Bad Influence
‘Bad Influence’, the latest full-length project from Ojerime has all the makings of a timeless classic. It could have easily been released 20-25 years ago, yet it is clear the essence captured here will ensure ‘Bad Influence’ continues to reverberate throughout contemporary music circles for many years to come.
Immediately, the opening track evokes keen feelings of nostalgia, poignant in nature. There is a guitar featuring heavy reverb (a mixing effect employed amply throughout the mixtape) present in this track, giving it a wistful, airy feel. Ojerime’s sultry vocals have a cathartic effect, as she sings ‘Kind of alarming, disheartening… Don’t say I never ever had your back, yet you still stab me in the back’, the pain is visible. There exists a perfect balance of grandiose and reservedness on a track-to-track basis. Some lines are delivered in a crescendo, such as the chorus on the track ‘Nothing’ that beautifully renders the heartache on display visceral and palpable, whilst lines such as ‘numb to this sh*t, let’s go again’ on the opening track are delivered in a more mute manner, conveying a resignation and a sense of futility.
I have found a common pitfall that tends to befall many RnB projects is pacing; a lengthy project filled with slow jams that contain little to no discernible variation in groove risks leaning towards the boring. This is not an issue present on ‘Bad Influence’ at all. Ojerime’s flows manage to conjure images of times past whilst remaining incredibly emotive and undeniably interesting. Following the ballad that is the track ‘Alarming’ the production immediately picks up, percussion and synths on the track ‘Often Enough’ working together to create an infectious bounce. The instrumentation on the project as a whole, provided by a host of producers including J Strngs, Keyel and Stoney Willis is minimal in nature, providing Ojerime with ample space and opportunity to express herself, which she does with an elegance and regality, to incredible effect.
The only lyrical feature on the project is an addition from Jesse James Solomon which is seamlessly incorporated into the mixtape in the form of the track ‘Local’, as he delivers a bridge in his traditionally relaxed, soft-spoken cadence. ‘Local’ is one of the more sensual tracks on the tape (‘All I Do’ being another), seeing the two artists address their respective lovers over an instrumental that features a by-now familiar ambient, sexy synth melody that drapes over an off-kilter, disjointed drum pattern. The pair’s chemistry is through the roof and is one of the many highlights on the mixtape.
There is a prevalent theme of betrayal and heartbreak throughout the project, exemplified by Ojerime’s lines on the mid-point track ‘Mantra (feat. Iman Europe)’, ‘I was praying for your success, but you were praying for my downfall’. There also exists a strength, the willingness of Ojerime to not only wish better for herself, but to take the steps to make it happen as she sings on the closing track ‘Keep it Lo’, ‘You know I don’t f*ck with these bitches, bridges burnt, down to the f*cking roach ho, yeah I let it go’. Performing over a Mura Masa produced Project Pat sampled beat, Ojerime oozes the confidence of a seasoned rapper. The song is the perfect closer for the project, showing yet another side to the singer-songwriter, cheeky and braggadocious, leaving us longing for more.
All the elements of this project: Ojerime’s performances, the features, the mixing, mastering, and production come together to create an ethereal experience. There is something otherworldly about this project, as if Ojerime’s performances penetrate the conscious mind to have an immediate and tangible effect on the subconscious, communicating all too explicitly the range of emotions poured into the project. Growth is uncomfortable, oftentimes painful. As a result of the honesty with which Ojerime has been able to construct this emotional landscape riddled with painful experiences, it is clear she has been seeing a lot of growth, both musically and personally.