On his second studio album, ”Sakamanje”, Seriki turns a ‘hot song’ into a ‘hot album’ built on his love for the streets.
Four years after his debut album, Seriki returns as one who has mastered life on the streets with his sophomore project, ”Sakamanje.”
‘Sakamanje’ was released as a single late in 2017 featuring Reminisce and following its viral spread, there is little surprise that it inevitably transcended into becoming the album title, and befittingly so, even if there is no clear meaning to the word.
Seriki released his debut album, ”Seriki’s Diary” in 2014 and the indigenous rapper sticks to a similar template on his follow-up project.
But while his debut effort provided a record of events that have occurred in his life including his fears and expectations, ”Sakamanje” is more of a vibe, with increased number of groovy songs and brighter themes.
One thing Seriki is often criticised for is his one-dimensional flow and from the opening track, ‘Angel’ featuring Sojay, one can sense that he is making an attempt to at least dispel that narrative.
Sojay’s voice is indeed angelic and provides Seriki with a perfect way to kick things off as his verse introspectively admits to his industry mistakes, sharing his life lessons and how he has survived on the streets.
”Awon stupid risk kan wa ti moti take, Mo bu Ruggedman was a mistake, inu mi dun pe emi ati opomulero relate.” [There are stupid risks I have taken/ dissing Ruggedman was a mistake/ I’m happy me and the strong pillar now relate], he rhymes in reference to his 2010 diss song, ‘Talk I’m listening.’
This album is built on a number of pillars; love, boastful lyrics, matured music and hustle. And even though his strength lies mostly in the latter, he puts up a fairly decent showing overall.
‘Hot Pot’ is one that is engaging enough to make for repeated listens. With ‘Chris Brown’, the idea is understandable but he fails to navigate the intricacies of a record of this type quite well.
Seriki is quite famed for his collaborations with other ‘Ibile’ artists and rappers like Reminisce on ‘Sakamanje’, Oladips on ‘Emi’ and 9ice on the very forgettable ‘Gogo’ all add their presence to the tape.
‘Other Mc’ again points to what he can offer lyrically over a flipped beat. ‘I No Do’ with Oritsefemi is another worthy moment on the tape.
The comely record ‘Jagunlabi’ opens with Terry Apala‘s rousing voice as he lays a hook that will fit into any gangster Nollywood flick while Vector brings his wavy flow and infuses the catchy Trap switch. On ‘Emi’ with Oladips, he goes bar for bar with his guest impressively as they attack their supposed ‘imposters.’
The album’s appeal lies heavily in its groove beats, Seriki’s comical one-liners, gritty bars and street slang.
”Sakamanje” shows a clear result of Seriki’s growth and dedication to improve his skill since his last effort. The variation to his sound, his attempt at singing on few of the songs even though it fails more often than it works is commendable helping the rapper to survive the ‘Sophomore Jinx.’
But in his at-times tedious flow, limited topics and not pushing himself forward lyrically, the almost hour-long experience lumbers and primarily makes the album lack a punch, functioning just as ‘another’ body of work and nothing close to that ‘stand out’ project his career seeks.
3-Worth Checking Out