“I wanted to create something that felt smooth, intimate, and cinematic—like the soundtrack to a night drive or a moment of escape,” says A.L.I.A.S. Backseat captures that blend of emotion and movement, giving listeners something to vibe to, whether they’re unwinding or on the dance-floor.”

Right away you can hear top-quality production, which is always a plus! This track has a nice “hypnotic” late-night vibe, soulful vocals, rhythmic percussion, and infectious melodies. This “seamless fusion of genres makes it a perfect addition to R&B, Afrobeat, and crossover playlists.”

I like the echo on the drum beat intro. Nice rap voice, very smooth flow. I really like how the voice sounds in the upper registers. The female vocalist joins the flow in the middle of the song. The track has a very smooth jazz sound with the rap vocals acting like the melody instruments. I can feel the ocean laid back vibes, sipping on a Pina Colada in the bar by a beach.

I really enjoy the female vocals towards the end of the song, very catchy. Then there’s a break where a male rapper breaks into the song with a heavily effected voice, with the female vocals carrying the song again to its end. Loving the sweet lead guitar motif during the song. I would like more of it.

SCORE/Excellent: This interesting rap track features ocean vibes. Very chill and relaxing. I can see this track finding a large audience. Do yourself a favor and check out this song Backseat on Spotify. Much love, Beth

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FOLA (real name Folarin) is an emerging artist from Nigeria. Enriched by the diverse music culture around him, his songs blend traditional African rhythm with modern beats, creating a sound deeply rooted in his cultural heritage.

This new album “What a Feeling” is a typical example of his own style of music: African rhythms joined with R&B beats, with a soothing, but almost Hip-Hop like vocal line, sometimes putting in some Yoruba words, giving a slight nod to his cultural roots.

The first song is “Who Does That”, which starts with a short intro with a few sound effects of him vocalising and an Afro drum beat. Then he starts singing in a middle-low register with a very soothing voice. You notice that because of his voice, his songs just sound very dreamy, which is his other trait.

The second song “alone” is his hit song, which focuses on the topic of heartbreak. Unlike the previous song, the intro only has a Bassline and his vocalising, which sounds a bit like Hip-Hop. Then comes the drum beat, which, again, is still Afro. The third song is “tonight”, which is about falling in love. The fourth song “mandela” is in a livelier mood, with a single drumbeat running through the whole song. There is even a part where only the drum beat and FOLA’s voice remains, which sounds very African-like.

The fifth song “bye bye” is in a style that is very Hip-Hop-like, and constantly repeats the verse “Bye bye, say bye bye”. The sixth song (and last) is another version of his hit song “alone”, this time featuring another artist BhadBoi OML.

This album is great, but it has a few problems: firstly, the songs’ styles are too similar or dreamy, causing the listeners to be sleepy. The second problem is, based on my opinion, using too much auto-tune, but that shouldn’t be a big problem, because a lot of people use it also.

SCORE/Excellent: If you are looking for dreamy songs with Afro beats, don’t miss out on this album by FOLA.

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Growing up in two places, Bonny Island and Lagos, Teddy’s musical influence obviously stems from a variety of experiences and perspectives. She can change her style from tropical and relaxed music to bouncy club anthems with noticeable ease and without disrupting the flow of the project.

“Air” is a super chilled afro-soul hit that transports the listener to the soothing sunshine of Lagos. The light, airy instrumental provides a tinge of nostalgia to the song that exudes the feeling of carefree living and reflection.

Teddy herself has an excellent performance on this song too, showcasing her blissfully consistent melodies and her laid-back rapping ability in a style similar to that of UK rapper Little Simz.

“Hypnotic” sees Teddy get into more of a nighttime groove with a bouncy club instrumental and catchy chorus designed to get people up and getting lit.

She also levels up her rap performance on this one and provides a more American-sounding flow, combining it with the trademark slickness that comes with African artists.

“Butterflies” embodies the Afropop sound and has all the components for it to be played on the radio and at chilled house parties. It is also my favourite vocal performance from Teddy, as her layered, melodically driven flow becomes addictive on the second listen.

