Essentials: Seyi Vibez’s ‘Memory Card’ Lays The Blueprint For Future Experimentation
a clear indication of his penchant for experimenting
Seyi Vibez is in his bag at the moment. His debut album ‘Billion Dollar Baby’ skyrocketed to the peak of the music charts, earning him over 185 million streams on Audiomack alone. It also spawned the runaway hit “Chance (Na Ham).” So massive was the adulation that greeted the album that Seyi Vibez followed it up with the deluxe edition a month after its initial release, loading the project with five new tracks that continued his obeisance to the hustle mentality.
Fresh off the euphoria of last year, Seyi Vibez started the New Year with the five-track EP titled ‘Memory Card.’ The project, which is a surprise release, signals that the indie act has chosen to maintain his efficient work ethic. He starts the project with “G.O.A.T,” which samples Apala maestro Alhaji Fatai Olowonyo’s “Elewure Wole.” On the song, Seyi Vibez iterates his desire to continue putting in the work to bolster his career. “So ti ba gba Grammy/There’s still a lot to achieve,” he sings on the solemn instrumental that sways with violins and backup choirs.
While ‘Billion Dollar Baby’ was praised for its brilliance, it drew Seyi Vibez piercing criticism, most especially on the Amapiano-led banger that is “Chance (Na Ham).” Last year, YBNL star Asake blazed through charts with hit after hit, which he solidified with ‘Mr. Money with the Vibe,’ his slapper of a debut album. Seyi Vibez’s rapid-fire flows on the song and edgy fashion choices have earned him unfavourable comparison with Asake, with many fans stating that he is biting off latter’s aesthetics. That assertion was strengthened when Seyi Vibez tapped Nigerian music video director TG Omori, Asake’s preferred collaborator for visuals, for a music video that carried similarities with an Asake video.
Seyi Vibez swatted aside the accusations of being a copycat in an interview with Apple Music. “I like Balenciagas a lot and I like to create them in my own way. I’m just… fashion boy,” he said. “I’m precious but I’m precious fashion. I want to impress! I like creating things in my own way.” He went further and said, “I’m not trying to sound like no one, it’s just pure me. The way I sing from way back, I also know how to put it on fast beats, so everything’s just going.” In reality, Asake and Seyi Vibez are both offsprings of multiple indigenous music genres and subgenres, ranging from Were to Waka to Fuji and Apala. What both artists have discovered is that there are treasures yet untapped from interpolating and sampling music from decades ago.
“Para Boi” is the cousin of “Chance (Na Ham)” on ‘Memory Card.’ It begins with a flurry of violin swirls before jumping into an Amapiano-powered territory of shakers and log drums. Seyi Vibez’s confidence is unerring when he declares that “Calming down is not recommended” as he revolves around diverse subject matters like love and his dislike for detractors – all underpinned by his hunger to be the best version of himself. He transforms that energy into “Alaska,” rich with Islamic influences and choir-like backup vocals.
On ‘Memory Card,’ Seyi Vibez’s songwriting is as scattergun as it can be. On each song (and even on each verse) he employs an ear-catching rap-like delivery that demands a listener’s participation because he sounds so sure of whatever falls out of his mouth. He fires this sonic enthusiasm into “IG Story,” shuffling from declarations of love to doling appreciation to his street roots.
Sonically, “Love is War” is different from other songs on the project. It features the project’s only guest appearance and takes on a laidback R&B-influenced rhythm. It is also the only song on ‘Memory Card’ where Seyi Vibez doesn’t sound assured. He delivers a a fine verse mostly in English but it isn’t excellent compared to American act YXNG K.A’s butter-smooth flows. Additionally, “Love is War” is the only song on the project that has a thematic focus.
The biggest flaw of ‘Memory Card’ is its production quality, with the instrumentals coming off sometimes as skeletal and unfinished. Nevertheless, the project could be an indication of the direction Seyi Vibez has chosen to ply; if so, 2023 is going to be a big year for the music act who has continuously managed to hit new highs.
Stream ‘Memory Card’ below.
