#ThrowBackKiLa: The Project.— Review Of PayDay

 

Review of KvngKiLa's "Payday".

      Entirely beyond the regular fission of free verse and instrumentals which have characterized a huge percentage of rap outputs in the Nigerian Hip Hop community, KiLa's " Payday " is unarguably an incarnation of classy delivery and dulcet cadence. The EkazBeats skillfully produced intriguing single got the Hip Hop ace and Ghost Records hotshot navigating through illuminated bars like maddened flames razing dried thatches off an age-long hut at the peak of Harmattan in the Coast of Upper Guinea.
 

 For every employee, "Payday" is significant as its arrival provides incentives for one's labour. KiLa's "Payday" chronicles his trying time and subsequent arrival to limelight. The smash hit is a tuneful, timeless, fadeless and flawless masterpiece which would not fail to surpass the classical aesthetics of the most unpleasing audience in terms of lyrics, vocals, melody, originality, instrumentals/beats. The single depicts a sharp blend of narration and poetic synthesis spinning through impressive duration of four minutes through the collaborative effort of Tixy whose mellifluous rendition creates a sonorous niche and spectacles for the chorus; the first and the last verse which he went bar for bar with KiLa, the crown Prince of Nembe.
 

Summarily, the mid-tempo bar is an embodiment of KiLa's autobiography which have depicted his absolute reliance on providence for a divine headway in an environment where dreamers and their little beginning are vehemently despised. As rightly captured in the creative imagination of the duo, the chorus and some relatively hardened lines explicate the rapper's steadfastness on God. This religious consciousness is overtly expressed in the last two lines of the chorus and the couplet bridge which demarcates the chorus and respective verses. The chorus is rendered as:...I say e don tay, I look up
   to God all the way.
...I have said it has been long, I look up
   to God all the way.
  However, the above lines depict an high sense of religiosity of the individual rapper and it is further justified by the counsel he would establish in the song under review. The lyrics in the bridge deepen his insistence on prayer and dedication to one's profession:
     So brother, no wait, no play
     Dey pray cuz time no dey.
  Brother, don't wait, don't play
   Be prayerful because time is limited.

The song's rhyme correspondence is one of the palpable indications of KiLa's outstanding penmanship. This sound correspondence becomes too significant as it infuses melody into the bars and could easily get the audience's attention entrapped even at its initial hearing. It is only natural to establish here that there is a regular metrical flow and rhyme correspondence in all the lines in the three verses. The longest verse in the single is the second, with a total number of 16 lines. Oh yes, interesting but the most interesting fact is KiLa's ability to manipulate rhyme correlation in all the lines, both internal and end rhyme.
 

 The second quatrain in the second verse has a blend of internal and end rhyme as:
"Used to chase the dreams, now EMBRACING THEM,
Used to wish for these kicks and now LACING THEM,
Used to run from my fears but now FACING THEM,
See, brother, I be FACING THEM.

 Looks easy? NO! KiLa is a genius. Such outstanding delivery is only common among rare breeds like him; his entire discographies have the same classical artistry. His songs are timeless, tuneful and capable of making you call him THE GOAT.

WRITER: Nsikak Ekikor
Email. nsikakekikor@gmail.com
Instagram: @Ekikor Jnr
Twitter: @Nekikor
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