“There is a lot more to do, I’ll not let that all these achievements get into my head”.
BMH on his journey as a producer.
Music producers are said to be the life and heart to music records. What could be the reason for their role being so much similar to an important life organ? It is no other than the fact that they are the ones who lay the foundation for all musical records created or simply put, the artists need producers to bring to life their expressions.
Most times, in the process of recording music, it starts with the producers playing series of ready made beats before the artists then jump on them, or in a case where the lyrics has been composed, a tailored production choice has to be made to suit the composed writing. Either way, they need producers to bring it to life as well.
Regularly, this writer visits Apple Music’s Behind The Boards playlists which comprises of a producer’s essential tracks or put it simply the tracks where producer had a great performance. Visiting that catalogue produces an overwhelming feeling which leads to appreciation for the said producer, because you can literally feel how much contributions they must have made in different songs plus how wide their range is and their capabilities.
BMH, with the signature “Burstmyhead!” is a fast rising Nigerian music producer. Born Bolatito Obisanya, BMH’s childhood in the Ketu axis of Lagos opened him to a lot of possibilities as he was surrounded by music from all angles. His personal love for music also helped him build himself for what is to come and what he is today.
We met with the creative and discussed in details about his journey in music production, he had so much insight to share with us. What comes next is how it unfolded, dig in.
“Talking about my most memorable moment, there are a lot. Recently, it will be when I got my first plaque and certification with Ckay’s Emiliana. It’s high on my list actually, because it was at that moment it became really clear without doubt that what I was doing has started to pay off“, BMH reveals with delight as he tells me about this interesting milestone and its significance to him. It did not come so easy for the Lagos-based producer, who has played a major role in carving out and shapen the sonic formular of a handful of artists, while also contributing hugely to some hit songs out of the country and beyond the shores of the continent this decade.
In a quick-fire sequence, I asked him almost immediately about what it means to him to be a producer that helps artist chart their sonic formular, he responded ” It’s a blessing honestly. It brings me joy whenever we make it happen” with smiles all over. At that point, he really just lost words but he could help himself out with that short response which was fortunately enough to carry him through. We were in the middle of the session already, but having revealed to me how his roots as a producer came about, it became clear why he was so free-spirited and in a ecstatic mood as we chatted.
“Emiliana” might have given him his first plaque, or maybe some form of physical reward for his sweats behind the boards, but looking far back to as 2019, it was on Ckay’s “dtf” he made his debut. “I remember that moment fondly. Someone close to me had ties with Ckay, so when he called, we were in the studio just trying to make things happen. We were not aware something big was coming, we were just doing our normal routine, then he asked if we can send him beats, I sent him the one he used for “dtf” initially. So, when he got it, he liked it and asked me to come over so we could make the recording together. I was so elated, went over and we completed everything“. It was from that moment the foundation for Ckay’s “Emo Afrobeats” campaign began, which also enhanced the pair’s blossoming relationship. To be candid, while Ckay’s “Ckay the First” EP was his first body of work, it was only “dtf” and “love nwantinti” that really showcased his vision of tapping into Afrobeats music driven by emotions, while others were aimed at his mainstream tendencies. So, when the project hit the stratosphere of global recognition some two years since its release, Ckay was considerably established with his sonic template not strange to listeners, it came as no surprise when “dtf” gained much recognition in that period than other tracks off the project. Call it an “unsung hero” or “hidden gem”, BMH is on top of the world as a producer of the track.
It is noteworthy that, Ckay sometimes handles some of his production works as evidenced on his hit single “Way” in 2019 and “oliver kahn” on his debut project. He also co-produced “love nwantinti” with Tempoe. In fact, there was a period when he produced some songs for artists under the Chocolate City roster during his contractual years with them. So it definitely requires some level technical know-how and awareness to details to help chart an artist-producer’s sonic adventure, BMH doing that on first try says a lot of his capabilities. That link-up did prove exponentially valuable as it produced some quality songs like “Felony” and “Kiss Me Like You Miss Me” on Ckay’s “Boyfriend” EP, “Nwayi” on “Sad Romance“, with an intra continental bop in “Comforter” by El Grande Toto and Ayra Starr.
