Almost a year after his comeback album, Ikigai, artist Olamide returns with his self-titled 11th studio album, Olamide. The title...
Kuti sounds jaded as he continues to address the discomforting political, economic, and social conditions of Nigeria on “Corruption Na Stealing”. Simmering with steady percussion, Femi Kuti shares incisive critiques with exhaustion, bemoaning the use of English language to subvert the truth and rule of law in favour of the rich.
One remarkable attribute of Fireboy is his ability to blend sublime lyrics with the mundane (Lamba). Throughout the album the lyrics poetically explore the complexities of romantic relationships with a touch of levity. The album is well-sequenced from the opening track to the end, but the smooth transition from “obaa sima” to “need me” is simple yet beautiful.
With featured appearances from Olamide, Qing Ming, Ladi Poe, Amaeya, and the late Mohbad, Chike manages to create an album that further consolidates the strength of his exciting discography while announcing without equivocation the arrival of a legend in the making.
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
"Falling" featuring J. Cole depicts, on the other hand, the end of a romantic relationship. Tems' lyrics reveal a sense of disillusionment and self-realization, expressing the need to part ways despite lingering emotions. J. Cole's verse adds depth, illustrating the confusion and pain of a love turned toxic, and the inevitable dissolution.
The production, handled by a lineup of trusted collaborators like Tuzi, Duktor Sett, IBK Sleek, Semzi, and Magicsticks, is a masterclass in variety. From high-energy bangers to soulful ballads and Fuji-infused jam, the album’s sonic diversity keeps us engaged.
Morayo is just a nominal dedication with erratic lyrics, jumping between different ideas, moods, and styles. It feels fragmented, thematically reflecting an artist at a crossroads. It oscillates between Wizkid’s penchant for romantic, mellow tendencies and upbeat, danceable tracks. The result is a sonically rich yet thematically inconsistent experience
We live in an era defined by artistic collaboration that defy borders. It’s understandable for an artist to seek international collaborations to broaden his horizons but some of the guest artists on Lungu Boy, though talented on their own, can’t seem to connect with Asake's Lagos street life, especially the Isalẹ Èkó street culture
When he cannot productively focus this energy, however, what emerges is an inordinate mess, like the repetitive OZEBA. Working with high octane sounds means Rema often straddles the divide between irritating noise and a beautiful madness; and there are those who will think he has placed his album firmly in the former.
If this album is a collection of her experiences, she should have more to share than love and the struggles of adjusting to her newfound fame.
But it is the newcomers that provide some of the album's sharpest sonic touch points. P.Priime works in a brilliant interpolation of Wande Coal's You Bad for Jazzy's Song, as Ayra revels in a night spent grooving inebriated in a club
