free webpage hit counter

Burna Boy Promotes Afro-Fusion with ‘Love, Damini’: Album Review

Burna Boy Promotes Afro-Fusion with ‘Love, Damini’: Album Review

If the intersection between glowing afrobeat and immensely soulful hip hop – the relaxing sensuality of Afro-Fusion – needs a patron saint, Burna Boy is the man for canonization. Between the gently flowing machismo of his patois-heavy voice and his ornate afro-ethnographic melody, he can be an Al Green for Gen Alpha – a man whose musky sensuality, emotional and local tastes are the key to his commanding presence. And although he has been around for 10 years, with “African Giant” and “Twice as Tall” being nominated for Best World Music Album at the Grammy Awards (making him the first Nigerian with back-to-back noms), this week’s “Love, Damini” which represents Burna Boy’s most available work (all with an Ed Sheeran duet screams ridiculous available) without losing touch with the soul and the struggle for Nigerian heritage.

The 2 billion streamed single “Last Last” is a great place to start discussing the heart of Afro-Fusion and “Love, Damini”. Everything about the track, from the introductory song and the cool, infectious sample of Toni Braxton’s “He Wasn’t Man Enough” to the fluttering guitar line, bathes Burna’s story of manipulating love and the mistakes of adulthood in a strange, alluring amniotic fluid. While you can co-credit the producer Chopstix (the man behind Burna Boys’ hit “Outside”) for the strong mix of warm liquidity and spaciousness on “Last Last” and “Kilometers”, much of “Love, Damini” is a Burna written and produced effort .

The clicky “Science” with its softly ironed guitars and Studio One-toned brass, the smoldering, Sade-like “Whiskey”, the galloping play of “It’s Plenty”: the diversity and flair for the dramatic that producer Burna Boy shows here is perhaps not as dizzying as a Lee Perry or Legendury Beatz (the team behind other Nigerian vocalist Wizkids hits), but when applied to his short, lavish melodies, the fit is tailored and tightly exceptional. That may be one of Burna Boy’s secrets: keep to yourself, keep the magic moving fast (19 tracks in 60 minutes), and let the tricks stay behind the curtain.

See also  We tried Hailey Bieber's beauty line

When he chooses collaboration, as Burna does with Lady Blacksmith Mambazo’s effortlessly gorgeous chorus on “Glory”, and the album’s title track, there is a deep, loving focus on the partner’s voice. This is not always the case with most functions, where it is enough to have the name attached. It’s almost as if Burna Boy listens intensely during the conversations with Momodou Jallow, the British grime rapper known as J Hus, who gets the majority of the excited “Cloak & Daggers”, as he does with the post-reggaeton icon J Balvin on it appropriate title «Rollercoaster». Each of his sparring partners holds an aggressive hand, but it never overwhelms Burna.

When another boyfriend, Ed Sheeran, arrives to play the pillow-like “For My Hand”, Burna opens the door just enough for the British crooner to release his concise verse and some beautiful harmonies before making the moody track his own again. . Remember I used the word “machismo” at the top? There is a solid male competitiveness here, on “Love, Damini”, which never blows or beats itself to insane praise. Everything on Burna Boy’s new album is never too hot or too cold. It is absolutely right.

Sometimes such symmetry and comfort is overbearing and a little too perfect. The dream pairing of Burna and Khalid on “Wild Dreams” never achieves the steam it should have. The honestly liquid “Jagele” is a little too watery. And the wordy socio-critique of “Common Person” only drifts into the overly oxygen-rich ether in Burna’s mix. Mistakes like these – especially on an album with almost 20 songs – mean little when the main character has made another vocal and lyrically gripping, not to mention something immersive, go into the future of Afro-Fusion with “Love, Damini. ”

You may also like...

Leave a Reply

Your email address will not be published.