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Essentials: Majeeed Offers Poignant Reflections On ‘Cheers To Life’
The singer continues to prove his immense potential
Around the same time a new vanguard of superstars were breaking into the Afropop scene, an unassuming Majeeed crept up. He wasn’t immediately championed like some of his peers, but his sound—a vivid reinterpretation of 2000s-sounding Nigerian Pop—left a good impression on those who listened. “Gee For Life” was a focused rendering of his skills, his vocal style reminiscent of Kizz Daniel though the writing was undeniably his, simple but strikingly evocative as he mused about his loyalty to a girl he loved.
Majeeed continued in that fine form, scoring an underground classic with the realism of “Time.” It was a record in the class of Oxlade’s “Ojoro” and Victony’s “Kolomental,” an early career song which laid down the artist’s preoccupations. For Majeeed, he was more driven by external stories, revealing his own perspective through the telling of others’ experiences. His debut EP ‘Bitter Sweet’ arrived in early 2022, and as one hears on songs like “How I Care” and “Yawa No Dey End”, he was extending that range both in subject and sound.
Coming into the new year, it was evident that Majeeed was on the cusp of a breakout. That arrived unanimously on the Tiwa Savage-assisted “Gbese,” whichbintroduced the sterling Majeeed to a wider fanbase. Since then the artist has moved with the purposefulness required to solidify his ubiquity, and his latest project, the positively-titled ‘Cheers to Life’ comes from that consideration. It’s the same title which supplies the opening record, a glittering piece where Majeeed’s stirring vocals emerge. Soft with its drums, sexy in its movement, the record doubles as an account of his better quality of life but the first verse describes getting ready for a night out.
Every narrative of Majeeed is threaded by the didactic twist of his pen. On that emotive opener, it comes with the lyric, “Instead make you live your life, you sit down there dey complain,” he sings with jazzy carefreeness while the production builds around him. “Girls Deserve More Money” would make him a popular man among the ladies; promising to avail the good life to his lover, it adapts the kind of songwriting primed for an internet-savvy audience base. You could almost imagine a TikTok run behind the chorus, but on the song level, Majeeed’s evocative qualities are yet present, which is further amplified by the dreamy electronic loops in its post-chorus parts.
“Stop Nonsense” is the only other record in this collection of eight where Majeeed appears alone. It’s also the most popular-lying record, with splashes of smooth vocals and brash drum playing which shuffles between Amapiano and House. A groovy, anthemic number, it demonstrates Majeeed’s range across ‘Cheers To Life.’ Understandably however, the collaborative records offer more to the listener. Given the svelte, malleable quality of Majeeed’s tone, he’s able to blend in with a host of voices, and that artistic ability elevates the project.
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The similar hue of BNXN’s tone comes present on “Waka Jeje,” which stands a good chance of being one of the project standouts. Over celestial amapiano-influenced arrangement, both artists muse about coming from where they’ve done, the journey not lost on them. “Thank God say man no look like wetin e don go through,” sings Majeeed on the opening lyric, following up with why more hustle is needed to consolidate on one’s spot in life. BNXN’s lazer-sharp delivery is finely utilised, and he’s one of the EP’s best features, in terms of potency matching up to Tiwa Savage’s superb work on “Gbese”.
While that record is familiar enough to Afropop audiences, there’s the attempt to further its reach by creating an EDM remix. The mix doesn’t come across as deliberate enough, somehow losing the song’s essential soulfulness. That quality is however present on “Slip & Slide,” where Majeeed and the American artist of Nigerian descent Rotimi layer sweet affirmations over the warm palmwine-evoking production. Produced by Priime, it mirrors the work he’s done for Wizkid, and the sexy vulnerability associated with the veteran is present here, even more because of Rotimi, who provides a distinct but reliable perspective for Majeeed’s delivery to feed off. “Shayo” is a personal favourite of the collection; fusing the distinct writing skills of Majeeed and his guest Lojay, who’s never been known to flunk a feature—it’s a hit song in the waiting.
Crowd vocals are in sync with the guitar-led production, slightly evoking Highlife and which works given the genre’s dedication to alcohol-fuelled communal spaces. It’s the kind of song that gives cheers to life, because even in the midst of all the complexities of relationships and experiences, we’ll always find ourselves loving its thrill. Majeeed’s project is a colourful demonstration of his unique prowess, and if there’s anyone who thinks he’s resting on his laurels, then they haven’t heard this. There’s clearly a lot of journeys embedded within the young man, and his music seems to possess the grace necessary to see them through.