“John Wick” also has an interesting vocal layer to it. Utilising a more Afrobeats-driven sound, Teddy fully embraces the African way of riding the beat. At 1:25, her eccentric and flamboyant flow feels like NSG or Kcee, with a real sense of street finesse and natural swagger.

“Prophecy”, ends the album with Teddy’s ambition to follow her dreams and the pride she takes in creating her music and living the way she intends to. “I’m a living prophecy”, Teddy sings confidently in the chorus, laying her personality and her own passion bare for the listener.

Score/Excellent: Lifesize Teddy plays to her strengths on this EP and picks her beats exceptionally well. She also proves she can make songs for the radio, playlists, and clubs. This EP has songs for all fans of African music, whether it be Afrobeats, Afropop, or something more in the direction of Amapiano.

[We rank albums on a scale of Poor, Mediocre, Good, Excellent]

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The album’s titular track, “I Told Them” (feat. GZA), not only inaugurates the album but also encapsulates its essence with masterful precision. Its sonic tapestry evokes a symphony of sounds reminiscent of Shaggy’s iconic works from the mid-1990s and early 2000s. Similarly, tracks like “Sittin’ On Top Of The World” (feat. 21 Savage) carry a backbeat akin to Shaggy’s “It Wasn’t Me,” while “Thanks” (feat. J. Cole) exudes similar qualities. Of note is the captivating spoken-word interlude within the titular track.

Other instances of spoken-word artistry grace this album, with one of the most noteworthy and touching being “12 Jewels,” where RZA eloquently encapsulates a collection of intrinsic values: knowledge, wisdom, understanding, freedom, justice, equality, food, clothing, shelter, love, peace, and happiness. It retains a raw production quality akin to the distinct quality of an iPhone recording.

Significantly, there’s a touch of UK-drill influence evident in this album. In “Cheat on Me,” Dave infuses the track with the rhythmic sway and expressive characteristics of UK Drill. The persistent high hats on the track exhibit a trap-like vibe, a common element in drill music. Furthermore, “Big 7” resonates with “UK-drill” language and slang, seamlessly integrating this stylistic aspect into the album.

Amidst the collection of vibrant West African pop hits, it’s the moments of simplicity that wield remarkable power, as exemplified by “If I’m Lying,” a particularly impactful composition carrying a genuine and heartening message. This album, lyrically, provokes a lot of thought and reflection. It stands as a strong body of work.

Here’s my rating for each song on a scale of (1-10):

“I Told Them” (feat. GZA) – 10

“Normal” – 7

“On Form” – 7

“Sittin’ On Top Of The World” (feat. 21 Savage) – 10

“Tested, Approved & Trusted” – 7

“Cheat On Me” (feat. Dave) – 8

“Virgil” – 7

“Big 7” – 10

“Dey Play” – 6

“City Boys” – 9

“Giza” – 10

“12 Jewels” – 10

“If I’m Lying” – 10

“Thanks” (feat. J. Cole) – 10

“Talibans II” – 6

Rating/Excellent – This will be on my rotation.

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For context, Wizkid is known to put out EPs with experimental and evolving soundscapes to test the waters to its reception, before releasing a major album that expands upon the soundscape itself. In 2019, he released the EP ‘Soundman Vol. 1’ under his homegrown label ‘Starboy Entertainment’. That particular EP marked a shift from a more raw, typical Nigerian Afrobeats production of his releases from 2016-2018 to a sound that was more polished, and intermixed with elements from R&B, Lounge as well as certain elements of lo-fi and chill music. It was met with okay reception as a cultural phenomenon, but to me, the EP was sublime. I think Wizkid has a sonic talent in recombining sounds as well as knowing which instruments and melodies to pick. He excels in all styles of Afrobeats, from the ‘old’ sound to the ‘new’ sound. Subsequently, the album ‘Made in Lagos’ released in 2020, expanded upon the ‘Soundman Vol. 1’ EP and blossomed into a complete, and competent body of work. It was somewhat of a magnum opus moment for him, as this album linked the Nigerian music scene and the Western music scene to appreciate his artistry. Songs from the album featured and performed well with European and American audiences, with ‘Essence’ featuring Tems ranked as the number one song of 2021 in Rolling Stone.

