Zlatan, take a bow. But we probably should have known - the high-level sonics of 'Lagos Anthem' offered us insights into his headspace, we just didn't pick the cue.Zlatan’s debut album, Zanku was problematic and scatterbrained. For one, it felt like Zlatan created an album without a set direction and the music severely suffered for it. More importantly, he failed to crown a spectacular year with a momentous body of work.In 2020, he released Road To CDK, a more methodical, more cohesive and much improved, but slightly one-dimensional EP. He followed it up with Mainland To Island, a pure Rap collaborative EP alongside Oladips. It reminded his earliest fans that he hasn’t forgotten his Rap background. And boy, did he deliver?
Over the past two years, Zlatan has constantly shattered this writer’s prediction for and expectations of his career by lasting beyond 2019 and constantly playing a cat with nine lives. He has become a label boss and serial hitmaker - as a lead artist and a feature. Anytime Zlatan looks like slowing down, something brings him back up. In 2020, he slowed down and came back with cultural anthems with ‘Cash App’ and ‘Lagos Anthem.’But nothing can prepare anybody for Resan, his sophomore album and overall fourth body of work. Ladies and gentlemen, Zlatan didn't just ace the album, he signifcantly excelled and produced a beautiful album.
For one, he significantly stepped away from a trusted collaborator like Rexxie, in favour of producers like Steph and Timi Jay, and it brings surprising, refreshing and alluring range to his music. Just listen to the saxophone magic at the end of 'Alubarika.'
The result is a smooth album, which thrives on explosive, yet methodical melodies in an orderly manner, with segues and smooth track-to-track transitions. While Zlatan’s topical conversations and themes are still quite basic as a five-year veteran, a listener can’t exactly hold on to that or totally begrudge him.In 2020, he released Road To CDK, a more methodical, more cohesive and much improved, but slightly one-dimensional EP. He followed it up with Mainland To Island, a pure Rap collaborative EP alongside Oladips. It reminded his earliest fans that he hasn’t forgotten his Rap background. And boy, did he deliver?
Over the past two years, Zlatan has constantly shattered this writer’s prediction for and expectations of his career by lasting beyond 2019 and constantly playing a cat with nine lives. He has become a label boss and serial hitmaker - as a lead artist and a feature. Anytime Zlatan looks like slowing down, something brings him back up. In 2020, he slowed down and came back with cultural anthems with ‘Cash App’ and ‘Lagos Anthem.’
But nothing can prepare anybody for Resan, his sophomore album and overall fourth body of work. Ladies and gentlemen, Zlatan didn't just ace the album, he signifcantly excelled and produced a beautiful album.
For one, he significantly stepped away from a trusted collaborator like Rexxie, in favour of producers like Steph and Timi Jay, and it brings surprising, refreshing and alluring range to his music. Just listen to the saxophone magic at the end of 'Alubarika.'
The result is a smooth album, which thrives on explosive, yet methodical melodies in an orderly manner, with segues and smooth track-to-track transitions. While Zlatan’s topical conversations and themes are still quite basic as a five-year veteran, a listener can’t exactly hold on to that or totally begrudge him.
For example on ‘That Guy,’ Zlatan didn’t really say anything special. Even though his grass-to-grace theme is resonant, he didn’t really say anything special to elevate the topic. However, the overall musicality of that record is just too high that the average listener might not even notice its technical deficiencies.
‘That Guy’ is built on amazing sonics from the staple of Chech, who blended Kel P-esque percussion with Rexxie-esque percussive progression with impressive instrumentation from a saxophone, an acoustic guitar and synth-pop strings. Everything is then crowned by the choral backup, which elevates the record. The record might just be Zlatan’s best yet.
Moreover, he’s a pop artist with roots in Rap music.
‘Island To Mainland’ already proves that he’s a dope rapper. ‘Resan’ belongs to the realm of lamba, where a different rule of engagement applies. On his sophomore album, Zlatan is a simple popstar on a quest to make bangers and sweet radio-worthy, party-worthy, groove-worthy lamba, and he did just that, and deserves full credit for it.
Artists seldom recover from a debut album as bad as ‘Zanku,’ but Zlatan proves that it is possible. From a sentimental standpoint, it’s also nice to see that Zlatan can grow artistically, creatively and as an A&R of his own music.
