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.
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
By Seth Mireku

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