However, it is hard to top a well-received album when you think about the long-term impact of releases. Much like ‘Bad’, the follow-up to ‘Thriller’ by Michael Jackson, his album after ‘Made in Lagos’ titled ‘More Love, Less Ego’ did not necessarily trump the cultural impact that the preceding album made. ‘Made in Lagos’ was unanimously celebrated by both an international audience and the local Nigerian audience. Unfortunately, ‘More Love Less Ego’ did not fare as well. Critically and musically, it was decent and interesting, but I don’t think it captured the emotional ethos that MiL did. A majority of Nigerian listeners who weren’t die-hard fans of his were not necessarily impressed by his album. I feel a little odd in some ways because I can technically give ‘More Love, Less Ego’ (MLLE) its flowers for specific technical ingenuities as well as instrumental quirks, but our responses to music show up in subconscious ways. I personally did not replay songs from this particular album as much as the previous one, and my ties to these songs aren’t as strong. Most people speculated that the album was also rushed, literally and metaphorically, to match the prowess of Made in Lagos.

I presume that this release, Soundman Vol. 2, shortened to S2, is a way for Wizkid to express himself in a stylistic way to transition himself from the shackles of MLLE’s reception and reinvent his sound. It possibly is also a methodological preview as to what his next album may sound like. As a result, I’m pretty excited to review this EP. Let’s get into it.

The first song, ‘Ololufe’ is an excellent introduction to the EP. I’m very impressed by this song for one particular reason: to me, it might be the first authentic Nigerian amapiano fusion song. A lot of what Nigerians and mislead people think is ‘amapiano’ is not classically amapiano- the mere infusion of the log drum and nothing else does not make a song amapiano. They also miscategorise a lot of Afro-House as amapiano as well. No, this song gets the amapiano pass from me. To me, as I try to be objective in categorising what amapiano actually is: a tempo not more than around 135-140, with aspects of deep house, jazz, lounge and trance-like melodic quirks. It also plays with the envelope of a sound in regards to the log drum, toying with aspects of attack, decay, sustain and release.

To be fair, Wizkid has actually collaborated with true-blue Amapiano artists like Kabza de Small. Hence, he probably knows exactly what he’s doing. It has shakers, the typical drums, and anticipation that a good amapiano song boasts. The chords are tender and contemplative, with hyper-synths cradling his swoonlike vocals in the midst of the song. His swoonlike vocals actually fit more of an amapiano scape, as the star of most good amapiano songs is good, melodic vocals. Some prefer the boastfulness of vocals like Busiswa, but that merges into gqom to a degree.

I love the swing in this song, at some points it almost resembles the techniques employed by HENNYBELIT. Wande Coal’s vocals give this song more of a mellow, and chilled-out vibe, contrasted with the strong pump of the log drum and background drums. The tinges of piano trills in the song also give it the lounge feel it needs. Towards the bridge of the song, the log drum goes into the same release pattern used by DJ Tarico in his productions, giving it a ‘bounced-back’ twang. Another plus point justifying why I give this song the true amapiano-card, is the ad-libs layered in the background. ANY authentic amapiano track has non-describable ad-libs that may seem nonsensical to others, but actually adds polyrhythm to the song. As someone who’s shifted to more of an amapiano and EDM slant in my music preferences, this song is one that i’ll treasure.

The second song, ‘Diamonds’, sound like a completely upgraded version of the technique he employed in ‘Piece of Me’ to fit the current Nigerian soundscape. It is punchier, it is bolder, without losing the essence (pun definitely intended) of acoustic softness and tenderness that Piece of Me had. It starts off with more musical tension, and builds up into a production very reminiscent of Juls’ work. It has the soca pattern, accented with punched kicks. It is then contrasted with floaty vocalism, and warm guitars in the background.

