On “Bounce”, Rema is sick and damned creatively – Don Jazzy is the record producer that should be held responsible. “Bounce” is a very strong record built with the popular, notable South African Ampiano sound and Nigerian Afro-beat fusion interlocking, between.
Don Jazzy created a stint and left his record label signee Rema, to fully extricate; as he got along into the sonic glider he was given (beats) and then he flew smoothly to an abyss, like in a place where he was creatively damned.
RELATED: Naira Marley: Finds Love That Might Reform Him – “Chi Chi”, The Review
Well, his previous 2020 single “Peace Of Mind”, also was like a place of Rema’s solace where he deliberately creates art from his inside to amplify the situation in the outside world, his from.
“Peace Of Mind” sturdily correlates with his 2019 record “Rewind”, which really goes beyond his art of womanizing, falling-in-love, and making endless fun and hedonism, but opens his artistry up to a point where he settles to advocate for his people.
In “Rewind” and “Peace Of Mind”, Rema sings his pain out and it represented a very creative extrication.
Although for “Bounce” particularly, Rema amplified and leaned on his regular record hedonism tied to women’s essence away from songs I established before as illustration, highlighted on this brief review.
This particular record is quite an exceptional remark from Rema’s artistic cabinet that dwindles hedonism – down from the entire solid record production to the sweet and handy delivery that comes from his well of creativity reeled into his captivating lyrics and his unique vocal texture – strongly exceptional and, defined Rema as an act damned with creativity in its purest form relatively.
RELATED: Mr Eazi’s “Something Else EP” Hovers In Love & Sonic Experiment, The Review
This song is very exceptional, Jazzy’s creation makes a truer difference on Rema’s pedigree and amplified it as the song literally prevailed.
“Hmm when I weigh the thing/E weigh one thousand pounds/Girl, this night we dey go like seven rounds/Baby girl, say you fine/Baby girl, say you fine/You I desire/Baby, na you I desire/Your yansh original Blac Chyna.”
Rema sings continuously in vulgar intermittently, but the creativity for this record is immeasurable and correlates with his laid-back 2020 song titled “Woman”, which was built on higher vulgarism without lacking creativity at the side.
Final Thoughts:
Rema is creatively damned because of the efficient and very exceptional record production he took on boldly and delivered victoriously.
The production richly digresses from the growing Ampiano sound and interlocked Afro-beats suction.
Well, Don Jazzy is here again and I wish he keeps this exact same energy with his signees because it could eventually end in showcasing their ample pedigree.
For instance, If you closely peep into Jazzy’s artistic record in the Nigerian music industry, his productions have become creative proponent that you either destroy or fail to withstand as an artist and perhaps your delivery comes out victorious, your pedigree is what shines forth and it’s what we’d strongly relate like on the same case with Rema’s “Bounce”.
He comes out very victorious and became creatively damned; of which I desire much more to come forth like the creatively built “Bounce” by Jazzy that has been totally extricated by his record label signee, Remmy Boy.
