Blvk H3ro, Wayne J ‘New Millennium’ EP Album Review
By virtue of the caliber of the songs on Blvk H3ro and Wayne J’s recently-released reggae/dancehall seven-track EP, New Millennium, it is obvious that these youngsters can be relied upon to maintain the foundations set by their pioneering Dancehall elders.
The quality of the lyrics and the dancehall flows and rhythms which date back to the 1990s and even the 1980s, belie their ages. Blvk H3ro, whose given name is Hervin Bailey, is only 26 years old, while Wayne J, born Wayne Smith, whose flows sound much like that of a young Buju Banton, is a mere schoolboy, at 17 years old.
In track one, titled Original, which was originally released in February, it would appear that the two might have been responding to the incessant calls and the yearning for authentic dancehall beats, by longstanding fans of the genre, for fears that it will be watered down by trap fusions which have become very popular amongst upcoming recording artistes in Jamaica.
The beat, which draws inspiration from those of the early to mid-1990s is very good, and sounds rather like a modern take on an old-school song.
The verses are well-written and evocative and the song gives off a positive vibe, as the duo pay their respects to their predecessors in the music industry, namely U-Roy, Big Youth, Super Cat and Papa San as well as producers Duke Reid and Clement Seymour “Sir Coxsone” Dodd who was influential in the development of Ska and Reggae in the 1950s and 1960s.
The song Young Boss, an ode to young entrepreneurs, appears twice on the EP, in the form of the original duet and a remix with deejay Skillibeng, who just by chance, or perhaps, according to Blvk H3ro, by the two talking things into being, became interested after a chance meeting with the Portmore native some months ago. Young Boss was originally released in March this year and the remix was done several months after.
Skillibeng, of course, brings his A-game to the track, but does not overshadow the other two, who flow, ride the rhythm, and spit their lyrics just as well as the Brick Pon Brick artiste.
In Ghetto Queen the duo sing praises to their mothers while they praise the Almighty in Prayer. The two draw on the work of veteran artiste, Papa Levi in The Ruler which is also about God the Omnipotent.
The track #TopTeam, though, is a misfit. The lyrics are contradictory as on one hand, the artistes brag about living the ‘star life’, about their jewelry and material possessions, and being chased by girls, while at the same time in some of the lines, they say they are “not hype”.
This song appears not to be in keeping with the positive theme of the others, which others have their central themes concentrated on God, righteousness, and the music business. Instead like many other ordinary dancehall tracks, it falls into the traps of cliché ‘gyallis’ songs, even making reference to a girl being a ‘choppa’. The shortest track on the EP, it ends abruptly at just under two and a half minutes, almost a minute shorter than some of the other tracks.
Overall, this EP was a solid effort from the young artists. Wayne J, known for tracks such as Better Days and his Ah Wayne J Enuh EP, was really impressive in the way in which he continues to harness his sound so early on in his musical journey. There is no doubt this is just the continuation of his musical sojourn and fans will be hearing more from him soon.
Blvk H3ro, another roots artiste with a musical background which began in the church, without question, shone brightly on this EP which comes on the heels of his 14-track album, The Immortal Steppa, which was released in February 2019.
At this young age and with only a few years of released music under their belts, these youngsters seem to have already established a consistent sound and feel to their music, which many Dancehall fans have already found to be impressive.