HEIS Album Review (Guest Review)
By Akinola Anuoluwa (Guest Reviewer)
HEIS: REMA’S SOPHOMORE ALBUM IS A POP ASSEMBLAGE WITHOUT HEART.
Rema, also known as the "Prince of Afrobeat" and "Rave Lorde," has established himself as a prominent figure in his time. His debut album, Rave & Roses, which included the global hit "Calm Down" with Selena Gomez, solidified his spot in the global music scene. However, success brings pressure to replicate it, leading some to worry if the one-hit wonder moniker will remain.
While he could not replicate “Calm Down” tremendous success, later releases such as “Charm,” “Bubalu,” and the “Ravage” EP all gained comparable success. This heightened audience expectation for a new record, possibly to the point of overhype. Rushing an artist’s creative process may be hazardous, and it appears that this new record could have used more time. Despite individual qualities, the 11-track project falls short of its potential.
A comprehensive track-by-track breakdown will follow, but here’s an overall assessment:
COHERENCE
The coherence of HEIS is a challenge. Although there is commendable artistic development, some listeners could find the genre shifts disconcerting. The project lacks a cohesive theme to the album as a whole, feeling more like an assortment of catchy singles. It seemed as though the artist was hurling mud at the wall in the hopes that it might stick.
This does not imply that the experiment was a total failure, though. Even if songs like "Heis" and "Villain" don't have any deeper ideas, they have pleasing melodies. One may argue that the album's frequent use of the "abido shaker" is problematic. And finally, the question still stands: Is HEIS meant to be a cohesive work of art or a selection of pop-oriented songs?
ART AND AESTHETIC
Rema stands out among African artists for his commitment to crafting a distinct brand identity. His music videos and album visuals are consistently unique and memorable. While the art direction for HEIS is undoubtedly good, it doesn't quite match the brilliance of his debut, Rave & Roses. This could be attributed to the rushed nature of the album.
POPABILITY
Despite potential issues with cohesion, HEIS holds promise for generating chart-topping singles. The album's pop sensibilities are undeniable, and its success hinges largely on promotion strategies. Tracks like “Heis” possess strong hit potential, especially with a well-executed marketing campaign.
PRODUCTION
The production quality on Rave & Roses is undeniably impressive. Kudos to P-Prime for crafting a sonically polished album.
Below is a chronological track review of the album:
1. MARCH AM
The debut track, "March Am," raises eyebrows as an album opener. While the song itself might have merit, its placement as the first impression feels like a missed opportunity. Listeners expecting a strong introductory statement might find themselves yearning for the wicked imperfections of Rave and Roses' Divine. The repetitive lyric "I dey march am" could be interpreted in various ways, but it doesn't necessarily establish a clear thematic direction for the album. Maybe it's the perfect opener though, a prophecy of what is to come.
2. AZAMAN
The song boasts a pulsating beat that instantly grabs attention. However, the lyrical content, focused on celebrating wealth and connections, might leave some listeners wanting more depth. The line "when I see money, I attack" is a bold statement, but it lacks the complexity found in some of Rema's other work.
Despite the straightforward lyrics, "AZAMAN" has the potential to be a hit. The infectious beat and Rema's energetic delivery could propel it towards mainstream success. However, with stronger lyrical content, the song could have transcended a simple celebration of riches and become a more nuanced exploration of ambition and success.
3. HEHEHE
This is a divisive track. While some listeners might enjoy it, I find it to be the weakest song on the album. The repetitive title and lyrics feel very uninspired. The lyrics come across as juvenile, reminiscent of a situation where someone jokingly tells an artist they can hear even the slightest cough.
4. YAYO
This is another track on the album that has garnered significant online praise, but its merits seem debatable. The song incorporates elements of Amapiano, a genre known for its laid-back grooves and often repetitive lyrics. While this might appeal to Amapiano fans who enjoy a more rhythmic and less lyrically complex soundscape, others might find the lyrics uninspiring.
5. BENIN BOYS
BENIN BOYS initially left me unimpressed, but it seems repeated listens have grown on me. This collaboration with Shallipopi thrives on its infectious energy, even if it lacks a clear thematic direction. The synergy between Rema and Shallipopi is undeniable, making the song a perfect example of their combined strengths.
6. HEIS
The album's titular song, "HEIS," stands out for its sonic brilliance. Rema's delivery is undeniably captivating, and the production is meticulously crafted. This combination has the potential to propel the song towards the top of the charts.
However, the cryptic lyrics might leave some listeners wanting more meaning. While the lack of clarity can be intriguing, it also raises questions about the song's message.
Rema's decision to prioritize sonic appeal over clear lyrical content is an interesting artistic choice. Some listeners might enjoy the ambiguity, finding it open to interpretation. However, others might crave a more concrete message.
7. OZEBA
OZEBA" is a track on HEIS that has garnered significant online attention, but like "YAYO," I have a love-it-or-hate-it relationship with the song. I find the song repetitive and lacking in substance, one I would love to compare it to an amateur attempt.
The appeal of "OZEBA" lies in its adherence to a specific niche – party anthems with repetitive chants and lyrics focused on having a good time.
8. WAR MACHINE
The song starts strong, but my reaction to the featuring rapper, Odumodublvck, is less than enthusiastic. I felt the song's initial promise was dashed by his guest verse. This raises the question of whether the collaboration truly complemented Rema's vision for the track.
The success of a feature often hinges on the chemistry between the artists. In the case of "WAR MACHINE," it seems the featured artist's style might not have meshed well with Rema's.
9. EGUNGUN
EGUNGUN continues the trend of impressive sonic quality on HEIS. Rema's vocals shine on this track, showcasing his talent and range. The title, referencing a powerful masquerade spirit in Yoruba culture, is undeniably intriguing, and the prospect of a music video adds another layer of anticipation.
However, the lack of thematic cohesion that plagues the album as a whole might still be a concern for some listeners. While "EGUNGUN" is enjoyable sonically, it might feel disconnected from the overall project's message (or lack thereof).
10. VILLAIN
Villain shines as one of the album's highlights, reminiscent of Rema's Rave & Roses era. The lyrics are decent, and the song effectively reflects his artistic journey. For me, it remains a strong track.
11. NOW I KNOW
HEIS ends on a poignant note with this song. It seems to be an ode to Rema's core following and a tender farewell to an album that had trouble with thematic unity. Even though the project as a whole may not have worked out, Rema's brilliance and audience-connecting ability are amply demonstrated by this last tune.
“HEIS” is a mixed jar. While catchy and well-produced, it lacks the thematic depth and cohesiveness of “Rave & Roses.” Rema’s experimentation is commendable, but some tracks feel underdeveloped. The album might deliver chart-topping singles, but its lasting impact remains to be seen.