Sex remains the dominant topic on this project, it sounds like she was horny in the course of recording, she is always doing something to one thing, sometimes, she encoded the words.

“Like Dat,” is sensuous, the girly vocals are helmed on repetition with the artistes urging the girl to ride on it, the second verse is more graphically delivered. “Stay,” starts with staggering production, with the underneath drum laying things into proper shape, it is a feel good type of track. Victony becomes the star of the moment on “Psycho,” it is his typical track, he goes in, dismantling the beat to create a loveable track. The toxicity of the relationship seems to drive the adrenaline of the singers.

On “Focus On Me,” she embraces the Dancehall rhythm to score tracks, just like the title suggests,she wants the girl to focus on her: a continuation of the sensuous theme of the project, the track sampled a P-Square classic. 9ice’s “Gongo Aso,” gets sampled on “Your Number,” an R&B inflected tune, surprisingly, this is a clean, cool and fine track from the ariste. She was on a roll. When Darkoo sings “Girl, I gat options but I choose you darlin bae,” on “Option,” it is a way of reasserting her creditability,don't get ahead of yourself, she seems to advise. Rema appeared on the Brick & Lice inspired “Favourite,” like expected, Rema had the upper hand, when his vocals come up, he goes in, adding flavour and suaveness to the track. Davido and Rvssian appeared on the closer “Right Now,” a riveting R&B tune, drenched in sweetness of love.

With $exy Girl $ummer (Vol.1), Darkoo finally had a compact material, while the topics are deliberately restricted, she still exhibited some level of sonic mastery, although the feature artistes sometimes understood the assignment better than her.

Emmanuel Daraloye

The First Class graduate of Obafemi Awolowo University, Ile-Ife released his seven track extended play “Agbalagbi,” on January 22, 2025 under Continued Entertainment. His lyrics arsenal is entrenched in storytelling, mixing Yoruba and English for soft landing, on this EP, he traps, raps, calls on singers for support, and also samples from Opelope Anointing, Baba Suwe and more.

This EP sounds like a message for all the naysayers, typical rapper mantra. On the opener, “Olorunsogo,” the rapper relates an accident he was involved in, Okada hitting a child. Things could have turned the other way, he was grateful for the second chance at life, the back up singer and sounds are haunting, it gives more feeling to the song, a dark one, the song ends with a heartfelt prayer.

“Muri,” is a cliche ghetto story, the false hope, the clamour for financial success with Muri being the muse. In a bid to make it out, he embraced internet fraud after losing huge money to theft. Jamz FR,the feature artiste brings the only glimpse of sunshine to bear on this song yet the dark patch clouds it. Just like the name suggests,Opelope Anointing starts with an interpolation of the song of the same name from Mrs. Dunni Olarewaju, the storytelling continues as the rapper tells a sad story, the constant battle with poverty. Layo Isaac gives Opelope Anointing a funky feeling, same line, different vocals manipulation, this track segue into the next track,a straight less than two minutes sermon on sonic uniqueness.

Bayoo and Mojo AF came up with “Reverse Back,” a tautology title. It is a hard hip-hop, sensuous type of track. The trio paints a bedroom time out with a girl, Mojo found his familiar terrain and he delivered. “Alubarika,” is a hot, brash, confidence fueled track, the wordplay, metaphor are finely delivered. His usage of Yoruba proverbs is cool. It shows his mastery with the language. “Agbalagbi,” built up on the previous track, is so confrontational and classy.

Oluwamillar is in his own world, he sounds like generational talent, with adequate management, he is built for stardom.

Emmanuel Daraloye

The titles of the songs are Afro-Adura themed, even without playing, you are bound to have an idea of what the guy sings about,it is that clear. It is either he is singing about money or calling on God for miracles,typical Nigeria prayers. Choosing the title of No Stress shows the kind of state of mind the artiste he is right now, with the current imbroglio on name usage with fellow rapper and singer Tee Dollar and the success he has achieved so far, this title sounds suitable.

On the last track, he explores R&B to score a point, with support from a shaker and baseline, he confidently tells his lover about his desire for a romantic relationship, the reverb and production makes the song simple and easy to decipher. The opening four tracks are members of the same family: the pursuit of success amidst poverty fueled factors. “Loke Loke,” is similar to most Afro-Adura songs. “Diss and Dart,” is helmed on a hustle to buzzle spirit, the second verse of the song is cleaner and sharper, the infectious energy enlivening the song.

