A Review OF BLACKMAGIC 3.0 (STARVING ARTISTE)
In the Nigerian music scene today, there have been various conversations and discussions about the advent of alternate sounds and artistes from around the country. These conversations mostly involve the dilemma of classifying these artistes and their sounds and the much-needed diversity that these artistes bring to the music scene. A couple of years ago, conversations like these were few and far between as there were not a lot of visible artistes making experimental or alternative sounds like we have today.
However, back in 2013, Efemena Mukoro, popularly known as Blackmagic started to seep into mainstream consciousness with his alternative and unique fusion of sounds and genres. His sleeper hit and arguably biggest song till date, Repete is a perfect example of his genre fusion as it is an eclectic blend of hip-hop, afrobeats and elements of soul. In the same year, Blackmagic went on to release his sophomore album, Blackmagic 2.0, an album which set him apart due to its peculiar style and sound. The sonic palette which Blackmagic laid down with his sound would go on to serve as a template for several other artistes to come.
Five years after the release of his most recent project, Black Friday and a few sporadic loosies, Blackmagic is back with the third installation of his self-titled albums, Blackmagic 3.0 (Starving Artiste). Being away from the music scene for an extended period of time has given Blackmagic ample time to think, live and grow and his third album properly reflects this. Here, he is at his most vulnerable, he is an open book as he carefully chronicles his journey as an artiste, the challenges he’s had to face as well as addressing his extended absence from the music scene.
He kicks off the album addressing his long hiatus as he spits “Sorry to keep you waiting, I’ve been chasing inspiration” on Soon, a track that features fast-rising star, Tems. Also, in the same vein of addressing his hiatus, the lines “Do you know how long we’ve been running shit?/Since way back before they used to say Black/Before they would request for me and had to pay stacks/Before they tried to steal my shit, now I’m back” sheds more light on why he might have been out for a while.
As stated earlier, Blackmagic has always been sort of an outlier especially when he first broke out. Even though his sound was fresh and unique, it was still different from what people were used to. On Koole, he explains the dilemma he had with pushing his sound when he first broke out as he raps “I knew my product was popping, I just didn’t know to sell it/ Should I be doing it big or should I go Makaveli” over Xela’s drums and intermittent horns. Throughout the album, however, Blackmagic raps and sings assuredly with a sense of maturity and clarity. It is quite clear he is no longer at this crossroad as he has come to terms with his style of music and has honed his sound.
Pre-released single, Anything For love sees Blackmagic display his versatility as he raps and serenades his love interest both in English and Hausa. Ponmo, while featuring some of Blackmagic’s best flows and lines, sticks out like a sore thumb sonically.
The second half of the album provides more mellow and introspective cuts as Blackmagic bares his mind and soul mostly over warm and lush productions from long time collaborators, Xela, Bond and Ikon. The tracks Dreams and Ordinary Man sees Blackmagic recount his struggles and challenges, everyday ones. Not the kind that comes with fame, not million-dollar ones, but that of the everyday man. Blackmagic is at his most relatable as he raps about the struggles that come with dealing with auto mechanics in Nigeria, the erratic nature of the power cooperation, corruption and several loopholes in established systems almost like he’s having a frustrating chat with his next-door neighbour. While the tone of these songs might be that of frustration, it is most definitely not of capitulation as he proclaims his infallible love for music has and would always keep him going.
Like the everyday person who goes through some of these aforementioned struggles, some days are worse than others. On some days, we hit rock bottom. Rock bottom is where Blackmagic was on Strong Man as he confesses he was close to taking his own life. However, just like on Dreams and Ordinary Man, love comes to Blackmagic’s rescue once again. Not love for his music this time, but love from the outside, from friends and family.
Love has been a recurring theme on this album and it’s on that same note that Blackmagic closes the album as he serenades and expresses gratitude to a special woman in his life in his signature baritone autotuned voice on Everything.
On Blackmagic 3.0 (Starving Artiste), Blackmagic is bare. His bars are mostly simple albeit witty and his singing is measured as it has always been. His message, however, is different. He is no more the man he used to be several years ago. The artiste has come to see life through a new lens as he has encountered and surmounted various challenges and this properly reflects in his music. While Blackmagic might not have been able to recreate songs with the same appeal as his sleeper hits, Repete & Pass You By, topically, his new music is much denser and much more precise. He’s an adult-in-progress navigating through life, and like most he’s just winging it, however, one thing he would always hold one to is love, whether for his music, the women in his life or from friends and family.