In 2020, he released Road To CDK, a more methodical, more cohesive and much improved, but slightly one-dimensional EP. He followed it up with Mainland To Island, a pure Rap collaborative EP alongside Oladips. It reminded his earliest fans that he hasn’t forgotten his Rap background. And boy, did he deliver?
Over the past two years, Zlatan has constantly shattered this writer’s prediction for and expectations of his career by lasting beyond 2019 and constantly playing a cat with nine lives. He has become a label boss and serial hitmaker - as a lead artist and a feature. Anytime Zlatan looks like slowing down, something brings him back up. In 2020, he slowed down and came back with cultural anthems with ‘Cash App’ and ‘Lagos Anthem.’
But nothing can prepare anybody for Resan, his sophomore album and overall fourth body of work. Ladies and gentlemen, Zlatan didn't just ace the album, he signifcantly excelled and produced a beautiful album.
For one, he significantly stepped away from a trusted collaborator like Rexxie, in favour of producers like Steph and Timi Jay, and it brings surprising, refreshing and alluring range to his music. Just listen to the saxophone magic at the end of 'Alubarika.'
The result is a smooth album, which thrives on explosive, yet methodical melodies in an orderly manner, with segues and smooth track-to-track transitions. While Zlatan’s topical conversations and themes are still quite basic as a five-year veteran, a listener can’t exactly hold on to that or totally begrudge him.
For example on ‘That Guy,’ Zlatan didn’t really say anything special. Even though his grass-to-grace theme is resonant, he didn’t really say anything special to elevate the topic. However, the overall musicality of that record is just too high that the average listener might not even notice its technical deficiencies.
‘That Guy’ is built on amazing sonics from the staple of Chech, who blended Kel P-esque percussion with Rexxie-esque percussive progression with impressive instrumentation from a saxophone, an acoustic guitar and synth-pop strings. Everything is then crowned by the choral backup, which elevates the record. The record might just be Zlatan’s best yet.
Moreover, he’s a pop artist with roots in Rap music.
‘Island To Mainland’ already proves that he’s a dope rapper. ‘Resan’ belongs to the realm of lamba, where a different rule of engagement applies. On his sophomore album, Zlatan is a simple popstar on a quest to make bangers and sweet radio-worthy, party-worthy, groove-worthy lamba, and he did just that, and deserves full credit for it.
Artists seldom recover from a debut album as bad as ‘Zanku,’ but Zlatan proves that it is possible. From a sentimental standpoint, it’s also nice to see that Zlatan can grow artistically, creatively and as an A&R of his own music.
In 2020, he released Road To CDK, a more methodical, more cohesive and much improved, but slightly one-dimensional EP. He followed it up with Mainland To Island, a pure Rap collaborative EP alongside Oladips. It reminded his earliest fans that he hasn’t forgotten his Rap background. And boy, did he deliver?
Over the past two years, Zlatan has constantly shattered this writer’s prediction for and expectations of his career by lasting beyond 2019 and constantly playing a cat with nine lives. He has become a label boss and serial hitmaker - as a lead artist and a feature. Anytime Zlatan looks like slowing down, something brings him back up. In 2020, he slowed down and came back with cultural anthems with ‘Cash App’ and ‘Lagos Anthem.’
But nothing can prepare anybody for Resan, his sophomore album and overall fourth body of work. Ladies and gentlemen, Zlatan didn't just ace the album, he signifcantly excelled and produced a beautiful album.
For one, he significantly stepped away from a trusted collaborator like Rexxie, in favour of producers like Steph and Timi Jay, and it brings surprising, refreshing and alluring range to his music. Just listen to the saxophone magic at the end of 'Alubarika.'
The result is a smooth album, which thrives on explosive, yet methodical melodies in an orderly manner, with segues and smooth track-to-track transitions. While Zlatan’s topical conversations and themes are still quite basic as a five-year veteran, a listener can’t exactly hold on to that or totally begrudge him.
For example on ‘That Guy,’ Zlatan didn’t really say anything special. Even though his grass-to-grace theme is resonant, he didn’t really say anything special to elevate the topic. However, the overall musicality of that record is just too high that the average listener might not even notice its technical deficiencies.
‘That Guy’ is built on amazing sonics from the staple of Chech, who blended Kel P-esque percussion with Rexxie-esque percussive progression with impressive instrumentation from a saxophone, an acoustic guitar and synth-pop strings. Everything is then crowned by the choral backup, which elevates the record. The record might just be Zlatan’s best yet.
Moreover, he’s a pop artist with roots in Rap music.
