Art is here, and Art is there. Art is everywhere, because it is fundamentally the expression of human imagination. Art entails the creation of a phenomenon from an abstract form into a finished substance that can be perceived by the human senses. As far as real Art is concerned, it is never a taboo for an artist to explore and express other parts of himself. What would be a taboo, is the ritual slaughter of Art’s quality for ingenuity. On Rema’s “HEIS” Album, he bravely chose the path of ingenuity, and we might find out if he committed a ritual slaughter of his Art’s quality by the end of this review.
From the start of Rema‘s journey to the drop of “HEIS“, they were subtle signs of insurgency and defiance signalled through the aggressive switch of his overall persona. He adopted a dark and somber look, which showed the blatant and stark contrast to the high-school-demography pandering Rema that we knew from the start of his career. It was a message hidden in plain sight. A deliberate message signalling the arrival of a Rema that has come of age.
Rema‘s quoted self-acclamation turned out to be the burning fuel for his new Agenda, and one would think he would be done with just a shift in Persona. Instead, it was all a pre-meditated attempt at disruption of the African music industry.
Setting the stage for his calculated disruption, Rema commences the album with “March Am” — a drum-heavy, chest-thumping track set against the backdrop of a dramatic organ-like progression. He employs the renowned crowd vocal technique, layering different facets of his vocals to craft a compelling hook: “I dey March am, I dey March am!” This signifies his relentless drive and unwavering hunger for success, undeterred by his achievements.
One cannot overlook the masterful use of catchy refrains on “HEIS,” as evidenced in tracks like “Ozeba” and “Azaman.” Both are fast-paced, head-bopping, rhythmic, and highly amplified. “Azaman” once again showcases Rema’s insatiable hunger for wealth, while “Ozeba” highlights his penchant for stirring trouble. Just before the hook, Rema reiterates, “I go do my best to make all of una vex!” followed by the repetitive scream of “Ozeba.” The term “Ozeba” is an Edo word that translates to “big problem.”
The extensive creativity exhibited throughout this long play would have been unforeseen considering the emergence of the album’s lead single. Featuring a collaboration with his fellow tribesman and one of the nation’s foremost rappers, Shallipopi, they crafted a tribal anthem that venerates the “Benin Boys.”
When it comes to music recording, what more embodies creativity than good use of samples? The track ‘Villain’ and ‘War Machine’ sampled Lana Del Rey’s ‘A&W’ and Ace Spectrum’s ‘I don’t want to play around’ respectively. Sitting comfortably on ‘A&W’ chord progression, ‘Villain’ followed the already established theme of the Long Play by reiterating Rema’s defiance and this time around, his hardihood. One would think that ‘War Machine’ would start off as the name implies; but Ace Spectrum’s ‘I don’t want to play around’ introduced a peaceful start to the impeding chaos displayed on the song.
Yayo, the initial fan favourite saw Rema bragging about his financial status. Delivered over perfectly laid log drums, he takes his listener on a brief tour of his material exploits. In similar fashion, Rema decides to laugh at his transducers on ‘HeHeHe’. With an unconventional approach to delivery, songwriting, and vocal prowess, he informs his critics that he won’t be taking it easy on them. “Monday morning talking about me while I’m making money” he reminds them that he makes money while they talk.
Commencing in dramatic fashion, the album’s title track, “HEIS,” epitomizes Africanism through its instrumentation. It skilfully employs African percussions and log drums, creating a fitting foundation for the exquisite Swahili chant in the hook and background vocals.
Ending an album with such sonic intensity and clear direction would typically prompt considerable deliberation and discussion. However, despite the dominant themes of self-adulation, materialism, and provocation that permeate the album, Rema chose to conclude the long play with a reflective track titled “Now I Know.” Reflecting on his deprived childhood, traumas, and paranoia, he uses this sole melancholic song on “HEIS” to assure everyone that he is aware of those who truly love him.
Reflecting on the outset of the ‘HEIS’ journey, it is evident that a deliberate message was intricately woven into every approach and creative direction. From the persona rollout to the album launch, ‘HEIS’ was a premeditated attempt at disruption, and It ought to be assessed with this context in mind.
As far as art is concerned, music should be for the musician first, and then for the audience later. Let it loose, and let who ever connects, connect. Having this in mind, one would then have to judge the album from the lenses of execution. Rema endeavoured to forge a new path and successfully brought his abstract ideas to life. In terms of production quality, creativity, delivery, arrangements, and all the critical indicators of a high-calibre music project, ‘HEIS’ demonstrates that Rema is genuinely in his element, and we hope to see more artist boldly take on the baton of creativity.
Listen to the album and give us your verdict.
Rating 7.8
Kolawole Pedro is an all-round music article writer with a knack for uncovering the stories behind the sounds and appraising the music space through critical lenses. His insightful and engaging pieces rings a bell of reason and trigger passion in music lover.