sound that’s also globally legible.

Wassoulou is a vibrant, female-led popular music from southern Mali (the Wasulu/Wassoulou region, extending into parts of Guinea and Côte d’Ivoire). Rooted in hunters’ musical traditions and pentatonic melodies, it centers the timbre of the kamalen n’goni (youth harp), donso n’goni (hunters’ harp), calabash percussion, handclaps, and call-and-response vocals. Stylistically, it blends cyclical, modal grooves with socially conscious lyrics that often address love, marriage, women’s autonomy, and community life. While distinct from hereditary griot (jeli) traditions, it shares the broader Mande musical vocabulary and has evolved with modern arrangements—adding electric guitar, bass, and light electronics—without losing its earthy, trance-like propulsion.

Coupé-Décalé

Coupé-décalé is an Ivorian dance music movement known for punchy, uptempo drum programming, shouted slogans, and call-and-response vocals built around simple, catchy synth hooks. Tracks emphasize percussive drive and named dance moves, designed for rapid audience participation on the dancefloor. The style blends Congolese soukous/ndombolo showmanship (atalaku-style shouts) with Ivorian zouglou’s communal energy, Caribbean zouk smoothness, and dancehall’s club-oriented punch. Its aesthetic centers on exuberance, swagger, and celebration—often accompanied by choreographies and fashion statements that project success and joie de vivre.

Zoblazo is a high-energy dance music from Côte d'Ivoire popularized by the singer-producer Meiway in the early 1990s. It blends coastal Ivorian rhythms with the guitar finesse of Ghanaian highlife, the fluid drive of Congolese soukous, and the polished sheen of francophone Caribbean zouk. Characterized by bright major-key melodies, call-and-response vocals, propulsive 4/4 grooves around 110–130 BPM, and brisk percussion breaks, zoblazo invites collective participation—famously with dancers waving white handkerchiefs in coordinated moves. Horn stabs, bubbling bass lines, soukous-style guitar figures, and modern keyboards/samplers round out its festive, extroverted sound.

Funaná is a fast, accordion-driven dance music from the island of Santiago in Cape Verde. It is built around the diatonic accordion (locally called gaita) and the ferrinho, a scraped metal rod that supplies an unrelenting, syncopated rhythm. The style is exuberant, rural in origin, and often features social commentary sung in Cape Verdean Creole. Traditionally, funaná was played at community gatherings and dances, with melodies that move briskly over simple harmonic progressions while the ferrinho and hand percussion lock in a propulsive 2/4 pulse. In its contemporary form, the genre frequently adds electric bass, drum kit, and keyboards, retaining the core energy while expanding its sound for modern stages.

Omutibo is a lively, thumb‑led acoustic guitar style from western Kenya, especially among Luhya communities. It is characterized by percussive, syncopated fingerpicking that turns the guitar into both a melodic and rhythmic instrument, often supporting playful, proverbial, and socially observant lyrics. Typically performed solo or in small ensembles, omutibo features a driving alternating‑bass pattern with palm‑muted thumps, bright treble riffs, and off‑beat accents that mimic local hand‑drum and dance rhythms. Vocals—often in Luhya languages and Swahili—use call‑and‑response and communal refrains, encouraging audience participation and dancing.

Township Bubblegum

Township bubblegum is a South African urban dance‑pop style that emerged in the 1980s, blending disco and boogie production with township musical sensibilities and vocal traditions. It is characterized by bright synths, drum‑machine grooves, simple but irresistible melodies, and call‑and‑response hooks sung in English and South African languages such as Zulu, Xhosa, and Sotho. Designed for parties, shebeens, and radio, the music favors mid‑tempo, four‑to‑the‑floor rhythms, synth‑bass ostinatos, crisp guitar chanks, and catchy choruses that repeat. While often celebratory, lyrics can carry subtle social commentary, reflecting everyday life under apartheid and the optimism of youth culture.

Ndombolo is a high-energy Congolese dance music style that modernizes soukous with faster tempos, razor-sharp "sebene" guitar riffs, and an emphatic, dance-led performance ethos. It is characterized by bright electric guitars playing interlocking, syncopated lines; driving bass and kick drum patterns that keep the floor moving; call-and-response vocals in Lingala and French; and the presence of an "atalaku" (animateur) who punctuates the groove with chants, shouts, and dance calls. The music is inseparable from its choreography: the ndombolo dance features hip-driven, athletic movements that helped the genre explode across Central and East Africa, Francophone Europe, and beyond.

Marrabenta is an urban dance music from Mozambique, born in the neighborhoods of Lourenço Marques (now Maputo). It blends local dance rhythms and call-and-response singing with guitar-led grooves and elements brought by Portuguese colonial presence and South/Southern African popular styles. Typically upbeat and guitar-driven, marrabenta features interlocking rhythm and lead guitar parts, buoyant bass lines, and a propulsive, lightly swung 2/4–4/4 pulse accented by hand percussion. Lyrics are commonly in Changana, Ronga, and Portuguese, often narrating everyday life, love, and social commentary. The genre’s name is often linked to the Portuguese verb “rebentar” (to break), referencing either broken guitar strings on homemade instruments or the idea of “breaking” the dance floor—both pointing to its joyful, high-energy character.

