GRUNGECAKE

Category: Extended Plays

  • Abuja’s rising star FirstKlaz shakes up Nigeria’s music scene with bold debut EP ‘Déjàvu’

    From the streets of Abuja to Spotify’s Greasy Tunes stage, rising Afro-Fusion artist FirstKlaz makes a bold entrance with his debut EP ‘Déjàvu’—blending northern rhythms, viral ambition, and fearless controversy on his path toward global recognition.

    [media-credit name=”Spotify” link=”https://open.spotify.com/artist/6VPpDxzOXTPNsdxfJ5cAR5?si=InEXCNB9Qo6dWMnWUCp0ng” width=1280 align=”center”]FirstKlaz[/media-credit]

    Earlier this month, fast-rising Nigerian star FirstKlaz released his seven-track debut EP entitled ‘Déjàvu’. It arrives as both a statement and a love letter to the sound of Northern Nigeria—and it confirms that the he is ready to move from internet buzz to industry attention.

    The musical project pairs the artist’s playful, genre-bending vocal style with traditional Arẹwà elements (Kalangu, Goje) and modern Afro-Fusion production, creating a compact project that feels at once rooted and restless.

    Born and raised in Abuja (Nassarawa State), the ‘Gen-Z Fuji’ artist rise has been notably humble. He cut his teeth posting viral clips and experimenting with what he calls a ‘Gen-Z Arẹwà’ aesthetic—a youthful reimagining of northern folk textures—and those grassroots beginnings show on ‘Déjàvu’: The songs still carry an intimate, DIY energy even as the production widens. Early singles from 2024 gave him a foothold; This EP tightens that sound into a focused artistic identity.

    Standouts on ‘Déjàvu’ have already emerged as streaming favourites. Tracks like ‘Soyaiya’ and ‘Gen-Z Arẹwàzobia’ have been singled out by reviewers and playlists as the EP’s strongest statements—earworms that blend fiddle-like hooks with modern percussion and clever, everyday lyrics. ‘Lili’, a cheeky number that name-checks Cardi B in its hook, has become central to his current push; The artist has been actively promoting the song on social media and even tagging Cardi B as part of that campaign.

    His true breakout, though, traces back to the ‘Gen-Z’ singles that circulated in 2024. The earlier ‘Gen-Z Arẹwà’ tracks are widely credited with bringing him to wider attention and establishing the persona listeners now hear on ‘Dejavu’—the playful storyteller who wears cultural specificity like armour and invitation. Review coverage of the EP highlights that continuity, noting how the project crystallizes the promise listeners saw in his earlier work.

    Collaboration is part of the EP’s DNA: Guest verses and co-productions from artists such as Jeriq and Zlatan add grit and texture across the tracklist, helping the project bridge indie credibility and commercial reach. Those features make ‘Déjàvu’ feel like a community record rather than a solo manifesto.

    Not everything around the release has been quiet. FirstKlaz has publicly accused established star Kizz Daniel of borrowing — or, as he puts it, “stealing” — elements of his sound, calling attention to what he describes as repeated instances of creative appropriation; clips of him addressing Kizz Daniel have circulated on social platforms and video channels. The charge is framed as an allegation from FirstKlaz and has provoked debate in online music circles.

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    On the live front, the sizzling new artist recently brought his band to Lagos for Spotify’s Greasy Tunes pop-up, performing to an enthusiastic crowd and earning a spot on the event’s Fresh Finds programming—an important signal that tastemakers are watching. Video and photo posts from the event show him working a stage and connecting the EP tracks to a live audience hungry for something new.

    Behind the scenes, team sources and the cheerful artist’s own social posts say ‘Déjàvu’ has been submitted for GRAMMY consideration for the 2026 cycle—a move that, if nothing else, demonstrates ambition and belief in the project’s global potential. The submission, the artist notes online, is for general consideration rather than a nomination. It’s a step many rising acts take to widen their profile.

