Since his forceful breakthrough into mainstream media both domestically and globally, one common factor in Divine’s music or artistry is his dynamism and versatility. He simply cannot stay static, the sound must evolve, it must change and well the aesthetics must move with the sound.
The teen star with cornrows and trap aesthetics that had fans shouting “Dumebi don go carry belle” found global stardom come quicker than most of his peers and seniors in the industry with the release of his debut album “Rave and Roses”. With the deluxe of this debut album we were introduced to more evolved sounds with songs like ‘Addicted’ showcasing more of the artists range as well as securing his spot in Afrobeats history by becoming the first African act to gather a billion streams on Spotify.
Truth be told, many artists or some artists if they ever reached such heights would continue to stick with the sound that has brought them thus far, ‘the winning formula’ but that has never been Rema’s style. A few months later, visualizers and snippets of new Ream music makes it way to the audience. New Music, New Rema, New persona. The red visuals, the bats, the Bini Goth symbols. Fans were in for a ride and were introduced to “Ravage”, the five track EP that showcased more sounds of Divine.
In a professional career of just five years or so, Rema has traversed the vast genre pool of music, constantly building up and tearing down his sound, always evolving, He cannot be kept in the box. His successes and artistry has seen him become a blueprint for many artists as well as a large inspiration to the new gen. And HEIS continues on that path.
The artist’s run to the sophomore album was marked by a change in his artistic direction and personae as a whole. More leather clothing, more customized jewelry and most notable of all was the artist new found love for puffing a smoke. Many dubbed him ‘Benin Playboi Carti’ for laughs but it’s clear the artist was on his own path, another era in his constantly evolving career. And like the true artist Rema is, he knew that a new era must be characterized by a personae to match. The music reflects the artist look and vice versa. He had fully embodied the look and character of the egomaniac Rave Lord and fans and critiques were expectant.
“HEIS” is an arrogant but fact based declaration by the superstar who although young is already tattooing his name on the anatomy of Nigerian music and soon enough the world. The intro makes this clear, he sings in the hook “raise am, raise am…” He’s raising the bar as well as our blood pressure. The song is full with more bold statements of his recent successes, performance fees and the superstar status he has already achieved at his age, no small feat by the way. The intro is perfect for setting the theme and pace of the album. A namger that is sure to get the crowd stomping the ground.
The transition to “Azaman” is reminiscent of his debut album, where the intro smoothly transits the secong song. Intentional nonetheless by the artist and producers involves. In Azaman, Rema just wants it none that his interested in money, he wants to find money and not just any kind, he goes on to rain praises on Nigerians who have made such money, including his label boss Don Jazzy.
The reoccurring theme of money, braggadocio statements and his feats fills the 11 track album. Rema makes do on his vow to have Afrobeat bangers back in club and getting people dancing. He wanted to bury the Amapiano pandemic that had overtaken the country. (not my words and probably not his words too). But truth be told, artists had seen the remarkable success of amapiano in Africa and globally and intentionally or not it had become to go to in producing a chart topper. Everybody wanted to dance. And albeit the amapiano craze brought about some of the most beautiful songs, it also became the norm, the formula, the safer option, and the every evolving Rema could not have it.
Songs like “Ozeba” and “Hehehe” that force your body to move to the beat, lines that stay stuck in your head as you continue about your day, chants that come out of your mouths at random. I learnt the hard way when I started chanting ‘OZEBA OZEBA OZEBA’ in my legal research class. The tracks that are very similar to rage sounds of artists like Carti and Travis would always get the crowd jumping as fast paced loud beats are mixed with divine flows, everybody loves a chant.
Speaking of chants, on the track “Heis” Rema employs the use of the lovely Swahili language on his chorus. The vocalists chant in their language, an ode to Rema, which also serves as a challenger to others. Like a seasoned warrior whose back has never touched the floor, Rema boats goes on. “Afrobeats prince, emi ni Simba”, "I'm the future," una no believe, oya, how e be now?/When I talk, "Another banger," you better believe am” and like the praise givers and drummers that inspire the rhythm of the artists they also involve in the boast offering up odes “who’s the baddest/who is hot/who is the champion?” A beautiful song and chant to get one in the warrior mood, his ancestors would be proud.
The album featured just two artists, with fellow Benin boy Shallipopi becoming Rema’s first Nigerian feature. The two stars came together to stan their Benin heritage on “Benin Boys”, highlighting their wealth and renown of their tribe. The second feature was known other than the enigma that is Odumodoblack. Big Kala and Rema combined on the track “War Machine” with production from London and Alex Lustig.
Rema’s versatility showed once again on “Yayo”. The track a production pattern notable favored by Magicstixx, the use of log drums and fuji inspired showed us that there might be no limit to this artist range. On “Egungun” which means a masquerade in Yoruba culture, Rema makes references to money covering his face, similar to how masquerades are often covered head to toe with rafia. The song delivered in a fast paced rave beat where the star continues to rant, he’s still about making money, the many girls with “Ikebe” and how he never sleeps, he is the mystical “egungun”.
The production on the album was of the very highest order. A testament to the ears of everyone involved in the project. The 11 track album had producers from around the world contributing. Most notably London, P.Prime, Daytrip, Alex Lustig, Cubeats and so many others. The influence of ambient and hip-hop producers like Lustig and Daytrip showcased in the album. And the new budding partnership of Rema and Prime that was debuted in the “Ravage”EP came into full effect on “HEIS”
The penultimate track, “Villain” samples the pianos on Lana del Ray’s “A&W”. The artist has often pronounced his taste for Lana’s working m, saying it is what he plays when the boys are gone. On the track it is almost as if he has chosen to be the bad guy. He sings that he has always being doing this differently but it’s now they are copying him. He does not mind though, he has accepted that others come to him to learn.
On the last track “Now I Know” Rema sings, he sings of childhood trauma, he sings of drug overdose, he signs about the ungrateful people he has met, and he sings for the loved he who have turned on him. After reaching the peak, he’s now aware of the people who have his back. The outro is splendid, like the beautiful soundtrack to a coming of age film, the pain that was being covered by braggadocio statements and extreme wealth and superstar status is laid bare in the last track. Daytrip’s production a perfect companion for Rema’s voice.
In 27 minutes and God knows I needed more, Rema proclaims HEIS, and ironically it has been his username on socials since the start of his career. He wants fans and twitter critiques to know that in his own right he is already among the ‘big three’ as he boastfully rants, “no more big three, there’s now a big four”. Basically he has said I’ve taken the next step, you all can follow, but don’t forget it is all for Afrobeats.
“HEIS” is for the wild ones, for the mosh pit lovers, the leg work warriors. We that cannot be kept in the box. “HEIS” is for the Ravers! And who better to lead us into the Rave era than the Rave Lord Himself.