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Essentials: Kaestyle & LeriQ Bond Over R&B-Tinged Melodies on ‘Asylum’
a dynamic
When an artist and a producer find chemistry, they make music; if we are lucky, the music comes as a body of work. This is the case of Kaestyle and LeriQ who have put out the five-track ‘Asylum.’ In recent years, music producers have left the shadows to stand beside artists as bonafide creators deserving of attention and acclaim. Sarz has been one of the most dominant Nigerian producers with his collaborative projects; ‘I LOVE GIRLS WITH TROBUL’ with WurlD, ‘LV N ATTN’ with Lojay and ‘Sweetness’ with Obongjayar have made a significant impact on the careers of Sarz and the artists featured, as well as on the landscape of the Nigerian music scene.
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LeriQ, like Sarz, is a veteran. He got his big break in 2013 after he produced Burna Boy’s ‘L.I.F.E’ in its entirety. The project—coated with LeriQ’s signature producer tag “It’s LeriQ, call the paramedic”—was an Afro-fusion masterclass in how it imbibed multiple sounds from Dancehall to Fuji to Afrobeat to Reggae to Galala. Two years later, LeriQ released his debut album ‘The Lost Sounds,’ which featured Burna Boy, Phyno, Wizkid, 2Baba, Cassper Nyovest, Timaya and Tay Iwar, among others. LeriQ has continually released music, even showing his skills as a vocalist on 2018’s ‘Luv.Wav.’
Kaestyle, on the other hand, is a newcomer who possesses a huge dose of potential. After signing to KeyQaad (same home as Omah Lay and M3LON), Kaestyle debuted his EP ‘Kae’s Study,’ introducing his brand of Afropop, which has a solid base in R&B. The project featured Omah Lay and Victony and portrayed the Port Harcourt talent as a competent songwriter and vocalist. On the Semzi-produced “Soundtrack,” he further exercises that mastery for feel-good tunes.
On ‘Asylum,’ Kaestyle and LeriQ address familiar themes through exciting unique sound choices and deliveries. On the opener “The Bag,” Kaestyle makes his intentions clear: he puts in the work to get enough money to live his best life. “Ain’t nobody getting in my way o/I want it now,” he sings. LeriQ also reveals his manifesto with a delightful production of background vocals and rumbling bass. Sonically, “The Bag” is an easily identifiable feature of LeriQ’s production: a familiar soundscape with an element of surprise lurking.
“YOLO,” which recalls Teni’s “No Days Off,” continues Kaestyle’s hope for a better life. It’s a bouncy tune with a catchy hook that is meant to get the people on their feet and bobbing their heads. “Say my name gon’ live forever/But I’m trying to live for now/If this life is just a show/I’ll kill it and take a bow,” sings Kaestyle. LeriQ sprinkles “YOLO” with electronic elements with a shift in the latter parts of the song. It is a song with the potential to become a runaway hit record.
R&B is an important ingredient in Kaestyle’s music. It’s evident in his delivery regardless of what genre he’s working with. He and LeriQ slow things down on ‘Asylum’ with “21” as Kaestyle flexes his vocals. He praises the anatomy of a love interest and the feelings she elicits from him. “Oh my, do that dance that you do on TikTok/Ain’t no time for you to flip flop/21 but with a big butt/Girl, I need some,” he sings. He does the same on “eMotion” but with more sexual urgency, singing, “I’m gon’ make you moan/Eat it till you’re sore.” The song, in mood and theme, is reminiscent of Jeremih’s “Birthday Sex.”
While Kaestyle’s vocals make ‘Asylum’ a smooth and enjoyable listen, LeriQ’s production is fundamental to the project’s success. He and Kaestyle showcase an understanding of each other’s uniqueness; what binds them together is their versatility and ear for sound and the skill to weave sound with well-tailored lyrics. Kaestyle and LeriQ are at their highest powers on “Ugly Truth,” mining Afro-R&B goodness out of the song. Kaestyle wraps LeriQ’s mid-tempo production with dollops of irresistible melodies.
From DJ Coublon and Oxlade’s synergy on ‘Eclipse’ to the brilliant experimentations of Sarz’s collaborative projects, ‘Asylum’ is another depiction of the magic that can happen when two minds are in sync. Kaestyle and LeriQ have made their case as a dynamic duo. ‘Asylum’ is music at its glorious and finest state.