‘Island To Mainland’ already proves that he’s a dope rapper. ‘Resan’ belongs to the realm of lamba, where a different rule of engagement applies. On his sophomore album, Zlatan is a simple popstar on a quest to make bangers and sweet radio-worthy, party-worthy, groove-worthy lamba, and he did just that, and deserves full credit for it.
Artists seldom recover from a debut album as bad as ‘Zanku,’ but Zlatan proves that it is possible. From a sentimental standpoint, it’s also nice to see that Zlatan can grow artistically, creatively and as an A&R of his own music.
In 2020, he released Road To CDK, a more methodical, more cohesive and much improved, but slightly one-dimensional EP. He followed it up with Mainland To Island, a pure Rap collaborative EP alongside Oladips. It reminded his earliest fans that he hasn’t forgotten his Rap background. And boy, did he deliver?
Over the past two years, Zlatan has constantly shattered this writer’s prediction for and expectations of his career by lasting beyond 2019 and constantly playing a cat with nine lives. He has become a label boss and serial hitmaker - as a lead artist and a feature. Anytime Zlatan looks like slowing down, something brings him back up. In 2020, he slowed down and came back with cultural anthems with ‘Cash App’ and ‘Lagos Anthem.’
But nothing can prepare anybody for Resan, his sophomore album and overall fourth body of work. Ladies and gentlemen, Zlatan didn't just ace the album, he signifcantly excelled and produced a beautiful album.
For one, he significantly stepped away from a trusted collaborator like Rexxie, in favour of producers like Steph and Timi Jay, and it brings surprising, refreshing and alluring range to his music. Just listen to the saxophone magic at the end of 'Alubarika.'
The result is a smooth album, which thrives on explosive, yet methodical melodies in an orderly manner, with segues and smooth track-to-track transitions. While Zlatan’s topical conversations and themes are still quite basic as a five-year veteran, a listener can’t exactly hold on to that or totally begrudge him.
For example on ‘That Guy,’ Zlatan didn’t really say anything special. Even though his grass-to-grace theme is resonant, he didn’t really say anything special to elevate the topic. However, the overall musicality of that record is just too high that the average listener might not even notice its technical deficiencies.
‘That Guy’ is built on amazing sonics from the staple of Chech, who blended Kel P-esque percussion with Rexxie-esque percussive progression with impressive instrumentation from a saxophone, an acoustic guitar and synth-pop strings. Everything is then crowned by the choral backup, which elevates the record. The record might just be Zlatan’s best yet.
Moreover, he’s a pop artist with roots in Rap music.
‘Island To Mainland’ already proves that he’s a dope rapper. ‘Resan’ belongs to the realm of lamba, where a different rule of engagement applies. On his sophomore album, Zlatan is a simple popstar on a quest to make bangers and sweet radio-worthy, party-worthy, groove-worthy lamba, and he did just that, and deserves full credit for it.
Artists seldom recover from a debut album as bad as ‘Zanku,’ but Zlatan proves that it is possible. From a sentimental standpoint, it’s also nice to see that Zlatan can grow artistically, creatively and as an A&R of his own music.
In 2020, he released Road To CDK, a more methodical, more cohesive and much improved, but slightly one-dimensional EP. He followed it up with Mainland To Island, a pure Rap collaborative EP alongside Oladips. It reminded his earliest fans that he hasn’t forgotten his Rap background. And boy, did he deliver?
Over the past two years, Zlatan has constantly shattered this writer’s prediction for and expectations of his career by lasting beyond 2019 and constantly playing a cat with nine lives. He has become a label boss and serial hitmaker - as a lead artist and a feature. Anytime Zlatan looks like slowing down, something brings him back up. In 2020, he slowed down and came back with cultural anthems with ‘Cash App’ and ‘Lagos Anthem.’
But nothing can prepare anybody for Resan, his sophomore album and overall fourth body of work. Ladies and gentlemen, Zlatan didn't just ace the album, he signifcantly excelled and produced a beautiful album.
For one, he significantly stepped away from a trusted collaborator like Rexxie, in favour of producers like Steph and Timi Jay, and it brings surprising, refreshing and alluring range to his music. Just listen to the saxophone magic at the end of 'Alubarika.'
The result is a smooth album, which thrives on explosive, yet methodical melodies in an orderly manner, with segues and smooth track-to-track transitions. While Zlatan’s topical conversations and themes are still quite basic as a five-year veteran, a listener can’t exactly hold on to that or totally begrudge him.
