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ALBUM REVIEW: Akan exudes unalloyed Hiplife on ONIPA AKOMA

A-Level Music signee, Akan has released his debut album, ONIPA AKOMA. The album is a collection of 15 absolutely indigenous songs.

 A-Level Music signee, Akan has released his debut album, ONIPA AKOMA. The album is a collection of 15 absolutely indigenous songs. The rap prodigy, who has consistently exuded his resolve to unconventionally defy the threats of cultural diffusion and western influence by sustaining a purely indigenous brand has served us with a project which is depictive of his brand. ONIPA AKOMA, the album title literally means ‘A Human Heart’, prima facie.

Akan introduces listeners to the album by revealing to us, his desires in life which are entrenched in his heart. He gives an account of God’s creation story, outlining the abilities and entitlements God conferred on man. He subsequently quizzes; ….Onipa ee,, wakoma so adeɜ ne sɜn? , to wit, what are your desires in life? He then lists his to include long life, depth in book knowledge, wealth, amongst others. On the second track, Me Sika Aduro, he continues with the expression of his indelible desires. He wishes to earn money in astronomically excessive quantities, even irrespective it may be blood money. He figuratively states that the money he desires to garner should be colossal to the extent of being uncountable and lending some to the government of the Republic.

Akan also discloses to us that his heart has suffered a devastation on Akoma No Abuagumu. On the instrumental put together by Jayso, he sadly conveys that he has transmogrified into a septic tank, depicting a sorry state he has endured due to a divorce with a loved one. However later on the album, on a track titled Dabɛn, Akan desperately wished for a return of his loved one.

 On, Matu Meto, the A-Level Music signee demonstrates a resolve to eschew any lackadaisical traits inherent in him which have inhibited an extensive showcase of his talent. 

Quabena Akan further displays facets of the utilitarianism of indigenous life on Aprodoo and Nsa Fufuo. He talks more about lifestyle on Koliko: Abusua Tintin and furthers the account of the pleasures of life with Anadwo Yɛ dɛ where he narrates the pleasure of an engagement with a loved one in the night.

On Helebaba, Quabena Akan hosts talented progidy, Worlasi to lay a succulent hook on the Qube/Worlasi assembled instrumental. Akan takes the opportunity to speak generally and claims to be a brand with a depth which is difficult to apprehend.  He continues with Akoma Ne Adwen, positing that one’s progress in life is hinged on the mind and the heart. He opines that there must be a compatibility of the two, functioning simultaneously. 

There was an intense Highlife presence on Ehuru A Ebɛdwo where Akan basically speaks to the fact that there is no permanence of conditions. There was an invocation of sorrow on the following track which begins with a sound emanating from a flute.  Titled Awufo Som, Akan narrates how the funeral of one Agya Osei was held as an accurate reflection of how funerals are usually marked customarily for the dead in Ghanaian society, notably amongst the Akan communities.

After admonishing us to repent from vices on Asɛm No, Quabena Akan concludes his performance on the album with Kae Kwabena, where he humbly solicits for intercessory prayers from listeners for him.

General Views

The productions were professionally executed. The producers, dominated by TwisedWavex demonstrated expertise in their field. The other producers included Jayso, YungFly, 420 Drums, MikeMills, Qube, Worlasi, Paul Pistol, Falavamatik, and Kwaku Ananse. The sole guest artiste, Worlasi as stated supra was splendid with his contribution. Quabena Akan has proven to be a contemporary watershed of Hiplife music in its purest form. Akan could be viewed to be a balanced diet of Obrafour’s depth, Okomfo Kwadee’s story telling and Lord Kenya’s dynamism and quasi aggression. It is therefore not surprising that these Hiplife legends are the inspirators for this album. His apparent agenda to revive the classical Hiplife by restoring the genre to its original form is now patently visible and this project is highly capacitated to sufficiently fulfill this agenda. ONIPA AKOMA demonstrates the conservative Akan’s unalloyed and unfettered loyalty to original Hiplife music which is reminiscent of the Pae Mu Kas, Aboro Ne Bayie, and Sika Baas.

By Seth Mireku


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item ALBUM REVIEW: Akan exudes unalloyed Hiplife on ONIPA AKOMA
ALBUM REVIEW: Akan exudes unalloyed Hiplife on ONIPA AKOMA
A-Level Music signee, Akan has released his debut album, ONIPA AKOMA. The album is a collection of 15 absolutely indigenous songs.
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