On his highly anticipated third LP, Peruzzi justifies the absurdly long wait for the fruition of the album.
Rum & Boogie might have slipped under the radar of most, but it was a well curated album that balanced uptempo, Afro-pop and resonant R&B in masterful proportions. So it’s no mystery why there was high anticipation in some corners of the interner for another Peruzzi album, despite the mainstream being mostly tapped out. And now that the album is here after much delays, it’s honestly worth the wait.
Right from his 2baba championed breakout on Amaka, Peruzzi has always proven the weight and dexterity of his pen to the tune of people accusing his label boss, Davido of signing him for the sole purpose of writing for him. On Sabali, Peruzzi wields the depth of his pen more than ever and doesn’t seem to have a care for mainstream sensibilities and dumbing his art down for easier accessibility.
Die It opens with triumphant violin riffs over a cinematic instrumental of grating string quartets, setting the stage for charismatic melodic rapping by Peruzzi—interspersed by chanting in Igbo, that functions as a chorus and works to a tee. This is arguably the best album opener of the year, because it ticks all the boxes that an opener should.
It gives us instant insight into the thematic direction of the album, with Peruzzi reminding us of his significance of being “the man” that can make things happen and provide the sort of great music that’s equivalent to causing a revolution. We’re also introduced into a cultural soundscape that integrates native lingua and sonic elements in the production, priming you for the rest of the LP.
Peruzzi doesn’t come off his high horse on Nuff Respect. In contrast to Die It, where he iterates that he’s a gem that’s irreplaceable, on Nuff Respect—he states that he doesn’t give a fuck if he’s not afforded the respect he deserves, because he operates on a higher level and doesn’t need validation. Jesse Jagz doesn’t take the gloves off on his verse, but then it’s a pop beat and not his ideal territory.
Cooking Pot utilizes its rapper’s feature better by deploying Jeriq on a soundscape that is Highlife adjacent with heavy percussion. The thematic progression on this album is impressive. After clamoring that he doesn’t need validation, Peruzzi now calls out people that dare imitate him and does not seem to have a care in the world for coming off as hostile. Legalize takes a break from the laser-focused narrative for a groovy, romantic outgaze. Peruzzi’s pen on it remains ingenious still.
Peruzzi features Juju Boy and Nana Kwabena on reggae-infused Ecstasy. This could have easily fallen prey to the gentrification that pervades most reggae songs out of Nigeria, but the featured acts keep it grounded with their patois and sonic connection to the soundscape, so that all Peruzzi has to do is turn in a strong verse. You is Afro-Swing magic with Kemuel stealing the show with musings of a distant love interest, keen on driving him crazy with her sexual antics.
Peruzzi ramps the tension up a notch and is more explicit in his approach, a decision that depicts the fact that he’s a no-nonsense man who wants what he wants and won’t be indulging her shenanigans. This sentiment bleeds into Mad Oh, where he states in precise terms that he is “mad over” his woman. The chorus is a bit weak and repetitive, but the crowd vocals helps to dimensionalize it. The cavemen also put in a tight shift to justify their appearance.
Normal Person has Peruzzi and Terri going back and forth, with their verses intertwined—both telling a coherent story of a love interest looking for adventure they’re willing to undertake. Bella takes the direct route and his verse isn’t as implicitly sexual, but it works to give the song variance. This writer is tempted to call One Thing a filler track because it plays like a b-tec Legalize and has nothing sonically interesting going on, but the writing here remains competent nonetheless.
“Omo e go better make I single o, before I go craze” Peruzzi sings on the trap-fusion Gazo, lamenting about the toll of being emotionally vulnerable in a relationship. He emphasizes that he’s a simple person who detests drama and will always opt for his peace of mind. Apala Drill ft. Davido is erroneously titled because it’s more Alujo/Owambe coded, than it is Apala. The song also doesn’t settle into a smooth flow and is a bit harried all through, because of the mismatch of energy of both artists deliveries and the beat.
Gospel-esque choral vocals and piano notes set the stage for introspection on Time Of My Life. Esoterica’s vocal texture is perfect for this sonic direction and the music sounds more uplifting as a result. Peruzzi raps his verse and raves about his undying commitment to the game. His dynamism is admirable but the rhymes here are quite simplistic and would have been better sung-rapped like the album’s opener. El Sucio Guapo drives this point home because it’s another Hip-Hop leaning record, where he melodic raps on the drill beat.
Zlatan and the Flowolf are also relentlessly ravenous on the beat, finding almost pocket that exists on it. All three artists lock in on this song and it’s a shame they’re let down by the rather minimalistic production. Mi Corazon slows things down for another intimate, heartfelt record with Peruzzi confessing his innate desire to mean something to his lover. Despite his disdain for vulnerability, he’s honest enough to admit that he goes through the motions, like every other human.
Unlike Mi Corazon, that’s more conflicting—A Night To Remember is a celebratory love record that highlights the highs of love. Timaya brings some old-school magic in his delivery that makes the song charged with nostalgia in a good way. Davido returns with Mayorkun on the Amapiano-fusion Perfect Situation.
The log drums are out of place here and don’t necessarily match the intimate vibe of the song, which is made evident when they are stripped away for Davido’s verse. Mayorkun flows better than Peruzzi on the beat, but the chorus remains hampered by the confused production. Holy Water closes the album on the culturally charged note it started with. On here, the themes come full circle with Peruzzi proclaiming he could never lose because he was made from it.
Peruzzi poured his heart and soul into this project and it’s easy to tell that he’s been hard at work on it, for the past couple of years and wasn’t delaying for the sake of it. The writing is poignant and very narratively driven, as well as the features that are also optimized. The production is a let down on a handful of songs and is the one thing that detracts from the overall quality.
Final Verdict:
Sonic Cohesion: 1.5/2
Expansive Production: 1.2/2
Songwriting: 1.8/2
Delivery: 1.7/2
Optimal Track Sequencing: 1.4/2
Total: 7.6/10
