Rema pushes boundaries in “HEIS” but struggles with cohesion

Fondly described as “the prince of Afrobeats,” Rema has gained acclaim for his unique style, vibrant energy and almost solo hits in the last five years.

At 24, this rising star has quickly ascended beyond the walls of the Afrobeats industry.

His latest album, “HEIS,” builds on the success of his debut album, “Rave & Roses,” which featured the global hit “Calm Down” with Selena Gomez.

Following his 2024 single “Hehehe,” the album comprises 11 tracks, each less than 3 minutes, totaling 27 and 38 seconds.

Born Divine Okubo, Rema has often blended Afrobeats with other genres and pioneered the Afrorave subgenre.

The album’s lyric visualiser for tracks like “Ozeba,” “Hehehe,” and “March Am” is out, with others in lyric video format.

Before the album’s release, the promotion began with a gothic-style “HEIS” logo reminiscent of Batman’s bat signal, hinting at a blend of gothic, rock, and Afrobeats.

This album title has been his username for a long time.

At the album’s listening party, Rema surprisingly shared that “HEIS” derives from the Greek word “εἷς”, meaning “number one,” symbolising unity and singularity. Rema stated, “‘HEIS’ has been my name since 2019, a Greek word meaning number one.”

“HEIS” could also be signified as supremacy, authority, and the most popular.

Rema’s sophomore album, “HEIS,” is a whirlwind 28-minute journey through Afrobeats, showcasing his signature sound while exploring new territories.

Production analysis

Throughout the album, Rema showcases his willingness to experiment with different sounds and styles. This is evident in the production fusion of Afrobeats with other genres.

Compared to his previous album and conventional release, in “HEIS,” he uses unconventional elements like orchestral strings and synth-heavy beats.

The production team includes Producer Yo X, P.Prime, London, Alex Lustig, Altims, CuBeatz, Deats, Klimperboy, Rema, and Take a Daytrip.

The album’s writers include Oredope Peace, Timothy Aluku, Alex Lustig, Altims, and Jack Antonoff.

The record is under Jonzing World and Mavin Records.

The producers behind “HEIS” have done an impressive job blending genres like Afrobeats, trap, and R&B, pushing creative boundaries and highlighting Rema’s versatility as an artist. They fused these sounds seamlessly, creating a unique and engaging musical landscape.

However, Rema’s desire for unconventional beats and experimental styles influenced the album’s direction. While this ambition is commendable, it has resulted in a lack of cohesion. The album’s diverse sounds felt disjointed, making following a consistent musical narrative challenging.

On the positive side, the album’s production evokes energy and creates body movement and depth. However, the tracks produced only have upbeat energy.

Track analysis

At first teasers and listen, in my mind, I had to ask, ‘What is Rema up to?’ Every next play feels danceable, almost like he wasn’t a preacher of love this time and just wanted to come hard.

The album is marked by continuous experimentation, staying true to pure Afrobeats and “Afrorave.” Rema tries to tell a cohesive story—a victory lap, a story of self-actualisation. Throughout the project, Rema declares, as a fully grown-up man, “I have done it. This is my place in the game.”

The “HEIS” album continues Rema’s exploration of darker themes from his 2023 EP “Ravage.”

The album starts with “March Am,” an energetic anthem that sets the tone for the rest of the project. The track is infused with orchestral strings, thumping drums, and even the sound of a car’s revving engine, showcasing Rema’s experimental approach.

Despite the powerful introduction, the repetitive barking sounds and the prolonged repetition of phrases may seem overdone to some listeners. The track introduces a new style tailored for Gen Z but might feel overstimulating due to its relentless pace.

“Azaman” blends classic and modern elements, creating an unexpected yet captivating soundscape. The track is a praise song where Rema hails influential figures, including Don Jazzy and politicians. This inclusion of politicians can be polarising, as it raises questions about the sensitivity of musicians praising controversial public figures. The track’s title, derived from Edo slang for a rich spender, underlines its theme of wealth and affluence.

“Hehehe” stands out with its unique sound, which isn’t quite Amapiano but something fresh and different. Rema embraces Western influences while maintaining a distinct African essence. The track is a jab at his haters, where he proclaims his resilience and success.

