Remy Baggins’ new project ‘Amaterasu!’ is full of the best bars
It's a lot of captions in this b*tch
‘Amaterasu!‘ is Remy Baggins’ second project this year. Back in March, he followed up his sex-driven 2019 tape, ‘Hentai‘ with a more complex take on relationships, exploring the complicated dynamics of love, entitled ‘Sakura‘. Leaning into his r&b proclivities, as those subject matters are disposed to, ‘Hentai‘ and ‘Sakura‘ shared much of the same sonic DNA – both lively pop-inclined bodies of work which tapped into the alternative tastes of the world surrounding Remy. ‘Amaterasu!‘ plays with an entirely different soundscape, however, with the only unifying thread between this piece and the last being Remy’s Japanese inspired nomenclature.
‘Amaterasu!’ is an introduction to“Trap Rembo”, Remy Baggins’ reactive alter ego that has risen out of the fire of “frustration anger and extreme pressure” Baggins writes on the flip side of the album cover. Explaining that ‘Amaterasu’ is an inextinguishable flame that burns continuously for seven days and seven nights, Remy Baggins shares with his fans this seven track project in the hopes that “this ignites and unquenchable fire in the hearts of those who try to provoke us.“
An expressive rap project, which does as much baring of souls as it does bragging about skill, ‘Amaterasu!‘ is full of some venerable penmanship, from Remy Baggins himself, and his newest set of collaborators, including vernacular rapper, MOJO and Pyscho YP on the lead single “Gboju!“.
If it is Remo’s intention was to arm listeners with enough quotables to fan the flames of their rage – which his considerable craftsmanship on the first track makes clear that it is – then it’s our duty to report on just how well Remy Baggins has executed this undertaking.
“Trap Rembo”
Remy Baggins is upset, and though he confesses this early on, the moody production that opens up with church bells of reckoning give the game away first. Quoting Drake with his opening line, “I’m upset“, Baggins goes on, particularly in his second verse, to deliver original bars that emphasise just how over it all he is.
First, he makes it known that he’s all about the money, a topic we return to later (albeit with a little less punch) on “W.I.G.B.?” saying, “The only bands I listen to are rubber bands” on the muffled hook, before returning to more clearer production just in time to set things crystal for all the snakes: “If you got a fucking problem with me tell it to my face“.
By far the hardest line of the project however it this one: “Bitch I wrote, produced and mixed this shit and dropped it anyway.“ As becomes clearer throughout the rest of the project, Remy Baggins is tired of being underrated and disrespected, he’s got incredibly skill and ‘Amaterasu!‘ is all about flaunting it. Apparently, he’s also got palpable influence (“Ain’t nobody moving ‘till I muhfucking say so“) and no more patience for the doubters: “Bitch I’m only loyal to my homies and my ego“.
“Gboju!”
Simple as it is, the title line, “My guy Gboju!“ packs a real punch, especially at the start of a record which details all the ways in which you are not deserving of Remy, Psycho or MOJO’s attention. For Remy Baggins, it’s all the fraudulent behaviour from people who don’t know how to work hard for their money. Repeatedly asking to emphasise his deep judgement, Remy Baggins poses the serious yet hilarious question: “why you faking money online?“
MOJO, on the other hand, is more concerned with your lack of skill staining his whites. Effortlessly flowing between Yoruba and English, the new gen vernac rapper, in his bassy gritty voice reminds us of what sets him apart from the herd, delivering two “Awon bawo Orisa Babalawo fill the verse with incantation/ Awon bawo lesson teacher mo’n ko won even when them dey vacation“ before switching up his flow for a memorable closing verse.
“Southside”
Featuring Marv, OTM, VEEN & Kiienka, the verses on “Southside” a pretty literal and don’t seem to share the same enthusiasm for dragging their peers as the previous tracks do. In this light, beyond the threatening chorus “We don’t talk we talk is outside“, “Southside” is surprisingly lacking in bolshy punchlines, considering the song begins with “Oga you think say I stupid?/Are you dumb? Are you foolish?“
“808 Therapy”
‘Amaterasu‘ was born from pain. This record is the project’s middle point and acts like the core of the beast, revealing the sources of Remy Baggins’ hurt as he decides to “put it in a song and turn my 808s to therapy instead“. After clever bible references like “You a dreamer nigger, Joseph“ and “Silent devil with the halo“, Remy Baggins goes on to announce that “I smoked my first joint with Jesse Jaggz“, an utterly random confession that acts to lift our spirits after Remy reveals one of his sources of hurt, he recalls, “Slippery nigga like my 808s/My idol couldn’t tell me to my face/He told my homie I’m never gon’ blow (oh my god, what the fuck?)“. It’s a painful bar, but a topic Rembo doesn’t dwell on for too long, and in the end he offers us just the advice we’d give him: “Tell a stupid nigga wisen up“.
“Sicker!”
Mirroring the Migos’ “Get Right Witcha” flow for the chorus, its final bar “And if you think you dope, bitch I’m sicker“, reminds me of Africa’s best rapper, Jahdatta, who famously said “you think that you’re ill, I’m mentally iller“. Though not emulating the same, self-diagnosed crazy as Jahdatta, Boogey’s first and only verse on the track is a pretty wild one, his standout lyric being, “Pray to the one who owns the sky, no reply is she light skin though?“
“W.I.G.B.?”
More melodic than the previous tracks, “W.I.G.B.?” returns to the topic of the budget. Insisting that they be left alone “if it ain’t about the money” (Zilla references), Remy Baggins also concedes that he’ll entertain a conversation for one other reason, but nothing else, singing: “If you ain’t talking ego, please get out the way”. After demanding what he’s owed and instructing opps to keep his name out of their mouth, Remy Baggins gets even more aggressive on this sung number, silkily vocalising the following threat: “You don’t wanna fuck with Rembo lose a finger like you Django“.
Though Zilla Oaks is a rapper himself, on this track he concurs with Remy Baggins, singing his way through his verse, but his finest lyricism comes when he returns to rapping, indicated by his delivering the bar: “Only L I take is when I levitate“.
“No Regrets”
As many rap projects do, ‘Amaterasu’ concludes with a reflective, emotive number, where Remy Baggins details all the pressure he’s been feeling, ultimately consoling himself with the fact that, despite the mistakes, and perhaps not being where he thought he would be, or where he ought to be, he has “No Regrets”. For anyone feeling lost in life, alone in their search for purpose this song will resonate. Though we all like to believe that things will fall in place at the right time, patiently waiting for your moment is nearly impossible for the driven and ambitious like Remy. Especially when “Time is of the essence, homies living lavish waiting on the boy” the eagerness to reach the top of your game so you can live your best life with your peers multiplies infinitely.
Featured Image Credits: Remy Baggins/Instagram
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Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
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Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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