As one of the pioneers of indigenous rap music, Reminisce is held in high regard by music heads and casuals alike. He’s an OG through and through, and one who moves with the self awareness of his status.
Alaga Ibile is a brand that is known far and wide. Even people totally oblivious to the music scene and disconnected from the rapper’s impact, would have probably gleaned a stellar appearance from him in a blockbuster Nollywood production. If there is any rapper that’s unapologetically Yoruba in his mannerisms, dressing and even branding—it is Reminisce. And it is with the ease borne out of this mindset that he curates a sonically tight-knit project like ‘Sui Generis.’
Reminisce takes a page out of Olamide’s book and goes the route of titling a project with a terminology in another language (Carpe Diem, Ikigai) that means something profound. In this case, Sui Generis means “Of Its Own Kind” meaning, there is nothing else like it. Indeed, there is nothing else like this EP because Reminisce and Reminisce alone can make this project in the way that it is.
EP opener, Kupe is a hard metal rap record with the sort of chest thumping and self adulation, that would come off as pretentious and shallow if it were from any other person that isn’t as accomplished. The instrumental of the record is cinematic, like a movie score with sparse beats and soaring piano notes at the climax of an action sequence. Reminisce understands the assignment and spits bars that reinforces his OG status and the wealth of affluence and respect that’s bestowed on him. “OG apparatus, mo ni cheat code” he raps, making his message explicitly clear with impressive cadences that keep switching. This one is for the Hip-Hop heads.
Reminisce taps into the ever-rising pulse of the street-pop music scene, by recruiting the services of one of its most talented flagbearers in Bhadboi OML on Ire and he delivers the sort of prayer-inclined layers and philosophical musings that makes it very anthem primed for the streets. Reminisce doesn’t get bodied on the trap-infused beat though and showcases range with some melodic rapping. This song has a lot of potential to become a niche and even a mainstream hit, with the easily digestible way it is structured.
Bad Boy Timz has such a noteworthy performance on Up As Fxck, that’s not just his best guest appearance in a while but overall performance on any song. This record is a party starter, highlighting the highs of life on the fast lane and partying hard and living life. It’s set in the usual Amapiano fusion soundscape and is geared for mainstream penetration, as evidenced by the fact that its a single.
The sentiment of living life to the fullest on your own merits, bleed to the next track The Ultimate ft. Vector, a song that samples a classic K1 record. There is a stark difference as to how both songs are executed thematically though. Whilst the preceding track was more crude and leaning towards the wild frenzy of the party life, this song is much more intimate and honest in the sense that it’s anchored by love and genuine feelings for a special love interest. Reminisce wants to make sure every moment counts, as every second spent with his lover matters. Meanwhile on Up As Fxck, it’s simply partying for the sake of it.
The cultural elements peak on Owo, a beautiful Fuji record with talking drugs and triumphant trumpet horns. Reminisce is still in his celebratory spirits from the previous tracks and this time the focus shifts to the depth of his pockets. He revels in the fact that he can back up his talk with monetary doings, like any man of culture would in a party. So when Scopatumana rolls in, he doubles on this fact and raps “You know i be baller, set awon Pele. Steeze ti poju, no dey tell dem pele” using witty wordplay in different languages to convey a powerful message. The featured acts elevate the song with much needed variance.
Backshots ft. Lucid heads into sensual, raunchy territory. Lucid sets the ideal ambience for the record with imagery invoking lyrics and Reminisce matches his dynamism with some sexually provocative lyrics of his own. The production is minimalistic, but it’s elevated by the performances of both artists and the overall cohesive thematic direction. Right from track three, the topical progression across five tracks entrenched in the essence of a good time is simply phenomenal.
However, because it is Hip-Hop and indigenous music at that, it’s always going to be an acquired taste for some. But as many that can simply appreciate the pathos of the music for what it is, they’ll come around to find that there is some really good stuff on here. Music that’s not only enjoyable and loaded with a message, but truly one of a kind like its title implies.
Final Verdict:
Sonic Cohesion & Transitions: 1.5/2
Expansive Production: 1.5/2
Songwriting: 1.6/2
Delivery: 1.6/2
Optimal Track Sequencing: 1.6/2
Total: 7.8/10.
