The existence of “Obiokhan” signals a future in which Rage music from these parts will possess a unique cultural resonance.
Even though the origin of Rage Rap is widely contested, one clear thing is that it’s been the definitive Hip-Hop subgenre of the 2020s. The sound didn’t materialise in a vacuum. The autotune and synthetic, digital-driven production that Kanye West popularised in mainstream Rap post-‘Yeezus’ was a foundational influence on the progressive SoundCloud Rap movement of the 2010s, which became a crucial incubator for the artists and sounds that would lead directly to the emergence of Rage Rap.
Playboi Carti’s landmark 2020 album ‘Whole Lotta Red’ catapulted the subgenre to mainstream consciousness, creating a definitive blueprint that inspired countless artists worldwide to adopt and adapt its high-octane formula. This fluid style has been reimagined within Afropop in the last couple of years, with Rema’s critically acclaimed sophomore release, ‘HEIS,’ serving as a prime example. Another Benin singer, Egertton, has also been exploring this sound, experimenting with a more restrained approach by scaling back on some of the heavy synth loops while retaining its riotous energy.
His debut project, ‘KARNAGE,’ which includes moshpit-ready cuts like “RAGE” and “CRAZE,” demonstrated his ability to harness the subgenre’s intensity while injecting it with his unique melodic sensibilities and cultural context. His latest release, ‘EGER,’ a two-pack single, features “Obiokhan,” his most thrilling and fully realised fusion of the Rage Rap template with his personal artistic vision to date. He had initially teased the song a couple of weeks ago, receiving mixed reactions from fans hailing it as a masterpiece to more cautious listeners, unsure what to make of its polarising energy.
Singing primarily in his native Bini, the singer has dubbed the new track “incantation music,” rooting the song in his Benin heritage. The description is significant, as it repositions the chaos of Rage music within a lineage of ancestral and spiritual storytelling, showcasing Egertton’s freewheeling vision and unique ability to bridge disparate influences to create a fresh and captivating sound.
He repeatedly screams the words “Obiokhan” and “Tota,” which translates to “welcome” and “sit down” in his native language, over DJ Primeau’s skittering production, inviting listeners into his dynamic and energetic world. The song’s official music video, which was directed by Cruel Santino, features symbolic imagery like a dancing masquerade and recurrent images of bats that further add depth to the song’s overall message and atmosphere.
Egertton is not alone when it comes to experimenting with this dynamic subgenre, positioning himself among a new wave of artists who are slowly reshaping the landscape of contemporary African music. His unique cultural grounding, however, sets him apart, helping him earn co-signs from fellow Benin stars like Shallipopi and Cruel Santino, which signal his status as a rising figure to watch in the evolution of Afropop and its splintering subgenres.
Similar to a couple of his peers’ inventive interpretations of the subgenre, the existence of “Obiokhan” existence signals a future in which Rage music from these parts will be intrinsically localised and possess a unique cultural resonance. Music that will borrow in structure and energy but will transform in spirit and subject matter.
Listen to “Obiokhan” here.
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source thenativemag.com ’
