Best New Music: Egertton Is Channelling Ancestral Rage On “Obokhian”

Key Takeaways

• Egertton blends Rage Rap with Benin cultural motifs.
• “Obokhian” features Bini lyrics, dubbed “incantation music”.
• Video uses masquerade imagery, reinforcing ancestral themes.
• Rage Rap’s African adaptation signals localized subgenre evolution.
• Shallipopi, Cruel Santino co‑sign boost Egertton’s profile.

Summary

Benin artist Egertton releases “Obokhian,” a two‑track single merging Rage Rap with ancestral Bini elements. The track, described as “incantation music,” pairs aggressive synth‑driven production with lyrics that chant “Obokhian” and “Tota.” Directed by Cruel Santino, the video blends masquerade dance and bat imagery to visualize the song’s spiritual narrative. Critics note the release marks a localized evolution of Rage Rap within Afropop, earning endorsements from fellow Benin stars.

Pulse Analysis

Rage Rap, a high‑energy offshoot of mainstream hip‑hop, traces its lineage to Kanye West’s post‑*Yeezus* autotune experiments and the SoundCloud surge of the 2010s. Playboi Carti’s 2020 album *Whole Lotta Red* cemented the style’s aggressive synth loops and distorted vocal delivery, turning it into a worldwide template. As the genre migrated beyond its U.S. origins, African artists began to appropriate its intensity, infusing local rhythms and languages. This cross‑continental diffusion underscores hip‑hop’s adaptability and its role as a cultural conduit for youthful expression.

Egertton’s “Obokhian” exemplifies this hybridization. By singing primarily in Bini and labeling the piece “incantation music,” he anchors the track in Benin’s oral tradition while preserving Rage Rap’s kinetic pulse. The production, courtesy of DJ Primeau, trims the genre’s signature synth overload, allowing melodic hooks to surface alongside guttural chants of “Obokhian” and “Tota.” The accompanying video, directed by Cruel Santino, layers masquerade choreography and bat symbolism, visually translating the song’s spiritual summons. Such artistic choices signal a deliberate effort to fuse modern sonic aggression with ancestral storytelling.

The broader implication for the music industry is a burgeoning subgenre that marries global hype with localized identity. Streaming platforms are already curating playlists that spotlight African Rage Rap, exposing international audiences to a fresh, culturally rich soundscape. As artists like Egertton receive co‑signs from peers such as Shallipopi and Cruel Santino, the commercial viability of this niche grows, promising new revenue streams for labels and advertisers targeting the continent’s youthful, digitally native consumers. The evolution of Rage Rap in Africa may well redefine Afropop’s future trajectory, positioning it as a dynamic, genre‑blending powerhouse on the world stage.