In the middle of the song, the log drum even appears with a very long attack and release. The juxtaposition between harsh sounds and tender sounds in this song somehow seem to work with harmony. It is bold and the harmonies support the song very, very well. The effects added to his voice also give it an ‘aired out’ and divine feel. A great song marking his evolution in music.

The third song, ‘Energy’, sounds like what the songs on ‘More Love Less Ego’ should’ve sounded like. I totally understand this song. MLLE marked a shift to a more lounge-like, relaxed and sensual sound that was extremely overshadowed by simplistic production and features that were not bold enough to make people appreciate what that shift was supposed to embody. I think, if the songs on that album followed the quality of production in this song, they would have definitely shined more.

The song starts off with a memorable bass pattern akin to the bass in ‘Rock with You’ by Michael Jackson. The tiny sprinkles of what I assume is the sound of the kalimba gives it a cute feel, similar to that of the melodies played when you wind up a music box. The percussion is pretty tight and strong throughout the song, but the background harmonies carry it way more. This song sounds like a ‘good’ mismatch of sounds. It consists of various sound clips that do not necessarily feel continuous, but work like a kaleidoscope. Even in the midst of the song, I can hear certain audio clips that remind me of space-age futurism and even some that sounds like bubbles!

Once again, I feel like the theme of the EP itself is how juxtaposition can work. All these seemingly different sounds collaborate without losing any aspect of their individual clip, yet gel together in a molded track. It is fascinating, but calm at the same time. It gives you the feel to groove, but with enough individuality to stay stimulated.

The last track, ‘IDK feat. Zlatan’, comes across to me as a very updated-from-the-past track. The strong undertone of an organic bass in the track, combined with the background vocalists’ cadence emulating that of Fela Kuti’s background vocalists, give it a timeless yet vintage feel. As I’ve said, juxtaposition is the star of this whole body of work. It’s one of those songs that feel like it could have been constructed of a sample, but become part of a sample itself. It is quite fascinating to mark this aspect of this song.

It is truly a groovy track. It reminds me of a cross between lo-fi funk, Afrobeat (not Afrobeats) and some aspects of dancehall with the Jamaican-inspired cadence on some of the verses. The background vocalists and the bass’ call and response in this track truly shines. I do not find Zlatan’s rapping verses in this song out-of-place like most rap verses in Afrobeats songs, the vintage quality of his rapping style adds on to the vintage timelessness of this song. This song may not be the most stimulating, but it is a pleasure to hear. The little aspects of flute and muted saxophone give this song a neo-70s vibe as well. I would love to hear Wizkid expand upon this style of music.

All in all, if this EP is a preview to the evolution of Wizkid and a teaser for his next album, I think he successfully saved himself from the reception of MLLE. The willingness to re-invent his sound and be unique in his approach to choosing styles of tracks shows that he knows how to adapt. The hallmark of a great artist is reinvention itself. I love how the EP toys with juxtaposition in terms of sounds, and contrasting aspects of sounds that may not at first thought, be harmonious. Also, the attempt at amapiano in this instance is truly remarkable- sticking to the actual technicalities of what amapiano is as a genre, and not slapping the log drum in a song and calling it amapiano like other Afrobeats artists.

Rating/Outstanding – If you’re curious as to where mainstream Nigerian music is heading, you should definitely listen to this EP. It serves as an excellent primer to the future of Afrobeats, and Wizkid as a musician, is truly a ‘whiz’ at adapting his sound to brand new musical trends as well as maintaining creative integrity and being unique in his approach.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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To those who are unfamiliar with the ethos of Afrobeats, he is a Nigerian musician. His music deviates from the umbrella of ‘Afrobeats’. In fact, it is more accurately classified as street Afrobeats or simply street Nigerian music. It differentiates from the connotation of ‘street’ music in the American sense, though. In this world, the ‘street’ denomination refers to a socioeconomic divide. People in the middle and upper class often associate themselves with acts that are either foreign, or aligned strongly with foreign visuals as well as styles, such as the pan-universal artistry of Asake. What is deemed as ‘lower class’ is usually free from the need to adhere to that standard. It truly leads to a world of possibilities, similar to the origin of Phonk Brasiliero and even the origin of Amapiano. The freedom one gets from not adhering music to a social standard leads to either extreme low quality, or extremely unique compositions.