    If ‘Déjàvu’ does for him what his early singles hinted it could, the EP will be remembered as the pivot when a young man with a phone and a vision started being treated like an artist to watch. For now, he’s capitalising on momentum by touring, pushing the spicy, shouty ‘Lili’ across platforms (and yes, tagging Cardi B), and leaning into the very public mix of praise, disputes, and live performance that marks a musician on the rise. Keep an ear on Abuja. FirstKlaz is making sure the rest of the world can’t ignore it.

  • Bronx rising rapper ScarLip’s debut EP ‘Scarred B4 Fame’ feels incomplete (Review)

    I believe she can do better.

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    Less than a week ago, Bronx-bred rapper ScarLip, who rose to fame quickly through social media due to a controversial live video where her boyfriend said she was pretty “sometimes” and several complaints about her promotional antics, particularly involving her music video ‘She’s Hot’ and ‘Peggy’, has finally released her debut effort ‘Scarred B4 Fame’ after being signed to a major label for two years. Aside from viewing her incredible even-toned chocolate-like skin tone and hearing her unique voice here and there as I scrolled on my phone, her music wasn’t the focus. Instead, she became a poster girl attached to sensationalism. Wanting to give her a fair chance and come to my conclusions about her as an artist, I opened Epic Records’ email promoting her latest project. The email prettily gave the reader a summary of who she is, listing her famous mentor, Swizz Beatz (linked to hardcore rapper-turned glossy star, Eve), and legendary New York-born supporters like Cardi B and Busta Rhymes, the private industry event in anticipation of this project, and her recent interview with ABC News journalist, Juju Chang.

    [youtube=https://www.youtube.com/watch?v=2WMSsdPm_zE&h=315]

    The seven-song EP includes features from Hip-Hop titan Lil Wayne, GRAMMY winner Anthony Hamilton, and ScarLip’s take on Mary J Blige’s hook from Ludacris’ 2006 hit, ‘Runaway Love’.

    [youtube=https://www.youtube.com/watch?v=_0M_pgAcpb8&h=315]

    As for how I feel about the project—aside from the smart title—it didn’t carry the same energy or excitement as earlier tracks like ‘Glizzy Gobbler’ and ‘This Is New York’. It was an underwhelming experience, in comparison.

    [youtube=https://www.youtube.com/watch?v=xZPD1LwgQkY&h=315]

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    I was hoping for bigger moments—like hard-hitting radio anthems that speak to her core fans and skits that connect the songs to her story. That kind of detail could’ve pulled us in even more, the same way she does in her interviews and on her deeper pieces like ‘Therapy’, ‘Foster Care’ and ‘Suicide Awareness’.

    [youtube=https://www.youtube.com/watch?v=_ALeGoFfzJY&h=315]

    Music critics understand the desire for artists and their labels to showcase different sides of an artist, but in this instance, I think the timing and execution were off. With her current buzz, it would have been smarter to play into the controversy and feed her loyal fans first with context, presented creatively.

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    ‘Scarred B4 Fame’ runs just over twenty minutes. To me, it feels languid (or slow) and emotionally distant—something late artists like Lil Peep, Juice WRLD, XXXTentacion, the promising rapping model Chynna, and even DMX knew how to deliver, building huge fanbases and mainstream success. ScarLip has the look, the voice, and the support. But the real question is: Can she tap into that same depth? I’ll stay patient and wait for her debut album before forming more opinions. Hopefully, by then, she’s fully tapped into her voice—as other Emo-Rap stars have. She’s got a clear lane, industry support, and one of the best labels behind her.

  • Listen to Westside Gunn’s latest track ‘Egypt’ from his new EP ‘Heels Have Eyes’

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    Today, Westside Gunn released a new track called ‘Egypt’. At the start of the record, you can hear a young person expressing their adoration for the late MF DOOM and the Buffalo-bred music-making entrepreneur Westside Gunn. On the nostalgic-feeling track, he raps about his lifestyle, his relationship with Virgil Abloh, and people he knows praying on his downfall. Outside of that, the same person says she feels like the underdog and wants people to stop playing with her. We aren’t sure where the original clip sits, but we believe that once the woman hears the song, she will say something about being sampled for his latest release. ‘Egypt’ is out now on all streaming platforms along with his brand new project, ‘Heels Have Eyes’. Check it out below.

