Just mere seconds into 4ever the listener is already aware he’s in the presence of tenderism offered in song. If they’re not taken by the soft notes at the base, surely the floating horn would capture their heart’s imagination. But then such beautiful music doesn’t merely shine on its parts; it’s the union between those […]
Just mere seconds into 4ever the listener is already aware he’s in the presence of tenderism offered in song. If they’re not taken by the soft notes at the base, surely the floating horn would capture their heart’s imagination. But then such beautiful music doesn’t merely shine on its parts; it’s the union between those parts and the artist’s central instrument—which is his voice—that makes the record work.
On 4ever, like in many of the songs put out by Nigerian artist Demokeen, we don’t have to wait long before these several elements come together. “Forever you and I / na you go wear the crown,” isn’t quite the verbose expression erroneously expected of the fine songwriter, but an actually competent writer understands the effect of pacing and letting the song work on its own alignment.
To this end, there’s a seamless progression that goes from line to line on 4ever, even reflecting in the sound choices. When the storytelling picks up pace, the drums enter, a bouncy trip which is deliberately kept in tonal semblance with the horns. Together they’re like two friends who have decided to surge into the world, unseeing of all its established ways and prejudices.
Demokeen’s music favors a sprightly vibe, almost as though the sonic richness is trying to avoid being influenced too much by the outside. It might as well also be a nod to the era’s preference for short records, but for me, there’s artistic merit in the middle, giving enough to the world even while protecting one’s own distinctness.
Perhaps his future records will come into this understanding, but what he’s expressing just a few records into his career bears the undeniable mark of musical understanding. 4everwhile a love record, also works in a sense as parallel commentary on how he intends to approach the lifelong pull of music: without fear, and always, with a dance.