As a product of the golden era of Sierra Leone Hip-Hop, The Sierra Leone UK Based Rapper merges his Hip-Hop background with Afrobeats/Pop hooks for classic Rap/Sung fusion that radio and women love.
K Kwan demonstrates a considerable talent on this mixtape — a collection of some fantastic tunes and subjectively skip-able tracks, laced perfectly together with the Afro-fusion sound.
Across nineteen tracks and switching genres tied by the uniformity of mellow music – even with the uptempo ‘key,’ K Kwan feels like a Sierra Leonezed version of Drake. His topics seemingly come from honest inward ruminations around romance, love, sex, his journey, society and his dreams – with positive declarations.
K Kwan has come close to Africa’s contemporary hip-hop A-list but never quite made the leap regardless of his conspicuous talent as a singer and songwriter. His critically acclaimed, The Only One 2015 Album release earned him attention from Afrobeat purists, socially conscious hip-hop heads, melophiles, reggae fanatics, and big features, and soon after, Burna got himself up close and personal with his own independent record label “Shared Music Entertainment”
With his newly released mixtape The Statement, K Kwan has cemented himself as a class A artiste. He’s so mainstream, veritably, he could conjure and release hype on the back of the subjectively boring, borderline sleepy (but ultimately well known) single “KEY”. Despite the current buzz, he still seems ambivalent about his musical identity (and falls below lyrical expectations.
Under the aegis of “KEY,” K Kwan figured out how to subtly uncover the lede for what the Afro-fusion/Hip-hop mixtape should sound like.
K-Kwan and his production crew (which highlights a host of credits) endeavour to align most of their beats like sleek Afro grooves of firmly woven percussion instruments, cleverly arranged hooks, soulful vocals, sprinkling in sonic coalescence throughout the mixtape.
Apart from dope track “Ginger & Juice” featuring Stego Da Pro, when it works, Gatman is groovy but doesn’t gratify, using a repetitive version of the afro bam-bam beats he’s inclined toward over and again previously like the altruistic orchestra of strings and Fela-Esque melody for “Flavour,” a track buoyed by a Kwan power chorus that sounds both lyrically bankrupt and boisterously triumphant:
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