Special article · 2023-2026 · 1T1 registry
Article written by TIITII NBA, artist of the New Bouyon Wave collective.
Sources: Loxymore interview (December 6, 2024, full link in references), platform catalog pages (PepseeActus, Apple Music, Shazam, MyStreamCount, Qobuz), all cited at the end of the article.
My apologies for any names or places misspelled — many of the actors are anglophones, translation and transcription can introduce slight discrepancies.
You can contribute to the blog's evolution: leave your corrections and additional info in the comments at the bottom.
Position 0 — This special article is a song-by-song registry of 1T1's line inside the New Bouyon Wave (2023-2026). Before Bouwey and CHORD, 1T1 moves through 3 collective one riddims: Keneth Riddim (June 2023), Zézé Riddim (December 2023) and Troicroi Riddim (June 2024). Then the 1T1 / Theomaa production line settles: Leave Me Alone, Bouwey, Viniw, Baddest, Ouba. When the beat is credited to YSN, Qwann or Natoxie, the song is classified as "network collaboration", not 1T1 production.
You've been following 1T1 since Bouwey on Apple Music or TikTok, and you wonder what he was doing before — who are Theomaa, Dinho, LeJuh, YSN, Qwann, and why these names keep appearing everywhere. You are in the right place: this dossier is not a narrative chapter, it's a registry. We are going to go through the real singles, the real credits, the real platforms, so you leave with a precise map of the 1T1 production line and the New Bouyon Wave ecosystem around it.
I — Why this registry exists
The main series tells Bouyon's story in twelve chapters. This special article has another job: sorting traces. Not to turn the New Bouyon Wave into an official org chart. Not to force every artist into the same box. The goal is to follow, song by song, where the voices cross, where 1T1 produces, where he sings, where he composes, and where he is one part of a wider network.
That nuance matters. In platform-era music, a featuring can look like membership. A producer credit can disappear behind the release title. An artist can sit at the center of a period without producing every single around him. The registry slows the reading down: title, date, artists, beatmaker, then the link.
The point is not to invent an official family. The point is to make the releases carrying the same energy readable.
[S-118]
II — 1T1 before recognition: the one-riddim laboratory
1T1 holds a specific place because he does not arrive only as a voice. Public sources place him in a hybrid role: artist, composer, producer, beatmaker, and figure in the recent professionalization of Guadeloupean Bouyon [S-118] [S-119]. But his path should not be told as if it begins when a wider audience discovers Bouwey. Before that recognition, there is already a laboratory: artists around him, productions in circulation, collective riddims, creative competition.
In the Loxymore interview, 1T1 describes a core of artists who were already singing — Aknose, Softee, TIITII NBA — then a circle of young artists he brought onto his productions, including Theoma, Nils and LeJuh [I-12]. This is not yet the 1T1 installed in national media. This is the 1T1 building a terrain: finding voices, creating healthy competition, giving common bases, making a sound exist before platforms freeze the story.
The key phrase here is one riddim. The principle is direct: one instrumental becomes a shared base, then several artists compose over it. One production, several flows. One color, several attitudes. One rhythmic skeleton, but different writings that show who can take space, who can shift the relief, who can turn the same material into a personal song.
In that logic, the riddim is not only an instrumental. It is a live test. It makes artists measure themselves without changing the sonic room. It also lets the public hear the difference between voices: placement, melody, pressure, humor, and the way Creole or English enters the cadence. That is why the projects before Bouwey matter. They already tell the method.
III — Keneth, Zézé, Troicroi: the projects before the big signal
Keneth Riddim — four ways to attack the same base
The first marker to place clearly is Keneth Riddim. In the Loxymore interview, it appears as a collective project made around 1T1 and his collaborators [I-12]. Public traces confirm the four tracks: No Sex Over Money with TIITII NBA, released June 1, 2023 [S-132]; Bidiba Bidibou with Aknose and Softee, indexed on June 2, 2023 [S-133]; Sicré Kon Miel (official SoundCloud spelling) with Luky Lukee and Nils [S-134]; then Piney with Theomaa and LeJuh [S-135].