Named Habeeb Okikiola and perpetuating his authentically Yoruba musicality as well as mannerisms, he has been a topic of division in the music circles of Nigeria. Some people, similar to his origin, appreciate him as an extension of their circumstances, but other people, who may align with the other media consumer classes of Nigeria, may think of him as a mere menace or ‘cringy’. I’ve traversed through both worlds and as a result, do not have a preference. I can be objective in terms of perceiving his artistry and I really encourage others to do so as well.

His first release, ‘Ika of Africa’, was truly a fresh and innovative release to me. I’ve always been in the part of the spectrum who appreciates Portable as an artist. In fact, when he was first coming out on the scene, I would get into online scuffles with people who were too blinded by pigeonholing his artistry as a mere ‘low-class’ or ‘razz’ act. I think that sort of dualism in terms of categorizing music is immensely harmful, as it subconsciously coaxes us to be enslaved by presentation and not necessarily the art itself. Some people preferred more ‘polished’ artists with Americanised visuals, such as Buju as well as even Burna to a degree, without analysing the subconscious bias they had.

To my honest judgment, I think Portable is a gift to the Nigerian music industry. His antics may have us either amused or simply disgusted, but as an artist and a brand, he has interweaved complexities in production as well as fashion that most would not dare to tread upon just because of perceived social ramifications. I’ve seen him parade and own his humble origins in ‘Kosalabaro’, to wearing hyper-futuristic glasses and choosing beats no other artist has chosen. At this point, he’s been starting to make his rounds in the mainstream scene by forming kinships with people like Skepta. Even though I do not consider popularity as an objective metric of art, I feel slightly vindicated at this point. Let’s explore his newest release, titled ‘Anikuleti Street Don Jazzy’.

The album starts off with a track titled ‘Micheal Jackson’. I even find the spelling error very stylistically fashionable in the ethos of Portable-ism. To me, the song literally sounds like a nasheed as it is void of any backing instruments besides his own voice layered. The echo in the vocals as well as the distinctive melody also leads to that feel. It is imperative to acknowledge that traditional Yoruba hymns and melodies employ a lot of classically Christian as well as Islamic melodies, and throughout the whole album, you will feel the influence. As an initial track, it is quite underwhelming, but it grows on me with more listens.

The second track, ‘1 Billion Dollar’, starts off with inspirational chords. A muted pan flute, although bearing similarities to an oja, gives the song a very homely and village feel that most Nigerians can resonate with. The log drum in this song is paired with cowbells as well as shakers and aspects of clips from traditional drumsets. I find that extremely unique. I don’t think anyone in Afrobeats has done that before, from a production perspective. The song generally sounds introspective but also quaint. His emotions truly resonate in this song. Another song that grows on me with each listen!

The third track, ‘Baba Yin Tide’, gives me mixed feelings with its soundscape. It kind of has the Asake-esque percussion syncopation going on, with accents of futurism in the synthesizer and random vocalisations. The production to me, sounds like as if someone combined early 2010s Afrobeats with today’s Afrobeats. It is definitely very different in its execution. We have plenty of revivalist movements throughout music, but this is the first time I’ve heard this. It isn’t the most exciting song, but it surely is interesting.

The fourth track, ‘Malo Gbegesi’, is frankly a track that I have been overplaying. I personally really love this track. The backing track is immensely futuristic in its execution. It features hypersaws, as well as a fast tempo and technological-sounding automation clips. The layering of his voice in the chorus emphasises the singing pattern typically found in Apala singing. A great track, overall. If yoruba-futurism was a genre, I’d pinpoint this song as one of its pioneers.

