The initial stage of budding musician, Zamorra’s career is steeped in an array of influences so versatile, the uniqueness of his sound comes as no surprise. From making Fuji music a religion to early affiliations with the likes of Fireboy DML, Blaqbonez, and Cheque, Zamorra has consistently sought to better his craft, and his debut EP, Storms And Rainbows, a metaphor that appraises his journey, bring this development to the fore. The EP collects his life experiences in eight spectacular songs, charting the evolution of his career from Ondo to Lagos, and the in-betweens which shape the best of any such journey: family, love, pain, and eventual triumph.
Beginning with Aiku, a warm record that features a children’s choir, Zamorra sets out to map his innermost desires. In the songs which follow, he’ll relay these desires in more detail, delivered in his trademark husky tone. “If to say man be God o, we for dun lost o/Yawa for done gas, the movie for done pause o,” he sings with a heart full of appreciation.
The bleakness of reality, with emphasis on Nigeria’s financial situation, influences Balance, a record on which the artist draws a conclusion with his usage of the all-too-popular phrase “life no balance.” Like My Mother finely threads romantic love to the familial, as Zamorra searches for a woman with attributes like the one who birthed him. Delivered lovingly, the mid-tempo record fits into a wedding playlist or a laidback night party. Now That You’re Mine, though cut from the same heartwarming texture as the previous record, is remarkably upbeat, bouncing with percussions that would soundtrack great memories filled with laughter and dance. It’s also the lead single of Storms and Rainbows, with a video already slated for release. Men Are Scum features a charming bit of social commentary rife with anthemic lines. Deserve Better, a tender record in the tradition of Fireboy DML’s Like I Do plays on Zamorra’s willingness to go the extra mile for a romantic interest. Led by lush guitars, he investigates the nature of a prospective relationship, building on the emotional intimacy reminiscent of RnB classics.
At twenty minutes, the EP ends with a pair of songs that execute a flawless narrative arc. Taboo is a song about making one’s family proud and comfortable, a theme artisans are known to ponder on quite often. Zamorra’s strength as a storyteller is brought into the light, as he fashions a genuinely personal record from what’s usually a ubiquitous subject. “No taboo If I change my papa life/ No be taboo if I buy my Benz for mama/ No be taboo if I live a better life…” he sings.
Zamorra is most reflective on Timeless, a conceptual record delivered in a blend of Pidgin English and his native Yoruba. Here he sings about his confidence in his philosophy that everything will come at the right time, and that his music is timeless, transcending demography or generational limitations. This comes after some detractors have tried to compare his journey with contemporaries who are relatively more popular. All through, Zamorra’s voice – husky, grainy, wise – particularly stands out through the EP.
Backing these culture-centric themes are eccentric beats that straddle the line between experimental and mainstream, mostly crafted by Dunnie, a genius producer who’s worked with the likes of Wande Coal, Niniola, and Yemi Alade. His eagerness to work with female professionals sparked this productive partnership, along with that he shares with his sound engineer and video editor, who are both young women.