Album Title: The Enterkraner
Label: Hypertek Digital/960 Music Group
Release Date: August 21, 2014
Dammy Krane the artist is not troubled by the need to distinguish himself from his peers, of which there are quite a few. He’s chosen to infuse his delivery and style with more than a dash of Fuji. He’s yet to break into the A-list of pop stars and, despite his all-action delivery of his released songs, he is still looking to earn that mega-hit like his more notable contemporaries. Nevertheless, Dammy is highly likeable, with a seemingly permanent air of a soon-to-be star.
The Enterkraner opens with Industreet as an intro, his ode to the streets. It’s rather nice. Dammy’s guttural delivery over a bass heavy beat, had the album followed. After this, the album falls down, the next four songs are plagued with the peculiar problem of being delivered over beats that sound oddly dated. The artist doesn’t help matters either, with his incomplete melodies and tepid lyrics. How does an artist whose bread and butter ought to be dance music fall short on its most essential element, the beat? Krane is no slacker where dance is concerned; you’ve only had to have had the pleasure of seeing him live to confirm this. He maintains seemingly impossible energy levels for the duration of his performances. He is also widely rumoured to have composed the mega-successfulSkelewu dance, thus further bolstering his dance credentials. Evidence of this largely missing here, minus the tracks the launch that pushed to the cusp of stardom.
Feleela is next time the album picks up, a really sweet effort, delivered over a highlife beat, with a clearly defined melody. This is a nice track. The same can be said of the following joint, Jolly Good Fellow, I really like this. The guests, 2Face and in particularly Rocksteady, really came through. Between this song and Faleela, it’s obvious to see that the artist is not just an all dancing upstart. I really like how he describes the love he’s singing about as ‘no filter’, that’s the kinda relevant lyrical wittiness that has been scarce on the album up to this point.
Too often, Dammy Krane proves that he is perhaps not ready to cut an album. His melodies are still half baked and his beat selection on most of the joints give the impression of an up and coming artist at best. The perfect case in point being In case of Incasity feat. Davido. Considering how high Davido’s stock is right now, Dammy should have delivered a much better effort than this. A joint featuring Davido will often earn you a wider audience. Instead, this is a rather regrettable track, sung over what sounds like a demo instrumental. Dammy himself does not bother to deliver anything memorable. Davido is marginally better but very little can rescue this song from its utter mediocrity.
The album has very few highlights, that is, songs that any listener would care to revisit. The three that do stand out are; Feleela, Jolly Good Fellow and the all around pleasing Amin. Here, Spellz delivered what is perhaps the best tailored beat on the album; traditional Yoruba drums, interspersed with keyboard intervals which harken back to live Fuji performances, the artist is firmly in his element on this song.
Dammy Krane often describes his genre as 21st century Fuji, a genre known to be risque, revealing and even evocative. These elements cannot be ascribed to most of this project and all in, the artist shows glimpses of his talent on this album, but not enough to propel himself to that necessary next level required to attain real pop stardom.
This album is rated 3.5/10
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*The opinions expressed in this article/review are those of the author, and do not necessarily represent the views of naijasbeat.blogspot.com.*
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