The fifth track, ‘E be Things’, oddly reminds me of some of Yemi Alade’s earlier work. It has that hyper-traditionalist feel to it, with tinges of chords that are reminiscent of warm feelings as well as community. It is a very ‘listen and vibe’ type song, that definitely isn’t charged. I can see this song having certain crossovers with reggae or being told by someone with a ukelele. Even though it isn’t my typical style of music that I tend to favour towards, I can appreciate this song. Even though there isn’t too much melodic variation with the vocals, the polyphony in the instruments will definitely keep you stimulated.

The sixth track, ‘Energy’, is one of my favourites from this song. It gives me the same street feel analogous to ‘Of Lagos’ by Rahman Jago, Zamopyper and Zlatan. It has that very ‘traditional’ strong and anticipatory feel that street Nigerian songs have. The anticipatory feel gets built up even more with what sounds like xylophone pads, the staccato notes, and the chords itself. This song definitely does exude energy. I won’t be surprised if this song turns into a social media challenge with legwork involved. It is one of those songs. Highly recommend.

The seventh track, Loyalty, really sounds like a modern K1 de Ultimate track to me. Not in terms of singing, but in terms of composition. This is a song where I can say more elements of pure fuji is morphed with typical West African guitars. (I have to use this generalisation because the guitar style is not necessarily distinct to Nigeria itself). I really love the backing track. The ascending and descending dance between the notes on the jazz guitar is a delight to hear, in terms of call and response. Highly recommended, as well.

The eighth track, ‘Orin Ogo’, has a beat stride and chord structure to early-00s ’emotional’ songs. However, it does so in a way that somehow makes it seem distinct from that time period in music. It isn’t as cheesy as let’s say, completely stealing the chord structure of Olufunmi by Styl-Plus. The addition of what sounds like an electronic boomwhacker as well as emotionally charged strings and synthesizers give this song a distinctively dramatic feel. The sprinkling of acoustic guitars also sound very unconventionally, as they sound as if they’d be strung on stiffer strings if they were to be played in real life. The more I listen to this track, the more it appeals to me.

The ninth track, Gbabe, has sort of a 90s guitar feel to it in the intro, almost like an old power ballad. It is balanced with stiff, drumline-esque drumming in this song. I do think is very interesting in terms of composition, but the singing style, not necessarily the melody, gives it a childish quality that is hard to take seriously. I feel like the song has potential, especially if it was reworked. However, it also gives off the feel of old, cheesy Nigerian romantic songs, which someone could truly appreciate. Even though it is not my cup of tea, I do not think it is an overall bad song.

The tenth track, ‘Hushpuppy’… to me, it is quite skippable. The elements in the track have potential. It sounds very Europop-based in terms of the bass, but it sounds like a demo at best. His voice is very greatly mastered, and I’m sure the song is meant to be lyrically perceived, but I do not personally find it appealing. The ending instrumental puts the song into a ‘retro gaming’ instrumental tinge, which I think could be manipulated for a remix. Not quite sure how to classify this track.

The eleventh track, ‘Omo Zeh’, is also another track that I have been constantly replaying. There is an instrument in the background that gives it a cold, wintry air feeling- if I’m not wrong, this concept has also been explored with one of the songs on ‘Ika of Africa’. It has that typical ‘jammy’ log drum that we’re used to at this point of African music in general, and it gives the song the edge it needs- even though the minimalist instrumental already sounds edgy. Highly recommended.

The twelfth track, ‘Remember’, is a beautiful track. I find the guitar riffs frankly beautiful. It paints a rosy, fresh picture to me. The tempo of this song, mixed with the bass as well as the jazz guitar, simply wraps the song up in excitation. It oscillates between pop and licks of juju music for me. I really like this track. I think it could be used in a very commercial manner, it is not a song that will divide people in terms of preference. Another highly recommended track.

