And now for a turn in Nigeria…
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[6.50]
Anthony Easton: Gorgeous, with an interlocked/interlacing tension of sounds that deepens and overlaps, that drumming sound about half way through, the studio craft of electronic abstractions, the sheer smoothness of his vocals. Part of this, of course is the updating of traditional musical forms to contemporary pop aesthetics, but this has been an African trick since the 60s. The same rock and roll records that hit England hit Lagos at the same time. So it feels colonial and racist to say I like this because the hand drums and the electronic production are in concordance, but even though it’s an old trick, it can be done exceptionally well, and I think does that job.
[8]
Brad Shoup: I won’t lie, I’m amazed at Western Africa’s continued devotion to Auto Tune in their pop. It’s propped up many a singer who could be relying on unmediated charisma. And it also serves someone like KCee, scuffing his smooth insistences as he jets past the “Take a Picture” chords. The second of each chord pair chases the first: it’s indicative of the overall sense of lovestruck impatience, and I dig it.
[9]
Patrick St. Michel: I love when artists just embrace AutoTune and run with it, without any hesitation. I’m not sure how much replay value it will have, but for now I love dipping into this.
[7]
Alfred Soto: The vocoderized performance recalls T-Pain and R. Kelly’s fluttery moments, tugging against the mashed two step. Meticulously arranged, sure, if I’m feeling positive, busy when I’m not. Either way, not much of a hook or tune.
[5]
Jonathan Bogart: If I’d come across this in one of my periodic trawls through current Nigerian pop, I would probably have clicked on to the next video before the first chorus was over. Which is more an indictment of my pop interests — women, basically — and attention span than of KCee’s middling azonto-pop ballad skills. Good for him for squeaking out a hit, I guess; but trying to be all things to all people — it’s a dance! it’s a ballad! it’s AutoTuned! it’s authentic! — just means it’s not anything in particular.
[5]
Daniel Montesinos-Donaghy: As the English Autumn rolls in a rainy haze, it’s nice to look longingly out the window and remember the Summer that just passed. Sure, it rained then as well, but it truly felt like the season was upon us. Everything feels brighter, more vital, everyone seems more alive — corny, yes, but as I look from my job’s window into the parade of grey and gruff, I’d rather go with corny. Songs as purely puppydoggish as “Okoso” feel like a time capsule from only a few months ago, where the promise of bloom matched the rocketing libidos. It’s sweet — it surely soundtracked a dalliance or two this season past. Still, you gotta brush yourself off and keep spirits up: Cuffing Season is just around the corner. Put this in rotation and get back to me with results.
[7]
Jessica Doyle: Around 0:23 the mellow synthesizer, the newly introduced drums, and KCee’s voice seem to be running at three different speeds, and it produces a real moment of disorientation. Which doesn’t last long: by 0:33 everything has come together. And then nothing else interesting happens for the following four minutes.
[5]
W.B. Swygart: He won’t stop, cos he can’t stop, cos he literally has no knowledge of the existence of the concept of stopping. I mean, he’s a sweet lad an’ all, and the relentlessness is compelling for a while, but after half an hour of it (fuck off with your lies computer, there is NO WAY this is four-and-a-half minutes) I’m just kind of shattered. Seriously, are the rest of my thirties really gonna feel like this?
[6]