Stream ‘Asylum’ below.
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Essentials: RayTheBoffin Explores The Dynamics Of Love On ‘Freckles’
one of Nigeria's most exciting
In his NATIVE Exclusive, Suté Iwar praised RayTheBoffin, saying, “He’s a producer that I’m excited about,” and then added: “Ray is gonna have a big future with what I’ve heard him working on.” Months after that conversation, RayTheBoffin, real name Joseph Chikak, steps out with his debut EP ‘Freckles,’ fostering his identity as a multitalented act. The project, which was released under Outer South (the same label that Iwar belongs to), is RayTheBoffin’s way of curating his world with his gifts as a singer and producer.
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Before the release of ‘Freckles,’ RayTheBoffin gave listeners a taste of the project with “Lifeline,” with 3kene and Tim Lyre delivering solid performances. “Lifeline” is a groovy rendition of 90s R&B and Pop with electronic fusions. All three acts reveal their interest in a significant other but from varying emotions. 3kene and Tim Lyre are the casanovas who seek pleasures but clearly state their disinterest in commitment. RayTheBoffin, on the other hand, counterbalances their perspectives with a yearning for commitment. “I just see your body and I keep on loving ya/He just want your body isn’t it so obvious,” he sings.
The overarching theme of ‘Freckles’ is the exploration of love and its merits and challenges. On the project, RayTheBoffin and the featured artists offer snapshots of what affection means to them, how it nourishes them and how it can tear their souls apart. On “Alive,” RayTheBoffin is the lover too busy chasing money that he has no time to love his partner. Nigerian singer Yimeeka is the woman whose emotions are ignored; she describes all the distractions preventing her lover from giving himself to her as “counterfeits.” “I am doing my part/No I ain’t playing/You don’t know/What you lost/I know my worth,” she sings.
Although ‘Freckles’ is RayTheBoffin’s debut under Outer South, he has been a consistent music maker. He’s one-half of the group Riverays with co-member Iver Rivers. Both artists sing, rap and produce. They recently put out a new project in ‘Peek 2,’ a follow-up to 2020’s ‘Peek.’ RayTheBoffin and Iver Rivers are also members of the four-man group Dancing in the Desert (with Jess ETA and 3kene) and their project ‘Afrorock’ shows an ambitiousness with fusing African sounds with Rock music. These collaborations are pillars of RayTheBoffin’s music as it exudes fearless creativity. In addition to 3kene’s appearance on “Lifeline,” in ‘Freckles,’ Iver Rivers shows up on “Brain,” a fun track where Rivers and RayTheBoffin exhibit their chemistry.
The soundscape of ‘Freckles’ is a pristine collage of sounds such as Hip-Hop, R&B, Pop and Dancehall, with dashes of electronic distortions adding colour to the offering. On “Okay,” RayTheBoffin, Twelve XII and BUSA effortlessly find pockets amidst the Trap bounce, while on “New Emotions,” RayTheBoffin swings back and forth between Hip-Hop and Amapiano elements. In all, RayTheBoffin masterfully crafts his world of fusions and multidimensionality while ensuring it’s engaging and pleasing.
The lyrics on the project are constantly in conversation with one another. It raises a question here and provides an answer there. RayTheBoffin and Twelve XII try to convince their lover to forgive their transgressions and ignore the words of outsiders on “Okay. “I know I do wrong sometimes/But why you acting like I never please you,” Twelve XII sings. In her verse, BUSA shows she doesn’t lack options as she raps, “Baddies waiting for me/I curve them on the low.” On “New Emotions,” RayTheBoffin is ready to take care of the sexual and emotional needs of his partner, and on “Baaaddie,” he surrenders to his lover’s charm, singing, “Bad bad things I fit do, the way you moving that short thing.”
In the ecosystem of Nigerian alternative music, RayTheBoffin is an act with incredible potential. He fits every facet of his artistry into ‘Freckles,’ making for a definitive body of work that places him as one of the country’s exciting artists. For ‘Freckles,’ RayTheBoffin reaches into his bag of tricks with the assuredness of a veteran.
Stream ‘Freckles’ below.
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