Brymo’s inability to bend to the will of the norm has always been the force holding himself and his music together. Through a myriad of critically acclaimed albums, the singer has managed to marry normalcy and nonconformism on several tracks; inspirational, though-provoking, award-winning and fan favorites in the same vein. It’s been more than ten years of this and he’s still carrying on. This month, following weeks of high levels of anticipation from a cult-like fanbase, he returns with Yellow, his seventh studio album.
Comprised of fifteen tracks drawn from his core and shared with only one industry likemind, Lindsey Abudei, the album which is preceded by singles like Esprit De Corps and Ozymandias is akin to a maze with one path, different destinations, and implications. As with everything he does, the album is split into three sides, all of which pander to different narratives stretched between Brymo’s conscious and subconscious. This much is obvious in the way he navigates gloom on Strippers+ White Lines, a track on the first side and passion on Black Man, Black Woman, another on the second side.
The pianos are pensive, Brymo’s vocals are stretched thin on emotions and the atmosphere on each track is a mirror of the accompanying lyrics, all features signature to Brymo’s discography. Although, Yellow is brilliant and surpasses expectations in areas such as creativity; something Brymo has improved on, its intricacies which make it all the more alluring come as no surprise as Brymo has set himself apart as the sonic do-gooder with a penchant for perfection.
Yellow is accompanied by the video for Strippers+ White Lines, its celebratory lead single which sees Brymo emote even more than usual. Each raw and abstract scene captures the essence of every word sung and between the Promise Charles directed video, there is no distinction from the purpose of the album.
Photo credit: @victoradewale_