[Entertainment] 'BAHD' by Falz is difficult to categorize.

Falz has released Hip-Hop albums, Afro-fusion albums, didactic albums, and now, with 'Bahd,' he has released an album that is difficult to describe.

Falz has demonstrated his brilliance and versatility in a variety of musical genres. Falz has the talent and range to flourish across various soundscapes, whether he is rapping, duetting, making Amapiano, or delivering a spoken word-esque performance.

Falz's most recent album, 'Moral Instruction,' leaned heavily on didacticism in order to create an album that served as a window into his fascinating mind and allowed listeners to explore his thoughts on many societal issues.

Falz has released multiple rap tracks in the lead up to his current album 'Bahd,' including 'Bop Daddy' and 'One Trouser.' Then he shifted to Amapiano, where he had several amazing singles including "Squander," which included Niniola, and "Oga," which featured Sayfar and Bontle Smith.

It was difficult to narrow down the soundscape Falz was exploring based on his releases. Most listeners, on the other hand, might assume Amapiano if they had to guess.

Falz is his nickname. Perhaps 'Bahd' was meant to represent a sexier, more macho, and larger-than-life version of Falz. The substance, on the other hand, is difficult to reconcile with this goal. If this wasn't Falz's purpose, it's hard to identify one in his body of work.

[Entertainment] 'BAHD' by Falz is difficult to categorize.

'Another Me' is a rap song with a hip-hop beat and a rock/jazz flavor thanks to some piano and a bass guitar solo. Falz delivers a silky stanza on his one-of-a-kind brilliance, both in his art and with his ladies. In terms of the album's title, the single implies that he's a horrible guy who's unlike everybody else.

With 'All Night,' 'Sun Flower,' and 'Parampe,' the record headed directly into a very formless sound after the rap introduction.'

Falz sings on 'All Night,' which has a peppy groove. Falz has always known how to express himself, and he does so in this track with a mix of rapping, singing, and his characteristic mixing of English, Yoruba, and pidgin. His singing, on the other hand, fails him as the tune falls flat. The hook is also flimsy, reducing its attraction even more.

Falz continues to sing in 'Beautiful Sunflower,' and this time he does a better job than he did in the love song 'All Night.' The content is slick, easy, and a little corny - everything a bad guy should be. The single repositioned the album for a delightful listen, thanks to Tiwa Savage's great vocals and perfect production.

All of Falz and Tiwa Savage's hard work on 'Beautiful Sunflower' was quickly undone by 'Parampe,' which is a mix of Afrobeat and Reggae. Falz was singing once more, but this time in the Fela Afrobeat style, complete with his signature background singers.

'Parampe' is another of Falz's tracks in which he combines singing with poetry-style rap, although this time he favors Afrobeat. Falz uses a mix of proverbs and funny words to underscore his untouchable status in this tune. Even the percussion, sax, and reggae couldn't save the song from being dull and sonically out of place.

'Kneel Down,' once again, brought the record back to life. Chike's enticing hook and Falz's cool delivery worked together to create an entertaining song that reflects the current hip-hop movement in Nigeria. Falz demonstrates vulnerability in 'Kneel Down,' admitting to his fear of losing someone he cares about.

'Gentleman,' which follows 'Pull Up,' which has a similar tempo and delightful melody sequence to 'Kneel Down,' continues the chaotic track arrangement.

'Gentleman' appears out of nowhere, with Falz abruptly switching to rap. The chivalrous material is simple to understand, and the delivery is acceptable. The song, on the other hand, disturbed the album's flow, which made it difficult to enjoy.

Cavemen have been a fixture on recent albums, and their repeated presence may have resulted in diminishing returns, much like Sauti Sol's Nigerian collaborations after Burna Boy's 'Twice As Tall' just didn't cut it. Cavemen teamed up with Falz on the forgettable tune "Woman." The use of highlife/palm wine music in the record is in keeping with the album's chaotic soundscape.

Falz abruptly shifted back to his already weary singing style after attempting to employ palm wine music to give the record some aural depth. Falz attempted to deliver an appealing harmonic sequence in 'Tender Love,' and the hook is absolutely horrible.

It was almost as if Falz was mixing an excellent song with a terrible one on purpose.

"When I scream for ice cream, you scream for ice cream, and we all scream for ice cream..." Please, no! There's no way Falz believed this was a nice song to finish the album with. On 'Ice Cream,' his subpar rap stanza paired with BNXN's lethargic chorus was simply provocative.

Last Thoughts

'Bahd' is best defined as an album with a chaotic aesthetic that incorporates Afropop, hip hop, some Afrobeat, and Cavemen. 'Bahd' lacks coherence, harmony, and enjoyability due to the lack of a distinct auditory structure or subject.

'Kneel Down,' 'Sun Flower,' 'Pull Up,' and 'Inside' were among the album's standout tracks. 'Gentleman' is also a good single whose potential might have been better realized if it had been placed correctly.

Thematically, 'Bahd' is a departure from Falz's usual didacticism. Love, vulnerability, desire, emotions, and braggadocio are all discussed. The album could have done with a little less theme repetition, but it was still enjoyable.

In terms of track arrangement and enjoyment, 'Bahd' struggled to maintain a cohesive soundscape, making it difficult to enjoy.

'Kneel Down,' 'Inside,' and 'Ice Cream' stand out in terms of production, mixing, and sound engineering.

Overall, 'Bahd' isn't wonderful, but it's also not bad. It's just a few tunes away from being a great album, yet it's also a few tracks away from being a disaster. Simply told, it's a difficult album to categorize.