“Ginger,” is a self declarative tune, the background vocals are deafening. On the fourth track, he returned to Amapiano, a victory lap track; the title track follows this pattern of victory and achievement laden mood, it pays huge respect to Highlife. Berri Tiga comes up on the feel good “Dorime,” the only collaboration on this EP, a cool feature at that, Berri Tiga contribution is deliberately understated, it allows T Dollar to shine more.

With No Stress, T Dollar restates his sonic skill. It stops at that. He is all out to make his name known in the saturated music industry.

Emmanuel Daraloye

The opener laid bare to what he has been passing through, he titled it “Story,” his constant “you don't know what I have pass through,” almost become anthemic as he swirl in his storytelling: music comes as a second option with social vices almost derailing him from the journey. The first track is so mild and moderate in production. The EP kicks into life with the Spellz supported “Sebebe,” the percussion driven production gets put into good use as Terry explores an Aluko baseline for his message. It's a party track.

Apala meets Fuji on “Bride Price,” a wedding centered track, with the Gangan drum doing some magic, it reminds one of the beauty of “Apala Disco,” Bella Shmurda and Terry Apala are fine sonic exchanges. Wurld and Wizard Chan find themselves in unfamiliar terrain on “Na You,” yet they made good use of the opportunity with the latter almost taking over the song from Terry.

Terry explores trap on “Methusela,” the production takes a copious input from Western influences, Methusela as used in this context refers to the longevity of his relationship with his supposed lover. “Allow Me,” is more jazzy and up tempo. On this EP, Spellz—Wizkid, Tiwa Savage, produces the majority of the tracks. This particular track is a form of self acclamation. A Shaker, drum and synth lead the way on “ Flex,” a feel good track. He returns to his trademark chants, drum pattern and singing and talking.

Terry is back,he seems to say, for how long remains the question,only time will tell.

Emmanuel Daraloye

In May, he released “Uncle K: Lemon Chase". It is difficult to deduce the correlation between the title and content of the EP. It's just Kizz Daniel being Kizz Daniel, mismatching titles like he always does. It's nothing new.

This EP features Zlatan, Odumodublvck, Bella Shmurda, Fola and others. Only two tracks are solo efforts, the remaining five features support from rappers and singers.

In the opener, he explores playful swagger to celebrate African beauty. Thematically, it tells a story between him and his lover, on the opening verse,he sings “I tell my padi make he come see my babe,he say Orobo lo gbe,” what unfurl later are words of affirmations,a plea for more time to make ends meet. The mixing of this song is awful, it cringes.

Fola, rave of the moment, brings his support on the tuneful “Titi,” similar to the opener, with assurance and reassurance serving as the building block, both artistes were in their feelings. They seem to understand each other as they dig deep into the core message of the song. “Secure,” as used in this context refers to getting enough money to last long, with the artiste advising the listeners to work hard for money, Zlatan, the feature artiste brings some Yoruba freshness and perspective to the song. It's a hilarious song, how do you deliver a sensitive topic like this, you mix it with a bit of comedy.

“Al-Jannah,” is a tribute to the departed souls, Odumodublvck and Bella Shmurda remember their struggles and their loved ones in the great beyond. It's relatable to everyone who has lost someone. Runtown makes a surprising feature with his input on “Peace I Chose,” it a typical terrain for him, he had the upper hand on this song as they both reassure their lover of their dedication and faithfulness. “Eyo,” sounds themed for the club,a jarrying, blazing tune.

Grammy Awards winner, Angelique Kidjo and Johnny Drille join Kizz Daniel on the closer “Police,” a smooth, cool track, with the trio bouncing on each other's energy.

Kizz Daniel understands the importance of legacy, his place in the Afrobeats market, he is aware, on this EP, he shows why he has remained relevant for close to decade, beyond the mixing and mastering of the track, it is still a decent output from the Ogun State born iconic singer.

Emmanuel Daraloye

She marks the year with the release of “Don’t Hold Me Back,” with support from Wurld and Olamide, the artiste restates her artistry, becomes more audacious with her needs, exhibiting her skill, her sensuous, velvety vocals penetrates the ears. One time, she is mouthful about her dishonest boyfriend, another time, she wants some action. While it is a seven track long track, only six serves substance, the opening rarely moves much, it is just a twenty second tune, with the artiste repeating “Freedom,” like Nelson Mandela.

