The debut EP by Entertainment Music Logos Olori is quite unimpressive.
Logos Olori doesn’t create music that resonates with audiences on his debut EP.
The EP “Olori” is a lackluster debut that does not provide enough excitement to encourage confidence in Logos Olori’s potential to influence mainstream audiences.
Logos Olori debuted himself as “Jaiye Lo” after being signed as an artist on Davido’s redesigned DMW 2.0. This was a hesitant attempt that got lost in the tumultuous dispute that surrounded its music video.
After displaying some promise as a guest artist on Davido’s “Picasso” and a writing credit on the popular tune “Unavailable,” Logos had a rough start. Now, it was up to him to prove himself and win over listeners.
His first EP was intended to fulfill this function, much as Morravey, his labelmate, masterfully accomplished with hers. But Logos stumbles because he can’t elevate his game and provide music that has mass appeal.
The release of the “Olori” EP coincides with the global upsurge of Afropop music and is characterized by inventive hip-hop domestication and explosive street music variations. ‘Olori’ EP presents a collection of songs by an artist who seems to be stuck in the creative headspace of the underground scene, rather than leaning towards a particular Afrobeats sub-genre or striking a fine balance of subgenres. While a stellar cast of producers was brought in to elevate the project, Although a strong group of producers were brought in to elevate the project, Logos was unable to step up to the plate.
The eponymously titled opener, which lacks personality or identity, starts the EP off timidly. Rather than making an effort to present a mission statement and establish a course for the next six records, Logos chose to dive headfirst into a rambling discourse of romantic longing and self-praise.
The Big Ragee-produced song’s jazz horns and chords have the right amount of tempo for an opening, but Logos decides to give a passionate vocal performance about nothing.
Signed by one of the top musicians in the region, Logos knows he can always rely on label head support.
But Davido didn’t do his signee any favors on the Magicstick & Ragee-produced Konto bounce, “Easy On Me.” The Grammy nominee attached himself to a song whose basic contents are revealed by the monotonous melody and excruciatingly dull performance. The fact that a Davido feature was chosen as the lead single over other good tunes on the EP doesn’t help Logos’s attempts to become a mainstream success.
The song “Push It,” which he later changed to an energetic beat driven by log drums, lacks the cutting-edge or retentive features of an artist with popular aspirations, but instead has the simplistic touch and delivery of an underground musician.
The remarkably straightforward and nearly unprofessional chorus of the poignant
The poignant song ‘My Darling’ features a chorus that is incredibly simple and amateurish, revealing Logos’s terrible incapacity to write catchy melodies and use words in a way that matches the caliber of Afropop artists whose work has influenced the movement. The catchy Highlife chords begged for a more powerful chorus, but Logos’s performance is archaic and passable.
Amapiano snares and Afrobeat horns shine on “Apapa,” which gives listeners something to cling to. Logos also steps up to provide the necessary amount of lamba and compelling delivery.
Musa Keys’s “Hmm Hmm” is a less powerful rendition of Davido’s popular song “Unavailable,” with Logos’s voice sounding monotonous and his lyrics unmemorable.
The speaker’s rattling Amapiano kick and Musa Keys’s respectable efforts aren’t enough to keep the song from being just another haphazard attempt to capitalize on Amapiano’s dominating beat to score a hit.
The Swing record “Murder,” which closes out a rather disappointing 17 minutes of playtime, features Logos once again engaging in tough talking in a way that doesn’t inspire listeners to care about whatever he has to say. On Davido’s “Picasso,” Logos strikingly sounded like Wizkid.
All things considered, Logos’ ‘Olori’ EP is a rather bad attempt because the music fails to demonstrate the kind of artistic development that results in the capacity to create music that affects listeners.
EP debuts are meant to be statements of intent, and Logos Olori made none at all with his debut. His music seems to be caught in the mindset of an underground musician, and as a result, the EP is forgettable. It lacks growth, direction, and individuality.
Whether Davido chose to do so or not, the plan to depend only on a feature would worsen the already awful condition of his debut EP. A Davido feature is just so much more beneficial to him, particularly when the song is really mediocre.
This EP’s lackluster quality is also a criticism of those who were supposed to direct its creative process. However, Logos bears the majority of the blame as he was unable to advance and demonstrate his abilities. If Logos wants to make this right, he has to let go of his simplistic interpretation of music.