BMH could not have envisaged he had already made an heavy future investment even from his first delve. Looking back, he said “I remember the beginning. I was surrounded by music growing up. From following my mom to her choir rehearsals and hearing how they break down songs to my own love for music. It all feels interconnected, like I’m discovering myself in shades. As time went on, I figured out I could rap, not like rap per se, but I could join meaningful words together and flow on beats“. I was as surprised as you are right now that I didn’t know when I interrupted him “Rap?“, he affirmed “Yes, rap“. He continued “Initially, I started out as a rapper, infact, I discovered production while I was trying to make beats that I could rap on. There was this guy who showed me the software for making music and also production. I was so happy at that moment, at least I can finally begin with something. I left that for a while until I finished high school, so in my gap year within school and university, I got bored and it was the only thing I could resort to during that period. I made so many leaps back then.”.
In a time where he could have decided to double down as an hybrid artist-producer combo like we have many who have done so amongst this current generation of artists, his decision to stick with production would not be well understood if we don’t consider his view. Speaking on the subject matter, BMH reveals that ” I got the hype, I was encouraged to actually be a producer because I was creating some great stuff, and also to me it made sense to just shed it off since it was not well sharpened yet, plus I could still get to do something big with my love for music“. It remains to be seen whether we will ever get to experience that side of him, but it should not be ruled out.
One would wonder, what was next for this young producer after the summer of 2019 when he scored his professional debut, he didn’t dim, that was when the work began in full stretch. He got in sync with Whoisakin, an artist who is one of the most elegant voices advancing African R&B fusions with impressive artistry. He helped introduced the sonic niche of the said artist by helming production works on “+234” and “2:25” which were on the artist’s debut project “Full Moon Weekends“, which in itself is one of the top R&B tapes out of the country this decade, and both tracks on it’s 2-track pack follow up “After The Full Moon, Before The Blues“. He did not stop there, he was also able to help bring to life the sonic vision of an affiliated Chocolate City act, Tar1q. On Tar1q’s “Son Of The Moon” EP, he helped created the mid-tempo bop “Emotions” and the catchy “Bad Intentions“. It was not surprising to see him on the act’s follow up single “Pretty Like” which was released earlier this year. When quizzed on if there was a significant relationship brewing both of them, he responded ” I like to work with Tar1q, it’s vibes on vibes when we are working” he smiles as he tells me, probably remembering an important session with the artist. He continues ” I’ll say he is the one I really like to work with at the moment, we create some good stuffs, hope you guys hear it soon“.
Work has not stopped however with BMH earning production credits on Blaqbonez’s refined mid-tempo Amapiano fusion cut “Star Life“, the love centered PopnB cut “Adey” by Crayon and also one of the songs of the year so far in Khaid’s “Jolie“. His ability to help craft mid-tempo bops, party ready and tailored jams, or reflective and mellow soul cuts makes for a diverse sonic palette by the talented producer. Whether its creating sounds inherent in the mainstream, or something in between, and when required, sounds unique and different from mainstream, BMH has the tools to suit in perfectly for whichever ride the artist intends for an adventure. He has evolved with time, submitting himself to the requirements of development as sensibilities across various soundscapes changes over time.
He took his time to go through his discography with me, explaining how he has stayed informed with the industry and it’s requirements. When I asked him about his journey in the industry, he replied ” The Journey has been good so far but there is a lot more to do, I’ll not let that all these achievements get into my head“. As he spoke, there was some aura of confidence and determination to get all he wants. He was well aware of everything he had accomplished and what heights are left to reach. Just as many creative, he admits he is yet to reach his peak, which is a great mindset to have.
Just as we got to the near end of what has been an interesting conversation so far, we got an hindsight on BMH’s next steps. “I’ll just continue working on new songs with different artists. I want to continue on this wave, help advance the Afrobeats to the world movement. I look forward to creating songs with more international artists. Also, I decided I’ll start dropping my own songs too. Before the end of the year, something should come through“.
While new age producers are taking music production to a new level with their capabilities to create limitless moods due to their inclinations to bring to life new sonic template, they are set to pick up and do better than the previous generation. BMH is greatly positioned to advance the prospects of music production and help producers earn more recognition for their important recognition to the quality music flying around our airwaves.
– Created & Written by Adebayo Boluwatife, a retired music addict. ( Twitter: @BIG_BOLUWATIFE).
