‘Ilu Ilu’ by Ibejii is a study of societal themes and figures through the symbolism of sound [Album Review]
There’s a theory that the rare people who succeed at what they do fell into the right profession. Ibejii might not have been an artist until 2016, but the music is who he is.
Four years ago, Ibejii started making music purely by intentional accident. After a round of tennis, a friend asked him what he would do if he wasn’t doing what he currently did, so he replied that he would be an artist. There and then, he became an artist, he just didn’t realize it yet. Later, the concept of artistic duplicity on which he’s musicianship is now built was formed.
Through his first two bodies of work, GreenWhiteDope and MSML as well as his first few stage performances, he caught the wrong end of terrible jokes and horrible criticism. Still, he didn’t stop - the music took him on a journey and concepts never stopped forming in his head. One of those ended up becoming the amazing album that is, Tribal Marks.
These days, he feels more comfortable to refer to himself as an artist - when he’s not trying to undo the brilliance of Tribal Marks. But whatever the case is, his music evokes the concept of providence.
There’s a theory that the rare people who succeed at what they do fell into the right profession. Ibejii might not have been an artist until 2016, but the music is who he is. He has now gone into the realm of Nigerian artists who will probably never release average albums.
Ilu Ilu, his fourth studio album is a nine-track study of the themes, figures and sounds that define Nigeria and in particular, the Yoruba of South-West, Nigeria. The album cuts through weaves together different sonic inspirations and seams into one unit, an experiential album that covers ground and takes his listener on a journey - only a few albums are capable of this.
Playground
Just before this album, he was creating an album titled, Playground - a refix of the songs that you might hear on a typical playground in old Yorubaland. ‘Leke Leke,’ a classic Yoruba playground ode to a bird species makes Ilu Ilu, just as it's intertwined with a sombre tale of remembrance, wishes and distance with a Femi Leye guitar wizardry.
‘Midnight Strings’ is an alternative shoe-gaze with a dash of bass undertones that define sophisti-pop. Distant reminiscence of love can feel nostalgic, and with the help of a classic playground theme, ‘L’abe Igi Orombo’ which means ‘Under the orange tree,’ Ibejii creates an avenue of youth and even child-like affection.
Manifesto
All these could only have happened in a town, in which human phenomena is birthed. The opening track - which is also the title-track - serve as that appraisal, while also being a manifesto, nigh a tone-setter for the album, both musically and topically.
In Yoruba, it prepares a listener for the peculiarity of what he’s about to get. With the music, he delivers doses of the upcoming, eclectic musical experience that he’s due to unleash. If there was ever a place for music direction for a movie, Ibejii should take that job. ‘Ilu Ilu’ feels like a folksy cinematic brand of music. From ‘Ilu Ilu,’ came a conception - of music, of character and of pride.
Life, Identity and character
Even in self-pollination, there is a female/mother-figure that aids birth of an offspring. Femininity is as material to life as life itself. While Ibejii created other facets to life, motherhood is appraised on ‘Orisa Bi Iya’ with the aid of country-pop and saxophones. ‘Orisa Bi Iya’ is a phrase that is completed as, ‘There is no god like the mother…’
‘Boda Suraju’ is a highlight of character and hard work in a grass to grace story. For more than one reason, the resonance of this folk track both topically and sonically to the average Nigerian story sells it as a single. More than anything, the track spreads positivity without sounding wearily preachy.
Central to humanity is the concept of cultural pride and ‘Omo Olu Iwa’ is one of the best songs you’ll hear anywhere in Nigeria this year. For Yoruba people, this folk-pop number will obviously hold greater significance and sway because it directly aims to celebrate culture without sounding elitist or ethno-centric. This track could have been done with a Yoruba rapper feature.
Chilling introspect
‘Imu Ko Ku’ is a sentimental ballad that feels like an experience aboard a fishing boat in the dead of night - betrayal and detraction are its topics. The track comes alive at 2:12 as the percussion switches on. Asa might have been a great addition to this track. ‘Troubled Soul’ continues the sombre experience in an introspective, albeit pessimistic ballad.
With an audibly heavy heart, Ibejii recounts the cumulative experiences that reach a zenith and pushes this character to tap out on, ‘I Quit.’
Final Thoughts
This is one of the best Nigerian albums of 2020, but for Ibejii it’s still not quite better than Tribal Marks, which remains his magnus opus. This album has very few points of criticism and one of those points is as regards slight tweaks to its track list; ‘Imu Ko Ku’ should come to track seven while ‘I Quit’ becomes track nine. Everything else should move accordingly.
Features would have also added to the allure of the album. What this album got right was the dose in which to deliver the different styles of music it birthed; some parts are eclectic, some are sombre and some are dance-worthy.
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: 1.5/2
Content and Themes: 1.8/2
Production: 1.9/2
Enjoyability and Satisfaction: 1.8/2
Execution: 1.5/2
Total:
8.5 - Champion
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