Seyi Vibez’s “Children of Africa” EP: A Mechanical Approach to Music
Introduction
Seyi Vibez is undeniably talented, but even great talent can falter when an artist prioritizes quantity over quality. Over time, Seyi Vibez has developed a predictable formula for releasing music—one good song surrounded by disjointed tracks that feel rushed and lack cohesion. His latest project, Children of Africa, is another example of this approach, proving that churning out music like a content creator rather than a dedicated artist can dilute one’s artistic essence.
Lack of Thematic and Sonic Cohesion
The EP’s title, Children of Africa, suggests a socially conscious or culturally reflective body of work. However, the actual songs on the project fail to reflect this expectation. Rather than delivering a thematic exploration of African identity or struggles, Seyi Vibez presents a random collection of tracks that bear little connection to each other. The only unifying element is the use of children’s voices in the intro (Mario Kart) and outro (Happy Song), but beyond that, the project feels like a mixtape assembled without care for flow or storytelling.
Track-by-Track Analysis
Mario Kart – A Lyrical Disconnect
The opening track, Mario Kart, is built on braggadocious lyrics and materialism, a stark contrast to the EP’s supposed theme. Lines like “Runnin’, runnin’ like Mario Kart” and “One hundred and fifty-five karats, seven and five on the Cuban” highlight Seyi Vibez’s recurring emphasis on wealth and jewelry rather than meaningful storytelling. While the production is solid, the song’s lyrical depth is virtually nonexistent.
Macho (feat. NLE Choppa) – A Forced Amapiano Experiment
Macho is an attempt at blending Amapiano with Afrobeats, featuring American rapper NLE Choppa. While the beat is lively, the lyrics are once again shallow, revolving around luxury, nightlife, and braggadocio. The collaboration feels like a forced attempt at cross-continental appeal rather than an organic musical fusion.
Shaolin – Borrowed Energy, No Originality
This track borrows heavily from the energetic style of Rema’s HEIS album but lacks the same level of creativity or finesse. The fast-paced production is engaging, but the song itself offers little substance beyond surface-level Afrobeat tropes. Lyrics like “Everywhere good, everywhere peh cheh cheh” feel repetitive and uninspired.
Happy Song – A Hollow Conclusion
The final track, Happy Song, is perhaps the weakest offering on the EP. It is built around the repetitive chant of “H-A-P-P-Y, we are happy” with little effort to construct meaningful verses. While the childlike chorus might have been an attempt to create a singalong anthem, it comes off as lazy songwriting rather than an uplifting piece.
The Bigger Issue: Music as a Cash Grab
Seyi Vibez’s approach to music has increasingly become formulaic and commercially driven. He appears more focused on maximizing streams and digital revenue rather than crafting music with longevity and emotional resonance. His projects lack songs that can stand the test of time, as they feel like momentary content drops rather than carefully curated works of art. This method results in disposable music that fades within weeks, failing to leave a lasting impact.
Conclusion: A Disappointing Release
Children of Africa is another example of Seyi Vibez’s mechanical approach to music-making. While the production is competent, the lack of thematic depth, cohesion, and lyrical substance makes this EP forgettable. If Seyi Vibez wants to solidify his legacy as an artist rather than just a content creator, he needs to focus more on crafting timeless music with genuine artistic intent rather than simply feeding the streaming algorithms.
Rating: 3/10
Seyi Vibez’s “Children of Africa” EP: A Mechanical Approach to Music
