Kiienka confronts grown topics and 'adulting' on 'Spaceman 2.0' [EP Review]
Musically, Spaceman 2.0 features enjoyable sounds, delivery techniques and vibes, but sometimes with questionable authenticity.
In 2019, Kiienka released the 6-track first installment of 'celestial obsession' titled, 'Spaceman.' It's a loose offspring of Travis Scott's 'Astroworld' in its symbolism of psychedelia-induced space travel and out-of-body experience.
It also explores themes of love, relationships, defiance, self-esteem, braggadocio and opulence on Alternative, Trap, Trap&B, Emo and Cloud Rap sounds. One key characteristic of this project is its overload of features and continued exploration of self and artistry by the artist, Kiienka. It came after 2017's 5-track EP, Untitled which also explores love, relationships and positivity with less features.
Another set of key distinctions between Untitled and Spaceman is that Untitled features better songwriting from Kiienka on more pop-tinged sounds while Spaceman explores Kiienka's ability to conjure auto-tuned driven out-of-body experiences on Psychedelic Trap. Then came 2020's Star, a 4-track joint project with Kiienka's frequent collaborator and producer, Veen.
ALSO READ: Veen and Kiienka - Star [EP Review]
This time, they merged all the key features of Untitled and Spaceman - Dancehall/Afro-pop, Trap/Cloud Rap/Emo and Trap&B - into a project built on yet another idea of an out-of-body experience - Star. More importantly, it was Kiienka’s biggest play for mainstream attention with the lamba he made with Veen which also explores love, but also sex and lust.
On May 8, 2020, Kiienka released his fourth project, Spaceman 2.0. As the title suggests, it is a follow-up to Spaceman (2019) with a lot less features and with far greater grown topics of hedonism and an admission of imperfection as a response to/an escape from the problems with ‘adulting’ and of mental health.
Spaceman 2.0 also retains the elements of out-of-body experience with constant references to space, but this time as an escape on a drum-heavy emo song like ‘Fast Lane.’ The song is heavily influenced by Don Toliver’s Alternative-Trap sound as it explores mental issues and sex with drug use as a coping mechanism.
Drug use is also a feature of ‘In The Ends,’ the lead single to this project and a Trap bop with a soul of full-blown, reclusive hedonism. ‘The Ends’ is a UK slang for house or what Nigerians call ‘area.’ 'No Saint’ is based on Travis Scott-esque vocal loops and slowed down Salsa/Mariachi guitars about hedonism and opulence.
‘L.A Girl’ is a guitar-infused Emo/Cloud trap that reminisces the sexual prowess and physical attributes of a faceless, yet memorable woman. “A** so fat, she could block a telly…” validates his need to remember her - I get it, bro. ‘Gunz and Roses’ features Psycho YP a larger-than-life messianic comparison with Jesus as Kiienka boasts a tall tale and fancies himself an unrepentant aggressor.
In truth, the lyrics are catchy, but the song is inauthentic.. So far, the music has showcased Kiienka as a master of vibes, delivery and technique - the ultimate trapper. ‘Bonnie and Clyde’ is an R&B song which features the brilliant LaBianca who plays Bonnie to Kiienka’s Clyde on a love song.
That song should have been the final track on Spaceman 2.0 - it’s wrongly placed. ‘Mob’ is another trap song with a soul of hedonism and supposed aggression - again, inauthentic.
Final Thoughts
Kiienka is an artist who is still growing and finding himself or one who loves being a Roy of Rovers of music genres by making limitless music with creative freedom. Whatever the case is, Kiienka is fine and his journey has been impressive so far.
What’s good about his artistry - alongside Veen’s - is that he’s setting himself up for a versatile artistry that can do anything; Trap, Afro-pop, Dancehall… anything.
More importantly, he understands the need for mainstream appeal. Like any other Nigerian trap kid in Abuja, Lagos or Port Harcourt, Kiienka is exploring a unique brand of Afro-pop that is appealing enough for a mainstream audience but is 'controlled' enough to retain elements of trap music.
Musically, Spaceman 2.0 features enjoyable sounds, delivery techniques and vibes, but sometimes with questionable authenticity. Like I told Kiienka, he needs to tell more of his stories than talk about what people want to hear. In America, there’s a reason Young Thug and Travis Scott had greater success and critical acclaim when they started producing authentic, relatable content.
There’s a reason why Terry Apala, Blaqbonez and Marz & Barzini have been the most widely accepted Nigerian trap acts over the past five years - authentic content. Sonically, Kiienka will be fine - he’s a child of TravisScott and a grandchild of Kid Cudi as a poster child of Nigerian Generation Z traits.
Ratings: /10
• 0-1.9: Flop
• 2.0-3.9: Near fall
• 4.0-5.9: Average
• 6.0-7.9: Victory
• 8.0-10: Champion
Pulse Rating: /10
Tracklist and Sequence: 1.5/2
Content, Themes and Delivery: 1.0/2
Production: 2/2
Enjoyability and Satisfaction: 1.5/2
Execution: 1.4/2
Total:
7.4 - Victory
Post a Comment