Fuji is a percussion‑driven popular music from southwestern Nigeria that grew out of Muslim wake‑up (wèrè/ajisari) songs performed during Ramadan. It blends the call‑and‑response vocals and praise‑singing tradition of Yoruba culture with dense drum ensembles, hand percussion, and later, modern band instruments. Characterized by rolling polyrhythms, insistent grooves, and melismatic lead vocals, fuji emphasizes rhythm and vocal interplay more than complex harmony. Since the 1980s it has absorbed elements of jùjú, highlife, and contemporary urban pop, producing both traditional street‑party variants and sleek, band‑backed concert styles.

Ziglibithy is a guitar-driven popular dance music from Côte d’Ivoire created and named by Ernesto Djédjé in the 1970s. It fuses traditional Bété rhythms and call‑and‑response vocals with the sleek, interlocking guitar lines and rolling bass of Congolese rumba/soukous and the brass/arrangement sensibilities of West African highlife. Typically fast and bright, ziglibithy emphasizes continuous, bubbling lead guitar riffs (akin to the soukous sebene), tight rhythm-guitar ostinatos, propulsive percussion with cowbell, and exuberant choral refrains. Lyrics are often sung in Bété (alongside French or Nouchi), celebrating social life, dance, love, and local identity. The result is an uplifting, highly danceable style that helped define modern Ivorian popular music.

Mangambeu is a traditional-popular dance music of the Bamileke peoples from western Cameroon. It is built on densely interlocking percussion, a bright balafon (xylophone) ostinato, and animated call-and-response vocals. The style typically rides a compound 12/8 or 6/8 pulse with cross-rhythms, handclaps, and an iron bell timeline that keeps dancers locked to the groove. Melodies often draw on pentatonic and diatonic material sung in Bamileke languages such as Ghomala', Fe'fe', Yemba, and Medumba, celebrating community life, chiefs, moral lessons, and social commentary. While firmly rooted in village ceremonies and festive gatherings, mangambeu has also been adapted for stage and recordings, where guitars, bass, and drum set emulate the interlocking parts of traditional balafon and drum ensembles.

Zinli is a traditional music-and-dance style of the Fon people from the Abomey region of present-day Benin. Rooted in royal court and communal ceremonial life, it features responsorial (call-and-response) singing in the Fon language over interlocking, polyrhythmic percussion. Typical ensembles center on gourd percussion (calabashes), hand drums, iron double-bells, and shakers. A bell timeline in 12/8 or 6/8 anchors multiple drum parts while a lead singer (often a griot-like figure) trades phrases with a chorus. The result is a lilting, circular groove that is both processional and danceable, used for commemorations, festivals, and lineage rites. While most strongly associated with courtly and ceremonial contexts, Zinli has also informed modern Beninese popular music, where guitars and horns may double traditional rhythmic patterns without losing the genre’s distinctive swing and responsorial structure.

Salegy is a high‑energy dance music from northern Madagascar that electrifies older coastal rhythms into a fast 6/8 or 12/8 groove. The sound is driven by interlocking electric guitars that mimic zither and valiha patterns, syncopated bass lines, and a propulsive drum kit, often accented by handclaps, whistles, and call‑and‑response vocals. Typically clocking around 140–160 BPM, salegy favors bright, clean guitar tones playing cyclical ostinati, while singers deliver exuberant, melismatic lines in Malagasy (especially northern dialects). The music is celebratory and communal, designed for long dance sections with breakdowns and instrumental vamps that keep the floor moving.

Township jive is a lively, urban South African dance music that crystallized in the apartheid-era townships during the 1950s and 1960s. It blends local street styles with American swing, jazz, and rhythm & blues aesthetics, producing buoyant grooves, call-and-response vocals, and infectious horn or pennywhistle hooks. Characterized by cyclical chord vamps (often I–IV–V with dominant 7ths), a shuffling backbeat, and nimble, treble-forward electric guitar figures, township jive foregrounds movement and collective joy. Saxophones or pennywhistles carry singable riffs, while tight vocal groups deliver harmonized choruses in Zulu, Sotho, Tswana, and other South African languages. The music’s feel is celebratory yet rooted in the daily realities of township life, making it both danceable and narratively rich.

