Alté Empress Amaarae solidifies her reign on debut album 'The Angel You Don't Know' [Album Review]
Anybody who has stayed hip to the blossoming Alté scene emerging from the beach parties and art exhibitions of Nigeria’s culture-bending youth, would by now be familiar with Amaarae’s wisped tones. The ‘FANCY’ singer, born in New York to Ghanaian parents, has established herself firmly in the alternative African music scene with her striking stylistic choices and free flowing musings. A dedication to going against the grain underpins her creative approach to making music, and whilst the brunt of heavy lifting on ‘THE ANGEL YOU DON’T KNOW’ at times relies on nostalgic harkenings, Amaarae has no difficulty in expertly reigning in her influences, packaging them into a thoroughly enjoyable 35 minute full-length debut.
Lead single ‘FANCY’ gave listeners a taste of the confident affirmations to come on ‘TAYDK.’ Coupled with the frantic chant-like opener ‘D*A*N*G*E*R*O*U*S’, it’s a tone-setting cut that draws on a grungy riff and trap drums, to welcome listeners into the opulent multiverse Amaarae has created. She has full reign over her creation, and, evidenced by sweetly delivered threats like, “I got smoke for whoever wan try me,” she is intent on keeping it that way. Speaking with Hypebae, Amaarae insists that her unabashed confidence comes from within, she doesn’t seek out external forces for a boost. Irresistible ‘LEAVE ME ALONE’ embodies the self-sufficient, self-assured spirit that Amaarae emits. “Me nuh need favour from no one but God, plus I got me,” she muses, sitting snugly within the Afro-tinged sound.
The Ghanaian-American singer’s alluring tone and melodic sensibilities are inviting. They exude a warmth encouraging listeners to get comfortable, but her dainty singing voice can prove deceiving when honing into her lyrical content. Sending a sincere warning to anyone with intent on blocking her path to fulfilment, she cautions, “Get the fuck outta my way, I’m gonna get major,” on moody ‘SAD GIRLZ LUV MONEY’. Led by an infectious percussive groove, the number cuts an enigmatic figure amongst the rest of Amaarae’s swirling, dreamy offerings.
The seeds of the Accra based singer’s influence are far-flung and reflect her to-and-fro upbringing between Atlanta and Accra. Armoured with an affection for alternative rock, Amaarae’s expansive creative approach liberates her to the point where the bubblegum indie of ‘DAZED AND ABUSED IN BEVERLY HILLS’ not only feels authentic to her brand, but sits comfortably within the disparate collection of sounds that is ‘TAYDK’. The project is undeniably experimental; Amaarae takes advantage of the freedom her status as a rising star grants her to trial and test different sounds. But the album boasts an expertly-glazed polish; it feels professional whilst avoiding the sense of being over processed. This is a quality that sets the 26 year old aside from her peers, and accomplishments in her fledgling career.
Amaarae, much like her counterparts at the forefront of the Alté scene, proudly sports her versatility like a badge. An outward-looking spirit emboldens her as she swathes through the project’s different turnings. But standout tracks like ‘JUMPING SHIP’ demonstrate she is just as comfortable honing into Afro-favoured sounds. In a role reversal following her elegant guest appearance on his 2019 album ‘Cashmere Tears’, Kojey Radical graces the chorus of this baile funk-tinged pop number, that sits in the same space of Drake’s ‘Too Good’. On dancehall-inspired ‘FEEL A WAY’, Amaarae’s fun-loving side shines through singing, “baby whine and go down low, rock to the riddim, that Calypso,” as she shimmers through the track. Despite the gothic aesthetic of the album’s artistic direction, Amaarae sprinkles her wit generously throughout. Soft-trap number ‘TRUST FUND BABY’ sees her remark, “trust fund baby, with this pussy, nigga really you should treasure it,” with the same playful charm employed by Doja Cat or Kali Uchis. The pivot between this track and ‘HELLZ ANGEL’ in the album’s midpoint feel like where Amaarae has the most fun with her music, humorously uttering, “Freek-A-Leek, Monique, call me baby if you wan’ reach me,” as she frolics through the funfair-like keys.
‘TAYDK’ is flashy and impressive. It embodies Amaarae’s smorgasbord of influences in all their multiformity. Without so much as breaking a sweat, she strolls through the soundscape she has created with panache, maintaining the flair she exhibits through both musical and fashion outlets and not once breaking character. Listeners will be intrigued as to the direction future releases take, given the lack of one dominating sound in this project, but the reigning empress of Alté has shown enough integrity in her experimentation to indicate a steadfastness in her artistry.