By the time “Whine,” comes up, the EP starts off well, its high bpm track is a club enshrined, with the singer asserting what she wants, it a brash talk. A self proclamation type of track. Hold Me Down as used in this context means some actions. The lyrics are cleanly delivered. Confidence on some levels. The hit track “Skin to Skin,” finds the artiste wearing her naughty garb. It's raw. Skin to Skin is simple and easy to understand. Let's do Daddy and mummy. The BMP return to familiar terrain on Olamide’s supported “Vibes on Vibes,” the artiste knows her way around Yoruba proverbs, she can be deep when she wants, the usage of Yoruba proverbs further enliven the message. Olamide’s feature is deliberately understated, it allows the singer to shine more. The hook reminds one of mid 2010s Baddo.

Wurld, the R&B Lord comes up on “Yes,” it a cool, naughty take on love, the domino effect of it: sex. Wurld takes the song to a new height, he delivers a response to Liya’s opening verse. On “Something,” she sends a letter to her promiscuous boyfriend. Lyrically, she is not bitter, instead, she wants things to return to the status quo. Just like that title states, “Lie,” is a stark take on a dishonest boyfriend.

“Don't Hold Me Back,” is another bold, assertive sonic trip by Liya. An exceptional voyage at that.

On “Long Distance,” the singer rues the absence of his lover, the urge for companion forms the bedrock of this song, the rock inflected production penetrates the soul as the artiste swirls his voice, fluctuating between happiness, sadness and reminisce. He keeps reverting to the song they both shared, while all this is going on, he seems to have embraced the fact that, it is better she strive for a good life outside the country.

A neat, bright guitar starts off “Amazing Grace,” with the artiste gushing about the beauty of his lover, the mixing almost spoils the thrill. The guitar becomes louder, overshadowing the vocals, not even the back up singer could uplift the track. This track takes copious tribute from childhood song, Ebenezer Obey’s Olomi, he taps into these inspirations. “Tinuke Eko,” is a gyrating, moving track, the call and response make it more alluring. The artiste gushes about the lady, who sounds uninterested in him, he seems to be infatuated or just in lust. The mid break at the one minute, thirty second mark slowly eases things in, on the second verse, he tells the listeners about his bad boy antics.

The Mayorkun assisted “Sxum,” explores the then pop culture trend of calling men that name, the artiste tries to correct such assumption, promising the lady good time and more, at the end of the song, he hilarious align with such assertion.

Released in March, this project serves as the only release from the artiste. On “Itan,” he becomes prophetic as he takes things to church, switching it up with her heartfelt lyrics, movingly taking the listeners to another mood. “Pow,” ends the project, it is a sensuous themed track with support from Chase Music crew.

This project is a stark reminder of the potential of Jinmi Abduls. Perhaps, in the future, he will get the much needed attention.

Emmanuel Daraloye

Some audacious moves and announcements were made, a switch in sound, mood, even mannerism. It is just an artiste entering a new sphere of her career. It's nothing new, it only becomes a topic of discussion due to her gender and also the sudden switch. On this EP, we still have the sweet, sensuous GoodGirl LA. She is not scared to sing about her feelings,her intention to buzz it, or snatch your girlfriend, do things unheard to her. That's how brash, cool and lovely she can be.

On the opening track, she reveals where she has been,what has been happening and more. It's a jungle, you know. A confused soul finding her bearing in the murky water of life. I am no longer a good girl, she seems to state. It is a confirmation of whatever you might hear in grapevine. She exhibits traits of confidence on this track. “Buss It,” starts off with finely played guitar strings, it's emotionally driven, a statement of longing for affections from a far away partner. Her cadence aligns with the punchy intermittent string.

“Giga,” is a prophetic talk about the future, its up -tempo, rude and reawakening move from the singer, she speaks her truth, for the unbelievers. The production is highly percussive. “B.O.B,” sounds more like a gospel than a pop, it continues the prophetic template laid on the previous track, the angelic back ups, it a message to herself and anyone who relates with her struggle story. “Gbesoun,” is a club themed track, a good Detty December jam,the naughty side of the singer shines bright. “Back 2 Back,” is a message to naysayers.

This EP reminds the fans about the artiste almost forgotten skill set, it shows that she still has the potential, and with proper harnessment, she might get unfurled one day.

Emmanuel Daraloye

Runtown is talented, this is a belated statement, it is a known fact that he knows his way around sounds, genre blending and more, the problem has always been his consistency and missing in action antics. On this new tape,he shows while he still make head swing. An international Star doing international stuff for generations to come.

