Pulse Album Review: A review of Idowest’s album ‘Chico Amante’


‘Lover Boy’ is Spanish that translates to Lover Boy and it is this softer, more openly lewd version of himself that Idowest wishes to showcase on his album.

To achieve this, he taps into existing sonic quirks that endeared him to listeners while exploring Pop and Amapian soundscapes in an attempt to deliver a listener-friendly sound.

The softer sonic approach of this project can be quickly detected on the opening track where Idowest sings in what is a dedication to a lover. In pop songwriting, the mixes employ a certain vulgarity when he switches to Yoruba, and though his voice doesn’t have the smoothness of a singer, it does have the originality and thrilling coarseness of a rapper similar to little wayne either Future singing.

Vulgarity is a common thread running through most street music in Nigeria and Idowest doesn’t shy away from using as many sexual references as they feel like. In the tune of Amapiano ‘Mob Riddim’ he makes multiple blatant sexual references through a street talk delivery style made famous by himself and slim case during the height of shaku shaku sound.

Idowest explores different aspects of the South African sound, combining an ever-present street-pop appeal. In ‘Mob Riddim’uses characteristic Amapiano howls and snares to make an Amapiano that leans more towards the South African soundscape as opposed to the Nigerian-style Amapiano with mouth-full lyrics that compete with the beat.

In ‘Osapa’ he uses record-heavy drums that accentuate the beat and floats above his voice when he announces that he has defeated “sapa” What is poverty in the Nigerian urban dictionary. Similarly, in ‘Wena’uses sparse lyrics and baritone choruses drawn from South African sounds to deliver another tune from Amapiano where he once again offers his “Banana” to his love interest, who is apparently finer than Rihanna.

The three sections of the Amapiano slopes are located between ‘Ambient’ Y ‘killa’. The former is an Afrobeat-inspired feel-good pop single featuring Perruzzi who offers a soft choir that uses Afrobeat sounds, trumpets and percussion. The latest street pop ‘killa’ achievement. LAX which oddly sounded like Wizard he put on a smooth melody that allowed Idowest to easily deliver a solid verse. The recurring theme of his playboy lifestyle continued as Idowest talks about being a street playboy and how money and fame haven’t changed that.

‘pami’ might be the best track on the project as it is by far a personal favorite. The silky smooth transition from ‘Kila’ to ‘pami’ it cannot be missed by an attentive listener. Idowest showed impressive talent as he sings on an R&B single in which he wears his heart on his sleeve and makes vulgarity-free yet suggestive promises of love with lines like “You don’t know anyone holy” Y “Give it to me in low key”. Idowest features a smooth melody and showed impressive progression in a single that is a completely different side of art from him.

The album closes with ‘jah’ remix, a prayer tune that blends street-pop with the sounds of white-clad Christian denominations. The single showed his touch with the different aspects of street music.

The street acts as Oritsefemi, Q Dot, Bella Shmurda, Y seyi vibez he featured on the track are heavily influenced by the music of white-clad churches. This enduring touch shows on Jah as Idowest embraces this street cadence through his delivery and lyrics, as well as an homage to the legend of Fuji K.Ing Wasiu Ayinde Marshall.

In the last track of the tape, Idowest provides a resounding reminder that while he may have a lover boy side, he remains true and true on the street.

General, ‘lover boy is a project that builds on street tested sounds to create a nice project.

The production was able to explore different angles of Amapiano on three tracks. He was also able to offer Pop, R&B and Afrobeat sounds that had significant sonic leanings towards street music.

Idowest’s writing has street identity and relatability as he uses slang, street talk delivery template, as well as a vulgarity to communicate his lover boy side.

The sequence of the album is impressive as Amapiano’s three successive songs are sandwiched between two pop singles. The penultimate single slows down the pace without boring listeners before a fast-paced street jam closes the album. The album’s 22-minute length also allows for easy and enjoyable listening which adds to the replay value.

The production and sound engineering are appropriate with the three Amapiano tracks in particular. ‘Wena’ standing out.

Like an everything, ‘Lover Boy’ it makes listening easy and provides the gratification that drives overall appeal.

Composition, themes and delivery: 1.6/2

Enjoyability and Satisfaction: 1.6/2


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