For example on ‘That Guy,’ Zlatan didn’t really say anything special. Even though his grass-to-grace theme is resonant, he didn’t really say anything special to elevate the topic. However, the overall musicality of that record is just too high that the average listener might not even notice its technical deficiencies.
‘That Guy’ is built on amazing sonics from the staple of Chech, who blended Kel P-esque percussion with Rexxie-esque percussive progression with impressive instrumentation from a saxophone, an acoustic guitar and synth-pop strings. Everything is then crowned by the choral backup, which elevates the record. The record might just be Zlatan’s best yet.
Moreover, he’s a pop artist with roots in Rap music.
‘Island To Mainland’ already proves that he’s a dope rapper. ‘Resan’ belongs to the realm of lamba, where a different rule of engagement applies. On his sophomore album, Zlatan is a simple popstar on a quest to make bangers and sweet radio-worthy, party-worthy, groove-worthy lamba, and he did just that, and deserves full credit for it.
Artists seldom recover from a debut album as bad as ‘Zanku,’ but Zlatan proves that it is possible. From a sentimental standpoint, it’s also nice to see that Zlatan can grow artistically, creatively and as an A&R of his own music.
In 2020, he released Road To CDK, a more methodical, more cohesive and much improved, but slightly one-dimensional EP. He followed it up with Mainland To Island, a pure Rap collaborative EP alongside Oladips. It reminded his earliest fans that he hasn’t forgotten his Rap background. And boy, did he deliver?
Over the past two years, Zlatan has constantly shattered this writer’s prediction for and expectations of his career by lasting beyond 2019 and constantly playing a cat with nine lives. He has become a label boss and serial hitmaker - as a lead artist and a feature. Anytime Zlatan looks like slowing down, something brings him back up. In 2020, he slowed down and came back with cultural anthems with ‘Cash App’ and ‘Lagos Anthem.’
But nothing can prepare anybody for Resan, his sophomore album and overall fourth body of work. Ladies and gentlemen, Zlatan didn't just ace the album, he signifcantly excelled and produced a beautiful album.
For one, he significantly stepped away from a trusted collaborator like Rexxie, in favour of producers like Steph and Timi Jay, and it brings surprising, refreshing and alluring range to his music. Just listen to the saxophone magic at the end of 'Alubarika.'
The result is a smooth album, which thrives on explosive, yet methodical melodies in an orderly manner, with segues and smooth track-to-track transitions. While Zlatan’s topical conversations and themes are still quite basic as a five-year veteran, a listener can’t exactly hold on to that or totally begrudge him.
For example on ‘That Guy,’ Zlatan didn’t really say anything special. Even though his grass-to-grace theme is resonant, he didn’t really say anything special to elevate the topic. However, the overall musicality of that record is just too high that the average listener might not even notice its technical deficiencies.
‘That Guy’ is built on amazing sonics from the staple of Chech, who blended Kel P-esque percussion with Rexxie-esque percussive progression with impressive instrumentation from a saxophone, an acoustic guitar and synth-pop strings. Everything is then crowned by the choral backup, which elevates the record. The record might just be Zlatan’s best yet.
Moreover, he’s a pop artist with roots in Rap music.
‘Island To Mainland’ already proves that he’s a dope rapper. ‘Resan’ belongs to the realm of lamba, where a different rule of engagement applies. On his sophomore album, Zlatan is a simple popstar on a quest to make bangers and sweet radio-worthy, party-worthy, groove-worthy lamba, and he did just that, and deserves full credit for it.
Artists seldom recover from a debut album as bad as ‘Zanku,’ but Zlatan proves that it is possible. From a sentimental standpoint, it’s also nice to see that Zlatan can grow artistically, creatively and as an A&R of his own music.
In 2020, he released Road To CDK, a more methodical, more cohesive and much improved, but slightly one-dimensional EP. He followed it up with Mainland To Island, a pure Rap collaborative EP alongside Oladips. It reminded his earliest fans that he hasn’t forgotten his Rap background. And boy, did he deliver?
Over the past two years, Zlatan has constantly shattered this writer’s prediction for and expectations of his career by lasting beyond 2019 and constantly playing a cat with nine lives. He has become a label boss and serial hitmaker - as a lead artist and a feature. Anytime Zlatan looks like slowing down, something brings him back up. In 2020, he slowed down and came back with cultural anthems with ‘Cash App’ and ‘Lagos Anthem.’