While he says he’s not going to take it easy on his haters, he references for the first time the trademark line of controversial preacher Udumeje: “I’m not gonna take it easy with my haters, I’m gonna use my Abido shaker,” which means more extraordinary powers, as the preacher says. This usage highlights Rema’s creativity and willingness to break away from conventional Afrobeats norms.

Oredope Peace and Timothy Aluku’s “Yayo” is a collaborative masterpiece that blends seamlessly with Rema’s style. The track is well executed, with a strong production and chorus, though it feels similar to the previous track.

Rema’s delivery is on point, but it doesn’t offer much novelty compared to his previous works.

The title track, “HEIS,” reiterates Rema’s claim to greatness and authority in the music industry. “Ni nani hatari, ni nani mnoma sana? Ni Wewe,” the Swalihi chorus sings finely, describing him as “The One.” “Who is Badder, who is on top, who is uplifting? ……it’s you.”

While the chorus and female vocals are well executed, the track lacks the originality expected from Rema, given his exposure and stage experience. It feels like a continuation of “Yayo,” with similar themes and soundscapes.

“Ozeba,” which has Nigerian Edo roots meaning “problem (Wahala in this context), is a nostalgic nod to the 2010s Afrobeats, with a playful verse and a barking style that’s puzzling yet intriguing.

It sounds like Wizkid’s “Italawa” inspired it, which makes it familiar to long-time Afrobeats fans.

“Villain” is a standout track that samples Lana Del Rey’s “A&W,” seamlessly blending Afrobeats with Western influences. On this track, he tells ladies to “shake it” and describes Tiwa Savage as a “fine girl.”

Rema uses “Now I Know” to ride on a different theme. It is a more introspective track where he reflects on his childhood and personal growth. It provides a brief respite from the album’s high energy, offering a meaningful and relatable narrative.

The intro sounds like a fine play on the “Money Heist” signature tune, but with an added beat. Despite its depth, the album feels mid-tier, lacking the growth and innovation expected from Rema.

Collaboration

Rema seemed to skip several artistes in HEIS compared to his “Rave and Roses,” which featured Chris Brown, 6Black, Selena Gomez, and AJ Tracey.

This time, he decided to come in handy with Nigerian singers Odumodublack and Shalipopi on his pre-release track.

“Benin Boys,” featuring Shallipopi, is a tribute to Rema’s hometown. The track promotes Benin culture and pride, reinforcing Rema’s connection to his roots. This is special because of Rema’s connection to Benin. The song blends traditional African sounds with contemporary Afrobeats, incorporating local instruments and rhythms. Rema’s melodic approach complements Shallipopi’s rhythmic flow, creating a sense of pride and celebration.

“War Machine,” featuring ODUMODUBLVCK, is a high-energy track with a powerful verse from the Abuja rapper. It highlights Rema’s ability to collaborate and bring out the best in his features.

The track features heavy beats, intense rhythms, and dynamic percussion. Rema’s melodic assertiveness contrasts with ODUMODUBLVCK’s gritty flow, resulting in a high-energy collaboration that showcases both artists’ dominance and confidence in the music industry.

Themes

Rema’s album “HEIS” explores several key themes, reflecting his journey and mindset as an artist. These themes collectively paint a picture of an artist who is confident, ambitious, and deeply connected to his cultural roots while also pushing the boundaries of his musical expression.

Self-actualisation and supremacy

The title “HEIS,” meaning supremacy and authority, sets the tone for the album, emphasising Rema’s assertion of his place in the music industry. Songs like “March Am” and “Heis” highlight his achievements and confidence in his abilities. Rema emphasises his journey to success, resilience in the face of challenges, and the rewards of hard work with “March Am.”

“Heis” track chorus, which was in Swahili, praises him as the one on top, the toughest and the greatest.

Cultural pride and heritage

Rema delves into his roots, particularly in tracks like “Benin Boys,” where he celebrates his Benin heritage alongside fellow artist Shallipopi. He amplifies the Edo hometown pride and brotherhood. He also musically explains the bond among his peers from Benin. With lyrics like,

“We are the pride of Benin; Oba is supposed to give us a medal. Touch Benin, boy; you don touch the full nation. Touchdown Benin boys (Ki-), gen-gen-gen (Eh)

Money yapa, money repete, Remy Ekehuan road, Shalli sapele.”