Kadongo kamu is a Ugandan singer‑storyteller tradition whose name in Luganda literally means “one little guitar,” referring to the typical solo performer accompanying themselves on a single acoustic guitar. The style is built on steady, alternating bass lines with simple, memorable melodic figures, and strophic, proverb‑rich lyrics delivered in Luganda. Songs address everyday life, morality, satire, social commentary, love, and community history, often with humor and didactic intent. Arrangements are sparse—usually voice and one guitar—with occasional light percussion (shakers, calabash) or a supporting vocal. Tempos are moderate, the groove is grounded in 4/4 with Kiganda rhythmic feel, and the performance centers on clear diction and narrative flow.

Kapuka (also known as Kapuka rap or Boomba music) is a Kenyan urban pop/hip‑hop style built for radio and dance floors. It blends rap verses in Swahili, Sheng, and English with catchy, melodic choruses, glossy synths, and tightly programmed drums. The hallmark “kapuka beat” typically sits around 95–110 BPM with a four‑to‑the‑floor or lightly syncopated kick pattern, off‑beat claps/snares, shakers, and conga-style percussion, topped by simple but infectious chord loops and round, warm bass. Lyrically it favors playful wordplay, romance, nightlife, and aspirational urban life. Its polished, hook-driven sound and high‑production music videos helped define mainstream Kenyan pop in the early 2000s.

Griot (also called jeli/jali) is the hereditary West African tradition of poet-singers, historians, and musicians whose craft combines storytelling, praise-singing, genealogy, diplomacy, and music. It is centered in the Mande world of today’s Mali, Senegal, Gambia, and Guinea, and is best known for virtuosic performances on the kora (21‑string harp-lute), balafon (xylophone), and ngoni (lute), alongside powerful, ornamented vocals. Griot music is structured around cyclical ostinatos with improvisatory flourishes, call-and-response, and text that preserves communal memory—epics, lineages, and moral instruction—delivered in languages such as Mandinka and Bambara. While deeply traditional, the griot aesthetic has adapted to modern stages and studios, influencing global “world music,” West African pop, and blues-derived styles.

Afro soul is a contemporary African blend of classic soul and R&B songwriting with indigenous rhythms, languages, and timbral aesthetics. It typically features warm, gospel-tinged vocals, jazz-leaning harmonies, and organic instrumentation (rhodes/piano, guitar, bass, light percussion) layered over African groove sensibilities—often gentle mid-tempo pulses, 6/8 lilt, or relaxed township/kwaito-derived backbeats. Lyrical themes center on love, healing, spirituality, identity, and social renewal, with frequent use of call-and-response and choral textures that connect modern urban life to communal, traditional expression.

Ogene music is a traditional ensemble style of the Igbo people of southeastern Nigeria built around the ogene, a large forged iron bell that serves as the timekeeper and lead voice. The ensemble typically combines multiple ogene bells with slit drums (ekwe), clay pot drums (udu), wooden clappers (okpokolo), shakers (ichaka), and vigorous call-and-response singing. The music is communal, dance-driven, and text-centered: songs deliver praise, proverbs, social commentary, and announcements in the Igbo language, while interlocking bell patterns and polyrhythms create a propulsive groove for festivals, rites of passage, and market-day celebrations. In contemporary contexts, ogene troupes also collaborate with highlife, Afropop, and hip hop artists, carrying its village-square energy into modern recordings and stages.

Mossi music refers to the traditional and court-derived musical practices of the Mossi (Mooré-speaking) people of present-day Burkina Faso. It is characterized by energetic dance rhythms (notably the warba dance), call-and-response singing, and a strong emphasis on percussion led by the bendré (a large calabash/gourd drum) alongside balafon (wooden xylophone), rattles, handclaps, and end-blown flutes. Melodies are often pentatonic and delivered in the Mooré language by praise-singers who recount lineages, extol chiefs (Naaba), and transmit proverbs and social commentary. While rooted in royal and ceremonial contexts, Mossi music also lives in community celebrations and rites of passage, and it underpins many modern Burkinabé “tradimoderne” styles that blend traditional rhythms with guitars, keyboards, and contemporary production.

Maskandi (also spelled maskanda) is a guitar-driven Zulu folk-pop tradition from South Africa, rooted in the experiences of rural-to-urban migrant workers. It is characterized by fast, intricate fingerpicked guitar lines, rolling bass movement, and a lead vocal that often alternates between melodic singing and spoken or chanted praise-poetry (izibongo). Choruses typically use call-and-response with a small backing group. Classic ensembles add concertina or accordion and violin to acoustic/electric guitar, with later bands employing drum kits and keyboards. Lyrics, usually in isiZulu, reflect social commentary, personal narratives, journeys between countryside and city, and community pride. Rhythmically, maskandi tends toward a lilting shuffle or 12/8 swing feel, with bright tonic–subdominant–dominant harmonies and pentatonic/modal color. Its sound balances rural roots with township modernity, making it both danceable and storytelling-oriented.

Has influenced

No genres found

© 2025 Melodigging

Melodding was created as a tribute to Every Noise at Once, which inspired us to help curious minds keep digging into music's ever-evolving genres.