HEIS, Rema’s sophomore album, named after the Greek word for “number one,” spans 11 tracks which see him experimenting with sound and styles, neglecting the introspection and romance of his critically acclaimed debut, Raves and Roses.
Rema brazenly captures the raw essence of chaos through a collage of loud, jarring sounds that challenge the very template of Afrobeats.
From the very first note of the opening track, “MARCH AM,” we are submerged in a world of sonic disarray and revved-up Fuji melody, garnished by Rema’s propulsive delivery. He begins the song with cynical laughter before bragging about his wealth and throwing a shot at detractors on Twitter. “Uh-huh, Oppenheimer, always dropping another banger,” he says in the second verse, comparing himself to physicist J. Robert Oppenheimer, the protagonist of Christopher Nolan’s award-winning movie and father of the atomic bomb.
On the second track “AZAMAN” (slang for “a wealthy man”), Rema continues to blow hot about his wealth, name-dropping the rich and famous, and hurling a backhanded jab at his critics. The composition feels like a descent into delirium as instruments clash at seemingly random intervals, while Rema chants “Call aza-man, call aza-man… When I see money, attack, attack” in the chorus.
Still raving about his wealth, slagging off his critics for doubting his brilliance, and challenging the notion of “the Big 4” in Afrobeats, Rema goes hard on his haters on the fiendish “HEHEHE”. His sinister delivery coupled with the macabre instrumentals makes the song an elegant chaos—a dance of the damned and disturbing celebration of the freakish.
The throbbing “YAYO”, jointly produced by Altima and P.Priime, offers a brief respite from the overwhelming chaos, even while steeped in boastfulness. The song’s minimalistic arrangement allows us to catch our breath, yet the underlying tension never fully dissipates. “I be trouble maker, I dey worry / I no dey tell anybody sorry,” Rema spits halfway through the second verse. It’s as if the music itself is aware of the impending return to disorder and ends just as quickly just as it begins.
But, no, the storm is not over!
Rema features Shallipopi on the jaunty “BENIN BOYS” to pay homage to their hometown, Benin City. Showcasing their distinct lyrical style and unapologetic self-assurance, both brag about being the pride of their hometown. “Na we be the pride of Benin, Oba sef suppose give us medal oh, give medal oh,” they sing, before declaring their loyalty in time of trouble.
The warlike “MACHINE GUN”, featuring the belligerent Odumodublvck begins calmly before Rema bursts in like a commando to disturb the peace. In the second verse, Odumodublvck employs his signature rapid-fire delivery and complex wordplay laced with maniacal expressions to assert his dominance in the rap game. “Look at my eliminations/Anenih, focus on their blood, I am not done,” Odumodublvck begins. He would later add that he “loads a gun like I’m paranoid” towards the end of the song.
On an untamed Afro-EDM “VILLAIN”, Rema expresses his artistic evolution from a misunderstood figure to one who embraces his darker side. The song’s lyrics are rich with cultural references and personal anecdotes, offering a glimpse into Rema’s complex, Jekkyl and Hyde persona. In the first verse, he sets the stage with a mix of bravado and defiance, singing that he is highly revered anywhere he goes while maintaining an edge of rebellion in the chorus, saying he was a superhero, but is now the villain.
On the title track, “HEIS”, a fusion of Fuji and Hausa traditional music, Rema proudly asserts his resilience against his detractors and celebrates his wealth. The Swahili chorus roughly translates to “Who is the illest, who is the baddest? Is it you? / Who is uplifting, who is hot? It is you / Who’s globe-trotting, who’s the best? Is it you? Who is the champion? It is you, it is you.”
HEIS ends with a pensive “NOW I KNOW”, a fitting end to a journey through disorder and darkness. If “Divine”, off his debut, talked about his birth, this song narrates how he became his family’s breadwinner at an early age. Showcasing remarkable songwriting and delivery, Rema reflects on his troubling teenage days and how he sacrificed a lot to cater for his loved ones.
Rema isn’t big on songwriting, but he lets his brilliance shine through occasionally on a few songs. The major statement of this album isn’t lyrical brilliance but a daring experiment of sounds.
On HEIS, Rema defies all the rules and limitations many artists impose on their craft. Refusing to be confined to a particular genre or style, Rema keeps extending the boundaries of his art. Instead of conforming to trends, he unleashes himself, fearlessly charting a bold new path for his music.
The result is that, this abrasive and arrogant album is all style and no substance and nowhere as appealing as his earlier offerings. But it’s a boisterous shift from the lingering influence of Amapiano on Afrobeats.
HEIS is not an album for the faint-hearted. Its exploration of dark themes and orchestral chaos requires patience and an open mind. However, there is a slight brilliance beneath the tumultuous soundscapes— a terrible beauty is born; a sublime grace in darkness.
For those who can push beyond the challenge of close listening, they would be rewarded with a deeper understanding of the complex interplay between order and disorder, light and shadow.
HEIS is a tour de force of orchestral innovation, a hauntingly beautiful descent into the heart of darkness.
**Michael Kolawole is a screenwriter, playwright, poet, and cultural journalist/critic. catch him on X @mkflow