The incorporation of local languages and cultural references reinforces this theme.

Defiance and resilience

Rema’s lyrics often convey a sense of defiance against critics and haters, as seen in tracks like “Hehehe.”

In “Ozeba,” Rema uses words like “What is the matter? I go prove to them say somebody badder, wicked, eh (Eh?), I go do my best to make all of una vex, I don commit for my set. I don intercept; I don put the game for reset, Shey, you wan gatekeep who sabi jump fence, eh? I am a father figure; I am H-I-M.”

This theme shows his resilience, determination to maintain his unique identity, and soundness in adversity.

Materialism and wealth

The theme of materialism is prominent in songs like “Azaman,” where Rema praises wealthy individuals and highlights the importance of financial success. In lyrics, references like “Dangote na baba, Elumelu, Otedola, Bayo Ogunlesi na baba. Governor Obaseki, Uku Apolokpolo na baba.

“Eh, Don Jazyy na baba. Many men dey wey gallant. Call aza-man.”

This track focuses on pursuing wealth, boasting about achievements, and the recognition that comes with success.

Songs like “Yayo” also have lyrics like, “Early morning, I dey bomb, money dey for my account.”

Introspection

While much of the album is high-energy and assertive, there are moments of introspection, such as in “Now I Know,” where Rema reflects on his childhood and personal growth. This adds depth to the album, balancing the more aggressive tracks.

In “Villian,” he says, “I dey hustle since people dey laugh at me. The way I dey run my things, I do it differently, now dem dey copy me. He also says, “Once a superhero, I am now the villain.

Critical Flaws

The album lacks lyrical depth and complexity, often focusing more on repetitive themes. This departs from the more substantive storytelling that some fans may expect from him.

The production had similarities across the album. While polished, it can be described as somewhat homogeneous. Some tracks blended into each other without distinct variations, which can make the album feel monotonous.

Experimental risks

In an attempt to break the bars of your musical style, it’s often risky for an artist to try fresh sounds all through an album and not a single.

While Rema is known for blending different genres, some tracks on “HEIS” might be too experimental for particular listeners. This led to a mixed reception, as not all of his experiments resonated well with the audience.

Rema’s heavy reliance on hooks and choruses in some tracks was a weakness, potentially overshadowing the verses and reducing the overall lyrical impact.

Wavy messaging

Inconsistency was evident in the album’s theme and execution. Rema pictures himself as number one in his message, but while individual tracks might stand out, the album can feel disjointed. While some tracks emphasise supremacy and being at the top, others focus on typical Afropop topics like partying and wealth.

The album does not have a straightforward, cohesive narrative that ties all the tracks together under the theme of being number one. This can make it difficult for listeners to grasp a unified direction or message from start to finish.

Production homogeneity

While rich in high quality and energy, the production across the album lacks variety, which could have been used to highlight different aspects of Rema’s supremacy and versatility as an artist. The similar soundscape might make the thematic elements feel less distinct.

Missed Opportunities for Deeper Exploration:

There are opportunities within the album where Rema could have delved deeper into what makes him supreme or number one in the industry, such as exploring his journey, challenges, and unique qualities more thoroughly.

READ ALSO: Rema gets $3 million to perform ‘Calm Down’ at Anant Ambani’s wedding

Verdict

More than just his regular style of music, Rema’s sophomore album, “HEIS,” boldly explores new musical territories, blending Afrobeats with elements of trap and R&B. The singer dominantly integrates traditional and local African sounds into modern beats.

However, while “HEIS” demonstrates Rema’s ambition and experimental spirit, it falls short of cementing his place with this style at the forefront of the music industry. The album needs cohesive storytelling and lyrical depth, with some tracks feeling repetitive and disjointed. Despite its standout moments, the album’s thematic inconsistency and production similarities prevent it from achieving its full potential.

Rema’s “HEIS” album is rated 4/10.