Music

HEIS as Rema’s Unfiltered Villainy Experimentation

 

 

Unfiltered. That’s what he is. Rema, one of Nigeria’s fiercest artists in the international spotlight had decided to raise the temperature at the clubs, house parties, festivals, concerts and wherever music is played around the world with his latest album titled ‘HEIS.’

 

Heis, a follow-up to his debut studio album ‘Rave&Roses’ is pure experimentation and a calculated attempt to put Rema’s brand to the test. Now, his reputation is largely at stake. Weaned on the gospel and the streets, Rema made a global hit with the song “Calm Down” and ironically he isn’t doing anything that’s close to “calming down” in his latest album. Loaded with 11 songs delivered in less than 30 mins, HEIS strikes through like a glass-shattering effort. Markedly different from his previous efforts, the songs in this album showed more of Rema’s villainy in music- a deep connection to his Benin roots and long-acclaimed love for hip-hop.

 

March am, the kick-off track is a mark of Rema’s renewed confidence. A tone-setter, it painted an imagery of “Fast & Furious”- an expression that aptly describes Rema’s overall demeanor in this album.

 

With ‘Azaman,’ he maintained the tempo, nothing too impressive really. This uninspiring track sounds like any Afrobeats song on any loosely-curated playlist. But with the swahili-infused hit ‘Hehehe,’ there’s promise, cheekiness and abruptness. Perhaps, the most orgasmic song on the album, the magic ended even before one is sated. But then, Ozeba would overcompensate for that with yet another brisk and energetic delivery that’s a sure banger. Rema got fans screaming ‘diabolical’ and accusing fingers were directed at Shallipopi, his Benin brother whom he collaborated with for another banger ‘Benin Boys.’ Before you crucify Rema, remember he has some axe to grind with his former record label. He has other competitors on the scene. But surely, Rema is not gunning for a Grammy with this album. He’s soaking himself in his authentic self, rediscovering his craft and unleashing his lyrical venom, unapologetically.

 

With ‘Benin Boys,’ the listener catches a whiff of bromance as the duo pay homage to brotherhood or kinship. Rema’s collaboration with Odumodublvck called ‘War Machine’ lacks the grit of lyrical warfare. And the title raised the bar too high. Aside from being underwhelming, it’s grossly overrated and constitutes an unnecessary addition to the album. ‘Villain’ too suffers the same tragic streak- and ‘Egungun’ may grow on the listener albeit at snail pace.

 

‘Now I know’ is arguably the best song on the album. An emotion-driven song, Rema vested soul, depth and personal distress in every line. A tear-jerker, the song is Rema’s response to ‘Save the Best for Last’ in an album that’s well at best a corrosive, artistic compulsion. 

Written by Yinka Olatunbosun, a senior culture journalist and 2018 African Recipient of NRW Kultur Sekretariat Grant for Music Journalists.

 

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