“Mood Swings,” details moments with lovers, the constant change in mood, the impacts of weed to calm the moment, switch things up and take things higher and better, “Gbedu For Your body, mind and soul,” he declares. In this context, the artiste sings about introducing his lover to marijuana as a coping mechanism, a way to love him better. Treachery gets bounced here, Runtown sings on “End A Man,”, betrayal gets the maximum punishments, it is a ferocious letter to people who have been, or portent to be dishonest. He is quick to lay claim to his sonic mastery.

“Bebe,” still retains the mild powered production of this EP, on this track, Runtown restates his faithfulness and dedication to his lover, the repetition of “my bebe,” reinforces the message more. “Do Me,” takes copious inspiration from Fela In Versace by AKA and Kiddominant, Olamide’s Motigbana. Lyrically, Runtown sings about his sexual prowess, manly qualities and more. The girls are all out for me, he confesses.

Mr Hudson—Jay Z and Ye associates, come up with the soul music themed “Dangerou Heart,” on the song, they both warn a girl about his sexy prowess, watch before you leap, they counsel. In his verses, Runtown relates stories about how the girl made him feel on their first date. “No Gara For Who Get Pass You,” Runtown caution on the closer “Flow,” he taps into Bigiano’s classy track “Shayo.” It is an up tempo track, one of the few times he veers into that route on this EP.

Runtown exhibits traits of sonic legacy, with more than a decade in the game, proving anything is no longer needed, now, he is building on what he has done.

Emmanuel Daraloye

Thematically, the song is about a guy who wants to have a taste of his friend's girlfriend, while he claimed not to be Ashewo, his antics and way of saying the obvious. Sex masquerading as love.

On this remix pack, more artistes had input, they came prepared for what's at stake as they supply the potential answers, DarkoVibes is brash, cool and brilliant with his fine delivery, Paul Chakal levels things up with his rap lines.

Ricky Tyler and FADI bring a mix of French and English to bear on the second track on this remix pack. The beat is more percussion this time around, with the intermittent guitar serves as the silver lining.

Released in September, this pack just give variety take to a topic, all the artistes brings fresh perspective to the topic, exploring their language, the beat sometimes changes for their voice, allowing them to fully assert themselves, for example , when Ivorian rapper Kikimoteleba, come up, the beat changes , allowing him to swirl the listeners with words.The production entered the techno mode on Titai’s version. The original version which featured Khaid ends the remix pack.

Tariq is just in his world. Unafraid to experiment with sound, style, collaboration comes easy to him, having input from other creatives doesn't sound like an issue. That shows someone who is ready to grow.

Emmanuel Daraloye

“My Life,” the EP opener finds him reflecting on the journey so far, the tribulation, victory, naysayers and more. While he is aware of the ups and downs, he prays for the good things of life.

The use of saxophone, synth gives “Miss You,” an angelic feeling, the production is so punchy and something intruding that you might miss the singer's vocals, it's that penetrating. The R&B enchanted tune finds Henggz reminiscing about his lover, how she makes him feel, the time apart and more.

On “Domitila,” the rapper likens how a girl makes him feel to Domitila—a classy 1996 Nollywood movie. A half enchanting , half hypnotizing prostitute. On this EP, Henggz is big on time, he is extremely time conscious, this strain of thought creeps into his sonic narration. Even when he raps about love, he wears the authoritative garbs.

“Feelings Before 26,” sounds like a project recorded in mild 20s, this is a formative stage where some frivolities dominate the human mind, the quest for to love , and get reciprocated, no wonder, most of the topics are about love, ballad, infatuation. The rapper is in his feelings and he is not scared to show it to the world. The production of this project makes it remarkable, the classy touch, gets punctuated with the rapper’s sonic mastery.

Emmanuel Daraloye

Although, they are not regarded as the pristine example of sonic mastery however, they keep the dancefloor shaking, the tongues wagging, their name doesn't escape X trend, people talk about them, they even liken them to The Migos. Ok. Famous Pluto’s new EP finds him leveraging on support from Shallipopi, Zerrydl and Jeriq.

An artiste like this sounds dismissive due to his brothers yet, he is supposed to stand as a whole, he is not different nevertheless, he stays in his lane, tweaks it a little bit, perhaps with time he will find his sound.

OS, Gbo, Osusu are popular terms, words, expressions used within the ecosystem. On this EP, the artiste sounds like the younger version of his brother, he already harks it. And he is good at it.

