2019-02-24 00:01

#Trending  listens to two projects by Gigi Lamayne, one from her earlier days and the other being her most recent project. 

i-Genesis (2016)
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i-Genesis is Gigi Lamayne’s sophomore album following 2014’s Colour of Reign but is arguably the record that raised her name in the streets. It starts off with a thumper of an intro where Gigi explains her life and how she made school cool again. Schemes like this must really pull in the YoTV crowd, but the production is serious enough to be worthy of being an album opener. The first full track is an EDM-inspired romantic song featuring Kid Tini.

Next is Shisa. The “chakalaka” chorus is perhaps a little too quirky for me, but the raps even out the song and the beat will catch you.

She has a Proverb feature on When the Wind Blows and EDM remains a definite influence in the crafting of a song like this. This is followed by the popular single Ice Cream with Khuli Chana, and then there’s Jumanji, which forms part of a long list of questionable tracks on this record. The flavours are all over the place with a lot of room to grow.

VI (EP) (2018)
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I decided to give VI the car test. This is serious business because hip-hop in the car is nothing to be taken lightly. If a good song is played softly then pedestrians and fellow road users are denied the pleasure of what you’re bumping. However, playing suspect music can also bring you great shame in the car. As I turn on to my favourite road in the city, Hougton Drive, I press play on the title track. The drums are styled traditionally and homegirl rides the beat accordingly. It passes the test – I wish her whole catalogue sounded like this track. Word play and a ferocious conviction in her voice.

Twinkle features Londie London who has a lovely voice; it’s strong but fragile. Roll is a block slapper. I know this because it plays as I pull up at the spaza shop in my hood and the schoolkids at the bus stop start bopping. This is her target market, but she doesn’t lock older heads like me out of her sound. Roll sounds a bit like Nicki Minaj’s Beez In The Trap; I think the same vocal effects might’ve been used. I don’t care, it’s dope and my street cred definitely went up a percentage or two. She seals things off with Stimela, a wavy banger anchored by 808’s and a plump bassline. She sounds so good on this, the words seem to spill out from a place of sincerity steered by a skilled delivery. If her next project sounds even a little like this, she might have some heat on her hands.

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January 26 2020