The list is not the whole point. The demonstration is. Keneth puts several artists in front of the same mechanism and lets each personality create its own relief. TIITII NBA does not approach the base like Aknose. Softee does not enter like Nils or Theomaa. The riddim becomes a common table: everyone eats from the same production, but nobody serves exactly the same plate.
Zézé Riddim — same chassis, another pressure
Zézé Riddim extends that logic a few months later. Public traces include GardaVou with Lucky Lukee and DJ SOFTEE, dated December 1, 2023 [S-136]; Pied au Plancher with TIITII NBA and LeJuh [S-137]; and Gasolina with Theomaa [S-138]. In TIITII NBA's working inventory, Bad Girl is also attached to this riddim, although the clean platform trace still has to be isolated [S-139].
Zézé matters because it shows that the method is not an accident. Again, the production becomes the starting point, then the artists change the temperature. GardaVou carries a more frontal tension. Pied au Plancher embraces momentum, attack and speed. Gasolina pushes toward a more melodic, instantly memorable reading. The project says something simple: before becoming a media image, 1T1 is already organizing a sonic field.
Troicroi Riddim — June 7, 2024
Troicroi Riddim must also enter the chronology across its four full tracks. Oui Nou Monss, released on June 7, 2024, credits 1T1 with LeJuh and LGC. Party Rocking adds Theomaa and RvF [S-SHAZAM-PARTY-ROCKING]. Everyday with DJ Softee is Shazam-indexed the same month [S-SHAZAM-EVERYDAY]. And the mash version TROICROI RIDDIM (FULL VERSION) with Theomaa and RvF closes the project on YouTube Music [S-131]. Again, the point is not only the single: it is the form. 1T1 is already working through a shared-riddim logic before the 2025 period fixes his producer-artist image more firmly.
In 2024, the One Riddim logic also extends to an even more collective format: Mas La Rivé credits 9 artists on a single instrumental (1T1, Theomaa, Aknose, DJ Softee, DJ TKrys, Bismok, Jicypie, DJ Kylled, LeJuh). With this single, the Lyrikal Terrorist model he describes in the Loxymore interview is pushed to its widest extension [S-SPOTIFY-MAS-LA-RIVE].
IV — The collective signal: New Bouyon Wave #1
New Bouyon Wave #1 — September 29, 2023
The clearest collective trace of the name remains New Bouyon Wave #1. Shazam attributes it to D0 Production, with TiiTii NBA, Nils, DJ Softee, Aknose and Theomaa, released on September 29, 2023 [S-120]. This should not be filed as "1T1 production". Its role is elsewhere: it gives the wave a public face, fixes a moment, and makes an artist crossing visible.
The single works like an entry sign. It does not say everything about the scene. It does not summarize every later collaboration. But it gives one simple proof: in 2023, the New Bouyon Wave was no longer only an intuition or a term in circulation. It became a title that platforms could index.
V — The credited 1T1 line: when production is public
Leave Me Alone — September 6, 2024
Leave Me Alone is a strong starting point because the public record is clear. PepseeActus presents it as a 1T1 title with Dinho, LeJuh, Theomaa and Binksdrick, on the Run Riddim, with 1T1 / Dinho as beatmakers and 1T1 as composer [S-122]. Here, the 1T1 link is not only vocal. It is part of the single's structure.
The single also shows something important: the New Bouyon Wave is not built only through banner releases. It is built through sessions where several names learn to share energy without becoming anonymous. The riddim holds the room; the voices enter it as separate signatures.
CHORD and Bouwey — December 2024 / January 2025
The CHORD album, released on December 13, 2024 according to PepseeActus, gives 1T1 a more personal frame. The page credits 1T1 and Dinho as beatmakers and lists Bay Li with LeJuh and Bouwéy with Theomaa [S-121]. A month later, the single page for Bouwey specifies 1T1 x Théomaa, beatmakers 1T1 / Dinho, and composition by 1T1 and Dinho [S-123].
In the registry, Bouwey therefore counts twice: as a trace from CHORD and as a public single where the 1T1 / Theomaa duo becomes readable. It is less an accidental feature than part of a continuity: production, writing, image, platform release.