For any layman, who doesn't understand the new lingos, a walk through this project introduces you to a lot of them, some are even peculiar to their Edo origin, the terms are loose, sometimes, contextually different.

“Ewo,” kicks off the project, with support from Shallipopi and Zerrydl, a line like “I No Fit Knack Person Woman,” from Famous Pluto, harken to similar strain of thought echoes on “Cast,” “Your girlfriend friend wanna suck my thing (eh)/But no be that kind person I be.” Spousal fidelity seems to be a valuable trait here. Ewo is more of self proclamation from the brothers, they are all out for everyone,we are here, respect us, they seem to sing. “Runs Am,” could have been titled Cana, on this song, Famous Pluto sings about his love for herbs, the rhyming is in alignment with the beat pattern.

“Osusu,” is a term for contribution money. This song is hilarious as Famous Pluto and Jeriq sing about a fraudster who swindles people. The storytelling rarely reveals much, when Jeriq comes up, he deviates from the topic. “Gbese,” inculcate a bit of Benin traditional sound with the production being a blend of Highlife and Dancehall, the writing is finely stated on this track, likewise the back up singer. It is an emotional driven track. The EP ends on a lighter note with “No Scra,” it comically define, while it is funny, some glimpse of honesty are noticeable: the lines are rawly delivered. Typical Uzama boy way.

“Uzama The 3rd,” introduces the artiste, with support from his brothers, he shows what he can do, with time, he needs to be his own man, a lot of work still needs to be done.

He is big on legacy, he understands his place in the UK music industry, he is not scared to tell anyone while he feels he deserves all the food things happening to him. His rap is brash, confrontational, his storytelling quickly harkens to the dark time, he doesn't forget his growing up days, the battle to get money, and more. Skepta's story is similar to the ghetto stories you might have heard.

Victory Lap,the dubstep song, serves as the lead single for this project which is named “Skepat ..Fred,” an extended play, which sounds more like a mixtape. The rapper floats, mixing words, rarely coherent in themes, that's Skepta, one time he raps about a girl who is playing hard to get, the next minutes, he raps about his inability to quit smoking. Too much happens on this project. The first song was almost thirty seconds before it came alive with the rapper announcing his return. “Back 2 Back,” is the pristine example of grime, the violence talk, the clamour for respect, etc. It is a tuneful, punchy track. When you give the poor money,keep the camera, Skepta advises on “London,” an homage to his roots. He is aware of the social issues the city battles with, the ominous piano rarely moves the production.

Who is real, who is fake, is a constant topic in the rapper discography, he seems to have issues with the fake ones, I think it a rapper problem, on “Last1s Left,” he claims to be one of the realest one left, left for what, you might ask, the details are scared on the song. 21 Years refers to the number of years spent in the music industry, Skepta reflects on his time, triumph, defeat and more. It is thoughtful and personal takes on a myriad of topics.

This Project serves as a good appetizer before the next meal, which is set for arrival in the first quarter of 2026. Skepta is on a legacy lap run, is this necessary, or he is just flexing his skillset.

The topics are sparse, the writing is mild, it finds Wande Coal at his most carefree mood. The Afrobeat driven “Old Soldier,” pays homage to Fela Kuti, with Wande restating his legendary status, he is aware of the side talks, disrespect from folks, “I never see anyone on my level,” he quips. He continues the self acclamation trend on the title track with Kel P providing the vocals, he is brash.

The most tuneful part of this EP comes up on “Ejo,” it reveals the distinct Wande Coal: playing around words, rhyming, even when the words don't connect. Wande always knows his way around words. Ejo as used in this context refers to a girl who swirls her body like a reptile. Picture a slim, beautiful lady. It is superb bedroom storytelling, the one you share with the real ones. The distinct sound comes up on the closer “Die For You,” it a Dancehall themed track with a highly percussive production.

A twangy guitar precedes Wande Coal's vocals on “Call Again,” on this song, the singer sings about a confused ex, who comes and goes like NEPA, her inconsistency is a big concern to the artiste as he reveals his predicaments.

Wande Coal and Kel P smartly shows the power of collaboration, they bounce on each other's energy for this sterller project, one that will stand the best of time, perhaps, in future, we might have a full length project.

Thirteen days into June, 2025, he released “Ckay The Second,” a sequel to his 2019 project “Ckay The First,” there has been a lot of changes since he released the 2019 project, which incidentally contain the breakout single, and also open the artiste to new fans.