The thirteenth track, ‘Mama’, is another gorgeous track in which his autotuned vocals glide over a body of reminiscent, vintage chords paying homage to his mother. It has a deep and mellow soundscape and reminds me of moonlight for some reason. It doesn’t have much in terms of musical intensity, but this song has feelings emanating from it. I think it fits the theme of the song perfectly.

The fourteenth track, ‘Alanu Kan’, has heavy influence from Igbo melodies and rhythm. This is evident, with his constant praise of ‘Igbo kwenu’ sprinkled in the song. I think this song is quite cute in its intent. Nigeria has a history of tribalism and separation in terms of culture and that bleeds to unfortunate separation between cultural music genres, and I love it when someone breaks boundaries and merges different musical styles together. He blends his style of singing with other rhythms. It is also very well produced. A must-listen!

The fifteenth track, ‘Ashawo’, starts off with a modern idiom regarding money and struggle. Musically, it intrigues me. It has many different elements going on at the same time, but they do not conflict at all. It is mixed with aspects of waves, as well as certain playful and cheeky elements. It also has a ‘glorious’ but soulful feel to it too. In terms of musical variability, this is the go-to track if that’s what you’re looking for. It even has elements of Spanish guitar as he croons that ‘he no go love ashawo’. I think this song has universal and cross-genre appeal. A very, very interesting track.

The sixteenth track, ‘Goal Goal’ is one of my favourites. This may sound like a far-fetched comparison, but the chords of this song truly remind of me of the song ‘Mayiliraagae’ by A.R. Rahman. It has a mellow, heartfelt quality to it in its softness. It also reminds me of the mellowed-down tunes of ‘Corny’ by Rema. It is simply soothing in all of its sense, including the bass and the beats itself. It is not harsh at all. One of my personal favourites.

The seventeenth track, ‘Pass Away’, starts off with a punch in how strong-sounding the flute sample is. I really like how this song is a combination of various samples interacting with each other, as it adds a distinct female voice vocalising in the background. Even though it starts off strong, it also has certain airy and mellow characteristics that the previous song has. I find this song quite sentimental.

The eighteenth track, ‘Fear Woman’, is a very typical, upbeat Afrobeats song to me. It is decent in its execution. It almost has the cadence of ‘zazoo virus’, but with a more sophisticated and refined touch. There is nothing really outstanding or poor in this track, it is just average to me. I wish more could’ve been done with the intersection of the beat and the bass, as it sticks out the most in this track. Still a pleasant listening experience, however!

The nineteenth track, ‘Yinmu Yinmu’ starts off quite uneventful, with a beat reminiscent to that of the BBC World News’ theme song, but when isolated and mixed with the spunky log drum in the midst of the song, it sounds like it was intentionally uneventful to spark a feel of anticipation. I like the interplay of the log drum with the snare, cymbals as well as slight dundun drum infused with the log drum itself. The backing track is genius.

The final track, Teramo, is a great end to the album. It starts off with the energy of a celebratory track. The shakers in the instrumental is accompanied with an oscillating bass, as well as staccato synthesizers. I really like the faux saxophone/trumpet in this song. Even though it has aspects of an unevolved MIDI-file, the faux digitation actually matches the futurism lurking in this track. It gets even more elevated with how elaborate the log drum is in this song. The instrumentation in this track is truly top notch.

Overall, I think this album is the perfect sophomore album compared to this debut release. All of his music choices in this particular album show an evolution in sophistication as well as musical execution. He combines all kinds of genres while still retaining his typical Yoruba style of singing, without losing any aspect of what it means to be Portable. It is an exciting album, with all kinds of musical quirks.

Rating/Outstanding  – With only one truly skippable song, this album proves Portable’s musical prowess beyond his antics and repertoire in the Nigerian mainstream. He is musically complex, and his choice of niche producers throughout the album give it an edge that is hard to truly ignore in terms of instrumentation. He shows an evolution in his music style, refining it and improving with each attempt. Portable is not someone to pigeonhole and ignore.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Lington’s musical journey began under the guidance of Lisa Gold Gervais, where he immersed himself in the intricacies of vocal and piano techniques. This early training laid the foundation upon which he constructed his musical prowess, eventually leading him to explore the realms of music production, mixing, and mastering. “Black Desire” stands as a testament to the unwavering dedication and passion that Lington has invested in his craft.

