On his new album, HEIS, the Afro-Rave pioneer is on a sonic mission, a mission to keep the “Afro-Family” away from vultures, a mission that sees him pursue his search for new frontiers that move you closer to the dancefloor for 27 minutes of rapid legwork and energy. A mission that brings the Afro back to the beats.
“We have to take our s**t back, own it and protect it. The more we water it down, the easier it is for them to create it. Until some people start winning Afrobeats awards we’ll then realise we’ve indirectly sold ourselves.”- Rema said this mid-performance at his listening party in London. The album’s theme is clearer on the first listen, Rema wants you to let loose, no matter how de-sharpened your dancing skills are, a raver’s rule. “BENIN BOYS” wasn’t an instant fan favourite hit, but seems to have settled in now, especially after his energetic set at Wireless Festival with Shalipopi. If the lead single didn’t make a bold statement, “HEHEHE” ’s teaser did all the talking.
Starting an album with “MARCH AM” is peak Afro-rave heritage, bursting with synthesisers, complex intersecting rhythms, fast-paced percussions, triangle dings, and chirpy whistles, the song requires relentless energy to jam with. “Every day I dey raise una BP, raise am to the ceiling, Talking my shit and I don’t keep it PG”, a very telling lyric from the song. “AZAMAN” maintains the infectious energy, saturated with his signature, and leverages danceable beats and a one-liner chorus that makes it a fun song. Rema is one hell of a chef, there’s something for every dancer on here. “YAYO” has the feel-good chromatic commotion Rema has always served us, he sounds like wants to party and throw a few bills, and his bragging rights allow him to talk his shit too when he wants to, the type of bragging rights that makes you confident enough to drop your album on a Wednesday night.
His ever-growing chemistry with P. Priime is so evident, overseeing the first 3 out of 6 songs.“HEIS” marks their pinnacle, it’s a beautiful record. They fill the almost 3-minute song with wooden flutes, shimmering synths, and a choir singing the chorus in Swahili, the catchiest part of it all.P hits his priime for that one. The production details are a tight-knit group of collaborators, helping Rema clear the path for this journey. As always, London works his magic. “Ozeba” is the perfect example of understanding the assignment, wavering between exuberance and heavy-handed rave style. Based on Rave culture, its the ability to be a memeable tool has boosted it’s numbers, going viral on the TL, from Mosh Pits in the club to special requests by a random person at Munich parties, it is already a hit.
Halfway through the album, you’d realise Rema loves Benin City and has been misunderstood all this time. His aesthetics over the last few months, especially his stagecraft at the 02 arena raised concerns as to whether he joined the Illuminati when all he was doing was pay homage to Queen Idia, a cultural figure in the kingdom of Benin from the 16th-century. The album draws inspiration from his tribe. Odumodublvck brings the calvary on “WAR MACHINE”, a thrilling song produced by Belgium artiste Alex Lustig, 1/2 of the “outsiders” allowed on HEIS despite Rema’s gatekeeping agenda, Alex gets the pass due to his previous work on Raves and Roses. He holds his own again on “EGUNGUN, using electronic music elements that match Rema’s lithe and menacing flow.
Concealed emotion, strained facades, and the desire to break free, he holds onto his emotions for the last two records. With his voice wavering at a dispassionate hum, “VILLAIN” is fixed with emotions, but his morphing into one is probably the final form. “NOW I KNOW” stands out as a soulful ballad, produced by Daytrip, the duo elevates Rema’s pain here, he cloaks moments of devastating vulnerability with a protective layer of detached cool. In the well-worded pidgin hook, he insists that he knows those who are down for him, based on his previous encounters while he reminisces on his tough days, its the realest song on the album and one of the most vulnerable records in his catalog.
Rema has been the boldest artiste in a long while, and that character trait makes him the ideal candidate to lead Afrobeats as a dominant sound, yet preserved. This wild-eyed moments hint at more complex and ambitious possibilities for Rema as Africa’s biggest exporter and first superstar in years. So far, his dedication to being the Ethan Hunt of Afrobeats has been successful, and with an effective team next to him, every mission will be possible for this force.