On this new project, he calls on Bella Shmurda and Sabrina Claudio for support. The topics are the usual, the delivery remains the same, crooning, refraining line, the production is mostly simple. The simplicity of this project doesn't understate the brilliance of the artiste. Love, romance, sex are the dominant topic in this project, Ckay brighten up when he sings about things like this.

The project starts with “tey tey,” it a Pidgin word that means "a long time ago. In this song, Ckay confesses about his love, faithfulness to his lover. “I will never give up on you,” he reassures. When he repeats a word or line, it is difficult to assert if he does it for emphasis's sake or just like repetitive utterances.

“Na you go born my baby,” Ckay sings in “Forever,” a wedding themed song, his devotion to his lover is unmistakenly clear and direct. Slowly, he eases the listeners into his world of infatuation, clandestined as love. On “Permit me,” Ckay calls for consent as he promises to impress his lover. Money is not a problem, taking care of one's love shouldn't be a problem, you know.

The skittering production of “again,” helps Ckays in retelling his battle with love, the divided attention, the groupies problem and more. Sabrina Claudio, the feature artiste speaks from the lady perspective, she doesn't condone it. The guitar strings outro is so beautiful. “say no more,” is coitus themed line, the lines are graphically presented by the artiste. It's a sensuous time out. On the last track, Ckay sings about his inadequacy, the use of herb and alcohol as a coping mechanism, Bella Shmurda, the feature track superbly understood the assignment, grief type track is the always a good avenue to shine for the artiste.

Ckay continues to master his craft, on this project, he digs deep into his soul to ferment some of these tracks, the last track might have just summed up what he has been facing since he embraced global stardom, will things ever get better? Weathering the storm sounds like the most ideal thing to do right now..

When she sings about being free on “Fear,” it is difficult to understand if she is dispatching a letter to an ex or writing an epistle to an old self, the lines are blue. Clearly, the artiste has won the battle, the days of being scared are over, she has conquered. It's a triumphal song. The track that follows is up tempo, blissful, a ray of sunshine,no doubt, she is finally free, as she sings on this track. She has a message for her ex, while she is not cool with the way she was treated, yet, she is glad that dark times are over.

The blissful state of the project continues on “Mama,” an appreciative message to the mothers, the lines are simple, and beautifully delivered. She flexes her vocals on this particular track, she stretches it in such a way you can't ignore the level of emotions devoted to the track. A bright trumpet kicks off “Real Love,” the percussion driven track celebrates romance with the artiste profusely expressing herself. “I fell in love from the start…I want this to last forever”, she sings. The last track “So Much More,” is positively driven, a self worth track. A message of hope to people battling these and more.

Ruby Gyang's advocacy gets distilled into a music, whatever message she passed through these songs have already been typed on via text posts on social media, talked about during a podcast or random interview. As she enters into a new phase in her career, it is thrilling seeing her embrace a new advocacy, something uncommon in the music industry.

Sute Iwar, the artiste largely known for his poetic writing, elevated thought process and genre blending songs , has always been distinct in the music industry, he follows his path, alone sometimes, carves a niche , owns it. More than a decade after he started, nothing has changed, he only gets better with each output. Three weeks into 2025, he sent out a package to the fans, he named it “the Gift.” He doesn't stick to one genre, Dancehall, Soul, R&B and Afrobeats were all touched in the twelve minutes long extended play.

The carefree side of Sute Iwar is shown on this project, the artiste is all out to have fun, make the best time of his life, the blissful side is difficult to be overlooked. Even on the opener “second chances,” he begs for another opportunity, he sings it in an excited manner devoid of seriousness. He is not even solemn, perhaps, he knows he will get a second chance.

Hedonism dominated the drill pattern “Escapism,” the artiste time out in the United Kingdom seeps in, as he embraces Drill even though it doesn't come out well, it sounds forced. It is a party driven track. “myfavourite.mp3,” is a guitar uplifted track, with the artiste revealing how he feels about his lover, the words are quick, it perfectly pairs the mild guitar strings. The emotions are difficult to ignore as he reels out his misgiving about the relationship , yet, he wants the relationship to go on.

The place of guitar strings, pattern is prominent on this EP, guitar seems to set the tone for the tracks, on the Lagbaja inspired “settle,” the artiste aligns with his lover. She loves him, and he is not scared to reciprocate the gesture. It's a simple song.