In this latest venture, Joe Lington pays homage to his R&B and soul roots while seamlessly incorporating Afrobeat and Jamaican vibes into the mix. The album opens a sonic gateway, inviting listeners into a world where genres meld harmoniously. The influence of R&B luminaries like Sisqo and Keith Sweat is palpable, but what distinguishes Joe Lington is his ability to infuse these influences with his unique twist.

“Black Desire” is a fourteen-track odyssey that takes the listener on a rhythmic exploration. The beats are infectious, the melodies hypnotic, and Lington’s vocals effortlessly glide over each track, delivering emotive performances. Tracks like “Because of You” and “Mama” showcase the seamless fusion of Afrobeat and Jamaican influences, creating a vibrant and danceable atmosphere.

The production quality of the album is commendable, a testament to Joe Lington’s prowess in the studio. Each instrument finds its place in the sonic landscape, creating a lush and immersive listening experience. The balance between traditional R&B elements and the infusion of Afrobeat and Jamaican sounds is skillfully executed, resulting in a cohesive and captivating musical tapestry.

“Black Desire” marks the fourth addition to Joe Lington’s discography, following the success of “TRUST” (2018), “Nouveau depart” (2013), and “Focus” (2021). With each album, Lington has demonstrated his evolution as an artist, pushing the boundaries of his musical exploration.

Here’s my rating for each song on a scale of (1-10):

“Black Desire” – 6

“It’s Gonna Be Alright” – Remix – 7

“Mamacita” – 6

“Je Pleure” – 4

“Marshmellow” – 5

“Ce Soir” – 5

“I Can’t See You” – 4

“On Se Complète” – Remix – 5

“Pretty Woman” – 5

“Because of You” – 5

“On Dance” – 4

Score/ Good:  Joe Lington’s “Black Desire” is a testament to the artist’s ability to evolve and innovate within the R&B and soul genres. The infusion of Afrobeat and Jamaican influences adds a dynamic dimension to his musical palette, creating an album that is not only soulful but also irresistibly rhythmic. As Lington continues to carve his unique path in the music industry, “Black Desire” stands as a shimmering milestone in his artistic journey.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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What does it imply, if it embodies most Middle Eastern as well as Flamenco music? Well, Rema’s artistry and musical choices always oscillate between these genres, even if conscious or subconscious. No surprise there, ‘Don’t Leave’ delivers the same tango between the genres.

The renowned producer London, known for collaborating with Rema often, also has to have some credit in this genius infusion of a song. It starts off with tender chords, with slightly off-sounding strings- almost reminiscent of ragtime piano, and a beat syncopated similarly to bossa nova. It provides the song with a delectably subversive and seductive feel, but also with accents of tenderness.

Rema then enters the track with verses in an almost monotone, ‘matter-of-fact’ style, before descending into his signature melodic maqam style for the chorus. In a way, it reflects the emotional tone of a relationship, just like how the song describes his love interest’s desire for him to not leave.

We often recall events and memories as a matter-of-fact, but fall prey to the possibility of loss or desertion when faced with evaluating how long these memories will last. What I also find interesting about this song is the slight elements of futurism displayed by the darkwave synthesizers, which I presume is inspired by the 80s-retrowave and vaporwave futurism repopularised by The Weeknd’s last known release, ‘Dawn FM’.

Overall, I think this song does an amazing job at sticking to Rema’s musical proclivities as well as exploring the concept of yearning a partner that leads you to a sensual and intoxicating wormhole.

Rating/Excellent – “Don’t Leave” is a perfect combination of Rema’s artistic brand as well as his musical proclivities, and a delectable song that completely draws you in.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

The post Rema – Don’t Leave (Single Review) appeared first on Music Review World.