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    [youtube=https://www.youtube.com/watch?v=AjSXFm_QGtk&h=315]

  • Hear Britain’s legendary rapper Dizzee Rascal’s surprise 4-track EP ‘I Invented Grime’

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    In a stunning move that has electrified the Grime scene, legendary United Kingdom artist Dizzee Rascal has unveiled a surprise 4-track EP titled ‘I Invented Grime’. This release serves as a powerful reminder of his roots and enduring influence in a genre he helped pioneer. The five-track project, packed with high-energy beats and razor-sharp lyricism, is already making waves among fans and critics alike.

    The legacy of Dizzee Rascal

    Dizzee Rascal, real name Dylan Mills, is widely regarded as one of Grime’s founding fathers. His debut album, ‘Boy in da Corner’, released in 2003, won the prestigious Mercury Prize and put Grime on the global map. Over the years, Dizzee has evolved as an artist, exploring genres like Hip-Hop, Dance, and Electronic music. However, I Invented Grime marks a bold return to his Grime origins.

    A statement of ownership

    The title of the EP, ‘I Invented Grime’, is a clear statement from Dizzee about his pivotal role in the genre’s inception. The title track itself is an unapologetic anthem where Dizzee reclaims his legacy, spitting bars about his journey from the streets of East London to global stardom. With lines like, “From pirate radio to platinum plaques / I took the sound and brought it back”, Dizzee leaves no room for doubt about his contributions.

    The tracks: A breakdown

    The EP consists of five tracks, each showcasing Dizzee’s versatility and lyrical prowess:

    ‘I Invented Grime’ – A fiery opening track that sets the tone for the EP.

    ‘East London Anthem’ – A gritty ode to his hometown, complete with nostalgic references and raw production.

    ‘Back to Basics’ – A minimalist beat underscores Dizzee’s rapid-fire delivery and clever wordplay.

    ‘Pioneer’ – A reflective track where Dizzee explores his influence on Grime and the new wave of artists.

    ‘Forever Grime’ – A closing track that celebrates the genre’s resilience and his place within it.

    Collaborations and production

    Whilst the EP is a solo effort in terms of vocals, Dizzee has teamed up with some of Grime’s most innovative producers, including long-time collaborator Cage and rising star J Beatz. The production is raw, energetic, and unmistakably Grime, with heavy basslines and intricate drum patterns that harken back to the genre’s golden era.

    The reaction

    The surprise release has been met with overwhelming enthusiasm. Social media erupted with praise from fans and fellow artists alike. Grime veterans like Wiley and Skepta took to X (formerly Twitter) to commend the project, while newer artists expressed gratitude for Dizzee’s trailblazing efforts.

    A cultural moment

    ‘I Invented Grime’ is more than just an EP; it’s a cultural statement. In an era where Grime often blends with other genres, Dizzee’s return to the purest form of the sound feels like a homecoming. The EP underscores his unwavering commitment to the genre and his desire to remind the world where it all began.

    What’s next?

    Whilst Dizzee has not announced a tour to accompany the EP, fans are hopeful for live performances that will bring these tracks to life. Given the buzz surrounding this release, it’s clear that Dizzee Rascal’s legacy in Grime is far from over. For now, ‘I Invented Grime’ stands as a powerful testament to Dizzee Rascal’s enduring influence and his dedication to the genre he helped shape. Whether you’re a longtime fan or new to Grime, this EP is a must-listen—a celebration of a musical movement and the man who played a key role in its creation.

