From Music to Nostalgia ; How Azanti’s “Heart Parts & Nostalgia” will Make You Feel

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The variety of Azanti’s music will not be restricted, and we will not put him in a musical corner by boxing his sound into one direction. The Azanti we hear on every single one of his projects is fresh, energizing, and revitalizing; he sounds different yet distinctive, adaptable yet still reveling in the joy of his creativity. 

Following his collaboration with PsychoYP in 2020, YP & Azanti Vol 1 and his self-titled EP in 2021, we have been introduced to the fluidity of his vocals and flawless compositional abilities.

His recent album, Heart Parts & Nostalgia, has a specific plot that is carefully ordered to show a romantic chase with a woman, echoing his sounds via the numerous musical genres that the record explores. Azanti delivers a unique singing style and flow to each song, making you wonder if you’re really still listening to his album.

In Heart Parts & Nostalgia, Azanti demonstrates his experimentation with sound by pursuing the angle of exploring genres that aren’t often accessible to afrobeats, dipping into cultures, and transcends out of his creative box. He adopts a dancehall record approach on some songs, a salsa approach on others, and an R&B approach on still others. He also occasionally uses log drums with an amapiano flavoring.

The album’s standout song, Getting’ Hot, displays the singer’s skill as a songwriter utilizing the amapiano sound while self-hyping himself. The artist uses the song Getting’ Hot as an example of boogie-downing while having fun. It is the ideal club banger.

Julie, on which The Cavemen and Azanti collaborate, is yet another wonderful song. His choice to include a highlife track in Heart Parts & Nostalgia stands out among all of his creative endeavors. Here, with his voice mellow on the strings, he tells us about how he can’t get a girl by name, “Julie”, out of his head. The Cavemen’s verse on the song is reflective and catchy, and their outro on the track makes the song an overall IT song. They sing with a raspy voice in a combination of Igbo and pidgin.

No.1 Lover, the album’s first track, represents Azanti’s true musical identity and offers a glimpse into his authentic style, which is distinct from his towering vocals and sound experimentation. The song’s lyrics, which describe the artist as following a girl while receiving conflicting signals from her and not knowing when to apply the brakes to his emotional vehicle, are at odds with the song’s bursting beat.

Twiss & Turn featuring Odeal is what we would describe as an R&B blues with traces of an Afro pop influence. Odeal takes the reins in providing the song direction, outshining Azanti’s creative abilities. Azanti discusses his concern that she might damage him and how seriously he wants to treat her in Twiss & Turn. It’s a great idea to have the saxophones roar throughout the song because it accentuates its tropes.

Late4dinner features the ethereal vocals of Azanti. The final product of his collaboration with producer London is masterful. During a dinner date with a girl he likes, he expresses his character and weakness by keeping to African time through songwriting.

On Antenna, exploding with rhymes and swimming through the beat’s rhymes; Azanti discusses the alleged affair between his pal Takena and the woman he is allegedly pursuing with basic percussions. He essentially uses the cool song to communicate his bewilderment.

The new album by Azanti is a well-sequenced one that tells a narrative and guides the listener toward a developing plot. The singer is blessed in every sense of this thing we call music, if anything can be inferred from a careful listening to this album. 

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