Viniw — March 8, 2025
Viniw tightens the line again. PepseeActus attributes the title to 1T1 x Theomaa and credits 1T1 as beatmaker, with a March 8, 2025 release [S-124]. This time, the classification is simple: 1T1 / Theomaa collaboration, 1T1 production.
The single helps explain why Theomaa appears often in this dossier. It is not a decorative mention. It is a recurring work relationship. When a duo returns across several releases, the story is no longer an isolated appearance; it becomes a line.
Baddest — June 27, 2025
With Baddest, Matieu White enters the registry alongside 1T1 and Theomaa. PepseeActus credits 1T1 as beatmaker and mentions composition by 1T1, with AB BOYZ MUSIC & RR Records production [S-125]. The single opens the line toward a more structured, more framed aesthetic while staying inside recent Bouyon terrain.
This kind of release matters because it shows the shift from network energy to a more professional logic: video direction, styling, mix, master, publishing. It is no longer only a "track that circulates". It enters a more readable production system.
Ouba — December 5, 2025
Ouba extends the 1T1 / Theomaa series with Qwann / 1T1 credited on the beat and composition by Qwann and 1T1 [S-127]. This is exactly the kind of nuance the registry must preserve: 1T1 is indeed credited, but Qwann is also part of the build.
The registry should not erase co-producers. It should make them visible. A scene's strength is read through its relays: one voice, one keyboard, one mix, one direction, one team around a title.
VI — Network collaborations: 1T1 present, production elsewhere
Pran On Pyé — June 27, 2025
Pran On Pyé links YSN, 1T1, LeJuh and Qwann. But PepseeActus credits the beatmakers as YSN / Qwann, then states that 1T1 and LeJuh are authors, with YSN as composer and Qwann on keyboard [S-126]. It is therefore not a 1T1 production. It is a collaboration where 1T1 appears through writing and artist presence.
That distinction is healthy. It shows that the new generation does not depend on one hand only. 1T1 circulates, LeJuh answers, YSN and Qwann hold the construction. The release becomes proof of network, not proof of monopoly.
Bubble — November 21, 2025
Bubble brings together Ti Couby, Le Jèm'ss, 1T1 and Natoxie. PepseeActus credits Natoxie as beatmaker and specifies that the instrumental, recording and mix come from Natoxie [S-128]. Again, 1T1 is present, but the public producer role belongs elsewhere.
This collaboration also matters for another reason: it moves the Guadeloupean line toward wider French Caribbean bridges. Ti Couby and Le Jèm'ss bring a Martinican color. Natoxie holds the technical credit. 1T1 works here as a linking presence, not a single signature.
VII — Roots of the method: arrangement, duo, continuity
Ès i ka plèw — August 24, 2023
Before 2024-2025 made 1T1 more visible, Ès i ka plèw with DCamp and LeJuh already offered an interesting trace. PepseeActus credits 1T1 and LewisMelo as beatmakers, then specifies that the riddim is by LewisMelo and the arrangement by 1T1 [S-129].
That page matters because it avoids an overly simple reading. Producing does not always mean "doing everything". Sometimes the work is arranging, shaping, moving an idea into a playable form. In a genre like Bouyon, where energy depends as much on construction as on voice, that detail counts.
VIII — How to read this dossier
This registry should stay alive. It does not claim to close the list of shared New Bouyon Wave titles. It sets a method: if a public credit names 1T1 as beatmaker or composer, the release enters the production/composition line. If 1T1 is an artist but the beat is attributed to YSN, Qwann, Natoxie or another producer, the release enters the network collaboration line.
That is less spectacular than one definitive sentence, but more useful. Bouyon has already lost too many credits in the speed of releases. Here, every release keeps its role: title, date, artists, producers, connectors. That is how a wave becomes an archive.
A wave does not need to be simplified to be strong. It needs to be well documented.
