On "Call my Baby," singer makes a self-assured plea for his lover's presence

Mr Eazi may have dominated the news with his sad attempts to claim ownership of a few Ghanaian slangs.

But if you can look beyond the chatter, the real story of Nigerian music in the last few months has been how Ghanaian producer, Juls has created a soundscape that most Nigerian artistes have adopted as a hit-making formula.

Since the pon-pon sound became mainstream, every rapper, musician and their favourite sound engineer have tried their hands at it.

The results have sounded largely similar; except for a few artists who are using this template to re-discover their sound and create re-iterations of this kick-drop sound, L.A.X is one of them.

On “Call my Baby”, the singer, known to fans as “Rasaki”, sings a sonorous plea for love and a partner’s warmth, over a skeletal version of that same pon-pon sound, produced by Spotless.

Since ending his affiliation with Wizkid’s Starboy Worldwide last year, L.A.X has gone on what seems like a quest to discover his true form, and on “Call my Baby”, he appears closer than ever to find that sound.

“Call my Baby” is a stark departure from the drum-heavy melodies of "Caro" and the intense, dance rhythms of “Ginger”.

Instead, Spotless creates a backdrop that is as similar with Juls’s template as it is different. While the kick-drop pattern remains in parts; the drums lose some of their bite, creating a platform for LAX to say what he has to say.

“Even if you go kafanchan, you no go see my type of woman for Kafanchan

Even if you go Isale-Eko, plenty plenty fine girl for Isale Eko"

This love na for forever, surely”

L.A.X comes storming out the gates in a manner that has become typical, suggesting that his love for his muse is unbridled as he tries to assure her that his love will never end.

As he moves to the hook, the drums gradually become more prominent, punctuated with light strings that come after every plea for his baby.

“Call my baby, tell am I need am”

Nothing in the lyrics will win a Pulitzer ora Songwritingaward, but Rasaki’s brash, almost called-out vocals fit perfectly into the sparse beat.

This consistency remains even when he switches to Igbo, appealing to his muse in a language that she may or may not be familiar with, especially if she turns out to be one of the Folakes that Nigerian music is in love with.

The simplicity of the record ensures its beauty. L.A.X embraces and sustains this melody and pace until the song comes to an end, eased out by a light refrain that plays on the song’s title.

Now on Rasaki Music Group, L.A.X has reminded fans that he is focused on creating more music, partly towards a project that should be released sometime in the coming months.