  • Hear Ghanaian artist $pacely’s latest EP ‘4 Da Pain’

    In early August, Ghana’s rising star artist $pacely — real name Elorm Kabu Amenyah — released a five-track extended play called ‘4 Da Pain’ featuring guest appearances from Robin Rozay, Joey B, Marince Omario, Dan Drizzy, and AratheJay. In the first track, ‘Alomo’, the Accra artist praises himself (“bad guy looking like Tony Montana”) and paints the picture of a fun Summer night with a young woman in VIP — alcohol included. On ‘Fine’, his sentiment is a continued appreciation of that special person’s sweet body and interpolates Craig David’s 2000 Pop hit record ‘Fill Me In’. For ‘Agoro’, most of the track is in a local language, so I cannot give more context, but it sounds like another song about someone’s body in a bedroom. ‘Omoge’ begs for quality time from his partner—welcoming her to spend every dollar of his money. This song was made by an individual so deep in love you may want to check their pulse often. West African people refer to that kind of person as a “finished” person.

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    Finally, ‘Nana’ is a song with a sensual energy that seems to tell the story of a young man who misses his significant other and celebrates or doesn’t hide his emotions. The La Même Gang member’s latest extended play is now available on streaming platforms through Labadi Music.

  • Listen to Nigerian artist King Perryy’s home-focused EP: Niggas from the South

    Approximately two weeks ago, Nigerian artist King Perryy released a sheeny seven-track project spotlighting some top-drawer artists emerging from the Southern part of Nigeria. Hence, the name ‘Niggas From the South’. Paired with tunes cooked by local Nigerian producers, the gentlemen carol about getting to it on ‘Hustle’, solving problems and receiving what one deserves on ‘Gbege’, and chopping life as Port Harcourt boys on ‘Confirm Parole’.

    Listen to the curated extended play below to focus on the country’s acclaimed underdogs like Erigga, KAESTLYLE, PsychoYP, Timaya, Ajebo Hustlers, DanDizzy, Jeriq and more.

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  • South African star Khanyisa shares irresistible Amapiano EP: Hear ‘Softer’

    Standout tracks like ‘Mama’ and ‘Come Duze’ explore the beauty of intimacy and the courage it takes to be open with someone. Khanyisa’s poetic lyrics paired with the soulful, bass-driven production create a soundscape that feels like a warm embrace.

    On Halloween night, Khanyisa—real name Khanyisa Jaceni—hosted an intimate listening party at Rockets in Bryanston, South Africa. On November 1, the next day, she gifted her loyal fans with an incredible native language project with an opening song about her mother (I’m a Mama’s girl) featuring Sowetan producer Silas Africa. Throughout the remainder of the very short setlist, she sings and signals for a distant lover (‘Come Duze’ featuring Sly) to come near, electrifies listeners immediately after with a vibrant street bop (‘Ngamandla’ featuring Vyno Keys and Tshepo Keyz) and sunsets the flammable masterpiece with my all-time favourite jam ‘2k’thele’ featuring Nandipha808, Visca, Marcus MC, RIVALZ, Tshepo Keyz and Tranquilo.

    [youtube=https://www.youtube.com/watch?v=rm9Q1PwH4Mc&h=315]

    Known for her unique fusion of Amapiano beats and soulful vocals, Khanyisa brings a fresh, heartfelt perspective that resonates on both sides of the Atlantic. With ‘Softer’, she offers a collection of tracks that feel like an invitation into her heart, capturing the tenderness and rawness of human connection. Each song on ‘Softer’ is carefully crafted, highlighting Khanyisa’s stunning vocal range and her gift for storytelling. Her voice effortlessly glides over the rich, rhythmic textures of Amapiano, a genre rooted in South African culture but increasingly captivating global listeners. ‘Softer’ has the perfect blend of cultural authenticity and universal appeal, making it a powerful bridge between South African and North American audiences — when it comes to universal adoration for heavy-hitting trunk-rattling dance anthems.

    The EP’s production is a testament to the rising artistry in South Africa’s music scene, balancing traditional elements with a modern twist that listeners everywhere can appreciate. With ‘Softer’, Khanyisa doesn’t just showcase her growth as an artist; she invites listeners into a deeply personal experience. Her music feels both fresh and timeless, a blend of influences that could touch hearts across the globe. Softer is more than an EP—it’s a reminder of the power of vulnerability in a world that often encourages toughness. Khanyisa has given us an exquisite gift, and ‘Softer’ is sure to be on repeat for fans worldwide.