[S-121]
FAQ — common questions about 1T1 and the New Bouyon Wave
Who is 1T1, exactly? 1T1 (Terry Baptiste) is a Guadeloupean artist, beatmaker, composer and producer, a central figure of the New Bouyon Wave. PepseeActus presents him as a Bouyon artist/beatmaker [S-118], RFI as composer, producer and singer of the new-generation Bouyon [S-119], AB BOYZ as artist, composer and producer [S-98]. Triple function: voice + production + network organization.
What is a one riddim? An open instrumental. The same prod is played by several artists who each compose their own version. One prod, several flows. Inherited from Jamaican dancehall. Inside the 1T1 line: Keneth Riddim (June 2023, 4 titles), Zézé Riddim (December 2023, 3-4 titles), Troicroi Riddim (June 2024), Run Riddim (September 2024, Leave Me Alone).
How did 1T1 and Theomaa meet? In the laboratory phase before Bouwey. In the Loxymore interview, 1T1 describes bringing a circle of young artists onto his productions, including Theomaa, Nils and LeJuh [I-12]. From 2024-2025 onward, the 1T1 / Theomaa duo becomes a recurring line: Leave Me Alone, Bouwey, Viniw, Baddest, Ouba — five documented releases across 2024-2025.
*Why is Bouwey so important? Because it is the single that makes the 1T1 / Theomaa line publicly readable. Released January 24, 2025, excerpt from the CHORD* album (December 2024), beatmakers 1T1 / Dinho, composition 1T1 and Dinho [S-123]. It's the release that pulls the New Bouyon Wave out of the laboratory phase and places it on mainstream platforms with clear production credit.
Did 1T1 produce every release he appears on? No — and that's exactly what this registry wants to clarify. When the beat is credited to YSN, Qwann or Natoxie, the release is classified as "network collaboration" (1T1 sings or writes, but does not produce). Examples: Pran On Pyé (YSN + Qwann on the beat), Bubble (Natoxie on the beat). Confirmed 1T1 production line: Leave Me Alone, Bouwey, Viniw, Baddest, Ouba.
Who are Dinho, YSN, Qwann, Natoxie, Binksdrick? Beatmakers and producers of the new Guadeloupean and French Caribbean generation working around 1T1 without being confused with him. Dinho is a recurring co-beatmaker on the CHORD / Bouwey line. YSN and Qwann sign Pran On Pyé. Natoxie signs Bubble (with a Martinican color via Ti Couby and Le Jèm'ss). Binksdrick appears on Leave Me Alone / Run Riddim. LewisMelo signs the riddim for Ès i ka plèw (August 2023), arrangement by 1T1.
*What's the role of the CHORD album? CHORD (released December 13, 2024 according to PepseeActus) is 1T1's first personal album frame, beatmakers 1T1 / Dinho, notably with Bay Li (with LeJuh) and Bouwéy* (with Theomaa) [S-121]. It's the project that moves 1T1 out of the "one session, one riddim, several voices" register and installs his artist-producer signature in a long format.
*What is New Bouyon Wave #1?* The founding single of the collective name, released September 29, 2023, credited to D0 Production with TiiTii NBA, Nils, DJ Softee, Aknose and Theomaa [S-120]. Important: it is NOT produced by 1T1. Its role is elsewhere: it gives the wave a public face, fixes a moment, makes an artist crossing visible. It's an entry sign, not a solo title.
Sources
Interview source
- [I-12] Loxymore — 1T1, "Je veux que les gens voient que le bouyon passe un autre step" — December 6, 2024 interview. Founding network, creative competition, Keneth Riddim, Zézé Riddim. Accessed 2026-05-15.
