SINKHOLES 2023
Sinkholes are the many echoes that ring in my head when faced with a question asking of my identity. It is not merely a collection of light-weighted rap songs with a central focus on the black man, but rather a poetic work that delves deeper into profound reflections.
As I embark on this project, numerous questions arise, and I find myself pondering, "Who am I meant to be if I was never taught who I should be?" This alarming question triggers my existential crisis, as it unveils the void within me.
Drawing inspiration from my previous projects, 'Bewildered In Valleys Of Grace' and 'Dying Sun,' a recurring theme of emptiness, void, and depression emerges. These works carry a deteriorating undertone masked by a veneer of bliss or perfection. Yes, one could say that I have not escaped these feelings, and Sinkholes serves as a manifestation of this ongoing struggle.
In this phase of my life, I find myself trapped in a depression, a metaphorical hole from which I cannot escape. Perhaps this inevitability is a shared experience among black men and black women at some point in their lives
Acknowledging that I cannot elude the oppression and prejudice faced by my people, I have come to realize that these feelings are not new.
Growing up in Nigeria, I was sheltered from the atrocities committed against people of my colour. The knowledge of slave ships, the West-centric slave trade, and the enduring effects on African families and society dawned upon me later in life.
These historical events became new revelations, leading me to recognize how little I knew about myself. However, the trauma inherited from generations of the enslaved is an integral part of my being. This trauma should not be neglected, forgotten, or ignored.
Despite the pain endured by my ancestral lineage, it empowers me to know that I belong to my people.
STRANGER IN THE VILLAGE
Recently, I discovered James Baldwin's essay, "Stranger in the Village," which resonated with the past eight months of my life and the creative process behind this album. In the essay, Baldwin finds himself in a small town in Switzerland, dominated by a white population who had never seen a black person before.
Their perception of the black man was shaped not by personal experiences but by media portrayals or other external influences. Baldwin's encounters revealed the latent racism within them, as the use of racial slurs reverberated profoundly in his mind.
This connects with my own experiences while creating this album, as I moved to Bath, England, where the black population was scarce. I, too, encountered racism that ignited a flame within me and propelled me down this rabbit hole.
The album's opening track, "Man In a Hole," serves as an introduction to this new world I find myself in. I am unapologetically honest about my state, acknowledging that I am in a hole, both physically and metaphorically, and these songs are the product of my contemplations. Interestingly, the production process of the album itself mirrored this premeditation. I often took long walks alone to parks, spending hours lost in my thoughts. Sometimes I would bring a book along, but other times, I let my mind wander freely. Ultimately, I would mull over the lyrics before recording, and if I was fortunate, the punchline would emerge as the first line.
iN FRAGMENTS
The next aspect I focus on is the vibe and delivery of the songs. Sometimes, I want to immerse myself in a world of beauty, surrounded by flowers, trees, and a sense of freedom. Other times, I aim to convey a feeling of being trapped or haunted. The beats themselves can also reflect this fragmentation, with elements that feel disjointed. For example, tracks like 'The City By Bus' and 'Kuza Cave' incorporate a denigrating guitar loop that almost pulls the listener into a metaphorical hole. These songs don't rely on hooks; instead, they consist of verses that matter of-factly present the fragmented thoughts. In fact, many of the songs on the album came together in this way, as fragments of ideas and emotions.
This fragmented and abstract approach to song writing aligns with the process of premeditation. I often think of a particular thought or concept, and it sets off a chain reaction, leading to the emergence of several others. As I write and create, it feels as if these ideas are being dictated to me, guiding the direction of the music. It becomes a deeply personal and immersive experience
TERROR MANAGEMENT THEORY & CLIMATE
Amidst the exploration of African themes, another recurring element in the album is the 'Terror Management theory.'
This theory revolves around how individuals cope with the knowledge of their
mortality. Some find solace in religion, using faith as a means to ease their minds. Others adopt specific ways of thinking that help them stay afloat.
Personally, I observe and analyse these coping mechanisms by observing others. Perhaps it's because I'm searching for that reason to keep moving forward. However, I must admit that I find refuge and solace in the process of creating songs and writing.
Sinkholes also addresses the degradation of society. In the track "Washed Blood," I delve into the heavy topic of climate change, drawing inspiration from the devastating wildfires in Canada and the haunting smoke that blighted the New York City skyline.
Witnessing the impact from across the world evoked a disconcerting feeling of impending doom, as if my life hadn't already been filled with enough turmoil.
On the track 'Leftovers,' I delve into the topic of landfills, emphasizing their significance in the hook with repeated enunciation: "Landfills fill up," "Landfills fill up," "When your mind gon catch up." This repetition serves as a call to attention, alerting the listener to the state of emergency facing our environment
By focusing on landfills, I aim to shed light on the alarming rate at which they are reaching their capacity. It serves as a metaphor for the broader environmental crisis we face, urging us to recognize the urgency of the situation.
The repetition in the hook emphasizes the need for our collective consciousness to catch up with the gravity of the problem at hand.
Through this lyrical expression, Sinkholes brings attention to the consequences of human actions and encourages listeners to reflect on their role in mitigating environmental degradation. It serves as a reminder that we must take immediate action to preserve and protect our natural world before it is too late.
POLITICAL OPPRESSION
Other subjects explored in the album include African politics, specifically the corruption and embezzlement perpetrated by African leaders. Moreover, I challenge the notion that the West tarnishes the image of African leaders, citing Robert Mugabe from Zimbabwe as an example and Muammar Gaddafi.
And as I continue writing, I find myself pondering the matter of truth. I question whether the political powers that be truly have dominion over us, controlling our lives and shaping our destinies. The concept of neocolonialism comes to mind, where Western powers exert control over third world countries, often in conjunction with corrupt leader s who exploit their own nations' resources for personal gain.
Figures like Sese Seko Mobutu and General Sani Abacha are criticized for their actions, representing just a few examples among many. In light of this, I adopt a futurist perspective, considering the long-term effects on nations and the imperative for Africans to work together in interdependence in order to rise above these circumstances. It becomes evident that relying on the assistance of neo-colonialist countries is unlikely to yield the progress and development needed. Instead, the focus shifts to internal collaboration and self-determination.