Sute Iwar ends the EP on a self declarative tone with “original,” it reinforces his strength, value and strength. It has an Hip-hop feel. Sute Iwar is different, he is a leader in his lane, a good one at that, this EP espounces such thought.

A year after the release of his debut, Minz, the Nigerian artists who goes by government name Damilola Aminu, continues to step higher, elevating his art, courting attention from more fans. In July, he released the 444Play EP. It is an attention courting title, it finds the artists running through genre, mood, topic and pattern to score up a fantastic sonic time out.

The outset track “Agenda,” is driven by a Dancehall drum, synth, baseline and shaker, with the artiste crooning his vocals, “forget agenda,” he sings, he is not shy to tell the lady what he wants, he is in charge of the scenario. On the second verse of this song, he tells her what she stands to gain, the typical Casanova way. An intermittent shaker punctuate the production of “TA NA,” the artiste sings in Pidgin, using words to swirl the lady to his side, by the mid section of the song, a Yoruba talking drum comes, it disrupts the follow, later, Omele comes in, it becomes beautiful as the production takes a new route. The producer seems to be having a good time here.

Rave of the moment, Jeriq, lends input on “i2Sabi,” a self proclamation, the two artistes bask in their euphoria, two of the finest new school artistes, they claim. The importance of legacy drives this song.

Mozambique DJ and Audio Engineer, DJ Tarico, provides the base for the closer track “4x4,” the Amapiano track is tailored for the dance floor. The last one minute of the song exhibits the production acumen as the best plays on.

Minz already crowned himself as your favourite artiste, favourite artiste, that's a huge brag, that comes with some responsibilities, he continues to walk the talk, perhaps with time, a claim like this will get a resounding approval, for now, he is close.

A year after the release of his debut, Minz, the Nigerian artists who goes by government name Damilola Aminu, continues to step higher, elevating his art, courting attention from more fans. In July, he released the 444Play EP. It is an attention courting title, it finds the artists running through genre, mood, topic and pattern to score up a fantastic sonic time out.

The outset track “Agenda,” is driven by a Dancehall drum, synth, baseline and shaker, with the artiste crooning his vocals, “forget agenda,” he sings, he is not shy to tell the lady what he wants, he is in charge of the scenario. On the second verse of this song, he tells her what she stands to gain, the typical Casanova way. An intermittent shaker punctuate the production of “TA NA,” the artiste sings in Pidgin, using words to swirl the lady to his side, by the mid section of the song, a Yoruba talking drum comes, it disrupts the follow, later, Omele comes in, it becomes beautiful as the production takes a new route. The producer seems to be having a good time here.

Rave of the moment, Jeriq, lends input on “i2Sabi,” a self proclamation, the two artistes bask in their euphoria, two of the finest new school artistes, they claim. The importance of legacy drives this song.

Mozambique DJ and Audio Engineer, DJ Tarico, provides the base for the closer track “4x4,” the Amapiano track is tailored for the dance floor. The last one minute of the song exhibits the production acumen as the best plays on.

Minz already crowned himself as your favourite artiste, favourite artiste, that's a huge brag, that comes with some responsibilities, he continues to walk the talk, perhaps with time, a claim like this will get a resounding approval, for now, he is close.

Bayanni latched on pop culture trend for “Princess Treatment,” a term used by female as a form of self proclamation, the innate feeling of deserving the good things of life, on this track, Bayanni wears the preacher garbs, sermonizing to the girl, revealing some of her forgotten trait. He is quick, cool and brilliant with the delivery, the mild track accentuates the conversation as he goes into his feeling, humming, repeating words for emphasis sake.

The guitar remains the guiding touch for this EP, the skillful display alerts the listeners to the beauty of the singer, on the second track, Bayanni goes into his Dancehall mood, Ruger, one of the touch bearers for Dancehall in Nigeria, serves as the superb collaborator. Sex, masquerading as love serves as the topic.

Don Jazzy, the veteran producer and label boss had words for some folks on “Hustler’s Anthem,” they both veer off from love or sex, ditching lessons for people who are striving to make ends meet, Don Jazzy’s verse is in tandem with the hopeful message of Bayanni.

Zerrydl, the younger brother of Shallipopi comes through on the last track,“For Where,?” A self proclamation track.

Bayanni continues to show that it gets better with time, his thoughtful process has become sharper, the clarity of purpose sets in as he continues to take his career to the next level.