But nothing can prepare anybody for Resan, his sophomore album and overall fourth body of work. Ladies and gentlemen, Zlatan didn't just ace the album, he signifcantly excelled and produced a beautiful album.
For one, he significantly stepped away from a trusted collaborator like Rexxie, in favour of producers like Steph and Timi Jay, and it brings surprising, refreshing and alluring range to his music. Just listen to the saxophone magic at the end of 'Alubarika.'
The result is a smooth album, which thrives on explosive, yet methodical melodies in an orderly manner, with segues and smooth track-to-track transitions. While Zlatan’s topical conversations and themes are still quite basic as a five-year veteran, a listener can’t exactly hold on to that or totally begrudge him.
For example on ‘That Guy,’ Zlatan didn’t really say anything special. Even though his grass-to-grace theme is resonant, he didn’t really say anything special to elevate the topic. However, the overall musicality of that record is just too high that the average listener might not even notice its technical deficiencies.
‘That Guy’ is built on amazing sonics from the staple of Chech, who blended Kel P-esque percussion with Rexxie-esque percussive progression with impressive instrumentation from a saxophone, an acoustic guitar and synth-pop strings. Everything is then crowned by the choral backup, which elevates the record. The record might just be Zlatan’s best yet.
Moreover, he’s a pop artist with roots in Rap music.
‘Island To Mainland’ already proves that he’s a dope rapper. ‘Resan’ belongs to the realm of lamba, where a different rule of engagement applies. On his sophomore album, Zlatan is a simple popstar on a quest to make bangers and sweet radio-worthy, party-worthy, groove-worthy lamba, and he did just that, and deserves full credit for it.
Artists seldom recover from a debut album as bad as ‘Zanku,’ but Zlatan proves that it is possible. From a sentimental standpoint, it’s also nice to see that Zlatan can grow artistically, creatively and as an A&R of his own music.
In 2020, he released Road To CDK, a more methodical, more cohesive and much improved, but slightly one-dimensional EP. He followed it up with Mainland To Island, a pure Rap collaborative EP alongside Oladips. It reminded his earliest fans that he hasn’t forgotten his Rap background. And boy, did he deliver?
Over the past two years, Zlatan has constantly shattered this writer’s prediction for and expectations of his career by lasting beyond 2019 and constantly playing a cat with nine lives. He has become a label boss and serial hitmaker - as a lead artist and a feature. Anytime Zlatan looks like slowing down, something brings him back up. In 2020, he slowed down and came back with cultural anthems with ‘Cash App’ and ‘Lagos Anthem.’
But nothing can prepare anybody for Resan, his sophomore album and overall fourth body of work. Ladies and gentlemen, Zlatan didn't just ace the album, he signifcantly excelled and produced a beautiful album.
For one, he significantly stepped away from a trusted collaborator like Rexxie, in favour of producers like Steph and Timi Jay, and it brings surprising, refreshing and alluring range to his music. Just listen to the saxophone magic at the end of 'Alubarika.'
The result is a smooth album, which thrives on explosive, yet methodical melodies in an orderly manner, with segues and smooth track-to-track transitions. While Zlatan’s topical conversations and themes are still quite basic as a five-year veteran, a listener can’t exactly hold on to that or totally begrudge him.
For example on ‘That Guy,’ Zlatan didn’t really say anything special. Even though his grass-to-grace theme is resonant, he didn’t really say anything special to elevate the topic. However, the overall musicality of that record is just too high that the average listener might not even notice its technical deficiencies.
‘That Guy’ is built on amazing sonics from the staple of Chech, who blended Kel P-esque percussion with Rexxie-esque percussive progression with impressive instrumentation from a saxophone, an acoustic guitar and synth-pop strings. Everything is then crowned by the choral backup, which elevates the record. The record might just be Zlatan’s best yet.
Moreover, he’s a pop artist with roots in Rap music.
‘Island To Mainland’ already proves that he’s a dope rapper. ‘Resan’ belongs to the realm of lamba, where a different rule of engagement applies. On his sophomore album, Zlatan is a simple popstar on a quest to make bangers and sweet radio-worthy, party-worthy, groove-worthy lamba, and he did just that, and deserves full credit for it.
Artists seldom recover from a debut album as bad as ‘Zanku,’ but Zlatan proves that it is possible. From a sentimental standpoint, it’s also nice to see that Zlatan can grow artistically, creatively and as an A&R of his own music.
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