  • Stream New York City-based singer-songwriter Nobu Woods’ 9-track debut EP ‘UNTL’

    It’s great to hear and see how much Drake and The Weeknd have inspired the next generation of music.

    We do not cross paths with many aspiring singer-songwriters from Jamaica, Queens, who get to present their work through a major record label like Warner Records. So, when I saw Nobu Woods‘’ biography and picture in a pitch email, I felt compelled to review it. As a woman who grew up in a city that didn’t have much happening for the artsy kids when I was growing up, I wanted to hear how a fellow resident of Queens might stand out in a highly competitive music industry. Upon the first listen, I couldn’t help but think of Canada’s finest superstar artists, Drake, The Weeknd and PARTYNEXTDOOR.

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    Nobu Woods has implemented that atmospheric R&B that Canada has become so famous for, even borrowing the style of rapping Drake is known for (See ‘5AMSOMEWHERE’). In his debut release, Nobu Woods notably sings about spending quality time (‘SJW’) and wanting to use someone for the moment (‘Fault’). Check out the nine-track project below to see which tracks you connect with the most and the songs you would add to your mood-centric playlists.

  • Kairo, the Nigerian-American identical twins signed to Def Jam, release new music ‘Special*Break Bread’: Listen

    It’s giving a rebirth of the infectious Jazzy Hip-Hop and Progressive Rap popularised on the East Coast, the millennials grew up loving so much.

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    On September 18, the Nigerian-American musical duo Kairo released three new records under Take & Thrown Records/Def Jam Recordings. Seemingly, the Texas-bred twins find inspiration from popular sounds released in the mid-eighties to the late nineties, compositions promoting carefree, coming-of-age moments synonymous with house parties. On the first track ‘Special’, EJ and his brother AK bring someone back down to earth by letting them know they aren’t uncommon (‘Nice try, thinking that you’re special”).

    The title track ‘Break Bread’ is a funky love song, with directions on how to love them (“Love me for me, that’s all I need is”) and a motherly warning about preserving themselves and not mixing with the ‘hood boys to stay out of trouble. The third and last record, ‘Brand New’ is an uptempo cut that addresses interracial dating from the start, playing it cool and acting different, and more. If you appreciate the golden era of Hip-Hop, you may enjoy it.

    The three-pack is light-hearted dance tunes — perhaps made to lighten the mood, make you feel good and forget what’s happening in the world — all in under ten minutes. I don’t know about you, but most of us could use a break from the news cycle and the political drama occurring in the United States (don’t forget to vote and register to vote if you haven’t registered yet). Listen to the tracks below, and lose yourself in the music.

  • Play Nigerian artist Odeal’s spectacular 4-track Afrobeats EP ‘Sunday at Zuri’s’ more than once

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    Last week (July 5), Germany-born Nigerian singer-songwriter Odeal shared the remarkable four-track Afrobeats effort with the world. On the self-produced opener (‘Sondela’), the London-based talent basks in showering his sweet and sexy lady with compliments and having her pop out and show out over the beat made with legwork in mind. Number two, (‘Soh-Soh’), is a “grown” and sultry banger, calling for slow-dancing and ear whispers on the dancefloor produced by PD & Gerald. It contains lyrics about the chase and his competition (“a hundred n****s on you”).

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    For the next track (‘ONOME’), at the start, the genre-explorer croons in more West African Pidgin English sprinkled with Yoruba to describe the pressure he feels around his “treasure”, his deep obsession with her and how her waist moves, and shares why he cannot leave her alone. Closing out the eleven-minute and thirty-second masterpiece, Odeal slows it down again to tell about falling out of love, ending his endearing relationship with her and how it made him feel. ‘Sunday at Zuri’s’ had to be mixed and engineered with God’s grace because every record hits hard. How he chose to express himself as a musician cemented him as a pioneer of the then-burgeoning Alté scene in the United Kingdom. Stream the mellow danceable tracks handsomely blending modern R&B and Nigerian styles, to believe me.

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    If you like new-age R&B American artists like PARTYNEXTDOOR and Brent Faiyaz, you may enjoy how this one feels.

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