It’s been two years. Two years since Sarz distilled a sextet of party-anthems into a single project. Two years since the opener “Good Morning Riddim” evolved into a radio staple, cued in on most “morning drive time shows” with the sticky hook—“Good morning my neighbor, how are you feeling” turning into a manner of greeting chant.
For me, SINYM arrived with novelty. The shining quality was due to its uniqueness from the few body of works Nigerian producers had turned out in that period of time. Years preceding its release, Masterkraft had loaded up his debut album into the music space, tapping up Reekado Banks, Flavour, DJ Maphorisa and CDQ for contributions. Krizbeatz would follow swiftly, building on his budding sound signature of Afro Dance Music, and he had the presence of starpowers on his project—Davido, Skales, and Tekno.
Sarz could have toed that route. With his longstanding relationship with Wizkid and Reminisce and recognition as one of the best sonic architects in the industry, he could have had a plethora of the industry’s beat destroyers on SINYM. But that would have taken the shine off Sarz as the maestro. It wouldn’t be “Sarz is not your mate” any longer since he was aided. The whole motive of SINYM would have been defeated.
So here’s Sarz. The genius, fusing in various sound chunks, addding and subtracting. A nerd in his own inventive world. The maestro had given a premise of SINYM years ago with “Beat of Life” featuring the younger, exuberant Wizkid. While it was all about Wizkid’s eccentric delivery on that track, Sarz made sure his creation—the head-spinning beat had its moments of life. The sonic framework of SINYM had been laid right there, enclosed in a file, set apart in a drawer.
When Sarz would revisit that framework in 2019, he wasn’t that same Sarz of 2012 reworking it this time around. An influx of knowledge and experience had been loaded up in this new version of Sarz. Having inputs on two Drake tracks, overseeing the production of Wizkid’s international debut, Sounds From The Other Side; and also championing Niniola’s rise.
There was a preview of the intent of the project on Good Morning Riddim but it was strongly asserted on Inbox Riddim. There’s a spark on that track. A slight similarity between Beat of Life and Inbox Riddim also exists. But it’s the structure of Inbox Riddim that showcases the improvement of Sarz over the years. Carefully created, building momentum with the bouncy drums, interjected with repeated vocal chops from Wizkid and Lil Kesh, double splashes of drums are heard and then there’s a stop. What will follow is this exciting, hyperactive mix of synths and percussion that would send listeners into a frenzy.
And that was the feedback from fans whenever that track was played. It introduced this energy that compelled you to either nod your heard or move those legs quickly in response. In some way, it helped to remodel Sarz into an adjoining sonic space—as a DJ. Armed with his project, donning a Sub-Zero-esque mask, he would go on to display his stylistic evolution at Mainland Block Parties, Gidifest inviting party-goers to revel in his party-floor anthems.
But that wasn’t the only impact. In months that will ensue, the success of that body of work re-enacted confidence in other producers to crank out their creations. Not depending on the input of an artist or endlessly waiting for a superstar to send back the files. While it could be limiting in terms of streaming numbers’ potential, still there was now this unabashed conviction. Mut4y, one half of Legendury Beatz would summon the feels of the summer with “Afrosummer Vibes” and Killertunes building on his signature sound with “Gbedu and Things”. Adey and TMXO also put out their debut projects last year.
It’s been two years. Two years since Sarz set himself apart, showed he could make an impact, create legacy and inspire peers in the craft.
This article was written by Olabode Otolorin; connect on Instagram with him here