The song is awash with saxophone passages that sometimes clash and get a bit muddled. “Saro” follows in the same footsteps, sprinkling Amapiano log drums on a mostly Afrobeats instrumental. Seyi Vibez seems to be in a similar stylistic lane as Asake, combining influences from Amapiano, Fuji, Street-Hop, and Afrobeats. The backgrounds of the songs are littered with sonorous harmonies and soulful adlibs. Another strength Seyi Vibez demonstrates on this song and throughout the album is the way he incorporates additional vocals. The instrumental is soft yet energetic, featuring rattling shakers, Amapiano log drums and a wailing violin melody. Thankfully, the song as a whole retains its sweetness. Unfortunately, the second half of the chorus is dragged down by the high-pitched vocals employed. The chorus features an interpolation of the Yoruba song, “ Eji Owuro,” (made popular by Sola Allyson) which makes it quite endearing. This is evident in the next song, “Ife.” The group vocals interspersed in both verses and the beginning of the chorus are extremely warm and endearing. They seem to be a strength of his style and he uses them effectively. However, her verse is also a bit lacking in the lyrical department, relying on genre staples like “Me ride for you, Me no lie for you oh baby, Whenever you need me oh baby, Sh’o ma pe mi.”Seyi Vibezutilises more group vocals in the song’s outro, and I find them tastefully done. Simi makes an appearance as a featured artist and her sugary vocals add a certain spice to the song as she always seems to. It has a simple drum pattern that gets repetitive, and these sit atop lacklustre pad chords and synthetic brass lines. “You high pass palmi, God bless your mummy for this your body, I want to lavish all my money, on top your body,” he sings sweetly over an instrumental that comes across a bit bare-bones. The next song is “Darling,” which finds Seyi Vibez singing slightly cliché lyrics at his eponymous darling. The autotune and high-pitched vocals are becoming typical of Afro-Fusion artistes in this ilk, but they are a bit too conspicuous in the mix here. The heartfelt delivery communicates clearly, even through vocals that I feel have been processed a bit too thickly. The song serves as a fitting intro track, setting the tone for the rest of the album and immersing the listener in the world and story about to be unveiled. Seyi Vibez espouses introspective thoughts about his journey so far, saying, “I no fit hear all the haters talk, ‘Cause I’m writing songs all night long, Say the young G getting too lit, Never let the fame get into me.” The moving chorus is fortified by rousing choral backing vocals and whistling flutes. The project begins with the title track, “Billion Dollar Baby,” a reflective cut built on soft keys and emotive saxophone passages. (Read also: In Sunday in Lagos, Limoblaze Secures His Afro-Worship and Hip-Hop Niche) The talented singer and songwriter displays his vocal adaptability in spades on the album. It just so happened that the instrumentals he frequently performed over were tinged with touches of Hip-Hop and various other genres. Typically referred to as a Street-Hop artiste, Seyi Vibez strikes me more as an Afro-Fusion act. In a bid to stamp himself firmly in the mainstream, he recently unveiled his second official album, Billion Dollar Baby, which shot to the top of Apple Music’s album charts. His rise to prominence began around 2019, and he’s been providing a steady stream of singles since then. Seyi Vibez is a relatively new voice on the block. Asake walked so Seyi Vibez could run, and while Seyi Vibez is not exactly moving at the same pace as Asake, he is not lagging far behind, either…
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |