We Speak Electronic

First Fridge in Kumasi in 1950 still works perfectly

Published

2 years ago

June 14, 2024

Skbeatznewz.com

The tale of the Manhyia Palace in Kumasi, Ghana, is truly captivating. The moniker “Manhyia,” signifying “gathering of the people,” perfectly encapsulates its role as the official abode of the Asantehene. The palace complex, housing both the old and new structures, embodies a harmonious blend of tradition and modernity. The conversion of the old palace into a museum in 1995 marked a significant milestone in preserving the heritage of the Ashanti Kingdom. Today, the Manhyia Palace Museum not only serves as the dwelling of the current Asantehene but also showcases a diverse array of artifacts and historical treasures that narrate the rich history of the Ashanti Kingdom.

In a video by blogger SkBeatz Records, the first refrigerator in Kumasi, now 74 years old, is showcased. The AMCOR 10 fridge from Israel, originally powered by kerosene, was converted to run on electricity and still works effectively. It was used by Nana Osei Agyeman Prempeh II in 1950. “The only maintenance so far was, it was using a kerosene power and we have converted it to electricity.” The tour guide revealed in his conversations with Blogger Skbeatz Records and his colleagues.

The museum also displays teacups, plates, and bowls used by the king for 39 years, as well as his teapot from the Seychelles Islands.

This video has sparked conversations online, with some people expressing doubt about the claims. The Manhyia Palace Museum is a place one needs to visit.

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We Speak Electronic

Akaba Explore The Space Between Guitars And Synthesisers On Wither Without

Published

3 days ago

October 23, 2026

Music4U

What happens when guitar-led songwriting meets programmed rhythms and layers of synthesisers? On Wither Without, out now via Now Listen, Akaba make that combination central to their second album, building a sound that reaches further into electronic music than their debut, The Rust Within.

The Stockholm trio bring together three distinct contributions. Åsa Carild supplies the vocals and lyrics, Tobias Ljungkvist plays guitar, and Mattias Olsson produces the record. All three share the music credits, giving the nine tracks a collaborative foundation beneath Carild’s personal writing.

The production is particularly important to the album’s character. Synthesised layers and programmed beats sit alongside the guitars rather than simply filling out the arrangements. This gives the songs a different sense of movement, with room for close vocal passages as well as busier, more unsettled sections.

“Go North” offers a clear introduction to the record’s concerns. Its focus on taking another route in life brings questions of departure and belonging into the foreground, without reducing the song to one fixed interpretation.

Across the tracklist, titles such as “Two Rights”, “Mistake” and “Grieve” sit within a wider sequence about a relationship reaching its end. The subject gives the album continuity, while the changing arrangements provide its musical variation.

For Akaba, the shift towards electronic production is more than a change in surface texture. On Wither Without, it becomes an essential part of how the songs communicate, placing the details of the arrangement alongside the writing itself.