Few young songwriters in modern Ghanaian music possess the restless artistic ambition of AratheJay. Following the folk-gospel resonance of The Odyssey, the Ashaiman-raised singer has made a habit of defying expectations, viewing music as a spiritual vessel rather than a commercial vehicle.

With his six-track EP, CHRISTO DISCO, released on July 31, 2026, AratheJay embarks on his most peculiar sonic detour yet. By attempting to marry the sanctified fervor of Ghanaian church choirs with the glittering, four-on-the-floor rhythms of late-70s disco, he attempts to build a sanctuary under a spinning mirror ball.

It is a bold premise. In execution, the project struggles with its own contradictions, caught between genuine spiritual devotion and kitsch dancefloor pastiche.

The tension in the sanctuary

In theory, the crossover between ecstatic Pentecostal worship and dance music is rooted in African tradition. In practice, CHRISTO DISCO frequently feels unsure of its own identity.

When the instrumentation leans into live horns and warm, rubbery basslines, AratheJay's natural vocal gift shines. But too often, the disco elements feel cosmetic: formulaic drum machines and repetitive synth sweeps that clash awkwardly with the solemn, prayerful sincerity of his lyricism. The listener is left uncertain whether to bow their head in prayer or hit the strobe-lit floor, an emotional distance that dulls the impact of both moods.

The tracklist

1. SUMSUM

The EP opens with SUMSUM (Akan for Spirit). Built over swirling synth pads and a brisk four-on-the-floor kick, AratheJay offers an earnest nocturnal prayer for spiritual protection. While his falsetto floats with technical grace, the rigid disco pulse feels tacked on, never quite achieving organic synergy with his vocal cadence.

2. BOSOMPIM & 3. METICULOUS

BOSOMPIM fares better by incorporating organic Ghanaian percussion, including talking drums and cowbells, into the mid-tempo funk arrangement. It flows directly into METICULOUS, where the EP finds its most compelling groove. AratheJay locks in with a driving, rubbery bassline, delivering sharp bars about creative discipline and craft integrity that show what this hybrid sound could be when fully realized.

4. FAMAME

FAMAME (Akan for Give It To Me) pulls the tempo down into slow-burning romantic territory. While AratheJay's vocal rasp is evocative over Spanish acoustic guitars, the transition into the track feels abrupt, disrupting the rhythmic momentum the previous tracks fought to establish.

5. ROVER (feat. Kojo Blak)

The saving grace of the tape. Teaming up with fellow vocal heavyweight Kojo Blak, ROVER strips away the gimmicks. Floating over a breezy, coastal groove, the duo trade effortless, velvet-toned verses about late-night drives and loyalty. It is a timeless record that outclasses the rest of the tracklist.

6. 15TH JULY

Closing track 15TH JULY returns to solemn autobiographical territory. While the personal testimony of survival and rebirth is touching, the underlying arrangement meanders without a clear melodic hook, fading out into a haze of brass before reaching a satisfying emotional resolution.

The verdict

CHRISTO DISCO is the kind of noble failure that only a gifted, boundary-pushing artist can produce. At 6.3/10, it is packed with interesting ideas and anchored by one record that fully works in ROVER.

Ultimately, however, the project is hindered by an unresolved identity crisis. Rather than forging a new genre, it feels like an intriguing set of studio sketches that never quite found their definitive groove.