Producers MxCarter and Rody Joh have unveiled their collaborative four-track EP ‘MOYO – Music of Your Own’, a sonic journey blending ancestral tribal energy with modern electronic production. The project features performances in English, Dutch, Swahili, and Zulu, symbolizing a universal heartbeat that connects Tanzania and the Netherlands.
Q1. Both of you have established distinct footprints within the industry—MxCarter through your multifaceted media ventures, and Rody through your immersion in the spiritual Afro House aesthetic. What sparked the creative synergy between your individual trajectories, and what was the catalyst for converging on the MOYO project?
MxCarter: Our paths have always aligned around one thing: intention. Whether it's visuals, production, or storytelling, I’m always searching for sounds and ideas that feel honest. When Rody and I first connected in the studio, I realized we shared a deep respect for culture and rhythm. It didn’t feel like a collaboration; it felt like two worlds that were meant to meet.
Rody Joh: For me, the synergy came naturally. Carter brings a futuristic, digital-forward perspective, while I draw heavily from spiritual and ancestral Afro House textures. When we started building ideas, we found a beautiful middle ground, a sound that’s both modern and rooted. MOYO became the perfect home for that energy: a project driven by authenticity, emotion, and cultural connection.
Q2. Your work serves as a sophisticated cultural synthesis. Tracks such as "Als Ik Je Zie" seamlessly integrate Dutch linguistic elements with East African rhythmic structures. How do you approach the synthesis of these disparate cultural and sonic elements to ensure a cohesive auditory experience?
Rody Joh: Our approach is to treat every language and rhythm with respect. Instead of forcing elements together, we look for natural emotional links. Dutch expression has a softness and melodic flow that fits surprisingly well on East African drums once you understand the emotion behind the words.
MxCarter: We don’t think in terms of borders; we think in terms of feeling. Afro House is already a global language, so blending Dutch, English, Swahili, or Zulu becomes an extension of that openness. We refine the groove first, then let the lyrics sit inside the rhythm until everything feels like one world instead of two cultures meeting.
Q3. Regarding the production of "Muziki", the percussion retains a notably organic and spiritual resonance. In the absence of live studio recording for these traditional instruments, could you elaborate on your curatorial process for sample selection and texture layering to achieve such an authentic fidelity?
Rody Joh: We treat samples almost like living instruments. The goal isn't to find the “perfect” sound it's to find texture that carries spirit. We dig through traditional percussion libraries, field recordings, and even our own archives from travels. Once we find a sound with character, we layer it like you would layer a choir: different sizes, tones, and timbres working together. We intentionally avoid over-processing so the raw essence remains intact. That’s why “Muziki” feels alive it’s a collage of textures breathing together.
MxCarter: A lot of the magic is in the subtle details. We use space, reverb, and micro-shifts to mimic the energy of real players in a room. The aim was not to imitate tradition but to honor it in a modern context.
Q4. Your collaboration with Jay Rox on "Euphoria" introduced a distinct Afro-pop dynamism to the EP. How does this vocal-centric approach align with your broader artistic vision, and do you foresee further exploration of this crossover style in the coming year?
MxCarter: "Euphoria" was special because it stretched our boundaries. Jay Rox brought an emotional clarity and pop sensibility that complemented our Afro House direction perfectly. It reminded us that vocals can be just as hypnotic as drums and sometimes even more powerful.
Rody Joh: Yes, 100%. We see vocals as another instrument in the Afro House landscape. We don’t want MOYO to exist only in a club or festival space; we want it in earphones, in cars, in personal moments. So this crossover the blend of Afro House energy with strong vocal presence is definitely something we’re continuing to explore in 2025 and 2026.
Q5. As Afro House continues to secure its position on the global stage, what, in your view, distinguishes its current resonance from other electronic genres? Furthermore, how do you anticipate the genre’s evolution as we approach 2026?
Rody Joh: Afro House is powerful because it carries both rhythm and story. It’s grounded in ancestral roots but presented with futuristic production. People around the world feel that authenticity it’s spiritual even when it’s not explicitly religious.
MxCarter: By 2026, we expect Afro House to become even more hybrid. You’ll see more collaborations with global genres, more vocal-driven records, more cultural cross-pollination. African creators are becoming the architects of global dance music, and Afro House is leading that movement.
Q6. With the release of the MOYO EP, you have emphasized the title’s significance as "Music of Your Own". Beyond the acronym, could you elaborate on the thematic underpinnings of this concept and the specific dialogue you hope to initiate with your audience?
MxCarter: MOYO is about self-identity. Not the identity that society gives you, but the one you claim for yourself. Every track is built around the idea of freedom, ie, freedom of sound, freedom of culture, freedom of expression. We want listeners to feel like they’re entering a world where they can simply be.
Rody Joh: Exactly. MOYO is a conversation with the heart. We want the audience to experience music that feels personal, even if it’s global. If someone listens and feels seen, understood, or spiritually lifted then the EP has done its job.
‘MOYO – Music of Your Own’ is now available on all digital platforms. You can follow MxCarter and Rody Joh on Instagram for further updates on their 2026 global movement.
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