Scraped sources (platforms and press)
- [S-98] AB BOYZ Music — 1T1 — abboyzmusic.com · accessed 2026-05-15. - [S-118] PepseeActus — 1T1 — pepseeactus.com · accessed 2026-05-15. - [S-119] RFI — 1T1, new-generation Bouyon voice — rfi.fr · accessed 2026-05-15. - [S-120] Shazam — New Bouyon Wave #1 — shazam.com · accessed 2026-05-15. - [S-121] PepseeActus — 1T1, CHORD — pepseeactus.com · accessed 2026-05-15. - [S-122] PepseeActus — Leave Me Alone (Run Riddim) — pepseeactus.com · accessed 2026-05-15. - [S-123] PepseeActus — Bouwey (1T1 x Théomaa) — pepseeactus.com · accessed 2026-05-15. - [S-124] PepseeActus — Viniw (1T1 x Theomaa) — pepseeactus.com · accessed 2026-05-15. - [S-125] PepseeActus — Baddest (Matieu White x 1T1 x Théomaa) — pepseeactus.com · accessed 2026-05-15. - [S-126] PepseeActus — Pran On Pyé (YSN x 1T1 x LeJuh x Qwann) — pepseeactus.com · accessed 2026-05-15. - [S-127] PepseeActus — Ouba (1T1 x Theomaa) — pepseeactus.com · accessed 2026-05-15. - [S-128] PepseeActus — Bubble (Ti Couby x Le Jèm'ss x 1T1 x Natoxie) — pepseeactus.com · accessed 2026-05-15. - [S-129] PepseeActus — Ès i ka plèw (DCamp x LeJuh) — pepseeactus.com · accessed 2026-05-15. - [S-130] PepseeActus — Theomaa — pepseeactus.com · accessed 2026-05-15. - [S-131] Shazam — Oui Nou Monss (Troicroi Riddim) — shazam.com · accessed 2026-05-15. - [S-132] Apple Music — No Sex Over Money (Keneth Riddim) — music.apple.com · accessed 2026-05-15. - [S-133] MyStreamCount — Bidiba Bidibou (Keneth Riddim) — mystreamcount.com · accessed 2026-05-15. - [S-134] Shazam — SIcré Kon Miel (Keneth Riddim) — shazam.com · accessed 2026-05-15. - [S-135] Qobuz — Piney (Keneth Riddim) — qobuz.com · accessed 2026-05-15. - [S-136] Apple Music — GardaVou (Zézé Riddim) — music.apple.com · accessed 2026-05-15. - [S-137] Shazam — Pied au Plancher (Zézé Riddim) — shazam.com · accessed 2026-05-15. - [S-138] Apple Music — Gasolina (Zézé Riddim) — music.apple.com · accessed 2026-05-15. - [S-139] TIITII NBA inventory — Zézé Riddim — Memory complement (Bad Girl pending clean platform trace). Accessed 2026-05-15.
Further reading
- New Bouyon Wave — Chapter VII — The main chapter on the New Bouyon Wave name and network. - Producers and Connectors — Chapter XI — The chapter that separates producers, DJs, beatmakers, connectors and organizers. - Consecration and Limits — Chapter XII — The final chapter on institutional recognition and limits (awards, festivals, archives). - Back to the Bouyon hub — The interactive 3D map of the 12 chapters + 130 artists.
Glossary
One riddim — An open instrumental (Jamaican dancehall inheritance) where several artists each compose their own version. One prod, several flows. Central format of the 1T1 laboratory (Keneth, Zézé, Troicroi, Run).
Beatmaker — The one who builds the instrumental. Technical function. Not always a producer in the global sense. 1T1, YSN, Qwann, Dinho, Natoxie are all beatmakers — but they don't sign the same titles.
Network collaboration — A release where 1T1 appears as artist (voice or writing) but production is credited to another beatmaker. Examples: Pran On Pyé (YSN/Qwann), Bubble (Natoxie).
1T1 production line — A release where public credit names 1T1 as beatmaker or composer. Examples: Leave Me Alone (Run Riddim), Bouwey, Viniw, Baddest, Ouba.
New Bouyon Wave — Emerging collective (1T1, TIITII NBA, Softee, Aknose, Nils, Luky Lukee, Le Juh, Theomaa) crystallized around the title New Bouyon Wave #1 (September 29, 2023, D0 Production).
How to read this registry
This dossier is not a closed narrative chapter: it's a living registry. It will grow with every new verifiable public credit. If you spot a missing 1T1 release, an imprecise credit, or an attribution to adjust, leave a comment — every sourced correction nourishes the collective archive.
→ Back to the Bouyon hub · Chapter VII — New Bouyon Wave · Chapter XI — Producers and Connectors